Not again

I'm going to start this thread by crediting @/VibingLemonArt (on Twitter) for this chapter's translations! (As MangaUp hasn't yet released the official translations at this time)

The details I've spotted last chapter are paying off just as I expected a month ago, and now Nene has to take a painful decision. If you haven't read my chapter 128 analysis, I heavily recommend reading it before this one because they're pretty closely tied together!

1. Self-hatred and guilt instilled since youth

1.1. Warped self-perception

The chapter starts with Amane being harsh to his 4 year old self, picking him up by the collar and addressing himself with "this guy", and "hey, you", obvious harsh tones as well. The darkness dominating the panels on this page is like a burst of negativity, a calm anger directed at the toddler, further emphasized with a look of clear contempt.

The following conversation is, on the surface, meant to scare the toddler into sticking with Tsukasa so he wouldn't go missing anymore, but it carries much, much more depth than that. The start of the conversation being "Do you love your little brother?" signals this, and when the 4 year old nods in agreement, he responds as if he doesn't trust him on it.

Of course, if he trusted his own feelings, he wouldn't have needed to ask that question in the first place, would he?

This is the most important part of their one-sided conversation. Amane addresses his younger self by his full name, "Yugi Amane", an acknowledgement of his identity. When he questioned him if he loved his younger brother, it was "this guy", it was "you." It was a separation of identity, someone he doesn't know.

But when he says that he's a murderer that is there to kill his 4 year old brother, it's "Amane Yugi", it's none other than himself. An intentional play of words that reveals that he holds so much hatred towards himself because he considers that Yugi Tsukasa's "death" was caused by none other than "Yugi Amane".

And as he plasters the iconic smile that hides emotions he barely holds in we've known the entire series, he specifies that he, Yugi Amane, would kill Yugi Tsukasa the moment Yugi Amane takes his eyes off him.

For further evidence that this conversation isn't surface level, Amane is emphasizing on the fact that Yugi Tsukasa will never come back, which ties in later with him believing that the real Tsukasa died when he disappeared, and the brother that returned was a fake.

I do have to say though, Amane proclaiming himself to be his brother's murderer when in less than a year he would literally proceed to do so is... very malicious irony from Iro's part.

1.2. The abuse behind it

Amane later explains to Nene that his brother had disappeared on his 4th birthday and returned 6 months later only for him to turn out to be a fake, which is immediately followed by depictions of his family falling apart:

A thing that pretended to be his beloved brother. His mother transforming from the figure that stood by his side when he was ill to one that hurt him. His father who decided to run away from it all. Then finally him, an anguished boy who had no one anymore, looking at a picture from when he felt like he had everything. When he didn't wait for his last day, and when he was surrounded by a loving family.

A family that was no longer his.

Unable to find any other reason for his ruined life, he came to one conclusion: His brother must have died all those years ago, when he lost sight of him, when he should've stuck with him. It was his fault, wasn't it?

A bit of side note, there's people who think that the child in the second panel is Tsukasa, and I'm not going to outright deny it because there's a lot of reasons why one could assume it's him.

However, the intention of these 2 pages is to show how Yugi Tsukasa's "death" made an impact on Yugi Amane, as he's present everywhere, also emphasized that no one's faces are visible except his when he reached his present self, a painful contrast to the faces full of happiness in the old picture stashed in a drawer.

It is also a very sorrowful callback to the Red House arc, where Tsukasa claimed that his sacrifice would bring Amane happiness, clarifying that it brought the exact opposite.

In the 1st panel, the thing possessing Tsukasa laughs and points at Amane, who "appears" as the one whose perspective the reader sees.

In the 3rd panel Amane appears again (as shown by the astronomy book he's holding) as he watches his father leave him in the shadows of his home. (Yes, even the lighting is intended here)

In the fourth panel, Amane is shown ruined, holding up a picture of the 5th panel, an Amane that had what he missed having.

So, it would really only comes to reason that the child in 2nd panel is also Amane. It can't be a 1st panel situation either, since the perspective's eye level is too high for a young child.

1.3. Salvation as a form of redemption

But... He was offered a chance. A chance to fix it all, a chance to bring his brother back. A chance to save the "real" Yugi Tsukasa he lost all those years ago.

He missed the old days, he missed it when his family was still his. He missed it when he wasn't alone with people he loved yet felt like strangers. He missed Yugi Tsukasa.

Hence, he thought, that if he saved Tsukasa, if he stuck with him like he should've and didn't let him out of his sight, then everything would be alright. His family would still be there, smiling together, loving each other. Everyone would be happy.

If he could save his brother, he wouldn't need anything else. It's as if it's an ironic repeat of Hanako's dilemma before this arc: He killed his younger brother and his guilt destroys him from the inside, but he wants to fix everything, he wants to save him. He wants the real Tsukasa by his side, not the "fake" he couldn't comprehend.

2. Only an alien could erase this loneliness

The bench scene is a callback to the Tanabata Festival arc, a reflection of their first meeting when they shared meals, but it's much deeper than that.

Both times when Nene appeared before him, Amane was by himself, and over their shared meal, Amane was able to express his loneliness to Nene.

In their first meeting, Nene gave Amane all of her slips in hopes his wish would come true, therefore save him, and in their second meeting, Nene tells him that she came to save him, too. Both times, she came from the future.

For Amane, who immerses himself in his love for stars, even if he knows that's not the case, Nene is an alien. Just as a species that does not belong becomes part of Earth's history once they step on it, Nene is a foreigner, an unknown variable that shouldn't have anything to do with him, who suddenly became part of his life.

A being from the outside that comes to impact and change a world that couldn't have changed from the inside. In a barren, lonely world where only Yugi Amane exists, Yashiro Nene crashes in, and one person becomes two, soothing the solitude in Amane's heart.

A thing that also applies with his post-mortem self, Hanako, who endured 50 years of loneliness and prepared to endure even more until a girl summoned him and saved him, even if temporarily, from his isolation.

So even if not in a literal sense, Yashiro Nene is indeed an alien. In Yugi Amane's heart, that is.

3. Yashiro Nene's trolley problem

When Amane tells Nene that he came from the future to save his younger brother, she realizes that she has to stop Amane from saving Tsukasa, hence why it's a trolley problem.

The Trolley problem is defined as a series of thought involving stylized ethical dilemmas of whether to sacrifice one person to save a larger number.

Of course, we all know how the New Present ends up and it's definitely much worse than the original timeline, but let's put it into a slightly different perspective.

If Nene stops Amane from saving Tsukasa, nothing will change. Amane will be lonely, neglected, abused, Tsukasa will never be the same at the hands of the Red House/pit god, their family and relationships will deteriorate until in the end, Amane will kill Tsukasa and then himself. And after the end, Amane, now Hanako, will only be further isolated for half a century.

And yet, it's something she has to do. Otherwise, everyone will meet a miserable fate.

All is for the sake of everyone else's lives.

Nene realized that returning to the old present meant that Amane would not be able to grow up and still kept her path because an Amane that had grown up was a disaster, but now the reality fully sets in- Because she is the one who has to prevent Tsukasa from being saved. Because she is the one who has to make sure Amane dies at 13.

Because she's the one who has to make it happen.

4. Final Thoughts

The theme of acceptance and denial of one's self is also present in this chapter, which my friend @/lexuswexus_ on Twitter made a neat analysis on, so please do check that one out as well!

I'm also pretty surprised that so many fans were so shocked at the fact that the twins' mother was abusive... Wasn't it foreshadowed since the Red House arc from Nagisa's flashback of the mother? Her literally saying "That is not my child"?

All the same, from her perspective, imagine that your child just miraculously recovered from a fatal illness, and you finally taste peace for a moment before your other child disappears... And when your heart is filled with relief that he's back, you come to the conclusion that it's not the son that you lost. That the son you wanted back so much is, surely, dead. It must've really driven her crazy.

And it's not as if Amane and the Yugi mother were delusional, since even if they didn't acknowledge that Tsukasa is still Tsukasa, it's also true that the pit god took a firm hold on him, so...

I don't know if someone has already created a post about this, so if it turns out that is the case, then I apologise and genuinely had no idea. It's just I've been thinking a ton about chapter 128, and I think I have a very good idea on when time travelling Amane came from! Now to be upfront, this theory entirely relies on the idea that the clock-keepers changed the past so Amane fixes the clock in the theater. If you don't agree with that theory, then this one falls apart at the seams and you will be wasting your time reading further.

With that out of the way...

At first glance, there's no clear indication in chapter 128 about where or when the Amane Nene meets is from. Nene briefly wonders if this is the Amane she met in the classroom.

But then Amane immediately makes things confusing by actually recognising Nene as the onee-san he met at 8-years-old.

It gets confusing, because the Amane from the classroom very clearly does not recognise Nene. In fact, he runs away from her at the first opportunity, and we even get a rare glimpse into his thoughts that shows there's no hint of recognition (though of course he's still attracted to her. Every version of Amane is attracted to Nene in some fashion.)

So what's the deal here?

I think these 2 Amanes:

...are from 2 different timelines.

We'll start with the facts, we know that classroom Amane is from July 18th 1969, because it's very clearly pointed out to us.

We also know he is in his second year of middle school, because during Tsuchigomori's flashback, he references how Amane has always been injured since his "first year here."

This flashback takes place July 22nd 1969, just days after he runs away from Nene, so this isn't a case of this taking place at a different time.

July 1969 Amane is always shown to be heavily injured, which is a stark contrast to the Amane from chapter 128. Here, he's maybe a bit bruised and dirty, but he's nowhere near as injured as July 1969 Amane.

In fact, chapter 128 Amane looks identical to the Amane we see in chapter 101's flashback.

Wanna know when this Amane is from?

His first year in middle school.

We know the clock Amane was trying to fix is located inside the auditorium, which is only accessible during the fall festival. It is sealed off for the rest of the year.

In chapter 101's flashback, we see an announcement that the middle school division's first years are about to start their performance, and Amane asks Tsukasa if he's sure he doesn't want to go. Tsukasa had helped out with all the prep work, while Amane skipped it (presumably to spend as much time on the clock as possible).

AidaIro was basically spelling out that the twins are in their first year of middle school in this flashback, so this must take place in 1968, a year before Nene meets July 1969 Amane.

But I can go a step further than that.

The fall festival takes place during the second trimester, and presumably this is consistent every single year. The second trimester starts in September, as we can see from Nene's class doing their preparations.

And at the midpoint of September, Nene states there is only 7 days left until the festival.

So we can assume that the festival takes place around September 22nd, give or take a couple days since "the middle of September" is mildly vague. This means the festival is over before the start of October, and the auditorium is sealed off again for a whole year.

With all this in mind, we can safely conclude that this Amane is from September 1968.

Now getting back on track...

Originally, it's very clearly stated Amane never managed to fix the clock.

However, if we follow the idea that the clock-keeper's changed this, so that Amane was able to fix the clock in 1968 and travel back in time, then this would align everything up perfectly.

Why does this Amane only remember Nene from the festival and not from the classroom?

Because that event did not take place for him, that happened in July 1969 and he's from September 1968.

Why does July 1969 Amane not remember Nene?

Because this takes place in the original timeline, where Amane did not fix the clock in 1968, and was well on his way to becoming the Hanako we know and love.

And I can hear you wondering: why does July 1969 Amane not remember Nene-oneesan at the very least?

It took the entirety of chapter 128 for Amane to remember Nene, which isn't surprising since it was a single brief meeting that happened years ago. He only started remembering when he actually paid attention to Nene instead of his mission, before that he was actually quite rude to her.

In contrast, July 1969 Amane was in an highly emotional state when Nene discovered him, he was literally crying in the corner of his classroom, tearing up anything that was related to the moon in any capacity.

And as soon as he got his bearings, he fled the scene. There was no time for him to really take in Nene and remember her from the festival, so I am not surprised he didn't recognise her.

I know this may seem a bit confusing, so just to quickly summarise:

Chapter 128's Amane is from September 1968

He is not from the same timeline as the Amane Nene meets in July 1969

July 1969 Amane is from the original timeline where Amane does not fix the clock and later becomes Hanako

Again this all hinges on the fact I am right about the clock-keepers changing the past to allow Amane to fix the clock and time travel. I could be wrong, but so far the evidence feels very compelling so I'm fairly confident about this.

(tsukasa and nene’s hands btw guys)

:(((((( We can always compare, right?

While it might seem surprising that it's taken me this long to cover TBHK—given my adoration of the series and its abundance of flower symbolism—what delayed me was mainly the lack of clarity as to which flowers represented which characters and scenes. This is mostly because multiple characters have been depicted with the same flowers while some characters have been depicted with multiple flowers. I went off of flowers I've seen in the anime and any official artwork I managed to find since it's been a while since I read the manga. In any case, I tried my best...

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-> 1) Camellia (Camellia japonica)

-> 1.1) Flower Symbolism:

In Japan, camellias are called tsubaki (椿). They are associated with modest kindness, pride, eternal love and enduring love in hanakotoba. Red camellias in particular symbolise love, humble virtue, modest splendour, unpretentious grace and "perishing with grace" in hanakotoba. Pink camellias represent love, modesty, beauty, longing and missing someone. On the other hand, white camellias symbolise waiting, impeccable charm complete beauty and supreme loveliness. Camellias are also associated with everlasting love, marital bliss and perfect unions between lovers because, unlike most other flowers, the calyx and petals of a camellia flower don't separate when its flower wilts. In Western floriography, camellias are associated with constancy, steadfastness, perfect loveliness, unpretending excellence, adoration, longing, admiration and perfection. Red camellias in particular are associated with passion, love and desire.

-> 1.2) Discussion of symbolism:

The most prevalent flower depicted in the TBHK anime and manga series—as well as in its official artwork—is the red camellia. A silhouette of a camellia flower is even incorporated into the series' logo. In the series, camellias are often associated with its titular protagonist, Hanako—but are also occasionally associated with Nene Yashiro and Tsukasa Yugi. Despite being closed off and often smiling to mask his emotions, Hanako cares greatly for those close to him, which ties into the camellia's symbolism of modest kindness. Over the course of the series, Hanako and Nene have come to care a great deal for one another with the former going so far as to uproot the lives of others and sacrifice his own existence to save her. This ties into the camellia's symbolism of enduring love, adoration, longing, passion and perishing with grace. Meanwhile, Nene goes so far as to change the timeline so she can see him again. This ties into the camellia's association with steadfastness, longing, passion, adoration and enduring love. Nene's innate kindness and naivety as well as her development throughout the series from an insecure, hopeless romantic to someone more assured and determined greatly complements the flower's symbolism of loveliness, charm, modesty and beauty.

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-> 2) Hollyhock (Alcea rosea)

-> 2.1) Flower symbolism:

In Japan, hollyhock flowers are called tachiaoi (タチアオイ) and symbolise ambition, abundance as well as noble and majestic beauty in hanakotoba. Pink hollyhocks in particular symbolise benevolence and gentleness while red ones symbolise love. In Western floriography, hollyhocks are associated with ambition and fruitfulness. Pink hollyhocks represent innocence, youthfulness, gentleness and grace while red ones symbolise passion, love, strength, resilience and courage.

-> 2.2) Discussion of symbolism:

In the series' first episode, hollyhock flowers are seen growing in the garden that Nene tends to as she talks to Hanako. They are also pictured in the opening theme of the second season alongside Aoi Akane. Hollyhock flowers have also been depicted in official artwork alongside Nene and Hanako. The hollyhock flower's symbolism of strength, resilience, courage, and love complement the trials and tribulations Nene and Hanako have gone through for one another. While the flower's symbolism of benevolence, ambition, gentleness, youthfulness, resilience, passion and love strongly complement Nene's character. Although she isn't depicted with hollyhock flowers as often as HanaNene are, the kanji of Aoi's name (葵) translates to hollyhock. The hollyhock flower's symbolism of grace, passion, love, beauty, benevolence and gentleness complement her outward-facing personality.

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-> 3) Bellflower (Campanula sp.)

The flowers depicted in this artwork of Hanako and Nene Yashiro are bellflowers. Although the exact species depicted is unclear, the closest resemblance is the Korean bellflower (Campanula takesimana).

-> 3.1) Flower symbolism:

In Japan, bellflowers are called berufurawā (ベルフラワー) and represent humility, gratitude, sincerity and an unchanging heart in hanakotoba. The bellflower's association with humility is derived from its downfacing flowers. In Western floriography, bellflowers symbolise humility, constancy, sincerity, gratitude and unwavering love.

-> 3.2) Discussion of symbolism:

Pinkish-purple bellflowers are featured alongside Nene Yashiro and Hanako in the release notice and cover artwork of chapter 116 of the manga. The bellflower's associations with gratitude, sincerity, constancy, unwavering love and an unchanging heart greatly complement Hanako and Nene's feelings for one another.

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-> 4) Daffodil (Narcissus sp.) & Marigold (Tagetes sp.)

-> 4.1.) Flower symbolism:

-> 4.1.1) Daffodil Flower Symbolism:

In Japan, daffodils are known as suisen (水仙). They are associated with conceitedness, self-love, respect, regard and unrequited love in hanakotoba. Yellow daffodils in particular symbolise "come back to me" and "I want you to love me again". In Western floriography, daffodils symbolise egoism, self-love, respect, chivalry, unrequited love, evanescent happiness and deceitful hopes.

-> 4.1.2) Marigold Flower Symbolism:

In Japan, marigold flowers are called marīgōrudo (マリーゴールド). They represent jealousy, despair and sadness in hanakotoba. In Western floriography, marigolds symbolise jealousy, despair, cruelty, pain, pessimism and grief.

-> 4.2) Discussion of symbolism:

Daffodils and marigolds are featured on the cover of volume 15 of the cover as well as on the above official art of Hanako. Although the main trio is featured on the cover of volume 15 given the solo artwork of Hanako, it's a reasonable assumption that he is the one canonically linked with these flowers. A single daffodil is also featured on the cover of volume 0 alongside Hanako. Both daffodils and marigolds have negative connotations in flower language contrary to their bright and pretty appearance. This is somewhat reminiscent of how Hanako hides his true emotions and inner turmoil behind a mask of cheerful mischievousness and hides how closed off he is emotionally with Nene with how physically affectionate he is with her. Added to this, the marigold's symbolism of jealousy, despair and grief as well as the daffodil's symbolism of regard, egoism, deceitful hopes complement his character. Furthermore, the daffodil's symbolism of "come back to me" and "I want you to love me again" greatly resonates with Nene's feelings towards Hanako in the current arc of the manga.

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-> 5) Sunflower (Helianthus sp.) & White Lily (Lilium candidum) & Tiger Lily (Lilium lancifolium)

-> 5.1) Flower Symbolism:

-> 5.1.1) Sunflower Flower Symbolism:

In Japan, sunflowers are called himawari (ひまわり). In hanakotoba, they represent longing, adoration, aspiration and "I look only at you", longing, adoration". In Western floriography, sunflowers symbolise adoration, good luck, resilience, happiness, optimism, warmth, longevity and false riches. Sunflowers are also a representation of unconditional love, devotion and loyalty.

-> 5.1.2) White Lily Flower Symbolism:

In Japan, white lilies are called shirayuri (白百合). They symbolise purity, chastity, innocence and dignity in hanakotoba. In Western floriography, they symbolise affection, majesty, purity, sweetness and refined beauty. They are also associated with faith, rebirth and commitment. White lilies are often used at weddings due to their association with purity, commitment, and love. However, because of their association with purity, white lilies are often used at funerals and are thus also perceived as a symbol of grief and mourning. This established association of death with purity suggests that the departed spirit is pure, virtuous, and innocent, conveying sincere sentiments of hope and mercy beyond death.

-> 5.1.3) Tiger Lily Flower Symbolism:

In Japan, orange lilies symbolise brilliance and humour. In hanakotoba, Tiger lilies—which are called oniyuri (鬼百合)—represent pride, wisdom as well as wealth. In Western floriography, tiger lilies are associated with compassion, charity, wealth, humble pride, passion, mercy, confidence, positivity, prosperity and protection.

-> 5.2) Discussion of symbolism:

Tiger lilies and white lilies are featured on the volume 0 cover of the manga alongside Hanako. While sunflowers are depicted alongside Hanako on the cover of AidaIro's art collection. The sunflower's symbolism of adoration, longing, devotion, loyalty, unconditional love and "I only look at you" resonates with Hanako's feelings towards Nene. The sunflower's association with longevity and good fortune is reminiscent of Hanako's desire for Nene to live a good and long life. Given its association with positivity and happiness, the sunflower in the artwork could be a symbolic representation of Nene and how he longs for her and wants to protect her rather than just a figurative representation of his feelings towards her. The white lilies on the cover of volume 0 could be a representation of Hanako's purity and innocence during his human life as Amane Yugi. The white lilies' association with grief and mourning could infer that he mourns the loss of his innocence and purity. Conversely, the white lilies depicted could represent Nene while the tiger lilies represent Kou Minamoto—along with the daffodil representing Hanako. Each flower's symbolism complements their respective character, supporting this theory. With the white lily's association with purity, innocence, sweetness and beauty complementing Nene. While the tiger lily's symbolism of confidence, passion, positivity, charity, mercy, compassion and protection complements Kou.

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-> 6) Baby Blue Eyes (Nemophila sp.) & Lotus (Nelumbo nucifera)

-> 6.1) Flower Symbolism:

-> 6.1.1) Baby Blue Eye Flower Symbolism:

Baby Blue Eye flowers are known as Rurikarakusa (ルリカラクサ) in Japan. In hanakotoba, they symbolise success everywhere, daintiness and forgiveness. In Western floriography, they are associated with victory, prosperity, tenderness, sensitivity, harmony and trust. They also represent the transient nature of beauty and life, encouraging us to treasure every moment and appreciate simplicity.

-> 6.1.2) Lotus Flower Symbolism:

In Japan, lotuses are called ren (蓮) or hasu (はす). In hanakotoba, they symbolise eloquence, detached love, sacredness, and a pure heart. They are also associated with rebirth, purity, transformation, renewal, spiritual enlightenment and resurrection as well as beauty, grace and perfection. In Western floriography, lotuses symbolize purity of the heart, virtue, innocence, achieving great things, beauty rising from humble beginnings and bringing together separate things. Lotuses also symbolize estranged love and eloquence. Pink lotuses in particular are often associated with feelings of admiration.

-> 6.2) Discussion of symbolism:

Pink lotuses are depicted alongside Nene and Aoi on the cover of volume 13 of the manga. While the blue flowers depicted around Nene and Aoi on the artwork commemorating the release of chapter 60 are likely Baby Blue Eye (Nemophila) flowers. The lotus' representation of purity, enlightenment, innocence, virtue and sacredness is symbolic of both Nene and Aoi's roles as kannagi—ritual sacrifices to appease the gods and separate the far and near shores. The lotus' symbolism of perfection, beauty, grace and eloquence is reminiscent of how others perceive Aoi. Meanwhile, its symbolism of detached or estranged love is more reminiscent of her real personality and her feelings of resentment and bitterness at having to constantly pretend. The lotus' symbolism of a pure heart, admiration, "beauty rising from humble beginnings" and "bringing together separate things" complements Nene's character. The Nemophila's symbolism of harmony, trust, tenderness, sensitivity, forgiveness, success and treasuring simplicity complements Nene and Aoi's friendship and reinforces how all the tribulations they go through together strengthen their bond.

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-> 7) White Violet (Viola mandshurica) & White Daisy (Bellis perennis)

->7.1) Flower Symbolism:

->7.1.1) White Violet Flower Symbolism:

Violet flowers are called sumire (菫) in Japan. In hanakotoba, they represent humility, sincerity and small happiness. White violets in particular symbolise purity, candor and innocent love. In Western floriography, violets symbolise modesty and faithfulness. White violets in particular symbolise faithfulness, loyalty, modesty, innocence and purity.

-> 7.1.2) White Daisy Flower Symbolism:

In Japan. daisies are called hinagiku (雛菊). They represent purity, beauty, peace, innocence and hope in hanakotoba. In Western floriography, daisies symbolise purity, innocence, new beginnings and beauty.

-> 7.2) Discussion of symbolism:

On volume 18's fifth publication notice artwork, Sumire Akane is depicted alongside white daisies. While on the release artwork of chapter 89, she is depicted alongside white violets. Sumire's name (スミレ) means violet in Japanese making it a fitting choice for this artwork. The violet's association with modesty, innocence, purity, humility and sincerity plays into Sumire's youthful, nurturing and cheerful outward-facing persona. The artwork depicts her gently holding a white rabbit complementing this notion. The daisy's symbolism of peace, purity, innocence, beauty and hope further accentuates this. Although neither flower's symbolism hints at her underlying sadistic and manipulative side, her smile in each artwork is somewhat too saccharine. Both flowers' association with purity and innocence is symbolic of her role as a kannagi.

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Something I like to notice is that both clocks have standard designs, one has the sun and the other the moon.

Amane is represented by the sun and Tsukasa by the moon.

So, the reality of the sun would be Amane's reality, where he survived until he became an adult, the tentacled version of Amane.

The clock is under the stairs.

And what is under the stairs in this reality?

The reality of the moon is the one we followed, Tsukasa's reality, we see the torn books and Amane injured, about to jump off the stairs.

So...

So, the clocks represent the different realities? Interesting.

Season 2 poster.

picture perfect,

severance,

red house,

He heard about Amane from Nene, who had front roll seats to his past and gained an intimate wake up call that "Hanako is not a 'magic being' from a fantasy book, he was a student, who is now dead"

His death is not a conflict for Kou though, is just who he is. What Nene shares isn't a revelation, he is well aware the ghost is dead, so he learns are small pieces of the puzzle that is Hanako, the understanding used to study here.

Kou has no real link to Amane, he never met the guy. Even when explicitly talking about Amane, Kou has no mental image of this 13-year-old who killed his own brother, he can only picture Hanako, the ghost.

Kou doesn't interact with 'Amane' in Picture Perfect either, the very few interactions they have are super short, and always started by Hanako in his Amane disguise.

And the one time Kou approaches him is because 'Amane' was carrying an unconscious Nene, so he gets curious, and shows that he doesn't trust him.

But when he learns it's Hanako, he is delighted. It doesn't matter that Mitsuba is acting weird, and that he still didn't get any answers, cause is Hanako! Hanako help him out!

He never had a wish for Hanako to be alive, to be his classmate, so he doesn't feel any desperate attachment to the idea of 'Yugi Amane' like he did with the idea of 'Mitsuba Sousuke' only ever seeing him as a wrong version of Hanako from the start. Is not real, so of course he doesn't trust him.

His view of Hanako cannot be separated from him being a ghost.

Hanako is the one who properly introduced Kou to the world of supernaturals and served as an informant on the Far Shore when Teru kept him in the dark. He teaches Kou about rumors, boundaries, supernatural festivals, and introduces him to the complex feelings some of the dead may have about lingering on the Near Shore.

There are two main mentalities Kou has when it comes to Hanako, the first is 'I don't know enough about Hanako to tell if he is a threat, he is so weird, I want to learn about him' The second is 'he helps me and Nene. He looks after us, he is our friend.' and usually he focuses on the second.

But the "i need to gauge if he is a threat" mentality is just as important as his attachment to Hanako.

It's what makes him keep an eye on him and occasionally act like a judge, trying to figure out what is going on with him.

Hanako does a lot of good and bad things to Kou.

He sealed his exorcist staff, which debilitates him through basically the whole manga, but he helps and saves him and Nene when called, he lies and is selfish, but he seems to only lie for silly things or what Hanako seems to believe is the greater good (the eye drops, Nene's lifespan). He seems guilty and burdened by his murder but he did murder someone. He is important to Nene, he is important to Kou, and so on.

Is too much to keep track of. Too hard to give a judgment.

So he focus on his feelings way more than logic, and he is very inclined to have a positive view of Hanako. He wants Hanako to be good. To be a friend.

He does notice his slimy behavior and he does change his perception of Hanako, slowly understanding him better and growing more wary of what he says, more careful when trying to read him.

But his doubts aren't nearly as heavy as his hopes for Hanako: He believes he wants the best for them.

If we go back to the scene where Nene is talking about Amane, there is something she says that sticks with Kou, something that immediately catches his attention "Maybe I shouldn't be his friend"

Unlike his death, this is a conflict Kou relates to.

He is making donuts for Hanako as they speak, absorbing everything he learns about the guy and using the information to help Hanako because he wants to cheer up Hanako.

Hanako being important to Nene is important to Kou. They are a group of friends to him, and he isn't alone in his uncertainty.

Kou keep this mentality of just doing what he wants for a while, childish as it is, but slowly, he is forced to give Hanako more thought, to take him seriously.

His view on Hanako has been tipping to the negative recently. He always knew about Hanako being strange and full of secrets but he can't dismiss it anymore, since the ghost started lying about big things, like trapping Nene in a fake world and exchanging Aoi's lifespan for hers without Nene's consent. Is not like his usual avoidance and silly lies, he is getting harmful.

Hanako gave Kou plenty of glimpses into his more 'inhuman' mentality. He has shown Kou a lot of hints that pratically scream "Stop trusting me kid."

It piles up.

It becomes harder to know what is a lie. What isn't. What is okay and what shouldn't be forgiven.

Kou keeps trying to understand him and give him the benefit of the doubt , he truly doesn't believe Hanako is just an 'evil spirit' after everything they've been through. He is a supernatural but he is his teacher and friend too, that got to mean something.

But he doesn't have a clear answer. He can think as hard as he want, he still has no idea what is going on inside Hanako's head, he just wants to believe is something for Nene's good. Because even if he isn't sure what Hanako thinks of him, he wants to believe he wants Nene to be happy, that his care for her is strong and genuine.

Besides the conflict between "he is an apparition, he is a friend" There is also the way Kou is dependent on Hanako.

Hanako is extremely helpful, he gives him all the answers related to supernaturals. Even when Kou didn't trust Hanako, the ghost already took the role of 'the guide' in the group, offering Kou something he always wanted: Information on supernaturals. A ticket to be part of a world his brother had sheltered him from.

Hanako is this knowledgeable and reliable entity, so he always goes to him when he is in trouble.

He sees Hanako as a ticked for help. Regardless of how shady he acts, Hanako always helps.

So when he tells Kou he is incompetent, it gives him a wake up call.

Kou always had an inferiority complex, but this puts into perspective how he relies a lot on Hanako. He doesn't solve anything by himself, he either follows Hanako's lead, or faces a dead end.

Kou has a lot to think about after that. He doesn't want to keep relying on Hanako, he wants to take action himself, to be something that doesn't follow Hanako or Teru's lead.

He focuses on the promise he made with Teru again.

This 'what do you want to do?' moment gives insight into a lot of relationships, but I'll only focus on what it says about Kou's view of Hanako here.

Kou is usually very sweet with Nene, but he is direct to the point of being cold here, he calls Hanako "The evil spirit of a murderer" as he had when he first met him all the way back in chap 3, It feels like an ultimatum. A judgment.

Hanako is dangerous, he needs to exorcise him. Part of him wants to exorcise Hanako. But he doesn't want to exorcise his teacher, his friend.

This brings me to his wish on the Red House.

Before talking about his wish I want to point out what his wish isn’t: Kou doesn’t want Hanako’s help, advise or support. He doesn’t want Hanako to give up on trying to help nene either, so he is still depends on Hanako's actions to help Nene to some extent, he doesn't believe he can do it himself, nor does he want the pressure of being believed.

He wants Hanako to be a problem that’s easy to deal with, an evil spirit that’s undeniably evil.

Things would be much easier if Kou could exorcise him: It would prove he to himself, teru, and Hanako that he can be an exorcist, it would eliminate any possible anxiety about what Hanako will do next, and it would give Hanako what he wants, Kou wouldn't disappoint him again.

When he pictures Hanako, he is happy and sweet looking, almost innocent. He may have decided he need to exorcise Hanako at some point, that is the right thing, but he doesn't really... want him gone.

He consistently has exorcism in mind when it comes to Hanako post-severance, but he also consistently pictures him happy and friendly. .

"I want to be a bigger help" implies he wants to work with Hanako, so the two help Nene instead of him being the sole person in charge of her lifespan, which is a big big difference from his self-destructive desperation to be the one to help Mitsuba.

"I need to get to the point where I can exorcise him." As it is, Kou does not believe he can exorcise him. He realizes he should, but also that he can't.

What he says when he fights Teru fits into that.

He doesn't agree with Hanako, and he denies the idea that he is doing this for Hanako, choosing to focus on his bond with Nene instead of his exorcism dilemma.

He and Nene have a simple camaraderie he can rely on, a mutual lack of understanding of what to do, but even this more 'safe' decision to be on her side instead of trying to keep discovering his own path got Kou the same reprimand Hanako had given him "You have big ideas but you can't back it up."

Both of the people he looks up to give him guidance told him he is useless. He can not fully relate to exorcists, or supernaturals, the path he is carving for himself, his beliefs, are unclear, easily shaken, and likely useless.

He still wants to be an exorcist, deep down, delighted when Teru gave him a chance. But he can't be an exorcist. Not when he thinks so much about the supernatural, unable to reject them but unable to truly understand or relate to them either.

It makes me sad that Aidairo pushed Kou and Hanako's situation aside, cause they still have a lot to explore, yet all we got recently is these crumbs:

Kou is keeping his eyes on Hanako, his attitude half "I am your friend, I care about you", half "I don't trust you anymore, don't scheme again, bastard" but they don't have meaningful talks with each other anymore.

Hanako will save Kou if he sees him in danger, I'm sure. And Kou will do the same. But their trust is... shaky... and they will never talk about it. Kou won't share that he wants but can't exorcise Hanako and Hanako won't share how much he values Kou. They won't seek each other for help either. Both will slowly yet consistently focus on someone else instead, like a weirdly passive attempt at detachment.