It Drags Levels Down To Level 15 And Then You Have To Complete Combat Nodes To Level Up. So I Was Forced

Say you know someone, but you lost contact with them for a while. For a decade. For a year, or a month, or a day - or even an hour. In the meantime, they keep changing from their experiences and whatnot. What do we call someone who you used to know, but they changed so much they might not be like you remember them, not at all? An old friend.

What do we call someone whom we don’t recognise? A stranger.

Strangers up to now, have just existed at people. As of e87, Night Vale citizens are turning into strangers. But that is not all - consieder the circumstances. Who was in the courtroom? Judge (who didn’t listen to the Whole Truth), the lawyers (who, given their reactions probably covered their ears), stenographer (who already knew he would be incinerated), the jury (whose reaction to the Truth is ignored), bailiff (same) and people (who didn’t ollie out in fear of some unknown - to them - fallout). And the latter three were ‘replaced‘ by strangers. Maybe they changed because of the implications of the Whole Truth?

Ship of theseus means that everyone in nv is a stranger to be.

And who else is implied to know about the Truth? Our radio host.

Natsume and Dazai in Fifteen

Bungou stray dogs spoilers maybe!

I am rewatching bsd and I have just noticed. We know that Natsume sensei during Dark Era is in Bar Lupin in cat form, hanging around Dazai, Oda and Ango. And now he is Haruno's pet Mii-chan, so he is close to the ADA.

But I haven't seen anybody mention that he appears in the Fifteen arc too! I didn't notice at all the first time I watched it but now I was like WAIT A SECOND!! He even appears during the second epidode opening. I had to check the markings of the cat and yes, I'm pretty sure it's the same cat.

This is just before Dazai meets Chuuya for the first time.

This is just before the final scene with Randou. The "party" was happening in the second floor that the cat is looking at, and later Chuuya and Randou would fall just where Natsume is standing after Chuuya came flying through the window. I'm sure he watched all the fight.

And now I'm wondering if all this was planned by Natsume, and Mori followed. Because it's strange, he was witnessing everything from the beggining. Mori even mentions Natsume's phrase "only a diamond can polish a diamond". It's too much of a coincidence. Maybe he is the one pulling the strings all the time, he could actually be the one that "created" Soukoku. Or it's just a coincidence and he is just watching...

Anyway, it's even more obvious now that Natsume is always keeping a close eye on Dazai and they wanted us sto know it.

the funny part is: Boney M's song is quite relevant. To quote:

However, many historians point to the unusual cult that Rasputin practiced at the Emperors’ court — a strange mixture of Christianity and sexual practices. Many of the noble women were believed to be in sexual relations with Rasputin, possibly including the Empress.

no russian history memes with fyodor? no memes of him meeting RASPUTIN? no memes with him participating in russian revolution? no memes of him being friends with ivan the terrible? i am disappointed with the fandom :/

*Random fanfic of any gay BSD ships getting proposed to/are married/seems like they are married

“it’s cute and all but you’re forgetting that gay marriage is illegal in Japan”

Stfu, they are literally part of the mafia and have killed poeple, you really think they’d care about that💀

probably the only post I’ll ever make about that one anime called Bungo Stray Dogs

Originally this post was supposed to be a reply via reblog to this post, but it got a bit too sidetracked and I felt bad for hijacking OP’s post like this. 

Initially I was just going to say this through the comment section of the original post, but then I realized that I have way too many thoughts to fit into the small word limit of a tumblr comment.

Anyway, that’s why I’m posting a screenshot of the original post rather than just reblogging it. I don’t want to derail OP’s original points or hijack the post and go off topic.

@chaosgranted​ you’re right and you should say it. I’m just gonna elaborate on this topic a bit. Gonna scream into the Tumblr void with hopes that the void won’t scream back.

<long ((and mostly negative)) rant about Dazai, so. Read at your own discretion>

I know I already commented on OP’s post a hundred times, but this got me thinking about the subject and now I can’t stop. So lemme burden you all with my never ending stream of thoughts on this matter.

Before I get into this rant, I wanna clarify something. I do, in fact, like Dazai as a character. I think he’s very interesting. I enjoy when he shows up on screen. This isn’t something I’d say for most other characters, who I’m more neutral about.  

That being said. Pretty much everything about how the fandom portrays him and views him annoys me so, so much.

As OP states here, what he does (leaves Chuuya unconscious and vulnerable in the field after promising to bring him back) isn’t just harmful or mean, it’s borderline cruel. And if it was done by any character who the audience wasn’t obsessed with, that character would be burned at the stake.

Think about Shirase (who I love, but that’s its own thing). Some people like him, a bunch of people hate him, a bunch of people have no opinion on him because he’s not a major character in the anime. Regardless of his Light Novel counterpart, Anime Shirase is justified enough in his own right. Let’s be real, the Sheep (including Shirase) were acting in self defense when they betrayed and stabbed Chuuya. They genuinely believed that he was an immediate threat to their safety. They genuinely believed that if they didn’t kill him, he’d kill them, or sell their information to the mafia, who’d shortly thereafter kill them.

Unlike Dazai leaving Chuuya behind when he was at his most vulnerable state, the Sheep stabbing and betraying Chuuya is not only justifiable, but understandable— and can anyone truly say that they’d do any different if they were in their shoes? I know I can only speak for myself, but if I truly and genuinely believed that someone was about to kill me or kill my closest friends, I would do what it takes to protect both my friends and myself.

The Sheep are somewhat vilified by the fandom (in the rare moments when the fandom remembers they exist). If Dazai had done the same— if Dazai had tried to kill an innocent person because he truly and genuinely believed that that person was about to kill the ADA, not only would he be forgiven instantly (which he should be, as I previously mentioned that’s a perfectly reasonable thing to do), but there wouldn’t be even an ounce of discourse over whether or not he’s justified.

Now, I understand the concept of liking “problematic” characters. (Tbh no character is “problematic”, whether or not the character is a good person is irrelevant, if the character does “problematic” things then that’s literally just how they were written and also intentional and also says something about them as a character. It should be called “good writing”, not “a problematic character”.) I understand the concept of liking the antagonist, heck my whole blog used to be me justifying Edmund from King Lear. Of course I never said he was a good person (because OH MAN HE WASN’T), but I found him very intriguing and so I would rationalize his actions and try to see things from his POV.

The difference between liking or justifying an antagonist and what the bsd fandom does with Dazai is that Dazai isn’t an antagonist.

The closest Dazai comes to filling an antagonistic role is in flashback arcs, which is the only time when his actions aren’t chalked up to “haha Bandage man is doing his thing again!”. When Dazai manipulates the Sheep into betraying and stabbing Chuuya, it acknowledges that Dazai is filling a bit of an antagonistic role there. That scene isn’t played off a  a joke— there’s no comedic undertone in how it’s portrayed. As opposed to when he leaves Chuuya in the field and it goes “haha look at Bandage man always being so silly and goofy!”

The same goes for Dazai’s treatment of Akutagawa in The Dark Era arc. When he shoots at him, attempting to kill him with no knowledge that his ability can theoretically stop the bullets, it’s not played off as a joke. However, in the dungeon scene, Dazai says that his new subordinate is “far superior” to him, and the show plays it off as “haha Bandage man made Emo kid angry!”, even though what Dazai meant by “far superior” is that Atsushi got lucky enough to be taught by Present Day Dazai, and so he’s more mentally stable and more sure of himself than Akutagawa, who’s still very clearly getting over the trauma of being literally brainwashed mentored by Mafia Dazai. Ability wise, Atsushi and Akutagawa seem to have equally strong abilities. The only thing that Atsushi has that Akutagawa doesn’t is a semi-healthy mindset. And you know who’s responsible for both of their mindsets….? This statement ( “..far superior..”) is the equivalent of punching someone in the face and then calling them ugly for having a black eye.

But the show keeps playing off Dazai’s outright cruelty to the people around him as a literal joke. And “he’s on the good side now!!”, so, to quote a song we all wish we could forget, How bad can he possibly be?

I think the first real sign of Dazai’s, for lack of better terms, tendencies..,, is in the second episode. That was the point where I was like “Oh. So he’s an asshole.” In that episode, Atsushi states that although he’s grateful for Dazai’s help, he’s not interested in joining the ADA. Dazai tries to pressure him into joining but he politely refuses. Dazai then makes it seem like he’s about to get him an interview for a different job, when suddenly he drags him into a supposed bombing and seemingly forces him to put his life on the line for an organization that he wants nothing to do with.

Atsushi is a kid who can hardly stand up for himself. I’m surprised he even turned Dazai down in the first place, but that just goes to show how badly he wanted nothing to do with the Agency. After discovering that it was all a test set up from the start— a test which he passed, now making him qualified to join the ADA— he still remains unwilling to join. Now what does Dazai, our resident master manipulator, do? He makes sure to give Atsushi a friendly reminder that sure, he doesn’t have to join, but if he doesn’t he’ll surely either die of starvation on the streets or be captured by the cops for his horrible tiger crimes against humanity. At that point of the episode I was like “ah. A manipulative asshole. Lovely. I’d like to see him get punched in the face.” (And thanks to Kunikida he does get punched. Not often enough for my tastes, but whatever.)

If you’ve never watched BSD and are only learning about it from this post, you’re probably thinking “but Edette, this guy is clearly a horrible person. And I understand that people simp for him, but just how delusional do people have to be to pretend none of this ever happened?”

Well there’s a very simple answer to that, my friend.

The whole show plays off his.. ah, let’s call them “silly little shenanigans”.. as just that. Silly. Little. Shenanigans. It shows him being manipulative and using every innocent person he comes alone to advance his own goals in one way or another. But that’s all perfectly fine! Because the show says it’s actually really funny, so it must be, right?

As OP says. Chuuya trusted him. Chuuya listened to him when he told him to activate his ability which nearly kills him. Chuuya was willing to throw his life away, endure pain beyond anything anyone could imagine, all on the hope and trust that this person he shares so much history with will be there for him and protect him when he’s left in his most vulnerable state.

But Dazai uses corruption as a tool. He uses Chuuya as a pawn to win the battle. And if you want to argue that Chuuya’s not a pawn but a knight or queen or some other chess piece then fine. Nice chess analogy. You do realize that’s irrelevant, right? Either way, as he says himself in 15, he’s not a king. He’s not the piece that will be protected at all costs. And no matter what piece he is, he’s just a game piece, just like everyone else Dazai comes across, and Dazai is the player.

And after the battle is over? Well, his pawn is of no use to him anymore. So good job Chuuya, you did it, you won. Soukoku won. But only one half of Soukoku gets to enjoy the victory.

For the record, I do believe that Dazai cares about Chuuya beyond simply being intrigued by him. I do believe that he wouldn’t have folded his coat and left it where he could find it if the person he was fighting alongside was just anyone. But that’s not even close to the bare minimum of what Dazai should have done. This is just a testimony to what sort of person Dazai is. Even with someone who he arguably cares about, he still treats him this horribly.  

And

It’s

Played

Off

As

A

Joke.

sauce since that sounded too spicy:

looks like a missing comma, tbh ¯\_(ツ)_/¯ moreover, why reveal who was affected (who and how gains from this 'fame')? what actions would be good enough to reverse the damage? Whoever is banned left. Quietly unremoving posts would mess with people's blogs, and PMs informing of it would not be viral - depending on for how long (very) and relentless (also very) this went on this may mean flipping through - by hand - thousands of posts while the current backlog grows.

what IS notable, however, hides lower: >Most importantly, and why she is banned from Tumblr for life, is she made threats of violence against Tumblr staff. translation: as long as you don't prod the mods you're good to go!

its dope how the CEO of this website can casually drop the fact that he had at least one content moderator on payroll who was accepting bribes to take down blogs on request, without revealing who was affected by this or what actions were taken to reverse the damage, and were all just supposed to be like oh ok thanks for taking care of that :D

two in one theory... i am listening very intently if you ever feel up to share it!!

Alright, so this is gonna be... as close to an Abridged explanation of the theory as I can make, because if I went off on everything about it I would end up writing a whole dissertation or five hour video essay script on this shit.

There are gonna be three main sections to this post - Hong Lu's Daiyuisms, Hong Lu's Themes of Identity and how that connects to the concept of Two in One, and the Daiyu-Baoyu theory itself.

Strap in folks.

Hong Lu's Daiyuisms

If you know anything about my theories in the earlier days of Limbus, you might know that I'm one of the very few people who was convinced Hong Lu is actually Daiyu, due to some evidence I found personally compelling. This has not changed, as we've only gotten just as much extra evidence to this as we have to him being Baoyu. So let me just speedrun through some of these points.

The Fucking Jade Eye

Ok hear me out. This is maybe the least important piece of evidence but I can never stop thinking about it. Hong Lu's jade eye? Not actually fully blue! If you look closely on most of his sprites, you can see that he actually has sectoral heterochromia, meaning his jade eye is both blue and black.

Daiyu's name, quite literally, translates to blue-black jade.

Now, you could claim that this is merely meant to be an easter egg reference to her, but... is that really Project Moon's style? After all, when people speculated on Don Quixote being Sancho or a Bloodfiend partially based on her appearance all the way back since near launch, they turned out to be right.

Hong Lu's Father

As of now, there is only one instance of Hong Lu referencing his Father in Limbus, and it's a voiceline from his Base Identity:

Now, if you know anything about DOTRC, this should already be raising some flags, because if Hong Lu was just Baoyu, he would not fucking talk like that about his Father.

In the book, Baoyu is consistently shown to be afraid of his Father, for a good reason mind you, as he's his main abuser. Baoyu would not be looking forward to introducing his friends to that man.

Even if Hong Lu was trying to downplay the abuse he's recieved, this would still not fit his pattern of behavior. When topics that genuinely bother Hong Lu come up, such as what could make him distort or how rich people would enjoy gifts made of humans, he immediately pivots and tries to avoid the topic at all cost. He would not bring up his main abuser in such a lighthearted manner, he would avoid bringing him up at all cost.

However, there is a character in DOTRC which does in fact have a more positive relationship to her Father, and would likely be the one with an opinion such as that - Daiyu. Daiyu loves her Father, and when he dies she completely disappears from the story for a bit to attend his funeral. If there was anyone who would be excited to introduce their friends to their Father, it'd be Daiyu.

Lasso Hong Lu's Corrosion

I made a whole seperate post about this, but I might as well mention it here as well for the sake of completion. The design choices made for Hong Lu which are missing for Faust are very, very Daiyu-coded.

For one, not only does Hong Lu completely turn into a flower, unlike Faust, his horse also gains a flower in its mouth. For those whose knowledge of DOTRC is zero to none, Daiyu is a reincarnation of a Flower given sentience due to being watered by the Jade. I don't think I have to be the one to connect the dots between those two pieces of info for you.

The second is how the halters become a noose for Hong Lu. This, too, is a very Daiyu thing - Rose Hunter as an Abnormality represents the inability to escape one's fate, and Daiyu's fate is to die - the Jia Family arranging a marriage between Baoyu and Baochai leads to Daiyu falling deathly ill, which in itself could be considered a part of her repaying her Debt of Tears - the debt she swore to repay to the Jade/Baoyu when she was still a Flower.

The hilarity of the fact that this E.G.O came out in the same update as Hong Lu being called Baoyu in-story is not lost on me.

Rose Sign Abnormality Log

The third Log for Rose Sign ends in a very peculiar way.

There's multiple ways one can tie Hong Lu's odd reluctance to talk about flowers and the petals. One is the obvious "he's being reminded of Daiyu because she was a Flower" connection, but there's another one.

One of the most commonly potrayed images of Daiyu relates to a scene in DOTRC where she buries fallen flower petals, weeping for and lamenting the mortality of the flowers and herself. Hong Lu's reaction here to his fellow Sinners being reduced to nothing but petals upon Rose Sign's death feels like a notable parallel to Daiyu's flower burial scene.

Like literally everything about Kurokumo Hong Lu

The title for this is a bit of an exaggeration, but at the same time. I'm serious. Kurokumo Hong Lu is perhaps the most Daiyu Identity out of all the Hong Lu Identities we have, and the way he is designed to stand out among them further makes me go insane.

Kurokumo Hong Lu's most defining trait is his attitude - he often complains about his position and how authority treats him, though he doesn't really act out against them in any major way outside of making snarky or sarcastic remarks.

This is, frankly, an extremely Daiyu thing to do. Daiyu is one of the few characters who audibly complains about her treatment in the household. For example she complains about not being given as many opportunities to show off her poetry skills as her male peers are, and she recognises how, when all the girls in the family are given flowers, she's the last one to recieve them and thus is stripped of the ability to pick, being only given the leftovers.

Then there's the whole. Everything about Kurokumo Hong Lu's visual design. Because once you realize just how Daiyu-like the Identity is, you realize just how weird he is compared to other Hong Lu Identities. I mean just look how he compares to his other Identities.

He's the only Hong Lu Identity with a blue tint to his hair in the combat sprite rather than the usual purple.

He's the only Hong Lu Identity whose hairtie is a ribbon rather than a jade ring (Liu Hong Lu technically has the ribbon in his post-uptie art, but he doesn't have it in his combat sprite so I'm not counting him).

He's the only Hong Lu Identity to not be smiling in his combat sprites.

And he's the only Hong Lu Identity (and one of only four Identities in the game) whose Idle sprite has its body facing away from the opponent rather than facing towards them.

All of those combine to make him stand out like a sore thumb in a Hong Lu Identity lineup in a way that makes it feel intentional, especially since he's also the only Hong Lu Identity with that kind of notable attitude towards authority. Other Hong Lu Identities are either obedient, don't express any opinion, or just straight up are the authority.

The Baoyu reveal is framed in a very weird way

This is, admittedly, less of a Daiyuism and more of a not-Baoyuism, but I thought it'd be important to mention nonetheless.

There are a lot of things about Canto 7's reveal of Hong Lu's name being Baoyu that are very strange, especially compared to how the Canto frames Don Quixote's own reveal of actually being Sancho.

For one, the timing itself - why is such an important piece of info being revealed so early? Again, compare to Donqui - she was revealed to be a Bloodfiend in the Intervallo right before Canto 7, and the Sancho reveal only came in the second half of the Canto.

For two, the framing - Donqui's reveals are treated as what they are, Major Reveals. The Baoyu reveal on the other hand happens in a single off-handed line, with nobody reacting to it in any way. Neither Hong Lu nor the other Sinners seem to hear it after all.

And mind you, it's not like Limbus is opposed to giving us important information in off-handed lines - far from it in fact. Project Moon loves shoving little bits of foreshadowing and reveals you don't realize are reveals until way later in these kinds of off-handed lines. But the way those lines are treated is still very different to how the Baoyu reveal is treated.

Usually, when there's foreshadowing in off-handed lines, it's usually either vague enough to be something a character could say regardless of context (see Yi Sang getting hung up on the Sedatives bit in Canto 2 or Ishmael's comment about Syndicates pretending to be Families foreshadowing her own history with the Middle via Queequeg) or something that is in the middle of a scene that distracts from what is actually being said (like Hong Lu's distortion foreshadowing being in the middle of an important infodump or most of everything in Canto 2 being surrounded by a comedic tone).

None of this is present for the Baoyu reveal. There's nothing to distract you from this information, as the scene is already focused on discussing Hong Lu, meaning you're already likely to be paying attention to what is being said about him. There's also no vagueness about it, there's no way you can brush it off since not only are Wei and Xichun newly introduced characters, but it's a whole ass clearcut namedrop.

The only way I can justify that reveal being there in the form it takes is that it in itself is the distraction. Think about it. Didn't I point it out earlier that this reveal came in the same update as the E.G.O with an extremely Daiyu-coded corrosion design? Wouldn't it make sense for that reveal to be there to lower your guard, make you think you resolved that mystery, only to later on reveal it wasn't the whole story after all?

Hong Lu's Themes of Identity

So this section is a bit more vague than the Daiyuism section, because Hong Lu is the type of guy to just Say Shit all the time. It's basically just. Anything that I find relevant to the idea of Hong Lu's Identity being more complex than him just being a random guy using a pseudonym, with some (but maybe not all) of them directly tying to the idea of Two in One.

"Which one is the real you?"

There are currently two seperate scenes where Hong Lu muses on the idea of someone's identity being in some way vague or obscured.

Is Dante the person or the clock? Is the dreamer the one in the dream or the one who wakes from it? Which you is the real you? Does it even matter if that you will flutter away in the end?

This idea of there being one true self. That even if there are two, there is only one of them that is actually you. Curious, right?

Face-changing dance

During the Canto 2 scene where everyone gives their reasons for whether or not they'd be a good pick for being the one to dance, Hong Lu says this.

Bian lian is a kind of dance literally translated as "face-changing". It involves rapid changes between various masks and make-up to represent different emotions or characters.

Now, it's no secret that Hong Lu is a great actor, as we see in Canto 4, and Canto 7 shows how the comparison to theatre and actors can be used to symbolize one's performance of identity, as it does for Sancho and her Don Quixote persona.

Mind you, this reveal comes in the same scene as Sinclair's dance invoking the image of a bonfire burning all through the night according to the Mariachis, a clear foreshadowing to Canto 3 and the Literal burning down of Sinclair's home.

Hong Lu knowing bian lian could be further foreshadowing to his own skills in deception, and how he too is a sort of actor, not unlike Don Quixote. On the other hand however, it could also be a more literal foreshadowing, that he (Baoyu) Quite Literally changed his face. We won't know until Canto 8, but it is an option you know.

The HamHamPangPang dish(es)

For those who don't know, here is a list of the Sinner-themed dishes that were available at HamHamPangPang.

Now, chances are, not all of them have deep meanings. I don't think there's much of a deep meaning to Heathcliff and Ishmael's dishes, I think PJM just legit don't know much about British/American cuisine so they just picked something recogniseable.

However, not all of them are meaningless picks either. Ryoshu, likely a mother, has a meal literally called "parent-and-child donburi". Don Quixote, a Bloodfiend, has a garlic-based dish. These were clearly done on purpose.

So, what does it say that Hong Lu's dish is actually two different dishes? That he's the only one whose dish is two different dishes? And it's not like the two are in some way inherently connected, since they're of completely different cuisines. Japchae is a Korean dish, not Chinese like the Mandarin rolls.

And just in case you weren't convinced that Hong Lu's choice of dishes is purposeful - another name for Mandarin rolls is flower buns, and one of the special occasions japchae is commonly served for is weddings. If you had read through the Daiyuisms section and somehow have no idea what the significance of that is, I don't know what to tell you.

The Daiyu-Baoyu Theory (finally)

So. I gave some evidence for why I think Hong Lu could still be Daiyu despite being revealed as Baoyu. I gave some evidence for why I think Hong Lu could be a Two in One deal, or that at the very least there's something more complex going on with his identity. But let's discuss the theory itself, how it would recontextualize certain things, and why I think it's an extremely fitting an thematically resonant direction for Hong Lu's Canto to go in.

The Theory

Here's what I speculate is going on.

Daiyu, just like in DOTRC, is someone who was taken in into the Jia Household rather than born in it, and who strongly connected with Baoyu upon meeting him. The two would end up forming a bond strong enough that they would be willing to die for one another (or, if they're in particularly argumentative moods, to kill themselves just to force the other to have to live a long life grieving over them - this is an actual argument they have in DOTRC and I pray to god this is adapted into Limbus because it's too fucking funny).

At some point, Baoyu either dies or is brought to near death, likely through the same circumstances as in DOTRC - being beaten by his Father. To save him, his memories and consciousness would be transferred to his eye, a process not dissimilar to the one Xichun brings up in Canto 7, and implanted into Daiyu's body, causing them to become a vessel for Baoyu. This would be how Hong Lu as he is now is created.

All of the above is the main basis for this theory. Everything else that I might speculate about, such as the exact nature of the two's relationship, Daiyu's more exact background and personality, how their pre-reincarnation lives could be adapted - all of those are things that are purely speculative and ones that I don't really expect to be actually fulfilled. The only bits that I am sure are likely to be true is what I laid out above.

So... what does it all mean for the future? I'm glad you asked!

The Recontextualization

Here's a collection of just a couple of things that Hong Lu has said or is depicted as that would be heavily recontextualized if this theory ends up being true.

Hong Lu surviving despite claiming he didn't fight back when his siblings first tried to kill him: With the context that he used to be two seperate people, the answer to how he survived is made very simple. Baoyu is the one who wasn't fighting back. Daiyu, however, could have still protected him in turn.

The red ribbon on Hong Lu's weapon: There is only one other Sinner who has a similar decoration on their weapon - Ryoshu, who also has a red ribbon on her sword, which could be easily connected to Yuzuki and her death. With the context of Hong Lu being Baoyu occupying Daiyu's body and thus effectively rendering their self non-existent, the red ribbon could be a parallel symbol - a symbol of Daiyu and their 'death'.

How Hong Lu treats his weapon in his base E.G.O: The way Hong Lu holds his weapon in the illustration is more like he's cradling another person. This could be a representation of how he feels about Daiyu's situation. Likewise, in the attack animation, he's not really attacking with the weapon itself, is he? He's simply using it to direct a ribbon (which in itself is missing in the illustration), the part that is actually the attack. If the weapon in the base E.G.O represents Daiyu, this could be a parallel to how Baoyu feels like he's merely directing Daiyu's body to attack, rather than being the one actually attacking.

The duality of Hong Lu IDs: There is a notable pattern among Hong Lu IDs, and that is the focus on his attitude to violence. When he's in a situation where he's obedient towards his Family, he's either uninterested in violence, bored of it, or otherwise given no other choice but to use it as a reprieve from boredom. However, when he's in a situation where he's disconnected from his Family or otherwise questioning the status quo, he's shown to not only be much more aggressive and violent, but to outright enjoy it. With the context of Hong Lu being composed of two people, this duality could represent each of his components - the obedient and violence-averse being more Baoyu-like, while the questioning and violence-favoring being more Daiyu-like.

So, there's a bunch of stuff that would be given new meaning under the premise of this theory being true. But now, what about the future? What would this theory mean for the themes and ending of Canto 8?

The Resolution

I believe this is how the Daiyu-Baoyu theory will affect Canto 8.

At some point, whether before or during the Canto, it will be revealed that Hong Lu is both Daiyu and Baoyu. There will be an attempt to seperate the two, perhaps to implant Baoyu into a more fitting, more Jia Family-approved Vessel. Perhaps because the 'arranged marriage' from DOTRC could be adapted into something more... let's say Fear and Hunger kind of marriage rather than traditional marriage.

This will leave Hong Lu to be returned to their state as Daiyu, who will be revealed to be a very different person to what the Sinners knew Hong Lu as. There is a non-zero chance that Daiyu will be unable to hear Dante or be revived by them due to the one who signed the contract being Baoyu, and so they could end up acting as an uncontrollable ally unit not unlike Xichun in Canto 7.

The climax would then be Daiyu and Baoyu reuniting and being unwilling to part with each other again, even for the sake of returning to being the fake persona that is Hong Lu, leading to a potential duo boss fight/distortion boss fight/duo distortion boss fight.

The ending would be the two of them deciding to embrace their new identity as Hong Lu and truly becoming one, discarding their pasts and the selves that had been forced on them by the Jia Family. This ending would have a twofold meaning regarding how it connects to the DOTRC adaptation.

One - it would be a direct parallel to the ending of DOTRC where Baoyu leaves to become a monk. By becoming Hong Lu and discaring his previous identities, he'd be leaving behind the earthly attachments inherent to being Baoyu and Daiyu and become spiritually whole.

Two - it would be a reflection of the major theme of DOTRC, that being "Truth becomes fiction when the fiction's true. Real becomes not-real when the unreal's real." Hong Lu, as a person, is a 'fake' persona used by the 'real' Baoyu and Daiyu. However, by discarding those two identities and deciding to just be Hong Lu, the fiction of his existence becomes the truth, while his former real selves become not real.

Conclusion?

I could honestly just keep going with this post, but I think I'm going to stop myself here before I'm forced to find out what tumblr's character limit on posts is. Believe me, I was trying to be brief, and still this post is. This fucking long.

I hope this explains why this theory has been the subject of my brainrot for the past however long, and why I feel like it's surprisingly plausible despite being as deranged as it is.

Godspeed and godbless, I have classes tomorrow and I'm spending my time on this.

「Ranpo, Mushi, Seishi」 – Tales from the Burgeoning World of Japanese Mystery

After re-reading Bungou Stray Dogs and with better understanding of the history behind the figures of Japanese Literature, I find myself falling further in love with the Perfect Crime Arc of the BSD Manga.

In a span of three chapters, Mushitarou went from an unknown to one of my favorite mystery authors out there. An outcast of the detective novel world often disregarded due to his pedantic and frankly bizarre way of writing his stories.

Further reading about his life made me realize that this arc is a complete recreation of a section of Mushitarou's life, the other authors he interacted within his short career and an everlasting impact between giants of the Early-Showa Detective Novel scene. It is shocking how Asagiri and Harukawa conceals and works with the details of the story so well, blending in so many different parts of his life into the manga.

The Lineup

To get a better feel of who the three main figures are in this story, I must first introduce the three main authors of this story.

Edogawa Ranpo (left), Oguri Mushitarou (center), Yokomizo Seishi (right)

Edogawa Ranpo (江戸川乱歩, 1894 –1965) was a detective novelist who made a name with his many detective novels which made him a key part of the mystery novel landscape even up to the modern day. He is most well known for creating the character of Akechi Kogorou who first appeared in The Murder on D Hill (D坂の殺人事件) and would later star in many of his novels.

Oguri Mushitarou (小栗虫太郎, 1901 - 1946) was a detective novelist who was known for his bizarre writing style. His use of difficult kanji along with furigana guides for many of his stories makes his works some of the most difficult works to read in Japanese. His most well known work is The Black Death Mansion Murders (黒死館殺人事件) along with the detective Horimizu Rintarou.

Yokomizo Seishi (横溝正史, 1902 - 1981) was a detective novelist who was a master of the 'honkaku' mystery genre. His work The Honjin Murders (本陣殺人事件) and detective Kosuke Kindaichi continue to be a staple of modern Japanese pop culture.

The Making of a Genre

Misery (無惨) by Kuroiwa Ruikou (黒岩涙香) is oft regarded as the first Japanese mystery novels which brought the genre into the public consciousness. A simple murder mystery tale of gambling seemingly gone awry. From this spark then came numerous authors such as Morishita Uson (森下雨村), Ooshita Udaru (大下宇陀児), Hamao Shirou (濱尾四郎) and an up and coming author named Edogawa Ranpo.

Ranpo made a name for himself with the publication of The Two-Sen Copper Coin (二銭銅貨) in 1923 which made him the undisputed 'king' of Japanese mystery novels. With this influential position, Ranpo's comments often brought attention to many other authors working withing the genre. Along with this, magazines geared towards younger readers such as Shin Seinen began to become popular as the youth of Japan became enthralled with tales of mystery and adventure.

The Perfect Crime — The Story and the Arc

Out of all of the arcs in Bungo Stray Dogs, I feel like the Perfect Crime Arc is one that nails the heart of Bungou Media at best; a transformative work about authors and their works, how they treated one another and how they stand in the world of literature. Many of the characters in BSD are very much based on their real-life counterparts such as Dazai and Ooba Youzou of No Longer Human (人間失格) and/or The Flowers of Buffoonery (道化の華) fame. Ranpo and Mushitarou both are great representations of their works and style but more importantly, their relationship tells of their time as mystery novelists.

While Ranpo continues to enjoy mainstream fame not only within but outside Japan as well, Mushitarou is often relegated to the less-mainstream, some would call him your 'favorite's favorite'. But there's a big reason as to why Mushitarou's so much less well-known in the west and it boils down to his writing style. An "absurd" use of furigana, stretching the limits of the Japanese language with an example below from his magnum opus, The Black Death Mansion Murder Case:

Heavy and difficult kanji along with the furigana of various foreign languages, a writing style derided by critics such as Sakaguchi Ango who called it as 'imitating the worst aspects of S. S. van Dine'. This quirk would also be adapted into the Bungou Stray Dogs manga as some of Mushitarou's dialogue is written the way the real-life Mushitarou's writing style

Mushitarou's connection with Dostoevsky may have also been derived further by the story of The Perfect Crime (完全犯罪) which sees Russian characters such as Vasily Zharov who was the leading character of the story.

The story behind the publication of Mushitarou's The Perfect Crime is the main inspiration behind the story of the Perfect Crime arc.

In Spring 1933 Oguri Mushitarou, then a young and new author, submitted a 600-page mystery novel script to Kouga Saburou (甲賀三郎). After reading through it, Saburou dismissed the script saying that it was far too long; recommending Mushitarou to submit something shorter. With this recommendation in mind, Mushitarou submitted the first draft of The Perfect Crime to Saburou which impressed his peer greatly. Saburou however, still felt as if it'd be something difficult to pitch to publishers and even considered enlisting the help of Edogawa Ranpo to get it published.

Saburou then went on and decided to send the draft to then editor of the Shin Seinen magazine, novelist Mizutani Jun (水谷準) who took a quick look and then dismissed the work entirely, putting it to his desk drawer and quickly forgetting it. Shin Seinen was at this point a hub for popular literature for young boys with detective and adventure novels galore with authors such as Yumeno Kyuusaku (夢野久作), Unno Juuza (海野十三) and even Kouga Saburou himself publishing their works in the magazine. Starting from its New Year 1933 issue, they planned to include at least a 100-page one-shot story from various authors.

Yokomizo Seishi, who was at this point one of Shin Seinen's star writers, got sick with hemoptysis which lead to the cancellation of one of his stories which was to be published in the July 1933 issue of the Magazine. With this, the July issue had lost its main story; that is until Mizutani Jun, who was in a scramble to find a replacement, remembered the manuscript which Mushitarou had sent in. He quickly realized that the script was about the length needed to cover for the issue and quickly read over the work. Mizutani then also assured Yokomizo that he should take a rest instead rather than forcing himself to write.

The following is the editor's note written by Mizutani for the publication of the story:

The 100-page "The Perfect Crime" was written by a complete newcomer. This month's edition was supposed to be written by Yokomizo Seishi, but the author suddenly became ill and was unable to write, so this work was substituted for him. As you will see upon reading it, this work is a truly excellent work of detective fiction. Readers may like or dislike the setting or the descriptions, but I hope you will read it to the very last line and congratulate this newcomer on his future prospects.

The Perfect Crime was indeed Mushitarou's debut work, its publication taking center stage and substituting the work of one of the most popular mystery novelists of the era. The fact that the work was deemed "worthy" to substitute Yokomizo's work itself is already high praise.

Yokomizo then also commented with the following after reading the story written by Mushitarou:

"Who could have ever found such a powerful pinch hitter*? Even if I had been in good health, I was not confident that I could write a masterpiece as fascinating as 'The Perfect Crime.'" *A Pinch Hitter is a substitute batter in baseball.

This publication marked the beginning of Mushitarou's friendship with Yokomizo. The two of them met in a bar where Mushitarou said that "Because of your illness, I was able to debut much faster." To which Yokomizo responded with "Don't be silly, you would have debuted regardless whether I was sick or not." Mushitarou then continued saying "That may be true, but regardless the opportunity came quicker because of your illness." Yokomizo then promised, "All right then, next time something happens to you, I'll be sure to cover for you."

The two would be separated for most of the war-time, with them writing letters back and forth about detective novels while continuing to publish works as Yokomizo fled to Okayama due to the outbreak of World War II. Despite Yokomizo ever hardly sending any correspondence during this period, he continued to reply to letters sent by Mushitarou. In early spring 1946, Yokomizo received a letter from Mushitarou saying that he was going to fully devote himself to writing full-fledged novels which Yokomizo agreed with.

After the war had ended, Yokomizo went back to the literary world where he would discover that Mushitarou had passed away suddenly due to Methyl poisoning in a telegram and Unno Juuza would later explain to him the full extent of Mushitarou's untimely death. This death shook Yokomizo and he was unable to do anything for the next few days, especially due to the letter sent by Mushitarou, clearly passionate about his coming works.

Due to Mushitarou's sudden death, Yamazaki Tetsuya (山崎徹也) who was the editor-in-chief of the magazine Rock needed someone to replace Mushitarou's work for the upcoming issue. Yokomizo, who was in the middle of serialization of "The Honjin Murders" in the magazine Houseki decided to 'cover' for Mushitarou and published "The Butterfly Murders" in the magazine.

"I was no match for you"

Edogawa Ranpo at this time as the mystery novelist of the time. Ranpo at this point had met and known many other mystery novelists from Ookura Teruko and once, even met up with Oguri Mushitarou as he wrote down in 40 Years of Detective Novels (探偵小説四十年)

According to Ranpo, the two of them met once in 1946 and in this conversation Mushitarou said to Ranpo, "Edogawa-san, it seems at the end I was no match for you." to which Ranpo then replied, "Not at all, you're a better writer than I am." Which was of course replicated at the end of the arc.

The Characterification of Oguri Mushitarou

In her paper 'No longer Dazai : the re-authoring and "character-ification" of literary celebrity in contemporary Japanese popular culture', Jaylene Laturnas describes the process of Characterification (キャラクター化) as follows:

Character-ification refers to the act of turning anything from living beings to inanimate objects and abstract concepts into characters via anthropomorphism and personification (gijinka) or caricature (deforume).

Bungou Stray Dogs of course, is of course, a series that takes these authors and characterizies them in the gijinka form as stated by Asagiri himself in a 2014 interview. While most characters in Bungou Stray Dogs are 'gijinka' of their works and characters, Mushitarou occupies an interesting space as his actions and characterizations leans heavier towards the real author and the events within his short literary career. There's a clear degree of difference between how Mushi is portrayed in the series in comparison to his other fellow authors as it leans so much closer to real-events than any other author has been depicted in the series (arguably, Kunikida's turbulent relationship with Sasaki Nobuko may be the closest thing but enough creative liberties have been taken to completely differentiate the real person and the fictional character). Even the ending to the arc with Ranpo's deduction of what actually happened is in reference to a real event between the two-real life authors. It makes me want more of this rather than the arc following these 3 chapters.

The depiction of Mushitarou's friendship with the already-dead-Yokomizo in the series is just excellent, I do think a core tenet of their real-life friendship is their willingness to do anything for one another, stemming from that fateful meeting through their debut. It makes sense how in the series that this willingness is taken to the very extreme. Real-life Yokomizo's illness and BSD Yokomizo's illness parallels one another in the sense that it both brought Mushitarou into the limelight, a 'debut' for both real-life Mushi into the literary world and a 'debut' for Mushi the character in Bungou Stray Dogs. His ability being named after his debut novel is also just like the cherry on top, every layer just perfectly slotting in so well.

To examine the characters' real-life and re-contextualize it in such a way that it fits the Bungou Stray Dogs framework, I honestly would like more of this going forward and I can only hope it does happen.

Afterword

I am so so very sorry this article took a while to finish, many sources are only in Japanese and for many of them I had to verify it. Along with graduating, job-hunting and also visiting Japan earlier this year, I was too busy and I overshot when I was going to finish this.

I can't help it though, I really do love Mushishi and his silly antics and his works have somewhat inspired me to write again too. I still plan on doing deep dives like these though I want to try and write about authors not in BSD.

Until then, adieu!

Sources used:

坂口安吾. 「推理小説論」 「新潮　第四七巻第四号」 1950（昭和25）年4月1日発行

小栗宣治. 「小伝・小栗虫太郎」 『日本探偵小説全集6 小栗虫太郎集』付録〈創元推理文庫〉（東京創元社、1987年）所収。

水谷準. 「作家をつくる話――なつかしき「新青年」時代」 新青年1985年2月新春特別号第32巻第1号

横溝正史. 「小栗虫太郎に関する覚書」

江戸川乱歩. 「探偵小説四十年」

Laturnas, Jaylene "No longer Dazai : the re-authoring and "character-ification" of literary celebrity in contemporary Japanese popular culture" (2023) UBC

朝霧カフカ & 春河 35 "【特集】 文豪で遊ぼう: 「文豪ストレイドッグス」原作者 & 漫画家インタビュー" 2014年4月

not what you hoped for OP but it made me realise having a PoV switch right now would be 200% psych and could happen. As in: 'in the narrow room' subpart ends, as we hop to elsewhere and do plot there (Lucy team? Kenji & Tecchou? Mori movement? Atsushi getting to Fukuchi & co, even tho i keep making that call and it keeps proving wrong?) and another subpart, then in 3rd subpart resolve Meursault decisively. Thanks, i hate it.

re: topic (but still not quite): it's been grinding my gears that noone is calling this, but: regardless of DoA resolution, the optics/situation for ability users is terrible. Globally. For the average person this is a broken masquerade scenario - vampires EVERYWHERE in a way that cannot be covered up or handwaved away. If they get to know the details, it would be caused by an ability user (1) being wielded by another ability user (2) using an anomalous object created by another ability user (3!!!). Given that previously ability users weren't public knowledge, populace's 1st contact would be of "they are an existential threat". This makes them convinient scapegoats for both the actual chaos and other assorted problems, real or imagined. At this point 'removing nations'(yes i know it's a coverup, but let's be real: if it worked you could bootstrap any objective with it.) would be merely an assurance that an aggregate database of ability users would be created - which with sufficently bad PR is a very scary proposition, indeed.

as a sidenote, i've once thought myself into an interesting spot: let's take the "What is the opposite of crime?" bit from No Longer Human seriously for a moment; a 'crime' is whatever either law or society deems undesirable action. Because society is made out of smaller societies, and each will have norms that differ slightly (or even conflict with the law/norms of other societies), any given action could be declared a 'crime' by any of the above. Therefore, crime = action. Therefore, the opposite to crime would be inaction. Every living being acts (commits actions?) by the virtue of being alive (breathing, eating, sleeping). Therefore, only inanimate objects do not commit crimes. Now that we have logic'd ourselves to "The sin crime is breathing", the question remains: Do corpses count on the grounds of being alive at some point? Within these parameters, it's actually another question: Are crimes forgivable? Since multiple things can all be called 'crime', despite different severity, the answer would be a binary yes/no.

At which point, the thread splits into two:

1) From a character backstory perspective: assuming he learnt of his ability by killing family memeber(s) accidentally, who exactly could give him forgiveness for it? assuming he does not regret a kill (both in the sense of "can't logic your way out of lack of fucks to give, chief" and "doesn't go into hysterics as seen in other people"), dogma would not give him forgiveness either. Therefore, the answer is: no.

2) From what i vaguely remember of C&P, the entire thing is a setup to do a redemption arc. For a redemption to happen (as opposed to what TvT poetically calls Heel-Face Door Slam), there has to be an underlying assumption - on both the repenter's and the judge's ends - that a crime can be forgiven, with enough work. For Dostoyevsky - you know, the terrorist? - to line up with both C&P and Dostoyevsky - you know, the writer? - or rather, what hazy picture i have of his body of work. For a change to happen, the implicit assumption has to, as well. Therefore, the answer is: no. (as of right now, circa ch107)

…i recall randomly going "wouldn't it be really lulzy if the endgame was NGE's Instrumentality?" but between writing out the above step-by-step, and DoA's objective having to be something to shook Atsushi outside of black-and-white thinking backed by DoA being a treat to ADA… and it's infuriatingly self-defending against that quote you have provided; "define: death"

If we hinge on ability user != ability, and 'ability as an analogy for having thoughts deep/insistent enough to write them down and publish', it circles back to the above, tho without an in-universe explanation. …when is an ability not tied to a user? When it's a singularity. This is the part where once again i suddenly remember i haven't read a single LN and just absorb spoilers like a sea sponge, but: is there some mention (in Stormbringer?) that singularities do not change? In the sense of 'do not adapt to stimuli'? If yes, it would not be a complete sweep as elaborated above, but would still line up with "not acting" in a way. If we tie this to the whole 'god likes order' we breach straight into an entire memeplex of "perfect order = no change" (see also: Shin Megami Tensei's law - aka christian god and angels - factions)

Everyone is in full conspiracy mode since (a little before) the last chapter with the Fyodor ability theories and I'm loving that. That got me thinking:

What was Fyodor's objective again?

Disclaimer, I fully rely on translations, but I cross-checked with two of them so...

special thanks to @ticklinglady for finding these pages!

"... a world free of sin and skill users."

1. A world free of sin

He says he wants to spill the blood of the sinners like 3 times but doesn't really give an explanation of who, what or why.

His definition of "sin" is quite vague, but could be the usual catholic/christian stuff. The one time he identified a specific behaviour as a sin was when the Agency and Port Mafia were killing each other "even though they knew they were being set up to do so" (though he also said Ace breathing and thinking was a crime and said killing Karma was freeing him).

In the Dead Apple novelization (not written, but edited by Asagiri, who came up with the original idea for the movie and gave a whole speech on Fyodor to the writing team), Fyodor does make a speech about the post-dragon red fog surrounding the Earth, transforming it into a "dead apple" by essentially killing everyone and "washing away the original sin of man". The apple motif was a sort of poetic irony.

According to the novelization, this was his true objective at the time and he never mentions the Book, not even in the epilogue, as opposed to doing so in the movie.

This scenario is kind of a contradiction, since the fog would have erased everyone except ability users, though most would have suffered at the hands of their abilities before dying. Said abilities would have then been kept in a collection maintained by Shibusawa, an ability singularity himself, which brings us to...

2. A world free of ability users

I went through the manga and never did find an instance of Fyodor speaking ill of abilities, only ability users. That doesn't mean there is a difference to him in the first place, but it's interesting.

The Dead Apple scenario is to be taken with a grain of salt, but killing everyone doesn't seem to be a problem for him (he kills nearly everyone he interacts with anyway), and this implies that to him every single human is sinful beyond redemption and can only be saved through death. Why he is singling out ability users in that case? seems redundant.

Other instances of him talking about his objective included talking about "the will of the hand of God and Demon", doing this "for the sake of a better world", and saying the death he gives is a form of salvation by severing the influence of sins from the soul. He also talks a big game about God and his intentions (order and stuff), and Dazai likes to point and laugh at him when he does so.

As a bonus, in Dead Apple, Fyodor answered Dazai's question of why he accepted to join forces with him by saying it was "simply to see the world as it ought to be" (and because he wanted entertainment, with Dazai turning out to be that entertainment, as Fyodor was in fact using him the whole time for his own agenda).

now go and apply that knowledge to your theories

would Jouno scarejumping everyone in a Light Snow car bolster the point? that noone remembers gun children would kind of mean the fluff action is performed properly - enjoyable in the moment only to be forgotten as a mostly irrelevant point.

to salvage the setup: real selective killing would be in the past, and enough fuckups/pressure would have him be progressively more extremist about it. People do make reads on how BSD is absurdist at it's core - which would mean no plans perfectly coming together*. Plus, while he appears to be opportunistic about how genocide is carried out (DA, DoA), the primary plan seems to be the Book - and anyone with the book can retcon everything they did in the past. That said - and wouldn't it be funny if neither of us read Dazai's Entrance Exam - part of it is probably to signal Dostoy is way WAY further gone than that particular obstacle.

the post seems like noticing a novel Franchise Original Sin: sometimes it's character driven drama and sometimes it's just cool shit with abilities, and the bits of Meursault you dislike are an extension of the latter? Death Note jungle gym & dumb nonsense chatter to lower tension for Action Flick Shit elsewhere, if i remember properly?

*would all of this be a problem if Dazai fucked up badly in the main manga? earlier, hopefully?

At what point does a character become so evil that they're just irredeemable? Because I can ignore the Meursault arc by setting my story before it, remove Fyodor from some of the more catastrophic decisions made by the DOA and Guild, which at least bring him back down to some sort of relatability but... how can you redeem a man who manipulated a little girl into blowing herself up? Who put guns in the hands of children? It's so... evil. I can write Fyodor as a previously mostly good person, who took a horribly dark spiral into a delusional genocide mission. It's hard, but I can, so long as he doesn't succeed very far. Even killing Karma, while still an evil action, is questionable, debatable, to the reader. Because you can understand why Fyodor did it: he saw ending Karma's life as the only way to save him from a lifetime of torment and sin. And the reader can question how much they agree with that decision. And that's fine; I like that. But the little girl? It's the same principle, in theory: Fyodor could justify it to himself by saying that he wanted to save her from the sin surrounding her, to send her to God before she had the chance to sin. But that's where it breaks down. Because it becomes such a flimsy excuse, trying to mask such a massive evil.

Maybe I'd take out the kids with guns. That's too much, unless I'm missing something. Have the long walk through the tunnels with Atsushi and Kunikida be tense instead, them peering around every corner, ready for a harrowing fight. Kunikida's gun held tight, Atsushi tensed and ready to tiger out. Both peering through the darkness, only to reach a clearing in which stood a tiny little girl, hands clutched in front of her, scared, with some strange kind of necklace. And then in the next horrifying moment they realise: it's not a necklace, but grenades. Then the scene plays out from there. Not only would this be more impactful as a scene (in my opinion), it'd also characterise Fyodor in a different, much more interesting and nuanced way (in my opinion).

Because in that situation, it's only the little girl he's justifying to himself. And it's a bad justification, clearly paper-thin, but he believes it. And that makes the underlying horror and twist of Fyodor's character all the better--now that you've trimmed the fluff, that one point speaks so much more. You've emphasised that Fyodor's the type of person who's willing to manipulate a little girl into blowing herself up, but you've also shown that he put deliberate thought and care into that decision. It was to break Kunikida, but it was also to save her, to end her life before she fell into sin. And you would remember, because of how impactful the scene would be (whereas I'd bet a lot of people don't even remember Fyodor had gun children).

I think that's a problem the entirety of BSD (or maybe just manga in general) has. There's too much fluff action. It waters down the truly impactful scenes and breaks down the interest in characters like Fyodor. Because when he's killing very selectively, not only can you show how he rationalises those deaths for the sake of his plans and have that not be broken by continuity, but you get so much more out of those deaths. And if nothing else changed, and Fyodor was the only antagonist who didn't kill wantonly, imagine how different that would make him feel. His plans by their very nature would be new, interesting, contrasting. An antagonist who uses precise and measured deaths, just a pinpoint here, to achieve a much bigger effect on the characters than even the destruction of Yokohama by the Guild, would be something both new and far more terrifying.

And it would show how well Fyodor understood the ADA, that with just one death he could shake them so much--and how little they knew him in return would be very worrying. Imagine how much better his conversations with Dazai--the discussion of saving people would have so much meaning if Fyodor wasn't a hypocrite who killed people for no reason. If Dazai says that people are worth saving, and Fyodor agrees, even though they've entirely different meanings behind those words, and the meaning is actually there- imagine the subtext, the intrigue, the actual good writing that could come of that. God, I really wish it was so.