#← direct quotation from the artist

[elskanellis]

in order, these are:

“Iconography/A Hopeful Truth” (2022-2023), 24k gold leaf, 22k moon gold, acrylic paint, semi-precious stones, and other mixed media on archival pigment print, 56 x 42 inches.

“Iconography/In honor of the sacred divinity that exists within us” (2023), 24k gold leaf, paper, acrylic on archival pigment print, 47 x 35 inches

“Remnants/I Was Born to Stand in the Light” (2020-2022), 24k gold leaf, paper, acrylic, other mixed media on archival pigment print, 63 x 41 inches

all images © Tawny Chatmon and via the linked article in Colossal (in OP) (08/16/2023, accessed by me 08/17/2023).

Through Gilded Portraits, Tawny Chatmon Envisions a Dazzling Future

[thefugitivesaint]

Man Ray (1890-1976), 'Le beau temps' (Fair Weather), 1973 "Man Ray described Fair Weather as the culmination of his Surrealist career. The mannequin figure may be a coded self-portrait and the painting contains quotations from a few of his earlier paintings. Fair Weather is also a nightmarish premonition of the Second World War; the bombarded stone wall and puddle of blood are two of its more direct symbols of violence. The artist left this painting behind when he departed Europe for his native United States in 1940, but he eventually reclaimed it and kept it for the rest of his life." (Source)

[melonae]

I've been watching your animatic on repeat for a good part of the last few days! First, I want to say thanks for making it and sharing it!

Second, if you're up to it, I would love to hear your commentary on each shot! From what I could gather, Elliott and Mivvy have quite a tumultuous relationship! What makes it that way? And can you as the artist/writer see them get better?

Oh, oh man dude.

This means a lot to me, genuinely. First off, thank you, thank you so much.

I

Second off, get ready for some words❤️ and insanely, incredible reaching for some points but stick with me here.

This whole parts’— scene, going up to “Mivvy Walking away from Elliott” dialogue is something being said BY Elliott, hence the quotation marks, not his exact words but “why are they laughing when it gets to that point? what happened? what IS happening?!”

Well, they’re drunk, not very easy to show but they ARE drunk in the first frame and that FEELING is what gets them CLOSER. They’re enemies, well, one-sided. Right— and Elliott misses those nights even if it made him hungover the next day, and he would do anything to feel it again if it meant remembering the night(s) prior.

Although the second “scene” isn’t too deep. I want to say that Willy is NOT an antagonist in Mivvy’s schtick. He distances himself from Elliott a LOT and by “distance” I mean he fucking runs away from him. He gets jealous CRAZY and not “IM GOING TO KILL HIM!!” Crazy he HATES himself, he hates himself so much he’d take an excuse for anything just so he can beat himself down for just. Fumbling. For messing up— for failing to take that chance to overcome his deepest traumas and insecurities he has a cycle and he WILL REPEAT IT (according to himself.. and me! but because I want him dead .joke)

This part’s important.

to me at least. “Are they fucking???” Yes. They are. But it goes beyond a sexual act CLEARLY for Mivvy because another thing is that he doesn’t allow himself to (romantically, platonic appears to be an exception but even he feels AWFUL about it sometimes) love someone without feeling deeply, deeply compromised or guilty about it. He doesn’t think he can love that he can only HOPE he is even capable of it— feeling it, showing it.

so why are they having intercourse? Let me tell you a secret.

I cut out a frame of Mivvy holding Elliott’s hand in that scene, which puts emphasis on his despair. He, Mivvy, can’t show any blatant sort of sign he loves someone unless it’s during sex. Hand holding? Kissing? Bodily praise? GENERAL praise? only during sex or else he’d feel just awful. Like “oh it can’t be that bad” no it’s like “I will never look at your direction for an unelaborated period of time after this. I will have visceral thoughts of never coming back from the place I call home now that it will become like a daydream. I will die.”

type bad.

He can allow himself to see true happiness in Elliott when he’s blowing his hole ykwim. because he’s doing something good for him that time, doing something that although never will be worthwhile, will make him want for a reason worthy of wanting him.

Now these. And FINALLY these.

To anyone who hasn’t SEEN the animatic (which I hope you DID) this is an obvious display to their past and how it’s “affected” them, kinda— but also very affiliated to how their current selves interact in that sense.

Both (Mivvy in Canon, Elliott to my interpretation) had harsh upbringings: never been believed for a second, being tormented by the thought of never making it and rather being so humiliated and even WORSE— never having their name known to anyone but the people who knew this was going to happen.

HOWEVER. There are two outcomes, and both of them take a different one.

Elliott constantly persists with his passions, hence what makes him eventually, a successful author. His progression is slow but he knows this is something meant for him despite every hurdle he comes across— because he loves it, even if he’s nervous about if this is the right way to go or not sometimes, he knows fully that whatever word was said about him never making it is absurd.

Mivvy, on the other hand. Sees being a farmer as his last resort. In other words, he’s given up on everything that made his identity as a creative: his dreams. Nobody really knows this except for a few people but nobody truly knows that it fucking kills him.

He envies Elliott so much it makes him almost violent, it makes him scared of him it makes him want to do something awful. Hence why he looks away in the first frame of this, whilst Elliott looks directly at him like he’s REACHING out for him and mivvy slaps his hand away or runs.. away..

“So what about the second part?”

Elliott doesn’t run away, no. But at a certain point there’s always going to be a line, and when Elliott is a lot more upfront and being like “get more support PLEASE or I won’t even dare talk to you anymore.” And a LOT more concerned at that point it’s like Mivvy holding a hand out to be met with such nervousness and even distrust/unpredictability

Elliott still loves mivvy, yes. But he’d rather be heartbroken than watch Mivvy break over every aspect that is his life. He can’t keep chasing something far faster than his legs can ever imagine especially when there’s a speed limit. (METAPHORICAL) he’s trying, but he also knows himself well.

This is where their Relationship begins to take a curve for the better(?) Mivvy gets help, gets THERAPY actually.

The animatic is just the most condensed version of THEM, I promise you truly it isn’t just them. But let me answer your other question.

“Elliott and Mivvy have quite the tumultuous relationship, what makes it that way?” Elliott’s persistence to push forward and Mivvy’s fear to come closer.

Sorry for the late response This made me SO happy but I’m writing a fic right now so it occupied my time. Not finished yet, but even so I had a fun time writing this! So hey, if you (anyone) has anymore asks do NOT. NEVERRR BE AFRAID TO ASK TEJM!!1!:!2!: PLEASE

AAAAanyways! Again, thank you so much. Here’s a treat!!!

[apenitentialprayer]

In the first image, we see a theme to which [Maurice] Denis will return again and again: the depiction of the Archangel Gabriel as a deacon bearing a book, almost as if Our Lady is the priest at the Solemn Mass to whom the book is being carried to her to kiss. In this very early depiction, painted when the artist was 19, he has even included a couple of acolytes bearing tapers. We something similar in this depiction ca. 1914, except that here the deacon-angel bows his head and raises his arms in a gesture of homage, while Our Lady bows her head in a reciprocal greeting. She is dressed as a bride.

One of my favorites is a depiction in which we see the familiar deacon-archangel holding a Gospel book, accompanied by the candlebearing acolytes, approaching the Blessed Virgin on what appears to be a rooftop terrace, with the sun streaming behind her (which is somewhat unconventional; usually the beam of light comes from across the scene from the other direction). The sublimity of the setting and its vertiginous perspective hint at the lofty grandeur of the miraculous conception.

Top Image: Mystère catholique, oil on canvas, 1890. Middle Image: Annonciation d'Assise, oil on canvas, 1914. Bottom Image: Annonciation à Fiesole, oil on canvas. Quotations by Peter Kwasniewski, "A Modern French Painter in Love With Our Lady: Maurice Denis' Remarkable Annunciation Paintings"

[soisaidfine]

The artist and his producer. Writing a hit: Dancing in the Dark. (Bruce Springsteen and Jon Landau)

Pamela Springsteen, Bruce's little sister: Dancing in the Dark, live.

"Landau wanted a first single, and by that he meant more than just a guaranteed hit. “When I used the word single, in my own mind I meant it in a much bigger sense. The type of single I was talking about was a single that would truly represent what was going on. And I was also searching for a way to express the idea that I wanted something that was more direct than any one thing that was on the record. As I said to Bruce, a song where a person who is a Bruce fan, who stayed with you on Nebraska, even if it was mysterious to him, a song where that guy’s gonna say, ‘Yeah, that’s Bruce; that’s what he’s all about, right now, today.’” “I don’t have a song like that,” Bruce said. Landau persisted, arguing his case strenuously and in great detail. “I don’t know if I was doing it to be provocative or what. I was just doing it. I was saying things I hadn’t planned to say,” he remembered. Springsteen balked, then exploded. “Look,” he snarled, “I’ve written seventy songs. You want another one, you write it.” Landau took it on the chin but got in the final punch: The point wasn’t just that he wanted such a song—although he frankly admitted that he wanted this as much as Bruce had wanted Nebraska—but that the album needed it, that it would be artistically incomplete until such a song existed.

By the time they left for the studio, Landau and Springsteen had calmed down, but both found the experience “weird,” mostly because neither of them was given to such emotional roughhousing, at least not with each other. “It was a very explosive few moments, and it subsided very quickly and we went off and worked on the mix,” said Jon. “It was as close as we get to almost the atmosphere of an argument, but it didn’t hang in the air at all.”

But later that night, alone in his hotel suite, Bruce found himself replaying the discussion. Sitting at the end of his bed in those hours before dawn that he still treasured most deeply, he picked up his acoustic guitar and began to strum a simple riff. He’d already thought up an opening line: “I get up in the morning,” he sang and stopped. No, he thought, I don’t wake up in the morning. What do I do? “I get up in the evening,” he sang softly and thought, Well, how do I feel about that? “…and I ain’t got nothin’ to say/I come home in the morning, feeling the same way/Man, I ain’t nothin’ but tired, tired and bored with myself.”

Telling the story even a couple of years later, Bruce still seemed a little bit in awe of what happened next. “It was just like my heart spoke straight through my mouth, without even having to pass through my brain,” he said. “The chorus just poured out of me.”

You can’t start a fire, you can’t start a fire without a spark This gun’s for hire, even if we’re just dancin in the dark

By sunup Landau had what he’d asked for: a song that summed up Bruce Springsteen’s life in that moment. It was exactly what the album needed. But it was more—the most directly personal excavation Bruce had extracted from himself since “Born to Run,” a song whose intimacies ran bitter and deep. Even the song’s quotations from rock and roll classics were cuttingly ironic: Bruce Channel’s mournful “Heeeey, baby!” and Elvis’s “Have a laugh on me/I can help” each mutated into a statement of frustration. In a way, the song was about everything Bruce had withstood since Nebraska. Through it all, Bruce’s songs remained stoically philosophical. In “Dancing in the Dark” he finally let his bottled-up confusion explode. Through its verses, “Dancing in the Dark” sounds not so much bitter or angry as just plain irked, ticked off at events. When he recorded the song, Bruce snapped off every line as if it were so brittle it might well shatter, and as if he didn’t give a damn. Lonesome as some of those lines were, they were aggressively sardonic, too. “I wanna change my clothes! my hair! my face!” he cries, bemoaning “livin’ in a dump like this,” attacking his own loathing and fear of aging and responsibility and competition and the unending tug of each of these things. “Dancing in the Dark” becomes a jeremiad, as well as a replay of his rancorous discussion with Landau, this time with Bruce playing both roles. Juxtaposed against “You can’t start a fire without a spark” is the rejoinder: “You can’t start a fire, worrying about your little world fallin’ apart.” This was a protest song worth keeping—a marching song against boredom, a battle cry against loneliness, and an accounting of the price the loner pays. And on top of that, it’s also the moan of an extremely physical person who can’t wait to hit the road again: “There’s somethin’ happenin’ somewhere/Baby, I just know there is,” he sings, and again, “I’m dyin’ for some action.” He was well on his way to finding as much as he—or anyone—could handle.

Landau asked for a song about how Bruce was feeling. Bruce responded with a record that was about how he felt the second the song was proposed. In a way, “Dancing in the Dark” is about being caged in by one’s own creation—its genesis is the desire to finish making Born in the U.S.A. Oddly, however, recording it proved difficult for Bruce. The session was one of the smoothest ever for the E Street Band—that day just Bittan, Weinberg, Tallent, and Springsteen, with Clemons’s saxophone solo added later. But it came out as a record dominated by Roy Bittan’s synthesizer and the supple drumming of Max Weinberg, while Bruce thought the song should be led by guitar. Over the next several days, he tried a variety of approaches to make it work that way. “In the end, it was just like any child,” he said. “It was gonna be what it was gonna be, no matter what I wanted.” Springsteen surrendered and the record was done."

Dave Marsh: Bruce Springsteen

[sercezgazety]

For all the times he thought about fucking Herbert West, Dan never imagined there would be a press coverage.

The pictures they draw in the courtroom are kinda hilarious. Herbert looks like a feral child, even shorter than in real life, unnaturally pink lips curled in a permanent snarl, and eyes ridiculously large. “The artist must have really wanted to be a gothic novel illustrator,” Herbert snorted back when they were still talking to each other. The way he said artist didn’t suggest irony, just distaste. Dan wasn’t spared from this kind of creative exaggeration either, by the way, his cheeks so hollow and circles around his eyes so dark, he looked like a skeleton in the first pictures. That was before he started stress-eating, that is, though the dark circles never go away. By the end of the trial, Dan from courtroom sketches resembles a very sad panda bear.

The moment Cornell took care of the bail — huge, but also ridiculously small, considering Herbert’s capabilities of causing harm — he apparently decided Herbert needed a makeover. He wasn’t stupid, he never told Herbert to smile for the cameras; there’s no world in which that could end well. It’s impossible to make Herbert with his speech patterns and his stare appear likeable, but Cornell did have his client memorize some lines that made him sound almost reasonable. Nothing too grand: not a word about defying God, no personal opinions on the value of an individual life in the great scheme of things. A scientific breakthrough, yes, and the methods were perhaps a bit unorthodox, but if we were to wait for the bureaucrats to find the right stamps in their desk drawers, the society would never get anywhere. The system’s rigged. Huge pharmaceutical companies have the proper resources to deal with all that paperwork and red tape, they have the money to send entire ethics committees on “scientific conferences” (the quotation marks are not performed with fingers but with a disdained grimace). Those are luxury cruises, actually, did you know? Glorified bribes. In this day and age, the little guy can do next to nothing. There’s no way for an independent researcher to act by the book and get any results. Just imagine how many breakthroughs we’ve all been robbed of by this system. And why? Because of ethical standards, as the industry would have you believe? Oh no. You see, they don’t care about progress, they don’t care about helping people or curing diseases the way the little guys do. They don’t care about us, Herbert recites, smoothly asserting himself as one of human beings. They want money. He holds his head high, and there’s fire in his eyes, the kind Dan’s grown to be wary of. One newspaper calls him charismatic.

The scientific rigor was upheld at all times during his research, Herbert tells the press, and Dan just knows he’s physically refraining from following rigor with mortis. Cornell decides that looking like an undertaker is not doing his client any favors, and finds a well-cut checkered suit in a reasonable shade of gray. Concessions need to be made. It’s wrong, it’s wrong, it’s wrong, and with the azure tie, Herbert looks so ridiculous, he might as well be wearing a Hawaiian shirt with a tramp stamp peeking out from underneath it.

“Do you know this man?” the prosecution asks Dan, pointing to this all-new, normal and respectable doctor, and Dan wants to say, no. That’s not Herbert, that’s someone else entirely. But he just nods. There’s a lump in his throat whenever he looks in the other defendant’s direction. Herbert’s doing his best not to show his discomfort with the bright colors and alien textures, but Dan knows him well enough to be aware he’s this close to tearing the clothes off.

Dan, on the other hand, doesn’t get any specific instructions on what to wear, except for ditching shirts that Ms. Rhiannon — Miss, she insists — proclaimed Byronic. There are women on the jury, she explains, but there are also husbands who don’t like their wives swooning over defendants. But besides that, be yourself.

When he puts on a sweater vest and a corduroy jacket, his lawyer claps her hands in delight. Perfect, she decrees. The ideal boy next door, no longer a paperback romance hero, oh no. Calm, friendly, reliable, one you’d want to grab a beer or a coffee with. She bats her eyelashes at that last part, though maybe Dan’s just imagining things. By the time the trial’s over, there’s no batting eyelashes at him anyway, just thirty extra pounds, gray hairs that suddenly got there despite the weird bald patches, and the humiliation of crying in front of a camera and not having any tissue. It takes him over a year to get back in shape, but it seems the liver spots are there to stay.

for angst, doomed middle aged men yaoi, and courtroom bathrooms continue reading here

(each chapter can work as a standalone, I think)

[luxraydyne]

Reconstructing Renju, or Luxraydyne's Renju Receipts

so uh. there were a couple art pieces i wanted to make about 50 years ago that i decided necessitated sifting every line of text in ai the somnium files (2019) to compile every Renju Crumb i could find. anyway i don't have any art. but what i do have is a nifty huge document with every renju mention in the game, including some silly annotations, which i can offer to artists writers and renju enjoyers for their perusal

turns out there's no neat way to organise this stuff to be more searchable since chronological order doesn't really work, so i have tried to create a sort of iceberg-ish format with the most surface-level info at the top and the esoteric interpretative junk at the bottom; in the reblogs i'm gonna add another version i like that's more fun to use but less comprehensive

(disclaimer: no aini in here, sorry, for one million dollars i will deal with the ramifications of my personal sleep paralysis demon, i simply could not be dealing with the migraine)

Sections for Navigation

Level One: File (literally just the stuff in the menu) Level Two: The Carousel Horse's Mouth (flashbacks) Level Three: Hearsay Evidence (direct-ish quotations) Level Four: Known Relationships (with subheadings) Level Five: Bittersweet Reminiscence (subjective memories) Level Six: Finding-Character-Through-What-Is-Out-of-Character Level Seven A: Renju's Experience of Dying (the mind) Level Seven B: Renju's Death Observed (the body) Level Eight: Renju As Ghost/Encryption/Abstraction Level Nine: Scraps, Symbols, YMMV

Level One: File

Age: 37 Birthday: April 13 Profession: Entertainment Company and Maid Cafe Manager Likes: Unusual things Dislikes: Ordinary things Hobbies: Work Skills: Enjoys songwriting Overview: Renju manages the entertainment office Lemniscate and [maid] cafe Sunfish Pocket. He is the ex-husband of Shoko Nadami and Mizuki’s father. He has been Date’s close friend for five years.

Level Two: The Carousel Horse’s Mouth

Renju: “It was my misunderstanding.” Date: “What do you mean?” Renju: “I thought that mothers love their children unconditionally. But some mothers just can’t do that. Well, no, maybe she does love her. But she has a hard time of it. Shoko was never hugged by her mother. Not because her mother wasn’t around. She was raised to never develop a sensitivity to affection. No hugs, no piggyback rides, nothing. Maybe that’s why she doesn’t know how to love Mizuki. When an animal raised in captivity gives birth, sometimes it just doesn’t know how to raise its young. It’s just like that.” Date: “I do feel bad about Shoko… But that doesn’t mean she’s blameless in all this. Someone has to put a stop to it.” Renju: “If I could have, I would have done it a long time ago.” Date: “What about counselling?”Renju: “I did recommend that. She told me, ‘I’m not sick, why should I go see a doctor? Mizuki is the problem, Mizuki is the sick one…’” Date: “Maybe it’s best if Mizuki and Shoko are separated.” Renju: “No, Mizuki would never leave Shoko. She wouldn’t hear of it. Mizuki and Shoko are practically attached at the hip.” Date: “Even with all the hitting?” Renju: “Yes. Even if she’s abused on a daily basis, even if she’s treated like garbage… Maybe… Mizuki is hungry for love. She craves praise and attention and physical affection. She wants it from her mother. That’s why she’s so attached.” Date: “Couldn’t you step in and take over the parenting?” Renju: “I have a company now.” Date: “Lemniscate.” Renju: “And we’re at a crucial stage of development. I can’t take even a single second out of my day to deal with a kid.” Date: “Hey, that’s your daughter you’re talking about. Maybe because you two can’t cooperate on raising a child, Shoko is having trouble coping.” Renju: “That might be it. Maybe this is partially my fault.” Date: … Mama: … Date: “Okay, I’m sorry, but I’m just gonna say it. You two are both awful parents.” - Tuesday (seisAI), Marble (flashback)

Renju: “Hey, Date. Have you ever seen a dead body?” Date: I remember Renju saying that to me, after he and I went through a bottle. Renju: “You’re a policeman. I don’t know what department, but I assume you aren’t handing out traffic tickets. So how about it?” Date: I didn’t answer. I turned the question around on him. Date: “What about you?” Renju: “Me? Well, yeah. Not just one. Countless bodies.” Date: … Renju: “When I was in high school, I had a pretty crazy job. You know the Kumakura gang? I was hooked up to one of their phone fraud scams. I just had to go collect the money from drop points and give it to the Kumakuras. It was an easy job. Eventually, I became friends with the higher-ups. They started taking me with them on jobs.” Date: “What jobs?” Renju: “The target was always an elderly person from the country with no family. Elderly folk who owned a lot of land, you know? They live every day in loneliness and desperation. You just have to be nice to them. That’s all it takes. Guys would get to know the old people, and they would set up and adoption process. After that… You just have to get them really drunk, throw them in the tub full of hot water… And they pass. Just like that. Heart attack, brain hemorrhage, or they simply go to sleep and drown. The police almost never investigate it. It always looked natural, like they died of old age. So the adopted gang members would inherit the land. Then we sell it and make massive profits.” Date: … Renju: “I watched a lot of people get killed like that. And I’ve seen journalists get killed for getting too close to the truth. So, I… I…” Date: … Renju: “Why am I telling you all this?” Date: … Renju: “Hm. Are you going to arrest me?” Date: I took a sip from my glass. I didn’t say anything for a while. Date: “You didn’t do it yourself, right?” Renju: “No, I was always the lookout. But still… Date, I…” Date: Tears fell to the counter, unending. We didn’t say another word until the ice in the glass had melted to nothing. - Monday (syuurAI), Marble (flashback)

Date cuts bluntly through Renju’s false brazenness and euphemism to the heart of this long rambling confession, that Renju was groomed by the Kumakura gang when he was in high school and now, being complicit in gruesome, cruel criminal activity, now has no way to expunge the trauma of what he remembers from himself, much like the trauma of digging up Manaka’s body, another double-meaning sitting beneath in all this

Renju: “Wait, you’re going to see So?” Manaka: “Yes. I want to talk to him in person.” Renju: “No, you can’t!” Manaka: “Why not?” Renju: … Hitomi: … Manaka: “Are you worried about my body? You don’t have to worry about that. I’m totally fine.” Hitomi: “But your stomach is still…” Manaka: “Oh, my doctor told me that’s normal. Your stomach doesn’t go down right away after giving birth.” Renju: “I’m not worried about your body! Ah, I don’t know how to explain it… So doesn’t care about you! And especially not your child!” Manaka: “I haven’t told him about giving birth… He contacted me for the first time in a while…” Renju: “So that’s why…” Hitomi: “He wants to know about the baby…” Renju: “He must be panicking. If anyone ever finds out his mistress had his baby, his political career would be over.” Manaka: “It’s not like it was an affair…” Hitomi: “His wife passed away after giving birth to his son, right?” Renju: “It would still be a big scandal. He impregnated a girl who just graduated high school. Don’t you see how that looks? He knew how the public would take it… That’s why he gave you the money to…deal with it.” Hitomi: … Manaka: … Renju: “There’s no way he’ll accept that child.” Manaka: “It’s okay. I told him I won’t cause any trouble.” Hitomi: … Renju: … Manaka: “But, could you take care of the baby? Just for a little bit? I’ll be right back.” Renju: … Hitomi: … Renju: “Fine. But take this with you, just in case. It’s a GPS transmitter. Just to be extra safe.” Manaka: … Hitomi: … Manaka: “I really don’t think I’ll need it… But okay. If it’ll make you feel better.” - (18 years ago) Sagan Residence

Renju may well have been an overly pessimistic, hypervigilant, somewhat neurotic personality already, in fact it's likely he was already traumatised given the Kumakuras had their teeth in him well and good in his teenage years, but I have an inkling Manaka's last words to him and Hitomi were a trauma that has remained raw with ever since and affected all the close relationships he had thereafter, especially with his own child

Renju: “Those are Kumakura men…” Hitomi (present): “We didn’t dare move. We couldn’t speak. We were barely breathing. We could only watch as it all unfolded. I knew what that hole was for. But I couldn’t move. I couldn’t do anything. I remember my heart beating so fast… Before long…” Initiate: “We good here?” Street Boss: “Yeah. Cover her.” Rohan: “Just a minute. Beautiful…” Hitomi: *gasp* Hitomi (present): “The Kumakura people covered Manka’s body, then left. Renju and I ran over…and dug up the grave with a tree branch… What we saw…” Hitomi: *sob* Hitomi: “Manaka… Manaka…” Hitomi: *sob* Hitomi: “We need to… We need to call the police…” Renju: “No, we can’t. Not yet.” Hitomi: “Why not?” Renju: “You don’t know who those guys are. They would do anything to keep this hidden. I’ve seen it happen myself. I know what they’re capable of. Anyway, think about it. Why would they do this? They thought Manaka and her baby were going to be trouble. Manaka’s stomach was still pretty big… I don’t think they know that she gave birth already. What do you think they’d do if they found out? They would take her and kill her too. And then…they’d come for us. They’d make it look like we disappeared. All of us would be…gone.” Hitomi (present): “Renju convinced me. He knew more about the dirty underbelly of society than anyone. He knew when something couldn’t be handled by the police. He said that they would do anything to kill the child. And I believed him. We had to protect Manaka’s baby… We had to, no matter what!” Hitomi: “Okay, I understand…” Hitomi (present): “I decided to trust him. We couldn’t leave Manaka’s body in the forest… We cleaned her up…and took her to the cold storage warehouse.” - (18 years ago) Mountains

Renju: “This warehouse is owned by Okiura Fishery. My father runs it. But it’s not in use right now. They’re moving operations to a better area. They’re actually looking for buyers right now.” Hitomi: … Renju: “But don’t worry. I’ll take over the warehouse.” Hitomi: “Are you sure?” Renju: “Yes. Don’t worry. I’ll keep everyone out. Everyone but you, of course.” Hitomi: … Renju: “I’ll give you a key. You can come visit any time you want to see Manaka.” Hitomi: “Manaka… Don’t worry about the baby. I’ll protect her. No matter what. And don’t worry about them, either. The people who did this to you… I will never forgive them. I’m sorry, Manaka… Sorry… I’m sorry… Manaka…” - (18 years ago) Cold Storage Warehouse

Renju helping the people he loves in the best way he seems to understand – keeping people the fuck away and doing More Work All The Time

Hitomi: “Did you get the birth certificate?” Renju: “The mob doctor took care of everything. I have the birth certificate, and I even picked up a mother and baby book. It wasn’t cheap…but you don’t have to worry about it. Just submit the birth certificate and everything will be taken care of.” Hitomi: … Renju: “You look worried.” Hitomi: “I feel like…I’m somehow betraying Manaka. She was the one who gave birth…” Renju: “Soon, you won’t even be able to think about that. Because a war is about to begin.” Hitomi: “A war?” Renju: “Between you and the baby. You won’t get a good night’s sleep for a long time. You might even start to resent Manaka for all this.” Hitomi: “Really…?” Renju: “Anyway, as soon as you submit the certificate, you will officially be her mother. Be sure to raise her responsibly. I’ll help. Occasionally.” Hitomi: “Occasionally, huh?” - (18 years ago) Sagan Residence

These two taking a different approach to their role in this game of House

Hitomi: “What should we name her? I was thinking about her name. How about ‘Iris’?” Renju: “Iris?” Hitomi: “The goddess of rainbows in Greek mythology. And the colored part of your eye.” Renju: “And the flower, too.” Hitomi: “Right.” Renju: “I thought it might have something to do with your name, Hitomi.” Hitomi: “Hm, not only that. It’s also from Manaka’s name. The kanji for Manaka uses the character for ‘love.’ And ‘Manaka’ reminds me of ‘manako,’ Japanese for ‘eye.’” Renju: “So both names have something to do with the eye.” Hitomi: “And ‘ai,’ which means love, will always be a part of ‘Iris.’” Renju: “So that’s how you came up with the name?” Hitomi: “Don’t you think it’s nice?” Renju: “Iris. Iris. Yeah. I really like it.” - (18 years ago) Sagan Residence

"We", already falling quite neatly into the role of mother and father in the absence of both; Renju and Hitomi grow into almost idealised doubles of So Sejima and Manaka in Iris's life

Hitomi: “About Manaka’s killer…” Renju: “I don’t really want to discuss this, but… There’s something you need to know.” Hitomi: … Renju: “After talking to the Kumakura gang… I found out who killed Manaka.” Hitomi: … Renju: “So’s son. Saito Sejima.” Hitomi: “How…? Saito is only…” Renju: “12 years old.” Hitomi: “Why? Why would a little boy do that?” Renju: “I don’t know the motive, but I know it’s true. So used his connections with the Kumakuras to cover up for his son. And all of the evidence of this scandal, of course.” Hitomi: “I’ll never forgive them. So, his son, or the Kumakuras!” Renju: “I feel the same way. But you can’t think about revenge now. You and the baby can’t lead a life like that.” Hitomi: “Ah…” Renju: “Just bear with it for now. The opportunity will come. So wait until the right moment. Okay?” - (18 years ago) Sagan Residence

Getting to hear Renju speak in his own (sober) voice is fascinating; he can be inappropriately terse, blunt, sometimes stilted and morbid, but compared to what we could infer about him from conversations in the present day with Mizuki and Iris, he is actually surprisingly compassionate and selfless as well as intelligent; we finally see for ourselves why Hitomi described him as kind above all else, when that seemed contradictory to what we knew. Renju seems to have a strange sort of charisma, brusque in a way that might come across as emotionally insensitive, but able to explain his reasoning in such a way that he is very persuasive; we have seen firsthand how his tendency suppress emotional feelings has done unintended harm to others, but in these flashbacks, at a mere 19 years of age Renju's ability to set any immediate feelings aside and assess a situation more practically and “objectively” may have saved his, Hitomi’s, and baby Iris’s lives several times over; in the absence of both her parents, Renju and Hitomi immediately form a ragtag partnership and their dual personalities work fortuitously, she needed them both in her life at that very moment. I add “set aside” in part because of the last flashback where Hitomi has an angry outburst and Renju senses her desire for revenge, and tells her gently to put that to one side “for now” so as to focus on caring for the baby; but as a caveat, he promises that their revenge can come later, he’s just waiting for a suitable opportunity.

Level Three: Hearsay Evidence

Date: “You’ve always got something smart to say, huh? You’re just like Renju.” - Sunday (syokubAI), Driving with Mizuki

Aiba: “In fact, the conversation about you taking care of Mizuki took place here, at Marble.” Date: “Really?” Aiba: “The topic was brought up several times afterward, but the first time was here. Four years ago, after drinking enough ‘liquid courage,’ Renju asked you to take care of Mizuki. At the time, Renju was recently divorced, buried in work at Lemniscate, and mentally unstable.” Date: … Aiba: “It was a display of excellent judgment. It was a good thing that he managed to swallow his pride.” - Sunday (syokubAI), Marble

Aiba here practically doing my job for me.

Moma: “I’ve never even gotten into an argument with the guy.” - Sunday (syokubAI), Kumakura Offices

Date: “What kind of person was your grandpa?” Mizuki: “I never met him. He died before I was born. But Daddy did tell me stories.” Date: “What kind of stories?” Mizuki: “Back when Grandpa was in Great Grandma’s tummy… She was on a passenger ship that got shipwrecked in a storm. She had to have the baby out on the ocean.” Date: “On the ocean?” Mizuki: “Yup. And then, Grandpa was raised by dolphins.” Date: “Hm?” Mizuki: “By the time he was 10, he was catching fish with his bare hands.” Date: … Mizuki: “And then Grandpa got up on land and learned language and culture and stuff. And then he decided to start up Okiura Fishery.” Date: … Aiba: … Date: “Sounds like a tall tale.” Mizuki: “Yeah, Grandpa was a legend. All the fishermen and sailors respected him.” Date: That can’t be true. But there’s a part of me that’s thinking…maybe. After all, Mizuki herself seems superhuman. I’d believe her grandpa was an incredible man. - Monday (youdAI), Date Residence

What a lovely thing to create for a young child. In one conversation with Mizuki we can suddenly understand what it was about Renju that was so loved, despite everything else.

Date: “Do you have any memories of Renju here?” Mizuki: “Sometimes we would talk when I came over to hang out.” Date: “What kind of things did you talk about?” Mizuki: “Nothing special, the usual.” Date: “‘The usual’?” Mizuki: “‘Are you doing well? Have you been eating right?’…” Date: “Ah, so that’s the usual.” - Tuesday (seisAI), Lemniscate

Mizuki: “But there’s more to it than that. There are other reasons. Daddy was totally taken in by her talent.” Date: “Her talent?” Mizuki: “Dancing, really. Her dancing is what got her into Lemniscate. He knew ever since she was young that she would be talented. He didn’t want any other agencies to have her.” Iris: “I didn’t know that…” Mizuki: “Daddy’s not the type to give compliments…” Iris: “Haha, this is kind of embarrassing… I didn’t know he thought of me that way.” - Monday (syuurAI), Sunfish Pocket

Iris: “About three months ago, Mr. Okiura told me something… He said that I can’t dance.” Date: “Why?” Iris: “I dunno… He said something about being ‘over-reliant on dancing and neglecting my singing.’ ‘You should stop dancing for now and practice singing.’” - Tuesday (dakkAI), Bloom Park

Date: “About the shooting on Monday…” Saito: “Just mercenaries I hired. After I woke up Monday, I arranged the hit. They were expensive, but I had access to Renju’s bank account. I paid them with his money.” - Wednesday (sousAI), Abandoned Chemical Plant

Level Four: Known Relationships

Shoko Nadami

Aiba: “Nadami, Shoko. 36 years old. Female. Residence: Meguro District. Met Date, Kaname five years ago through her husband, Okiura, Renju. Date and Renju were so-called “old drinking buddies.” Renju and Shoko had one child together. A daughter named Mizuki, the prime suspect of this case. Four years ago, they were divorced. Shoko returned to using her maiden name, Nadami.” - Saturday (saikAI), Boss’s Office

Renju and Shoko divorced when Mizuki was about 8. We know that Renju and Shoko married young, though no mention of her in flashbacks to 19-year-old Renju, meaning they were most likely in their early twenties when they were married and divorced after approximately a decade.

Date: Mizuki Okiura… The girl we found in the merry-go-round. She’s 12 years old, in the 6th grade. - Saturday (saikAI), Boss’s Office

They had Mizuki when Renju was 25 and Shoko was 22.

Date: “Do you know Renju’s ex-wife?” Hitomi: “Yes, I do… But I only met her twice. Once at Renju’s wedding, and then again just a few months ago. Why do you ask?” Date:“No reason.” - Saturday (saikAI), Sagan Residence

Date: “Why did you kill Shoko?” Mayumi: “Renju’s ex-wife, right? I did it…to get to him.” Date: “But the two divorced four years ago.” Mayumi: “Th-That doesn’t matter! The bonds of matrimony are eternal!” Date: “In your opinion. I don’t think Renju felt the same way.” - Tuesday (zugAI), Interrogation Room with Mayumi

Saito: “Like you guessed, my personality was in Shoko, Renju’s ex-wife. That made calling Renju easy. ‘I need to talk to you about something.’ He came over without question. I think it was around 4:00pm? I had him meet me at the chemical plant. I made Renju go to sleep… Psynced, switched personalities… And then stabbed Shoko’s discarded body with an ice pick.” - Tuesday (jinnAI), Interrogation Room with “Boss”

Kaname Date

Date: “Have you picked up Renju yet?” Boss: “He’s at a police station nearby, being interviewed. He’s not a suspect yet, just standard procedure stuff.” Date: Renju is Shoko’s ex-husband and Mizuki’s father. Not to mention, an old friend of mine… Date: “I wonder what Renju was doing last night… I did call him a few times. He didn’t answer.” Boss: “He didn’t?” Date: “No…” - Saturday (saikAI), Boss’s Office

Date: “Look, I don’t want to believe it either. I’ve known him for more than five years now. He’s like family to me.” Date: I’d never want to put cuffs on him. I would never want Mizuki to see that… - Saturday (meikAI), Driving with Mizuki

Boss: “You look awful. Have you been sleeping any?” Date: “My best friend was murdered, Boss. I don’t have it in me to sleep right now.” - Sunday (syokubAI), Boss’s Office

Mama: “You used to come all the time. You and Ren, grumbling over your glasses of bourbon. Laughing, drowning each other’s sorrows… Sometimes getting into arguments… One time, it even became a real fight. You remember that?” - Sunday (gyoukAI), Marble

Date: Why did Renju come here Friday night? Was it to place Shoko’s body here…? Or did he have another reason? Renju is my friend. I want to believe him, but I don’t [know] how long I can keep defending him. Where is he? What is he doing? I’ve thought it over a thousand times. My head is heavy with it. - Tuesday (dakkAI), Bloom Park

Date: Hit him. Aiba: “This is for neglecting your responsibility to Mizuki, you coward! No use. I can’t hit him.” Date: “This Renju is still a teenager. He wouldn’t know Mizuki yet…” - PSYNCIN’ IN THE MOUNTaiN

It seems part of Renju, like Hitomi, stayed that scared teenager until the day he died, stuck in that one night quite literally frozen in time

Mama/Marble

Mama: “That’s right. And I won’t charge you this time. Just promise to get the bastards who did this to Ren for me.” Date: Right. This is for Renju. Date: “I promise.” - Sunday (syokubAI), Marble

Aiba: “This is a painting of Saint Sebastian. Saint Sebastian was a faithful Christian who lived under Roman emperor Diocletian. On January 20th, 288 A.D., he was martyred. This painting depicts his execution.”

Slaps St Sebastian's head. "This intertextuality can fit so much mileage in it."

Mama: “Something wrong, Date? You’re staring awful hard.” Date: “Nothing, just caught my eye.” Mama: “Why now, of all times? That’s been hanging there for a while.” Date: “Really?” Mama: “Yeah, it was a gift from Ren a while back. I’ve always had it there.” - Sunday (syokubAI), Marble

So one assumes Date hadn't noticed or enquired about the picture until just now, even though it's been "hanging there" in the back for some considerable time. See what I mean about that mileage, baby?

This dialogue occurs on Sunday on both sides of the flowchart; on the right side, the exchange occurs with Mizuki present.

Iris Sagan

Iris: “Well, at first, all I did was stream from home. And then, not to sound cocky, but…I started getting pretty big. I started getting offers from agencies.” Date: “And one of them was Lemniscate?” Iris: “Well, not exactly.” Date: “Huh?” Iris: “My mom’s actually an old friend of the president of the agency.” Date: “A friend of Renju’s?” Iris: “Yeah. So, I asked him for advice one day. You know, you have to be careful. Even a place that looks legitimate, with an office and everything, can be sketchy. And my mom and I didn’t know anything about the industry at all… Anyway, one day, Mr. Okiura said to come see him at his office, and he hooked me up.” - Saturday (saikAI), Driving with Iris

Iris: “Marble. It’s a bar in Golden Yokocho.” Date: “You know about that place?” Iris: “Yeah, Mr. Okiura took me before…” - Sunday (gumAI), Driving with Iris

Iris: “Mr. Okiura helped me when I was just starting out. You know how my mom is single? He really supported her. He even changed my diaper when I was a little baby. I got hired by Lemniscate all because of him.” Mizuki: “Iris used to stream all her own content. Like singing and dancing and gaming and stuff. But before we knew it, she went viral.” Date: “Right, I heard about that. That’s how she started getting offers, right? But because Iris’s mom knows Renju, she decided to go with Lemniscate.” Mizuki: “But there’s more to it than that. There are other reasons. Daddy was totally taken in by her talent.” Date: “Her talent?” Mizuki: “Dancing, really. Her dancing is what got her into Lemniscate. He knew ever since she was young that she would be talented. He didn’t want any other agencies to have her.” Iris: “I didn’t know that…” Mizuki: “Daddy’s not the type to give compliments…” Iris: “Haha, this is kind of embarrassing… I didn’t know he thought of me that way.” - Monday (syuurAI), Sunfish Pocket

Iris: “About three months ago, Mr. Okiura told me something… He said that I can’t dance.” Date: “Why?” Iris: “I dunno… He said something about being ‘over-reliant on dancing and neglecting my singing.’ ‘You should stop dancing for now and practice singing.’” Date: “But during your livestream…” Aiba: “She was dancing.” Iris: “Because I was…sad. After I stopped dancing, I lost so many fans… They said terrible things to me. Like that I’m worthless if I can’t dance.” - Tuesday (dakkAI), Bloom Park

Doesn’t sound entirely out of character for Renju, counter-intuitive self-preservation instincts that cause him to neglect the feelings behind the actions of others; however, in this case we can be fairly sure there is some other motive behind this, we have it from Mizuki that Renju greatly admired Iris’s talent for dance and encouraged herself to build a fanbase/market around that. Hitomi recounted a couple of occasions where Iris accidentally hurt herself in her enthusiasm for dancing; one possibility is that Iris’ neurological condition, worsening over the past few months with her tumour and increasingly unpredictably hampering her motor function, and Renju became sufficiently uneasy about the possibility of Iris injuring herself again while dancing that he told her directly to stop (Iris says Renju told her that "I can’t dance", not that she "shouldn’t" and we know for sure that Iris has the ability to dance, suggesting something greater prohibiting her from doing so—rather how someone with a broken leg would say, "I can’t walk"), which is causing Iris emotional distress instead (and failing to really protect her from the physical risks, given she is continuing to dance on stream anyway to self soothe and placate her fanbase); this fits into a pattern of behaviour of taking drastic measures to protect those close to him from perceived danger and causing more emotional hurt in so doing

Iris: “Guess I’ll tell you now. Sunday, at 2:00am, I was visited by…” Date: … Aiba: … Iris: “Renju Okiura.” Date: “What?!” Iris: “He seemed really sick… Probably because of his injury. At the time, I had no idea what had happened to him. He was sweating buckets, and he came up to me with this begging look in his eyes… He said, ‘Come with me.’ He seemed really desperate. I couldn’t say no. So I got into his rental car… We went somewhere, I dunno where. Some deserted building. Mr. Okiura got out of the car, then grabbed my hand. He tried to pull me inside. I got scared… I pulled my hand away and ran.” - Tuesday (dakkAI), Ikume Shrine

Good lord that’s twice someone just "couldn’t say no" the pretty please energy on this man must be insane Saito got mad lucky (that line is clearly subtext code for "adores and trusts Renju to the point of doing irrational things to try and help him even when he’s acting weird and OOC", though Iris’s self-preservation instinct ultimately prevails and changes her mind where Pewter never does)

Date: “Why didn’t you tell me this?” Iris: “Mr. Okiura has done so much for me. He took care of me as a kid. He helped me at Lemniscate… I wanted to trust him. No matter what happens, I can’t think of him as a bad person. I mean, he never did anything bad to me… He came to my house at two in the morning and tried to take me to an abandoned building, but… You never know. Maybe he wanted to show me some flowers, or…something that he found. Or it was like, a prank he was filming for the internet or something… That’s what I thought at the time. That’s…what I kept telling myself. But after hearing everything you’ve told me, I can’t see Mr. Okiura the same way. Maybe he’s a part of Naix. Maybe he’s trying to…” - Tuesday (dakkAI), Ikume Shrine

Saito: “I was still in Renju’s body. My next target was Iris. If I asked her to come to the abandoned factory, I knew she would be skeptical. So I called her to Sunfish Pocket. I even video called her. But for some reason, she said no. This was around 5:00pm. I was still Renju, the president of Lemniscate. I didn’t think I would have any trouble getting her to trust me, but…” - Wednesday (sousAI), Abandoned Chemical Plant

Hitomi Sagan

Hitomi: “Renju was my classmate at Eitoku High. We’ve known each other for 20 years now.” - Saturday (saikAI), Sagan Residence

Mizuki: “I saw So on my way home from the police station. Aiba: “Where?” Mizuki: “I was getting dropped off at home.” Date: “Was he alone?” Mizuki: “No, someone was walking next to him. My homeroom teacher…” Aiba: “Homeroom teacher?” Mizuki: “She’s also my mom’s best friend. It’s a long story, I’ll tell you later…” - Wednesday (sanpAI), Ikume Shrine

Either Shoko considers Hitomi to be her "best friend", having only met her twice, which is horribly depressing, or this is a translation bug and Mizuki should’ve said "dad’s best friend"

Hitomi: “I may have told you this already. I met Renju’s wife Shoko twice before. The first time at the wedding… The second time a month ago… That second time…was in the waiting room of the prison.” - Monday (jukkAI), Sagan Residence

Date: “You said you and Renju knew each other from high school, right?” Hitomi: “Yes, at Eitoku High.” Date: “And you work at the public school here?” Hitomi: “That’s right. A district elementary school.” Date: “Is that a coincidence? You becoming the teacher of your friend’s kid?” Hitomi: “Well, I hadn’t always planned on being a teacher, but… It wasn’t a coincidence that Mizuki ended up in my class. Renju seemed really intent on sending Mizuki to a school where I was teaching. They even moved to get into my school district. That was about five years ago, in spring.” Date: “Before the divorce?” Hitomi: “Yes… But I heard that Shoko didn’t have a problem with the move.” - Sunday (gyoukAI), Date Residence

Date: “How is Mizuki at school?” Hitomi: “She’s a little quiet, but she’s a very clever girl. And more than anything, she is kind.” Date: “Kind?” Hitomi: “When I’m carrying heavy bags, she’ll come and help me without asking. When I’m troubled, she’ll sometimes pick flowers to give to me. Not that she has a perfect disciplinary record…but she’s a good girl.” Date: “What’s on her record?” Hitomi: “There are a few incidents. Once, she let out all the frogs that were going to be used for science class. Another time, she punched a bully so hard that he chipped a tooth.” Date: “Sounds like more than just ‘incidents’…” Hitomi: “But I like that about her… She’s a little clumsy… And just like Renju.” - Sunday (gyoukAI), Date Residence

Hitomi: “Then, I heard footsteps. And then a bunch of men yelling. They were looking for him. When the voices and footsteps faded, he let me go. ‘Don’t call an ambulance, and don’t call the cops.’ I knew he had to be a criminal. So I took him to an underground clinic I knew.” Date: “You took him to a mob doctor?” Hitomi: “Renju’s friend. I only met him once.” - Monday (syuurAI), Sagan Residence

This meeting would've been when Renju and Hitomi left newborn Iris in his care before leaving to search for Manka's GPS signal

Date: “Where is Renju?” Hitomi: “Did something happen to him…? Did something happen to him…?” Date: There’s no point hiding it. I told her about Renju’s disappearance. Hitomi: “Right from the hospital…? I’m sorry… I have no idea.” - Monday (syuurAI), Sagan Residence

Date: “What about your parents?” Hitomi: “They died when I was 17. I was an orphan, and my relatives lived far away. Then might have taken me in, but I was already in my second-to-last year of high school. It wasn’t a good idea for me to move that late. So I decided to stay here, by myself.” Date: “And take care of Iris.” Hitomi: “Yes, all alone. But Renju would help sometimes.” - Monday (syuurAI), Sagan Residence

Date: “Her name is Manaka Iwai. She was killed when she was 19. She went to the same high school as you, and she was your best friend. Isn’t that right?” Hitomi: … Date: “Nothing to say for yourself? Hiding something?” Hitomi: … Date: “Maybe you killed her with Renju.” Hitomi: “That’s ridiculous!” Date: “Oh, now you’re talking. But we know Renju committed a crime. Illegally disposing of a body. And we can prove it.”- Tuesday (kenzAI), Interrogation Room with Hitomi

Aiba: “A flower bud. I cannot identify what variety.” Date: Worship it. Aiba: “‘Worship’ it?” Date: “Yeah.” Aiba: “I will pray to it as thought I am mourning the dead.” - PSYNCIN’ IN THE MOUNTaiN

Hitomi and Renju’s “God” is grief

Aiba: “This is… A picture of Hitomi, Renju, and Manaka.” Date: “Everyone is so young… Hold on to that.” - PSYNCIN’ IN THE MOUNTaiN

Mizuki Okiura

Date: “Renju is Mizuki’s legal guardian. Did you get permission from him?” Boss: “I couldn’t get in touch with him.” - Saturday (saikAI), Psync Room with Mizuki

May not be possible to say for sure, since Shoko is dead and everyone is obviously talking about her in the past tense and like she no longer exists, even if she was also a legal guardian of Mizuki, but from context clues it does seem likely that Mizuki was left in Renju’s sole care as part of divorce proceedings

Aiba: “When she is in a mood, it’s impossible to get her to talk. That’s the kind of girl she is.” Date: “Heh, sometimes I think you know her better than I do.” Aiba: “How long do you think I’ve been observing her?” Date: “It’s been four years now…” - Saturday (meikAI), Psync Room with Mizuki

Renju surrendered Mizuki into Date’s care four years ago, around the time of the divorce, when Mizuki was eight and seemingly very soon after Renju was seemingly given sole legal custody of her

Date: “Mizuki. Renju sent you that NILE message, didn’t he?” Mizuki: “What…?” Date: “I got this buddy of mine. Real bad personality, but real good with technology. I got some help from them.” Aiba: “‘Bad personality’?” Date: “There was a message sent at 8:05 last night. Does this sound familiar? ‘Mizuki, Daddy got caught up in something serious. Please come to Bloom Park’s merry-go-round right away. Daddy needs your help. Please, do as I say.’” Mizuki: “Yeah, that was it… It was from Daddy’s phone… But I didn’t want to say anything, because that would make Daddy a suspect, so…” Date: “So you kept quiet.” Mizuki: “Yeah… My dad’s never said anything like that to me, ever. That he was counting on me. I had to go.” - Saturday (meikAI), Driving with Mizuki

This dialogue occurs on both sides of the flowchart; on the right side, the exchange happens on Sunday at the Date Residence, with Hitomi present.

Mizuki: “I’m Renju’s daughter. Maybe I’ll notice something you don’t. Something only his daughter would know.” - Sunday (syokubAI), Driving with Mizuki

Turns out, asked the question, Mizuki can’t come up with anything. She does have something to add about Shoko though.

Date: “Do you have any memories of Renju here?” Mizuki: “Sometimes we would talk when I came over to hang out.” Date: “What kind of things did you talk about?” Mizuki: “Nothing special, the usual.” Date: “‘The usual’?” Mizuki: “‘Are you doing well? Have you been eating right?’…” Date: “Ah, so that’s the usual.” - Tuesday (seisAI), Lemniscate

These "usual" exchanges are something Mizuki says she craves in a father-figure, yet something about this with Renju doesn't sit right for her.

Mizuki: “That’s why maybe me and Mom and Daddy weren’t able to be a family. Our whole lives, we never could be ordinary. Even if I tried my hardest to be normal, it would just be awkward… Eventually, I got tired of trying.” Date: … Mizuki: “I killed them.” Date: “What?” Mizuki: “I…killed…Mom and Daddy.” - Tuesday (seisAI), Bloom Park

Date: “You’re her teacher?” Hitomi: “Yes, elementary school.” Date: “I didn’t know you taught at Mizuki’s school.” Hitomi: “I didn’t know Mizuki was living with you. I knew about her…circumstances with Renju, but… He described you as a relative. But I suppose not. Mizuki explained the situation to me.” Date: Mizuki lives here with me. But I’m not her legal guardian. That’s why I’ve never been to school with her or anything like that. That was all left to Renju. He might not be any good at raising her, but he is her father. He takes care of all the official stuff. That was one of the conditions for me taking in Mizuki. - Sunday (gyoukAI), Date Residence

Date: “Where is Renju?” Mizuki: “I don’t know where he is…” Date: “Can you think of anywhere he might go?” Mizuki: “No, not really… I don’t know where Daddy goes…” Date: “Did he visit you when you were in the hospital?” Mizuki: “No… But I didn’t expect him to. He’s always busy. He doesn’t care about me…” - Sunday (gyoukAI), Date Residence

Mermaid: “Mizuki comes here a lot. She’s really friendly with everyone.” Mizuki: “I like it here. Everyone treats me nice.” Date: “Is it because you’re the daughter of the owner?” Mizuki: “No, it’s not like that.” Mermaid: “We’re BFFs!” Aiba: “She wields extraordinary power with that trident.” Date: “The Okiura family is really something else.” - Monday (syuurAI), Sunfish Pocket

The mermaids seem to have given Mizuki an orichalcum trident, the highest "rank" of customer, for free

Date: “Do you know where your father is?” Mizuki: “If you’re asking me… He’s involved in all this, isn’t he?” Date: … Mizuki: “Is he the culprit?” Date: … Mizuki: “Did he really kill Mom?” Date: … Mizuki: “Well… I guess it’s understandable that he’d be a suspect. After Mom got killed, he didn’t even call. And he called me out to Bloom Park for some reason… I thought it was suspicious. But… But… I pretended not to notice. I didn’t want to acknowledge it. I wanted to believe in Daddy…” Date: … - Tuesday (dakkAI), Matsushita Diner

Very noticeable how much more readily pretty much everyone is able to "give up" (not quite an accurate term, Mizuki thinks her father murdered her mother based on pretty much the same little evidence available as Date who’s been otherwise occupied) on Renju in the route where he is assumed to still be alive for the duration, with less evidence than stacks up rapidly on left side of the flowchart when Mizuki and Date and even Boss are still giving him the benefit of the doubt until Saito literally spells out the truth (contrast Mizuki implying here that part of her always knew her father was the most likely candidate for Shoko’s killer, to her repeated assertions on the left side that he must be somehow innocent, which get "confirmed" when he is found strung up in Sunfish Pocket); it is as though Renju can only be vindicated in death – it is when his putrefying battered corpse is found on right side that everyone seems to collectively realise his innocence

Date: “Why didn’t you call the police?” Mizuki: “What was I supposed to do?! Daddy would have been in trouble!” Date: “So you kept quiet this whole time?” Mizuki: “Yeah…” - Tuesday (kenzAI), Ikume Shrine

Iris: “Uncle wants to know why you’re here.” Mizuki: … Iris: “‘No particular reason. Am I not allowed to be here? I inherited Daddy’s stock at Lemniscate. This is my company now, isn’t it natural that I’d be here?’ That’s what she said.” - Three months later (kassAI), Lemniscate

Pewter

Date: “You seem troubled, Pewter.” Pewter: “Two murders, one right after the other… How could I not be?” - Sunday (syokubAI), Boss’s Office

Date: “Why are you here, anyway?” Pewter: “Am I not allowed to be here?” Date: “No, I didn’t mean it like that..” Pewter: “I was here first. I was just talking to the Boss about Renju’s murder.” - Sunday (syokubAI), Boss’s Office

Date: “Any thoughts on the culprit?” Pewter: “Renju had his left eyeball removed.” Date: “Right, Shoko too.” Pewter: “So perhaps, Mr. Date, you are the killer. You’re missing your left eye. So you steal them from others. Date: … Aiba: … Pewter: “I’m kidding! Only a joke.” Date: “I’m too tired for your jokes right now, Pewter.” Pewter: “Actually… You lost your eye six years ago, correct?” - Sunday (syokubAI), Boss’s Office

Sometimes foreshadowing is relatively obvious. This is like, the second time minimum that Pewter has made an inappropriate "joke" about this exact subject, so starting to think that last line is more than merely a hint for us, the player.

Date: “This is… This is the wristwatch Renju always wore. No doubt about it. But how did this get here?” - Sunday (syokubAI), Sunfish Pocket

Mama: “Well, there was the ‘watch incident’… I’m sure you remember that one.” Date: “Watch incident?” Mama: “You don’t remember? Your drunk ass spilled your beer on Ren’s watch. Ren was furious, yelling about how ‘this watch is more important than my life!’ Or whatever… He blew up on you. That was the only time I’ve ever seen Ren that mad. That’s why I remember it so well.” Date: “Was it this watch?” Date: I pulled out the watch I had in my pocket. It was the one I found in the oil drum at Sunfish Pocket. Mama: “Yeah, that’s it! Why do you have it?” Date: … Mama: “Was it…at the scene?” Date: … Mama: “Ren was given that watch by his lover. It was an anniversary gift, I think…” Mizuki: “Lover?” Mama: “Oh, I’m sorry, I forgot Mizuki was here…” Mizuki: “No, it’s fine.” Mama: “But of course, it wasn’t an affair. This was all after he was divorced.” Mizuki: “Daddy…had a new lover…” - Sunday (syokubAI), Marble

Date: Pewter took the cigarette butt from me. Boss: “If the DNA on that cigarette butt…matches the bloodstain in the warehouse…” Pewter: “There would be no doubt that So Sejima is our mysterious polar bear.” Boss: “How long will it take to analyze?” Pewter: “If I had six hours…” Boss: “You’ve got three.” Pewter: “That’s totally unreasonable… But, I suppose. I will do my best to have this analyzed in three hours.” Date: “You folded pretty easily on that one.” Pewter: “I want to catch the criminal as soon as possible. That’s all.” Date: … Boss: … Pewter: “Now, because time is of the essence… Excuse me.” - Tuesday (seisAI)

For completeness, he does it in exactly two hours, 41 minutes.

Date: “Pewter, is it true? The results are in?!” Pewter: “Yes. The DNA I collected from the cigarette but is a positive match to the bloodstain from the warehouse.” Date: “Really…? It was So all along? He was the polar bear! He carved out Iris’s eye and stabbed Ota! And probably killed Renju and Shoko…” Aiba: “Making So Sejima the New Cyclops Killer…” Date: “Thank you, Pewter.” Pewter: “Don’t thank me yet. Hurry up and get So.” - Tuesday (seisAI)

Date: When I left the warehouse, I saw Pewter. What is he doing here? He walked up to me while I was trying to work it out. Pewter: “Date, I have to talk to you about something.” Date: “Huh…?” Pewter: About the Original Cyclops Serial Killings.” Date: … Aiba: … Date: “Why this, all of a sudden?” Pewter: “Because I want you to solve this case, Mr. Date. I want you to find who did this and bring them to justice. So if I can help you, even a little…” Date: “Why didn’t you say anything at ABIS?” Pewter: “The Boss was there. I couldn’t speak openly in front of her.” - Monday (jukkAI), Warehouse District

Date: Pewter looks grimly serious. - Monday (jukkAI), Warehouse District

Date: “Why are you so cooperative?” Pewter: “Because I know that the Boss is my enemy. I got the video from Aiba. I processed it and found that it showed no sign of tampering or editing. Which means there can be no mistake. The Boss shot and killed So Sejima. After pulling out his left eye. That makes the odds of her being the culprit behind the other murders very high. Or maybe she had accomplices. Either way, she’s a criminal. That’s why I am cooperating with you, Special Agent Date. I want it as bad as you do. The truth.” - Tuesday (jinnAI), Psync Room

Mama: “Yeah, his favourite watch. He got it from his new lover… An anniversary gift. Oh, this was of course after the divorce. Ren was so happy, he showed it off to me. He’s had that watch on him ever since.” - Sunday (gyoukAI), Marble

Mama: “Can you come back again tonight? There’s a regular here who was good friends with Ren. They should be here tonight. If you ask him, he might have some information for you.” - Monday (syuurAI), Marble

Date: “Mama, I wanna ask you something.” Mama: “What is it?” Date: “Those gunmen were waiting for us. Did you tell anyone we were coming?” Aiba: “That’s right. You did tell Mama that you were coming. And that you were bringing Iris.” Mama: “Hm, well… I did tell one person…” Date: “Who?” Mama: “The person I was gonna have you meet, of course. Same guy who gave Ren his watch.” Date: “What’s his name?” Mama: “Futa, I think. Futa Amanoma.” Date: ! Aiba: ! Date: “What?!” Aiba: … Date: … Aiba: “That’s…Pewter…” - Tuesday (dakkAI), Marble

Date: “You told those men that Iris and I were going to Golden Yokocho, didn’t you?” Pewter: “Yes. I did. Renju hired them.” Date: “Renju did?” Iris: “Which means Mr. Okiura is in with Naix…” Pewter: “Naix?” Date: “Don’t play dumb. I know you’re with them.” Pewter: “I don’t know what you’re talking about. I was just helping Renju.” Iris: “Did you help #89 get away?” Pewter: “How much does she know?” Date: “Just answer the question.” Pewter: … Iris: … Pewter: “Yes, I did.” Date: “It’s been bothering me… How was #89 able to escape from Metro so easily? And you were the one being held hostage. If you were helping him the whole time, it all makes sense.” - Tuesday (dakkAI), Psync Control Room

Date: “Is it true that you were the one who gave Renju his watch?” Pewter: … Date: … Pewter: “Yes, that’s true.” Date: There was no need to ask anything else. Why did Pewter help Renju? His last answer was all I needed to hear. - Tuesday (dakkAI), Psync Control Room

Date: “Why did Renju escape with #89?” Pewter: “I don’t know. I-It’s true, please, believe me! Renju said that he needed him. That’s all I know.” - Tuesday (dakkAI), Psync Control Room

Pewter: “Two days ago, Renju escaped from the hospital. Renju asked me on the phone to report everything about Shoko’s murder case. That’s what he wanted. Yesterday… The Boss told me that #89 was coming. Then, Renju asked… ‘Is there any way we can let #89 escape?’ I was conflicted. I thought hard about it… But it was Renju asking. Someone I love. And he sounded like he was on death’s doorstep. He was begging for help. I couldn’t say no. With my intelligence, I was quickly able to come up with a plan. You know what the results were.” - Tuesday (dakkAI), Psync Control Room

Date: “I see. So where is Renju?” Pewter: “Even if I knew, why would I tell you?” Date: “Because you don’t want more holes in your body than you already have.” Pewter: “You can’t.” Date: “Why not?” Pewter: “Date, I didn’t tell you all this because you were threatening me. I genuinely wanted you to know. To understand. The truth, Date.” - Tuesday (dakkAI), Psync Control Room

Moma: “That jackoff who took Tesa, Pewter, right? What’s his deal?” Date: “I think Renju asked him to do all of this.” Moma: “Renju?” Date: I told Moma about Renju and Pewter’s relationship. Moma: “Oh, that’s right… Renju was lookin’ for Tesa.” - Tuesday (dakkAI), Warehouse District

Saito: “By Monday, Renju’s body was almost completely dead. And of course, my consciousness as well. That’s when I got a call. From a Mr. Amanoma… The man you call ‘Pewter.’” - Wednesday (sousAI), Abandoned Chemical Plant

Receptionist

Date: “Things have been pretty serious around here lately. Receptionist: “Yeah, totally. You never think about, like, my boss getting murdered, y’know? Like, what are even the chances? That’s like, the odds of hitting the lotto.” Date: … Receptionist: “But it was kinda lucky in a weird way? Some of my old friends hit me up, asking about it, y’know? Feels like we’re old alumni or something.” - Sunday (syokubAI), Lemniscate

Date: “Who hired this woman?” Mizuki: … Aiba: “The most likely scenario is that the final decision was made by the head of the company.” Date: “Renju.” - Sunday (syokubAI), Lemniscate

Kumakura Gang

Moma: “I’ve been looking after that guy since high school. It was the usual stuff. I had him help me with a lot of work.” Date: … Moma: “But now, it’s kind of the opposite, y’know? We’re getting work from him. Well, we were. Now that he’s dead though…” Date: “What ‘work’ did he have you do?” Moma: “Eh, the usual. If talent at his office was causing trouble or something…” Date: “You ever get into any disputes with Renju doing this ‘work’?” Moma: “No way, he paid good money. I’ve never even gotten into an argument with the guy.” - Sunday (syokubAI), Kumakura Offices

Mama: “You know about Renju and the Kumakura gang, right?” Date: “Yeah, I know. I heard it from his own mouth right here.” Mama: “Do they have anything to do with the talent scandal at Lemniscate?” Date: “Maybe now they do, since Renju is the president of Lemniscate. But even before that…Renju and the Kumakuras go way back. All the way back to high school.” - Monday (syuurAI), Marble

Bit sad that Date can remember when Renju drunkenly told him about the trauma of being present at multiple murders under coercion, but not about Renju getting uncharacteristically angry at him out of love; makes sense from a plot and characterisation standpoint, but still.

Date: “Who told you this?” Hitomi: “Renju told me.” Date: “But you said he wasn’t there.” Hitomi: “He heard some of this from the Kumakuras. Renju had connections with them…” - Tuesday (kokkAI), Psync Room with Hitomi

Hitomi: “Again, neither Renju or I saw this. We were just waiting at my house for Manaka to return. But she never came back. We tried to call her cell, but it didn’t connect. But then…we saw movement on the GPS.” Date: “The GPS Renju gave to Manaka?” Hitomi: “Yes. At first, we thought she was on her way home. But we saw the GPS getting further and further away from the city… Renju and I got nervous and decided to follow it.” Date: “What about the baby?” Hitomi: “We couldn’t take a baby with us, so… Renju gave the baby to the mob doctor he trusted.” - Tuesday (kokkAI), Psync Room with Hitomi

The ol’ Kumakura special. (Moma does exactly the same thing for Iris in Iris End, gives her a tiny GPS tracker to conceal on her person in case she goes missing, which she also does)

Manaka Iwai

Date: “It was covered by a cloth.” Aiba: “What is unnatural about that?” Date: “Isn’t it strange? The culprit hid the body because they didn’t want it to be found. But then they cover it with a cloth? That implies they thought that someone would eventually find it.” Aiba: “I explained earlier. The body may not have been hidden by the culprit. And even if they were responsible… It is not uncommon that murderers feel a sudden urge of remorse or pity for their victim.” Date: “So the cloth was a sign of pity?” Aiba: “That is a possibility.” - Tuesday (kenzAI), Warehouse District

Mizuki: “Okay. I’ll tell you about ‘Alice.’ It was about a month ago… I saw my daddy crying in the President’s office at Lemniscate… I was peeking through a crack in the door, so he didn’t see me. Daddy got up, then got into his car and drove away. I had never seen him like that before… I was curious, so I followed him in a taxi. That led me to the cold storage warehouse… He got out of his car and went inside. I followed right behind him, quietly. Daddy was standing next to the forklift in the back. I hid behind a shelf. I watched Daddy open the hood of the forklift. And then, after a little bit, he left. I wanted to know what he was looking at. I went over to the forklift and I looked under the hood myself. And then…” Date: “You saw Alice’s dead body.” Mizuki: “But at the time…I thought it was Iris…” - Tuesday (kenzAI), Ikume Shrine

Mizuki: “I asked around some, and… I found out that Daddy was managing the warehouse before I was born. After my grandpa died, Daddy took over. In exchange for managing the warehouse, he gave ownership of the company to someone else. I guess he didn’t want to let this place go. Or maybe he couldn’t let it go. That’s more accurate, I think… But I understand why. Inside that warehouse was…” Date: “Alice.” Mizuki: “On paper, Daddy has nothing to do with Okiura Fishery. Daddy was still managing the warehouse… And he was the only one allowed in there too. That was part of the agreement when he gave up the company. And the whole thing had to be a secret. He really stressed that point…” Date: “Hey, Mizuki. How long was he managing the warehouse?” Mizuki: … Date: … Mizuki: “For 18 years. That’s what the man told me.” Date: “18 years?! From that long ago?!” Mizuki: “Yes…” Date: … Mizuki: … - Tuesday (kenzAI), Ikume Shrine

Date: “Hitomi… I think I know what happened 18 years ago. You three were close. You, Manaka, and Renju. Manaka was murdered. You and Renju found the body in the mountains. And you brought it back to the cold storage warehouse.” Hitomi: … Date: “And my guess is So Sejima killed Manaka.” - Tuesday (kokkAI), Psync Room with Hitomi

Level Five: Bittersweet Reminiscence

Ota: “So, anyway, Mizuki reads my novels. I get notes and advice from her.” Date: “From a sixth grader?” Ota: “She’s surprisingly insightful. She has the talent to be an editor, for sure.”

Date: “Do you remember anything?” Mizuki: “Yeah, I do. I went to this amusement park when I was little… I was four. I remember it so clearly. This is where…I saw my mom and dad smile. I had so many happy memories here. The only happy memories I really have are from here. Memories of my family are…so bright and colorful. But now… This is where Mom…” - Saturday (meikAI), Bloom Park with Mizuki

Date: “You’ve always got something smart to say, huh? You’re just like Renju.” - Sunday (syokubAI), Driving with Mizuki

Aiba: “At the time, Renju was recently divorced, buried in work at Lemniscate, and mentally unstable.” Date: … Aiba: “It was a display of excellent judgment. It was a good thing that he managed to swallow his pride.” - Sunday (syokubAI), Marble

Date: “Is this your first time at a place like this?” Mizuki: “Yeah. I mean, at Sunfish Pocket they served alcohol, but…I’ve never been to a bar like this.” Date: “I would hope not, you’re in elementary school.” Mizuki: “Well, Daddy invited me along sometimes, but I was too shy to go…” Date: “Good call.” Mizuki: “I was planning on going one day. When I was old enough to drink. I wanted to go to a bar with Daddy…” - Sunday (syokubAI), Marble

Date: “Was Renju a regular here?” Mama: “I haven’t seen him for a while. I thought I was going to shrivel up and die of boredom without you boys around.” - Sunday (syokubAI), Marble

Mizuki: “I remember telling you before… That Bloom Park is an important park of my memories. Before it shut down, I came here a lot with Daddy and Mom. They fought a lot, but sometimes they got along. Whenever we were here, it was one of those ‘sometimes’ days. I remember it clearly. I was just a little girl, but it was so rare to see them laughing together… That’s why I remember it so well. I remember…riding the merry-go-round like this… Mom was standing right next to me… She was holding me so I wouldn’t fall.” Date: “Where was Renju when you were on the horse?” Mizuki: “He was on the other side of the fence, with an old camera. Every time we passed in front of him, Mom and I would wave our hands. Heh, we sound like a happy family, huh?” Date: “He must have gotten good pictures.” Mizuki: “No, actually. We tried developing them at the park, but they came out all blurry and out of focus. But Mom wasn’t mad or upset or anything. She just started laughing. That might have been the first and last time the three of us laughed out loud together…” - Tuesday (seisAI), Bloom Park

Level Six: Finding-Character-Through-What-Is-Out-of-Character

Date: “I wonder what Renju was doing last night… I did call him a few times. He didn’t answer.” Boss: “He didn’t?” Date: “No…” Boss: “The local police tried his phone too, but they got the same result. No one was able to get a hold of him until this morning. We explained the situation to him, had him verify Shoko’s corpse… And naturally, started asking him questions.” - Saturday (saikAI), Boss’s Office

This is currently Saito occupying Renju’s body, hence the strangely evasive behaviour. The real Renju, as in his consciousness, is already dead, but Date and Boss don’t know that, so believe they are discussing the Renju as they know him.

Date: “Renju is Mizuki’s legal guardian. Did you get permission from him?” Boss: “I couldn’t get in touch with him.” Date: “What? I thought he was being questioned by a local unit.” Boss: “His questioning ended around noon. He hasn’t been heard from since.” Date: “Why would he…?” Boss: “I don’t know.”- Saturday (saikAI), Psync Room with Mizuki

Date: “You look like you want to say something.” Mizuki: “I don’t wanna say anything. I don’t wanna talk to you. I don’t wanna talk to anyone who thinks my daddy is a killer.” Date: “Look, I don’t want to believe it either. I’ve known him for more than five years now. He’s like family to me.” Date: I’d never want to put cuffs on him. I would never want Mizuki to see that… Anyway, Renju just isn’t the kind of guy who would commit a crime like this… - Saturday (meikAI), Driving with Mizuki

Date: “When was the last time you saw your dad?” Mizuki: “I think about a week ago. When I went to hang out at Lemniscate.” Date: “Did you notice anything different about him?” Mizuki: “Nothing really… He was the same as usual.” Date: “And he didn’t come to see you in the hospital, did he?” Mizuki: “No…” Date: “Not even for his own daughter…” Aiba: “That is very unusual.” - Saturday (meikAI), Driving with Mizuki

Mizuki: “Yeah… My dad’s never said anything like that to me, ever. That he was counting on me. I had to go.” - Saturday (meikAI), Driving with Mizuki

This dialogue occurs on both sides of the flowchart; on the right side, the exchange happens on Sunday at the Date Residence, with Hitomi present.

Mama: “Stupid Ren… What was he thinking, leaving his little girl like this.”- Sunday (syokubAI), Marble

Iris: “I didn’t know that…” Mizuki: “Daddy’s not the type to give compliments…” - Monday (syuurAI), Sunfish Pocket

Mama: “You don’t remember? Your drunk ass spilled your beer on Ren’s watch. Ren was furious, yelling about how ‘this watch is more important than my life!’ Or whatever… He blew up on you. That was the only time I’ve ever seen Ren that mad. That’s why I remember it so well.” - Sunday (syokubAI), Marble

Mizuki: “Okay. I’ll tell you about ‘Alice.’ It was about a month ago… I saw my daddy crying in the President’s office at Lemniscate… I was peeking through a crack in the door, so he didn’t see me. Daddy got up, then got into his car and drove away. I had never seen him like that before…” - Tuesday (kenzAI), Ikume Shrine

Level Seven A: Renju’s Experience of Death (Mind)

Aiba: “Multiple puncture wounds to the front of the torso. Cause of death: blood loss from these wounds. Body temperature and rigor mortis indicate the time of death was approximately six hours ago. That would place the crime occurring around 5:00pm.” - Friday (sigAI), Bloom Park

The true circumstances of Renju’s death occupying Shoko Nadami’s body, having swapped with Saito Sejima.

Date: Saito explained what he did on Friday. At 4:00am, Saito began his plan against Shoko. He called Renju to this abandoned factory and switched bodies with him. After taking Renju’s body, Saito killed Shoko, then brought the body to Bloom Park. But as he explained it to me, I somehow felt that I already knew. - Wednesday (sousAI), Abandoned Chemical Plant

Level Seven B: Renju’s Death Observed (Body)

Date: “My best friend was murdered, Boss. I don’t have it in me to sleep right now.” - Sunday (syokubAI), Boss’s Office

Date: Renju’s corpse was hung up by three wires. The wires were tied to three kegs. - Sunday (syokubAI), Sunfish Pocket

Date: “The corpse was strung up near this counter.”

Aiba: “The autopsy report indicates that the contents of the victim’s intestines were excreted upon death. But no traces of that have been found in the area nor on the corpse itself. This evidence makes it highly likely that Renju was killed somewhere else.” - Sunday (syokubAI), Sunfish Pocket

The "nor on the corpse itself" here is weird, either something blended in by translation, or else the implication seems to be that Saito undressed and redressed Renju before transporting and setting up his corpse; it’s simply impossible for that shit (literally) not to end up on his clothes.

Speaking of contents of intestines, we learn later that Saito has been disposing of loose eyeballs after body-swaps by swallowing them, meaning Renju’s body was nicked, effectively force-fed his estranged ex-wife’s eyeball, then killed, which is pretty fucking fucked.

Aiba: “The body was hanged from the ceiling, similar to how a fish would be. A thick hook was embedded in the upper jaw, and the wires connecting to the hook were strung up on one of the ceiling beams. There was also a hook on the other end of each wire. The three beer kegs were attached to these hooks.” - Sunday (syokubAI), Sunfish Pocket

Conspicuous use of the conjugation "hanged" there, Aiba.

Also being strung up with rope and penetrated, evident albeit warped parallel to St Sebastian imagery.

Takes some considerable digging into subtext, but it seems implied by conversations with Date and Mama that Renju was dependent on alcohol to some degree, so the irony of his dead body being weighed down (or weighed up, as the case may be) by beer kegs is fucking fucked too, made more terrible by the knowledge that Date makes sure to emphasise repeatedly that Renju was drugged almost catatonic by Saito to make it possible/easier to strangle him to death.

Date: There are deep impressions left on his neck. Date: “Strangulation?” Aiba: “Correct.” - Sunday (syokubAI), Sunfish Pocket

Aiba: “The autopsy report discovered the presence of benzodiazepine. It is a common sedative. The dosage found in the victim’s bloodstream was extremely high. It can be assumed that Renju’s cognitive functions were heavily impaired before his death.” - Sunday (syokubAI), Sunfish Pocket

Date: He was barely conscious before he was killed. - Sunday (syokubAI), Sunfish Pocket

Date: “A heavy concentration of sedatives were discovered in Renju’s body. Renju was practically in a coma before he died. He wouldn’t have struggled.” - Sunday (syokubAI), Interrogation Room with Iris

Radio: “In other news… At 6:10pm today, on the outer circle of the capital city highway in Minato District, Tokyo… A traffic collision occurred, involving five cars and at least one truck. As a result of the pile-up, one man was sent to the hospital unconscious, in critical condition. Six other individuals were treated for minor injuries. MPD has arrested the driver of the truck suspected to be the cause of the accident for negligence. The investigation is ongoing.” ­- Saturday (keitAI), Driving

The lone man in hospital in critical condition is Saito, in Renju’s body; this pile up was bad, involving “at least one” heavy vehicle and five cars, and the state of Renju’s body is really, really bad.

Date: “Anything else to report?” Boss: “About Renju…” Date: “Renju?” Boss: “Yesterday, I told you he vanished after he was questioned. Well, we found him.” Date: “Where?” Boss: “Central Hospital. He was brought there from a traffic accident. He’s unconscious and it’s not looking good.” Date: “Could it be…?” Aiba: “Capital Highway?” Boss: “Oh, you heard about it?” Aiba: “We heard the report on the radio last night.” Date: “I can’t believe it was about Renju…” - Sunday (gyoukAI), Boss’s Office

Ironically, they still haven’t found him, since guy’s about to disappear again and they still don’t have an inkling that it ain’t Renju in there, lol another victory for Renju the Vanisher.

Date: “Anything else you can tell me about Renju?” Mermaid: “Anything else? Well, he did seem really sick. He was pale and sweating a lot…” Date: “Must have been because of the accident.” Aiba: “Perhaps.” - Monday (syuurAI), Sunfish Pocket

Date: “You’re… Saito Sejima…” Saito: “Oh, so you figured it out.” Date: “Renju’s body on the ground… Without his left eye…” Saito: … Date: “You were inside Renju, weren’t you? Until just now? You used the machine to exchange minds, then got rid of his body.” Saito: “Close, but you’re a little off. I didn’t ‘get rid’ of the body. He died of natural causes.” - Wednesday (sousAI), Abandoned Chemical Plant

Date: Renju… I don’t believe it… - Wednesday (sousAI), Abandoned Chemical Plant

Saito: “I decided to pick her up in Renju’s car. I thought that if she saw me in person, she would trust me. However…”

Date: “You got in a car accident around 6:10pm and lost consciousness.”

Saito: “So unlucky… My plans were ruined.” - Wednesday (sousAI), Abandoned Chemical Plant

Saito: “After the accident, my body was taken to Central Hospital. I regained consciousness just past 12:00am Sunday. The surgery was a success, but Renju’s organs were in a horrible state. But I had somewhere to be.” - Wednesday (sousAI), Abandoned Chemical Plant

Saito: “I was planning to put her to sleep in the car, but I didn’t have my drugs on me. The sleeping pills were inside Renju’s crushed car. I was pushing my luck. My plan and my body were both in shambles. I’m sure the painkillers were affecting me as well. My mind was scrambled, and I couldn’t think straight.” - Wednesday (sousAI), Abandoned Chemical Plant

The absolute ringer Renju’s body is put through in Reso route can really be read two ways; either the literal scrambling of his insides and slowly putrefying like a shambling corpse and externally dressed in his own filth is a further indignity layered atop the cruelty of having his body stolen and used to systemically destroy the lives of those in proximity to him while the tiny percentage of his consciousness still lingering in his brain smothered by Saito is made to watch helplessly (being forced to spectate as a serial killer methodically carries out a scheme to deceive and gruesomely murder who committed the crime of being a convenient target – sounds very familiar); the alternative marginally less shitty reading is that, in death, though his mind is gone, Renju’s physical body enacts his revenge by scuppering Saito’s intricately laid plans and eventually allowing him to be caught (not saying Renju literally caused his car to crash somehow, it’s more like a small poetic justice; Saito shoves Renju out of his own body and steals his autonomy away from him, so Renju’s formerly pristine body starts turning to mush and falling apart at the seams, yeeting Saito out of there too – Saito says himself, he had no hand or say in Renju’s body’s death, it died on its own); it may have taken the rest of his life away but gotdamn did Renju get his promised revenge, talk about seeing the right opportunity and taking it. The irony of Saito being impaired by painkillers given to Renju's body, when Saito used sedatives to force Renju's body into compliance on the left side of the flowchart is also sweet.

Saito: “I couldn’t chase after her. I needed to sleep… I managed to make it back here and collapsed on the ground. Next thing I knew, it was the next day. I woke up around noon on Monday. Renju’s body was about to expire.” - Wednesday (sousAI), Abandoned Chemical Plant

Saito: “Not to sound like a broken record, but Renju’s body was almost done. It was completely useless at this point. So I put Rohan to sleep and began the Psync. As a result… This happened.” Date: “Renju…” Saito: “It’s just like I told you. He died of natural causes.” - Wednesday (sousAI), Abandoned Chemical Plant

Level Eight: Renju As Ghost/Encryption/Abstraction (Nobody Can Decide Where or Who Renju Is and Looks Constantly To The Next Person Hoping They Might Know Him Better Until Everyone Is Contradicting Each Other and Themselves and Nobody Knows Anything Anymore)

Boss: “No one was able to get a hold of him until this morning. We explained the situation to him, had him verify Shoko’s corpse… And naturally, started asking him questions.” - Saturday (saikAI), Boss’s Office

Renju has an uncanny ability to keep slipping through literally everyone’s fingers constantly, the player will pick up on pretty quickly.

Mizuki: “So let me get this straight… You think that Daddy drove his car on the tracks through the tunnel… Stopped at the closed-down station, and carried Mom’s body to the park?”

Carrying his wife through an inverted doorway, almost like a wedding.

Date: “I can’t prove it was Renju. There’s a chance someone else was driving the car.” Mizuki: “Yeah… Yeah!” - Saturday (meikAI), Driving with Mizuki

Mizuki: “Daddy didn’t do it!” Aiba: “I am not so certain.” Date: “Either way, I have to talk to Renju. And you can help me find him.” - Saturday (meikAI), Driving with Mizuki

Date: “Hey, Mizuki. Tell me again. That person you saw at the merry-go-round.” Mizuki: “No, it wasn’t Daddy! I know it wasn’t!” Date: “You’re sure?” Mizuki: “Well, I… I dunno…” - Saturday (meikAI), Driving with Mizuki

Date: “When was the last time you spoke with your dad?” Mizuki: “I don’t remember, it was a while ago… What about you?” Date: “What about me?” Mizuki: “You try calling him.” Date: “I did. I called earlier, and I tried a few times last night.” Mizuki: “And he didn’t pick up?” Date: “No…” - Saturday (meikAI), Driving with Mizuki

Mizuki: “The killer did it, not Daddy…” - Saturday (meikAI), Driving with Mizuki

Boss: “He didn’t give us any new information. He didn’t have much to say at all, really.” - Saturday (meikAI), Driving with Mizuki

Boss: “Shoko’s time of death was estimated to be about 5:00pm yesterday. Renju claims that he was at home alone at the time. But that means no one can back up his story.” - Saturday (meikAI), Driving with Mizuki

Date: “Any idea where Renju is?” Boss: “No, I told you, he vanished.” - Saturday (meikAI), Driving with Mizuki

Date: “Where the hell did Renju go…?” Mizuki: “Uh, sun poke?” Date: “What?” Mizuki: “Um, sun poke or something…” Date: “Oh, Sunfish Pocket! Renju was telling me about that place… It’s a maid cafe that he runs.” - Saturday (meikAI), Driving with Mizuki

Mizuki: “I’m Renju’s daughter. Maybe I’ll notice something you don’t. Something only his daughter would know.” - Sunday (syokubAI), Driving with Mizuki

Policeman: “And this is…?” Date: “Have you looked through the case file yet?” Mizuki: … Policeman: “Oh… Oh, I am so sorry… She’s the victim’s…” - Sunday (syokubAI), Sunfish Pocket

Date: Mizuki is looking at the spot where we found Renju. Date: “Hey. Are you doing okay?” Mizuki: “Oh, sorry. Just staring.” Date: “If you’re having a hard time, you can tell me…” Mizuki: “I’m fine. It’s not like the body is lying here.” - Sunday (syokubAI), Sunfish Pocket

Date: “Do you remember what you saw last night?” Mizuki: “How could I forget? I’ll never be able to get that image out of my head. Not until the day I die.” - Sunday (syokubAI), Sunfish Pocket

Date: “Any places you can think of that I don’t know about?” Mizuki: “Well, there is one place… Have you heard of ‘Golden Yokocho’? In the entertainment district? Daddy used to go to a place called ‘Marble’ a lot. Maybe they know something about him…” - Sunday (syokubAI), Sunfish Pocket

Mizuki: “Hey, Date. What did you and Daddy use to talk about when you were here?” Date: “Hm… I don’t remember a lot of it. I was usually drinking pretty hard.” - Sunday (syokubAI), Marble

So: “The president of Lemniscate? We aren’t friends, but I did meet him a few times through work.” Date: “What work were you doing to meet up with the head of an entertainment company?” So: “It was just some party hosted by some company or other. It’s not unusual. Events with those uptight, stuffed shirts can be rather dull. So they have some young women from an entertainment office attend. Anyway, we only saw each other few times. I don’t even remember what we spoke about.”- Sunday (syokubAI), Kumakura Office

Date: “He must have gotten good pictures.” Mizuki: “No, actually. We tried developing them at the park, but they came out all blurry and out of focus.” - Tuesday (seisAI), Bloom Park

Date: “Have you come here before with friends?” Mizuki: “Other than last Friday? Nope, I haven’t. This place has been off limits for almost a decade. Even if it wasn’t, I don’t think I would want to come back here.” Date: “Why is that?” Mizuki: “How can I explain it…? I guess I just wanted to keep that memory beautiful. I didn’t want to ruin it or replace it with another. But in the end…it was replaced by the worst memory possible.” - Tuesday (seisAI), Bloom Park

Date: “There’s no one here…” Aiba: “Indeed, the bed is empty.” - Sunday (gyoukAI), Central Hospital

Date: “Where are we?” Nurse: “Mr. Okiura’s room. I’m certain of it…” Date: “Where is he?” Nurse: “He’s not here. As you can see.” - Sunday (gyoukAI), Central Hospital

Nurse: “He snuck out at night.” Date: “‘Snuck out’?” Nurse: “Mr. Okiura arrived with internal injuries. The surgery was successful, but he was in no condition to move. He would have opened up his wounds, and then he would be in real trouble…” Date: “Real trouble, huh?” Nurse: “Yes. I can’t believe it… Where could he have gone?” - Sunday (gyoukAI), Central Hospital

Receptionist: “Hellooo, this is Lemniscate Entertainment Offices! Lemme hear your message! Thank youuu!” Date: What kind of employee training do they have there…? Anyway, I gave them my name and told them about Renju. Date: “Do you have any idea where he might be?” Receptionist: “Sorry, no clue! I’m trying to get in touch with him too. So far, nothing! I’m getting worried… He must be a mess right now.” Date: … Aiba: … Receptionist: “Oh, wait… Maybe he’s at the maid cafe…” Date: “Maid cafe? Do you mean…Sunfish Pocket?” Receptionist: “Yeah! That’s the one! Like, out of nowhere, Renju was like, ‘I’m gonna rent out Sunfish Pocket.’ I guess he was gonna throw like a secret party or something? But with the accident and all… Still, he might be there.” - Sunday (gyoukAI), Central Hospital

Date: “Is Renju here?” Mermaid: “No, he never showed up.” Date: “When was the last time he came here?” Mermaid: “Hm, lemme think… He’s just the owner, not the manager, so… He comes sometimes, but not all that often.” - Sunday (gyoukAI), Sunfish Pocket

Date: “Where is Renju?” Mizuki: “I don’t know where he is…” Date: “Can you think of anywhere he might go?” Mizuki: “No, not really… I don’t know where Daddy goes…” - Sunday (gyoukAI), Date Residence

Date: “Where could Renju be?” Aiba: “I also wonder where he could have gone.” - Sunday (gyoukAI), Driving with Aiba

Aiba: “Mizuki went to Bloom Park three nights ago. She was prompted by a NILE message from Renju. ‘Mizuki, Daddy got caught up in something serious. Please come to Bloom Park’s merry-go-round right away.’ There are three possibilities. One: Renju killed Shoko, or was an accessory to the murder. Two: Renju was threatened or blackmailed into luring Mizuki to the scene. Three: the culprit used Renju’s phone to send the NILE message. In any case, the motive is still unknown. We need to talk to Renju.”

Date: “Renju…where did you go?” - Monday (syuurAI), Driving with Aiba

Mama: “You need more info on Ren? I’m sorry to waste your time, but I don’t have anything for you.” - Monday (syuurAI), Marble

Date: There’s no point hiding it. I told her about Renju’s disappearance. Hitomi: “Right from the hospital…? I’m sorry… I have no idea.” - Monday (syuurAI), Sagan Residence

Date: “Where’s Renju?” Iris: “What about him?” Date: I don’t need to hide it. I told her about Renju’s disappearance. Iris: “A traffic accident? I’m worried…” Date: “Any idea where he could have gone?” Iris: “I’m sorry, no.” - Monday (syuurAI), Lemniscate

Aiba: “Date, I know you are already aware of this, but there are security cameras all over this compound. I checked all of them. #89 fled in a car that was waiting for him.” Date: “So he had an accomplice.” Aiba: “Yes.” Date: “Did you see who was driving?” Aiba: “I did.” Date: “Who was it?” Aiba: “You and I know him well.” Date: “Renju?!” Date: I told Boss and Pewter about what Aiba revealed to me. Boss: “Renju?!” Pewter: “Wh-Why…?” Date: … Aiba: “Date, Moma is calling.” Date: “Moma? From the Kumakuras?” Aiba: “I’ll connect him.” Moma: “Hey, Date. I just got the word. Renju’s been seen.” - Monday (syuurAI), Boss’s Office

Iris: “What happened to Mr. Okiura? I heard he escaped the hospital.” Moma: “So did I. But I don’t know anything more than that.” Iris: “Please tell me?” - Monday (syuurAI), Kumakura Office

Iris: “But why would Mr. Okiura do that?” Date: “I don’t know. He could be a hostage or an accomplice.” Moma: “Hm…” Date: “Either way, I need to find him.” - Monday (syuurAI), Kumakura Office

Ota: “You’re still looking for him? Well, like I told you before, I don’t know.” - Monday (syuurAI), Matsushita Diner

Date: “I’ve heard that Renju was sighted here.” Mermaid: “When do you mean?” Date: “When? I got the info a few minutes ago, but I don’t know when he was seen…” Mermaid: “Oh.” Date: “Ringing any bells?” Mermaid: “Well, he hasn’t come by today. But yesterday…” Date: “Yesterday?! But I was here yesterday.” Mermaid: “It was after that. After you and Ota left.” Date: “Why didn’t you tell me sooner?!” Mermaid: “You didn’t ask… And I didn’t have any way to contact you.” Date: “Damn it.” Aiba: “We just missed him.” Date: “What was he doing here?” Mermaid: “He was looking for Iris. He was asking everyone where she was.” Iris: “Looking for me?” Mermaid: “Yeah.” Date: “Did he give a reason?” Mermaid: “No, not in particular.” Date: “Iris, can you think of why he would be looking for you” Iris: “No, not at all.” Date: “Mizuki?” Mizuki: “I don’t know either.” Date: “Anything else you can tell me about Renju?” Mermaid: “Anything else? Well, he did seem really sick. He was pale and sweating a lot…” Date: “Must have been because of the accident.” Aiba: “Perhaps.” - Monday (syuurAI), Sunfish Pocket

Mizuki: “The police asked me a bunch of questions… But I don’t know where he is.” - Monday (syuurAI), Sunfish Pocket

Date: “About the Okiura Fishery warehouse…” Mizuki: “Why are you asking me about that?” Date: “I was just curious.” Mizuki: “That company was made by my grandpa. But Daddy has nothing to do with it. I don’t know anything about the warehouse.” - Monday (syuurAI), Sunfish Pocket

Iris: “Mr. Okiura isn’t here. I mean, of course he isn’t. It’s not like we came here right away.” Date: “He’s already taken off.” Iris: “Too bad.” Aiba: “It looks like there are no further clues here. It appears we’ve wasted our time.” - Monday (syuurAI), Sunfish Pocket

Iris: “When you found my corpse in the parallel world, you found it in an Okiura warehouse. Whoever killed me in that world was probably affiliated with Naix. That makes me think the Okiuras and Naix are connected. Maybe Naix ordered Mr. Okiura to help #89 escape. And #89 is an assassin… If he wanted to get rid of me, Mr. Okiura must have…” - Tuesday (dakkAI), Kumakura Office

Iris: “There’s nothing here…” Date: “Guess not.” Date: Why did Renju come here Friday night? Was it to place Shoko’s body here…? Or did he have another reason? Renju is my friend. I want to believe him, but I don’t [know] how long I can keep defending him. Where is he? What is he doing? I’ve thought it over a thousand times. My head is heavy with it. - Tuesday (dakkAI), Bloom Park

Date: “What happened to Renju?” Iris: “I dunno. I haven’t seen him or spoken to him since.” - Tuesday (dakkAI), Ikume Shrine

Date: “What did you do after you ran away?” Iris: “Well, I didn’t go home. I thought he might come back. I just walked around and went into a bunch of stores. Restaurants, coffee shops, net cafes… I was afraid that he would try to call me, so I turned off my phone too.” - Tuesday (dakkAI), Ikume Shrine

Aiba: “Date, the person in Iris’s letter. The one she trusts most. Who do you think that is? Date: “Renju?” Aiba: “I think so too. Remember what Iris said?” Iris: “I look up to him. He’s done so much for me. I know I can rely on him more than anyone else.” Aiba: “According to the mermaid at Sunfish Pocket…” Mermaid: “He was looking for Iris.” Aiba: “I think Renju called Iris.” Date: “And Iris went looking for him.” Aiba: “Exactly.” Date: “Then what can I do? We’ve been looking for Renju. Everyone at HQ is looking for him too. Not to mention, he’s on the run with #89. And even with all of that, we haven’t found him. We don’t even have any leads.” Aiba: “If we only had some clues to work with…” Date: “Then we wouldn’t be in this mess…” Aiba: “Are you giving up?! Iris might be with #89 at this very moment! We need to find her immediately!” Date: … Aiba: “Now think, Date! Where would Renju go?!” - Tuesday (kenzAI), Driving with Aiba

Date: “Where is Renju Okiura?! You know where he is, don’t you? You were at an Okiura Fishery warehouse for a reason! There’s definitely a connection between you two. And that’s not all. #89 called your secretary! The same #89 that Renju escaped with! Now tell me! Where is Renju?!” - Tuesday (kenzAI), Sejima Residence

Date: “I think Iris is with Renju.” Mizuki: “With Daddy?” Date: “Yeah. Her note mentioned her ‘most trusted’ person. That’s probably Renju.” Mizuki: “Yeah… I remember that mermaid girl saying something like that.” Mermaid: “He was looking for Iris.” Mizuki: “Does that mean that Daddy is the one who called for Iris?” Date: “It could be. So I need to know where he is.” Mizuki: “But… I haven’t been able to get a hold of him.” - Tuesday (kenzAI), Ikume Shrine

Loud incorrect buzzer sound.

Mizuki: “I actually met with one of the higher-ups at Daddy’s company last night. Before I went to Matsushita Diner.” Date: “Why?” Mizuki: “Because you asked about the cold storage. I was curious. I asked around some, and… I found out that Daddy was managing the warehouse before I was born. After my grandpa died, Daddy took over. In exchange for managing the warehouse, he gave ownership of the company to someone else. I guess he didn’t want to let this place go. Or maybe he couldn’t let it go. That’s more accurate, I think… But I understand why. Inside that warehouse was…” Date: “Alice.” Mizuki: “On paper, Daddy has nothing to do with Okiura Fishery. Daddy was still managing the warehouse… And he was the only one allowed in there too. That was part of the agreement when he gave up the company. And the whole thing had to be a secret. He really stressed that point…” Date: “Hey, Mizuki. How long was he managing the warehouse?” Mizuki: … Date: … Mizuki: “For 18 years. That’s what the man told me.” Date: “18 years?! From that long ago?!” Mizuki: “Yes…” Date: … Mizuki: … - Tuesday (kenzAI), Ikume Shrine

Aiba: “Renju Okiura…” Date: Talk to him. Aiba: “Renju, what are you doing in a place like this?” Date: “He won’t answer.” Aiba: “Not in a place like this, at least.” - PSYNCIN’ IN THE MOUNTaiN

Renju: “What do you think they’d do if they found out? They would take her and kill her too. And then…they’d come for us. They’d make it look like we disappeared. All of us would be…gone.” - (18 years ago) Mountains

Hitomi: “I don’t know who it was. They were using a voice modulator.” Date: “What did they say?” Hitomi: “‘I have your daughter. Don’t call the police or she dies.’ That’s why I didn’t ell you earlier…” Date: “Renju!” Aiba: “We don’t know that for certain. It could be #89.” Date: “Either way!” - Tuesday (kokkAI), Psync Room with Hitomi

Mama: “I can’t say much. The public thinks our Ren killed Shoko. And then #89 busted outta jail and killed Ren. And then he goes and commits suicide by blowing up his own head. That’s what all the news reports have been saying. I know there’s more to it than that, but…” - Three months later (kassAI), Marble

Man really died on Friday night stuck in Shoko’s body on the carousel horse, his body appears to have continued living but in reality everything on record and in the public consciousness is a lie; even Mama who knows better doesn’t actually know the truth, only that the reality being sold is false. Well, suppose it’s fitting that this is revealed with the Sebastian painting looming in the background; a sacrificial lamb in every way in every ending; Saito kills him and hijacks his body and identity, and then the authorities responsible for finding justice for his murder instead use him and his death to conceal the truth of their own colossal string of fuck ups. Old news: everyone in Reso sucks except Iris because it is pretty much her ending chapter, the end, take away the dancing and it’s an absolute sleeper tragedy (though has now left some outstanding conflicts that could be developed in a sequel…if I had one…)

Level Nine: Somnium Scraps, Symbols, YMMV (everything is up to interpretation, but this is ultra up to interpretation)

Mayumi: “That boy… He’s been hanging out at this…office building lately.” Date: “What kind of office?” Mayumi: “Hm, uh, what was it…? It’s a place where…irresponsible young men hang out. Nonconformists and the like.” - Saturday (saikAI), Matsushita Diner

We meet Renju’s building several times over before setting eyes on the man himself even in a flashback, so one starts to build a sense of his character instead through the prism of Lemniscate.

Aiba: “A black SUV.” - Saturday (meikAI), Bloom Park with Mizuki

SUV=sport utility vehicle, big, four-wheel drive, think Range Rover, stereotypical elite-person-in-big-so-incognito-it’s-not-incognito-black-car. Renju is the registered owner.

Date: “Hey, about Renju… Do you have anything to tell me? Anything at all that might help?” Mizuki: “Well, it’s not about Daddy, but… I heard from Daddy that Mom had a secret.” Date: “Shoko had a secret?” Mizuki: “Did you know that Mom was the representative of an investment company?” Date: “Yeah, I did.” Mizuki: “That whole company was a big scam.” Date: “A scam?” Mizuki: “Well, I dunno the details… They start up a company to get people to invest in it, then shut it down on purpose and keep the money. She got really rich like that…” - Sunday (syokubAI), Driving with Mizuki

Much like her marriage *COUGH* who can say farce nuclear family built on a foundation of compulsory heterosexuality?

Mizuki: “Is this it?” Date: “Yeah.” Mizuki: “You know about this place?” Date: “Yeah. This is where I met Renju for the first time.” Mizuki: “Interesting… Didn’t think this was your kind of spot.” Date: “This place is special. You can find all sorts of shady characters here. It’s the best place for gathering information about a case. So that’s why.” Aiba: “That is only a partial truth.” Date: “Shut up.” Mizuki: “Huh…?” - Sunday (syokubAI), Marble

Aiba: “I know what you are.”

Date: A picture on the wall. It’s a little…odd. - Sunday (syokubAI), Marble

Aiba: “This is a painting of Saint Sebastian. Saint Sebastian was a faithful Christian who lived under Roman emperor Diocletian. On January 20th, 288 A.D., he was martyred. This painting depicts his execution.” - Sunday (syokubAI), Marble

This dialogue occurs on Sunday on both sides of the flowchart; on the right side, the exchange occurs with Mizuki present.

Mama: “People who come in here tend to have very specific interests. I help accommodate.” Mizuki: “Oh. Okay…” Date: “Mama’s like, uh, an informant.” - Sunday (syokubAI), Marble

After throwing the knife into the “bird” TV, the room changes and the next puzzle calls for shooting a pistol at the “cat” TV, but the gun is empty and the only other new object is an oil barrel like that found at Sunfish Pocket, with the bullet needed seemingly inside. – PSYNCIN’ IN THE VaiN, “Smack TV” route

Where Renju was stuffed into the oil barrel to transport his body to Sunfish Pocket to be displayed, and Saito neglected to notice Renju’s wristwatch, a gift from Pewter he apparently never took off, had come off his wrist and was left behind in the barrel for Date to discover, allowing him to piece together how Saito, in Iris’s smaller body, could have possibly manufactured the crime scene. Now in Somnium, when Aiba peers into the cracked open barrel, the void inside—where Renju’s corpse and his stray wristwatch, Date’s "silver bullet" was—is obscured by a pixelated censor bar, concealing Renju, masking the crime, hiding Saito’s mistake. Aiba feels a shock and the television feed is scrambled, returning to the barrel tipped over, spilling a jet black puddle onto the floor.

Date: “Any fingerprints?” Aiba: “Nothing. No fingerprints have been found at the scene at all. This entire warehouse is clean.” - Monday (youdAI), Cold Storage Warehouse

Mayumi: “Isn’t Renju Okiura the president of that awful company where the witch works? He’s just as responsible. Using her to steal time and money from vulnerable kids… And I’m sure he was…debaucherous and degenerate. That man…is the root of all evil. That’s why I killed him.” - Tuesday (zugAI), Interrogation Room with Mayumi

Date: “What’s with that spear?” Ota: “It’s not a ‘spear.’ It belongs to Poseidon, god of the sea? You know, a trident?” Date: “Why do you have that?” Mermaid: “We treat our customers like lords of the sea. We give them these tridents. It’s like a little ranking system we do!” Ota: “The color changes depending on your rank. There’s bronze, silver, gold, platinum, and at the very top, orichalcum!” Date: “So it basically measures how much money you’ve spent on these girls.” Mermaid: “Well that doesn’t sound very nice. It’s more like…a way to exploit their vanity. To separate our customers from their money as much as possible.” Date: “That sounds even worse.” - Sunday (gyoukAI), Sunfish Pocket

Pewter: “The subject of the Psync remembers certain persons or objects that appear in Somnium. But they might not have a clear form. Our dreams are sometimes vague or unclear, after all. Even the subject of the dream themselves. I told you earlier that the Psyncer experiences the dream from the perspective of an observer. That is why the person creating the dream can appear within it. But perhaps they do not have an objective view of themselves. Like a mirror or picture. Perhaps he’s never watched himself on television. Rare for a politician. But not unheard of. He lacks that objective picture of himself. He remains stoic and unattached despite his position of power. I find that quite powerful. To be able to put your ego aside and see yourself as God sees you…is an ability many charismatic people share.” - Sunday (kyuusAI), Psync Room with So

Okay this one is a bare reach, but the way the game’s conception of dreams intersects interestingly with how it builds the character of Renju; his presence is somewhat dream-like by the standard that Pewter describes, vague and amorphous, but in some specific ways the opposite; we do have an ‘objective’ image of Renju, the one that Aiba has saved in her memory that she is able to ‘replay’ to Date, since he had forgotten; perhaps the difference is between the inhuman omniscient, objective memory of Wadjet, versus the inevitable fallibility of humans and their inability to perceive others objectively; or perhaps it is the difference between a dream and a haunting.

Date: There’s an abstract painting hung up. Date: “What is that supposed to be?” Aiba: “I do not know.” Date: There’s an abstract, incomprehensible painting hung up. - Saturday (saikAI), Lemniscate

Date: There’s an abstract painting displayed on the wall. Mizuki: “This painting is called ‘Hawaiian Dishes and Dark Demons.’” Date: “Which part is supposed to be a dish and which part is a supposed to be a demon…?” - Sunday (syokubAI), Lemniscate

Sums up the conundrum of Renju’s character as it is reconstructed piecemeal through snippets of dialogue and environmental cues, told secondhand by those who have fragmentary, oftentimes incompatible or outright contradictory memories, culminating in, rather than a single cohesive whole, a cryptic, unstable amalgamate of unreliable memories, half-conversations, contextless (often misattributed) behaviour, and cryptic symbology, which one can either conclude is a poignant impression of an endlessly ambiguous, multi-faceted man who lived a complex, tragically short life, frayed at every edge by layers of trauma, or an unreliable, incomprehensible, almost abstract ghostly after image of someone who was once present but has now been distorted into near-erasure by the fact that, unintentionally, no one can agree on who he actually was and how they remember him; like the painting itself, called by a slighty different name by everyone that knows it in a poorly managed game of telephone, the chaotic, fragmented, oxymoronic narrative we are slowly fed may, depending on the beholder, be rendered expansive and enlightening in its endless twists, or thought-teminating and meaningless in its lack of a cohesive message.

Date: An abstract painting is on display. Ota: “That one is called, ‘Lying, Wishing, Marking Demons’.” - Sunday (syokubAI), Lemniscate (again)

Taxi Driver: “Oh, have you taken note of the painting? It is titled, ‘Lions Fishing, Carpe Diem.’” - Tuesday (zugAI), Lemniscate

Receptionist: “Oh, I asked someone about that earlier. It’s like, ‘Lionfish in Shag Carpet’ or something?” - Tuesday (seisAI), Lemniscate

Date: There’s an abstract painting hung up. Receptionist: “Like it? It’s called ‘Fisherman Shagging a Common Dandy.’” - Monday (syuurAI), Lemniscate

Receptionist recommends ‘to see yourself how god sees you’ by luxraydyne lmao excuse me

Date: There’s an abstract painting hung up. Looking carefully, I see some letters at the bottom. “Fisherman with Cormorant and Dandelion”… Date: … Date: “Which part is the dandelion and which part is the cormorant?!” - Three months later (kassAI), Lemniscate

[dustedmagazine]

Jonathan Cott — Let Me Take You Down: Penny Lane and Strawberry Fields Forever (University of Minnesota Press)

Whether you adore, loathe, or are indifferent to the Beatles, it seems fair to ask in 2024 what exactly could be left to say about them. Surely at this point the most written about, discussed, mythologized, demythologized, simply covered band (although to be fair, have they blown up on TikTok yet?), it’s understandable both that people would feel compelled to express themselves about the Beatles and that the rest of us might have our eyes glaze over in response. Jonathan Cott has more bona fides in this area than most, having written about and interviewed the band from the 1960s on (including an interview with John Lennon a few days before his murder), and he’s made two smart choices in putting together this particular book: narrowing the focus, and going in a more idiosyncratic, personal direction.

That focus is apparent from the title on down, and it’s a relief to see the scope reduced to two songs. Who needs another general overview of this particular band? (Yes, it’s good those exist in general, there will always be new, curious people as time passes, but it feels like that category is pretty densely populated at this point.) The Beatles are also one of the few acts that could conceivably sustain (in a financial sense) a whole book on one of their singles, even a double A side; even if one wished various other artists would get that kind of analysis, it’s hard to begrudge writers taking their chance to go so deep on one of their few chances to do so. But Let Me Take You Down is only partly a history of the two songs. The first section here covers, in 50 pages, the circumstances of the two songs’ creation, looking at the first period where the four members tried taking a break from the Beatles (and, in some cases, had existential crises about what not being a Beatle might mean), Lennon and McCartney’s artistic partnership/slight rivalry, the personal history that fed into both songs, and so on. It’s well done and moves briskly; someone who knew nothing about the Beatles would probably come away wanting to know more, and those already deeply steeped in the lore won’t feel their time has been wasted.

The second and final section here is nearly twice as long as the first; Cott, clearly a seasoned interviewer (with an impressive ability to either quote other myriad other works and authors out of thin air, or an impressive dedication to keeping potentially relevant quotations on hand to refer to), sits down with “five remarkable people” to discuss the single. Only two of them, Laurie Anderson and Bill Frisell, are primarily known as musicians. The three are the urban planner and Gramavision Records founder Jonathan F. P. Rose, Jungian analyst Margaret Klenck, and actor (and, more significantly for his section, noted Buddhist) Richard Gere. These conversations feel like they make up the heart of the book, and are where it will succeed or fail for most readers.

The tone throughout all five conversations is loose and friendly, with everyone involved engaging with the songs (lyrics, sound, historical context, personal context) deeply but informally. It’s worth noting that the median age of all six interlocutors is in the early 70s, and all come at “Strawberry Fields Forever”/“Penny Lane” from the perspective of people who were there at the time and who’ve been playing and thinking about these two particular songs ever since. Although Cott does have a bit of a thesis (based on James Hillman’s The Dream and the Underworld, with Paul as Zeus taking you “back” and John as Hades taking you “down”), he doesn’t impose it on any of the conversations and they all go in their own directions. Are these songs about depression? memory? love? the illusion of the self? all of the above? Let Me Take You Down’s most signal virtue is the way it might remind you of your own deep conversations with friends about music (Beatles or not), digging deeply into shared passions and volleying insights and theories back and forth.

The result is a book both small and scope but that goes to surprising places. If there are quibbles to be had, they’re along the lines of wishing “Penny Lane” got as much space from any of the people involved as “Strawberry Fields Forever” (but then again, isn’t the underworld something most of us find more fascinating, and easier to talk about, than our pasts?), and that the dense repetition of “said,” “explained,” “commented,” etc. might make one wish these interviews were presented in a more transcript-like style. Those small issues aside, the only big issue Let Me Take You Down really has is the obvious one, that most can answer for themselves instantly: in 2024, do you want to read another book about the Beatles?

Ian Mathers

[kimilycof]

REVIEWER

SETTING

A literary element of literature used in novels, short stories, plays, films, etc., and usually introduces the when and where of the story during the exposition (beginning).

DIALOGUE

An interchange of conversation of the characters whether in a movie or a play

FORESHADOWING

It is where the author suggests future events in a story, or outcome, before they happen or take place.

A literary device in which a writer gives an advance hint of what is to come later in the story.

RISING ACTION

This is when the main character is in crisis and the conflict begins to unfold.

1ST PERSON POINT OF VIEW

A type of Point of View (POV) that is usually identifiable using the pronoun "I".

PROTAGONIST

The main character, who creates the action of the plot and is often a hero or heroine of the story

PERSONIFICATION

When inanimate objects or abstract concepts are given or provided with human self-awareness or characteristics.

SETTING

EXAMPLE (One morning, from a bushy forest, a wounded came out and was seen by Ella)

CONFLICT

EXAMPLE (Her father was killed in an accident, and she was left with her evil stepmother)

ANTAGONIST

EXAMPLE (Her stepmother was a wicked witch, and she always makes her life miserable.)

THEME

EXAMPLE The story is about the importance of self-love and adventure

CONFIDANTE

EXAMPLE Benedict was his best friend. He tells him even his deepest secrets

ALLITERATION

The repetition of consonant sounds in succeeding words within the same sentence or line.

HYPERBOLE

An exaggerated description of an idea or action

METAPHOR

Applying a direct relationship to an object or idea as a substitute for another.

OXYMORON

An idea of contradicting terms

PARALLELISM

It is the use of identical language, events, structures, or ideas in different parts of a text.

SYMBOLISM

It's when objects or images are used to represent abstract ideas. It could be something tangible or visible, while the idea it's trying to symbolize is something abstract or universal.

IRONY

An absurd or mocking opposition to what is expected or appropriate.

TRANSLATION

It is the process of translating words or text from one language to another.

TEXTUALITY

This refers to all attributes that distinguish the communicative content under analysis as an object of study

PARODY

It is usually a small excerpt of a hypotext that assists in the understanding of the new hypertext's original themes, characters or contexts

Julia Kristeva

originated the theory of intertextuality

Latent Intertextuality

It pertains to everything you've ever seen or read that sticks somewhere in your memory and affects your understanding of the world.

INTERTEXTUALITY

It is the author's borrowing and transformation of a prior text or to a reader's referencing of one text in reading another.

PASTICHE

It imitates the style or character of the work of one or more other artists.

QUOTATION

A written form of the oral echo. It can be in tagged or untagged form.

CALQUE

It means to borrow a word or phrase from another language while translating it components so as to create a new lexeme.

CONNOTATION

refers to the additional meaning or emotion that a word cames beyond its literal definition. It includes the associations, feelings, or implications that people may have about a word based on their cultural, social, or personal experiences

POSITIVE CONNOTATIONS

generally evoke favorable or desirable qualities

•Full-figured

•Amazing

•Innovative

•Original

•Playful

NEGATIVE CONNOTATIONS

typically convey unfavorable or undesirable traits.

•Lie

•Radical

•Childish

•Arrogance

•Prison

[justkatrinadavid]

INTERTEXTUALITY is...

A text's meaning is shaped by another text.

It is about the interrelationship between related works or similar works of literature that mirror and influence how the audience interpret the text.

It also refers to the author's borrowing and modification of a prior text or to a reader's referencing of one text in reading another.

Technically speaking, intertextuality is a combination of a Latin prefix Inter which means "between", "among", "in the midst of", "mutually", "together", and "reciprocally" and Textuality which refers to all attributes that determine the communicative content under analysis as an object of study. It is not a literary or rhetorical device, but rather a fact about literary texts - the fact that they are all intimately interconnected. This is applicable to all texts such as, works of philosophy, novels, films, newspaper articles, songs, and the like. In order to further understand intertextuality, it's important to understand the broad definition of the word "text" itself. Each text is greatly affected by all the texts that came before it, since those texts have influenced the author's thinking and exquisite choices. Remember that every text, on its broadest sense is intertextual.

Julia Kristeva was the inventor of the term "intertextuality." She was influenced by both Ferdinand de Saussure and Mikhail Bakhtinian through their models and attempts to combine their major theories toward the origin of language.

Types of Intertextuality

a. Deliberate Intertextuality forging a relationship between the old text and the new one.

b. Latent Intertextuality pertains to everything you've ever seen or read that sticks somewhere in your memory and affects your understanding of the world which contribute to building your specific worldview which, in turn, determines how you write or create art.

Intertextual Figures

Allusion - a figure of speech where an object from unrelated context is referred to covertly or indirectly with another. It is left to the audience to do or make the direct connection. Where the connection is directly and explicitly stated by the author, it is instead usually termed a reference.

Ex. You don't have to be William Shakespeare to write poetry. (William Shakespeare was used here to explain ones prowess in writing poetry.)

Quotation- is a written form of the oral echo. It can be in tagged and untagged form. It can also be direct and indirect.

Ex. According to violin player Itzhak Perlman, "The most important thing to do is really listen."

Calque - is a loanword from the French noun calque which means tracing; imitation; close copy. It means to borrow a word or phrase from another language while translating its components, so as to create a new lexeme in the target language.

Plagiarism - When using intertextuality, it is usually a small excerpt of a hypotext that assists in the understanding of the new hypertext's original themes, characters or contexts. While this does seem to include intertextuality, the intention and purpose of using of another's work, this is now what allows intertextuality to be excluded from this definition.

Translation-means to transfer in a stable meaning. It is the process of translating words or text from one language into another.

Pastiche- imitates the style or character of the work of one or more other artists.

Parody-any cultural practice which provides a relatively polemical or comical allusive imitation of another cultural production or practice

[mistype360]

mbti/enneagram typing for @typerfixation

isfp, 8w9 so/sp, 4w3, 6w5

isfp 8w9 so/sp (if i could do sp/sp i would :p), 4w3 (alternatively 3w4), 6w5

your first answer directly shows a lot of e9. lacking a sense of direction, and particularly having "passion" (with strong quotations) is very close to what may drive an enneagram 9. the cycle of feeling as if you have a 'mundane' life shows that like the e9 fix you have, you are also high in sensory functions (as both tend to go hand in hand).

you haven't given a reason necessarily why you do this, but if i were to infer, it aligns with the enneagram 9 passion of sloth. you use words like "willpower," which also go with the enneagram 9's cycles of motivation. later, you state that comfort is super important to you- which again, aligns with how 9's desire a sense of internal and external peace. this also suggests that you lean towards sp9 as your subtype, which prefers having comfort in their environment, as well as many of the activities/habits that you explained you like doing.

as duran and catalan puts it:

“distraction” is the tool that allows them to escape from the commitment of complying with their true needs and becomes the need itself that motivates action.

now onto your core, i see 8>1. your enneagram 8, in combination with your 4w3/3w4 (which i'll expand on later), explain why you find yourself being self conscious. particularly, you mention how you don't want others to judge you for fearing death, and you hate appearing as if you're weak, stupid, cringe, or ugly (all things 8's hate being perceived as).

throughout your questionnaire, the reoccurring theme of not wanting to appear or be "weak" often comes up, which is very much an enneagram 8 trait. it also explains why in your answers about anger and frustration, you find yourself experiencing it very intensely. it's also the reason you hate being controlled or told what to do.

as for your subtype, your 8 was a blend of all of them. reading through your questionnaire, it was hard for me to pinpoint what subtype you were exactly. your 8 seemed to manifest in all the general traits that are associated with 8's, but didn't really fit into the specific crevices of each subtype.

considering how you mention that you are health anxious, maybe even "hypochondriac" (if that's the right word), your first subtype our of your entire tritype is likely sp. since your sp9 already takes up that spot, your 8 can't be sp.

if i had to pick, i'd go with either so or sx, leaning towards so. going by the naranjo description, these 8's have a tendency to be "cynical" and attempt to "portray themselves as supposedly powerful," which may be somewhat similar to what you describe. if i were to follow other descriptions, i might even put it as sp 8, which may follow along with the socially detached descriptions you provide.

the reason i put your 8w9 so/sx over your other fixes is that the 8 core strikes me as the most explanatory of your other traits (as enneagram tends to overlap). ideas of self image, infantilization, slight nihilism, and emotions can be explained by having an 8 higher up in the tritype.

moving onto your second answer, seeking security goes with enneagram 6. being incredibly aware of anything that may cause harm or death around you (especially death) can be seen as a manifestation of 6. later your answers on nihilism can also be attributed to having a 5 wing on this 6 fix.

then, you mention that you don't want, but wan't the right to express your self in every way possible, which gives me the impression that you have a lot of fi/e4, with a tertiary se to express your fi motivations. this explained your isfp mbti most. your descriptions of wanting to achieve things you feel you can't seem a lot like sx 4, who's often characterized as wanting what they don't have.

on the same track, you say that you're skeptical of being a fi dom because you're not "artistic," but i don't think that being a fi user necessarily means that's the case. those who are fi-se will find ways to express themselves externally, which is exactly how you explained it- through your appearance. later you say that you value aesthetics, which particularly matches an isfp.

you're also dependent on others opinions of yourself and find a sense of emotional support from it. while this may stem from your 4w3 fix (which is pretty image conscious), it may also go in hand with your 9 fix. 9's that integrate into 3's often experience this, which explains why you may act like a sx 3 even when you aren't strong in that regard. i also suggest that you take a look at this haiki description of an enneagram 3's past/background, which seemed a little bit like what you described of your own (though I might be wrong).

[quocanhh55]

WEEK 3: HOW DOES TUMBLR FUNCTION AS A DIGITAL COMMUNITY?

1. Tumblr - a social media platform with surprising statistics

These days, social media users may be very familiar with platforms such as Facebook, Instagram, or TikTok with huge numbers of users and interactions. However, there is another digital community that not every one of those users already knows, which is Tumblr. Tumblr is a microblogging and social networking platform that allows users to post and share multimedia content. Founded by David Karp in 2007, it gained popularity for its unique blend of blogging and social features.

Compared with the popularity of other competitors such as Facebook, Instagram, or TikTok, many people may think that Tumblr will need more competent growth. However, the statistics of this social media site may surprise: Tumblr is ranked the number 10 social media site in Australia. According to Civic and Social Media News 2023, the platform acquires 3.7 million users, which outrages a few competitors such as TikTok 1.1 million and Reddit 110,000 users, thanks to the platform’s unique affordances.

2. Tumblr’s abilities and affordances:

Tumblr’s blog-like function allows account-holders to use the platform to create diaries of their daily lives, to post different types of information that inspire them, as well as to live about events as they happen or about TV shows as they are aired (Jo Dixon 2024). The platform also enables users to leverage the site’s anonymity, hashtagging, and relatively public or reduced surveillance. These functions contributed largely to the experience of “Tumblrers” as they can share their diaries and emotions publicly but anonymously without the fear of being spotted.

3. Digital community - a popular term in the digital era nowadays

According to Indeed, An online community is a group of people with shared interests or a shared purpose who use the internet to connect. Groups on social media, members of online gaming platforms or support communities for software offerings all represent examples of online communities. Digital communities form around specific interests, hobbies, or goals. Members join these communities to connect with like-minded individuals, share information, seek advice, and collaborate on related projects.

4. Tumblr - a model of digital community

From the functions that Tumblr enables users to perform, it can be seen that the platform works as a digital community that allows users to connect, engage, and join groups based on common interests, identities, or artistic activities in several ways:

Blogging and Content Sharing: Tumblr allows users to build their own blogs and share a variety of content types, including text entries, photos, quotations, audio, and video. Users can share their ideas, creativity, and passions through postings, which are discoverable and interactable by the rest of the community.

Reblogging and Interaction: Reblogging is one of Tumblr's core features, allowing users to share content from other users' blogs on their own. This feature promotes content discovery and a feeling of community by allowing users to interact with and contribute to content published by others. Users may also interact with postings by leaving comments, like them, and sending direct messages, which helps encourage conversations and relationships within the community.

Personalization and Online Identity: Tumblr enables users to personalize the appearance of their blogs, which creates a distinct online identity and personal image. Users can showcase their personality through the style, layout, and content of their blogs, attracting like-minded others and adding to the community's general diversity and depth.

References:

1. Indeed Editorial Team 2022, FAQ: What Is an Online Community and Why Are They Important?, Indeed, viewed 1 February 2024, https://www.indeed.com/career-advice/career-development/online-community.

2. Jo Dixon, S 2024, Tumblr - Statistics & Facts, Statista, viewed 31 January 2024, https://www.statista.com/topics/2463/tumblr/#topicOverview.

[soundslikedarren]

Week 4 Blog: Certified Voice Artist Program

This blog is for the last week session in my journey within the Certified Voice Artist Program but I hope this is not the last one in the journey of voice artistry.

Week 4 becomes the most important part of the program. What I mean is that everything I learned with my voicemates are about the legalities of being a voice artist that includes service and agreement, quotations, rates, and the things that always keep in mind to have a safe agreement between the client and the voice artist. These topics are discussed by Ms. Lyn Gonzales a.k.a. "Kween of the Voice" who already has a solid background and experiences in her career of voice artistry and hosting. I also learned about demo reels, which is part of marketing your voice. Building your resumé as voice artist and finding potential clients and opportunities is also part of my learning from Ms. Lyn. In the noon session, I also has a lot of valuable learnings from out trainers. We are with Papa Lem and Sir Navi. They gave feedbacks from our assignment outputs in the whole noon. Best lessons also comes from a direct teachings of coaches and trainers because it will surely last for a lifetime and guaranteed will be applied to your future career. I still listened even they are giving feedbacks from the other outputs of my voicemates. I saw big potentials from my voicemates which is really inspiring. Our trainers were also truly inspiring the way they teach us and everything they shared about who they are before and their experiences in the industry of voice artist. Actually, every people in CVAP can be an inspiration because they are not just voice artists but also fighter to pursue what they always love to do.

Everything I learned from this program is really more than from what I paid for. There are priceless moments, kulitan with voicemates while in the sessions, life lessons and supports from trainers, and mga masisipag na hosts and mentors. I also thank Sir Choy in making this amazing program that changed peoples lives for the better. I am thankful for everyone on CVAP that I become a part of this amazing program. I hope in the future, our fates will intertwine again.

[sup3rqu33n]

DISCLAIMER: This is a work of art. The content is not guaranteed to be complete, accurate, reliable, suitable, or always available. While this work combines a blend of true, false, and exaggerated tales, it’s advisable to assume everything here is fictional and for entertainment purposes. The images in this work include both authentic photographs and artistic creations designed for aesthetic impact. Some images may be drawings or generated images serving as examples of, but not necessarily corresponding to real people, places, or events. Names, places, and identifying details have likely been altered for artistic purposes or to protect privacy. Any resemblance to actual persons, living or deceased, or real events is coincidental.

This work is intended for adult audiences, and viewer discretion is advised. Interpretations of art may vary among individuals. The primary intent is to entertain and stimulate discussion, without intending to offend or harm individuals or groups.

All rights are reserved for this work. Reproduction, distribution, or transmission in any form requires prior written permission from the author, except for brief quotations in critical reviews and certain noncommercial uses permitted by copyright law.

By accessing and using this work, you release the author from any liability arising from your use or reliance on the content. The author is not liable for any direct, indirect, incidental, consequential, or punitive damages resulting from accessing or using the work.

Please note that any advice provided is for entertainment purposes only. Consult appropriate professionals or experts for specific advice relevant to your circumstances.

Thank you! Enjoy!

[piatosnacheese]

INTERTEXTUALITY is...

A text's meaning is shaped by another text.

It is about the interrelationship between related works or similar works of literature that mirror and influence how the audience interpret the text.

It also refers to the author's borrowing and modification of a prior text or to a reader's referencing of one text in reading another.

Technically speaking, intertextuality is a combination of a Latin prefix Inter which means "between", "among", "in the midst of", "mutually", "together", and "reciprocally" and Textuality which refers to all attributes that determine the communicative content under analysis as an object of study. It is not a literary or rhetorical device, but rather a fact about literary texts - the fact that they are all intimately interconnected. This is applicable to all texts such as, works of philosophy, novels, films, newspaper articles, songs, and the like. In order to further understand intertextuality, it's important to understand the broad definition of the word "text" itself. Each text is greatly affected by all the texts that came before it, since those texts have influenced the author's thinking and exquisite choices. Remember that every text, on its broadest sense is intertextual.

Julia Kristeva was the inventor of the term "intertextuality." She was influenced by both Ferdinand de Saussure and Mikhail Bakhtinian through their models and attempts to combine their major theories toward the origin of language.

Types of Intertextuality

a. Deliberate Intertextuality forging a relationship between the old text and the new one.

b. Latent Intertextuality pertains to everything you've ever seen or read that sticks somewhere in your memory and affects your understanding of the world which contribute to building your specific worldview which, in turn, determines how you write or create art.

Intertextual Figures

Allusion - a figure of speech where an object from unrelated context is referred to covertly or indirectly with another. It is left to the audience to do or make the direct connection. Where the connection is directly and explicitly stated by the author, it is instead usually termed a reference.

Ex. You don't have to be William Shakespeare to write poetry. (William Shakespeare was used here to explain ones prowess in writing poetry.)

Quotation- is a written form of the oral echo. It can be in tagged and untagged form. It can also be direct and indirect.

Ex. According to violin player Itzhak Perlman, "The most important thing to do is really listen."

Calque - is a loanword from the French noun calque which means tracing; imitation; close copy. It means to borrow a word or phrase from another language while translating its components, so as to create a new lexeme in the target language.

Plagiarism - When using intertextuality, it is usually a small excerpt of a hypotext that assists in the understanding of the new hypertext's original themes, characters or contexts. While this does seem to include intertextuality, the intention and purpose of using of another's work, this is now what allows intertextuality to be excluded from this definition.

Translation-means to transfer in a stable meaning. It is the process of translating words or text from one language into another.

Pastiche- imitates the style or character of the work of one or more other artists.

Parody-any cultural practice which provides a relatively polemical or comical allusive imitation of another cultural production or practice

[kimilycof]

LECTURE 1

SUBJECT : CREATIVE WRITING

LESSON: INTERTEXTUALITY

INTERTEXTUALITY is

• A text's meaning is shaped by another text.

• It is about the interrelationship between related works or similar works of literature that mirror and influence how the audience interpret the text.

• It also refers to the author's borrowing and modification of a prior text or to a reader's referencing of one text in reading another.

Technically speaking, INTERTEXTUALITY is a combination of a Latin prefix Inter which means "between", "among", "in the midst of", "mutually", "together", and "reciprocally" and TEXTUALITY which refers to all attributes that determine the communicative content under analysis as an object of study. It is not a literary or rhetorical device, but rather a fact about literary texts - the fact that they are all intimately interconnected. This is applicable to all texts such as, works of philosophy, novels, films, newspaper articles, songs, and the like. In order to further understand intertextuality, it's important to understand the broad definition of the word "text" itself. Each text is greatly affected by all the texts that came before it, since those texts have influenced the author's thinking and exquisite choices. Remember that every text, on its broadest sense is intertextual.

Julia Kristeva was the inventor of the term "intertextuality." She was influenced by both Ferdinand de Saussure and Mikhail Bakhtinian through their models and attempts to combine their major theories toward the origin of language.

TYPES OF INTERTEXTUALITY

a. DELIBERATE INTERTEXTUALITY forging a relationship between the ond text and the new

b. LATENT INTERTEXTUALITY pertains to everything you've ever seen or read that sticks somewhere in your memory and affects your understanding of the world which contribute to building your specific worldview which, in turn, determines how you write or create art.

INTERTEXTUAL FIGURES

ALLUSION

a figure of speech where an object from unrelated context is referred to covertly or indirectly with another. It is left to the audience to do or make the direct connection. Where the connection is directly and explicitly stated by the author, it is instead usually termed a reference.

EXAMPLE : You don't have to be William Shakespeare to write poetry. (William Shakespeare was used here to explain ones prowess in writing poetry.)

QUOTATION

is a written form of the oral echo. It can be in tagged and untagged form. It can also be direct and indirect.

EXAMPLE : According to violin player Itzhak Perlman, "The most important thing to do is really listen."

CALQUE

is a loanword from the French noun calque which means tracing; imitation; close copy. It means to borrow a word or phrase from another language while translating its components, so as to create a new lexeme in the target language.

PLAGIARISM

when using intertextuality, it is usually a small excerpt of a hypotext that assists in the understanding of the new hypertext's original themes, characters or contexts. While this does seem to include intertextuality, the intention and purpose of using of another's work, this is now what allows intertextuality to be excluded from this definition.

TRANSLATION

means to transfer in a stable meaning. It is the process of translating words or text from one language into another.

PASTICHE

imitates the style or character of the work of one or more other artists.

PARODY

any cultural practice which provides a relatively polemical or comical allusive imitation of another cultural production or practice