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Originally Posted by haguruma
Well, actually the games are RPGs if you consider the terminology...even some of the names are references to Online RPGs (like Kyrie). Gamemaster is one of those terms which is taken right from tabletop RPG lingo, though it was transferred to narrative construction in a very popular Japanese theory in the early 2000's but still referring back to it's RPG roots and Ryűkishi could hint at both.
We basically have different characters who have different classes and different strengths. Then we have some overarching roles that can basically be applied to any character at whim based on the authors knowledge of the actuall truth. Those roles are The Detective, The Accomplice, The Culprit, Beatrice and basically also the two "species" of the game "The Wolves" and "The Sheep".
Those roles are placed on the different characters at the start of each game session, but it does not have to be the actuall truth, rather it's a test wether it would make sense if certain characters had accquired those roles and what the consequences are if certain characters had those roles.
The fact that the culprit in case for Kanon-culprit for example is killing without reason reveals that it cannot be a sufficient answer.
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That's correct. Usually when you say RPG people think about D&D and a fantasy setting, but there are several kind of RPG in the tabletop universe. Yes there can be detective RPG as well.
But the problem I have with the "meta-movent" interpretation is that, in my opinion, ignores what is a requirement of the game. In cluedo you can only win if you tell who is the culprit, the weapon and the room where the crime occurred. In Umineko you need to tell who is the culprit, how he performed the murder
and why. For the game to be fair, all of these must have a
human explanation, and metalogic is not a human explanation.
That's why I don't believe it is possible to explain the movent of fictional Yasu that way.
Quote:
Originally Posted by haguruma
This. And the way it was depicted in EP8 it was already morning when Battler entered the boat. It is not unlikely that he had escaped the explosion during the night of the 5th and it took him a while to actually reach the decision to leave.
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I like to believe the explosion caused some lose rock to hit Battler in the head, which in turn caused him to stay asleep for a few hours and then he woke up in a state of totally confusion.
I can hardly explain elseway how he could be so euphoric after that tragedy. Not to mention he was talking to an imaginary Beatrice.