The Higurashi Notes Chapter 2: Watanagashi – The Club

The Club

Once again, we should really take a look at the leading ladies of this work, what they’re up to when all this crap goes down. Because really, chances are, all the people you’re spending most of your time with in a good mystery. Probably going to end up at least slightly important.

Mion

Between her and Shion, the Sonozaki sister take the prime spots of this chapter. Whereas the previous chapter really delved into who and what Rena was, this one shines the spotlight on the two of them. Revolving focus. Start of a pattern. We covered Shion last entry, so let’s take a look deeper into what we’ve got going on with Mion.

Of course, this gets a little more complicated with what we talked about last time, how Shion and Mion have been switching places, but we’ll do our best. And our best is pretty great.

One thing we learn about Mion here is that she kind of has the hots for our Keiichi. Yes, just like Rena did last time. Yes, he’s a visual novel protagonist. Higurashi never shows you what your viewpoint character looks like, so I’ve been inserting my own appearance in there, so it makes perfect sense to me that all the ladies would be looking for a piece of his doomed self, but I understand if the rest of you find that unrealistic.

So anyways, yeah, Mion here’s way into that animu boy. This turns out to be very relevant. When Shion’s getting her claws into Mion, that’s the route she uses. You see her breaking out of her usual characterization in order to benefit Keiichi plenty of times. Maybe the reason everything goes to hell so hard is because of Keiichi.

Yeah, let’s explain that last one. Rena reveals that Keiichi inadvertently offended her without realizing it sometimes earlier in the story. Keiichi thinks it stems from an incident wherein he gave Mion scorn instead of a doll she may have wanted, which is as good a time as any although Mion never confirms what it was. Moreover, Keiichi’s involved in the incident that seems to have spurred the murders/disappearances this time around, in which he, Shion, Tomitake and Takano break into the village’s sacred torture-disembowelment storehouse. More blood is spelled than in any other year previous, yet Keiichi goes almost entirely untouched in the killing spree that follows, until he goes out and finds trouble himself.

Mion seems to be struggling with her identity a bit this chapter, especially as her twin gets added to the mix. She seems to react a bit hesitantly every time Keiichi insists that she can’t be feminine. She also struggles a bit with the duality of her role as just your average Japanese high school girl and her role as the heir to the Sonozaki family. This chapter goes a lot deeper into the history of the village and the interplay between all the families, as well as Mion’s particular upbringing and background. It’s clear that there’s a lot of expectations on her, a lot of responsibility that she never really asked for. Beyond that, there’s her relationship with her sister, which, at the very least, seems quite colored by the family structure set in place before she was even born. So much of her life was already decided for her by virtue of being the firstborn in her family, and although she fulfills all those expectations, I get the feeling that sometimes they’re at odds with what she’s really feeling.

Then again, I could just be assuming things. It’s really hard to tell when you’re not sure when Mion is really Mion.

One piece of that dichotomy that I am sure of, because the game won’t stay quiet about it, is that Mion is struggling with her femininity. She’s always referred to herself as “this old man”, but Watanagashi tops that by having Keiichi, Shion, and Mion herself suggest she should have been born a boy at several occasions, and Keiichi running through the thoughts of ‘if she were a boy I’d do [etc.]’ and the like at several junctures. Even before Keiichi realizes that Shion and Mion are separate people, he assumes that Mion is pretending to be her own twin sister because she couldn’t bear to add the feminine things she’s doing into her own identity. There may be some truth to that though. If you read between the lines, the most likely times Mion is masquerading as Shion are when she wants to be kind and tender to the boy she crushes on who just can’t seem to see her as a woman in the first place.

And yeah, if you take this story at face value, Mion’s behind the murders. It’s clear, particularly in the character discussion following the end of it, that this is at most only part of the truth, but still, she is wrapped up in some pretty nasty business. In her position as the head of the village, she’d likely know what’s going on, and may be actively involved. She could be leading the murderers, particularly if you take her confession this chapter as truth. How much might actually be her and how much might be Mion, it’s hard to say, but given how clear this chapter is on Mion’s position of power in the village, it’s hard to believe she’s entirely uninvolved.

Then again, maybe she’s a victim of it all too. Rika figures out what’s all going on, and talks to Keiichi about it at one point, referring to the different parties as the dogs, the villagers pissed off at the intrusion into their taboo storehouse, and the cats, those being hunted by the dogs. She refers to Mion as a cat.

There’s a lot of times that Mion acts inconsistently with what we know of her. Sometimes, she doesn’t pursue the games to their conclusion. Sometimes, she sets up games that don’t follow the rules. Sometimes, she just straight up sucks at the games. Keiichi even mentions in the end that she’s being to cruel to really be Mion. Which, yeah, Shion and Mion are switching places, that explains a lot of it, but the inconsistencies are so widespread and blatant it makes me wonder if that’s all there are to it.

And it is really, really hard to track Mion’s character when you’re not always sure she’s really her. The game is clear they’re switching places, but not clear on who is who when. That’s a big source of the puzzle I’ve been trying to unravel this time around, at least. Rena mentioned in the last chapter that Mion used to be really bad at the club games. Mayhaps they’ve been switching places much longer than we realize. Continue reading

The Higurashi Notes: Chapter 2 Watanagashi-Overview

It’s time again. We’ve been going too long, without massively overthinking anything. I have no excuse. I just haven’t been feeling myself, really. But it’s time to correct that. It’s time to do what I do best. And apparently what I do best is throw way too many word into loosely organized blog posts for my own intellectual satisfaction that nobody else is going to care about.

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We’re finally getting around to taking our good, long, deep look at the second chapter of Higurashi. Deal’s pretty much the same as last time. Going to be analyzing this work in as much depth as I’m capable of mustering while still amusing myself. Going to have full spoilers for both this chapter and Chapter 1: Onikakushi, but we’ll be spoiler free for any of the later entries. Savvy? Let’s go.

The Bird’s Eye View

Recall, if you will, the end of Onikakushi. If you missed our run on it, here’s a quick spoiler: everyone dies. Keiichi, all his friends, probably a few puppies, it was all horrible and really tragic.

The second chapter, Watanagashi, leads off in a really odd position. We’re back in Keiichi’s shoes. He’s off to go visit all his friends. After all the horrors, the paranoia, the brutal murders of last time, everybody’s happy and having fun together like nothing ever happened. Because, in Watanagashi, nothing ever happened. Maybe.

The story this chapter starts at a point in time maybe a few weeks or so after Onikakushi started, well before everything started going to hell. There was no paranoia, no demons/possessions/insanity, no murders. Keiichi’s already met his friends and been part of their game club for a while, but aside from that, we’re starting completely fresh. We have been teleported back in time to when everything was happy and nobody was planning anybody’s bloody demise.

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Except it’s not just us taking a look at a different point of time. Not just giving us a different perspective of the same events. The record hit a scratch, and needed to be reset, but now it’s taking us through a whole different progression of events. It seems that things were the same as Onikakushi in the background, but once you hit the point at which the novel starts showing you the plot, things start progressing differently. Moreover, it’s somewhat clear that the events of Onikakushi happened, even if nobody involved may remember it. Several times, Keiichi encountered something that would be familiar to all of us from the previous chapter, only to feel some sense of misgiving that he can’t explain.

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Watanagashi introduces one new leading character in Shion, the estranged (maybe) twin sister of Mion, who we know so well from our previous adventures. It takes a bit of a different focus than Onikakushi as well, in that where the first chapter was largely focused on Rena and her background, this chapter puts the spotlight on Mion, Shion, and through them the whole Sonozaki family. It’s also more externally focused, as well. Keiichi may still be our viewpoint character, but here, he’s a lot more of a supportive character for the others, doing the dumb things so that their stories can be told, than he was in the latest chapter.

Watanagashi also does something that I find very interesting. So a lot of the plot of the whole Higurashi series is driven by the mystery behind it. Why are all these people being killed, how is that happening, what is up with all the maybe-supernatural stuff there? Watanagashi has an answer to all that. One of the characters ends up confessing to all of it, you see some of the corpses, and have an explanation for some of the methods in which they died. It’s all done by people, no real supernatural involvement here. Really, if you take this chapter’s explanation for it, it’s all pretty open and shut.

So Watanagashi has an explanation for it all, eh? Then, why is this still one of the “question arcs”? Why are there still like 20 chapters to go after it? Yeah, that explanation only works on face level. As the OOC after party points out, it’s full of holes, and at most only really explains that year’s deaths and murders, not the ones prior to it. It’s never made completely clear within the plot itself, but really, that’s my favorite thing about the way the Higurashi story is told; that it has enough faith in the reader’s ability to figure things out that it doesn’t put a big neon sign on all the things it wants you to notice. It makes the whole story feel deeper, because it does expect you to be connecting those strings of logic, but always gives you all the tools you need to do so. It is really fascinating, though. It gives you an answer, but the way they deliver it, that answer only leads to more questions.

The second of anything in a series has a pretty big responsibility. Sure, it’s the first game, movie, book, whatever that first puts the paint on the canvas, that establish the basics of what that series is going to be, but it’s the second entry that establishes the patterns that determine the series’ overall identity. It’s no wonder that the second entry is often considered the best one. Suikoden 2, Assassin’s Creed 2, Resident Evil 2, Silent Hill 2, with good reason, a series often tends to reach it’s high point of critical acclaim with its second offering. Higurashi’s creators knew the creative position they were in going into Watanagashi, and they made full use of it. Watanagashi is the largest chapter of all the question arcs, and in some aspects, one of the deepest. Now that we’ve got all the introductions out of the way, and knowing that any readers are going to be suspicious and wary going in after their expectations were set last time, Watanagashi has a lot more room to deliver complexity while still setting further expectations and mystery for the future chapters. Just an example, this chapter’s only a few hours longer than the previous ones, but even so, my notes for this ended up running twice as long as my notes for Onikakushi.

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Part of that is just in a lack of an ability to trust. Which is turning into a big theme for this series. Onikakushi saw Keiichi’s friends turning against him, Keiichi himself became an unreliable narrator, and, as I pointed out, the one seemingly reliable source of help was very, very suspect. In Watanagashi, Keiichi at least seems to be much more reliable of a narrator, but aside from that, it’s hard to trust in all the information you receive. Last time, that was because you couldn’t trust the people that was being filtered through, which is still the case here, but there’s an added layer, in that a lot of that information is going to be just plain wrong. A lot of the background info, you’re given a few perspectives that are a bit contradictory, conjecture presented as the closest thing you have for a fact, or with a layer of bias on there. Even coming from sources that you can be reasonably confident don’t have much in the way of ill intent, a lot of the information you’re given in this game is just flat out wrong. You’re given clues that it’s wrong, but it still makes it more of a challenge to dig through the facts you’re presented with.

Overall, the story, the mystery, seems to really open up in this chapter. Which once again, I really have to commend the writers for actually making the story broader while the content would seem to be narrowing it down by giving ‘answers’ to those mysteries. This also seems to be the entry where the Higurashi series really settles into what it is. So here, we’re going to spend way too many words that probably nobody’s going to read exploring it. I’m looking forwards to it.

All up in Nintendo’s Business

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Among both the console manufacturers and video game developers in general, Nintendo stands apart. Not just in terms of their games or consoles themselves, although those are certainly a result of the way Nintendo stays askance. But rather Nintendo is just different in terms of the way the business is run; in its decisions and very culture. Sometimes, this sees them make some greatness, such as when they single-handedly pulled the entire video game industry out of the dark ages. Sometimes, this sees them make some really boneheaded decisions, such as when they decided that online gaming was just a passing fad. For like ten years.

But even with all the ups and downs this causes, it makes them a very interesting company. They intrigue the businessman part of me endlessly. Why do they do the things they do, even when it flies against all established knowledge? The fantasizing about that really appeals to the part of my brain that makes my heart skip a beat at the words “Six Sigma”. And you know, it’s been a while since I’ve done any business analysis. I think I might be jonesing.

So anyways, let’s take a look/wildly theorize at the things that make Nintendo the way they are. Now, as we’re doing this, I want to say that a lot of what I’m going to talk about next, particularly about the culture of Japanese companies, comes from things I learned from people who got their chops in the era where all the businessmen were scared Japan was soon going to dominate the world, so that might color my perspective a bit. Also, some of my classes were, like, really boring, so I may only be half-remembering some things. So, you know, don’t put any money on any of this. With that out of way, let’s dive into the business character of Nintendo.

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The first thing in understanding what makes Nintendo tick is understanding where they’re coming from. I know this is going to blow you minds here, so hold on to the back of your skulls, but, see, Nintendo is a Japanese Corporation. And I don’t know if you realize this, but Japan has a different culture than we do in the rest.

Sorry, I might be going a little fast there. Go ahead, read that paragraph a few times, until you can wrap your head around those bombs I dropped. When you catch up, we’ll be here for you.

Let’s take a look at what that means. No matter where you are, corporations are publicly owned companies. People buy and sell stock in that company outside the control of the company itself. Stocks represent a portion of the ownership of that company with all that entails, including a share of the highest level decision making and a share of the company’s profits, delivered by means of the stock value increasing or by dividends paid out to shareholders.

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Oxenfree: A Case Study of Theming

Themes in fiction. They’re one of those things that are easy for the authors to work in, easy for the readers to detect, and they make everyone feel smarter for their inclusion. Themes are great. Just latch onto one idea, bring it up in your story a few times in a few different ways, and bam, you have an easy way of making your story go just a bit below the surface level.

Ok, so maybe it’s a little more complicated than that, but not by all that much! Given that themes are all in the eye of the reader, it can be easy to just work some themes in there accidentally. Hell, I’d been finding themes in the Saints Row series, and you know, if they had the sort of creative minds to be deliberately carrying a solid idea through than maybe they’d be able to write an ending that doesn’t suck without overriding it the next game. Moreover, themes are fun! Try finding some consistent ideas in the next story you go through, and see for yourself!

Oftentimes you see a theme, at least one implemented deliberately, the work will have something to say about it. Not always. And really, the works that don’t impose anything on their themes aren’t necessarily any worse than those that do. But what you rarely see is a work that does make a conclusion about its theme, and fits it into the greater work, but that conclusion comes entirely from the consumer. That’s a way of handling a theme that is largely unique to videogames, and even then, it’s something you’ll see rather rarely. So when Oxenfree freakin’ rocked it, I felt compelled to take a moment to recognize it.

Now, you might notice Oxenfree was released relatively recently. So I’m going to be talking about a modern game here. On Lost to the Aether. That never happens. It’s like Christmas and your birthday all put together. And we’ll be talking about some plot stuff. But I’ll do my best to keep it spoiler light. For the most part.

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So, Oxenfree has a theme of guilt and blame. It’s not like a major thing in the game, so don’t expect it to be hammering you over the head with it, but it’s a concept they return to every now and again, enough for it to gain some mental real estate. It does some minor exploring of the concept. Or rather, it guides you through it. Sometimes, stuff happens. Bad stuff. People are unwittingly involved in the bad stuff happening. Whose fault is it?

For example, in the beginning of the game, you meet your dead brother’s ex-girlfriend. She blames you for his death. You get no other information as to the circumstances. How do you react to that?

You track down your stepbrother investigating some creepy stuff. You find something strange, he wants to push it further. You end up unknowingly doing a thing because of it that triggers the inciting incident. Who’s to blame there? You for actually doing it? Your stepbrother for putting you in that situation? Nobody, because seriously, who would expect that thing to be holding evil?

Even the backstory event that set things up happened because people were forced to act with insufficient information and there ended up being some grave consequences for it. Is it the executor’s fault for doing so? The person who held the limited information for putting it in the hands of those who had to act? Nobody’s, because everyone did the best they could with what they had? One background character spends her entire life blaming herself for it and trying to deal with it. Should she have done so?

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At every stage, the story poses the questions, then lets you put in the answer. What does the narrative have to say about this concept? Entirely up to you. And that alone ends up doing some interesting things with its treatment of the theme. It turns the story from your garden variety plot to something with elements of a thought experiment. It forces you to be more introspective about the plot, to reflect and conclude on happenings there. And that is a way of storytelling that is so uniquely videogames.

The Higurashi Notes, Chapter 1: Onikakushi-Wild Mass Theorizing

So after all that, we come around to the big question.  What exactly is going on in Higurashi?  The first chapter, Onikakushi, has no answers.  But it does have some fuel for speculation.  And you know what?  In the latest chapter released, the developers straight up ask you to spend some time on the speculation.  So let’s do that.

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Now, there’s two main questions the game leaves hanging.  Why, and HowWhy does the town hate Keiichi?  Why do his friends keep turning evil and trying to kill him?  Why do people get murdered there?  And How all of that?

Let’s explore this.  I do want to say, I’m going to do my best to avoid spoilers here, and limit things to content as presented in this chapter.  But, honestly, some of these conclusions are informed by what’s been presented in the other question arcs, and really, I’m not going to be able to get around that.

Anyways, let’s go into some random guesses as to what all makes things work in this story.  I’m not entirely convinced in all of these, in fact, some of them I’m pretty sure the story will never even consider.  But they’re all taking up some mental real estate.  And you know what, before we get into the meat of it, let’s get one thing out of the way.

Natural vs. Supernatural

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Right, so I said earlier we could just brush this question off.  And really, we can.  But I figure, this chapter makes something of a deal of it, so we may as well address it.  In brief.  Because that’s all this question deserves.

Are the weird happenings in this game the acts of men?  Are the consistent murders a series of copycat killers?  Are the villagers getting organized to expulse any outsider they consider a threat to their operations?  Is there some sort of conspiracy going on among the major families to maintain the village in just the way they want by force if necessary?  Or is it the act of otherworldly beings?  Is Oyashiro-sama real and working to purge the village?  Are there truly demons among the villagers?

Again, this is a question this chapter tries to raise, and definitely the one it wants you speculating on, but I don’t think it’s very material to the story.  Some being is making murder, whether it’s a human or a spirit doesn’t make much difference in the end.  And really, this chapter doesn’t give you anything to base it off of.  The idea of the supernatural is raised, but if you take Keiichi’s fractured sanity into account, you don’t see anything concrete as to how it’s acting.  Unless that fractured sanity is how it’s acting.  But even that could be the drug they allude to.  They don’t give you enough either way to foster good speculation on that. 20160709181328_1.jpg

For what it’s worth, given the direction the story’s been going, even in this chapter, I’m of the opinion that there’s at least some supernatural element there.  The people are definitely involved in it, at least as far as covering it up goes, but there is some magic involved either in the actual execution of the murder/disappearances, or in the organizing people to do such.  I just don’t think the lead they’ve given and the way the following chapters progress will make much sense if there’s something beyond human running behind it.  But it’s not completely supernatural, because this is a character-driven story, and all that actual characters are human.  If you take the humans out of it, then you’ve wasted at least the early chapters.  So some mix of human and supernatural is where it’s at.  If it’s not, I will refund you the price of reading this blog post.  What do you have to lose?

The Theorizing

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The Higurashi Notes, Chapter 1: Onikakushi – The Club

The Club

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So let’s go ahead and start getting in on the people our poor, tragic Keiichi has been hanging out with.  The people he loves.  The people who turned his life into spiders.  The people who ended up killing him.  Because, get this, in a character driven story, the characters end up being a little bit important.  And when your lead character is largely a cypher, the supporting cast end up picking up all that personality weight.  So let’s take a look at these people, who they are, and what they’re doing in the story.  Now’s a good time to put your overthinking cap on, by the way.  I certainly am.

Rika and Satoko

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Let’s get the easiest one out of the way first.  I do want to say, it is clear that Rika and Satoko are both very important to the overall plot.  There’s enough going on with them in this chapter alone that it’s obvious that we’re going to be seeing a lot, lot more of them in the arcs to come.

That said, although the both of them are around for a lot of Onikakushi, they’re not present for all the big moments, and they don’t really do a lot.  They’re not active characters, the plot does not turn on them.  At least, not yet.  Or maybe not in front of the curtains.  Yeah, it’s that kind of story.

Both Rika and Satoko are members of the big name families of the village.  Both of their families fell on the “wrong” side of the dam incident, Rika’s for not protesting it hard enough, Satoko’s for being in support of it.  Both have family members who were killed/onikakushi’d in the yearly incidents.  Multiple times, for Satoko.  And both of them live together, alone.  No parents, no caretakers, just the two of them.  Alone.  Rika gets some respect from the rest of the village, due to being their resident shrine maiden, and coming from a family strongly connected with their faith.  Satoko, we don’t really get an idea of what everyone thinks of her.  Well, except for Mion.  We’ll get into that in a bit.

In fact, let’s get into that right now!  Mion is competitive.  And you’ve got a club built around playing games against each other.  It stands to reason she’s going to be butting heads.  With everyone else, it seems just a good bit of friendly smacktalk.  It seems to cross the line a bit when she’s up against Satoko, though.  Could just be Satoko’s nature.  She’s definitely one to take the playfight a little too far.  But even so, Mion seems a little more ready to poke at Satoko’s vulnerabilities than she does to others.  And remember that her family was a supporter of the dam project while, according to Ooishi, Mion herself was on the other side of that fight.  Starts to make those barbs seem more a veiled blade.

It’s really, really strange nobody pays much attention to Satoko this story.  Her family gets called up all the time.  Her brother, Satoshi, in particular.  Keiichi even gets a bit obsessed with him.  Yet, even as Keiichi finds himself walking in her brother’s footsteps, he never bothers to talk to her about him.

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And as for Rika… we know she’s a bit devious.  She’s good at knowing things, and not letting on that she knows these things.  She shows that in the games, where she plays up her childlike appearance to manipulate people and lull her opponents into an unfounded sense of security.  In truth, she’s very analytic, and good at sussing things out, but she keeps that hidden.

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So where is she at with this story?  I’m going to do that thing where I read a lot into a single scene, but you recall when Keiichi took up Satoko’s brother’s bat, and started training with it as a weapon?  Rena freaked out.  Mion had a lot of trouble with that.  Rika noticed it, even as he was trying to hide it, and all she did was warn him not to lose the bat.  She wanted to make sure he kept it with him.  And earlier on, she was particularly concerned about Keiichi’s health.

Does that mean that she’s on his side, and wanted him to have it to defend himself?  Does it mean she knew what would happen to Rena and Mion in the end, and wanted to set him on that path?  Given that nature of this story, I think we can safely discard the idea that she knew nothing about the happenings and only wanted to Keiichi to be careful with the cherished bat.

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The Higurashi Notes: Onikakushi-Keiichi’s Sanity and Ooishi’s Behaviour

All right, so now that we’ve taken a look at the happenings in our last post, let’s go back and try to work out… you know, what actually happened.  Onikakushi drops a whole lot of questions.   No answers.  But if you know where to look, there might be a few hints.  So, what do you say we start with the biggest question?

How much is actually real?

Yeah, yeah, Onikakushi runs really heavily on the “Is it magic? Is it mundane?” question, to the point it has the characters arguing about it OOC at the end.  But you know, that question is nowhere near as interesting to me as this one.  Stuff happened in this plot.  A lot of stuff happened in this plot.  But, did all the stuff that happened actually happen?

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At its core, Onikakushi is a story about Keiichi’s descent into paranoia.  You see him going from being a normal kid, run into a conspiracy so far beyond him that starts targeting him for even knowing about it, and in defense, Keiichi starts backing into the corner and pulling out the claws.  Starts smashing up nothing, thinking enemies are all around him.  But, maybe it goes beyond justifiable paranoia.  Maybe Keiichi starts experiencing things that are not actually there.

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It’s interesting to me how much Keiichi does that seems to serve no other purpose than to make his house a portrait of madness at the end.  The entry way of his home is all smashed up.  Mashed garbage strewn all over the room.  A hastily scrawled note asking “Was there a needle?” on the fridge.  The brief, hand-written memoirs of a crazed child stuck with tape behind his clock.  The kind of home that would make you think its owner escaped from the asylum if you came across it in any crime drama.  Of course, all of these were in response to something Keiichi was reacting to, and you see all the context for that, but take a look at that from outside Keiichi’s head for a bit.  He smashes up his house by swinging at something invisible and intangible.  He has a relatively calm phone conversation with Ooishi, then mention of the needle causes him to take a break and throw garbage all over his house, before he returns to the calm-ish conversation.  Keiichi knows what it all looks like.  That’s why he’s so very careful about what he puts in his dead drop note, and why it ends up being way too vague to be useful, outside of the bits that get torn out before the police find it.

But how far back does Keiichi’s altered perception go?  Let’s start from the end, and take a look at some contradictions between what we’re shown and what we know.

So first, the police report at the end.  Right off the bat, it states, and states conclusively, that Keiichi had called Rena and Mion over to his house before he beat them to death.  Now, it doesn’t list any of the evidence for that claim, but logically, the police would be able to look into phone records in regards to what calls were made.  At least, I’m going to assume they could.  I don’t know ‘bout that 1983.  So we can figure that it’s more than just an assumption that Keiichi called them out.  Thing is, if you recall from the events we saw, when Keiichi woke up in his house before he killed his friends, Rena was already there.  Sure, she called Mion from Keiichi’s house, but there’d be no reason for Rena to be called over.  Unless, either the ‘Director’ she called share’s Rena’s number, or Keiichi had in fact called her over, and just wasn’t cognizant of it.

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Keiichi died in exactly the same way as Tomitake did earlier.  That’s exactly what Mion was threatening, saying he’d be injected with the same drug.  But there’s two problems with this.  The first, going by what we saw, Keiichi was never injected with the drug.  He blacked out just before he did, came to with his friends dead, then recalled that he had knocked them away before he was injected.  Possibly, this is recreating memories after the fact, but otherwise, he should never have been impacted by the drug at all.  The second notable thing is that Keiichi started following in Tomitake’s footsteps long before the drug ever came up.  The big moment is when he smashed up his front entryway, striking at the presence he detected but couldn’t see.  Ooishi had notice that Tomitake had been found with a two-by-four that had impacted several things, but had no blood, skin, or biologic materials found on it.  He smashed up a guardrail, but had no sign of actually hitting anyone else with it.  Mayhaps he had been finding a presence that couldn’t be seen or touched, himself. Continue reading