Started reading a bit of @t-01-54 's Dubito (I don't really read a lot of fanfic but I got curious after seeing a few posts about it), and that got me thinking about the origin of abnormalities and their particular traumas.
So I wanna talk/ramble a bit about Singing Machine because I never really thought much about that abnormality until my 3rd replay of Ruina (and the sick-ass Sinclair EGO).
The first thing that comes to mind when it comes to the possible origin of Singing Machine is, of course, the Pianist, as it is his music that seemingly kickstarted a movement in the city that involves making music by using (or rather, breaking and tearing) the human body. But of course, the Pianist only showed up AFTER the events of Lob Corp and the white nights and dark days, so unless Carmen has some sort of time machine inside the Light that somehow I missed, it's unlikely that the two are related.
There are some similarities, such as both being enchanted by a kind of music wholly unique to their respective sources, both irreplicable by other means, but that enchant those who listen enough to harm others to hear it again, however whereas Singing Machine is able to be used again and again as long as it was available, the Pianist, due to being a Distortion, simply couldn't make any more music after death, which led the musicians to attempt to make their own (albeit not entirely to their satisfaction).
Also in Ruina, Singing Machine shares the same floor with other abnormalities that share the same theme of the killing of innocents due to an urge or necessity. Singing Machine somewhat stands out due to causing its victims themselves to either throw themselves upon it or throw others against their will. While it is mentioned to have a "will" of its own in Lob Corp that wants to play music, it has no ability to cause harm without directly influencing others.
The "art" that comes from the suffering of others. Singing Machine even calls people "instruments", and says that "all people carry a musical talent in them". First, in ruina, it reminds me of the Church of Gears, who, if I remember correctly, also believe that all people are in some way "special", if only as a gear, or in this case, an "instrument", although for Singing Machine, it's a much more ephemeral experience, and for no greater purpose than the self-fulfillment of the Machine itself and those addicted to it. The "willingness" of the subject to jump in the machine or to become a gear is also something to be noted. This makes sense, considering the Chuch of Gears and their blind faith is a parallel to the floor of Technological Sciences and Yesod.
The "art" aspect also reminds me of the Ring, of course, although music isn't something we've seen from the Ring as of yet. I believe it's possible that the "origin" of Singing Machine might be connected to the Ring if music is something that might be a part of it, but that would be very literal, and while I think that the literality could be a part of its origin, I think Singing Machine represents much more than simply a crazed Ring school making instruments out of people.
Singing Machine in itself is an abnormality that represents ephemerality, hedonism and obsession. Differently from other abnormalities that might fit one or more, since abnormalities usually are made of basic, tunnel-vision needs, Singing Machine is unique in the sense that while it desires one thing and influences others to indulge in it as well, the music it produces is said to be simply too short for any who hear it, and to the abnormality as well, every song just a temporary relief until it begins to hunger again. And hunger is the right word, as its described to be "digesting" its "instruments" in Lob Corp. The abnormality fight in ruina can also be interpreted as it needing some time to "digest" or otherwise a period of time before that "hunger" becomes too much to bear, as "I CRAVE that melody" is only active every 3/4 turns, and the performance itself is only a single turn. I think the careless disregard for their own lives of those influenced by it is also worth noting as an aspect of the abnormality itself, as a form of putting the music, and thus the "art" above the suffering of others or their own. The EGO weapon using HP in exchange for a damage bonus can also be seen in that light.
Sinclair's EGO, I think, explores the violence of both himself and the Singing Machine, and the willingness to hurt others to achieve their obsession. Obviously, it speaks to the "dark side" Sinclair has and how easily he can be taken away by the violence and rage, in a self-indulging way. The Awakening can still be seen as a bit of hesitation in him, "I know it hurts, but please, stop struggling…!" Before it returns to the self-indulgence as he mentions the source of his obsession "I promise, nothing could make as fascinating music as a human can… Nothing!". It's reminiscent of Canto 3 in a lot of ways, his anger towards Kromer that blinded him to almost anything else, that Don Quixote had to quite literally beat him out of, and that later had him half-melted and still completely focused in destroying the object of his anger.
Although perhaps Sinclair does not seem to concern himself with "art" outside of this EGO, a lot of the same themes are a match, and it does make me wonder if one day we could see Ryoshu with the same EGO, especially now after her canto, I think she might give her art a bigger focus and she has shown herself to be quite eager to sacrifice parts of herself after forgetting Araya.
turnnoffyourmind
areudirty
jacobvanloon
