very bad Mrs.Pumpkin no kokkei wa yume analysis/theory
This is from last year and I’ve included the notes of when I came up with it though they’re poorly compiled. Currently it’s unfinished and there’s lots of lyrics left to decipher but this is a start. I’m too “busy” to finish it this year. It’s pretty shallow, a child could come up with it, but I think some parts are accurate. Especially the end.
Uh I think
OH YEAH MASSIVE TW BTW FOR UHHHH sa, substance abuse, suicide, trafficking, kidnapping, prostitution (I don’t know what needs a tw sorry)
-Mrs.Pumpkin was a prostitute, possibly or technically it was more like a compensated dating situation. key word “was”. It could have been because she was too poor and needed money, or maybe she needed to financially support an addiction. Or, she was hypersexual.
- “Jack”, a character named in the song, is the man she is paid to be with
- Jack offers to set up Mrs.Pumpkin a profile on the dark web, maybe it’s out of kindness but there’s probably some ulterior motive I haven’t figured out yet. Maybe it’s so he doesn’t have to pay to be with her anymore, like a trade.
- the “train” mentioned multiple times in the song is a metaphor for this dark web. There’s lots drugs (fabricated magic witch) and murder (scarecrow that dropped) going on around this train. I believe metaphors like that are mentioned randomly so the listener knows they exist and that Mrs.Pumpkin probably drops or uses fabricated magic for instance at some point. Which does happen.
- the goat man is a possible buyer, he could be lots of things. I’ve often thought of him as a helpful figure that came to save Mrs.Pumpkin, but because she was manipulated by Jack, he is seen as a kidnapper and a bad guy, that’s why the song gets all spooky when he’s mentioned. He could also be an undercover officer.
- Mrs.Pumpkin somehow becomes aware of his existence. If she is hypersexual and wants to be able to have constant relations/if she has been manipulated by Jack enough, she will hate him. “When did this night destroy a dream” might refer to her beloved lifestyle being destroyed, perhaps it is referred to as a dream because she doesn’t understand the gravity and reality of it all. I also intrigued by the idea that line was talking about pregnancy/abortion but I don’t think that’s it.
- there’s no evidence for it, but it is also possible something happens to Jack here, if the goat man is good, they likely got him. The goat man could also be just a big yandere posing as a moral person who actually just killed Jack because THEY wanted Mrs.Pumpkin.
- regardless, Mrs.Pumpkin wants to keep dancing there in that lifestyle/world. She panics about missing Jack or the oncoming goat man and asks for drugs. This could be a suicide attempt, or a coping mechanism, or her now seeking support from the magic witch (dealer).
- initially I was convinced “with pleasures poured out, the fire blazes up, the lantern is…” was a sexual reference, meaning she mated one more time before dying. This could be Jack if he’s not dead, the could be Jack if he is dead if she’s that wretched, this could be the witch (doomed yuri 🫡), this could be the goat man if he truly is a bad guy. However I’m sure there’s some drug that also fits this line and she’s just talking about that.
- I’m pretty sure Mrs.Pumpkin overdoses, but maybe one of the people mentioned above killed her. I don’t know why they would, so I think she overdosed.
- this is the bit that I think is accurate the most, because of the way it’s presented in the song. I believe Mrs.Pumpkin’s corpse was still sold on the black market. The shrubs and mud named could be a metaphor for something else, and are called that to throw you off. Or her body has been dumped in mud and shrubs but her location has been publicly shared on the dark web for predators, or that the “train” isn’t just the black market and refers to how no matter her state, she’s still up for taking as there’s nowhere else she belongs.
- with that in mind, I love the eeriness of the final lines even more. Like if it’s not the goatman, the haunting repetition of his line really nails in how Mrs.Pumpkin was close to salvation, but now the saying she was manipulated into thinking was a coaxing lure, actually is malicious. That line doesn’t inherently have to be spoken from the goat man of course. Though, that’s assuming the goat man was a good guy. If he was moral, why didn’t he come save Mrs.Pumpkin before her overdose? Was he busy killing Jack? Or was that Jack calling for her corpse at the end? Or was it the high witch of my beloved doomed yuri?
Certainly more questions than answers, but as I said, it’s a start. It’s be cool if this became a talking point, feel free to repost this anywhere you’d like. Sorry if it’s a bit too late into spooky month to be fully realised. Here’s the original ramble I had in my personal discord server with more lyric analyses and ideas. Thank you for reading! Happy Halloween!
I really think that “The Good Kid and the Fox Spirit” and ”You’re a worthless child” are polar opposite ends of the spectrum of overbearing parents.
Where the mom in worthless child will berate her son for the smallest reason, the fox spirit “rewards” its child with lovebombing and gifts so that the child never leaves despite their parasitic relationship.
katya and dmitry (my beloveds), or discussing mutation motifs in texts from a biological and psychological standpoint
CONTENT WARNING: DISCUSSIONS OF MENTAL ILLNESS AND HUMAN EXPERIMENTATION.
READING-THIS WARNING: I MISINTERPRET STUFF A LOT, THIS IS PURELY MY INTERPRETATION OF THE SERIES. SORRY IF I'M WRONG. :(
When I first watched through Parties are for Losers and its respective songs, my brain was already whirring. Come on. I'm a Vocaloid nerd, obviously I have to look into it, and I know something is up, which means the analysis brain begins. I really enjoyed the Evillous Chronicles, and it seemed as though this was similar. Unlike it, this was actually in English (being set in Russia), and the narrative felt inherently more understandable, although that may just be because it's only 13 songs, compared to Evillous' 82.
AND it covers topics of biology and its affects on psychology. it's perfect. why have i never heard of this before??!?!?!?
There's a lot of aspects to explore within PafL, but I want to specifically focus on Katya (KT) and Dmitry, and their mutations, taking a biological and social approach to their current mental state. I will refer to Katya by her full "name" because it feels a little more humanising, and our baby girl deserves that.
Human experimentation/mutation is a fascinating topic to explore, because it questions the essence of humanity itself - how could you do that to another human being, a child, no less? End and Save is one of my favourite webtoon comics because of this. The abilities that these children gain typically have significant disadvantages, due to the inherently unethical nature of the creation. In some ways, the mutation itself explores corruption.
Biologically, genetic mutations are a natural occurrence, resultant from selection. We are nowhere near the current level needed to cause significant mutation like that of Katya and Dmitry's, and despite what most people think, there's actually no real intention to head in that direction. Therapeutic gene editing (LITERALLY MY SPECIALISED INTEREST. LIKE I WANT TO GO INTO THIS IN THE FUTURE. THIS IS PERFECT.) strays away from eugenics, and focuses on curing genetic disease. It's a fascinating topic of research, and one I hold dear to me. CRISPR my beloved
Katya's mutant ability is directly related to stress. It causes the extensive growth of tissue when she's in a stressful situation, and she has limited control over the flesh. This then has to be cut off, leaving serious wounds to heal on her skin.
art by Ferry
Taking this biologically, it would have to be mutation related to extreme cell division in tissue - in more simple terms, it's not unlike cancer, where a cell does not consider the required markers for division, and instead rapidly divides. Katya's seems far more controlled than cancer, sticking only to particular sites, and also significantly more extreme. Considering the stress required, it may actually be related to an influx of hormonal changes during stress sequences.
As a result of this, Katya is hypersensitive to the emotion of others and can tolerate a high amount of stress, with inherent optimism. She's relatively simple, and tries her best not to let her abilities weigh her down. In the end, she resigns herself to undeserving of true kindness, suggesting she has some well-hidden low self-esteem.
Dmitry's mutant ability seems more controllable, and therefore powerful, than Katya's. He has the ability to pick up anything, with vague limitations on weight, provided he knows specific location and it is within a 15 metre radius.
art by Ferry
Telekinesis from a biological standpoint? I'm not opening that can of worms. I'm not even gonna try. Make it up yourself. I'm pretty sure A Certain Scientific Railgun couldn't even really explain Kuroko's powers, and I'm one small scrawny rat.
Dmitry suffers severe physical consequences as a result of this ability, even using it regularly - severe headaches, loss of consciousness, and dizziness, which can been seen when he attempts to save Anya. Dmitry is significantly more cautious of the outside world than Katya is, and he's somewhat more hostile, threatening Yura and Sanya when he is blackmailed. However, he's practical, likely from the skills taught to him through use of telekinesis.
Dmitry and Katya were set out to have a negative relationship, due to the power dynamics between the two of them making them inherently different people. Dmitry was used for several years as an "assistant" to test Katya's abilities, and seems to hold a grudge with her over that. They have differing opinions on the outside world, particularly due to the way Dmitry's inhumanity was repeated to him often, as the lab researchers began to fear his power. He's not so pessimistic that he acts as contrast to Katya, but the clashing elements still causes them to go their separate ways in KT's Guide.
I couldn't find any specific links between the use of GUMI as KT and Fukase as Dmitry, but I'm sure there is some when considering the different Vocaloids used as a whole. I just wish I could understand what it was, but I don't quite know enough about Vocaloid as a whole for that. Alternatively, it could just be because of gender and the fact that both sound good with the style of the song.
song i wrote this listening to (after PafL, of course): sleep thru ur alarms by Lontalius
it's been a rough night, okay? i needed this as a distraction.
thanks so much to powercoreact for the suggestion! i genuinely really enjoyed this, and you hit my secret hidden love for vocaloid right in the feels. can you believe i watched this like an hour ago??? i feel like i've known it for years.
‘Traffic Jam’ is a song written by Niru Kajitsu utilizing v flower. It struck me first as a funky and cool song, but when I made my own MV of it, I realized that this song is actually a scathing commentary on the society as how it is now. Unlike all English songs I know that fall under that same descriptor, it’s brought more subtle but is increasingly obvious for those who see it.
I’ll be using the translation from bluepenguin for this analysis. I’ve both included the original MV and my MV of it, the latter using the cover from Aohi Rame (I feel like she really carries over the emotion in this song). The original MV does have some flashing in it, mine doesn’t have it.
Intro
So before the singing even starts, we get this short bit of a car driving, and then crashing, with the appropriate ‘crash’ sound accompanying it. The background is dotted with eyes, which are initially all looking at the viewer (or at the car, same general direction). When the ‘crash’ happens, they all look towards the direction the car drove in.
They are the eyes of the public. A crash has evidently happened, and everyone’s looking at it.
First verse
We are introduced to our two main characters. The song is sung in their perspective. Meet Flurry and Welter. They fit entirely within the aesthetic of the song with their entirely yellow and black color pallettes.
Then, we switch to the first verse.
Oh no, oh no, it’s a collision! Who’s at fault?
Click, click, the flash went off — well, it’s kind of pathetic
Would hanging yourself be a good apology? Would your parents forgive you for dying before them?
Or not? Are you cornered? Can you run away like the coward you are?
This sets up the rest of the song. Instead of caring about anyone that may be involved in the crash, the first question that rises up immediately searches for someone whom they can put the blame on.
I’ve included the image of these two people, because they’ll be important for later.
The collision is immediately noticed, as we saw at the beginning. However, instead of asking ‘Is the driver alright?’ or ‘How severe is the damage?’ or anything else that shows concern for the people involved, the very first question is ‘Who’s at fault?’
And the blame is immediately put on this man. The collision is treated as something so serious, that hanging himself is the first apology that’s proposed (with him once again being looked at by the public). This does suggest that the collision itself may be a further metaphor for more ‘serious’ things.
He does follow up on the suggestion, and immediately, Flurry and Welter appear, Flurry wielding a net and Welter with a pair of scissors in his hand. They have ‘caught’ him, and now he’s going to pay.
The man tries running away, for which the lyrics call him out for. You can quickly see two monstrous figures that represent our two main characters when he runs away.
Oh no, not again — another collision! The traffic light is blinking red
Who’s at fault this time? It doesn’t matter who
It’s, uh… that guy’s fault!
Fuck compromises!
It’s do or die, but don’t get carried away
‘S not our problem, right?
The wholesaler won’t sell stuff like this
This verse makes it very clear that this song is from the perspective of Flurry and Welter. As another collision happens, the process starts all over again. They point to someone who’s to blame. It doesn’t even matter if he truly is, it’s just that someone needs to take the blame to satisfy the people. The line ‘It’s, uh…that guy’s fault!’ enforces some sort of randomness into the entire process.
Flurry quite literally points the finger to underline it even more.
Then the lines say ‘Fuck compromises, it’s do or die, but don’t get carried away’. The world of gossip is one with a black and white worldview overall, not satisfied with compromises. There is a word of warning here: don’t get carried away.
The last two lines of this verse mention the uncaringness of our duo. It doesn’t involve them on a personal level, they are just outsiders who happen to butt in. ‘The wholesaler’ is the media/social perception. If it isn’t sensational with a clear-cut answer as to who is at fault, then it simply doesn’t make for a good story.
Deuce Deuce Deuce!
Til you die
Til I die
We won’t call off the fight due to injury
Deuce Deuce Deuce!
Til our veneers peel off, til morning comes
Let’s you and me swap spit
Chorus
It’s been theorized to many as to what ‘deuce’ is. With the way it’s portrayed, I think it’s meant to be referencing ‘juice’, as in ‘the juicy details’. In our country you have what we call ‘juicekanalen’ (literally ‘juice channels’), youtube channels and the like that are dedicated to talking about gossip. These are controversial because it’s said that they don’t always verify their information that well and the way they get their information in the first place involves a complicated network of people. Sometimes they get the news before the official channels do.
These juice channels are coincidentally a very good representation as to what this song is about. Especially this chorus tells us about the mentality of Flurry and Welter, our two representatives of types of gossiping people like those who run the juice channels. It’s a sort of hedonistic mindset. As long as they can keep pretending to be who they show themselves as, they will be together and be ‘partners in gossip’, so to say.
The line ‘we won’t call off the fight due to injury’ also gives us a peek within their psyche. They are also unfettered: even if people genuinely get hurt as a result of their gossiping, whether that’s mentally or physically, they simply won’t stop, because as they stated before: it’s not their problem.
In the instrumental bit we see two object heads, both with fruit as their head. I think this is a pun on the word ‘juice’ since literal juice is most often fruit-based. This person in particular has another apple on their head and is bound (hearkening back on Wilhelm Tell) and they’re framed as the victim.
Picturing them as an object head, and that of an apple to boot, dehumanizes this person - there’s no care about who they are and how they feel, just that they’re appointed as the one to blame. Eventually, an arrow is shot through their apple head, not through the apple on their head.
Third verse
Oh, how sad — tragic things just keep happening, don’t they?
It’s good that this truly selfish soul was given life, but…
Constantly finding fault and poking holes is just human nature
It’ll be healed by the flame ignited by claws
Funfact: the banana object head is also seen shortly after the chorus, here.
The beginning of the second verse marks the second time that Flurry pushes Welter away. They’re certainly not a perfect duo, but they do have the same goal in mind so in that way they are still like-minded.
Then there’s this line: ‘Constantly finding fault and poking holes is just human nature.’ This is their defense as to why it is like it is: they say that it’s down to human nature and there’s no helping it. Their acting is a result of something that just can’t be helped. It’s just so easy to do it. It’s also illustrated in a literal sense, as the ‘searching’ is made literal as in looking closely.
‘It’ll be healed by the flame ignited by claws’ is what I think cryptic for that once a ‘hole’ is found, it is ‘patched’ by everyone pointing it out and making a show of it. People will literally search for the tiniest mistakes in someone else to bring them down, whether it’s in the past or currently going on.
Wait a sec, in this town the night is bittersweet
It just ends up with the tiny lights freezing over
A weather-beaten distraction, a sacrifice of sophism
Anyway, it’s gotten hard to live in this world, huh? Inferior moaning
The characters have lost their ‘heart’, their ‘empathy’ long ago. The world is a hard place to live, something that they even outright say in the last line. It encapsulates this song quite well, honestly. In order to not be the victim of others, they have lost their own empathy to be the one pointing the finger instead. You see Welter casually sipping the ‘juice’ (see the pun from before) and Flurry hanging another body again (refer to first verse).
Also, the ‘Inferior moaning’ is pronounced as ‘retsu shingin’, i.e ‘let’s singing’. An object head also appears with a mic as to hint at this pun.
Second chorus
Deuce Deuce Deuce!
Til you die
Til I die
There’s no way a chain’s being put around my leg
Deuce Deuce Deuce!
Til we’re soaked and turn into fools
Til we sober up
Let’s do it in a coffin
Two points of translation. ‘A chain’s being put around my leg’ is a form of the term ‘someone’s leg is being caught’, meaning ‘they are found out/their act is up’. It’s also, less commonly, a term for getting married. There might be a double meaning here, as Flurry is seen disliking Welter.
‘Til we’re soaked and turn into fools’ is translated from ‘gushagusha’, which is normally an onomatopoeia for being soaked, but it’s written with the word for ‘fool’ twice.
My anxiety spikes and I’m unsteady
Once you get there, there’s no going back
We’re dead people from the cradle to the grave
This is the first sign of our look beneath the surface of the two. Inside, they are actually just normal people who feel normal things like anxiety, and they have realized that once you get into the gossip world, you can’t go back. Their nihilism speaks through the third line.
Meanwhile, the visuals show us something interesting:
Which are the real selves of Flurry and Welter. This fits with the lyrics that give us our first glance as to who they really are.
Bridge
Ah, it’s the usual collision — who’s the victim this time?
“Isn’t this pretty cruel?” That’s a good one
There was never any end or any moral to begin with
Dancing and being made to dance, the traffic jam’s getting worse
But my pointless life has already reached a dead end
I’ll pray faithfully every day
That no one else will appreciate you
It’s a variation on the first verse, but with the information we have now. They never had any morals when they started doing this, never any true goal as what they tried to reach. They just want to gossip, want to feel better than the others and made up their own persona to show to the public. It’s all fake, hence ‘my pointless life’. They genuinely hate other people who are not themselves. Which is. Ironic.
The new bit shows them uploading another video online with gossip. But while they’re busy, they are spotted and as they turn around…
(Look at the patch of human skin on their faces.)
They’ve finally been caught by another couple that is just as disguised with a facade like them. Not even Flurry and Welter, who thought they were impervious, are immune to being victimized (and as it were, ‘replaced’) by others. Others who act exactly the same as they do.
Last chorus
Deuce Deuce Deuce!
Til you die
Til I die
We won’t call off the fight due to injury
Deuce Deuce Deuce!
Til our veneers peel off, til morning comes
Let’s you and me swap spit
Deuce Deuce Deuce!
Til a cough bursts out of me
Til my throat hurts
Let’s strip each other of our sighs
If we stayed here like this forever
I’d be able to get by without ever becoming human
Flurry’s disguise is melting away, see the grey tone of her skin melting away on her arm. She isn’t wearing her pointed hair accessory either. This is also shown during the line 'Til our veneers peel off'.
As the veneer is peeled off, so to say, by the new two that expose them (shown as them getting intimate) we finally see what they really look like. That’s right - the victims from the very first line. Note that their colors don’t fit within the color palette of the video.
Alternatively, this whole scene can also be interpreted as the real Flurry and Welter being confronted by their own fake selves, getting overwhelmed and being exposed.
The two try running away, in the same way as the nameless man from before. It ends in the same, predictable manner.
The line ‘I’ll be get by without ever becoming human’ points out that they don’t even care about being human. They just want to feel better, not feel human. The last line also underlines that, they won’t stop gossiping until there’s literally nothing left to gossip about:
Come on, let’s give up on life
In this finished world, until the deuce runs out,
Let’s do it, giving our flesh and bone unsparingly
At the end, the same man is stepping in the same car as the one at the start. Everything is starting all over again.
Conclusion
As I have put in the description of my MV, this song is about finger-pointing, gossip, and how our current society is obsessed with it. It’s about not even caring about the nuances in a situation and a pre-occupation with the shock that goes along with it.
Hello! This will be my analysis on the song Ghost Rule, written by DECO*27 and sung by Hatsune Miku. I’ve added the song at the end if you would like to give it a listen, along with a summary of my individual notes. Feel free to leave your own thoughts about the lyrics or comments on my analysis at the end!
We start off with the lyrics:
Having lied about the most inconsequential of things, I’m unable to go back. No statute of limitations for my crime, robbed of forgiveness for that thievery of mine
Starting with these lines, we know that Miku has 1) lied for no reason about the most minuscule things, and 2) has faced the consequences because of this. She is aware of the mistakes she has made, but we don’t really know much else yet. With the second line, Miku uses the term “statute of limitations.” A statute of limitations is the maximum amount of time after an event that legal action can be taken. By saying this, Miku continues the theme of being aware of the consequences of her actions, and, if anything, feels that she deserves to be punished, saying her crimes have no expiration date for punishment. The second part of that line is also interesting as she explains that she has been robbed of forgiveness for her own thievery. This means that she does not deserve to be forgiven, she took away that privilege.
Things don’t look any better today, unable to keep up this deception the way I’d hoped
This next line shows that whatever facade Miku was playing into, it didn't turn out the way she wanted, and based on the next line, we can assume that instead of her facade breaking like one might assume, she slowly became her facade, to the point that it isn't a facade anymore, and it is who she is now.
Slowly lapsing in depravity, I hardly realize what has already become rotten
Corruption is slowly taking Miku over, she hadn’t even noticed when her lies didn’t become of her own will, it was part of her now, and it happened in a way that she didn't even notice who she had become before it was too late.
Come here, stay
We (as the listener,) are unsure of who this is directed at yet. Is it about her facade? Her past self? The person she deceived?
I hid it away
Pretty self explanatory, she hid her true self away.
Mayday! Even if you realize it's me, you don't need to hold me in your arms again. Mayday! If you realize it's me, will you kindly laugh at me once more?
We arrive at the chorus, starting off with “Mayday!” , which can be used as a distress signal or a plead for help. The next part conveys that even if they (the person the song is directed to) realizes the real Miku isn't her and this wasn't how she was, she doesn't need forgiveness or comfort. The second line here seems more hopeful than the last line, as if she wants them to realize who the real her is even though Miku thinks she doesn't deserve forgiveness, but presents the question of “Would you still forgive me?” to them.
I know I'm nothing of a ghost
An empty shell built of lies, hey!
She is a ghost of her past self, a ghost that evidently has taken over. The next line is also sort of self explanatory, she’s an empty shell of who she once was, having the lies build up over time and have become who she is now.
Though I’m sure that “no” is what I'm trying to say, strangely, it comes out as “yes”
Over the past lines, Miku sings about all the lies she tells, some seemingly for no reason, but his line further my belief that Miku has become a pathological liar, but upon further research, she seems to be a compulsive liar, the difference being that pathological liars are more manipulative, while compulsive liars question their sense of compassion or empathy. This line could also not mean any of that and instead show how she struggles with being her true self.
The bad thing about regret is that you start to realize that if you can fool someone completely, you're innocent
She hates feeling regret, especially after she realizes that she can get away with all her lies.
Choosing to act cowardly, unfairly? No big deal, a prayer or two can take care of that
The second part of the sentence implies that it was easy to be forgiven, and might have taken that for granted since this line contrasts her previous statements about her guilt.
That affected talkativeness of mine, just digging my own grave, burning myself out
By continuing to talk and not having a stopping point, she made the situation worse for herself.
That sense of guilt, beholding like this for how long? It's all going gray
She’s getting tired of lying all the time, to the point where shes either numb to her other emotions or is just going through the motions, living her life with her guilt as the main focus.
Even if it's just me acting the victim
This line is really interesting because I’m unsure if Miku believes that she’s just faking her pain and doesn't deserve to feel it or Miku is continuously manipulating him in to thinking she’s the victim, but I feel stronger about the former.
Mayday! Feel free to berate me, if honesty seems like such a wonderful thing
Mayday! Bring down the gavel and seal my fate, I who’ve chosen to act spoiled to the end
And we’re back to the chorus! In the first line, Miku seems accepting, almost like she wants the punishment at this point, but this seems double sided with the addition of the second half of the line, like she hasn't learned why her lies are bad, which counteracts what she has previously said. In the second line, again Miku uses the court analogy relating to her punishment, as she knows she deserves it. In the second half of the second line, she acknowledges her mistakes, but based off all the previous lines, I don’t think she understands her mistakes, just knows she did wrong.
I’m just a wandering spirit, dead and gone
A blank empty void, empty as can be, hey!
As previously stated, Miku is just a shell of what she used to be. This can also be referencing the fact that she knows her time is up and that she’s basically just a dead girl walking. The same thing applies to the second line.
Wishing for what I lacked, I came face to face with a version of “me” that was nothing like myself
And yet I kept going, even through the dark night that made my head swim
What was she lacking? Miku lacked whatever she saw as the perfect version of herself, but when she tried to get to that image she’d envisioned, she had changed so much about her that it she was a completely different person. The second line appears to show that she lacked self control or didn’t know how to stop.
Love me! I lack so much. I was raised by that selfish egotism of mine after all
We found her motive! Now we know that what she lacked was love, she had just wanted to be wanted by someone. Miku saying that she “lacks so much” has a different meaning now. Instead of it being a better image of herself it’s now the affection and attention she’s never received. For the third part of this line, Miku can either mean that she never got love because everyone avoided her or because she pushed everyone away due to how she acted.
Can you really see me? This lonely, poisoned clown
Here Miku is asking if they can see past her lies to who she truly is.
Mayday! Even if you realize it's me, you don't need to hold me in your arms again
Mayday! If you realize it's me, will you kindly laugh at me once more?
Mayday! Feel free to berate me, if honesty seems like such a wonderful thing
Mayday! Bring down the gavel and seal my fate, I who’ve chosen to act spoiled to the end
And back to the chorus once more! This time, the chorus has a much darker tone to it now that we know what her purpose for her actions was. She feels defeated and has accepted her fate, still hoping for forgiveness if there is any chance.
Mayday! Expose me for what I really am, for this world is about to meet its end
Mayday! Dance with me! Did you realize “I” was never truly here to begin with?
Miku is asking to be condemned, to receive retribution. “This world is about to meet its end” refers to Miku herself, as previously stated she has a large ego, seeing herself as the world, and has made several references in past lyrics to her coming to an end.
I know I'm nothing of a ghost
An empty shell built of lies
I’m just a wandering spirit, dead and gone
A blank empty void, empty as can be
Again, Miku is accepting of her fate, she feels an empty numbness, she knows she’s finally at her end.
Having lied about the most inconsequential of things, I’m unable to go back
No statute of limitations for my crime, robbed of forgiveness for that thievery of mine
She uses the first lines of lyrics again, but with a much darker and depressing tone, it comes off as a lot more defeated and sad.
Summary:
Miku starts the song out by singing of how she has lied and is facing the consequences for her actions. We see her talk about how she doesn’t think she deserves to be forgiven, and how the facade that she had put up had become who she is now. She played into this facade so well that nothing was suspected of her, until recently, since the song is about her facing retribution. She’s lost too much of herself, and the chorus seems like she pleads for help. A little over half way through the song, she slips in that she wishes to be loved. She had created this mask because love is what she lacked, and I presume that her egoistic out view had started in an attempt to be self sufficient and convince herself she didn’t need it. From here on, all the lyrics she has previously stated take on a more dark and depressing tone, as now we know she acted out because she craved affection and attention.The song ends with the same lyrics as the first lines, but now she seems more defeated and accepting of her condemnation.
And that’s the end! Of course, this is just a lyrics analysis and doesn’t take into account other musical elements like key changes or breaks and pauses. Please let me know what your thoughts are about the song or my analysis, was it too long? I’m open to feedback!
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