Well, now that I made every Hong Lu's EGO analysis except for two, what will I do next?
In clear, I think I will keep talking about Hong Lu (of course) but more especially about Canto 8 and my thoughts on different aspects of this Canto and differences with the original novel or even his IDs
I didn't forget about my analysis on Valencina, I just wait for the uptie story to make a full fledged analysis of her. Maybe I would also do an analysis on Matthias but that is not what I am pursuing right now.
Anyway, here all my analysis from now on about Limbus:
ALL FAUST'S ANALYSIS:
Little analysis of Faust and Gesellschaft.
ALL RIEN'S ANALYSIS:
Part 1: Rien, the one who couldn't bear his loneliness
Part 2: Imitation of a Father
ALL HONG LU'S ANALYSIS:
E.G.O Analysis:
Hong Lu Base EGO and attack skills
Hong Lu EGO's analysis N⁰2: Soda
Hong Lu EGO's analysis N⁰3: Effervescent Corrosion
Hong Lu EGO's analysis N⁰4: Roseate Desire
Extra: Roseate Desire:
Hong Lu EGO's analysis N⁰5: Carnevous Wailing
Hong Lu EGO's analysis N⁰6: Lasso
Hong Lu EGO's analysis N⁰7: Dimension Shredder
Canto 8 and some digressions about it:
Canto 8 and its important variations from the novel
The importance of the Family Hierarch Evaluation
I'll edit it in the future, with the analysis I will do later!
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I find Callisto Lu ID really interesting because in it Hong Lu becomes exactly like Jia Mu in both his behaviour and his treatment of people around him, just like Jia Mu had her mind be given to Xianren, so Callisto Lu has given away his body and only gift of Xianren remained, just like Jia Mu made her grandson witness horrible events that broke young Hong Lu, just like he had witnessed the Birds, so Callisto Lu treated his granddaughter as material, pushing her body to the limit as she couldn't do anything to stop it
Speaking of Birds, Automakins or how they called in files "Little Dolls" remind me of them too, with how those bone spiders burst out their bodies
So i just find it interesting how simular Callisto Lu became to Jia Mu and Xianren
Exactly!!! It's very intentional! Callisto Lu is very much like Jia Mu, surrendering themselves to the Elders, giving out their autonomy and their will, enforcing even more the generational abuse, abuse that they underwent too (the Xianhuang Anamnaworm and the Kong Family massacre are both SA).
An interesting fact is how Callisto Lu's body is just all mechanical except the eye. He scraped everything else except the jade eye. We already saw how Hong Lu tends to degrade his own body in some of E.G.O. but here ONLY the Jade eye remains, showing once again the grasp of the Elders on him. His body is seen as worthless and find only worth in jade eye, symbolizing the Elders' grasp. Worse is that the jade eye itself is violating his privacy...
In-Depth Analysis On All The DR Characters Because What, Are You Gonna Try And Stop Me? Who Are You, My Mom? Yeah, I Didn't Think So- Part 3: Sayaka Maizono
It's finally time for my #1 THH girlie to shine!!! I may be a bit biased with this one because of how much I adore her, but I'll try my best to remain objective as we go in-depth on how well-written of a character she is. They used her character schtick incredibly, and I can't wait to go into why.
As always, only offical, canon material will be used in this analysis, primarily the english translation of the THH game. If you aren't interested, just keep scrolling.
*Editing note, June 29, 2025: Reformatted things like headers & quotes for cleanup. No information or conclusions have been changed.
Part 1- Character Design
Sayaka Maizono was one of the first characters to reach completion, designed for maximum likability to the player. Her look is extremely basic and palatable, with a regular schoolgirl uniform and softer features, and she's characterized instead through her expressions, which are used to either purposefully cover up her true feelings or let the 'perfect idol girl' mask slip when appropriate.
Her given talent was that of the SHSL Idol, or the Ultimate Pop Sensation, adding to her cutesy and likable nature. She was also used during development of the game itself as a placeholder due to how quickly her design came together, which made the developers sick and tired of looking at her(alongside Leon Kuwata, who was also finalized relatively quickly) and led to an early exit in-game.
Part 2- The Assistant Trope/Inspiration
Like many of the characters in Danganronpa, Sayaka was designed around and used to subvert one of the many tropes found in mystery/detective games at the time. For Sayaka, this was that of the deuteragonist, the assistant(one well-known example being Maya Fey from Ace Attorney). Her character introduction, the quick establishment of her relationship with the player, and her 'pleasant' demeanor all factor into this, making her seem as though she's going to be a major player throughout the rest of the game. She was originally meant to be a childhood friend as well, but this was severely cut down to just having gone to the same school. She was also put front and center alongside Makoto and Kyoko in the promotional material for the game to create a level of perceived importance for her before the game even started, and preemptively raise the audience's expectations for her role.
But there was another character that a lot of inspiration was pulled from- Marion Crane from the 1960 film Psycho. Marion is a character who'd lived her entire life as a good person but, in a moment of desperation, steals $40k and goes on the run. The first half of the movie paints her as the protagonist, only for her to be abruptly murdered and for the movie to shift to solving the mystery of her disappearance. Sound familiar?
Part 3- Character Introduction
From the get-go, Sayaka is put into a helper's position. She's not the one to suggest going around and introducing ourselves, nor is she the one to justify why, but she is the one that ends the debate and moves the game into introductory mode, suggesting that she's the go-to for the player to move forward in the game.
"Okay, so let's get introductions out of the way, then we can move on to whatever else. Sound good?" -Sayaka Maizono, prologue
She's not asking the class, she's asking you as the player if you're ready to keep going.
Her first intro is brief, focusing less on her character and more on her public image. Makoto narrates about her position as lead singer in her idol group and how beautiful she is, as well as teasing some form of previous meeting between her and us. We also quickly establish her strong intuition.
"Well, never mind. No matter how you slice it, she's really beautiful. Almost like a doll or something... 'I'm not a doll, you know. I'm alive!'" -Makoto Naegi & Sayaka Maizono, prologue
She also seems to recognize you, despite the belief that she probably wouldn't remember. Of course, before you can talk any further, you're interrupted so the plot can keep moving, securing a connection to her without any actual information required.
As you talk to the rest of the class and head towards the entrance ceremony, she's one of the few to voice her concerns about the state of the school, and points out the lack of other students.
"And why isn't there anyone here? Walking through the halls, I didn't see a single person..." -Sayaka Maizono, prologue
She's observant and perceptive, keeping her guard up. In fact, she barely speaks throughout the entrance ceremony and immediate aftermath, waiting until their situation has been explained by Monokuma and all the rules have been read to call any attention to herself. When she finally does speak, it's to try and clarify rule 6- the rule that states killers can leave unless discovered.
So the first impression we're left with is that she's a more level-headed and competent girl with some kind of important connection to us, one that appears to be mutual. Anticipation has been built to learn more about that connection as well, which directly affects the story going forward.
Part 4- Your Ultimate Assistant
A major part of why Sayaka works as a character is because she connects with the player directly, offering to help you via a connection to our player character, Makoto. This relationship with us as an audience is the core purpose of her existence in the narrative. When we wake up in Makoto's bedroom and walk outside, it's Sayaka who's there waiting for us, to check if we're okay and fill us in on what's happened while we were out. She's here to help, but keeps the focus on how we're doing.
"But... are *you* okay? You know, from when Mondo hit you..."
"Oh, that's good. I was kinda worried..."
"Well, if you really are feeling better... I was hoping you could come to the dining hall."
-Sayaka Maizono, ch 1
She's also the character used from a meta perspective to teach us the functions of the game itself. It creates a certain reliance and trust in the character to continue being helpful to us as the player, even when it's not actually her doing.
It's here where we go on to learn how exactly she knew Makoto- the two of them went to the same middle school, albeit in different classes, and despite the fact that Makoto straight-up admits to having no distinguishable traits, all she can do is laugh it off, happy to have someone somewhat familiar nearby. She attributes this relief solely to Makoto, as if she's indebted to him, and decides she wants to thank you by acting as your Ultimate Assistant. In other words, she's buttering us up so we'll trust her wholeheartedly, and establishes a 'you and me against the world' relationship. And in-character, it works perfectly, with Makoto falling hook, like, and sinker.
"'I'm just surprised, is all. I wouldn't have thought you'd remember me.' 'We went to the same school for three years, of course I remember!'"
"'But *you're* the one that helped me find my courage again. Not any of those 'ultimate' students.' 'Thank you for saying that...'"
"'I'm going to help you out as much as I can, so let's get out of here together!' When she says things like that, it... it just gets me pumped up!"
"'I may not be the best assistant in the world, but I'll give it everything I've got.' No... you've already done so much as my assistant." <-(said almost immediately afterwards, with no character action or events in-between)
-Makoto Naegi & Sayaka Maizono, ch 1
And again, the game's mechanics force you to rely solely on Sayaka, utilizing the purple words to have the rest of the day's events explained through Sayaka being personable and helpful.
She continues to be the one to calmly explain what's happened so the player isn't lost or confused. She acts as a voice of reason when the class starts to panic. And again, once the conversation is ended by Celeste, she checks in with you again before splitting up.
"Okay, so since you're in the dark about all this, let me lay out what's been going on." -Sayaka Maizono, ch 1
"Everyone just calm down, please! We need to stop and think about what to do from here." -Sayaka Maizono, ch 1
"'Makoto... are you ready to call it a day?' 'Yeah, let's go.'" -Sayaka Maizono & Makoto Naegi, ch 1
The entire next day is spent completely with Sayaka, without a moment's break. From the moment Makoto wakes up, the objective is to talk to Sayaka, and you hunt for a defensive weapon with her. Even without finding a reliable weapon, Makoto very quickly offers himself up as a protector for her, and with that, the search ends. She's gotten what she really wanted- a reliable friend.
"'H-Hey, don't worry about it! It's not like you need it right away, right? Plus, if anything *were* to happen... when the time comes... I'll protect you.' 'You'll... protect me? Thank you for saying that... If I've got you on my side, I guess I don't need a weapon after all!'" -Makoto Naegi & Sayaka Maizono, ch 1
You learn more about her by sticking together and talking afterwards, and once you're done with that, the game decides to explain the concept of FTEs via immediately sending you Sayaka's way, again, to bond with her even more.
"Anyway, why don't you try it out by spending some time with Miss Sayaka Maizono? She's the ideal partner to begin with, don't you think?" -ch 1 instructions
It also gives the player their first skill for the upcoming class trials. It's on-the-nose to the point where Sayaka herself apologizes for it.
This also works to her benefit, as even if the player is getting annoyed by the tutorials, they're less likely to blame Sayaka as a character for it, since she's showing shame for how much time it's taking. Sayaka is unequivocally the character to care about, the character to pay attention to. She becomes the object of Makoto's affections, and makes herself invaluable in his and the players' eyes, all with the handy help of game mechanic tutorials. Whether or not you as the player trust her or find her suspicious, she becomes the character at the forefront of your mind. Either way, the job is done.
Part 5- The Idol Mask
All this knowledge about how she operates for the player as a meta perspective is great, but it doesn't actually tell us a ton about Sayaka herself as a character. It's moreso about how we're being set up to perceive her existence within the game. Regardless, it's important to understand that setup to see why she works, but it's equally important to get into the characterization itself. So, let's do that now.
We already know that she's been working towards establishing a strong bond between herself and Makoto, making him feel better about being surrounded by people with insane talents and offering as much familiarity as possible, as well as singling him out and separating him from the rest of the class while everyone else forms their relationships separately.
She's been doing a great job of keeping up this appearance of a cute and reliable helper, but this leaves her seemingly lacking in substance, as she's solely focused on making us comfortable with her first and foremost. This is something that, from a character perspective, can easily be pulled from her idol career- she's a massive celebrity who advertises cuteness and likability, so leaning into that and using it to her advantage is a logical first step for her in establishing fondness.
As we head to the trophy case in the gym, we do start to get hints of her actual motivations and desires if you stop in the main hall to talk to Leon. It's brief, but a nice touch, especially considering the dynamic between these two later on.
Sayaka's true self doesn't really reveal itself until your conversation with her in the entrance to the gym, though, when she asks to spend some extra time together. Having nothing else to do feels wrong to her. It's unfamiliar, and puts her on edge.
"No, it's not that it's boring. It's just... I've never really done it before. I don't have a lot of time to just... do nothing." -Sayaka Maizono, ch 1
It's enough to start to move her out of that idol shell in an attempt to fill that time, and let a little bit of that idol's mask slip.
"Hey, um... this is kinda out of nowhere, but... Makoto, do you have a dream?" -Sayaka Maizono, ch 1
By turning it around and asking about her dream, we directly connect with her core value- her deeply focused motivation for her childhood dream. It's something that she can't help but gush about, both the wonderful and terrifying parts of it. We get to learn exactly where she came from, raised by the TV, no mother to speak of and an absent father working his ass off, and how her dream took form as she watched her own idols.
"But more than anything else, there was her smile. Looking at her smile, I could feel my loneliness melting away. I decided that's what I wanted to be someday. I wanted to give that kind of encouragement to others." -Sayaka Maizono, ch 1
The mention of an idol's smile specifically is proof that she did, in fact, succeed wholly on this dream, as it calls directly to the repeated mention of how comforting Sayaka's smile is to Makoto.
"That somehow mysterious smile of hers made my heart grow calmer. ..... I can tell it comes from the heart. It makes me feel at ease... ..... That mysterious smile that softens my heart... I really wasn't flattering her. That smile saved me." -Makoto Naegi, ch 1
It also gives us some insight into why said smile exists, and just how often she's masking around us.
"Her earlier mood disappeared, replaced by the bright smile I'd quickly grown used to. But how'd it happen so fast? It was almost like a mask, like some kind of neutral expression." -Makoto Naegi, ch 1
We also get to learn just what kind of world Sayaka lives in, and how much work it takes to keep her dream alive. The entertainment industry is cutthroat, and to be a positive role model and live her dream onstage, she has to fight tooth and nail at all times.
"I did whatever it took to reach that dream. I mean it. Even some things that... weren't so pleasant." -Sayaka Maizono, ch 1
"To make your dream a reality, you have to keep your gaze fixed on it no matter what. In that world, if you lose focus for even a split second, you get left behind. You have to keep on swimming against the current, without even taking time to breathe..." -Sayaka Maizono, ch 1
She even has to compete against the people in her own idol group for attention, though that rivalry is a major factor in what motivates her so much.
"We've been performing together since we were young, so they're all like family to me. Without them, I would have given up on my dream a long time ago." -Sayaka Maizono, ch 1
Although Sayaka has been using Makoto to build herself a safety net and have someone to fall back on, her willingness to share this part of herself exists as proof that she did care about him to some extent. She genuinely does feel more secure with him around, and it allows her to let out her fear and frustrations safely. She's able to take the mask off for a bit.
She has a deep-seated fear of losing everything she's worked for, her entire life's work, to the whim of public attention. And it's not just her livelihood put at risk by this- it's the other 4 girls from her idol group as well. She's their lead singer, their central figure people think of from their group. They could keep performing without her, sure, but the public's perception of them would irrevocably change, and interest would drop. It's a realistic fear, too, as celebrity culture is defined by its "15 minutes of fame," and while she could probably milk her kidnapping story for exposure if she got out quickly enough, tragedies happen every day. With enough time, people would and could forget about her.
We get to see this further after the viewing of the motive videos. After everyone's watched their videos, she has the most volatile response, shoving Makoto away and running out of the AV room to hide. Upon being found, she's described as having no expression or emotion on her face. She's in the process of going completely numb, and can't even bring herself to lie when Makoto asks if she's okay.
It's here that a solid divide is truly defined between Makoto and Sayaka. Their motive videos, while both intense, have completely different implications. Makoto hasn't actually seen hers yet, but assumes it must be the same as his, and thus, his attempts to assure her ultimately fall flat.
"Think about it- those videos have to be fake! Because if those things really had happened...people out there would be in an uproar. Our families, the police, everyone!" -Makoto Naegi, ch 1
But Sayaka's motive video didn't just imply that her loved ones were hurt. No, her motive video insinuates that her being trapped led to her band falling apart. Their stage presence is gone; they're fading into obscurity. The family she found through the stage is now separated. And that's not something the police would think twice about. That's just the entertainment industry functioning as normal, and actualizing her greatest fears. She is replaceable.
It's here where we truly see what Sayaka's resolve is made of, and where she shows us that she's been thinking of killing this whole time.
Though no one's died yet, the mere idea of killing someone to get free has been gnawing away at her. Not only that, the need to act before anyone else makes the first move is something she's already familiar with thanks to working in the entertainment industry; to keep ahead of the game, you have to push out content constantly. She has to be the lead singer, she has to have the best music. All this pressure is mounting, and the motive video is leading her to blow. And through Makoto's help, she's able to calm herself down enough to direct the steam.
"I-If that happens...then I'll get [Sayaka] out of here myself! No matter what it takes!" -Makoto Naegi, ch 1
"'Can I... can I believe what you said? That you'll help me get out? No matter what it takes?' 'A-Absolutely!' 'Makoto... You're the only one I can trust. So please... No matter what happens, please always be there for me. I need you on my side...'" -Sayaka Maizono & Makoto Naegi, ch 1
Makoto says himself that he'll get her out 'no matter what it takes.' And he says this while they're trapped in a killing game, where as far as they know, the act of killing someone is the only way to escape. To Sayaka, this reads as an offer: I'll help you kill someone if we have to. So that's what she plans to do.
(It's also worth noting that, at that point, neither of them knew about the class trial at this point, or the potential repercussions of voting incorrectly in one. If they had, this entire situation may have been very different. We'll never know for sure.)
Though the personality she shows us for most of the game is one that's carefully curated, on the inside, she's constantly in terror. She knows how much to reveal about herself and how much not to in order to gain favor, and is always calculating her next move. We know from the description of her dream that she isn't an inherently selfish person- she acts for a dream that she believes is worth it in the long run, and wants to inspire and comfort young girls like herself and make them feel more secure. The concern she shows for Makoto's health and her remembering him from middle school isn't all purely an act; you can't fake memories that are that accurate to what actually happened in the past(will go into more detail in Relationships for this). She latches herself onto Makoto because she wants it to be Makoto, and while she tries to act to her benefit, her softer, more caring nature ultimately stops her from doing so, and winds up getting her killed.
Part 6- Sayaka's Murder
As stated previously, Sayaka being the first victim was designed to be completely shocking to its original audience. She was someone so clearly set up to be important to Makoto, and assisted us in walking through the beginning of the game. A strong bond was established between the two of them, and a character like that was typically propped up to be someone critical to the story unfolding. So this twist was like a gut punch to 2010 Japan. Nowadays, this trope-subversion has become a trope in and of itself, and that can be partially attributed to how much impact Danganronpa had within the genre, but it does make this twist into more of a base expectation for a newer generation of fans. Regardless, this was a major shock at the time, as was confirmed by interviews with the creator. This twist was even protected by the demo of the game, as the victim there was Yasuhiro.
For the rest of the chapter, we have to work to find out who's responsible for her death, and why she ended up dying. It's set to be both the moment that the player begins to take the murder-mystery aspects of the game seriously, and acts as a way to force Makoto as a character to take initiative in the class trial, as almost everyone immediately writes him off as responsible for her murder due to the location of the body. So in a way, Sayaka works in one final act as helper to the player, as it's her murder that leads to the first trial and how to play them.
It's in the trial where we also have it confirmed for us that Sayaka was the instigator, as the evidence gathered unfolds into a failed murderer being murdered herself. Though this comes as a shock to Makoto, we've already seen and addressed how she came to this point and why, so I'll spare the details of explaining the entire trial so we can stay focused on Sayaka herself. Suffice to say, this revealed betrayal serves to develop Makoto's empathy for the rest of the cast going forward as he realizes the one that trusted him most was using him as a buffer, thinking through every step of how to keep suspicion off of herself.
"Now do you understand? She wasn't a blameless victim in all this." -Kyoko Kirigiri, ch 1
"'And if it's true that she had the kitchen knife and attacked without provocation...' 'Indeed... these are all the actions of an assailant.'" -Byakuya Togami & Sakura Ogami, ch 1
"And by committing the murder there, instead of her room, that would implicate Makoto." -Celestia Ludenberg, ch 1
"For one thing, even if her plan worked, Mr. Naegi would just tell everyone they'd switched rooms." "I don't know... I'm not sure our softhearted Makoto is capable of that kind of cutthroat behavior. I'm sure Sayaka realized the same thing". Hifumi Yamada & Byakuya Togami, ch 1
In the end, it's Kyoko who puts together not only that Sayaka was the one responsible for the trial, but also that her dying message existed to save Makoto. She deciphers the inverted English letters, and even pulls Makoto aside to say as much about Sayaka's true intentions.
"Sayaka meant to double-cross you. That's a fact that you can never change. But even till the very end, she wasn't sure of her decision. That's why... as she lay dying, she was thinking of you." -Kyoko Kirigiri, ch 1
And because Kyoko is a character who goes on to be established as someone who seeks out the absolute truth, combined with the behavior we saw from Sayaka prior to the murder plot, we can trust that this inference is accurate. It's also directly shown to be true in other official adaptations, such as the stageplay, in which she's murdered in the bedroom and drags herself to the wall to write down Leon's name for Makoto.
Part 7- Relationships
Though Sayaka has few relationships, they're all fiercely important to her, enough to where she's willing to die/kill for them.
7.1- Sayaka's Bandmates
Though they aren't ever named in-game, Sayaka makes it very clear how important her bandmates are to her. She tells us that she sees them as her family, something huge for a girl who grew up lonely, and that her greatest fear is being forced to go their separate ways. They're her best friends, her coworkers, her rivals, her family. They've been involved in every aspect of her life as her bandmates. Their existence and this focus brought on them elevates Sayaka's own motivations- fearing for the success of their band as an idol isn't just about her own success anymore. Her being kidnapped puts her family's livelihood at stake, not just her own. And the motive video serves to throw that fact in her face.
7.2- Makoto Naegi
Sayaka latches onto Makoto quickly for a reason- he's familiar. The government-mandated FTE tells us as much. Not only did they go to the same middle school, but he was someone she very distinctly remembered. Because Makoto was in charge of taking care of the school's animals, he was the one who once led a giant crane out of the school's pond and into the nearby forest. It left enough of an impression on Sayaka for not having spoken to him back then becoming one of her greatest regrets, attributing the event to being something out of a fairytale.
"Honestly though, I was so impressed... That's why I always wanted to talk to you, even just once." -Sayaka Maizono, ch 1
This story is one that's undoubtedly true, and Makoto himself remembers the event clearly as well. It stands as solid, undeniable evidence- that even though she was trying to use him to her benefit, she did genuinely like and admire him as a person, long before the game ever began, and enjoyed his company. She doesn't tell him how she became an idol or confide her fears purely for strategy; if that were the case, she wouldn't have panicked so badly at the motive video and ran. She doesn't want people to see that fearful side of her, but developed enough trust in Makoto to take the risk of letting him see her vulnerable. In the end, that vulnerability works in her favor, but to write it off as just manipulation for the sake of her plan would be inaccurate. Rather, she had genuine fear, and a genuine need to confide in someone, and made the observation as she did that it may be something she could use.
We're given a distinct difference between when she's acting for her benefit and when she's being genuine spelled out for us in our final conversation with her as well. When she's faking that fear of someone trying to break into her room, her irises still have their color, and she's still perfectly in control of herself, able to control her volume and look us in the eye as she gets access to Makoto's room. It exists in a stark contrast to her two breakdowns, where her eyes went white and she started to scream, panicking too much to pay attention to her surroundings.
She trusts Makoto wholeheartedly in the way he trusts her. He was there for her when she needed it, and that's how she's able to develop the confidence to go on and fake it later; she knows he'll take her concerns seriously. So she lies, saying that someone attempted to break in, and convinces him to switch rooms for the night, simultaneously giving her the space she needs to work with to avoid being caught and absolving Makoto of any blame for what she's about to do by keeping him in the dark. When she becomes a killer, he won't fall with her. There are a couple other instances of this subtle protection of Makoto that can be found in the game, like her taking him to look for a defensive weapon only to convince him he should be the one to have it, or her writing the name of her real killer down so Makoto wouldn't be blamed for her death.
It's also worth noting that in the canonical au novel Danganronpa IF, when Sayaka goes to have this conversation, Makoto faints and Sayaka immediately drops the act entirely, instead choosing to focus on getting Makoto taken care of. She rushes him to the nurse's office, and stays with him through the entire night, only going to bed in the morning when Mukuro takes her place so she won't pass out. These aren't the actions of someone acting purely in accordance with her self-gain. If that were the case, she could've just grabbed his key, thrown him in her room, and continued with her plan as normal. But she didn't. Makoto's health and safety is decidedly a real priority of hers every step of the way.
7.3- Leon Kuwata
The original game doesn't do very much to explain why Sayaka would choose Leon to attack as a victim. We learn through Leon's introduction that he wants to become a musician, but other than that, these two barely interact, and only in scenes that are skippable and not on the main storyline(pictured earlier). This comes from the unfortunate result of Leon just so happening upon the developers' shitlist and being killed off first so they wouldn't have to look at him anymore. As was stated earlier, both Sayaka and Leon were the first character designs to reach completion, and were then used in early development of the game quite often. This led to the game devs becoming sick and tired of looking at them and thus, chapter 1 had them both die. And while Sayaka was important enough to the development of the protagonist, Leon was not, and ultimately fell to the wayside throughout his time alive in the game. But that's not to say they didn't at least have an idea of what they wanted to do with the two's relationship at all, and the truth behind why she chose him was expanded upon in the supplemental manga series.
After Mondo knocked Makoto out on the first day, it was Leon who offered to help Sayaka carry him to their dorms in the hopes they'd get to talk. As we already knew, he wants to be a musician, and admires Sayaka for succeeding in the industry. Sayaka sees his excitement and how lighthearted of a person he is, and simultaneously admires and pities it; someone so casual wouldn't be able to fight his way through the industry, as far as she thinks. It'd only hurt him further.
Later, when she's trying to decide who to kill, she remembers this conversation. Leon is one of the only other people besides Makoto she's made any connection with, so he wouldn't suspect she was planning to kill him. Besides, surely he'd understand where she was coming from if he really wanted to be in the entertainment industry, and if he couldn't understand then, well, he was never cut out for it anyway. She was able to justify attacking him in her mind because of this, and thus, he became her target.
Ultimately, Leon wasn't even trying to kill her when she got stabbed. After getting the screwdriver from his toolkit, he was trying to wrestle the knife away from her and talk things out. He didn't trust Monokuma's empty promises, and respected her enough to try to get through to her. Meanwhile, Sayaka couldn't give up; she was in too deep, and if she didn't kill him, then surely he'd tell everyone, and she'd lose everything she'd worked for. But in their struggle, the knife ended up in her stomach, and he ran out, unable to watch her die as he went into damage control and she wrote his name in her blood, as one final apology to Makoto.
In the original game, we never get any of this insight into what happened. We only get Leon's insistence that it was out of self-defense and that he was "just unlucky."
He never fully gets to explain himself, and is executed without another thought, similar to how Sayaka died without ever getting to tell Makoto the truth.
Part 8- School Mode: Sayaka's Ending
After completing THH, you unlock School Mode- Enchanting Dangan Academy: Purely Prismatic Souls, in which instead of announcing a killing game, Monokuma demands the class build themed backups for him. In the downtime for this mode, it acts as a dating sim, as once you finish out someone's FTEs, you can take them on trips to different places in the school and level up their hearts to a max 10. If you win the school mode, and max out Sayaka, you unlock an ending conversation between her and Makoto. This is true of all the characters, but Sayaka's is special because she brings up the promise to stay by her side you made in the main game, despite it never taking place in the school mode.
This reveals something major- Sayaka was, in fact, psychic, and could see into alternate timelines all along. Her psychic intuition assured her there was a universe where Makoto would succeed in saving her, and it allowed her to endure the killing game.
"I knew everything... I knew you would never give up until it was all over. That's why I was able to go through all this, why it didn't hurt... Cuz I'm psychic, ya know?" -Sayaka Maizono, School Mode
(And forgive me for getting conspiratorial here, but the way this is phrased leaves me to wonder if she, to some level, knew she was in a game, and that the tutorials being geared to Sayaka may not have been such a happy coincidence in-universe.)
Part 9- Starfall (Why do we care?)
After reading everything I've said in here, I imagine there'll inevitably be people who disagree with the end results of my analysis. I mean, there's not any real way to know what she's really thinking. So who's to say I'm 100% correct about her genuinely caring for Makoto? Maybe she cared more about her own idol status than anything else, and really was a selfish attention-seeking snake. (I mean, she wasn't completely lol, but I'm making a point here.) What I've presented is my interpretation of her motivations based off of the evidence given. You may not completely agree, and that's okay. Honestly, if anything, disagreeing with some of these conclusions only furthers the point of her character- We're not meant to fully understand her because people aren't easy to understand that quickly. People are complex, and you're not gonna be able to automatically trust the people that appeal to you. Sayaka's story is a remnant of the original idea for the beta version of DR; she pushes you to distrust. Blind faith can get you killed.
Afterword
I think I've really outdone myself with this one, y'all. I adore Sayaka and, even knowing why they chose her for this early-death role, still believe this was an incredible use of her character. As you can probably tell, she's my #1 character from THH for a reason lol.
I'm gonna start on Yasuhiro's analysis in a couple days, but there'll probably be a bigger gap between this one and the next than there's been between the past few analyses bc I have a real life I need to attend to sometimes :/
I hope y'all all thoroughly enjoyed this analysis!! Catch ya later
Well I was busy focusing on my driving license and I obtained it! I'm free from that stress at least...
Anyway for my official comeback, I wanted to speak about Zhen Baoyu and Jia Baoyu from DotRC and how they were integrated inside of Canto 8.
To start with, it's important to understand that in Dream of the Red Chamber, the distinction between the truth and false, reality and fiction is rather ambiguous. Those first lines of the novel is explicit:
"When false is taken for true, true becomes false; If non-being turns into being, being becomes non-being."
Of course, I won't go in details and speak about the multiples ways of interpreting this sentence, no. What's interesting is how it relates to Jia Baoyu and Jia Zhen. This quote is a couplet inscribed on the stone archway of the Illusory Land.
If false things taken as "true" then "true" is now false; and if nothingness is seen as "existence" therefore "existence" is nothingness. The reader is directly signaled that true and false is ambiguous and not clear, that they exist not as distinct concept but connected one.
We can go even father and highlighting all its obvious links to the Buddhism and its doctrines concerning life seen as an illusion. Anyway, the world that those characters saw as true, can also be seen as false.
This quote is very important because it is expressing one of the important themes of this book referencing Buddhism but also the other philosophical doctrines such as Confucianism or Daoism. But it also gives us more details about Zhen Baoyu and Jia Baoyu.
Indeed, in the novel, those two are extremely similar appearance wise and were also very similar personality wise in their childhood.
Moreover they share the same first name but not the Family name. They are like mirrors, seemingly indistinguishable from the other like true and false.
But their last name is one thing that distinguishes them. Effectively, their last name is a homophone:
贾 Jiǎ is a homophone of 假 jiǎ, “false/unreal.”
甄 Zhēn is a homophone of 真 zhēn, “true/real.”
And so Jia Baoyu can be considered as the false one whereas Zhen Baoyu is the truthful one. It is emphasized in the book, with Zhen Baoyu becoming someone serious, who holds great responsibilities, following the precepts of Confucianism while Jia Baoyu still in his own world, doesn't really like to study, didn't pass the imperial exam yet and he is still in the house while not being great of a help. He does not follow Confucianism and in this world where Confucian values permeates the chinese society, Jia Baoyu can only be seen as "false."
But beware, we did say that if false is taken as "true", "true" becomes false and what would be the reverse of that quote, revealing the hidden meaning of the original quote? If true is taken as "false", "false" becomes true.
Following the importance of Buddhism in the book, it is clear that the secular world can be seen as false alongside its people residing in it. But for those who have read DotRC, Jia Baoyu was originally a rock from the Land of illusion which is considered later on of the book as the Land of truth in its final chapters. It is a change of perception asthe Land of illusion was always the Land of truth.
It is occurring when the "false" Jia Baoyu finally attain enlightenment, detaching himself from worldly desires.
And so, understanding this,we can see clearly how project moon used this quote and those characters in Hong Lu's writing.
Hong Lu after burying his own emotions, expurging all those colors became "Jia Zhen". A filial son is a son who is following the orders of his family, obedient towards his parents, and is honoring his parents and ancestors which is the case with Hong Lu with Jia Mu and the Elders.
His existence as the "Jade of Hongyuan" honors and pleases the Elders which in return, pleases Jia Mu as well. He is doing his role as a camera allowing the Elders to satisfy their hedonistic pleasures, seeing suffering in all its forms.
Whereas Zhen Baoyu became once older, a filial son by succeeding in the imperial exam and becoming a man of valor in the eyes of his family but also the world, following Confucian values.
They are treated as true, the Hong Lu who sometimes can be insensible to others due to his words or actions, seen as arrogant due to forgetting names of other people. But as we know, it is in reality the false one.
That Hong Lu is taken for true, and so true becomes false. It is the self that he burried not only deep underground but also deep inside of him that is the true Hong Lu.
Indeed, his inner child, well, eternal child can be considered as the ego that he lost, the self that he abandoned before surrendering to everything.
Lile said Carl Jung, “In every adult there lurks a child—an eternal child, something that is always becoming, is never completed, and calls for unceasing care, attention, and education. That is the part of the human personality which wants to develop and become whole.” (there is again a lot of things that be said about Hong Lu from a Jungian perspective but I fear incompetence from myself...)
It's in Canto 8 that Hong Lu's true is regained. It is forced opened by Jia Qiu, wanting to observe what he saw in the past, a young child wanting to save one person even if it doesn't change anything
So what lies within, Jia Baoyu? What has slumbered, nestled within you all those years? (Jia Qiu)
And despite burying that eternal child, it was still inside if him,still present waiting to be uncovered and free again, beginning once again his development and journey towards growth
"They weren't lost… I'd only forgotten about them. That's why I felt like my heart was trapped." (HL)
Therefore that eternal child represents well Jia Baoyu and how from a different perspective was seen as false as he was heavily criticized and grounded for not following the standards that parents and society had towards him. Just like Hong Lu who was constantly manipulated, grounded repressed by Jia Mu during his childhood for constantly expressing his true self, forcing him to act as intended.
But to say that the false and truth are merely reversed would be wrong, right? That is what I will see later in another short part...
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💬 0 🔁 0 ❤️ 6 · Jia Zhen and Jia Baoyu · Hello! I appear only now since a month, I think?
Well I was busy focusing on my driving license a
When I said that it wasn't entirely the case, that the distinction between false and true was more ambiguous and vague, I mean it.
All the emotions that Hong Lu have shown throughout their travel can't be considered as simply false, right? We can say that his facade is false but those words that he gave to Yi Sang to help him fly
His nonchalant behavior might be a facade but he never traveled throughout the City, he never saw much things beyond the grasp of Hongyuan, so his curiosity was genuine, not only of the world but also people. Like Yi Sang said, that smile didn't change
False and true are merging together, forming almost a whole and that is exactly what is happening in the last scenes of Canto 8. We see Hong Lu reconnecting with the self that he hid for so long, represented as a childlike version of him, is eternal child, bringing up in the surface.
That can be linked to Jia Baoyu's choice to honor his parents doing the imperial exam while giving an offspring, assuring the lineage of the Jia while transcending the secular world and entering the Land of truth (I speak more in details about this here!)
Well I was busy focusing on my driving license and I obtained it! I'm free from that stress at least...
Anyway for my official comeback, I wanted to speak about Zhen Baoyu and Jia Baoyu from DotRC and how they were integrated inside of Canto 8.
To start with, it's important to understand that in Dream of the Red Chamber, the distinction between the truth and false, reality and fiction is rather ambiguous. Those first lines of the novel is explicit:
"When false is taken for true, true becomes false; If non-being turns into being, being becomes non-being."
Of course, I won't go in details and speak about the multiples ways of interpreting this sentence, no. What's interesting is how it relates to Jia Baoyu and Jia Zhen. This quote is a couplet inscribed on the stone archway of the Illusory Land.
If false things taken as "true" then "true" is now false; and if nothingness is seen as "existence" therefore "existence" is nothingness. The reader is directly signaled that true and false is ambiguous and not clear, that they exist not as distinct concept but connected one.
We can go even father and highlighting all its obvious links to the Buddhism and its doctrines concerning life seen as an illusion. Anyway, the world that those characters saw as true, can also be seen as false.
This quote is very important because it is expressing one of the important themes of this book referencing Buddhism but also the other philosophical doctrines such as Confucianism or Daoism. But it also gives us more details about Zhen Baoyu and Jia Baoyu.
Indeed, in the novel, those two are extremely similar appearance wise and were also very similar personality wise in their childhood.
Moreover they share the same first name but not the Family name. They are like mirrors, seemingly indistinguishable from the other like true and false.
But their last name is one thing that distinguishes them. Effectively, their last name is a homophone:
贾 Jiǎ is a homophone of 假 jiǎ, “false/unreal.”
甄 Zhēn is a homophone of 真 zhēn, “true/real.”
And so Jia Baoyu can be considered as the false one whereas Zhen Baoyu is the truthful one. It is emphasized in the book, with Zhen Baoyu becoming someone serious, who holds great responsibilities, following the precepts of Confucianism while Jia Baoyu still in his own world, doesn't really like to study, didn't pass the imperial exam yet and he is still in the house while not being great of a help. He does not follow Confucianism and in this world where Confucian values permeates the chinese society, Jia Baoyu can only be seen as "false."
But beware, we did say that if false is taken as "true", "true" becomes false and what would be the reverse of that quote, revealing the hidden meaning of the original quote? If true is taken as "false", "false" becomes true.
Following the importance of Buddhism in the book, it is clear that the secular world can be seen as false alongside its people residing in it. But for those who have read DotRC, Jia Baoyu was originally a rock from the Land of illusion which is considered later on of the book as the Land of truth in its final chapters. It is a change of perception asthe Land of illusion was always the Land of truth.
It is occurring when the "false" Jia Baoyu finally attain enlightenment, detaching himself from worldly desires.
And so, understanding this,we can see clearly how project moon used this quote and those characters in Hong Lu's writing.
Hong Lu after burying his own emotions, expurging all those colors became "Jia Zhen". A filial son is a son who is following the orders of his family, obedient towards his parents, and is honoring his parents and ancestors which is the case with Hong Lu with Jia Mu and the Elders.
His existence as the "Jade of Hongyuan" honors and pleases the Elders which in return, pleases Jia Mu as well. He is doing his role as a camera allowing the Elders to satisfy their hedonistic pleasures, seeing suffering in all its forms.
Whereas Zhen Baoyu became once older, a filial son by succeeding in the imperial exam and becoming a man of valor in the eyes of his family but also the world, following Confucian values.
They are treated as true, the Hong Lu who sometimes can be insensible to others due to his words or actions, seen as arrogant due to forgetting names of other people. But as we know, it is in reality the false one.
That Hong Lu is taken for true, and so true becomes false. It is the self that he burried not only deep underground but also deep inside of him that is the true Hong Lu.
Indeed, his inner child, well, eternal child can be considered as the ego that he lost, the self that he abandoned before surrendering to everything.
Lile said Carl Jung, “In every adult there lurks a child—an eternal child, something that is always becoming, is never completed, and calls for unceasing care, attention, and education. That is the part of the human personality which wants to develop and become whole.” (there is again a lot of things that be said about Hong Lu from a Jungian perspective but I fear incompetence from myself...)
It's in Canto 8 that Hong Lu's true is regained. It is forced opened by Jia Qiu, wanting to observe what he saw in the past, a young child wanting to save one person even if it doesn't change anything
So what lies within, Jia Baoyu? What has slumbered, nestled within you all those years? (Jia Qiu)
And despite burying that eternal child, it was still inside if him,still present waiting to be uncovered and free again, beginning once again his development and journey towards growth
"They weren't lost… I'd only forgotten about them. That's why I felt like my heart was trapped." (HL)
Therefore that eternal child represents well Jia Baoyu and how from a different perspective was seen as false as he was heavily criticized and grounded for not following the standards that parents and society had towards him. Just like Hong Lu who was constantly manipulated, grounded repressed by Jia Mu during his childhood for constantly expressing his true self, forcing him to act as intended.
But to say that the false and truth are merely reversed would be wrong, right? That is what I will see later in another short part...
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I have finally finished this intervallo! It's been a long day! To say, this intervallo was a good one, they fleshed out Bamboo hatted Kim well, he is now decently written.
I like the duo of Aeng-du and Kim, they works well as a comedic duo and also in serious moment where one pushes the other to live. Strangely, the disciples resembles more to a mentor than the mentor himself...
Anyway what I find interesting too, was Meursault! We had some crumbs with him and I'm not talking to the end but more about how his mind works.
For Meursault, it seems that an objective point of view does not exist and it is in accordance to his book counterpart in a way.
It reminds the scene with the priest in the book when Meursault screamed at the priest, when he got angry enough because the priest forced his point of view into Meursault with God at any time claiming that "God can help him".
According to Meursault there is no objective truths, or factual truth. Each people have their own point of view and opinions. Bias exist within those opinions.
And so for his book counterpart, when asked by the priest if he wished there was an afterlife, he just said that "Everybody has that wish at times. But that had no more importance than wishing to be rich, or to swim very fast, or to have a better-shaped mouth. It was in the same order of things."
Because holding an objective truth means that this objective truth is inherently superior to other as it is factual and without bias. It is a fact that no one can denied like opinions or any subjective truth that comes from people. For Meursault who is indifferent to all things, one is not superior than the other or inferior. They are simply equal.
Good insight and yeah. He is even considered as an encyclopedia ironically and that difficulty to put into words what he sees or understand was in the novel so I'm glad pm included it!
I have finally finished this intervallo! It's been a long day! To say, this intervallo was a good one, they fleshed out Bamboo hatted Kim well, he is now decently written.
I like the duo of Aeng-du and Kim, they works well as a comedic duo and also in serious moment where one pushes the other to live. Strangely, the disciples resembles more to a mentor than the mentor himself...
Anyway what I find interesting too, was Meursault! We had some crumbs with him and I'm not talking to the end but more about how his mind works.
For Meursault, it seems that an objective point of view does not exist and it is in accordance to his book counterpart in a way.
It reminds the scene with the priest in the book when Meursault screamed at the priest, when he got angry enough because the priest forced his point of view into Meursault with God at any time claiming that "God can help him".
According to Meursault there is no objective truths, or factual truth. Each people have their own point of view and opinions. Bias exist within those opinions.
And so for his book counterpart, when asked by the priest if he wished there was an afterlife, he just said that "Everybody has that wish at times. But that had no more importance than wishing to be rich, or to swim very fast, or to have a better-shaped mouth. It was in the same order of things."
Because holding an objective truth means that this objective truth is inherently superior to other as it is factual and without bias. It is a fact that no one can denied like opinions or any subjective truth that comes from people. For Meursault who is indifferent to all things, one is not superior than the other or inferior. They are simply equal.
mini essay on yinglong, jia mu/shi miyin and their parallels
point 1: the observation log
"Perhaps the Dragon isn't even allowed to die even if it wanted to."
"At least not before Heaven's decree is canceled... not before the wedge is removed."
we know immortality and the pursuit of such is something integral to jia mu's character. but that's the thing! jia mu's. not shi miyin's. and the fact that there are subtle implications that this wasn't her original goal. of course, she was scared when she had to take the anamnaworm. that could have been miyin's flower-burying wedge. the pins and needles are the worm or life itself, the concept of lowliness and mortality in her eyes.
or rather, jia mu is the pins and the wedge and yinglong itself is shi miyin. a scared little girl who will never die no matter how much she wants to die. jia mu, the xianhuang anamnaworm, immortality, is the "heaven's decree" hong lu mentions in the log. jia mu is the shell of a now rotten egg, from where shi miyin can never hatch again, if she could even hatch, or if she was really fully formed.
point 2: yinglong, the great dragon of the heavens
yinglong is denominated as a fairytale/folklore abno as seen in its classification code. oral tradition, legend, the reverence and story of a great dragon who could easily be mistaken for beautiful clouds. in fact, in original chinese folklore, yinglong was a feathered dragon who was also the deity of rain. rain brings life, the family hierarch is life itself, or so it is believed. also, note, yinglong's feathered wings are something that actually wasn't seen before in the folklore of its time. almost... chimeric. who else has the proprieties of a chimera? jia mu after taking the heixian bolus.
the dragon is said to be angry, to bring judgement to people it deems bad. but in the third level of the observation log, the dragon is said to be sad. it cries, and cries, and cries.
i think this has to do with the separation between jia mu and shi miyin as people. a lot of my discussion about jia mu hinges on the separation of them. jia mu as the shell, the matriarch of the jia family, as an extension of the xianren elders. shi miyin as the scared little girl, a child who was once innocent, the girl who lay dormant in the depths of the mind after the anamnaworm entered her body.
the great dragon whose rage smites all things impure and bad is jia mu, the decree of the heavens is the kong family massacre, the oh-so-righteous great, revered dragon who made little hong lu a tool of entertainment, the dragon of the heavens who brings rain of life and retribution and the family hierarch who shapes hongyuan with her very words and actions.
the sad, agony-driven dragon who cries and floods the world with its tears is shi miyin. the deep dark part of jia mu's mind, tucked away between layers and layers of frayed golden silk, the girl who was once an innocent little girl who perhaps, too, wanted to make hongyuan a better place, who cries in pain and agony as she cannot die even if she wanted to, who doesn't exist as herself anymore.
point 3: hongyu, the crimson jade
first, let's get into how hongyu represents hong lu. tying it back to the view of jia mu as the great dragon, this makes yinglong coveting hongyu in its stomach a lot more symbolic. hong lu, who is entrapped in the role jia mu has given to him, to observe and gleam, yet falling apart at the seams. coveted as an object of purity, yet perhaps seeing himself as impure, as a vein, as an extension of jia mu. this probably also connects to lord lu and the heishou peccatula in phase 2 but im a bit stumped on that one actually... but essentially, hongyu is how a younger, fatalistic jia baoyu saw himself. coveted and "loved", yet falling apart at the seams, only acting as an organ. perhaps the skill where yinglong is impaled with pins (Impale the Self, Impurity to Purge [自穿滅汚]), done by hongyu itself, represents hong lu's act of fighting back against the elders, finally thinking for himself? or perhaps some form of hatred?
but i also think that hongyu represents shi miyin, and this also goes back to jia mu as yinglong, or rather the outside perception of yinglong. buried in the deep, deep darkness of jia mu's body, suppressed. this could also make for the interpretation that Impale the Self, Impurity to Purge [自穿滅汚], could be how miyin bleeds out in one way or another. jia mu clearly remembers her past, but it is twisted beyond recognition. she says she was scared taking the worm, but says that fear is fleeting in comparison to the euphoria of infinite knowledge. or perhaps, it represents the burden imposed onto little miyin. an impure thing, a mere organ, falling apart at the seams, barely gleaming anymore. buried deep in the depths of the husk called the matriarch of the jia family. hell, jia mu isn't even a name. it is a title.
jia mu is the great dragon from ancient folklore, and shi miyin is the rotten organ that the great dragon covets as an organ, like a heart, but just as that. a heart. shi miyin is the heart, nothing more.
I already spoke very much on Yinglong but I can stop, I just love to talk about Yinglong!
If you haven't already read those analysis, I advice to do so!:
Part 1
Part 2
Anyway, I already mentioned in my analysis but I can be more precise here. Well it's more about the E.G.O!
Tears of the Tarnished Blood is separated in two with Sinclair and Hong Lu.
Sinclair represents Yinglong as the one bringing judgment on the behalf of the heavens. In Sinclair's corrosion line, the heavens are mentioned, more exactly "the retribution of the heavens". Once again there is that idea of impersonal justice, sort of rightful wrath from those above, the heavens.
He is using the Flower-burying pins, so the ability that comes from Yinglong itself, showing that it is not forced or stripped of his autonomy yet. Simply, It is realizing the heavens' decree
The fact that they work as his wings, shows Sinclair's freedom and autonomy that he still keeps. They still are his own wings meaning that he can still fly and still find his way.
Of course, there is far more to talk about Sinclair but I'm focusing on Yinglong :)
Anyway, like I said earlier, he is representing that first phase as he is not pierced by the Flower-burying wedge. That distinction is even made in the skills:
You don't even need to use RR6 to know that the Flower-burying pins are abilities owned by Yinglong, just look at the symbol of the Flower-burying pin. It is descending, showing Yinglong's links to earth but also that it comes from below and not above.
While for Hong Lu, it is the last phase where it is hurt by the Flower-burying wedge forcing Yinglong to keep continuing, sacrificing himself until it achieved its purpose, the decree.
Two wedges piercing its torso, forcing to be alive, forcing it to achieve its purpose, stripping it of its autonomy.
As we can see from Hong Lu's appearance and his corrosion, the Flower-burying wedge is piercing him during the inception, when the E.G.O is activated for the first time.
In contrary to its first phase where he is free, now he is restricted to act and to sacrifice itself. What is more sad is the fact that Hong Lu is accepting that sacrifice, without fighting back or trying to escape like Yinglong did when the Flower-burying wedge had been destroyed.
And to see again the distinction between the Flower-burying pin and the Flower-burying wedge, we can check once gain the skills from Hong Lu:
We can see that symbol which instead of descending, it is ascending towards the heavens, implying that the Flower-burying wedge is an ability that comes directly from the heavens itself.
That ristinction is important because it shows well what comes from Yinglong and what doesn't, especially speaking about its autonomy!
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Things that Araya was asking her to remember, she didn't had those things herself anymore
Face is not her own, her voice became rougher, she became taller and she is so utterly alone
Do you think she felt like she was just puppeteering her body instead of being in it?
Just a tool, a function to do what is told of her, since body she has now has nothing that she would feel like her's
No one calls her by name, no one even sees her, is she even there anymore, or just a heartless doll, that has to bear everything no matter how much it hurts