It’s Shadow Maki’s berserk form, in the same vein as the Shadow Kaito design I once did!
In short, this is a concept from Persona 4 in which a person’s suppressed thoughts and feelings manifest into an abstract, symbolic representation of their issues. I’ve made a couple of posts mentioning vague, general ideas about Maki’s Shadow before, but now that I’ve finally managed to piece together enough ideas for her berserk form in my head, I couldn’t not draw it.
Since I’m not going to be writing a fic about this like I did with Shadow Kaito (there’s no need; Maki effectively already faces her shadow in canon thanks to Kaito’s encouragement and support), I’m instead going to just talk about all of the symbolism involved right here.
The Shadow initially manifests as just a giant box without any holes, upright and closed, thudding and rattling like something inside is trying to get out. As it tips over and falls open, the Maki doll clambers out from under a huge pile of weapons. The hands appear before she can leave the box itself, their strings piercing through it to take hold of the weapons and stab them into Shadow Maki, keeping her trapped in there under their control.
A significant part of this design was based around the fact that I’d already decided that Maki’s Persona would be Pandora. Pandora got associated with all the bad things that escaped when she opened her box, but that shouldn’t be considered her fault – it’s the fault of the asshole gods who filled the box with those things and gave it to her in the first place, knowing she’d open it.
So that’s why there’s a box filled with weapons, and why one pair of shadowy hands is holding it. The hands represent the members of Maki’s cult who trained her, or perhaps also the rich assholes who hire her to kill people, so the box with all those horrible things inside really originated from them.
The imagery of the box also fits very well with Maki’s tendency to cope through compartmentalisation – she’s become very good at just shutting away the things she doesn’t want to think about so that she can do what she needs to do. In fact, Pandora’s myth also works really well here, because after letting out all the bad things, Pandora shut the box in such a hurry that she left Hope, the one good thing, trapped inside. That’s basically exactly what Maki did with her own hope – her wishes that one day she could escape this hell and have a normal life – in order to cope. Shadow Maki starts out trapped inside a box because she’s been firmly sealed away inside a metaphorical box by the surface part of Maki for a long, long time.
(This compartmentalisation idea also works for the weapons being sealed inside the box to start with, since Maki also tries to shut away and avoid thinking about all the horrible things she’s been through and done whenever it’s possible for her to do so.)
I am aware that actually in the original myths, Pandora had a jar, and it’s a modern(ish) mistranslation that made it a box. However, while the original correct version of Atlas worked way better for Kaito (he carried all of space, not just the Earth!), this time the misinterpreted version happens to fit a lot better for Maki – because toy boxes are a thing. Except oh god those aren’t toys those should not be anywhere near children.
That was the other main idea I had in mind for this, before I’d even figured out Pandora and knew a box ought to be involved: this sort of imagery that’d disturbingly juxtapose Maki’s child caregiver and assassin talents, because it is horrifying and heartbreaking that she was put through all this and turned into a killing machine as a child.
So it was a pretty neat bonus that Pandora’s box could also be presented as Pandora’s toy box. There’s some more symbolism in the idea of the Maki doll having been alone and forgotten at the bottom of the toy box, because Maki on the surface hasn’t allowed herself to think about her normal, happy life as a child in a long time. Meanwhile, the weapons piled on top of her get taken out of that box and “played with” by surface-Maki a lot more often.
Even if anyone did pick up the doll and try to play with it again, it’s broken and mutilated and can never be the same any more. Maki’s traumatic experiences have messed her up enough that she can never have that normal life back now in quite the same way.
And even if she did try to be free anyway and live her own life despite being broken, she still can’t actually escape that box that she’s shut herself in, because she’s being controlled like a puppet by evil outside forces beyond her reach. That puppet imagery was another thing I knew I had to do with this – fitting neatly with the child-caregiving image of the doll – because a lot of the tragedy of Maki’s story is the fact that she never had a choice. Everything she’s been through has all been her being controlled and manipulated by people who don’t give a damn about her.
The box also helps here in that she can’t even see the hands puppeteering her, because Maki doesn’t actually see her situation as herself being controlled and feels like she deserves to bear every single bit of the blame and responsibility for her actions herself. (And the owners of the hands can’t see her in there suffering either, because like hell any of those assholes care about that.)
I had the strings be attached to the Maki doll via weapons impaling her partly just as an efficient way to combine the toy mutilation and puppeteering motifs into one, but also because that control and manipulation is precisely one of the main things that’s been hurting her and messing her up so much. She’s technically holding those knives in her hands and could use them to kill someone like this, but doing so is hurting her just as much. And trying to break free of it would only hurt her more – so it’s easier for her to just stop struggling and give up.
We just went to see this art installation, and it involved hundreds of teddy bears that had been thrown away, some of which the artist had glued together with wax to make bizarre sculptures, some that she’d cut apart, some where she’d taken out the stuffing and hung it from the ceiling while laying out the skin inside-out on the floor, a bunch she’d glued into an ornate picture frame and put crowns of thorns on them. On the floor were little pieces of skin with little sentences about “my child” imagined by the artist. It was pretty interesting, and obviously meant to be sort of disturbing, but mutilated, ruined teddy bears are way more viscerally upsetting to me than I think the artist intended. Heck, just the “teddy bears that had been thrown away” part is kind of upsetting to me. Are there kids who are going to miss some of those bears? How much did their owners once love them? They probably had names and other stuffed animal friends and stories told about them. Guh.
