ria | romanian | full-time reader | SPOILER ALERT I guess | multifandom account | occasional shitposting | haven't changed accs since I was 13 and it shows
What DPHW Means, and Its Relationship to Smirke's 14
The following contains spoilers for all of TMA, TMP (eps 1, 2, and 3 released currently if you’re in the future), and the ARG. Spoilers for all of this are throughout so I would advise against reading any of this unless you've listened to everything mentioned. It could also spoil episodes of TMP that have yet to release but if it does I don't think it will be a major spoiler. If I'm right I think I'm only right about a fairly trivial piece of information.Â
Theory of Fears; or, Zur Furchtlehre
Part 1: Opticks
Smirke's 14 isn't the truth. With or without Dekker's +1. It is, however, necessary and correct. It has also been talked about ad nauseam and isn't a topic I want to dedicate a lot of time to. Smirke's 14+1, or even TMA in general, isn't the focus of this theory nor is it that relevant past its necessity as a point of comparison.
There aren't 14+1 distinct entities in the TMA cosmology. There is a singular entity that has been given divisions by fear and labels by those that have witnessed it. There is no objective line in which to draw these divisions. No matter where you put them or what you name them these concepts will always bleed into each other. Aspects of one Entity will manifest in another because the labels are invented and Fear is a storm of concepts crashing into each other. That's not a flaw in Smirke's list but its strength. A single entity of that scale is impossible to discuss in meaningful terms, the concept has too much gravity to be properly conceptualised and so an entire spectrum of fear must be divided in order to combat it. Categorisation is a vital part of TMA's cosmology and Smirke was as correct as anyone to put those lines down where he did. The real flaw with Smirke's list is forgetting the spectrum exists and stopping seeing the shades in between the Powers.
Finding a way to categorise this concept is important, but the methodology isn't. Smirke's 14 isn't the truth. The only truth is there is a singular whole. But branding goes a long way both in terms of research and in terms of following. This branding lacks accuracy though, it is in large part arbitrary and by its nature removes the shades and the bleed. TMP takes a different approach, one only hinted at, but one that I think is now fully explainable.Â
Part 2: Lost in Translation
Perhaps the most interesting mystery in TMP thus far is DPHW. However, I think based on episodes 1 and 2 of TMP (and now 3), and the Klaus excel sheet from the ARG, we have all we need to explain its utility.
In order to show that conclusion in a satisfactory manner some basic facts need stating, and the order of my thoughts on those facts needs explaining. Firstly, each DPHW is 4 digits. Secondly, each DPHW is read as 4 numbers rather than, say, a pair of 2 numbers. Thirdly, these numbers can change independently of each other. Fourthly, incidents may share CAT#R#'s but have a different DHPW as found in the Klaus sheet (a German document listing OIAR-style incident reports). Finally, the German equivalent of DPHW is TSHU also found in the Klaus sheet. We can use those facts to determine something important. Each letter of this initialism is paired with a digit meaning that DHPW is a group of 4 categories. If that is true we can intuit some of its meaning. It is likely that these numbers are a rating of sorts for each category there. To prove that's the case we would need to know the categories and fortunately we have a starting point to understanding it, German.
If the categories that DPHW describes start with the letters TSHU in German then what needs to be done to find the categories is quite simple. You pair each letter up and then find a suitable word to categorise the supernatural whose first letter starts with the respective letter from the initialism in its language. D/T, P/S, H,H, W/U. After some brainstorming in the Statement Remains PLUS Discord server we had come up with strong candidates for 3 of the 4 pairs.
The first was Deadly/Tötlich, a seemingly solid start that gave this theory some legs. Next was Painful/Schmerzlich which was a distinct enough category for the threat of an incident that proved this was a strong direction to head it. H/H proved more troublesome. To my mind the two strongest contenders here were Hypnotic/Hypnotisch or Helpless/Hilflos. Both sound very reasonable but that in itself is a problem. However the last one was found relatively easily as Weird/Unheimlich. With 3 of the 4 it seemed like this was all but correct at this stage. However, I had been thinking about this backwards and it wasn't until I had a revelation that the pieces really fell into place.
Unheimlich sounded familiar when it was suggested but not in a way I could place. It wasn't until the next day that the aforementioned revelation happened. The ARG had a huge focus on Germany, and Ep 1 of TMP revealed why. FR3-D1 uses German source code which makes German the original language for the OIAR's methodology. Meaning DPHW is the translation, and I now think it's a shoddy one at best. The reason unheimlich sounded so familiar to me is because it's a fairly important part of psychology's history.
DPHW's Weird isn't weird, DPHW's Weird is uncanny. A direct translation could give you weird but a more accurate one, especially in this instance, gives you unheimlich. Unheimlich as in Jentsch's "Zur Psychologie des Unheimlichen", and Freud's "Das Unheimlich". Both of which are essays on the uncanny. It's all about the fear of the unfamiliar, and a central example of this is Olympia from Der Sandmann, a seemingly living doll.
The German word unheimlich is obviously the opposite of heimlich, heimisch, meaning “familiar,” “native,” “belonging to the home”; and we are tempted to conclude that what is “uncanny” is frightening precisely because it is not known and familiar... - Freud, The Uncanny
This is incredibly relevant to a lot of what has been discovered so far. The uncanny as a topic in psychology was kickstarted by two Germans, and a central part of their essays was the German Der Sandmann, and a German, SSandman, was a large presence in the ARG. The strength of this connection all but solidified this theory in my mind. And, briefly, this is also related to Masahiro Mori's uncanny valley hypothesis which I'm sure I won't need to explain.
The obvious way to test this is to take the few W ratings we have been given and compare them to the incident to which they're assigned. The first is from Ep 1, “dolls comma watching”, and was given a 7. This is a good start both in that a 7 feels appropriate as an "uncanny rank" but also that a doll is a focal point on the essays on the subject. Also in Ep 1 is "Reanimation (Partial)", again with a 7. Another very appropriate number. The last in Ep 1 is "Transformation (eyes)" with a 5. Certainly less uncanny than the previous examples so this is still strong. In Ep 2 we get a 5 for Bram Stoker's Dracula, which seems more than fair for a strange man like him, and a 7 for Frankenstein which gives parity for another story of the resurrected dead. Finally we get "Transformation (full)" at a 7, more uncanny than "Transformation (eyes)" which tracks nicely.
With what I felt was such a strong theory for the W/U pairing it helped clarify the ideas of the others. The final digit rating the uncanniness of an incident gives an idea of how these categories work and the breadth of their definitions. Up until this point I was leaning towards Hypnotic/Hypnotisch for our H/H pairing. But giving it more thought, and comparing it to TMA's own groupings, it becomes apparent that Helpless/Hilflos is more appropriate. Hypnotic effects are too aligned with things that would already be very aligned with Uncanny ones, the Stranger's Not!Them alter memories and prey on the fear of something being not quite right, so as a categorisation tool I think it makes less sense because of the greater overlap. Helpless on the other hand works better for things like The Dark, The Buried, or The Lonely. Aspects which I don't think show up in our current other 3 groups. But given the current definition of the strongest category, the fear of the uncanny, I think that helplessness is a more apt label. The fear of helplessness. Which makes H Helplessness/Hilflosigkeit.
With this level of breadth established re-examination of the final two categories is warranted. Painful/Schmerzlich is more likely to be Pain/Schmerz. Not just incidents that are themselves painful but the fear of pain, possibly including the emotional. A comparison to TMA gives this rating a strong affiliation with Entities such as The Desolation, The Corruption, or the Flesh. Similarly Deadly/Tötlich should now be broadened beyond the fear of things that will kill you, to the fear of death in a broader sense. Which makes D/T Death/Tod instead. To compare again to TMA this is The End, The Extinction, or The Slaughter. Although, while I might be describing these ideas as the fear of ____ I think it's important to know that they do appear to be more conceptual in nature rather than just if something is scary or not.
Comparing each of these assumed categories against current DPHW’s strengthens this argument. “Dolls, watching” scored 1157. It’s a very low fear of death and pain, but they present a medium fear of helplessness and a high fear of the weird. For a fear that’s rooted in paranoia that makes good sense. “Reanimation (Partial)” got a very similar rating, at 5257, but it being a corpse cranks up its fear of death. “Transformation (eyes)” got 2155 which, again, seems to fall in place with what we know. It’s more human than the doll is so it’s less weird but a physical and alarming transformation naturally seems like more of a terminal concern. Combine that with some good ol' internet death threats and it's not nothing, but not much.
As a small aside, while it's not come up in the episodes so far the Klaus sheet shows DPHW's are 0-9. There is a good bit of evidence to suggest 0 might be read as 10 here. 0 most commonly showed up in that sheet for P and the incidents often had the notes "Kriegsvolk". Literally "war people" but more accurately "army/soldier". So pain of 10 for those would track better than P of 0, and it explains why things like the watching doll rate a 1 for D and P instead of a 0, and Dr. Webber's infection is a P of 1 despite entirely removing physical and emotional pain as it goes. Because 1 is the lowest.
For Ep 2 we start with Dracula scoring a 7465, he’s undead and a killer for high death, if he kills you it hurts but it’s not extreme, he’s both hard to physically stop and has mental tricks, and he’s just a weird dude in general who always seems off somehow. Frankenstein at 5337 has aforementioned parity with the reanimation incident as you’d expect but notably less on the helplessness rating as he is just a man. Next is “Transformation (full)” at 1567. This is generally a more severe rating overall than Transformation (eyes) and you’d expect that, but I think it does show something interesting. At no point did Daria want to end her own life. The transformation is far more severe, arguably looks more life threatening, and was clearly more painful but it is explicitly and repeatedly not about dying. I take that as a suggestion that these ratings take into account more than just the mundanely observable nature of the incident. She looks very sick which would make you think of death but it rates low for it because of the emotional, or maybe supernatural, purpose of the incident. She didn’t want to die, the manifestation didn’t try to kill her, and so despite its appearance it’s low on death.
Then finally in Ep 3, we have "Infection (full body)" with a 8175. (Although I'm assuming that's a misfile and it should be Infection (Arboreal)). I think D and H here are more interesting to dig into. P is pretty obvious it's the lowest rating because it seemed actively pain-numbing as it went. W being 5 tracks too is certainly uncanny and has strange geometry but it's not full Distortion levels. So with those two out of the way we can get to the good stuff. D is the most interesting of the two to me. Because while it's pretty clear he died I don't think that's got much to do with it. Rather I think the 8 is more specifically about the way it deals with death, decay, and rot in relation to new life and the growth of other things, plants and insects. Thematically, I think there is a lot more emphasis on death as a broader concept beyond the terminal nature of the infection. For Helplessness there is also an additional element beyond whether or not he was able to do something about the infection, and that's whether he wanted to. As the symptoms worsened his desire to treat them decreased. Initially he was worried about the infection and determined to seek attention when able, then he was happy to let someone else help instead (a hallucination, which makes things more helpless), before finally wanting it to happen. These sorts of elements are things I think we're going to see factor in quite a lot.
In summary; it is my belief that DPHW is a way to rate incidents that the OIAR catalogue based upon the strength of the fear they elicit in the categories of death, pain, helplessness, and weird (uncanny). This system is effectively the TMP equivalent to Smirke's 14 from TMA. Rather than assigning each statement to an Entity each incident is rated for those qualities. These systems are distinct methodologies but each is a way to categorise the supernatural. Â
Part 3: On Analogy
That is the juicy bit of this post out of the way so now I have to put a bow on it and touch upon the overarching analogy here. As alluded to by the title and some turns of phrase, it's colour theory. It's a somewhat common analogy for TMA's fears but I think it applies in equal measure to TMP and taken together might provide an insight into how the cosmologies will differ. So, to me, colour theory is not only the perfect lens in which to view the Fears as a whole, it's the perfect lens to view these methodologies.
Smirke is Newton. He broke up a singular spectrum into wide chunks. The Dread Powers themselves are very analogous to a colour wheel. Colours bleed into each other and the boundaries of where one stops and starts is up for debate but red is still red, and blue is blue. That is a useful context for them, it aids discussion. Try talking about red without ever saying red and only referring to a representation of a divided whole. But all too similar to Newton's 7 colours Smirke's 14 lacks nuance, it lacks shade.
On the other hand we have DPHW and this is all shade. DPHW is CMYK. It's not one thing or another with DPHW. You don't have the pitfall of Smirke's methodology where one manifestation is in one arbitrary box. Here, assuming I'm correct, each incident is made up of constituent parts. The OIAR, and presumably its German forebear, are less interested in Smirke's occult ancient gods and more interested in bureaucratic precision. Smirke was doing research while the OIAR are doing administration. As such DPHW takes a wholly different approach. It's now all shades. This has its own problems in that it's harder to discuss in broad terms. It's such a specific methodology that it's lost a lot of what Smirke triumphed with. This is well represented already given that no one has been shown to know what it means at all yet. But if there is a truly different cosmology at play here we might see the axes of DPHW being where alliances fall.
All that leaves us with is a comparison of these two. The only way to really do that is to talk about how Smirke's 14+1 would fit in DPHW's system. This is something I touched upon briefly. Death is strongly related to The End, The Extinction, or The Slaughter. Pain to The Desolation, The Corruption, or the Flesh. Helplessness to The Dark, The Buried, or The Lonely. Weird to the Stranger, or the Spiral. But that's not all of them and even within those it's already clear that something like The Vast isn't just about helplessness, and we've already seen Daria who would likely be an avatar of the Flesh rank highly in Weird. Which hits upon what I feel is the most interesting aspect of this entire theory. We've seen what happens with Smirke's boundaries on the Entities. We don't know if Entities even exist in this setting, or if they do exist whether they'll be the same ones, or even if they're not the same ones whether they'll function under similar rules. But now we get to see what happens when there aren't those boundaries. We get to see much broader mingling than TMA showcased. It was hinted at there, especially early on before the lore really settled, but now that mingling seems to be the whole point.
And as a brief mention, and to further labour the theme, I don’t think there is enough information to really discuss how CAT#R# works but there are some analogies to work with here. From the Klaus sheet we can infer that CAT# has the following values 1/2/3/12/13/23/123. Or three non-mutually exclusive groups. What those groups are is hard to say right now. There is some soul/body/spirit stuff for the alchemic tria prima that's got some nice connections but doesn't map well now that Ep 3 is out. Either way, this is RGB. An incident can be all red, or red and blue, etc. R#'s values we can infer to be C/BC/B/AB/A/S with maybe an AS in there too. That's a linear scale of similarly unknown value but could represent something like potency/threat. If that is the case then R# is saturation. Some things are more intense than others. We also know from the Klaus sheet that CAT is the German from the "kategorie" meaning "category" the R was from the German “rang” meaning “rank” and so probably has more meaning to it than currently implied.
so like we all agree that sam being so curious and also having a bit of a mean streak sometimes will lead to him embracing an avatarship of sorts right? augustus giving him a statement to make him even more curious and have him connect some dots is surely not a coincidence right?
“But I didn’t and still don’t like making a cult of women’s knowledge, preening ourselves on knowing things men don’t know, women’s deep irrational wisdom, women’s instinctive knowledge of Nature, and so on. All that all too often merely reinforces the masculinist idea of women as primitive and inferior – women’s knowledge as elementary, primitive, always down below at the dark roots, while men get to cultivate and own the flowers and crops that come up into the light. But why should women keep talking baby talk while men get to grow up? Why should women feel blindly while men get to think?”
For the chronically anxious and/or otherwise mentally ill:
This is not a screamer, jumpscare, or any other kind of horror link I don’t know the name of. It will not cause you to question reality and as far as I’m aware, there is no reason it should cause any kind of hallucinations or psychosis. I don’t want to spoil the surprise because it’s DELIGHTFUL but I am happy to tell you it’s very sweet and gentle and also great lowkey stress relief. This is a cinnamon roll link appropriate for all ages (yes, all the way down to babies) and you will enjoy it if you click it. ❤️
one of marvel’s biggest issues is that writers/directors are just constantly writing ooc fanfic of each other’s work instead of using it as a foundation to continue a collaborative fictional universe off of. like. character development should matter. a character shouldn’t have a different personality in every single appearance. major plot points established by other installments shouldn’t be ignored. idk man.Â
The rest of the movie is just the 9 Nazgul trying to capture the mouse while the eye of Sauron watches an extended game of Mouse Trap unfolding before him.
