KO! @kohuaz - Tumblr Blog

thinking about [Kaerazu’s Amusement Park] and rambling on about it now that i’ve played it.

genuinely some of the best [Death Mark] has to offer imo.

spoilers for chapter #7 of death mark obviously (and mentions to events/spirits in the base game + chapter #6 dlc)

[in short]: a beautifully crafted mystery with some of my favourite and evidently intentional symbolic spirit design that builds on the pre-established world and its characters by focusing on the interactions of other mark bearers.

i want to go into more detail about why i believe this chapter was so successful, some analyses on the presentation of toads, bugs and slugs, the structure of the story and lastly some final comments about how the gameplay complements the story and vice versa. ^^

[general tw] for discussions about sa and sharassment but mostly the symbolic representation of it throughout the dlc \\ also for mentions of suicide and starvation \\ and some CGs that reference these things.

i want to start by outlining three points that stood out to me:

> firstly is the focus on Moe

The story of the DLC revolves around Moe and her investigation into the Great Kaerazu at Kaerazu's Amusement Park, a vengeful spirit said to haunt H Amusement Park and cause the disappearances of those who enter it. Often, these disappearances lead to a supernatural death as corpses were found with acid burns and their facial features being out of place.

While this DLC was interesting for exploring different aspects and relationships of the mark bearers by following it through Moe’s perspective, I found it particularly engaging given how it also focuses on Moe’s journey of growth. I saw this chapter as a coming of age story for Moe, which was also reflected in aspects of the game design. For example, in the progression of her three exploration partners.

Moe’s first partner is Tsukasa, an elementary school student. Moe is shown to treat and acknowledge him as a child in descriptions like when 'he must've agonised over whether or not to come help [Moe] or call the police' when Moe screamed and appearing to be 'about to burst into tears,' showing his childish overwhelm and worry. Similarly in situations where Moe '[chokes] her scream down her throat,' as she doesn't 'want to frighten Tsukasa' when seeing the slug-filled toolbox (slugbox) for the first time. In this way, Moe is presented as the an elder figure to look after and guide the younger Tsukasa.

Ironically, these descriptions paint Tsukasa to hold more maturity than Moe herself. Even when he is overwhelmed, that feeling stems from the extent in which he considers all sides of a situation. He knew calling the police may help Moe if she were in trouble, yet did not wish to be questioned about why they entered the mansion without permission. Tsukasa, coming from a family of lawyers, is fully aware of the consequences and dangers of investigating the abandoned amusement park. Despite Moe's attempts at acting as an elder figure for Tsukasa, she lacks the fundamental lesson in restraint to properly guide him and instead involves him in reckless, dangerous situations.

Or how when following Moe to H Amusement Park, Tsukasa justifies this to himself by stating that he 'can't help [himself],' as if he left her alone, he'd have 'no idea what sort of mess [she]'ll make.' This distrust of others is a theme that comes up often with Tsukasa’s character, similarly shown in the Hanahiko incident where he insisted to come along to ensure Yashiki didn't mess up the investigation. This trait of his is directed towards Moe in this chapter, though is instead out of 'worry' rather than distrust. It is also reinforced by later comments such as 'despite that terrifying, near-death experience, you show no signs whatsoever of learning anything at all from it.' Each response Moe could give only confirms Tsukasa's beliefs, showing how Moe had not ben dissuaded from pursuing the case despite the risks involved.

However despite his mature observations, Tsukasa is still a child with a childish sense of curiosity. This is demonstrated in how he scolds Moe for entering the mansion unpermitted but still 'follows behind,' and it seemed that he 'wanted to get a look at Kujou Mansion without anyone inside.' Or when he 'pleads to [Moe] for guidance,' during the haunting in the gondola. In this way, Moe is still the elder figure who holds more authority between them, as Tsukasa seeks her guidance. Tsukasa's warnings and worry for Moe's recklessness is ultimately one that can be disregarded by Moe as the words of a child.

Tsukasa is written as a logical foil to Moe's curiosity-driven character yet he is also one that lacks the power and authority to stop Moe from continuing. His role hints at the overarching conflict between Moe and her character development into maturity. Tsukasa's logic and maturity is acknowledged by a comment Moe makes about how his scolding is ‘annoying as he's much younger than [her],’ implying that this is something she should already know. Even still, she continues to disregard his blunt yet truthful comments as she forgot 'how rude Tsukasa [could] be.’ Ultimately Moe plays off these warnings as the words of a child to be dismissed, continuing to push ahead with reckless abandon.

Moe involved Tsukasa into a situation more dangerous than either of them intended for as Moe herself states that she initially didn't believe she would 'honestly had no idea [of] what lurked inside this park,' showing her lack of forethought, while continuing to recklessly continue forwards this danger after they did. this ultimately cumulates in his warning and plea for Moe to not pursue the case any longer, which she disregards and such ends the first day in this three day structure.

Kaerazu's Amusement Park could be read as following the three-act structure model described by Syd Field in his book Screenplay: The Foundations of Screenwriting (1979). Using this model, Field divides a narrative into three parts: the Setup, Confrontation and Resolution. The first act, the Setup, usually includes the exposition, establishing the main characters, relationships and the world. Typically at the end of the setup, there will be an inciting incident that results in the upheaval of the prior normalcy. This leads to the second act where the protagonist attempts to resolve the problem, usually only worsening the problem, thus marking this act as the rising tension. The third act is the resolution, featuring the climax of the story and tends to lead to the characters holding a new outlook on themselves and their relationships.

(Diagram courtesy of Script Reader Pro)

Following the foundations for the three-act structure, Tsukasa and Moe’s first day plays the role of setting up the core mystery with the inciting incident, the ghost story of the Great Kaerazu and the haunting in the gondola, while also hinting towards one of the main themes mentioned prior: that of growth. This first day acts as the successful setup for the rest of the story.

The second day of the investigation has Moe partner with Shou, finding him instead of Mashita who Moe expected to see in the office. They reflect on other mark bearers while also expanding on Shou and Moe's relationship through their dialogue choices, ultimately leading to their partnership in investigation and the disappearance of Shou.

Unlike Tsukasa who I believe was written to foil Moe, Shou acts as a parallel to Moe. He joins the investigation for his own personal, arguably selfish, reasons of finding Mashita while not being fully aware of the risks involved. Given that he's acknowledged as 'the closest to [Moe's] age,' and how he's the one that gets spirited away solidifies Shou's role in the story as the turning point for Moe: if she continues on the way that she does by selfishly pursuing her own desires to find out the truth, she and others around her will suffer for it. It's especially impactful as Shou's fate, given that he's someone close to the age of Moe, also represents a fate that could come to Moe herself.

It is, in my opinion an extremely successful writing of the psychological weight and guilt Moe carries, especially given the casual and friendly presentation of her relationship Shou. This breakdown of the mundane marks the first major tone shift in the chapter away from normalcy and instead emphasises the looming threat. The idea that Shou's disappearance acts as a cautionary event that mirrors Moe's fate is also implied in the bad ending of this chapter. In this ending, nobody escapes Tokoyo, the 'otherworld,' despite solving the mystery of the Great Kaerazu, as it was a moment of naivete that lead to this fate: removing the offering of flowers as they were wilted. Moe's words 'perhaps there was another fate for us,' all but emphasise this.

It's also interesting to note that this is the moment that determines whether you get the 'true' or 'bad' ending, beyond simply disturbing the offerings to the dead, as it happens while Moe is partnered with Shou. During the investigation, when prompted about the withered bouquet by Shou, Moe states that 'it's made of chrysanthemums and carnations. It's the type of bouquet you'd offer at a grave or scene of an accident,' before going on to say 'it will return to the earth before long, but it could also be considered trash.' Once again it pushes the narrative that this is the point of no return, dependant on if you choose to remove the litter with tact and maturity or indiscriminately push forward without careful consideration.

After Shou's disappearance, Daimon lectures Moe about how 'because of [her] curiosity, [she] got [Shou] wrapped up in all this.' He goes on to state that 'curiosity isn't a sin. When you're young, you should be curious about many different things,' however Moe is 'halfway to adulthood,' and that 'this is the point in [her] life when [she needs] to learn how to control [her] own emotions.' This interaction calls back to Moe's earlier disregard of Tsukasa's plea for her not to return to the amusement park and makes it all the more prevalent. It reframes that scene as a point of contention in Moe's character, setting her up for the mental struggle between her personal curiosity and the need to temper it through careful consideration as she reaches adulthood.

This curiosity was also referenced my Moe herself in the very beginning of this chapter as she's 'always been this way as long as [she could] remember,' in the way she would 'get so scared when [she watches] a horror movie that [she] can't sleep,' yet she continues to watch as '[her] curiosity always gets the best of [her].' This in context with the addition of Daimon's lecture and Moe's actions, come together to form the basis of the main barrier to Moe's character development: her reckless drive to pursue the occult without proper understanding of the risks and wider situation.

Using this reading, Moe and Shou's confrontation with slugman Mashita (slugshita) could also be reframed as another moment of contention between Moe's curiosity and calculated logic. Moe's well-intentioned but ultimately cursory desire to save Mashita is juxtaposed by the rational logic presented through Shou who suggested they run from a threat he had already deemed to be potentially too great for him to face. Perhaps if Shou had not followed Moe's example of impulsivity, his disappearance could've been avoided. This, in the Three Part Structure would a textbook example of 'rising tension' and 'the point of no return.'

Moe's third and final partner is Daimon, joining the investigation only after convincing him of her renewed conviction to follow the case through to the end. Partnering with Daimon had been the most difficult as opposed to Tsukasa and Shou who tagged along willingly, as Daimon was the one who discouraged Moe from pursuing the case any further.

Perhaps this caution stems from Daimon's own life experiences, having learnt where this intense passion and curiosity could lead to in his youth as a bandmember. His change in career from a bandmember to a doctor could also reflect this shift from someone potentially emotionally-driven to someone who relies more on logic. This could be to show how he, with time, had moderated his curiosity in favour for rationality.

Daimon's empathy and emotion have been shown to motivate him into action, such as campaigning to get a memorial built for the victims of the bunker. This is also suggested in his character design as someone who 'even though his body is weak,' wears 'stylish clothes,' a decision possibly driven by emotion: out of sentimentality for his past. However even then he does little to express that emotion outwardly, suggested by the quote that he 'doesn't say it in so many words, but it seems it was quite shocking to him to learn his grandfather participated in the insanity there.'

Additionally, even if perhaps purely out of the limitations of the game design, Daimon does not take initiative in the bunker and only follows Yashiki's investigation. Only after the events of the Kannon Soldier chapter does Daimon let his emotions show, demonstrating the extent in which he keeps a rein on them. Hence, why he might be so reluctant to allow Moe to continue pursuing the case; he understands that her her naivete poses a threat to both herself and others if she doesn't control it.

Daimon's initial refusal could be interpreted purely as his will to keep Moe and others safe, however by reading it in the context of a coming-of-age story, it places Daimon closer to a metaphorical wall between Moe's current state and the maturity she has yet to reach. Daimon's attempts to protect her by excluding her was also, in a way, stunting her growth. By dismissing Moe as a child and to 'let the adults handle things from here,' it inhibits Moe's chance to mature by facing the problems she had inadvertently roped others into.

Her persistence in convincing Daimon can then be reframed as psychological growth instead of merely a rekindled determination driven of guilt or mere personal interest. This is especially prevalent as Moe's arguments for allowing her to assist in the investigation are all arguments grounded in logic rather than of personal interest or pride. Those arguments being 'this is [her] responsibility,' also that '[she wants] to rescue [Yashiki] and the others,' and that '[she has] information on the incident,' and the final '[she] can no longer escape.' Once again this displays Moe's shift in her outlook and understanding of the dangers of the situation. Her choice to pursue the case is no longer one born of selfish curiosity but one made in full awareness of the consequences.

The investigation picks up the pace after Daimon's inclusion, the pair spirited away into Tokoyo, the 'otherworld' after following the image of Yashiki through the Torii gate. The tension rises dramatically in this chapter, yet so does Moe's growth into maturity. Throughout the third day, Daimon is shown to juxtapose Moe's curiosity and support Moe's growth by providing rational explanations or suggestions to organise Moe's fantastical thinking and gut-driven ideas.

Some example being in the Live or Die mechanic where the right choice was Daimon suggests that Moe thinks twice about her decision. Daimon goes on to teach Moe about the Monty Hall Problem where 'there's a minor deviation when choosing based on instinct and choosing based on logic,' which helped them escape from the slugmen by choosing something other than Moe's instinctive choice. Additionally, it is also shown when Daimon asks for Moe's input in forming logical theories to explain their situation. These examples all show Daimon teaching Moe of more rational approaches to a situation, which is exactly what Moe needed to temper her once unchecked curiosity.

It could also be argued that Moe's unrestrained curiosity is something that Daimon needed, perhaps allowing for his character to develop alongside Moe's. For example when Daimon asks for Moe's input to form theories together, as the logic of spirits tends to stray away from scientific rationale and leans heavily towards the superstitious. Moe's 'excessively imaginative' thinking shown in her 'diary full of reality mixed with fiction,' quoted from the art book, is given structure by Daimon's reasonable thinking.

Additionally, Moe's persuasion is what spurs Daimon into action. Daimon attempted to contact Yasuoka, a spirit medium with the most knowledge, in order to be prepared. However, he could neither contact Yasuoka nor find any background evidence. Here, Daimon remained in a state of stagnation as he was ill-prepared for the investigation ahead. Only after Moe's display of determination did Daimon suggest they 'do [their] best Yashiki impression,' and press forward without prior research.

Through these examples, their characters are shown to complement one another as they build upon each other's strengths, with Daimon moderating Moe's curiosity and Moe expanding on Daimon's logic, acting in harmony to cover each other's weaknesses in the absurd world of spirits. They foil each other and their true potential blossoms when working in accordance rather than individually.

It's interesting to note the lack of reliable adult figures throughout this chapter up until this point. On the first day Moe sought out Yashiki, the spirit doctor with the most experience in solving these cases, only to find him missing from the mansion. She instead comes across Banshee Itou who was essentially squatting in Yashiki's house. When she returns home late after the events of the first day, she 'somehow receives no lecture,' and receiving no guidance from her parents. On the second day, Moe sought out the help of Mashita, another adult who she deemed helpful for her investigation, though he too was also missing from his office, with Moe instead finding Shou. Daimon is the first present, reliable adult figure that supports Moe in her investigation.

Although Bashee is technically the first adult figure Moe encounters on the first day, Banshee is not included in this analysis as a 'reliable adult.' Moe and Tsukasa's immediate distrust and disregard of him only further suggest this. However, this is not said to diminish the influence of Banshee in this chapter as I believe his role in this story was different. Banshee strongly contrasts Daimon by being, at first glance, irrational and contradictory. This is shown in moments where he explains his line of thinking, such as when he first sees Moe, he scares her then states 'it'd have been rude of [him] not to scare her.' Or how when asked about Kaerazu's Amusement Park, he states it was the 'first time [he's] hearing about it' before going into a lengthy recount of H Amusement Park's history.

It's consistent with his presentation in the previous DLC Little Red Riding Hood where Banshee's impulsivity is noted as 'troublesome' by Daimon. This is only further exacerbated as Banshee is ultimately attacked by the spirit. Banshee, in my view, has consistently acted as more of a supporting role in the background through his enigmatic methods, as opposed to the rationale of Daimon.

This absence of trustworthy adult figures again frames this chapter as a coming of age story as Moe had to rely on herself without their guidance until the very end. It could also symbolise the growth Moe goes through as the lack of adults only emphasises the youth of Moe and her first two investigation partners: an elementary schooler and a high schooler. It also purposely stagnates Moe's growth without the proper guidance needed by letting her naivete fester until the turning point of Shou's disappearance.

This choice could have been used to give weight to Moe's subsequent shift in outlook by taking direct responsibility. Her attempts to convince Daimon to let her help can therefore be interpreted not only as renewed determination, but also as an exhibit of her growth with the heavier context surrounding her decision. It juxtaposes her decision at the end of the first day where she deliberately chooses not to 'leave it to an adult,' as now she seeks Daimon's help. By having this confrontation with Daimon, Moe proves both to Daimon and herself that her determination is no longer purely naïve. Moe no longer investigates a 'scoop' out of personal curiosity, but instead takes the first step towards her maturity in acknowledging the dangers involved after the haunting in the gondola and the disappearance of Shou.

This intentional choice of partners over the three days from a child to a high-schooler to an adult is, in my view, a reflection of the growth Moe experiences through her interactions with others and the changing situation they go through. It shows how her growth is not isolated only to herself and her experiences but shaped by those around her to guide her changing mindset.

Take Banshee for example, who I believe was purposefully written to be enigmatic. He helped Moe out in one of her lowest moments in the chapter. After the disappearance of Shou and Daimon’s subsequent lectures on the responsibility she held, the weight of guilt and helplessness was crushing Moe. Her determination was even described as only being ‘nearly extinguished,’ before they were ‘fanned back into a roaring fire,’ by the info Banshee gave her. This support directly resulted in her regaining confidence and asking to help Daimon in the investigation. It was the support of others that gave Moe the confidence to face this seemingly insurmountable situation to the end. That situation being both the mystery of Great Kaerazu and Moe's personal growth into maturity.

Moe's change in maturity is reflected in her thoughts as well as her dialogue choices following Banshee's support. It makes the earlier ones of 'what Correspondent Watanabe was thinking as she stands in front of "Kaerazu's Amusement Park" is...' in the first chapter hold more weight. Each intentionally trivial answer such as 'I wanna go home' or 'Scoop! Scoop!' or 'I'm sooo hungry' was emphasised then to contrast her newfound resolve now.

At the climax of the story, Moe ultimately faces Kaerazu, revealed to be the deity Gamahime. alone. While Daimon is present during the confrontation, Moe is the one that answers each of Gamahime's questions. This choice could represent Moe's growth throughout the chapter as a moment of reflection where she alone acknowledges the support she has received. Moe uses the advice and information she's received from others, represented through Banshee's pear, Yashiki's notes and Daimon's literary support, to overcome the threat of Gamahime.

After this confrontation, the resolution in the true ending leads to the safe return and recovery of the affected Mark Bearers. It is here where the once missing reliable adults finally make a proper appearance. It perhaps shows how Moe has finally reached the end of her journey to maturity by being acknowledged by the same adults she viewed as reliable. While returning to normalcy, Moe is undoubtedly shown to have grown from this experience (albeit to what degree is debatable)

Overall, Kaerazu's Amusement Park provided extended insight into Moe's character and her relationships with the other Mark Bearers. Her story can be read as one of growth, explored through her progression of maturity through her choices and changing outlook on the case and wider situation. Ultimately showcasing Moe's strength and renewed vigour in pursuing the occult beyond naïve personal interest, part of what made is resolution so satisfying.

> secondly, the presentation of Kaerazu's story

Again, throughout the chapters there were a lot of ties from the setting to the surrounding mystery and its themes of sexual assault. Here, I want to discuss the setup of the mystery and Great Kaerazu's story. In particular, I wanted to focus on the presentation of sexual abuse throughout the DLC through the artwork, some recurring motifs of insects and comments made by Moe throughout the DLC.

The story of the two princesses Chiyo and in particular Kikuno lies in the source of Gamahime's grudge. In the late Sengoku Period, two princesses fled to A Mountain following the Toyotomi army's assault on the Hojo clan's castles in H city. Princess Chiyo of S Mountain Castle was quoted by as 'prepared to die in her castle,' though later 'fled into the mountain,' and was rumoured to have '[committed] suicide together with her retainers.' Princess Kikuno of Y Moon Castle had also fled before her castle fell though while fleeing, 'her retainers turned on her,' and 'after being assaulted, she was apparently left behind on the mountain.' It later being revealed that she had starved to death on that mountain without the means to survive there alone.

Kikuno's corpse was discovered by locals in the nearby village three months later, mistaking her for a deity as she was 'surrounded by countless frogs,' described 'like they were attending to her and protecting her,' leading to the superstitious belief that she was Gamahime, the god of A Mountain. Despite 'Kikuno,' 'Gamahime,' and 'Great Kaerazu,' referring to the same person, I would like to emphasise that they represent different beings in different contexts: the tragic princess Kikuno, the deity of A Mountain Gamahime and the vengeful urban legend the Great Kaerazu.

I'd argue that even before the reveal of their stories, the game already presents the prevalent themes in a way that successfully allows for players to deduce the events that occurred with its use of symbolism.

Let's start with slugs. Some types of slugs tend to fall under invasive categories, such as Spanish slugs, due to their aggressive breeding habits and laying around four hundred eggs a year as opposed to native slugs laying around roughly one hundred per year. They tend to both out-eat and overwhelm the native biodiversity, hence the invasive label. This invasive trait of slugs is part of what makes them such a successful symbol for sexual abuse in my opinion, beyond the tactile disgust they can invoke.

One example is the delinquent's corpse found on the teacup ride with many slugs and their eggs attached to him. This is prefaced by the discovery of the women's underwear, followed by Shou's comment that 'bad guys like to hang out here. Naturally, you're going to have a few of those types that want to get freaky.' Following this, Moe's thoughts go to the possibility of rape, stating that 'it feels a bit like some kind of crime happened here...' and that 'this is the kind of ideal spot for THAT... No matter how loud someone cries or screams, no one will come to save them.' Therefore, the corpse's presentation could be a representation of what those women went through, especially as delinquents were theorised to have 'forcefully brought girls here against their will.' The invasiveness of the slugs crawling in every orifice of the corpse's face, filling it with slime and eggs, similar to the experience and lingering disgust victims of sexual abuse go through.

This is further referenced in Moe's prophetic dream where she was caught by slugmen, stripped, restrained then has many slugs crawl over her. Outside of the general horror of having slugs crawl all over you, I believe that the 'slimy, cold' description of the slugs intended to induce a feeling of disgust would represent how someone would think about sexual assault. This is juxtaposed by Moe's confusion with comments such as 'they're surprisingly warm' and saying she felt strangely 'excited,' which serves to present the cognitive dissonance between the idea of violation she has in her mind now conflicting with the unwanted desire caused by it. It highlights the realistic moments of confusion and shame due to the contrasting beliefs of the victim and the sensations during the experience.

The slugs here hold symbolic weight as these slimy, invasive slugs are also noted to have eyes and mouths. This could be interpreted as a direct reference to the intrusive aspects of sexual assault. The mouths that could play a part in this violence, physically and or verbally, while also alluding to their expressions, all things that would hold a lot of weight to the victim in assault. The motif of eyes and their penetrating exposure through perception has been a theme reused in a previous chapter with the story of Hanayome, again tying these slugs to the theme of assault.

While it could be written off as sexualisation included for mere fanservice, the writing and framing of the scene suggest otherwise. Moe's comments about it places emphasis on certain details such as the 'eyes and mouths,' and the contrasting sensations she felt suggesting that there is more to it than tactile horror. Additionally, in consideration to the hints towards sexual assault beforehand, such as finding discarded underwear and the delinquent's egg-filled corpse, the inclusion of the graphic CG was, in my opinion, instead made to emphasise the visceral horror of the experience of assault. [-> see orange end note]

One point I want to bring up is with Mashita. Moe references what Mashita once revealed when she talks of his flaws, the direct quote being 'He clicks his tongue a lot, he's super blunt... And he got discharged for sexual harassment...' before continuing with 'Oh wait, that was a false charge, wasn't it?' Given the slugmen's evident relation as symbolism for sexual assault, I don't think it's a stretch to say that the reason you could save Mashita from being possessed as a slugman could relate to that additional comment referenced by Moe: that it was a false charge.

It could be read as another allusion to sexual harassment and assault but the fact that he could be saved could tie in symbolically with how he wasn't a perpetrator and didn't do these things, thus granting him a chance to escape his fate. It could also be the reason why he could cling onto the memories he had, such as his senior's oil lighter, 'as the slugman sees the lighter, it seems to be reacting in pain... it really is you, Mashita,' and how he could call out 'wA...tA...Na...Be' and remember Moe's name. As such, I believe Mashita was written in this DLC to add to the symbolism of the slugmen as parallels to the sexual abuse Kikuno faced.

Now I want to move onto the presentation of bugs: the unnaturally large, carnivorous flies. First encountered after the slugbox, these flies are the first direct threat that comes upon Moe and Tsukasa in the first chapter as they attack them in the gondola. These flies were shown to be 'eating the corpse' hung on the gondola, the same corpses later speculated by Moe and Daimon to have been hung by Kaerazu after being partially digested. These flies are shown to only eat upon the scraps that Kaerazu left behind while also being mortally afraid of frog-related items, such as the stickers. This is all a subtle nod to the dominion Gamahime has over the insects and molluscs under her rule.

Interestingly, the bugs they chose to attack the gondola were flies, as this aggressive swarming behaviour is atypical to flies beyond aggregations of existing flies. Flies tend to form swarms for two main reasons: hunger and to mate, neither of which posing a direct threat to humans. More commonly and famously depicted swarms tend to focus on locust and the barren aftermath of their ravenous hunger. As such, it could be inferred that the inclusion of flies instead of locusts could reinforce their position in Gamahime's hierarchy and within the food chain as bottom-dwellers. They feed off the leftovers as scavengers and perhaps swarm not from gregariousness but instead immense hunger; as well as the fact that frogs are traditionally depicted to eat flies. All this is used to subtly emphasise Gamahime's divine power in the mountains, while also potentially acting as a representation to how Kikuno felt before her transformation into Gamahime: powerless and starving in unfamiliar terrain.

The article A Swarm of Japanese Flies by Kyoto Journal describes flies in Japanese literature as being 'unavoidable. They appear as far back as the Kojiki at a critical moment in the creation of the world when the light withdrew and darkness spread across the heavens, and "the evil deities" voices were like swarms of mayflies, unleashing countless portentous calamities.' By likening the voices of 'evil deities' to the buzzing of flies implies their link to evil as ominous and unavoidable messengers. A similar reading could be applied to the flies as they may represent the intense starvation of Kikuno, now in the form of a forgotten and wrathful deity, Kaerazu.

Following on from this, the article also comment on how these 'ominous swarms also appear in the Psalms,' and makes the comparison that 'while biblical flies evoke deserts and hunger, those of Japan suggest the abundance and plenitude of summer' but also going on to say that simultaneously, 'they are more inconsequential: barely an image, one that buzzes rather than devours.' Kaerazu's Amusement Park reshapes this outlook on flies by making them the exact opposite: large bugs that buzz and devour. Additionally, flies are often related to rot and death, thus the inclusion of the added threat to these flies positions them closer to bringers of death as opposed to mere messengers. This, too, can be interpreted as a representation of Gamahime's wrath as it transforms these usually inconsequential bugs into dangerous servants under her control.

The empowerment yet simultaneous subjugation of these flies from Kaerazu could also represent the story of Kikuno's rebirth into Gamahime. Kikuno, in death, was a princess who fled due to conflict, defiled by her attendants and starved on the unfamiliar mountains. Through the misunderstanding of the locals, she is reborn as the deity Gamahime as 'a deity's source of power is the people's belief in them.' Yet ironically despite this newfound status as a deity, the suffering she goes through without that worship is fundamentally related to the suffering she experienced in death: without the support from her attendants or devotees, she still suffers that hunger that can never be satiated. That starvation she felt in death still lingers as part of her core identity even while deified, shown also through how she as a frog does not eat the bugs, instead choosing to subjugate them. There is still a part of Kikuno that remains unaddressed and unfulfilled.

Next, I want to focus on frogs, their presentation throughout the dlc and Gamahime’s presentation as a frog in particular. Historically, frogs have represented many different ideas symbolically, so in this essay I will be focusing on the interpretations I considered most relevant to the presentation of Gamahime and her story. (link to the wikipage for frogs in culture if anyone's interested)

According to the article The Frog by Spirits of the West Coast art gallery, in West Coat indigenous cultures, frogs are said to be 'a supernatural being that inhabits the human as well as the spirits world' with the ability to 'communicate between two worlds' as they adapt to both water and land. This ties in directly with the figure of Gamahime who communicates between the world of the living and can spirit people away into the realm of the dead (named Tokoyo by Daimon).

In Japanese folklore, according to Mingei Arts' article Kaeru / Japanese Creation of Myth, there are 'many positive symbols of frogs, as they appear in large numbers when it rains. These same rains mark the start of farming seasons. This has led to the frog becoming a symbol of rain, fertility, and wealth, and is supposed to attract and protect wealth in homes and businesses. During this period, Japanese temples are extremely busy with visitors coming to give honor, praying to receive news of wealth and prosperity during the full moon.' This relates most closely to the story of Kikuno, where the frogs surrounded her in death and lead to her deification, as well as to the prosperity believed to have been Gamahime's blessings. The same prosperity that subsequently lead to Gamahime's dissent into obscurity.

They also highlight how in Japan, 'the frog, (kaeru), is symbolic of fertility and good fortune, and as the word in Japanese means "to return",' which is interesting since Gamahime subverts this belief in her vengeful state by not allowing return. The term 'Kaerazu' roughly translating to 'does not return,' the negative form of 'Kaeru.' The transformative element frogs are symbolic of does also tie in with Kikuno's literal rebirth into a deity after the suffering she endured.

Beyond merely adding to the world of Death Mark by explaining how belief is what gives power to these deities, it could perhaps also touch upon how belief in and support for victims can lift them out of the despair brought upon them by their abuse. However without truly acknowledging the pain these victims felt and by forgetting their stories, it could only lead to further tragedy for the individual victims and the wider problem of assault as a whole.

By applying this reading to Gamahime's story, the fact that she is also given the title 'Kaerazu' holds more weight, as she cannot 'return' to the earth and pass on from the trauma she went through. This is only further suggested as in both endings of the chapter, Kikuno's soul is never 'purified' with Daimon stating that 'were it just the spirit of Princess Kikuno, [exorcising her would] be possible,' as she is now 'a mountain god,' painting a bleak picture of Kikuno's future: doomed to never fulfil her insatiable hunger or truly heal from her trauma, instead rebirthed under different names and stories without a chance to be put to rest.

Finally, I want to discuss the three-way deadlock in reference to Gamahime's story. The three-way deadlock would first be referenced directly by Daimon discussing the beliefs stemming from an old Chinese story stating that three being of equal power (the frog, snake and slug) are at a deadlock as each party is simultaneously kept in check by one another, thus none are able to make a move. The frog has the advantage over the slug being their natural predator. The snake has an advantage over the frog in the same way. Finally the slug was believed to hold an advantage over the snake though the reason why was up to debate. One theory suggested that the slug's slime could melt the snake, despite this not being the case.

Though this DLC overturns this parable as Great Kaerazu, the frog, holds dominion over the slugs. Despite the reference to snakes holding frogs in check in the deadlock, there is a notable absence to any snakes within this chapter. The closest thing to a snake in this chapter would be the shed snakeskin found on the third day. This intentional absence of snakes leads us as the readers(? players?) to reframe the question in context to whom the deadlock represents in this story: where is the proverbial 'snake' that keeps the Great Kaerazu in check?

And in the context of this story, I believe that the 'snake' in this deadlock are people. People who once worshiped and revered Gamahime, now lost from their place in this deadlock after forgetting and moving on. This is even suggested in the inclusion only of a shed snakeskin, possibly indicative of industrialisation and cultural growth as people move away from worshipping deities and towards a more secular society. Similarly with the withered offering of flowers, it suggests how society advances forwards and leaves behind their worship of Gamahime. Especially as a folk-tradition that was ultimately forgotten by those in the community.

However returning to the significance of a shed and discarded snakeskin, by leaving behind these beliefs of worship, the snake (i.e. people) loses its place in the deadlock: by forgetting its role, it no longer has the power to keep the frog in check, leading to the autocratic rule of the frog over the slug. As such explaining why Kaerazu could control the bugs and slugs to attack the people that forgot about her and her story.

The first allusion to subversion of the deadlock would be through the toppling of the frog mascot in the first chapter, seen the haunting of the bugs in the gondola. As the frog had toppled, the bugs could then make a move on the snake as they attack the gondola, acting as the first reference to the three-way deadlock. The fall of the frog mascot represents a breakdown of this deadlock, yet could also more subtly reference the fall specifically of false idols with the symbol of the frog. Given that this frog mascot was man-made and it having fallen to disuse and neglect after the closure of the park, it directly parallels the neglect Gamahime faced without worship or care for Gamahime Mound, the go-shintai or sacred physical object that acts as a temporary vessel dedicated to her.

Without the offerings from the people, she seeks to control the slugs to fulfil her hunger, yet ironically remains stuck in a cycle of misery. Despite the slugs' offerings, the fate of those caught by Kaerazu have been depicted only in two ways: being overtaken by slugs or half-digested and strung up on the Ferris wheel. This too refers to the deadlock situation as Gamahime, the frog still cannot overcome the snakes, as the corpses remain only partially digested, and she uses slugs to attack them.

Also referenced in Moe's dream where the slugs had to 'prepare' her for the sacrifice before Gamahime could eat her. Despite her power, she still relies on the offerings of people to sustain her. The corpses' presentation as being half-digested, whether out of resentment, theorised to set an 'example,' by Daimon and Moe, or physical incapability to digest them, these corpses still fail to satiate Kikuno's hunger.

Similarly it is also referred to in the follow-up comment Daimon made regarding the role of slugs beating snakes within the deadlock as he states 'in actuality, that's not the case. But it was believed to be at one time.' The DLC leans into expanding on the superstitious elements of the parable by granting these slugs the ability to overpower people and overcome the proverbial snake despite it's logical inaccuracy. By doing so, the game subtly feeds into the idea that there may be a more metaphorical reading applicable to this choice as well as the horrors of being overtaken by slugs.

This insatiable hunger could be interpreted as a metaphor for the lack of acknowledgement Kikuno and her story face, as she cannot move on from what happened to her. She has overturned this deadlock and yet gains no real victory from it. The people continue to move forward, with wider social change as well as individual growth, where Kaerazu could not. Even her control over the slugs holds echoes of her past as a princess, commanding servants and retainers in her previous position of power. She is trapped in this deadlock partly of her own creation by furthering this cycle as a deity and her rebirth as the urban legend of Kaerazu, without the chance for closure.

Perhaps providing an alternative reading on her name 'Kaerazu,' as an ironic mockery of how despite rising to become a deity, despite gaining power and devotees, she will never return to being the princess she used to be. Unlike the story of Chiyo who was portrayed, in heart and in death, to remain a noble princess with the unwavering support of those around her, only further cemented by their group suicide and in death. Kikuno, even as the deity Gamahime or the urban legend of the Great Kaerazu, is destined to stay in a cycle of having her story and will forgotten. Her tragedy is only perpetuated by her own desire to cling to that past instead of moving on.

This is also presented in her spirit design as Gamahime, taking on the form of a toad while keeping her appearance as a princess with a 'hime' or princess' hairstyle. Another link could perhaps be attributed to how the frogs surrounded her corpse as though 'they were attending to her,' which may have only reinforced that yearning for her past as a princess. Yet despite that cling to her past, that hunger and loss she feels is engrained into her form as the large, splitting mouth of a frog that overcomes her princess-like appearance. Following this line of reasoning, it could be suggested that her hunger may represent that need for closure and, once again, the acknowledgement and support needed to help her, as a victim, move on from the past.

Even Gamahime Mound is a reference to how Kikuno and her story remained widely untold and overshadowed by the Tenmangu shrine publicly dedicated to Lord Tenjin, almost as though suppressing Kikuno's story and experiences. Her transformation into a deity, too, removes Kikuno from her past and story by revering her as something fundamentally different, perhaps part of the reason why she clings to her past: to try and tell her story after both her identity and status as a princess were tarnished, dying in starvation and resentment.

Returning to my argument that this story focuses on Moe's personal character growth and maturity, I believe that Kikuno, Gamahime, Great Kaerazu, despite changing forms and names, represents stagnation. Kikuno in this way acts as a parallel to Moe's growth as Moe learns, remembers and respects Kikuno's story, likely why she allowed for Moe and the other Mark Bearer's escape from Toyoko by fulfilling her hunger as Moe demonstrated her 'revering heart.'

Moe's role as a novice journalist holds significance in this parallel as she acts as one of the few figures who can and most likely will tell Kikuno's story to the world, cementing her importance in this chapter. It reframes Moe's emphasis on 'scoop! Scoop!,' as not only a personal pursuit, but one that could provide closure for Kikuno. Yet even this is acknowledged to be a temporary solution as Moe states 'is this really the "very end"? [...] We just quelled her rage. It's possible her anger may flare up once again,' as well as Daimon's comment that he didn't 'think a human would have the power to exorcise it,' only emphasising the inevitable tragedy of Princess Kikuno and by extension victims similar to her.

> lastly, thoughts on the chapter mechanically (i.e why i think this dlc works as a dlc)

Generally just want to talk about why I think Kaerazu's Amusement Park works mechanically (some comments on game design) and as a DLCto the series. Most of these points will be less focused on thematic analysis and lean more towards points I personally thought worked or did not work to heighten it's experience as an addition to the main series. (opinions and less formally structured!!)

Firstly, I loved that it was a side story focused on developing their cast of characters more deeply. This DLC felt, in my opinion, incredibly rewarding as the spinoff focused on the unique perspectives of the same characters we've grown to love across the franchise. It presented a unique mystery that also directly tied into the character development of their supporting cast, in particular its protagonist Moe. It was refreshing to see how they expanded on their world and pre-existing cast by having them interact in different ways.

I liked how the ending shows how Moe retains her passion and curiosity that is so deeply entwined with her character. The ending is written like an occult article with a classic spooky hook at the end; referencing both her love for occult journalism as well as hinting towards the tragedy of Gamahime. I liked how Moe's character development adds to her character instead of acting as a full upheaval of who she was written to be. She keeps her free-spirited personality only this time with more awareness for the spirit world she is entangled in. Her choice to pursue the truth is no longer naïve but instead an act she takes full authorship over with her awareness of the situation.

I also loved how everyone felt like they in particular had a role, the lack of choice in partners plays a narrative role while also feeling organic given the characters and their decisions and thoughts. It felt meaningful to have those particular people there at those times in those situations. Every detail in the game felt judiciously chosen while also not seeming out of character or to merely serve as a plot point for the story. For example Moe's comment when she sees the torii gate 'this is definitely a barrier made to seal away a vengeful deity into some sanctuary!' shows her fantastical thinking while also acting as a hint towards the story that unfolds.

Similarly her indignance with 'occult novels can be useful, too,' when lectured by Tsukasa can be read in the same vein, since it did end up being useful in forming ideas to face the supernatural. (just maybe not with dealing with them; like turning on the lights with psychic vision, make amulets out of tape, charge pliers with spiritual energy etc; those all lead to a quick Game Over.) Even little things like Moe licking the peppermint candy she hates is a reference to her growth and facing these issues head on. There's a lot more I could say but I think it would be better to spot these things in the game itself.

Also liked how Banshee was the one Moe got the flashlight from; the shining light she needed to expose this story. Even if it was a plot device since Moe didn't have one, it was written well in terms of the difference between Moe's unprepared, headstrong character and the slightly more prepared Yashiki who just carries one around but also in a symbolic sense that highlights Banshee's role in the story and how he guided Moe. (i like banshee itou's character a lot)

Another interesting detail is if Moe chooses to leave it to an adult on the first day, she contacts the spirit medium Yasuoka. Firstly, I like how everyone gets mentioned in this DLC and these small thoughts or interactions add onto their interpersonal relationships. Secondly, I like how bitter the tone is when she says 'you want to know what happens next? Go ask Yasuoka. It's her story, not mine,' before you get the game over screen. That too, by leaving it to an adult and how Moe as a 'kid,' should 'know their limits,' and 'shouldn't try to do something that's beyond [her] ability,' stunting her character growth.

I also think it pays a lot of homage to and improves upon small game mechanics introduced in the games already, such as properly integrated jump scares outside of loading screens and how shining the flashlight on certain areas would automatically trigger a sound or scare or talisman etc. This is nothing ground-breaking but I truly did appreciate the attention to detail as it made the experience feel more immersive.

Adding onto that, I think they also subverted many expectations by making a deity spirit this time and having her be fucking huge like that was awesome and unexpected and fresh. But at the same time it didn't feel cheap or tacky as there was a lot of build-up towards it so it wasn’t out of nowhere. The pacing was very successful in building suspense for her reveal. It also explained the previous design choices such as the motifs of slugs, bugs and frogs, but also expanded on the lore of the game by exploring how spirits and deities are formed.

Side note: maybe Moe's less accessorised design in Death Mark II (dm2) could be attributed to this growth to show how she's more grounded in reality. Yet she still keeps some mementos, like her lucky coin, to show how her love for the occult is still part of her identity and held close to her heart even with her newfound outlook on the world and how to approach it. (also moe's very cat-coded to me; she is the definition of curiosity killed the cat)

Something else I liked was how despite the numerous presentations throughout the games of Yashiki and Mashita being an 'unstoppable duo' like in Shou's phone call in dm2 or with their escapades in resolving spirit cases referenced in d-cards in NG (still waiting on an elaboration btw abt them going to rabbit island), it was extremely interesting to see them in a situation where they'd failed and where they were truly in trouble. That was awesome to hammer home a point that I love so much about death mark: that these are still (semi-)ordinary people put in these extreme situations and trying to solve them in unbelievable ways as regular people. These spirits and deities, too, were once ordinary people or concepts, portraying their stories as far more grounded despite the fantastical circumstances they find themselves in.

Also liked how everything tied together. It was a very tightly crafted story that’s also, again tying into its form as a DLC, felt very rewarding when you have a small, tight, closed environment but it rewards you for being thorough and it feels rewarding to interact with it. Backtracking too was rewarding with small tidbits of information about the mark bearers or the story and so on.

This story was insanely detail-dense when it came to making subtle hints to the wider story, its overarching themes and its characters. It felt far more rich as a side story as compared to the games so far (not to say that those games were bad or uninteresting) and it was really interesting to explore all these different paths and ideas as well as seeing how their characters interact and play off one another. Overall, I have high hopes for the reboot if they continue developing in this direction.

> final comments (:3_ヽ)_

can you tell i like Kaerazu's Amusement Park? what gave it away? but anyways highly recommend ppl play it; it’s awesome \(￣︶￣*\))

the third section ended up just being a dump for small thoughts and ideas i wasn't sure how to work into my main arguments whoops (シ_ _)シ

i wrote out a lot of quotes (all direct and highlighted in blue) but there were so many more examples i could've used. for the images, i tried to choose the most impactful dialogue in context to my argument and to cgs that i couldn't just type out to describe. (and even if i did, i'd be heavily pushing my view and interpretation of these pictures via my descriptions, so i'd rather put the original works in for people to interpret and interact with in their own way.)

-> [additionally] when referring to the particularly graphic cg of moe in her dream, i was incredibly hesitant to put it in this post here; however i believe that the uncomfortable sexual depiction of the scenes adds to the visceral horror they tried to tell in this story, thus i believe it's still important to discuss. i can't add it here as this entire post would get blocked, though for the purpose of critical engagement, it can be found when watching a playthrough of the dlc on the third day. (this was really hard to word since there will always be people who look for this kind of media for purposes far removed from critical engagement..)

and i didn't want to break up this post either which probably would've been smarter; though i probably would've forgotten to continue this analysis if i did it in parts; and a lot of things overlapped so i wanted to keep it in one (hopefully) coherent post. please do tell me if anything doesn't make sense, i was mostly just yapping (ᵕ—ᴗ—)

i didn't know much of the symbolism of flies or frogs initially but i still wanted to write about them so those sections are the only ones pretty much with links and sources for outside research (￣▽￣)

and here's one interesting Iranian proverb i found while researching frogs: "When the snake gets old, the frog gets him by the balls." quoted at the end of Embroideries by Marjane Satrapi; it perfectly encapsulates Gamahime's situation as people who age and grow reflect as the snakes, losing their power to keep Gamahime in check and allows for the frog, typically an underdog, to gain the advantage

^ unfortunately i wasn't too sure on how to work that into my argument while keeping everything as cohesive as possible; but i wanted to mention it so it's added as an end note ヽ(▽｀)ノ

there is probably more symbolic presentations to slugs throughout history like in The Tale of The Gallant Jiraiya (wiki link) however i felt like i had a strong enough argument to make for the slug symbolism throughout the chapter plus there was a lack of relevant context to add anything substantial to my claims

curiously while researching for slug symbolism i didn't actually find that much?; i'll be linking the historical slug info i have been able to find here if anyone's interested:

not slugs but portrayals of snails in medieval manuscripts by Just History Posts (their site)

again not slugs but Snails in Art and the Art of Snails a lecture by Professor Steve Jones (wikipage) on the Gresham college website

Spiralling around Snails and Slugs in Virginia Woolf a critical essay by Elisa Kay Sparks (research gate link)

also! i have yet to listen to the drama cds, voice dramas, aoki shuen, so on so forth and as such if i've missed anything there that could relate to this analysis i might make further comments on it in a future post >_<

i spent five straight days dedicated to writing this (and a half finding quotes and cgs) which was longer than i expected to take lowk \\ if this flops i might genuinely be devastated ;-;

i tried to cut down on a lot of my waffle and structure it into actual sentences but it still ended up tripling my previous analysis wordcount record...... (╥﹏╥)

^ but tbf that might be attributed to how while writing i'd get hit by another point to explore so i ended up with more than i originally intended to write (￣▽￣ᵕ) \\ while going through the game again and choosing different options, they supplied me with an almost endless amount of quotes or interactions i could've commented on; everything tied together too well to the point where it was overwhelming to choose which ones to include orz

but anyways i hope this was an interesting read and i'd love to hear any comments or alternative readings for things i've written about or might've missed!!