#milgram theory

[ryuseiired]

deep cover thoughts, or: who is kotoko's victim, really?

ok. so now that we've seen the deep cover mv, it's late but before i go to bed i want to post my biggest thought/theory on it. that being?

this girl is the victim that kotoko is in milgram for, and the murder we see in the warehouse is a red herring.

now. one thing about the prisoners that are grouped together is that each duo appears, largely, to have a direct murder and an indirect murder in it.

haruka is seen directly killing in his mvs; yuno's murder is an abortion, something so indirect many people don't even consider it to be such. muu is clearly seen directly stabbing rei in her mvs; fuuta's victim dies indirectly due to him starting online backlash against her. whatever shidou is doing to his patients appears to be pretty direct, while mahiru's boyfriend seems to have died indirectly due to having killed himself. kazui is in the same indirect boat as mahiru with hinako's apparent suicide; meanwhile amane is shown in purge march to have directly attacked and killed her mother.

with one duo, up until now, having been an apparent exception.

we can see these groupings clearly in the first anniversary art with all the prisoners together:

all the direct murderers are on one side of the table, and their indirect counterpart on the other. all the patterns outlined above, we can see here.

mikoto is on the direct murderers' side of the table, and this makes clear sense with what we see in MeMe's opening shots: as vague as mikoto's mvs can be sometimes, we definitely see him hit that guy with the baseball bat pretty explicitly.

and kotoko? kotoko, as his counterpart, is on the indirect side of the table. this seemed weird, because from what we knew of her murder in harrow... we see her track a guy down into a warehouse and kill him pretty directly. it seems like these two are an exception. but now, we have deep cover, and... are they really both in milgram for a direct murder?

it seems like something bad is happening in this shot, judging by the girl's expression. what do we see right after? kotoko leaving this girl behind, walking past her. she's looking for her next target, and she doesn't have time to play around right now. only... i think it goes wrong. i think kotoko leaving this girl when she does is a mistake, and that her disregard for the girl leads to her getting hurt and dying somehow. after all... the images on the prisoner cards appear to correspond to the murder location. and kotoko's...

kotoko's looks an awful lot more like this than it does like that warehouse.

it seems like this girl idealizes kotoko an awful lot for having saved her. maybe she tries to follow kotoko, but something happens. maybe she gets caught by whoever it is that kotoko is trying to hunt down... and maybe this time, she doesn't make it out okay.

[doctorbunny]

A little speculation about Corpse Disposal and J-horror

But I'm a little bored so sharing a part-theory, part-headcanon on Muu and Rei

So we unfortunately don't see much of Rei in "Its not my fault" but I want to point out three key times we do

The first time we see Rei in the MV, is her wet sleeve (we know its not Muu because Muu wears a pink jumper under her blazer)

Then, after a lot of bug stuff, we're finally back in the real world, where Muu has just killed her Post-After Pain. In INMF, we don't see the surroundings as well, just the dirt track and bushes. But in AP, we see this is right next to a rushing river (Muu's undercover card also features a bridge as a landmark)

The next time we see Rei after her corpse, is a flashback to the start where she turns the hourglass over. Then it cuts just further back to before Rei stood up - as she pulls herself up off the floor She's alive and absolutely soaked after a session of intense bullying (which we saw Muu insert herself into in AP)

However, I want to now switch a little to talk about cinematography and a concept called the Kuleshov effect The video I linked is pretty concise but the gist is that if you put two shots next to each other, even if they were filmed separately, the brain interprets it as a continuous scene (so if you film a character looking off screen, then a picture of an apple on a table, we're going to assume they're looking at the apple)

Therefore while we understand chronologically that the sequence of events is Rei (wet and alive) -> Rei's murder on dry land ↺ Flashback to Rei still wet and alive Which I think everyone understood as a commentary on how this power struggle was a constant cycle of the hourglass being turned over

I think visually, it also implies a sequence like Rei was bullied -> Muu kills her -> Sopping wet, Rei crawls back to the classroom

But wait! That sequence suggests a missing step How did Rei get wet again?

Well, we know Muu killed her next to a river And if you were a scrawny teenage murderer with a body on your hands, would you leave it there where someone could see it while you grab a shovel and stand in broad daylight digging a hole in tough ground??? Or try lighting a fire in public??? Of course not!

It'd be much easier for Muu to, in a panic, just roll her body into the convenient river and let all the evidence wash away!

(Of course, if Muu was panicking, she might not have been very careful. Given she ended up in MILGRAM, there must've been something tying Muu to Rei's death and in T2 Muu seems to have finally remembered losing her left shoe...)

Fun fact: this is the same shoe Cinderella loses in the animated Disney film (and the best known version of that story came into English from France)

Shoe break over, back to the Endless Queen's Game

So, if we assume Rei's corpse was thrown in the river, what does it matter? Its just a pointless headcanon

But I speculate the meaning goes deeper!

So that image of Rei, soaking wet, crawling off the floor reminded me of something: J-horror ghost girls! Specifically the most famous of ghost girls Samara/Sadako Who became a vengeful spirit after being thrown in a well and now crawls out of TVs to kill people who watched her VHS tape

Her story too is a cyclical one (its called 'Ring' for a reason), the only way to break the curse is to copy the tape and have someone else watch it, who will then become the victim unless they can themselves copy the tape and show it to another unsuspecting patsy

The story goes back further because this movie is based on a novel, which is based on the legend of 番町皿屋敷 Banchou Sara Yashiki. There are many versions but generally a maid girl Okiku is proposed to, and when she rejects the proposal, her master breaks one of ten plates and promises to forgive her if she marries him. When she declines again, he beats her to near death then throws her into a well (sometimes it's a jealous mistress instead of a master)

Interestingly, Atrophaneura alcinous (swallowtail butterfly) larvae found in Japanese wells became known as Okikumushi お菊虫 (Okiku bugs), tying back to the whole insect thing...

It's been said a bunch now, but the name 'Rei' can be read as 霊 meaning ghost (seen in words like Yuurei 幽霊, a more common word for ghost than Rei on its own)

We know Muu is afraid of ghosts too (though I must admit she says Obake, not yuurei, but both words refer to ghosts)

Remembers the i/井 in Sakurai/櫻井 can be read as 'well' I'm sure that has nothing to do with anything

Uh, I can't think of a conclusion because its 1 am and I had to look up a bunch of spooky images

TL;DR: I think Muu may have quickly shoved Rei's body into the river next to where the murder happened (maybe forgot her shoe at the scene of the crime) and now she's scared by the cycle continuing and Rei coming back to haunt her

[honeyfizzly]

I think my most meta milgram theory is that all the prisoners relate to social issues in Japan (this was brought up by my friend but they don't have tumblr so I'm gonna post it here)

Haruka- ableism, specifically against learning disabilities. Haruka's story is all about how he was born "wrong" and how his mother didn't want him

Yuno- the abortion debate

Fuuta- online harassment and cancel culture

Muu- bullying, and how in social structures someone always has to push someone else down to be on top (the whole hourglass metaphor)

Shidou- curroption in the organ donation system, and how brain death is viewed in Japan

Mahiru- societal expectations of women, and the pressure to marry

Kazui- okay so since his crime is vague rn, either A. Cheating or if gay kazui theory is correct B. Lgbtq issues, could also be japan and it's issues with intimacy and how his wife felt unloved but he didn't realize

Amane- Japan and its history with cults

Mikoto- ableism against the mentally ill, and the "just endure it" view of mental illness in Japan which makes alot of people reluctant to reach for mental health help. It's probably why Mikoto seems to not realize he had DID or OSDD

Kotoko- curroption in the legal system, and how crime against women and children are often ignored by the police

[blueepink07]

Yuno: her struggling relationship with autonomy

(character analysis)

One aspect I have always loved about media characters is their attempt to be perceived as mature, despite their young age. Some succeed, others struggle to hide what they see as their childish side.

Yuno is no different in this context and I'm surprised that people don't talk about it enough.

Beginning with her age 18, it's truly a controversial age, if I may say. It's a confusing age, because you are technically considered an adult, but, at the same time, your mind is not fully developed to actually be one. In the end, you are still a child at heart and mind, despite the fact that you are legally an adult.

We don't know much of her home life and honestly I don't think it would do any good for me to make assumptions, since it's pointless in the long run and it would just lose credibility. However, one thing it's for sure based on Yuno's actions. She desires autonomy.

Yuno: Despite that, you arbitrarily assumed things about me and sympathized with me. Even though all I did was make a rational decision of my own free will.

I'm the one who chose, let you and you and you all in ~🎵

She highlights quite a lot with these phrases… She chose for herself, she is an adult who willingly decided to partake in compensated dating. Being called naive or innocent, two words that usually are used to describe little children, surely infuriated her… and she shows it.

It's funny now that I think about it. Fuuta also has the same problem, but his reactions are more childish, in the end, not doing him any justice. However, Yuno is no different. Of course, she does it in a more subtle manner, but she really does get worked up quite a lot when it comes to her being perceived more as a teenager than an adult. Her whole song it's literally about this idea. Yuno being infuriated that she is infantilized by the audience, making a sad backstory for her so they can dismiss the idea that there wasn't necessarily a big factor that provoked her to partake in compensated dating, but it's only her own free will.

I might add that the compensated dating itself is a way for Yuno to feel that she has more autonomy and she no longer needs to be treated as a child.

"An adult is a human or other animal that has reached full growth.[1] The biological definition of the word means an animal reaching sexual maturity and thus capable of reproduction." ~ wikipedia

Moreover, even the media promotes the fact that sexual content should strictly be watched by adults. And Yuno does end up having sex during some of these dates…

And if this idea isn't convincing enough… I think that Yuno likes to partake in compensated dating, because she knows the clients don't consider her a child. They are interested in her, in a way that makes Yuno feel satisfied with herself (at least, for a short period of time, when she is in their presence) she feels grown up and mature. She also receives money for her services, providing her with enough financial resources for Yuno to consider that she finally managed to complete one of the first steps of adulthood, to be financially stable.

Doing something that is not really socially accepted, again, can be considered as autonomy, because you do not follow the same rules that the society obligs. Yuno knows how compensated dating is perceived, but she still does it, because she thinks this action provides her "warmth".

The "warmth" that Yuno speaks about is a vague term to describe her desires. Based on her interactions, I would like to think that this term refers to genuineness and mutual understanding. Yuno, in the first VD, describes the society as being a place where "everyone eats each other". People need to point fingers at others who made a mistake, who did something that's not socially accepted to make themselves feel better.

Yuno: That’s right. You know those people who just wanna convince themselves, so they intrude in other people’s affairs even though it’s not their place—I despise them. That’s what I was saying. They only do that to make themselves feel better, don’t they? Those people don’t actually end up doing anything.

And you know what is interesting? The fact that Yuno finds more closure being in the company of some murderers. Why? Because they can also be considered some outcasts of the society that she pretty much dislikes.

Es: However, it also explains why you’ve given up. About yourself, human beings, even the whole of society, you’ve realised everything—that’s why your expression is so cold.

Teenagers usually have little power in our society. They can achieve great things, but have to go through more hardships due to the limited freedom. They need an adult to actually help them. That’s just how society is built.

Yuno's distaste for the society can explain why she has grown so fast, or, at least, thinks that she has matured enough. She was tired of the society inflicting on her rules that she, as a simple teenager, had to oblige. So, going into Milgram, starting to hear people crafting a sob backstory for Yuno, treating her like a child, despite the fact she has already done a few steps in order to sustain herself financially and emotionally as a young adult, it's truly insulting.

Es: This is just popular belief, but the law is also something the people have decided. There’s nothing, which can satisfy every single human being, now is there?

Yuno: That’s right.

However, even after all these, that doesn't mean she doesn't actually struggle with this new found autonomy that she craves.

I actually think that this autonomy is the cause of most of her suffering.

As I stated before, compensated dating is something that she decided to partake in, in order to prove her independence. She thinks that what she has chosen for herself is healing, helping her. But, if it's that the case, then why do we have these scenes?

It's difficult to admit that one of your decisions was actually… Quite wrong. Especially, when it's one of your first one's as an official adult, in the very first stage of your life when you finally have enough independence.

“Cognitive dissonance is what we feel when the self-concept — I’m smart, I’m kind, I’m convinced this belief is true — is threatened by evidence that we did something that wasn’t smart, that we did something that hurt another person, that the belief isn’t true,” said Carol Tavris, a co-author of the book “Mistakes Were Made (But Not by Me).”

She added that cognitive dissonance threatened our sense of self.

To reduce dissonance, we have to modify the self-concept or accept the evidence,” Ms. Tavris said. “Guess which route people prefer?”

So which one does Yuno prefer? To convince herself that what she is doing makes her happy.

Yuno: Despite that, you arbitrarily assumed things about me and sympathized with me. Even though all I did was make a rational decision of my own free will.

Yuno: I’m not pitiable. My family gets along super well. And I’m not particularly struggling for money. I decided, of my own free will, to do it because I felt that it was necessary for me.

Sometimes, considering how many times she mentions it, for me it feels like Yuno tries to convince herself that what she is doing is good for her.

But you know what is funny to me?

She is good at making herself enjoyable for others as well as giving somewhat good advice:

Mahiru: My birthday…… the day I was born……But was there really any reason for me being born? Lately I’ve started to wonder that. Do you ever think about stuff like that, Yuno-chan?

Yuno: Eh? Not really. I mean, Mahiru-san, you’re really the romantic type, right? Not that I have anything against that. But isn’t it a bit much to think that everything in life has a meaning? If it makes you happy to think like that then go ahead, but if it doesn’t, then isn’t that in itself meaningless?

Mahiru: : ……you might be right. I’ve always just lived my life like this, so I don’t really know.

Yuno: We’ve all just gone through a bunch of things in life that happened to lead us here. It’s nothing more than a coincidence. Definitely not fate or anything. Probably. Even if there isn’t a meaning, you can still be happy that it’s your birthday. That sort of thing’s all you need in life really. So happy birthday, Mahiru-san.

Mahiru: ……no, I’m fine. As long as I don’t move too much I don’t even feel any pain. Sorry for making you worry.

Yuno: Oh, really? That’s good then. Mahiru-san, if there’s anything you want then just ask. It’s not like it’s a huge burden, I can just ask for it along with my own stuff.

Mahiru: Ok…… I’m fine for now. Sorry, for making you worry. Ah, Yuno-chan…… Today’s your birthday, right? Happy birthday.

Yuno: …Haha, thanks. Thank you, but y’know. Is it really ok for you to be saying that to me when you’re in that situation?... you really aren’t suited for Milgram, huh, Mahiru-san.

Amane: What is it… Kashiki Yuno. Don’t sit so close to me. Go away.

Yuno: Sorry for barging in when you’re getting into your worldview thing. But Mahiru-san’s finally managed to get to sleep. Humour me with some small talk while I take a break. By the way, Amane. Have you ever wished you were never born? I’ve thankfully lived a pretty fun life so far, so haven’t really. But you seem to be struggling with something. So I kinda wondered if you thought like that.

Amane: ……I don’t think that. Being born into this world is the first miracle any person experiences, and is something to celebrate. Even if after birth I was put through trial after trial, the value of that will never disappear.

Yuno: Hmm. Ok…happy birthday, then. It’s good that you were brought into the world, I guess.

But Yuno has a big, and I mean a BIG tendency to self-destruct, not intentionally.

Wanting to be independent comes with its own downfalls. At the beginning of the trial, Jackalope states that Yuno has distanced herself from social interactions. So much so, that we have never seen her actually confiding to someone else, in any of the portal timeline translations. She might have her reasons, either minimizing her problems, and using her energy to help the ones she deems to have worse than her, or, this is simply her nature to bottle up her own sadness. This again might also be the cause of her wanting autonomy and proving to herself and others that she is mature enough to manage her emotions.

Not confiding in someone else for a long time can cause depression. Something that Yuno might be struggling with during trial 3 or she is already struggling with it a bit.

Furthermore, it's interesting that Yuno admits disliking behaviors that she deems childish. For example, she doesn't like the way Haruka and Muu behave, because they are ignorant of the problems in prison and have a really childish way of thinking. Amane's hate towards Shidou, might be often wrongly interpreted as a simple child's tantrum. Kotoko's actions, responding with violence to violence, it's again, an aspect often deemed as childish and immature.

Yuno: Really? If you ask me, Kotoko is someone I would never want to make my friend, though. She’s the type who picks a conclusion from the very beginning and won’t actually talk with you.

Yuno: Well, I guess it’s arbitrary who one gets along with. But Mahiru-san in particular is something. I think both her body and mind are at their limits. Also, Mikoto-san was also attacked but apparently it ended up in something of a draw. That guy was strong, huh—how unexpected. Also Haruka and Muu-chan have become kind of bothersome. And additionally, Amane-chan and Shidou-san too, huh.

Lastly, her second MV also shows her desire of autonomy in Milgram, not only through lyrics, but through visuals too.

Beginning with her door, it looks a lot like a medieval castle door.

Her room, the way it is designed, especially the bed and the chair, also resemble a princess' room.

However:

Despite the important role that princesses played in courtly life, they had limited personal freedom. They were often kept under close guard and were rarely allowed to leave the palace or castle where they lived. This was done to protect them from danger and to prevent them from engaging in political activities that might undermine the authority of the king or prince.

Medieval princesses had little to no autonomy most of the time. Their life was dictated from the start, having the only purpose to be betrothed and give birth to children.

That’s why the design choice is intentional. Yuno feels like a princess trapped in her pretty room (the MV is quite claustrophobic, the only outside elements being a few memories), exposed to the world (the many windows imply this), the voices that keep demonizing her.

That’s why the scene where she starts breaking things in her room is so important. It serves as a sign of rebellion, to show that she is not the perfect, helpless princess that people like to portray her as. She is an adult who makes bad or good decisions, who thinks for herself. She is proud of her autonomy and is tired of constantly proving to others that she is not capable of taking care of herself.

[aquariiium]

Shidou Kirisaki killed for his son, not his wife

After a lot of thinking, I think I've got a solid theory for how Shidou's crime went. Stick with me here

His wife and 2 kids get into a car crash, and only his oldest child survives. He needs organ transplants, but due to the complicated perception of brain death in Japan, there's not enough organ donors.

Shidou starts trying to convince families of brain dead patients to sign them up as organ donors, but doesn't get the organs he needs for his son because he's not in control of what goes where obviously.

He gets more desperate as time goes on and his child's state worsens, and just kills braindead patients himself, making it seem like an accident. Again he's not in control of where the organs go, so he has to kill many people so that the organs can go to his surviving family.

His son dies during the organ transplant, or shortly after.

Shidou turns himself in because he has nothing to live for anymore.

Evidence & other details under the cut v

The car crash

In the intro of Triage, Shidou is walking home with groceries. By itself it's not weird or anything, but it could imply that his wife had the car to drive the kids to or from school at that moment.

In the scene of Throw Down where Shidou wakes up (alone, in a double bed), it zooms on broken glass on the floor. Glass in cars are made to break into pieces when they suffer shock.

In his T2 interrogation, Shidou is asked that question.

His wife and youngest kid die in the crash, his oldest kid is the only one that survives

In Triage, his youngest child is always clinging to their mother, implying a certain connection between them. (this is going somewhere I swear)

The theme of receipts being patient files is present in both Throw Down and Triage; so when this scene in Triage happens, it implies that he's giving those lives to his son. He does not do the same for his wife, or his youngest kid.

In the part where he puts his hand over his face in Triage, you can see that. Again with the 2 groups.

In Throw Down, 2 wilted flowers are under a glass case, while one wilted flower isn't. That could symbolize that 2 of them are enclosed in a coffin, and the last one isn't, even though he's already wilted.

The receipt/patient file that Shidou rips up at the end of Throw Down: it's hard to see what it says exactly (what organ IS that), but you can see that the XY chromosomes are ticked off. So unless his wife is trans (which would be great), the last file to expire, or be destroyed, or the life to die, is a boy's. That's why I keep referring to his oldest child as a boy (unless that child is trans which would be great again, but I doubt that milgram would do that). The name there says something like Rei/Kei/Kai Kirisaki. It would be confusing if both Shidou's son and Mu's victim are named Rei, but that might be the case.

Shidou tries to convince families to sign their braindead relatives as organ donors

Aesculapius:

Shidou stops asking and just takes the organs (or kills the braindead patients) himself, passing it off as accidents

Throw Down: You can see him reassuring a grieving family, and "sniffing out lies"

Aesculapius:

I think it would be weird if his "murder" was just convincing families to sign their relatives up as organ donors (even though that does count as medical malpractice)

His son dies during the organ transplant, or shortly after

Throw Down: His human-shaped flower abomination starts moving again, but after stepping out of the hospital bed, it crumbles into pieces, and Shidou is horrified. Flowers represent the lives he's cutting to add to it.

Shidou turns himself in

I have no evidence for that one, but what else would he even do. In the start of T1, he's asking for the death sentence.

Other Fun Facts:

Shidou used to cook pancakes for his kids. That's why he's so insistant on Amane trying them in minigram. (There are two plates of them on the floor.)

His children liked to draw. probably why he's started drawing as a hobby in milgram.

The intro of Triage where he's walking home with groceries is (according to me) a memory of the day he got the news of the car crash. You can see the groceries through the MV, discarded on the floor or rotting. They're pomegranates, whose insides look like human organs - and he gives the receipts for them to his son. At first it's just groceries, but then they're human lives.

The phone call translates to "Hi this is Kirisaki, I'm busy right now, please call later" or something like that, implying he was busy when someone called to inform him of the deaths.

[1moremilgram-enjoyer]

AAAAAAAAAAAA

Okay look, I think I'm going insane. We learn here in Double that Orekoto seems to be right handed, right?

Right? He always holds the bat with his right. And when he goes to swing, he swings with his left facing the "pitcher", which is how you swing if you're right handed.

Except.

There, his right is to the pitcher. That's a left-handed swing. You can even tell it doesn't make sense that that's the same swing just looking at the two images.

The bat is on the left. Only the left hand is bloody. And even the backside of the hand is bloody, so it's not like we're not seeing the blood on the right, there just isn't blood there. But notice the first alter isn't holding the bat.

Ends with blood on both hands.

Guys, I think we've gotten something wrong. There may not be just one murderer. Two alters have killed, I think.

[accirax]

Chessgram Theory: Who is Kotoko Breaking?

While the object Kotoko is breaking in Deep Cover’s thumbnail is still certainly up for debate, many people (including myself) are of the belief that she’s snapped a white bishop from the game of chess. Given where Kotoko’s mental state is right now and what’s implied by the lyrics of Deep Cover, I think it’s likely that this MV’s theme will depict all of the prisoners as different chess pieces. Therefore, it’s worth asking: who is that? And, in a larger sense, which prisoners could be represented by which chess pieces?

Kotoko pretty clearly sees her situation as her and Es against the rest of the prison. So, I think that the characters would be divided as Kotoko and Es on one team, and everyone from 01-09 on the other. Kotoko is wearing black and appears to be breaking a white piece, so it’s pretty safe to assume that she and Es would be represented by the black pieces. It’s an interesting choice, given that, even to a non-Western audience, black can be considered a color of evil, and white a color of purity and truth. However, if the Es/Kotoko team is “mystery and anger” and the 01-09 team is “cold demeanors and death,” it fits well enough.

And that’s ignoring the most important part: in chess, the white team always moves first. This would fit with Kotoko’s vigilante worldview that everything she does is just a retaliation against others’ wrongdoing. The other characters attack first by sinning, and Kotoko is only picking them off before they can do any real damage to Team Warden.

Anyways, as for the pieces themselves, different websites seem to have slightly different opinions on what each piece can represent, with some obvious throughlines. I’ll be pulling quotes from these three articles, color coded according to which one is being used, which you can read more of if you wish. I’m also not a chess expert, so if I’m missing anything or got something wrong, I encourage you to add any of your own thoughts!

We’ll start with the Black Team, because there are fewer characters and I think it’s pretty obvious who’s who.

Kotoko Yuzuriha

Kotoko herself will probably be the black Queen. As anyone who’s played chess should know, your Queen is the most powerful piece in your arsenal because it can move on straights or diagonals for any distance.

The queen is our impulse to fight and possibly our id. It can argue based on beliefs. It can let loose and fight like a rook. It has no reason to hold back as a knight does and will often attack to the other side of the board just because it wants to.

This hyper-violent description of the Queen reminds me a lot of Kotoko. She attacks the other prisoners because, according to her beliefs, they’re criminals who deserve to be punished. Not to mention, the “id” is actually the same thing as the “es” in psychology. After we voted her innocent in the first trial, Kotoko became our teammate. She thinks that she’s the same as Es, so seeing herself as the “id” would fit perfectly with that self-assessment. Speaking of Es…

Es (and Jackalope?)

Es is most likely going to be the black King.

The king is not as powerful as the queen, but he is considered the most important piece that needs the most protection.

Even if Kotoko has more power than Es inside the prison, Es is still the one ultimately calling the shots. They’re the important piece who actually casts the votes that Kotoko can use to exact justice. The way that Es falls asleep between trials (or, at least, they did the first time) also reminds me of how the king can only move one space per turn, and often remains in the same square until closer to the end of the game.

The meaning of the Queen in the game of chess is she is plainly the closest support to the King and is often the second biggest (tallest) piece on the board, signifying her power and importance.

Es and Kotoko being the King and Queen together also opens them up to being assessed as a pair. They start the game next to each other, far across the board from the white pieces. If Es is the tallest, most notable piece in the prison, Kotoko isn’t far behind, acting as the King’s loyal fang.

I don’t know if any of the other pieces on the black team would have any sort of particular association. Maybe Jackalope could be the pawn that starts in front of the King (I think that’s the E pawn), so that he could hop out of the way on black’s first move to allow Kotoko to escape on a diagonal?

If I’m right about this theming, I also believe it’s possible that the black team would start only with the King and Queen. This would 1) make Kotoko and Es appear as rootable underdogs by having fewer pieces, 2) show how Kotoko is doing all of the work to defend justice, and 3) give Kotoko a lot of space to move around in from the start.

Now that we’re done with the black team, it’s time for the 01-09 White Team! Given that this side has many more main characters, there are several more possibilities to discuss here. I’ve settled on an answer for each of the prisoners, but there’s certainly room to be flexible with any of them.

Haruka Sakurai

Starting with Haruka… sorry, buddy, but I think you’re a Pawn.

Look, there are only eight pieces (not pawns) for each team on the board. If there are nine prisoners on the white team, at least one of them has to be a Pawn. And, especially through Kotoko’s account of the first Trial, Haruka wasn’t doing a whole lot. He didn’t get voted guilty, so she didn’t attack him, and he didn’t try to save any of the attacked prisoners, either. All he really did was get a new fit and align himself with Mu, someone who barely avoided being voted guilty in the first place.

There is a debate about whether the pawns are the peasants who live outside of the castle walls or are the soldiers protecting the royal court behind them.

Specifically, though, I think that Haruka would be the pawn that stands in front of Mu. Depending on which piece Mu is, it doesn’t have to work like this, but if you say that Pawn Haruka’s placement is basically a “if you want to attack her, you’ll have to get through me first,” that’s quite reminiscent of the threat he presented in his second audio drama.

Haruka also makes sense as a Pawn because he has a lot of potential. For anyone who doesn’t know, in chess, if a Pawn manages to make it to the other side of the board, they can transform into any other piece. Haruka’s quiet demeanor might let him slip under the radar, but if Kotoko takes her eye off of him for too long, he could wind up becoming a threat to the King (Es).

Haruka (VD2): “If you don’t forgive Mu-san, I’m going to kill you.”

In the audio drama, Es counters this plan by pointing out that, as a prisoner, Haruka cannot attack them. However, the sentiment is still there. Even if a Pawn doesn’t really stand a chance of attacking the King when Queen Kotoko is on the loose, there’s always the possibility that he could get too close and throw a wrench into Kotoko’s plans.

Yuno Kashiki

As for Yuno… well, we all know that she’s a Queen in general, but in chess, I don’t think that argument really holds up. Yuno really just isn’t… relevant? enough? to the conflicts of the prison as a whole (at least where Kotoko is involved) to be represented by such an important piece. But, if Yuno isn’t the Queen, what would she be…?

Personally, I think she would be a Rook.

The rook is brute force. It is a disregard to beliefs.

Simply put, Yuno is a Rook because she’s a pretty straightforward person. That’s not to say that she doesn’t lie, of course– her whole t1 attitude seems to have been a bit of an act, and that one section in the middle of Tear Drop makes it pretty obvious that Yuno conceals her true feelings on order to better please her customers sometimes– but that, in the end, Yuno always does what she wants. If she wants to barge forward or cut across the entire board sideways, she’ll do it. She often keeps to herself, just like how enemy pieces wouldn’t want to get directly in front of the Rook for fear of being curb stomped.

Back to her t1 attitude, though…

The rook is the castle, the walls, the protectorate of the city, and in being so, is the only piece not representative of a living thing.

While most sources attribute the Rook’s walls to protecting the other important pieces, Yuno’s walls protect herself. Yuno’s Castle keeps her true self locked behind cold and stony walls, giving her freedom from making any attachments.

Futa Kajiyama

Futa is a Knight because… he’s, uh, literally a knight.

The knight pieces are the protective knights in the castle. The pieces are shaped like a horse because it is symbolic of what knights rode during battle.

It doesn’t always have to be that deep. (/j)

Actually, though, there are other reasons to call Futa the Knight– possibly some of the same reasons why the Milgram creative team decided to make one of his MVs themed after fantasy RPGs in the first place.

The knight represents the pure inner-warrior. If a knight starts out passive, it will always end up aggressive and vice versa. It can't move very far, but it never moves in a straight line, always preferring to be tactical and thoughtful.

Futa definitely seems to cycle between aggressive and passive. He passively lived his life as a regular guy until he unleashed his aggression and became a cyberbully. That aggression fueled him until he learned of his victim’s death, at which point he shut down and seemed to become more passive and introspective again. Arriving in Milgram triggered his aggressive tendencies, but getting voted guilty and losing an eye for it triggered his passive terror. At the time of his second audio drama, it seems like he’s returned to aggressively questioning Es again, and it remains to be seen whether he keeps that attitude into t3 or if something happens that once again makes him lose his footing (or die).

Mu Kusunoki

Much like Yuno, Mu also has an argument for being called the Queen– more so than Yuno, considering her strong Queen Bee coding in It’s Not My Fault and the titles of both of her audio dramas– but also falls short in the “being opposed to Kotoko” department. Although Haruka certainly looks to her for leadership, I can’t imagine Kotoko actually considering Mu a serious enough threat to put Mu on the same level as herself.

So again, like Yuno, I think Mu might be the other Rook. Mu also displayed a very “whatever I say goes” attitude in INMF, so she can share the same rhetoric behind Yuno being represented by that piece. The logic behind the castle aspect is slightly different, though.

Every country or medieval estate would have its royalty who were protected within the walled city or castle.

Mu is a rich, half-European girl whose dad sells real estate. Of course she would be represented by the Castle! Mu’s tactics involve consolidating her power in order to lead from a place above it all, exactly like how a castle looks over the rest of the village. Additionally, I can’t find the source of whoever pointed it out first, but I’ve seen it mentioned that the dress Mu wears in her birthday art is a reference to the one that Belle wears in Disney’s interpretation of Beauty and the Beast. It’s a fairytale with a princess (and perhaps someday, a queen), yes, but it’s specifically one where the heroine is trapped within a castle. Making Mu into a Rook would be a great way to keep up her royal theming, while leaving the Queen for a character a bit more powerful and relevant to Kotoko.

(Going back to Haruka for a moment, this would make him specifically the A or H pawn.)

Shidou Kirisaki

I really thought that Shidou might have more competition for the role of King, but the more I thought about it, the more I realized that nobody fit the role quite as well as he did.

Shidou is the perfect balance of a piece who’s very problematic for Kotoko’s win condition, while also not being much of an active threat himself. There are very low odds that Shidou would ever actually try to harm Kotoko directly or get in her way to divert an attack. However, as long as he’s alive, Kotoko can’t win, because Shidou can keep attempting to heal all of the pieces Kotoko tries to eliminate. That’s not something that the King piece can actually do in a chess game, but hopefully you get my point.

Additionally, Triage let us know that Shidou is a family man. While the white Queen will obviously not be representative of Shidou’s deceased wife, and not every other prisoner would enjoy living under his reign (cough cough Amane), the optics of him being the “head of the family” are obviously there. It’s a pretty bad look if the white King starts the game by pleading with the black King to give him the death penalty, but… Well, at least Shidou changed his mind.

Mahiru Shiina

Not to answer the theory’s main question so early into the post, but… I think Mahiru is a white Bishop. Specifically, the one that Kotoko could be snapping in half in the thumbnail.

As far as I can remember, barring Undercover, Milgram’s MVs have only shown us things that have happened in the past. There are some things that could kind of hint at the future (like Shidou’s “So hey, prolong my life / I’m indispensable” in Triage) or depict prisoner’s fears of the future (like Futa potentially being afraid that Es could declare him guilty again at the end of Backdraft). But, I think that every instance of something like that happening could be explained as something that the character did or thought about in the past as well. That might be wrong, as I don’t want to take the time to write out how everything that appears like it could be in the future is actually in the past, but it sounds right to my memory.

My point being, while the snapped bishop could be indicative of Kotoko’s plans to crush someone in the future, if the chess pieces do represent characters, it makes far more sense if her smashing the white bishop is something that already happened in the past. Thus, it would probably be one of the three characters that Kotoko attacked in the past: Futa, Mahiru, or Mikoto.

Of the three options, I think Mahiru fits the role of bishop best.

The bishop is your belief structure. This is why a bishop that starts on white, will always be on white and vice versa for the black bishop.

While not a particularly religious person, Mahiru is someone who lives and dies based on her beliefs about the value of love. No matter what happens to her, she always keeps her same perspective, believing that love is the entirety of who she is and the only thing that’s worth living for. It’s how firmly she clung to those beliefs that sent her to Milgram, and her lack of awareness regarding her actions that got her voted guilty. AKA, Mahiru’s Bishop-like beliefs are exactly what sent her to be crushed in Kotoko’s palm.

To the extent that the blood in the thumbnail is the Bishop’s and not Kotoko’s, Mahiru was also the most grievously injured of the prisoners in between trials. I saw people joking that the thing Kotoko was crushing was “Mahiru’s bones,” and, like… maybe you’re not entirely wrong? 

I hope that you continue reading the post to hear my thoughts on the last three prisoners. But, if you are tapping out here… uhhhh, 0610 enjoyers, go crazy with this one.

Kazui Mukuhara

When I started theorizing for this post, I really thought that I was going to make Kazui the Queen to Shidou’s King. The two of them are pretty close, so the idea of Kazui being Shidou’s guardian makes total sense. And, most importantly, Kazui was the one to actually intercept and divert Kotoko’s attack on Futa. He’s been established as the most muscular prisoner in Milgram, on par with someone like Kotoko, which is perfect for him being the Queen!

Wellllll… I changed my mind and decided to make Kazui a Knight anyway.

There are a lot of good arguments for Kazui being a knight too, okay? After Cat, it’s pretty clear that Kazui was once a police officer. Thus, being a member of the castle guard would be a good match for his choice of career. They’re also probably the most traditionally “manly” piece, representative of an armed man on a horse, and Kazui tries very hard to be manly.

Knights can also hop over other pieces, much like how Kazui jumped into the fight between Kotoko and Futa. In fact…

Never underestimate [the Knight] for its limited range. It’s known as the "Queen Killer" for a reason!

Knights are often a good piece to use to attack Queens because of their unique L-shaped movement pattern. Unlike every other piece, they can attack the Queen from a position that can’t be immediately reversed upon them. Thus, Kazui’s ability to beat Kotoko could be an indicator of this “Queen Killer��� quality, instead of the innate power of being a Queen himself. (This logic applies to Futa as well: he can attack Kotoko from the unique angle of appealing to Es’ morals and own sense of justice. Kotoko can’t do the same because, unlike Futa, she has yet to outwardly acknowledge that her murder could have been anything less than righteous.)

Also… the Knight is the only piece that doesn’t move in a straight line. Get it? The Knight doesn’t move straight? And that represents Kazui? Because Kazui is–

Amane Momose

Amane is the other Bishop because… religion.

The bishop stands close to the king and queen because it represents the church which many royal courts held near and dear to their hearts.

The Bishop represents the church, an important and very powerful entity throughout history and even today if you think about it.

Again, not everything has to be a reach. (/j)

So… yeah, Amane’s beliefs– specifically religious beliefs, this time– are also a huge part of her life. Even if she’s changed what the cult’s doctrine means to her, she still confesses that she carried out her murders for the sake of what her religion considers right and wrong.

This is also considered the third most powerful piece on the chessboard because back in the day religion could influence many people, even without the help of the royal family.

Not so much for Mahiru, but this sentiment also fits Amane pretty well! Between the threats of potential conversions and potential assassinations, Amane was definitely one of the prisoners to watch heading into t2. From what I’ve heard, the main reason why her vote was so down to the wire was mostly because people were afraid of the power that Amane held.

Interestingly, this would put another prisoner who was voted guilty in contention for the piece that Kotoko is crushing. However, I still think it’s more likely that that piece would be Mahiru, because Kotoko didn’t physically attack Amane. If it were Amane, it would more likely be that her beliefs were crushed as opposed to her bones, but… I don’t really think that really happened, either. Amane would almost certainly be a bishop, though, so there’s certainly a possibility that that broken piece could be her.

Mikoto/John Kayano

With only one prisoner left to go, you may have already come to the conclusion that Mikoto is the white Queen. And… yeah, I can’t really deny that at this point. Like I said, I wanted to make Kazui the Queen, but I couldn’t otherwise figure out what Mikoto would be.

Because, there’s one main thing that makes me think that Mikoto has to be the Queen… John’s lack of restraints.

She is allowed to move in any direction and in as many squares as she wants.

Due to the whole situation with John not technically being a prisoner, when John is the alter in charge, John cannot be restrained, even when voted guilty. That makes him very powerful; no matter what he does, we can’t use a guilty vote to try to stop him, much like many people hoped to do with Haruka when voting him guilty in t2. The Queen can visit any square, no matter whether it’s black or white, upright or reversed, Mikoto or John. Choosing any other piece that was constrained to a much more limited set of movement rules just felt off for him.

Next, while Kazui was able to defeat Kotoko and save Futa, the fight between John and Kotoko was a draw. That means that they are also evenly matched– perfect for both being the same kind of piece. Mikoto isn’t as close to Shidou as Kazui is (anymore, I think?), but they were at least smoking club buddies, so calling Mikoto the Queen to Shidou’s King isn’t the most ridiculous proposition.

Finally, making Mikoto the Queen, a very feminine piece, is super interesting in the context of people discussing how Mikoto is often associated with stereotypically feminine roles and the girl prisoners (oboetemasuka | candckirby | purgemarchlockdown). I don’t have a whole lot else to say on this matter considering these weren’t points of Mikoto’s characterization I originally noticed myself, but I encourage you to read these posts to get a taste of what I’m talking about. I’m sure there were other posts discussing it too, but… it’s so hard to find things on Tumblr ;-;

Conclusion

Finally, we’ve been through every prisoner! Here’s a summary of what I decided on (left or right side doesn’t matter):

The funny thing about this theory is that it could be fully disproven wrong in, like, a week, if either 1) that wasn’t a chess piece at all, or 2) the chess pieces obviously represent something else. For instance, the chess board could fully relate to, you know, Kotoko’s actual murder and not what she got up to in between trials. We are supposed to get more actual evidence regarding that too, aren’t we…?

Still, if it turns out that the chess board does represent Milgram, I will get the full satisfaction of having called it ahead of time, even if my assignments aren’t 100% correct. No matter what, I had fun thinking about it, which is (in my opinion) the highlight of theorizing! If you have anything else to add, I encourage you to communicate your thoughts in comments, tags, or reblogs. If you don’t, then I simply thank you for reading this far!

Deep Cover… soon.

[shiikiyun]

thoughts on futa's door and the tunnel in backdraft

boy we have got to talk about this boy

To elaborate more on what this could mean, i think it could have something to do with the fact that futa felt himself part of his friendgroup (the team) because of all the things he did with them together (playing for the team) but they never really saw him as one of them nor did they care (he was barely substitute). It makes sense even looking at his outfit, soccer /players/ don't really dress like that on the field. The substitutes on the bench do

Backdraft constantly plays into his lack of belonging, even though all of his actions come from his own sense of belonging to the group. It wasn't reciprocated

Him entering a soccer stadium in substitute-like clothing but ending up in a dangerous, dark, neverending underground tunnel just further showcases how much he was NOT meant to reach the field with the rest of the team.

[kani-miso]

hngngngnggngn guyss what if the dude in the ending of the t2 summary, will influence es even further into their warden role (and maybe something really bad will happen)

we all know that the dude used "watashi" instead of jackalopes "ore-sama", this is really important. since we know in the novels, jackalope's aren't technically "jackalopes", they are technically "human", sort of. maybe, the dude who used watashi could be jackalope off of work, or the dude in the novel (the boss). the identity of that man isn't really important in this discussion, but i just want to find out ig.

what's important is, do you remember about the aviot collab? es' last test line is the main topic. (im to lazy to take the image). the line, "i(boku wa)... i(watashi.. wa..)...." iirc. the 1st "i", uses boku, their usual 1st person pronoun. boku is usually used by young boys, but in this case they're using it since boku is used by workers (boku is also gender neutral). the 2nd "i" uses watashi, they have NEVER used this 1st person. what if, the reason why they used watashi, is because of that dude in the ending of t2 summary using watashi. only we can hear that dude since he appeared when es is put to sleep, if they are taking reference off of that dude, how did they hear it? the viewers mind and es' mind is sorta connected (the reason why es can hear our thoughts).

before es is put to sleep, jackalope is awfully manipulative i will rip my guts out. "and anyway, whatever happens to them, none of it can be taken back. its not for the guard to worry about. that's right, you are the guard. don't doubt it. that is your job. as long as you dont forget that, it's fine. now that you understand, go to sleep, es."

its not for the guard to worry about : jackalope knows that es has their full trust on him, he's using that as a chance to take advantage of their own feelings, making them slowly lose empathy for the prisoners. also, maybe jackalope said this because he knows es feels guilty for what happened to the guiltied (…I'm sorry. I'm responsible for the fact that you've ended up like this.) ig he is supposed to be the representation of the all seeing eye in the panopticon.

that's right, you are the guard. don't doubt it : in some occasions, es doubted their role of being the warden (ex: "Guard-san"... Is that really... me?). since they're doubting their role, i think jackalope is trying to push the warden role onto them so they wont ever give up and become a vulnurable target of "manipulation" for the prisoners.

as long as you dont forget that, it's fine : yeah ig its self explanatory.

also, the last line, "oh yes, just as i predicted, you have all turned out to be...." its so smart. in the original milgram experiment, there are three results: 1. those who followed the rules but blamed themselves for what they did 2. those who followed the rules and felt great for what they did (because they thought they actually hurt the person) 3. those who rebelled and halted the experiment. in the back of the undercover cd, there's 3 es'

and i think they can be connected to each of the results. the one on the top could be the 1st result, the one on the middle could be the 2nd result, and the third one could be the 3rd result.

i love how they just cut it off before he says what we all turned out since there's three results that could happen. because we technically have the idea of what es could end up after t3, i wonder how much farther would they go to be the ideal warden (especially with how jackalope is persuading es to not worry about what happens to the prisoners).

(+edit: a jp person translated the ending part where it glitches, its "you have all turned out to be psychopaths who enjoy other people's misery", which is technically the result of the real milgram experiment, even stanley milgram himself was horrified of the results, "a very high proportion of subjects would fully obey the instructions, with every participant going up to 300 volts, and 65% going up to the full 450 volts.".

i might be reaching too far so take this with a grain of salt

tldr; the dude at the end of t2 summary will worsen es

[keymetaphor]

It is time for me to post what I lovingly call my

“Overly Complicated Mechanism” Theory.

I originally wrote it right after Cat, but Amane trying to commit homicide again reminded me of its existence, and then I forgot about it until now. Anyway…

In short, my theory is this: Milgram’s preventative measures for violence against the Guard could be bypassed if the prisoners used an elaborate Rube Goldberg machine.

With Kazui’s first interrogation, it was heavily implied that the way Milgram actually stops prisoners from attacking the Guard involves a mental block, similar to hypnosis. This means the “invisible barrier” is very likely a result of their muscles locking up from brain signals that force them to stop before they hit the Guard.

The main piece of evidence for this comes from Kazui’s first interrogation, where he tested the limits of the Guard’s, uh… guard. Kazui’s attempt to restrain Es ended with his body suddenly losing strength, as if he himself became opposed to the idea of restraining them.

With Milgram’s themes of reinforced and rejected thoughts, I believe the most plausible explanation is a type of mental block instated in the prisoners’ psyches that prevents them from completing actions with the intent to harm or restrain the Guard. (Of course, it’s possible there really is just a magical barrier, but given the results of Kazui’s little experiment and Milgram’s emphasis on altering thought patterns, I think it’s unlikely.) My most pressing question about this is whether the mental block prevents a prisoner from carrying out any action with harmful intent toward the Guard, or if it only stops direct actions.

For example, say Muu wants to hit Es on the head with a rubber mallet. To accomplish this, she comes up with a design for a convoluted mechanism that effectively removes her from the act of wielding the hammer itself. For the sake of consistency, we’ll say the sequence of events is as follows:

Someone tips over a cup. The cup hits a rubber ball, which rolls down a ramp and hits a series of books set up like dominoes, which all fall one after the other. (I don’t have time to do a full illustration right now, but here’s something I sketched out really quick as a visual reference.)

The last book falls off a table onto the pedal of a trash can, which opens the lid and sends a tennis ball flying. The ball knocks over a metal water bottle, which releases the string held in place beneath it.

The string is tied to the rubber mallet, suspending it in midair above a doorframe. Releasing the string also releases the mallet, dropping it directly onto Es, who is (hopefully) standing underneath the doorframe.

There’s enough steps in the sequence to remove Muu as the one dropping the hammer. However, she would still be acting with the intent to harm the Guard. So, would she be unable to complete the action due to the mental block? If the answer is yes, as I theorize, then this obstacle can be bypassed with another workaround: telling someone else to do it for her.

If she tells Haruka that activating the mechanism will release confetti, and she obscures the mechanism enough that he will be unable to discern the actual purpose, (e.g., covering it with a curtain,) then Haruka would be able to activate it because he is acting without ill intent. Since he is fully convinced that the mechanism will release a shower of confetti, he can activate the chain reaction where Muu would be stopped by the mental block.

This leads to another possible obstacle, though. Would the mental block prevent Muu from building the mechanism in the first place? Since she is making it with the intention to cause harm to the guard, would she be unable to create it? It all depends on just how deep the mental block runs.

Based on what we’ve witnessed so far, I’m guessing that the mental block doesn’t extend quite that far. As seen with Fuuta, Kotoko, and Kazui, (and now Amane as well,) the prisoners are still capable of acting with the intention to harm Es; the mental block just stops them from completing the action. In other words, they can try to punch Es, but they’ll be forced to stop right before hitting them. Similarly, Kazui’s attempt to restrain Es was possible at first, but he quickly lost the strength to do so.

It is likely that Muu would be able to build the mechanism in the first place, but attempting to activate it in order to hit Es would result in either her suddenly losing the strength to do so, or another “invisible wall” where her muscles lock up right before she can tip the cup over.

If Muu lies to Haruka about its true purpose, however, Haruka will be able to activate the mechanism in her stead, and the hammer will successfully hit its mark, provided Es is standing in the right place.

So here’s how they could kill Es with a banana peel…

[blitz0hno]

Times Milgram has implied 3 kayanosys alters sorted by how much of a stretch I think I'm making:

1. His chess piece in Deep Cover

Kotoko is a highly intuitive person - her subconscious has represented Mikoto with three distinct parts on his representative chess piece, and that could mean nothing, sure, but it's a possibility. also worth noting that when this breaks, it shows two prongs broken off, with the third missing. This is shown twice:

The paint splatters for that half are connected, while the other one that broke off was straying away. This is consistent enough for me to consider it a hint at something.

2. Backdraft, in which Mikoto has 3 lines of paint over him. The other guilty prisoners only get one. It looks eerily similar to the chess piece.

3. His birthday flowers. Everyone else got one distinct flower - Mikoto has 3. I don't remember what they all are but in the depths of Tumblr there's an analysis I'm sure I remember existing so shout-out to that mf.

both his prisoner number and birth date are divisible by 3 but that's a bit of a reach lol

4. These flashes in Double

Why 3 silhouettes? Why is one cut off? Could be for aesthetics, could be a clue.

3 eyes = 3 points of view? Mild stretch, but the art of Milgram strikes me as very very intentional. The repeated vertical "stacking" of the lines in Deep Cover, Backdraft, and these eyes remind me of the concept of structural/tertiary dissociation, but again a bit of a reach

4. His uniform

Would almost rank this above Double's visuals. Sure, nearly every prisoner has three vertical straps across the torso, but Mikoto has 3 horizontal straps across his waist and 3 on his wrists (worth noting that the third wrist strap is broken on the Double album cover, which matches the breakage in Deep Cover's MV). 3 stacked lines again. A pattern is a pattern I suppose.

5. A) how the fuck did he know to do this when Mikoto and John had no clue what was happening to them, B) we never see him with his hair like this after MeMe. He disappeared, like Mikoto is implied to be trying to do in Neoplasm. Presumably, he split and/or stopped fronting, resulting in the theoretical "other" two taking over.

6. This frame in Under: MEOWWWWWW BIIIIIG STRETCH!! He's holding up 3 fingers lol (also emphasizing the wrist straps). I'm reaching the way he reaches for his face under stress but it's Something

Some other things that are almost too minor to consider but I thought about them anyway because this project has driven me insane:

-repeated use of red-green-blue-specific coloring in both MeMe and Double

-John is associated with Christ imagery (crown of thorns graphic in Double, "savior" complex etc.), which is closely linked with the "Holy Trinity." The 3 aspects are all considered equally God, and at the same time, equally their own being. Never understood that until I understood plurality, even though we aren't religious anymore.

-3 prevalent major arcana - the Fool, the Hanged Man, and the Devil - in MeMe; followed up by Death at the end (drastic change).

- 9/3 = 3 (could be a coincidence). Also his bangs are divided into three parts (big stretch)

In conclusion either this all means absolutely nothing or I'm about to boost my "theory maker" credibility tenfold in t3 lmao only time will tell

[ryuseiired]

on mahiru's relationship

I wanted to write something up really quickly as to my opinions on Mahiru's relationship and what the dynamic there was like. I've seen a lot of people identify her behavior as "toxic", and some people even state that the relationship must have been toxic on both sides (often leaning heavily on the cake in I Love You as a metaphor), but I don't often see this stuff dived into deeper than either identifying Mahiru's bad behaviors or just saying they're both "toxic" without really talking about... why. Or what that means. Or how her boyfriend is toxic. I don't even really like the word toxic in this case because I feel like it's just being used without really delving into why or how in any real way, it's net zero information other than telling us it's bad. I want to step aside from the perpetrator-victim dynamic that MILGRAM puts things in the framework of. My key thesis is this: Their relationship is hurting them both in different ways. Both of their desires/needs are incompatible and going unmet. Neither of them are bad or wrong for wanting what they want, although Mahiru does display several behaviors that, while understandable, are ultimately harmful and unhealthy.

Let's look at the cake metaphor again. I see a lot of people say that the cake represents toxicity/bad behavior/unhealthiness in the relationship and that it's clearly both-sided because they're feeding it to each other. I don't... think this is a wrong interpretation, per se, but I think it misses an aspect that's kind of key to me?

In my opinion, the cake also majorly represents attention/love. Notice how the pieces Mahiru's boyfriend is feeding her are smaller than what she's feeding him?

When Mahiru is being fed the cake we never see it portrayed as anything but cake. She looks happy. She thrives off this attention. When her boyfriend is being fed the (larger piece of) cake... he sees it as a dead rat. We only see the rat transition when it's Mahiru feeding the cake, because he's the only one who is being smothered by the love/affection. She feeds her boyfriend more cake because that's what she thinks will make him happy- because love and attention are the things that make her happy. Because that's what she wants him to do. To put it another way: she's smothering him while he's not giving her enough.

Mahiru is clingy and overly-involved, this is no secret. She needs attention, thrives off it, and struggles with being alone or denied it. She wants to commit to each other and be married quickly after entering a relationship and believes the ultimate form of love is always being together.

I don't think she's getting what she wants from her boyfriend. Part of what I believe is going on here is that Mahiru convinces herself she's happy/convinces herself that she should be self-sacrificing for the relationship, then builds up resentment and gets upset when what she expects in return is still unmet, doing things like the scene in TIHTBILWY when she calls him in the middle of the night or even the subtler implications such as when, in the text from the MV, she mentions she "practically begged him" to come along to see a movie with her. This is where I think the fights she mentions come from, although she was "happy to get hurt." She pretends to be OK with how things are, but she doesn't really want to be and it spills out and she ends up being overly demanding. Mahiru wants more from him, and he can't give it to her.

Not to say Mahiru's high standards are easy to meet by any means, or that they're completely realistic- she clearly has a very idealized idea of how love and relationships should be- but if what you want/need out of a relationship isn't being met, I feel like it's not entirely the wrong response to be upset about that, you know? She clearly feels hurt by not receiving the same amount of love and attention she's putting in, though it's downplayed in both MVs either to idealize the relationship or to focus on her guilt. Where Mahiru's problem behavior comes in, in my opinion, isn't so much this desire for more attention from her partner, it's that she's then ignoring his equally valid needs in favor of her own.

From what we see of Mahiru's flaws, which are clearly causing conflict and upsetting him, if I had to guess as to his behavior I'd assume he's probably the type of person who needs more space in a relationship which he evidently isn't getting. Mahiru's enthusiasm and passion for him that he once loved becomes overbearing and cuts into his ability to spend some much-needed time alone, he tries to pull away further to assert himself, Mahiru tries even harder to pull him closer because she wants him closer and makes it worse... until it ends up all going irreversibly wrong.

I think part of Mahiru's character is built on contradictory traits that are both true at the same time. She's very selfless and believes in sacrificing and doing things for her partner, having a tendency to copy other people and do what she thinks she should be doing (note the text in TIHTBILWY where she mentions impulsively buying the same bread as him or saying her hobby is running, even though these things aren't true to herself, or interrogation answer where she says she'd try smoking if her partner did). She wants to fulfil the service-oriented role of being a traditional wife and even mentions having trained for it. She offers immediately for Es to come to her for advice in the first voice drama, and selflessly states she doesn't resent either their or Kotoko's judgement in the second voice drama.

And yet she ignores their discomfort with the topic of romance in the same conversation where she offers herself as a support to them, continuing to poke and prod about how surely they'll like someone someday. She disregards her boyfriend's feelings when they contradict with her own. She puts her own self-interests above others' discomfort. She's just as selfish as she is selfless.

But I don't think Mahiru meant to hurt anyone, nor do I think she fully comprehended the severity of her behaviors in her relationship at first. Do I think she understands now? Do I think she feels bad about it? Partially, but I also understand where people are coming from when they assume she doesn't at all, even though I disagree with that assessment of things. Part of this issue is that it seems to me that Mahiru (at least in some instances) thinks of her problem behaviors which hurt her boyfriend and loving someone/being in a relationship at all as inseparable and the same thing.

Mahiru as portrayed in the I Love You MV feels bad about hurting her boyfriend. She acknowledges she's hurt him and that she was doing it wrong in the lyrics of the MV. She states in her voice dramas that she never wanted to kill or hurt anyone. The imagery even shows her being the one at fault for his death in the opening scene.

But this is where the contradictions come back in. At the same time, she struggles with believing she's done something wrong because the idea of finding love is her life's purpose. Her reason for living. She says she doesn't think she's done anything wrong in the voice drama, but I don't think that's fully true, given the lyrics above as well as the imagery throughout I Love You- she literally portrays herself holding his noose, that's not the sort of imagery something canonically stated to be taken from the prisoners' minds would conjure up if there wasn't any guilt or feeling of responsibility for his death there.

One way to resolve this is the idea that Mahiru just says she believes she's done nothing wrong because she wants to believe it. Because she doesn't know how to love the right way without falling into her problem behaviors, and she feels she can't live without love. Because she knows she's done something wrong, and that she smothered and hurt him, but she doesn't know what else love is and she desperately wants to love and be loved.

This got long and I don't really have a good conclusion to it, I just wanted to talk a bit about my interpretation. Obviously nobody has to see this the way I do and you're welcome to disagree, I just thought it'd be worth writing something up about my perception of her relationship and how I think she feels about her actions.

Thank you if you've read this far!

[doctorbunny]

This will be written sloppily due to me being stuck on my phone but the report today got me talking to a friend and reminded me of a theory I had (I think it originated from @archivalofsins though)

Still, I'll share it again for fresh eyes:

I think Shidou could be making Mahiru sicker instead of helping her

So the gist is that at the start of trial 2, Mahiru was in a critical condition and had her life saved by Shidou

After that she entered a period of injury but stability

We saw through timeline conversations that she was in pain but seemingly able to move around and do things with some assistance

Yuno then gifted Mahiru a wheelchair, the clear implication being that this would let her continue to live as she had been but without as much pain (ambulatory wheelchair users often talk about how their chairs give them more energy/spoons to do other activities too)

Similarly, in Shidou and Mahiru's voice dramas they discuss her health but there doesn't seem to be the kind of urgency suggesting that Mahiru needs to be immediately moved to a hospital in order to not die (Shidou tries to ask Es to "end milgram" but if Mahiru was going to die without urgent care that could've helped his case yet he didn't mention it, even in normal prisons if a prisoner is severely sick or injured they're supposed to be taken to a hospital [not to say real prisoners don't experience medical neglect or abuse but officially they aren't meant to] )

At most he brings up the idea that another guilty vote could be detrimental to her mental health -but he's not an expert or anything

As I said, this all painted a picture of Mahiru as injured but stable until her next verdict

And we forgave her

But then things take a turn

Suddenly Mahiru is requiring round the clock care

Shidou can barely stop for a birthday shoulder rub. Yuno is taking breaks during Mahiru's naps

She appears to be bedridden and her wheelchair hasn't been mentioned since she got it

If we accept time doesn't move in milgram that could explain injuries not healing but it would explain such a dramatic, unexplained decline

We know Shidou has built his personality around being a doctor. A necessary figure who saves people's lives. So it would be a little awkward if he didn't have any patients (since Fuuta apparently didn't feel like he could rely on him and instead joined the anti medicine cult, a common pattern in those who lose trust in doctors after being mistreated)

I don't think Shidou is evil (although it's pretty bad to poison your patients) I think this doctor-patient relationship is almost co-dependant for him, after all its what his inno vote is based on.

It does leave him in a vulnerable position though

He's potentially turned one person mostly able to look after themselves with some medical assistance/supervision into a patient that even with 2 people is causing him to be spread thin

If Mahiru dies he'll be blamed (and I'm sure Yuno is watching him if he does anything too suspicious)

But if another incident happens before T3 and a lot of people get injured again

Or Amane incapacitates him, preventing him from treating the others

There could be a pile up of casualties with not enough people to look after them all

Hard decisions may have made

It could be a triage

[mayimkjs]

I figured out what train Mikoto takes in Double

But before I get into the meat of this, let me explain how I'm doing this post. First, I'll be going over the basics. I will be then going over everything that has been bolded.

There will be a part 2 to this post where I try to triangulate his actions through out MeMe.

So I started at Shibuya Station since the image on his mugshot board was taken in Shibuya.

I then narrowed it down to the Saikyō Line or the Yamanote Line. Both of which are standard commuter lines operated by JR East. So then I looked at what the trains look like and the train that is currently in use for the Yamanote Line looks almost identical to the one in Double.

The train that is currently in use is the E235 series which was first rolled out on November 30th 2015 and recalled the same day due to a number of issues including problems with door close indicators. It was later reintroduced on March 7th 2016. As of January 20th 2020, it has been the only type on train in service on the Yamanote Line.

The line is known to be overcrowded due to being a circle and hitting all of the major locations in Tokyo. It starts and ends most commonly at Ōsaki Station in Shinagawa but can also start/stop at Ikebukuro Station in Toshima. Some trains start from Tamachi Station in Minato in the mornings and end at Shinagawa Station in Minato in the evenings. Trains run from 04:26 to 01:04 the next day and there are a total of 30 stations in the loop. The outside of the loop gose clockwise and the inside goes counter clockwise.

Yamanote roughly translates to foothills. After WW2, all of the train place cards were romanized, and because 山手 reads as Yamate, the line was mistranslated until the 70s.

All of the stations located in the Shibuya Ward are Ebisu, Shibuya, Harajuku and Yoyogi. Part of the line is shared with the Tōhoku and Tōkaidō Main Lines. From Tabata Station in Kita to Tōkyō Station in Chiyoda are shared by the Tōhoku Main Line. From Yūrakuchō Station in Chiyoda to Takanawa Gateway Station in Minato are shared by the Tōkaidō Main Line.

The line was first was opened on March 1st 1885, operating between Shinagawa Station in Minato and Akabane Station in Kita. The second part was opened on April 1st 1903, operating between Ikebukuro Station in Toshima and Tabata Station in Kita as a seperate line. On October 12th 1909, the 2 lines were merged, which created the present day Yamanote line. The full loop was completed in 1919 with the addition of Tōkyō Station in Chiyoda, and 1925 with the addition of Akihabara Station in Chiyoda.

The picture on his card is specifically from Ebisu. But the station seen in Double doesn't match up with the Yamanote Line platforms as they are island platforms, not side platforms. If he was at Ebisu Station, He would likely be at JR platform 1. This one is directed to Shibuya, Shinjuku and Ikebukuro. Shibuya only has island platforms and one of Yoyogi's and Harajuku's platforms are also islands. Out of the remaining platforms in the Shibuya portion of the line, Harajuku platform 2 looks the closest. It would also make sense that he would be in Harajuku due to his interests.

The line being a circle makes sense with the theme of Double; a never ending train that never stops. And the technical issues with the doors adds to this feeling of being trapped. The train also being overcrowded matches up with what it's like in the beginning of Double. However, the train soon is completely empty.

[blueepink07]

Compared to others, this scene shows in a more subtle way the fact that she made love with her client.

Not only just the skirt is a good indicator, but also the water bottle, which is on her stomach!

(It is a Coca Cola water brand )

And Iroha refers to the fundamentals!

Also... The water is safe for babies to drink.

The Iroha poem itself is also an interesting subject that I intend to expand more!

[givemeanaccountalready]

"Undercover" Makes Me Suspect Things

I went into watching "Undercover" thinking I could make a fun analysis post, and now I just have a Tumblr post with enough red string that I could make scarlet letters for all the Milgram prisoners.

Let me just address the elephant in the room: I understand that Es's "Undercover" probably just serves as a hook to get people's attention and that I am probably reading too much into this. But consider this, wouldn't it be great if I'm right? Now, right about what exactly?

Well, namely, I think Es's song is either a prophecy/warning, or it was not extracted until the three trials ended or at least after the first trial concluded because Es seems to know far more than they should about the prisoners if this song was extracted after the first day of Milgram when Es and Jackalope's voice drama took place.

Now, “Undercover” is very fast, and even at 0.25x speed, I constantly had to rewind and pause to take screenshots. A picture is worth a thousand words and holy guacamole, there were so many frames. To be honest, even if I don’t have the words for everything, I will be showing off what I found to be the most interesting.

The Song Extraction Device & the Panopticon:

First, I want to get into the Song Extraction Device (SED). We know from Jackalope’s “This is Milgram” that the SED can pull mental images from a person’s mind and turn them into a music video. Thanks to Jackalope, we also know the SED can’t pull them all in one go, hence the three trials. Jackalope also states that the verdict of a trial will affect what the SED will pull in the succeeding trial. In the opening and closing shots of "Undercover" we can see that 000 is stamped in its red button/latch.

When I rewatched the “This is Milgram” video, you can see the rooms in the Panopticon spinning on the projection board. In the first voice drama with Es and Jackalope, “Es”, Jackalope tells Es to think of the Panopticon as a clock, with the entrance being the 12 o’clock position and the prisoner rooms being the rest of the corresponding numbers. You can see the room numbers on each room. The first room moving clockwise from the entrance is 001, but the first room moving counterclockwise from the entrance is 000, not 011.

In “Es”, Es asks if there was someone in that room at the 11th o’clock position. They even note that the door looked even older than the others thanks to the rust, and it didn’t even have a lock like the others. Jackalope tells Es not to worry, and before Es can even respond, a bell rings, and Jackalope diverts the conversation by announcing that the prisoners should be waking up soon.

The normal pattern is voice drama, then musical number, but to be honest, I don't know for 100% certainty if the voice drama came before the musical number. I would assume so, but you know what they say about assuming. It would be interesting if Es, because they are different from the ten prisoners, had a musical number and then woke up to have their voice drama with Jackalope. The 000 room is very suspicious to me. It's the oldest room, and if it used to be Es's, then that is a point to the Es is the eleventh prisoner theory. My only point detracting from the Es is the eleventh prisoner theory is that Es didn't get a second song during the second trial like the ten prisoners receiving. That, and besides the amnesia, what made Es so special that Milgram inducted them into their odd prison? Did Es prevent a murder?

Bookend Frames & Chalk Es:

Let’s kick things off with the bookends. We open up on Es walking towards the SED with Jackalope following him, and then the song closes with only Jackalope in view.

Bookends are a framing device primarily used to link the beginning and end of a story in a satisfying way. The ending can be a word for word copy of the beginning, or it can be a mirror of the beginning.

The most obvious mirror moment is the beginning shot ending on the SED opening up and the ending shot starting on the SED closing. The location of both shots are the same and the fog seems to be about the same amount and concentrated in the same area in both shots. Jackalope is on the viewer’s left at the start, facing the viewer, and then at the end, he’s on the viewer’s right with his back towards the viewer. But Es is gone.

Where is my child cop, Jackalope?

Let’s focus on the opening shot. We have Es and Jackalope entering from the viewer’s left, which is stage right. While I was trying to get a good shot of the two in the opening, I noticed that Jackalope spends a considerable amount of time in the fog compared to Es. It could just be that Es is considerably bigger than our most honorable warden, Jackalope, and that the mist is heavily concentrated on stage right. Since Es has amnesia, perhaps the fog he walks through is literal brain fog or just the intrigue of Milgram in general. Intrigue fits why Jackalope is so hidden in the beginning. It's not deep or hidden, but it is nice and straightforward.

Right before the third chorus, Es sings, “losers please exit left.” Did Es exit stage left from the frame? Did Jackalope follow him across the stage but didn’t step offstage? But here is what really skeeves me out about Es not being in the ending. The song ends after the last chorus, and once Es finished the third and final chorus, we see what looks like a chalk outline of Es. Es is not wearing their full prison guard uniform. Their hat and cape/cloak are missing.

Now, chalk Es first has their back turned to us and is watching the prisoner montage. Their silhouette is hazy at first, but it becomes more clear as the montage continues. And then they turn around. I don't know what causes Es to turn around, but they look like they are trying to figure out what caught their attention. Then, what seems to be a spotlight directly overhead turns on, blinding Es so they shut their eyes. They bring up their hand to their eyes and they open them again. Their eyes adjust, and they make something out. Whatever it is/was, it appears to have surprised or shocked Es.

Now, Es isn't exactly stoic. They're very touchy about their role as prison warden, and they become very agitated whenever the prisoners throw them for a loop. But chalk Es doesn't lash out like Es does in the voice dramas. They may not have had the time to react, but even when Orekoto was beating the crap out of them, Es was still taunting him. Something definitely caught chalk Es off-guard. The question is what exactly is capable of rendering him silent.

I think it has to do with whoever is running Milgram. We know Es relies on social hierarchies to maintain a sense of control. They lash out when the prisoners, their social inferiors, disrupt that hierarchy and act familiar with them. I don't think Es would lash out if it was their superior in Milgram. Es can be short with Jackalope and even tease him, but they tend to take Jackalope at his word, albeit with exasperation for the not-rabbit's antics. Perhaps, it's not a superior calling for Es's attention, but something Milgram is doing to the prisoners. Something that goes against his firm belief that Milgram is all-good.

The Prisoners & the Choruses

(EDIT: WHOOPSIE DAISY. It turns out that Milgram had changed the subtitles for the third anniversary. The vibes between the lyrics quoted below and the original one are quite similar, but let me do a quick review and reblog for corrections.) While the lyrics played over the prisoners aren’t directly pulled from their respective Trial 1 songs themselves, all of them reference the titles to their respective Trial 1 songs (see bold).

I only highlighted one of Kazui's "half"s since it was not doubled like MeMe was for Mikoto.

The information presented in each two line sets is not something Es could have known before the trials began. Es can only remember their name and age. This is what got me thinking that maybe "Undercover" takes place between the first and second trials, or after all the trials had been completed. At first, I thought maybe "Undercover" took place before the three trials had even started, and this was what Milgram was erasing from Es's mind: his knowledge of what they had done. Because during the third and final chorus, we see the prisoners 'kill' Es just like how they killed their victims. Did Es learn of their crimes and had to have his memories removed to ensure a fair three trials? Or is this even the first time these prisoners have been tried through Milgram's system?

Here are the two line sets overlaid on the prisoners during their respective mugshot montage.

Haruka: “If you say INNOCENT, you’re complicit and weak / I’m so lonesome, please love me”

Yuno: “My cord is being pulled but nothing’s ever enough / Contractual desires, oh what to do”

Fuuta: “Hiding and seeking from sin / Bring it, submit, and also shut your trap”

Muu: “Clutching a broken heart / The pain’s still there, after all this time”

Shidou: “Which way will you throw down your weight / To be the deceived, or the deceiver”

Mahiru: “I don’t wanna just give / Giving and taking, this is how to be in love”

Kazui: “I just keep on dreaming / half in, half out, I’m doomed”

Amane: “The magic is in believing / There is no righteousness in broken promises”

Mikoto: “Don’t you lie about Me / Me, I’ve done nothing wrong”

Kotoko: “Dedicating my life / Harrowing, burying the thing I want erased”

During the third chorus of the song, we get a rapid sequence of frames that are supposed to clue us in to each prisoner’s murder. But what I did not notice during my previous viewings was that the expressions and the positions of the prisoners during the first chorus change to something different in the second chorus.

Haruka & Yuno:

Fuuta & Mu:

Shidou & Mahiru:

Kazui & Amane:

Mikoto & Kotoko:

You can see that the lyrics overlaid on the prisoners in the first and second choruses match, but that may just be luck on my part. Or maybe it means something, I don't know anymore.

Something clearly happened between the first and second choruses. I think that the first chorus images were the prisoners' reactions to being dropped into Milgram, but what caused their second chorus expressions? Is this supposed to be their reactions to being moved out of Milgram? Something is clearly happening, and they are restrained. Kazui looks like he is avoiding a hit while Kotoko is rearing up to charge full-steam ahead. They're both the heavy hitters of the ten prisoners. Amane, the youngest, smallest, and weakest prisoner, is stumbling backwards like she was hit or she was scared enough to try and retreat from harm's way. The remaining prisoners look scared and/or worried. What exactly is going on here? Is something happening to them? Or to Es? Mikoto (must be Bokuto) and Mahiru are leaning over like they are checking up on someone. Are they escaping? Do we get an escape musical number to conclude the series? How baller would that be?

Very, but in all seriousness, something is up. There's just something about "Undercover" that is making me pause. This very well could all be useless speculation, and "Undercover" is canon in the way that the timeline conversations are canon without actually aging the characters.

TL;DR: Milgram is sus, and come the conclusion of this series, I have a <2% chance of being vindicated.