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Old 2011-01-10, 03:27   Link #2724
Thought Being
Join Date: Jul 2006
Location: Canada
I've been thinking back on the first 4 games from the perspective of Meta-Beatrice, who crafted them with love, as the story tells us.

When you look at the tales as complete events, without letting your mind arbitrarily focusing only on fleeting aspects, such as who died and when, you notice that a sizeable amount of time is spent genuinely dwelling on the lives of all the people involved. We are shown the pleasent time shared between the cousins after being out of contact for a long time. We are shown the honest air between Shannon and Jessica, talking about their feelings towards other people they both know. Battler, George and Jessica talk about life, and share their subjective lives and experiences. They muse about the innocence of their 9 year old cousin, Maria's mannerisms and what it means to be a child or and adult. We are shown the intensity of George's feelings towards Shannon, the youthful and hopeful feelings Jessica has towards one of her family's servants, and the giddy and serious attitude of a young adult who's finally rejoining the family.

And this is only one small set of the people on the island. People have been trying to find the individuality of the different episodes, and I think it's here. It seems to me that Meta-Beatrice has prepared the tales in such a way that lets the Readers peer into the lives of the different mothers and wives of the people involved. It seems to illustrate their lives in such a way that is sympathetic but not opaque. That is, she does not try to rewrite the person's life to hide their flaws, she rather keeps them present, but without importance. This is why I describe the tales as genuine.

Keep in mind that every one of Beatrice's games spend some amount of time on the first day exploring the lives and connections of each of the 4 mothers. Natsuhi, Rosa, Eva and Kyrie. Natsuhi is shown to be loyal and committed, but distressed because she percieves her relationship with both her husband and her daughter to be strained. Rosa is shown to love her daughter, but to be lonely and embarassed by her makeshift family. She is shown to love Maria, but self-punishingly has a quick temper that stopes her. In the climax of the 2nd game, her feelings even bear fruit and give her a few moments of enlightened heart-warming epiphanies. Eva is shown to be tacitly self-motivated, having already gotten to the point where her son is independant, she focuses on her own skills and worthiness, while manifesting her childhood. Kyrie is not given an amourous depiction, but rather her daughter Ange appears. Though it's possible that Beatrice has no control over Ange's tale to create a loving reality, we can atleast agree that Beatrice, with her ability and understanding to create the different 'gameboards', must have known herself about Ange's possible fate in the future. The fact that we Readers hear Ange's tale and feelings serves the same purpose to let us peer into the life of Battler's side of the Ushiromiya family. Kyrie is signified by extension though the Sumadera's involvement and Ange's own conclusions.

It becomes apparent then how the second day operates, and Beatrice's own active interference with the events. As the murders, along with an dynamic example of the human condition, inevitably unfold, Beatrice uses herself to keep the intended atmosphere, presentation and most importantly, love, intact for the tale. Many last moments are respectfully given their time to unfold. We see sides of Jessica, George, Shannon, Kanon, Eva, Rudolf, Kyrie, Genji, Krauss, Rosa, and possibly even Kumasawa that we never would have been able to bear witness too without Beatrice's love hardened reality. We get to realize their deep and real feelings about themselves, their family, friends and loved ones. The second day is always kept hazy and clouded, either implicitly or explictly, as shown by Episode 1 versus 2, 3 and 4 respectively. In the most basic sense, Beatrice at the very least, 'exists' in this feeling of haziness in our understanding of the events that happen over those repeating 2 days. This is a fact. There are many different directions one can extend the reality of the being known as Beatrice, but it is atleast true that she is what gives the tales an ordered and consistent persective into Rokkenjima and the Ushiromiya family. She scapegoats as the killer and culprit and gives eveyone an honest, genuine and compassionate memory, by clouding the truth with fantasy and magic. It is substantial to say that these realities could not have been created without Beatrice's existence. It is in this way that Beatrice creates the endless, while herself being trapped in a dead-end, being endowed with only 2 days to make these important episodes. They are the only thing left in existence of most of the Ushiromiya family, for both us and the minds of 1998.

I am without a doubt convinced that Beatrice's tale was truly created out of love. All of this perspective was created and conveyed without even needing to tap into the series' precept of "without love, it cannot be seen". That motto is used to understand Beatrice. I believe that this conception of Beatrice and her tale, is already at the endpoint. This is close to the core of Beatrice's tale and heart, what she was trying to accomplish. I believe that if one can empathize, sympathize and percieve the many lives and feelings of the people on Rokkenjima during those 2 days, then Beatrice has consummated, finished and possibly even transcended her goal.

And this is only one facet of the reality shown throughout Umineko. There are many other things to see in this tale. I sincerely impart that these stories have affected my life and have been exceedingly pleasurable to think about and consider. These gameboards are truly deep.
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