Umineko fanpage: “You are (in)competent”

This page is a compilation of some thoughts I post here and there regarding the visual novel Umineko no Naku Koro ni. My writing is purely based on the visual novel; I haven't watched the anime, so you are not advised to read further if you mind spoilers. If you seek a place to discuss Umineko, you ought to check out #umineko@irc.rizon.net. We aren't many, but your presence is all we need. Sensible criticism on some of the later instalments Not to mention said mistakes stem from retroactive moves (prime example of piece-throwing). And I would go beyond saying they are 'warped' and totally question the realm of likelihood you mention. This issue is my biggest reproach to episode 5, 6 and Our Confession. What was 'the metaworld' in When They Cry 3 was only acceptable within a mystery novel because it didn't influence 'the natural world'. And I don't think these gameboards could be explained without a supernatural (i.e. meta) influence. The solution to the logic error only works because Erika generously let the closet untouched before examining the bathroom. In other words, it only works because of meta-considerations. I don't think it is possible to plausibly account for Battler's escape without factoring in the meta-world. One could argue that the prank Battler set incited her to see it beforehand, but that directly contradicts the fact that she thoroughly checked the bedroom first. I will say more. I don't think one can plausibly explain Kanon's disappearance without factoring in meta-motives. What method made possible for Kanon—and not Battler—to disappear? I see two, but feel free to add more to the count: 1) dying (because Battler couldn't die or else the letter given to Erika would have been false) 2) turning into Shannon. Dying can be accounted for by suicide or Erika shooting through the door (unproven, but plausible if one takes in account that she burgled Kinzo's study and killed the fake corpses before beheading them). Turning into Shannon is self-explanatory. But none of these explanations are credible in the natural world. Being shot? It only works because Erika didn't have the chance to open the closet, or she would immediately find out the truth. Therefore, only works because the game stopped, something impossible in the natural world. Committing suicide? Not only would it make Erika realise the truth, it would be extremely difficult to account for, motive-wise. Turning into Shannon doesn't even begin to make sense in the natural world. Why would she flee from the cousins' room, turn into Kanon, save Battler and then go back to being Shannon while in the closet? No wonder Will didn't bother with the fifth and sixth games; they are not even close to have the heart. lpf - (originally posted on AnimeSuki)On Willard H. Wright and Furudo Erika Willard H. Wright uses a well thought-out gimmick. It is easy to see that he can talk to people in a way that can make them open their heart, but this is perfectly built. Lion, on the one hand, is showed to have similar skills, but this is the expression of his politeness that was naturally acquired from his upbringing. On the other hand is Willard, who has poor manners. His approach could reveal a heavily inappropriate word choice (had it not been for Lion's butt pinching) and his empathetic talk—praising Jessica's lifestyle, putting Rosa's mind at rest or managing not to offend Kinzo—is mixed with his usual rude remarks ('you'll get a headache'), which shows that, as opposed to Lion, Willard's empathy is entirely genuine. This trait of his is highly consistent with his emphasised pursuit of the heart and beliefs with respect to mysteries. Almost surprisingly, the empathetic Will is a character that shines for his humanity, and a thoroughly crafted one. Erika is mainly full of cool and evil moe, which isn't isn't a great achievement, even though interesting. After all, the chopsticks love is funny and adorable; the unfaithful lover story makes the reader want to comfort her, in spite of being in many respects out of place—the content of the story doesn't make sense for a girl her age (living alone?), and the depth distracts from the focus of the story for such role type character whose characterisation is by definition detached from the narrative, even though it nicely accounted for her investigation methods (yet with absolutely no need for it). But it was a good idea to eventually incorporate her personality to the overarching plot by using it as what made believable in the first place Battler's plot in episode 6 and thus a new closed room trick. I like Willard; maybe not as an Umineko character, though. He is completely removed from the main narrative, whilst when I might claim that Umineko shines for its characters, I am mainly (albeit not only) referring to how the characterisation sheds light on a greater whole. Maria's delusions which the novel spent a considerable amount of text describing in depth was only interesting because it made credible from a mystery standpoint her claims in episode 1 about seeing a witch (which at the time isn't explained, so the novel successfully conveys a fantasy atmosphere and the reader is almost tricked into believing there is a witch around). Krauss' way of dealing with the family's financial problems was interesting but it was especially interesting because it explained one of the major deceptions in the two Rokkenjima days. The Shannon and Kanon discussions in episode 2 flesh out their characters in an interesting fashion but this is mostly interesting because it foreshadows the whydunnit. And so on... Once again, I like Willard. A lot. But to a different extent, and in an entirely different fashion from my liking to actual Rokkenjima characters. With Kinzo, Natsuhi or Maria at the top. lpf - (originally posted on McNagah's MAL profile)Ushiromiya Maria, one delusion at a time At first, Maria's delusion about witches seems implausible and exaggerated. It seems, in fact, so implausible that, during the first episode, you genuinely have no choice but to accept that Maria saw a real witch (unless the possibility that she was covering someone appears conceivable). Throughout the rest of the series, though, some insight is given into her relationship with her mother. In addition to providing heartfelt reconciliations between two people who acknowledge each other's flaws and try to live through them, this already gave a few indications regarding Maria's behaviour and the reason why she can tend to make witches accountable for some things—her mother being violent, specifically. But that was merely foreshadowing the events in episode 4, which have delved much deeper into Maria's mind. During her little backstory we are shown how she converses with a stuffed animal, and this is much more believable; moreover, the toy was handmade by her mother, adding to the sentimental value of little Sakutaro and thus the believability. The way she copes with her issues is worthy of attention. With no father, the little girl has to see her mother facing personal issues and is consequently affected. So how does Maria react, seeing how her mother is so busy she can't even sleep at home and has to be careful about extra 300 yens? Without realising such reaction makes her the most affected one, she consequently worries about her mother, and try to act 'for her sake'. As exposed by her 'interaction' with Ange, this amounts to a mentally very interesting and elaborate yet consistent outcome: the diary. When Maria describes her night, she says she had a 'pajama party', 'made a mess of her room searching for treasures', and 'had fun eating sweets with sakutaro'. A happy memory. And you actually believe it. In truth, Ange exposes she was 'purposely staying up later than she was told to', 'broke the rule about eating sweets outside snack time', 'and since it wasn't enough made a mess of her room and cried herself to sleep'. Only then do we realise this is a much more consistent reaction to her predicament. And in one second, every story we had been told by Maria's diary falls apart and reveals an overwhelming amount of detail on her character, in both the depressing way she lived her situation and how she cope with them thanks to the diary. I will address another point I found of interest. Childish as she is, Maria possesses an ever so anime-like vocal quirk: she frequently utters 'uu'. However, whilst most anime depict that as normal (nay pleasant!), it is presented as part of the reason why Maria has very few friends, and the subject of Rosa's appropriate anger. For once, a vocal quirk is actually presented as characterisation and not character design. Absolutely beautiful. And to top it off, a well thought-out explanation regarding the origin of this 'catchphrase' was given, an outstanding and realistic attention. Ultimately, I really like how Maria's characterisation is incorporated to the narrative. Her serious delusions are not credible at first; one just has to think she saw a witch, or at least, one really wonders what is happening on Rokkenjima. But as she is fleshed out, her behaviour eventually makes perfect sense, and the fantasy atmosphere she contributed to changes into a mystery one, in addition to turning out to be an intricate character drama. lpf - (originally posted on Veronin's MAL profile)