Winerose

I think Larr’s escape is the most unsettling, brutal, but also surprisingly poetic scene in the whole episode. In this post, I want to share how I feel about it, about Larr and his story. To begin with, I sense that there is a structural parrallel between Larr’s escape and childbirth.

I’ll explain why I have this idea.

At about 8:00, Larr squeezes himself through the iron bars. Half of his head can be seen at that moment. It was this exact scene that left me pondering. I thought of a 3D animation I just watched, which vividly showed the process of childbirth.

From the animation, I learned that childbirth usually goes through these phases: before delivering the baby, the mother will first wait for her body to be prepared. The womb’s opening (cervix) slowly thins and opens up to about the width of a bagel. When the opening is fully open, the mother feels a strong urge to push, and the baby moves down the birth canal until the head first appears, then the shoulders, and finally the whole body comes out.

Then, I connect this to Larr’s escape:

Before the escape, Larr first forces the iron bar open, to create an opening through which he can get himself out. Afterwards, he begins to squeeze himself through the gap. His head is the first to be freed, then his shoulders, and finally his whole body. Visually, he performs the escape in the same sequence as childbirth. Is it a coincidence?

Another similarity is about the location of wounds.

In real life, humans evolved to walk upright. Women’s pelvises became narrow, making babies’ heads and shoulders too big for the birth canal. The mismatch of size sometimes makes childbirth extremely painful.

Then, look at Larr’s wounds—the left side of his head and his left shoulder are damaged. I think Avocado intentionally chose these two body parts, because they echo with the two most common types of dystocia in real life: cephalic and shoulder dystocia. The former can happen when the baby’s head is too large to pass smoothly through the mother’s birth canal; The latter occurs right after the baby’s head is delivered, when one or both shoulders get stuck behind the mother’s pelvic bones. If not handled properly or in time, they may leave severe injuries. In this sense, Larr’s wounds, on his head and left shoulder, seem to reflect the real danger in childbirth, and the price Larr has to pay for his rebirth.

I want to pause here and clarify what I mean. I am not saying that Larr is the mother or baby, or that the prison is the womb, or that the iron bars are the cervix. What I want to point out is not a direct metaphor, but a structural parallel: The sequence of Larr’s escape mirrors the sequence of childbirth. The location of his wounds aligns with the most common sites of birth injuries. And the outcome of his escape can be framed as a kind of rebirth (I’ll talk about this later).

I once saw a comment questioning why Larr didn’t squeeze sideways through the gap, so that he could avoid the crush injuries. Leaving aside whether this is truly practical in Larr’s situation, in real life, one of the methods that medical staff use to handle shoulder dystocia is quite similar to the commenter’s idea. It is called rotational maneuvers: when shoulder dystocia happens, medical staff gently rotate the baby’s shoulders inside the birth canal to adjust their position, and create enough room for them to pass though.

But during the whole process of “childbirth”, Larr has no his family or doctors here to help him. He is literally alone. He performs the escape all by himself. He struggles with the agony in the dark, in a total isolation. He is not a baby waiting to be pushed down the birth canal, or to be adjusted when the position is not right. He is a grown-up who bears everything on his own. Realizing these, the escape feels even more helpless to me.

So what’s the underlying meaning if Larr’s escape really mirrors childbirth?

In my opinion, that means after suffering from Steve’s atrocities, Larr is not defeated or destroyed. Instead, he develops, like the baby developing in the mother’s womb, and finally ushers in his rebirth.

For the past three years before PT4 came out, I had firmly believed that Larr was going to impale Steve with the bone he sharpened. This was because based on what I saw by the end of PT3 (Larr’s expression, full of grief and resentment), I had this feeling that Beehr’s death had ruined him completely. He gave up all his dignity and became totally insane; I thought Larr would be driven by overwhelming hatred, and would try all he could to hurt Steve, even if his damage could be insignificant, even if it would be at the cost of his own life. I imagined this—an ancient Greek tragic hero who knew his path inevitably led to destruction, but still stood up against the evil. His action would declare that Steve’s oppression was not absolute, and that weak as villagers were, they were still able to loathe, to fight back, and to injure the so-called “god”.

I was completely excited by my imagination. But Avocado didn’t give me the answer I expected. He didn’t let Larr be a tragic hero. He let him be a realist survivor. The bone is not sharpened to hurt Steve, but to kill bats and acquire blood. What Larr is thinking about is not a bloody revenge (at least so far), but a way out this hellish prison. My 3-year-long guesses are proved wrong: Larr is not ruined. He is developing.

In PT3, he is about to give up his life (“My fight ends here.”), but in PT4, he actively plans his escape. The desire to live is rekindled within him. What’s the reason behind this drastic change? Perhaps because Larr blames Beehr’s death on himself (for “irritating” Steve) and feels extremely guilty. Or he realizes his life has taken on a new significant meaning—he’s living for both himself and his brother—The rest of his life is earned by Beehr. If he dies, Beehr’s death will be nothing. Or he still bears this overwhelming hatred of Steve, but he doesn’t let it take control. He knows he cannot confront Steve when he is just a prisoner. Only when he regains freedom, can he stand the chance to rival Steve—he can learn to fight, recruit people, and form a faction.

So Larr places all his hopes on this only solution: escape. To make it possible, he learns to hide his hatred, obediently handing over the items Steve wants, as if he has completely submitted; He learns to transform his knowledge (which he might have acquired from books or classes before he was trapped in the prison) into his tools and weapons, applying it to building a pulley block that pries open the iron bars; He learns to “pay any price to be free”. He has sacrificed his identity as an innocent, vulnerable villager: he engages in slaughters (killing bats), and has the taste of blood. He has put aside his own well-being and human dignity: the life in that hellish prison keeps torturing him, and he keeps tormenting himself too, with this desperate desire to be free that gives him no rest. He becomes a bag of bones, naked, exhausted, and covered all over with wounds.

Larr develops, from a defeated man on the verge of death, to a survivor who relentlessly struggle for a path to freedom and life. When he successfully squeezes himself through the narrow gap and falls onto the ground, it’s like a newborn eventually leaving the mother’s womb after 10 months of development, and falling into a wholly new world he’s never been before. He ushers in his rebirth.

The hallucination of childhood, returning home, and family.

Images of young Larr walking back home frequently flicker through Larr’s storyline. When he finally breaks out from the prison, and stops before the light, he sees (in his hallucination) that his younger self places a tender hand on the knob, and opens the door. Behind the door reveals the softest, warmest scene of the whole episode. There’s no death, no suffering and no pain as they are in that hellish prison—just home, tinged with a layer of pink and red that seems so surreal. His mother, father, and brother are all here, tightly nestling against each other. The mother is naked after delivery, wrapped in a white blanket. The newborn comfortably rests his head against her warm embrace, eye-closed, fragile.

This scene must have been delicately chosen and designed. If the animation simply needs something to soothe the audience’s tension and to depict family affection, there are a plenty of options. For example, Avocado can draw a scene where young Beehr happily runs into Larr’s arms, or where his family are sitting around a dinner table. However, Avocado chose this scene, the one closely related to birth. It must carry certain irreplaceable meanings. It hints that Larr and his family (in his hallucination) have experienced the same thing. Larr finishes a bloody “childbirth” alone, while his family welcome a new life into the world, in their safe home, under the warm and glistening sunlight.

So when young Larr gets home, he sees the result of childbirth: the birth of his brother, a vulnerable infant held with affection and care, a new life with infinite possibilities. However, what is the outcome of Larr’s own “childbirth”? He has already got rid of the prison. What’s his next step, next purpose after his *rebirth*? Is he reborn—to be a heart-wrenching man who weeps over his past suffering day after day? Or to be a forgiver who returns to village life, and heals his wounds with time? Or, to be an unforgiving avenger who rules a faction, forms an army, and claims a war on Steve?

I have no clues. The only thing I know is that, the hallucination of home itself can be a gentle reminder for Larr, “You’ve been through hell. You’ve been worn beyond recognition. But don’t forget where you come from, and don’t forget that you are inherently made from milk and love.”

Reminder: contains major spoilers, and lots, lots of personal interpretations and possible overanalyses. Please read at your own discretion.

In my last post, I tried to analyse the role of the ravager in the squad. My conclusion was: the ravager’s main role is not to join a fight, but to track down Evee by sniffing her scents. But now as I reflect, I think I forgot to explain a lot of crucial things, such as: what’s the objective of their “standard patrol”? What methods does Haka use to achieve that objective and why? What does this “standard patrol” reveal about the pillagers’ society?

But before I get started, I have to say my analyses are based on these assumptions:

①I used “illagers” in my previous posts, and now I think it is inaccurate as there’s no evidence in the animation showing that vindicators, evokers and so on also exist. Therefore, in this post, I’ll only talk about pillagers, and refer to the faction Haka is in as “pillagers’ society”;

②Forefather is the supreme, ultimate leader of the pillagers’ society;

③I suppose “the Foremen” refers to the ruling class (upper class), including Forefather (as the most privileged) and other elite pillagers such as the army generals. But since the animation doesn’t give more relevant information, I’ll roughly presume the Foremen and Forefather share highly consistent positions and interests, ignoring possible factional infighting.

④As for Haka, according to his introduction, he is a “local squad commandant”, so I assume he is a middle-class officer whose rank is not very high.

the objective of this “standard patrol”

In my opinion, it is rather clear. To put it briefly, Haka and his squad aim to find Evee, and probably to take her back to Forefather alive.

How did I reach this conclusion? I noticed that at around 11:23, when Haka’s squad enters the witch’s hut, he tells them “Easy now”. Pay attention to this line: Haka doesn’t say “Kill her”, or “Shoot on sight”, which signals that they arrive here not solely to start a battle or to kill Evee. Instead, Haka says “Easy now”, which tells his squad to calm down so that they don’t cause unwanted trouble, like hurting their target or damaging the witch’s hut.

Also, have you noticed the weapons those pillagers are equipped with? They have no melee weapons like swords or axes, but only crossbows. Compared with melee weapons, crossbows seem less lethal, and less suitable for battles that take place in narrow, in-door space, since the users have to lock the arrows to the weapons from time to time. Hence, I infer that they don’t expect to kill Evee with their crossbows, but possibly to make her unable to move (like shooting her at her ankles). These are the reasons why I think they aim to capture Evee alive.

Now that I’ve figured out what their objective is, I can’t help but think: who actually wants Evee back? As far as I’m concerned, this entire “standard patrol” is inherently under the command of Forefather, not something Haka or his squad decide to do voluntarily.

And here’s my evidence: Haka frequently mentions the Foremen when talking to the witch, “in grace of the Foremen” “coated in the blood of the Foremen” “But as a friend of the Foremen...” All these showcase that he is not a rogue operative. His authority derives from the upper class, not from himself. And at the end of Part 4, someone reports to Forefather that “They found the girl”, proving that Haka’s action is known, and closely tracked by Forefather.

Moreover, as I speculated in my last post, the ravager may be the most important member in Haka’s squad. Now I want to supplement this speculation: the ravager is important, not only because it is an Evee tracker, but also due to the fact that a ravager is far rarer than an average pillagers. It is consistent with the game Minecraft, where ravagers only appear during raids, but pillagers can spawn around the pillager outposts occasionally. And in the animation at 13:45, we have a glimpse into Forefather’s army. Yet, there’s no another ravager (or simply because Avocado didn’t draw them), implying that in A Villager’s Night, the number of ravagers can also be much smaller than that of pillagers.

I lean toward the idea that cultivating ravagers demands heavier loads of finance, time and labor than training pillagers, resulting in their rareness. The cultivation of ravagers is not a simple task that a small group of people can handle. Instead, it can only be achieved by centralized powers where the concentration of resources is possible. Though a ravager is more powerful and destructive, pillagers won’t risk letting it fight casually, because the price to heal it or to bring up a new one is unaffordable.

This explains why the witch is shocked to see the ravager: a local squad gets such a valuable asset. Haka and his team cannot bring up a ravager only by themselves. The ravager must be distributed by the upper class, and this means Haka and his team are entrusted with great hopes by Forefather: he wants Evee back so eagerly that he gives a local squad resources beyond the “standard”.

what methods do Haka and his squad use to find Evee?

In short, taking advantage of the ravager, they come to the witch’s place, and Haka “politely” waits till the ravager roars to kick the door open. I find there’s a sharp contradiction. If they are commanded by Forefather to search the witch’s hut for Evee, why don’t they kick the door open and enter inside from the beginning? Haka and his squad apparently have an edge over the witch in terms of violence, and the witch’s hut has no other defense besides that fragile wooden door. Then why are they waiting?

In my view, Haka is in a situation similar to a detective in a criminal investigation who strongly suspects a suspect is guilty and believes the evidence is inside the suspect’s house. However, he lacks probable cause for a warrant. If he goes through the proper legal channels, the evidence might be destroyed before he can act. So he resort to “less than legal” means, like hovering around the property, looking for any “plain view” exception.

Haka is in this exact position. I’ll break it down:

Forefather wants Evee back, and this task naturally falls on the shoulders of middle-class officers like Haka. I guess: Forefather issues the order, but he seldom gives clear instructions on where to search and how to search. This is because he is not the executors, and he cannot anticipate every scenario the searching squads may face. So the absence of strict instructions guarantees flexibility. And in the future, if his subordinates fail to take Evee back, he can owe this failure to the searching squads’ own incompetence. Also, the searching squads are physically away from the center of power. They have to leave the base and set out to the wild, which means they are out of the range where Forefather’s control can reach. Under such a circumstance, they have much autonomy over deciding where they can search and by what means they search. So I infer, what Haka has is the order to find Evee, but what he doesn’t is a clear permission to enter the witch’s hut from Forefather (like a searching warrant). And going inside the witch’s place to look for Evee is Haka’s choice based on his own judgement.

Evidence from the animation: at 10:16, when asked “Under what orders?” by the witch, Haka replies, “T’is a request”. If Forefather does give him the order that he should search the witch’s hut, he should’ve shown it from the beginning so that it saves him the trouble of wasting time with the witch. But he doesn’t, and he admits it is a request. This shows his ask of entering the house has no backing from the upper class. He cannot—or dares not—claim that it is a direct order from Forefather, so he repackages it as a “request”, a polite, non-mandatory turn of phrase.

Then why doesn’t Haka get backing from the upper class? My guesses are as follows: the witch is “a friend of the Foremen”, and Haka treats her rather politely at the beginning. All these imply that the witch is not an ordinary person to the pillagers. She might have made great contribution to the faction in the past, and it earned her the title of “friend of the Foremen”. Now she has already retired. This word is the key: she did not defect nor was she exiled. She left the faction, in a manner that was honorable and officially recognized.

I guess Forefather made a promise right before she retired as a token of appreciation for her devotion. The promise might be like “Your house won’t be intruded, and your safety is ensured, as a reward for all your service in the past.” Therefore, the witch has this kind of protection directly from the ultimate leader. Common pillagers dare not to mess up with her, because that will be considered as violation of Forefather’s authority. I suppose this can explain why Evee chooses to hide in the witch’s hut——it’s safer than most places, because ordinary pillagers automatically evade it.

But when pillagers are searching for Evee, hasn’t Forefather ever suspected that the witch might hide Evee from them? I think he has. However, even if this suspicion exists, Forefather cannot explicitly point it out, or command his army to search the witch’s hut. There may be two layers of concerns here:

first, if Forefather openly conveys distrust of the witch, as he is the ultimate leader, it will mean total breakdown of Foremen-witch “friendship”. In that case, the witch is very likely to betray pillagers, and spill out every secret she knows. For “a friend of the Foremen”, she may know more than we think, including the true purpose of the fire execution or scandals of the faction.

Second, Forefather is the barometer of power, and every move he makes is regarded as a signal. If he issues an order to search the witch’s house, what will the lower class think? They may wonder “Is this a start? Does Forefather plan to erase every ‘retired ally’?” “Is Forefather getting more and more suspicious?” “He made a promise and now breaks it, is he still trustworthy?” Once these thoughts spread, the unity of the faction will greatly waver. In all, Forefather is like the sun—he hangs high up in the sky, where all his actions can be observed and interpreted by everyone.

Nevertheless, Haka is on the contrary. He is a middle-class officer—no one will pay as much attention to him as they do to Forefather, and a common officer’s actions won’t be elevated to a political level that easily. Haka is able to do what Forefather can’t directly order. As I mentioned above, coming to the witch is a choice based on Haka’s own judgement instead of an order by Forefather. The “judgement” can be like: for example, Haka spotted that the ravager acted rather restlessly every time they patrolled through the witch’s area. Or, he got some news saying a figure resembling Evee was seen in the nearby forest at night. Based on all these, Haka analyzed, and bet the witch must have kept Evee in her house for the time being. Or, he felt like Forefather was urgent to have Evee back, and meanwhile he hadn’t visited the witch for a long time. He supposed that, to Forefather, finding Evee was more important than protecting the witch, which meant Forefather might tolerate Haka if he offended the witch in the process of catching Evee.

However, Forefather didn’t give him the permission to search the witch’s hut, and he had no concrete evidence for a warrant either. Waiting for the official order was going to give Evee the chance to run away; On the other hand, if Haka violently intruded the witch’s place, and even worse, found out Evee was not there, then he would be the offender that disturbed the peaceful life of the “friend of the Foremen” and be punished severely. Consequently, to really capture Evee, Haka doesn’t need passive obedience of Forefather, nor does he need pure recklessness. He needs to act wisely.

The wise method is: he treats the witch politely, leaving no loose ends. Can the witch report to Forefather that Haka should be punished because he knocks on her door/ smiles/ says good day/ keeps the door open? That’s hilarious. And yes, keeping the door open is the key here. By doing so, Haka provides the opportunity for the ravager to get a closer scent and make sure whether Evee is inside. This is similar to that detective’s use of “plain view” exception. If it roars, it finds Evee. And Haka can naturally upgrade his “request” to an order—he justifies himself with this “probable cause”, and he bets Forefather will spare him if he offends the witch but does take Evee back; If the ravager doesn’t roar, since Haka still maintains a peaceful relationship with the witch, he can say they’re really just passing through, and takes his squad to leave. In a word, Haka chooses this method to put himself in a position where he can advance or retreat freely.

what does it reveal about the pillagers’ society?

I’ve explained the complete logic behind this “standard patrol”. Then it comes to the third question, what does it reveal about the pillagers’ society? From my perspective, it demonstrate at least two things:

First, pillagers are not a group of mindless brutes. This is very crucial to the worldbuilding of this story. have you noticed: Haka and his squad strictly execute the order. They’re here for Evee, so they do not hurt the witch (the axe is just a threat, and Haka takes her outside the house), nor do they hurt Herh. If pillagers do anything at will, they won’t act like that—they will dash into the hut immediately and kill everyone getting in the way. But they don’t, which means they operate within a structure where their action is bound by orders, hierarchies and calculation. In other words, they are rational actors. By building them in this way, Avocado makes them feel like a real society, not just a swarm of enemies.

Second, power in pillagers’ society is deeply personalized. In a law-based society, people ask: “By what law?” In the pillagers’ society, they ask: “Under what orders?” That one word—orders instead of laws—reveals everything: power flows from specific people, not from abstract rules. And in such a personalized power system, Haka lives in a dilemma where he has to judge for himself what can be done and what cannot, because the order is never specific enough to cover every situation. Yet he will never know whether his judgement is right or not until after the fact. Like how will Forefather view this action? Is Haka too aggressive, or is he a model subordinate that creatively completes his task? He doesn’t know.

And I find this interesting contrast: Steve is fundamentally different from the pillagers. At least so far, there have been no signs indicating that he is bound by something. He does not ask for permission. He does not wait for a sign. He simply acts. This is what makes Steve more terrifying than pillagers. Pillagers can be reasoned about, be analyzed and be understood. But Steve is a blank space. He slaughters, enslaves villagers, and sets fire without a reason, not because he is evil by nature, but because he can, and nothing leashes him.

Warning: Contains major spoilers, lots of personal opinions and possible overinterpretations. Please read at your own discretion.

6. What’s the ravager’s role?

Chances are, the most important member of Haka’s entire team is that ravager—not because it’s destructive, but because... it’s an Evee “tracker”.

If you remember this: When Haka’s team first shows up, the camera skips over all the other members (we don’t even get a single shot of the guy riding the ravager), but it lingers on the ravager for a long time.

Right after that, at 9:15, the witch looks shocked. Based on the camera hints, she’s probably not shocked to see the pillagers in Haka’s team—she’s shocked to see the ravager.

When Haka says it’s just a standard patrol, the witch replies: "Seems your standards have changed." She probably means that by illager rules, a normal patrol team shouldn’t have a ravager. Or is a ravager really necessary just to "search" a retired person’s hut?

When explaining why they’re there, Haka says: "Our ravager caught wind of a familiar scent." This line is super important. That "familiar scent" is definitely Evee, the one they’re looking for.

When the witch plays dumb and says she knows nothing, going to close the door, Haka stops her for the first time with his foot.

At 10:07, when Haka demands from the witch, "Just while my men search the area," he clicks his tongue twice(I don’t know if the description is correct). Right after that, the guy on the ravager tugs the reins tight, and we get another close-up of the ravager. Haka says "my men", but it feels like he’s sending a signal just to the ravager?

Then, from 10:26 to 10:40, Haka keeps arguing with the witch, stopping her from closing the door again. In between, there are two shots of the ravager, and you can clearly hear the sound of it sniffing around.

Finally, at 10:40-10:46, the ravager snaps and lets out a roar. And as soon as Haka gets the signal from the ravager, he stops faking being nice and kicks the door open.

Putting all this together, here’s what I think happened: The ravager can smell Evee, and Haka’s team is using it to track her down. When the witch saw Haka brought a ravager, she immediately knew they were here for Evee, and they were definitely gonna find her this time. Haka stops her from closing the door twice—it’s a little repetitive in the animation, and that’s on purpose. Haka really just wants to keep the door open so the ravager can smell inside the hut. His two tongue clicks are probably a hint to his men that the door’s open, and to let the ravager check if Evee’s there. When the ravager roars at the end, it’s 100% confirmed Evee’s inside. The witch’s act isn’t working anymore—so Haka stops wasting time with her.

Hmm... So maybe the main role of the ravager is not to join fights, but detect Evee. And that maybe explains why Haka didn’t let it enter the witch’s hut to capture Evee.

7. Evee’s trident doesn’t seem all that "loyal"?

At 12:18, Evee holds out her left arm, clearly trying to call her trident back—but the pillager interrupts her, and the call fails.

At around 12:33, Evee holds out her left arm again, trying to call the trident. But the pillager sees it and quickly covers her mouth with the back of his hand? The call fails again.

Then the pillager hangs her upside down, pinning her hands down. In this position, Evee still can’t call the trident back.

(Quick side note: In this scene, the pillager is way taller than Evee, and there’s a huge strength gap... is it because Evee’s not fully grown yet? Or is it a gender difference? A species difference? Do illagers get bigger and stronger after transforming?)

It’s clear that Evee needs to meet a few conditions to call her trident: 1. Her left arm, the one with the special runes, has to be outstretched. 2. Her mouth can’t be covered (?). 3. Her eyes and the runes have to glow purple. If the glow fades, the call fails.

These conditions can be deadly in some situations. Like the fight in the witch’s hut—when the enemy is too close, Evee might not have enough time to get in position and wait for the trident to fly back. And if the enemy is way stronger and pins her down, especially if they hold her arms, she can’t use her weapon at all.

What’s worse, the pillager she’s fighting is clearly using her weaknesses against her. That sends a terrifying message: the illagers probably know exactly how Evee fights, including how to counter her. So Evee’s in real danger here.

But it’s exactly because Evee couldn’t call her trident back that this fight... needed Herh. When he shot that arrow, he probably had no idea what he was doing, but everything changed. To Evee, he’s no longer just a wandering villager who was being chased by a skeleton—his hands are stained with pillager blood. This wasn’t just self-defense; he chose to be an “accomplice”. After this unexpected teamwork, Evee probably realizes she needs at least one person to watch her back, to stop enemies from exploiting her weaknesses again. Herh definitely realizes too that if he keeps wandering the wild alone, he’ll end up killed by some monster for no reason sooner or later. But if he has help... so he says: "Help me do it again?" to invite Evee to be his fighting partner.

Warning: Contains major spoilers, lots of personal opinions and possible overinterpretations. Please read at your own discretion.

4. What’s the relationship between Evee and the witch?

I don’t think they’re just ordinary friends—they’re more like allies who share a common fate.

As Evee says, the witch saved Herh’s life, and the three potion bottles on the floor are proof. And I noticed a tiny little detail: the witch refers to Herh as "your boy" when talking to Evee. That phrase is all about ownership, putting Herh in the "Evee’s person" category. It can even be a disclaimer: "This is your boy, I only cured him. He lacks a heart, that’s not my problem—you deal with it."

That one phrase alone has me overthinking. I bet after Evee saved Herh from the skeleton, she took him to the witch’s hut—so to the witch, Herh is literally Evee’s person, someone Evee brought in. Herh was badly hurt back then, shot in the neck with an arrow; he would’ve died without treatment. The witch’s potions were lifesavers here. But potions must be super important survival gear for a group that’s out in the wild and has a weird relationship with illagers. The witch wouldn’t waste this precious resource on a stranger for no reason—she’s not swimming in potions, and she’s not just being nice, she can’t even protect herself fully. I’ve got a few guesses, but all of them tie back to Evee.

Maybe the witch saved Herh because she saw something valuable in him. But a random villager with no obvious skills, only a wooden axe for a weapon—what could he possibly have to offer? Plus he was unconscious, he couldn’t even say a word to prove his worth when he was taken to the witch’s hut. How would the witch know if he was worth saving? The only way is by what Evee told her. Evee probably even begged the witch to save him too. And in the end, the witch used the potion—no matter what, this shows the witch trusts Evee enough to share resources with someone she brought in. They’re surviving together, plotting together, maybe even working toward the same plan.

Another thing worth mentioning: when Haka knocks on the door, it’s the witch who goes to answer it. It seems like a small choice, but it’s actually really meaningful if you think about it.

The witch is the only one who can do it.

The illagers’ reaction says it all: Haka knocks politely, rambles on with pleasantries to the witch, only forces the door open when the negotiation fails, and even then they don’t kill her—they just drag her outside and hold her down. From this, I can tell: Haka and his crew know the witch is in this hut, or this hut is actually hers. The illagers are here for Evee, but they knew they’d have to deal with the witch first because it’s her place. Maybe they can’t just attack her outright because of her past with the illagers, or because she has some kind of authority.

So for Evee, this isn’t a shared safe house with the witch—she’s actually hiding out in the witch’s place, a "forbidden item" the owner is keeping secret. She chose to stay here, hide when Haka and his crew came, let the witch face them, and gave the witch full control of the negotiation. It takes a ton of courage and trust to do that. She has no way of knowing for sure the witch won’t betray her one day—on purpose tip off the pillagers to their location, or say the wrong thing to Haka and sell her out.

And the witch... she straight up dodges Haka’s questions at the door. At the very least, this proves she and Evee have an unspoken understanding. If Evee is caught or hunted down by the illagers, it’ll be bad for the witch too. No matter what the witch’s motives are, right now her core interests are the same as Evee’s. Their relationship is built on solid ground.

5. Why did Evee save Herh?

This is the real unsolved mystery. Bottom line, I don’t buy that it was just pure kindness. No one knows what really happened that night after Herh passed out, and right when he woke up, Evee was about to ask him questions—then Haka knocked on the door.

They don’t talk much, but a few lines are really key.

Evee says to Herh: "It’s not usual for villagers to wander." That might explain part of why she saved him. It means in this world, almost all villagers live in villages, sticking close to their beds, bells, and work stations. That’s the "default setting", the way villagers are supposed to be according to the system. So what does it mean when a villager leaves the village? It means they’re defying the system. Are they tired of village life? Did their home get destroyed? Are they looking for something? Or do they have a past similar to Evee’s?

So maybe Evee saved Herh because she’s really looking for an ally, a helper. She needs a warrior who can stand with them, not the villagers who cling to village life. Those villagers are too innocent, too docile, too ignorant. They might even be scared of Evee. So she’s pinning her hopes on Herh. At the very least, he left the village, he made his first weapon (a wooden axe), he has something the other villagers don’t... like courage and resolve? Maybe he can understand what Evee and the witch are doing.

And the most interesting part is what comes next:

Herh denies what Evee said—he’s not wandering, he’s "searching for him".

The witch and Evee’s reaction? They look surprised, then exchange a glance without saying a word. It’s like an instinctive check-in. They both heard Herh say "searching for him", then looked at each other, like they’re thinking: "Did I hear that right? Did you hear that too?"

Herh never even said who he’s looking for. Evee and the witch’s first reaction should’ve been confusion, or to ask more questions—but they didn’t. Instead, Evee says, like she gets it, "Brave little villager." It makes me think they know exactly who the "him" in his words is. I’ve got a few ideas:

First, they really did understand, and they know "him" is Steve. If that’s true, it means Steve is probably either infamous or a god-like figure in this world. Maybe Evee and the witch have seen other villagers forced to wander because their homes were destroyed by Steve, or other avengers call Steve "him". So they immediately connect Herh’s words to him.

Second, they think Herh is talking about Forefather. Right now, Evee’s being hunted by illagers—their threat is way more immediate than Steve’s. And Evee’s past is tied closely to the illagers. So she’d be more likely to think of their leader, Forefather, right? If that’s the case, it’s the biggest misunderstanding ever—Herh probably has no idea Forefather even exists.

Or maybe Evee and the witch didn’t link the "him" to anyone specific at all. They were just surprised that Herh, who looks so weak, left the village for a real reason—to find someone/to get revenge? Evee’s "Brave little villager" is like she’s saying Herh has no idea revenge isn’t just empty words, no idea what he’ll have to sacrifice for it. He was running for his life from a skeleton, and now he says he’s looking for someone... that’s brave, all right.

Or... could it be that Evee is surprised because she is also looking for someone, just like Herh? Maybe Steve, maybe Forefather. If that’s true, her "Brave little villager" is like a confirmation that she’s found a fellow. After all, isn’t she a brave little villager too?

So my guess is, one of the reasons Evee saved Herh is to get info about Steve or Forefather from him. For example, when Evee saw Herh wandering in the wild for the first time, she started thinking Steve might be nearby—maybe he just destroyed a village, making villagers homeless. So she decided to save Herh first, then question him about Steve when he woke up.

Warning: Contains major spoilers, lots of personal opinions and possible overinterpretations. Please read at your own discretion.

1. The fire execution at the start?

It seems disconnected from the main story, and its real purpose is a mystery. I saw some viewers in the comments guessing it’s a ritual to turn villagers into illagers, a test to see how fire resistance potions work, or just a way to burn villagers alive to stop Steve from capturing them and getting an endless supply of items from them.

There are two tiny details that stand out here:

First, shots of potions flash up a lot during the fire execution. No clue what kind they are, but if we stick strictly to Minecraft’s lore, they look exactly like regeneration or instant healing potions.

Later in the witch’s hut, potions show up again—they’re practically identical to the ones at the start. Very likely, they may be the same type. If the witch used this type of potion to save Herh’s life, it must work like an instant healing or regeneration potion as well. But why were they there during the fire execution? I’ve got a dark thought—what if the illagers forced the villagers to drink this potion before the execution to "lengthen" their lives, making the fire torture last longer and be more brutal? Or maybe when the illagers found desired targets during the execution, the illagers would immediately force the potion down their throat to heal them.

Also, there’s a mysterious figure at around 0:20, only his or her hands are shown, seemingly wearing black gloves, tapping the potion bottle. It’s hard not to think of the witches in Minecraft. And considering what Haka says to the witch by Evee’s side later: "I see retirement is treating you well..." "But as a friend of the Foremen, it is your duty to aide." it makes me think the witch was once allies with the illagers (the Foremen) and took part in that fire execution, supplying them with potions they needed.

Second detail: Almost all the villagers at the fire execution have missing eyebrows?

Take "the girl" (the kid), for example—her eyebrows are completely gone.

And many other adult villagers only have sparse ones left.

Two possibilities here: One, it’s just a physical trait—some villagers just don’t have eyebrows, or theirs are super thin.

But every other villager in the animation has thick, bushy eyebrows...Herh has them, Evee has them (99.99% she’s the grown-up "the girl"), Larr has them, Larr’s parents have them.

The only one without eyebrows is the baby Beehr—and he’s just a newborn, so he hasn’t grown any hair yet. But "the girl" at the fire execution is clearly past the baby stage. Going by her looks and build, she’s about the same age as young Larr at the end of Episode 4, and young Larr already had a thick eyebrow at that age. So I infer that thick eyebrows are the norm for villagers, and the look of "the girl" and the other villagers at the execution is definitely abnormal.

That’s why I lean more towards the second possibility: those villagers’ eyebrows were removed on purpose, probably shaved off by the illagers there with some kind of tool.

But why shave off their eyebrows? I’ve got two guesses for that too:

① To humiliate them

The villagers in the scene have no eyebrows and are almost naked, which makes me think of real-life fire execution rituals. Especially during the European witch hunts, prisoners would have all their hair shaved off—including eyebrows and body hair—and be paraded naked or half-naked. This was meant to strip them of all dignity, inflicting the ultimate mental humiliation.

Applying this to A Villager’s Night, I think eyebrows probably hold special meaning in villager culture. Like, they see thick eyebrows as a sign of beauty, or thick eyebrows are the most important symbol of being a villager (let’s be real, when you think of Minecraft villagers, that iconic eyebrow may be the first thing that pops into your head). So shaving off their eyebrows can be the ultimate humiliation for a villager.

② To... make the fire execution "more effective"?

I’ve got no proof for this one. But if thick eyebrows really are a big deal in villager culture, and the fire execution was actually about turning villagers into illagers... could shaving off this symbolic feature be a way to erase their sense of being a villager, a kind of psychological ethnic cleansing? Making them "forget" they’re villagers so they can be turned into illagers faster?

2. Is Larr Forefather?

I’ve seen a lot of people say this, and I didn’t buy it at first. But after watching Episode 4 a few times, I’m starting to think it might be true...

There are way too many visual coincidences between Larr and the Forefather. I’ll only list two, but I think they’re more than enough to prove they’re probably the same person.

Larr has a scar between his eyebrows, and Avocado even animated how he got it.

At 4:33, Larr pries open the iron bars, and the hook holding the rope snaps, hitting him in the face. That’s how he got the scar between his eyebrows. Honestly, this detail is so small you have to watch at 0.5x speed to see it—if it didn’t matter for the plot, Avocado never would’ve bothered drawing it.

And the Forefather has exactly a lightning-shaped mark between his eyebrows. Is it a wrinkle, a coincidence, or something else?

The second clue is on Larr’s left shoulder. You can see when he tries to squeeze through the iron bars, his left shoulder gets crushed, and it looks like his shoulder and arm are dislocating?

At 15:07, a villager grabs Larr’s left arm hard, making him scream in pain—his injury seems even worse. This shot really hammers home what’s wrong with Larr’s left shoulder, making even viewers who missed it the first time notice. Going to this much trouble for a detail can’t be random.

Also, I noticed the Forefather has a pauldron on his left shoulder but not his right—something that makes him different from all the other illagers since they all equip both sides. When I first saw it, I thought the old guy just had a thing for asymmetrical style, pretty stylish. But the more I think about it, could the pauldron on his left shoulder be there to cover a scar, to protect an old wound?

(Quick side note: The transition at 17:38 is sound first—before the camera cuts to the Forefather, the other illagers call out "Forefather", and the subtitles that aren’t Larr’s hang right below him. It’s like... the Forefather is reminiscing about the past, and then the other illagers’ call pulls him out of his thoughts.)

If Larr really is the Forefather, that confirms one thing in A Villager’s Night: villagers can turn into illagers, or illagers are actually just transformed villagers.

3. The subtitle colors have a secret too?

I noticed this by accident—Episode 4’s subtitles are different from the first three. The first three have plain white subtitles the whole time, but Episode 4 changes the color based on who’s speaking.

Villagers and illagers/pillagers all have the same green subtitles.

(There’s one exception: At around 6:50, Beehr’s subtitles are white. Maybe his voice here isn’t real, just a hallucination Larr’s having? Or it’s to tell apart dead characters from alive ones?)

As for the witch, she is the most different—her subtitles are purple.

So far it looks like different species have different subtitle colors, and the color is based on the eye color of that species? Like, villagers and pillagers have green eyes in the animation, and the witch has pale purple eyes. But... villagers and illagers share the same color—could that be a hint they’re not two separate species, but share the same origins?