People had a few corrections for the last post:
I believe the purgatory reference was to the character Beatrice from The Divine Comedy, not sure if that means anything significant :s . Also the images in the video are fan art, the original art looked… Very different :p
Ah whoops! Thanks for correction on fanart.
@alchymistryandcoldsteel mentioned that the Beatrice of the Divine Comedy is based on a historical person.
Last time, we had the stage set for the next ‘game’, and we were introduced to another Beatrice.
The new narrative begins with Rudolf and Hideyoshi on the boat to Rokkenjima, discussing Eva, and in particular, Gender and how the misogynist pressures of her family affected Eva.
This segues into a flashback sequence where a young Krauss is very misogynist to a young Eva.
Eva calls him on being full of shit, but Krauss just pushes harder and harder.
It’s definitely going along with the overall theme of trauma replicating itself, abuse in the present being shaped by abuse in the past. We’ve seen Eva’s petty spitefulness, and now we see some of the background to it.
So Krauss antagonises Eva, she gets upset, and then Kinzo gets involved. This won’t be good.
He actually lays into Krauss, not Eva, laying into him for a lack of dignity and maturity. Krauss still takes the opportunity to needle Eva about not being the head. So Eva makes an appeal to Kinzo…
His response is as on-the-nose misogynist as Krauss.
He really has a go at her, abruptly declaring that she is disinherited for disobeying him and can no longer be an Ushiromiya. Take this opportunity and get out, Eva. Anyway, Kinzo has a coughing fit and Krauss attends to him.
Gender is bad, everyone.
Eva leaves and has a crisis over whether they’re right. She wonders if she was studying just out of rivalry with Krauss.
We finally see a proper sprite of Young Eva.
She looks younger than she did in the pencil sketches. Who’s she talking to? Well, who would make a vow like that? It’s gotta be Beatrice.
Haha, no I’m completely wrong. The ‘young Eva’ is… literally a younger Eva, ‘born into her heart the day she made that vow’.
Eva seems to be drawing a curiously sharp line between herself and this imaginary younger self, as if this younger self has an independent existence.
Young Eva reminds Eva how she decided to get revenge on Krauss by becoming the head in his stead.
Given all the witchcraft about, these references to ‘magic’ may be more literal than they seem.
Young Eva encourages Eva to go back to studying and continue to show up Krauss, and wishes that he’d get on and die. Eva retorts that as a woman, she’ll never be accepted, no matter what. Young Eva says, right, they should die. And she says that Kinzo could easily reverse the ‘male succession only’ rule.
Young Eva says that day will ‘surely’ come, and when asked how she knows, says it’s her magic. ‘Surely’, huh. Where have we heard that before? Well, not that exact words, but it sounds similar to Lambdadelta and Bernkastel’s deals.
Her ‘believing heart’, huh.
I guess we can add Shiny Chariot to the list of witches alongside Beatrice, Bernkastel and Lambdadelta.
Eva, however, has an alternative idea. If she can have a child before Krauss, that child could jump the succession, an alternative path to revenge.
Now talking directly not to the past Eva in this memory/dream but the present Eva who is recalling it, young Eva is not happy.
Young Eva calls present Eva out on treating George like Krauss and Kinzo treated her. Present Eva… retorts aggressively, but after a moment, accepts this. She says the extortion plan against the embezzling Krauss is a better way to get revenge, but young Eva says that’s boring and demands that present Eva believe in her magic to become the head.
I’m pretty sure young Eva is Lambdadelta now.
I’m absolutely certain young Eva is Lambdadelta now.
This suggests that Lambdadelta, like Beatrice, has some sort of ‘avatar’ within the narrative.
Young Eva/Lambdadelta encourages Eva to solve the riddle as a path to becoming the head.
Next: Eva wakes up.