Okay this is so interestingthis story Myth's Bad Ending IS a standalone short, but it'swritten like a final battle scene of a greater narrative that doesn't exist it's like if we had the lastbattle in Avengers Endgame but without phases one two and three setting it upbut it still works somehow and this story doesn't just stillwork it thrives it's incredible some background if you don't know what this is if you're watching this and wondering hmm, the visuals are fantasticbut where are the voices.
Why is it in greyscale it's because this whole thing –ALL of it — was made by one guy this is not an anime made by a big studio it's not some cinematic short funded by a bigcompany with a whole team of animators behind it no this is a fan project made by a single fan Myth's Bad Ending or Myth vs Ina isa fan animation based on the lore of Holomyth, a super popularvtuber group under Hololive and the whole thing was conceived, written,animated by an artist named Mazumaro and despite being a fan projectdespite being made by one person.
It's honestly better than a lot ofanimation you see from like actual studios with like actual industry money behind it that's crazy but what's even crazier to me is despite the fact that MazumaroI assume is an animator by trade that's what he's dedicated the mosttime to that's the specialty here there are so many great writingthings about this narrative: micro stuff, macro stuff and evensome seriously ingenious meta stuff and I don't know what was consciouslyimplemented or just insane storytelling instinct but there is so much that just workshere, there's so much to learn from here.
And by the way when I say there's nosetup for this, I know there's lore here but I don't know any of the lore and I'm surea lot of casual fans don't know any of the lore and this is totally watchable with no prior knowledge of what's going onor who these characters are and that is how I'm gonna be proceeding here from the POV of someone who knowsnothing about what any of this is so let's talk about this firstshot (and I know it's not the actual first shot we'll talk about that too) we see four characters here, one character here.
Already I know exactly who the villain is, andthen by implication I know who the heroes are it's pretty clear just fromthe look of these characters dark shadowy monster versus normal lookinghumans, and even if I didn't get it from that there's this gigantic shadow literally reachingout at us which is more darkness on the screen but also it feels like a threat,it's like darkness clawing at us we feel that sense of threat subconsciously then we get our up close shot of our villain again we gather so muchfrom this just visually here Ina's design has always beenimmediately and purposely incongruous.
It looks unnatural: we have a tiny littlegirl with this mass of lovecraftian tentacles but mazumaro in this iteration of the charactercranks that up a lot, and really efficiently blackness is covering a little girl this isn't just a monster, this is a girl whobecame a monster, we get that just from this image the blackness here is just screaming”possessed” “taken over” “corrupted” and in our minds, we can separate thegirl from this blackness from the monster and if we do that well this girlwould fit in perfectly with this group of heroes: this group of other girls so basically two images and we're alreadyinferring the larger story behind it all.
These girls used to be part of one group,monster included, they all used to be friends and then something dark andunnatural took this girl over and now the friends have to fightagainst their former now corrupted friend there's a setup! the full thing! don't need a two-hour movie, don'tneed a full season, don't need three phases of a cinematic universe leading up to this no, two images and we're good, that is impressive let's also talk about structure while we're here, because that's something else which isalready implicit from this first image.
But then Calli stepping up first confirms it four characters versus one character as soon as we see that we can be pretty sureeach girl is gonna have her turn fighting Ina and implying a very clear set structure toa fight scene like this creates anticipation we will be watching Calli go thisbe anxious to see: what is Kiara do? what is Gura going to do? what is Ameup to? and why are they protecting her? and the particular order skipping aheada bit is actually really clever too the order is Calli first, then Calliand Kiara, then Gura, and finally Ame with any progression with any buildup we are trying to… well build up!.
We want things to get more and more exciting more and more epic bigger strongercloser and closer to victory but mazumaro reverses what I would havethought to be the logical order of build up just going on superficial impressionsCalli looks the strongest: she's taller, she has a big weapon, we have this whole deaththeme to character that makes her feel dangerous then Kiara: who's also taller than the others, has an athletic build, wesee she has a weapon here too and her theming isn't exactlydeath personified like Calli's, so I would think she's the next strongest.
Gura is the smallest, but we see the sharktheming, the shark teeth she would be next and then least apparently strong is Ame,who looks just like a normal detective girl we are not going from normal girlto strong to stronger to strongest we start with the apparentstrongest, we start with death itself which narratively seems likesomething we would be building up to but the way the starts, it's clear that the least dangerous looking member ofthe team is our last resort she is what we're building up to so that's interesting it's anotherlayer of promises with a twist.
Because we know it's still going to build up,but now we don't know how it's going to build up there's an aspect of each of thesecharacters that is being hidden from us if Calli and Kiara fail, howcan Gura possibly have a chance? and whatever makes Ame the most dangerousis a total mystery at this point so that's more anticipation more specific scenes we're looking forward tospecific aspects of those scenes more little hooks within hooks within hooks here very similar to how in Dragon Ball Z you'lloften see the final form be the smallest one it's an implicit promise that there'sstuff that's being hidden from us.
That we're going to seesomething that totally shocks us so Calli goes in it's a quick battlebut this accomplishes a lot too Calli does well but Ina demonstrates that this battle will be a level above whatquick scythework can take care of the point of this first little fightsegment is ramping up the power level fast and next we ramp it up even faster becausewe already change up the implied structure we are done with 1v1 it's time for 2v1and that's also augmented by both Calli and Kiara transforming into their finalforms which cranks things up even more and let me just add here underrateduse of the setting, the cityscape here.
Not only so that we have alot of stuff to crash into but it really emphasizes the scale,giant reaper Calli looks super badass fighting among the buildings wegot Kiara shooting fire everywhere but what I love most is Ina's fists: so unnatural, so eerie, very in-keeping witha corrupted monstrosity theme and also just hard to imaginehow one would fight against that how do you win against giganticfists that come out of nowhere? and the way this sequence ends just as unnatural,just as wrong, just as impossible to fight okay Gura's turn, let's talk fighting style.
Gura changes up the paradigm byfighting with her shork phantom thing and then skipping ahead she changes up the paradigm again with (I assumeit's supposed to be) Red Gura and we see this whole hand-to-hand combat scene and then she changes it againwith the chase scene afterwards so this is a continuationof what we saw with Calli with both these characters we get fightscenes with multiple different phases of combat and multiple different styles of combat and with Ina reciprocating withher own various different styles.
So between all of them, so far we've gotten Calli's scythework Ina's magic beams Kiara's chicken fire giant reaper Calli Ina's fist from nowhere her unnatural explosion Gura's phantom shark attack her one-off trident throw.
Red Gura's hand-to-hand or… teeth to tentacle and then from here the hand-to-handbecomes the whole parkour rushdown sequence we've gotten like 10 differenttypes of fighting here that is so much diversity in action, andit's only been in five minutes that's crazy ok, I bypassed a lot here the emotions oh my gawd mazumaro very subtly set up that we weregoing in this more emotional direction here for Calli and Kiara, they werein logistics mode going in.
We gotta contain this, we gotta buy time for Gura it already starts on a more personal note she's talking to this monsteras if it's still her friend she's saying, “Please stop” –that's not what you say to a monster and we get this dark god being thingresponding directly to that, shutting it down Gura then does go into fight mode,but from within that mental state she is yanked back into personal mode feeling so discouraged she can't help butthink about Ina's cheerful encouragement as hard as she tried she justforced back into that mental state.
Way back when, in another life fullof play and laughter and kind words and those feelings I think thisis so important in fight scenes we need the action and excitement and chaos but what bumps these scenes up to the next levelis the sudden intrusion of unexpected emotions whether that's sadness or humor orsentimentality or shock or beauty it just imbues these fight scenes with a differentlevel of meaning and a different type of intensity we don't know where this isgoing to take us emotionally and I love that we get this moment now we go from bloody fighting to playing video games.
It totally shatters the mood, it destabilizes us and it thrust us into all the sadnessbelow the surface for this character we're seeing a lot of depthexplored very quickly here especially since immediately leading into thismemory was an image of just how far gone Ina is we get the full view of thiscosmic horror she's become confirming exactly what this beingitself told Gura: that her friend is gone and then right from that into this happymemory of this friend who is lost to us lost to us because of this that sadness becomes painful resolution, weget this clear emotional transition there.
And that pain is concretized, it's symbolizedby what it takes to bring Gura to her final form losing a friend feels so muchlike getting stabbed in the gut, and with this particular transformation this small aesthetic change is not the oneI find interesting here, it's this animation a creative way of overcoming the limits of sizewhen it comes to implying character strength is making it look like somethingelse is animating this person Gura is propelled forward, it'salmost like she's not in control, something much stronger, much more wild is so we see Gura's pain channeledinto this wildness so raw.
That it tears right through Ina's magicthat's been stopping everyone else and Ina is struggling physically to keepup, she has to call in the giant fists again and we are thrown into thisheart pounding chase scene dodging giant black hands from the sky,flipping around them, climbing on them I love the disorientation here in this shot, it's like we think there'ssomething wrong with the video and then suddenly we're rising into the air and then we're falling and this really intense sequence ofthe hands clawing at us and then…
BOOM I mentioned this in my Lordof the Rings video too: breaks in these big scenes, we need breaks and that was by far the most exciting part ofthis fight, now we get some time to breathe it would have exhausted us if it went on too long but this chase scene was exactlyas long as it needed to be and then we get a quick break before this scene… oh boy we are thrust right back into the emotions.
And this is the resolution to what was essentiallyGura's own little arc within this short Calli and Kiara come here tofight, Ame comes to save us Gura is here because shewants Ina back as her friend mentally that is the spaceshe's in, that is how the starts that sentiment is shot down, andGura does force herself to fight but then from within that, the longingand sadness creeps its way back in again but Gura is resolute, she channelsher pain into this final assault and it doesn't work and it's hopeless and then there in that momentof absolute hopelessness.
That is when we see Ina finallyemerge finally resurface so briefly just for half a moment this emotion we see in her, Mazumurocould easily have just had Ina be frantic and desperate in defending her friend but no, he chose a much more nuanced emotion there's disgust in this look, contempt and a complete lack of respect it's like she's swatting away a pest and there's pain too.
And strength also, Ina is fighting from the inside Calli couldn't do it, Kiara couldn't doit, Gura couldn't do it, Ame isn't ready but there is one more member of Myth Ina herself can fight, maybe she can do it and she does just like with Gura, it's the painof seeing her friend in danger channeling that pain, shefinally does break through she is released but too late and we're not only robbed of this reunionwe and Gura have been yearning for.
No the one emotion we get to seefrom Ina once she finally escapes, and once she recovers from her shock we get time to see one feelingthis one complex tragic feeling this lost regretful hopelessness and we hear from her the one thingshe's been aching to say this whole time not I miss you not I love you it's I'm sorry and she doesn't even get to finish saying it.
It's over, it's done PAUSE — so we haven't talked much about Ame as varied as all the actionhas been like we pointed out the biggest variation of them all has been Ame who's been kneeling the same spotabsolutely still this entire time the contrast between all of theaction and then this stillness makes us feel how out of place this is and Ame has already been set up as the mostimportant person to protect throughout all of this so we are pretty curious at this point.
OK, but now there is this whole meta dimensionto this as well that we have to talk about and this is absolutely fascinating so with any mystery arc within a story,there needs to be a ramp of curiosity and the structure of that ramp: whereit starts how high we can build it depends on the size of themedium we're working with with longer form media wehave the luxury to start small the first few clues are tiny, we may noteven notice anything is out of the ordinary or we may be curious, but we forget about it because there's more important things going on.
Eventually the clues get lesssubtle, and we cannot ignore them and then the biggest clues, what really pushesus to the peak of this curiosity mountain those come at the very end just before the climax these are the moments we're like wait a second what is going on here all that stuff before isn't just important this is everything, this iswhat the whole story hinges on and then in contrast, with shortform media we don't have that time we need to get the audience close to thesame heights of curiosity much quicker.
So we drop bigger hints, we drop them earlier, andwe make sure that you know that they are big hints this standalone short of Mazumaro's, asyou're seeing it now, is a standalone short but if you were following thestory as it was being produced you would have experienced itmore like a series of shorts mazumaro produced this over thecourse of about a year and a half posting updated versions every few months, and we'd usually get the nextscene or the next few scenes so this release format, masmaro sawopportunity here, and he took full advantage what's essentially going on here isthat for half the potential audience.
This is short form fiction,it is a standalone short and to the other half it's long form fiction,it's an 18 month long series of shorts for us 18 months ago we saw Ame kneeling,and doing something and we wondered she just got to charge herclock attack or whatever it is but then we kept seeing it and kept seeing it and each time we saw her kneeling,each time we saw everyone else failing everyone else stepping in frontof her, we started realizing hold on something different is going on here it's not that unusual for a character to prepare.
Their attack for like five minuteswhile everyone else is fighting but for long-haul viewers shewasn't kneeling for for five minutes she was kneeling for 18 months something's going on, whatin the world is she up to? that is a very very gradual curiosityramp that builds up to significant heights compare that to the short-term audience experience she's been kneeling for onlya few minutes, not that weird so we have to change things up and this is where we get tothe next element of all this.
Most of mazumaro's updates weresequential, but not all of them on the final update mazumarochanged a few things radically first of all I mentioned thisearlier the version you're seeing now starts with Ame in this mysterious room not so in previous versions past versions all started with that firstshot we talked about with the characters in this final version we got all these signsof what Ame was up to: the connecting lines in older versions we see almost nothing, she was just kneeling down on aclock imprint: no lines no interface.
And finally most importantly: the title the version of the short you areseeing now is called Myth's Bad Ending not so in previous updates it was HoloMyth versus Ina inevery version before this one and these changes, these are all muchbigger clues that start the curiosity ramp at a much higher elevationcompared to the previous versions right off the bat we know Ame isn't preparing somedetective pocket watch themed attack or something no she's planning something totally different we know that because she ends upin a weird room, no Ina in sight.
This clue is expressing clearlythat Ame is playing a totally different role in this than the other characters and something bad is gonnahappen, it is a “bad ending” what is up with that? I wanna know wait but doesn't that messthings up for long-haul viewers? we just talked about this beautifullygradual progression of clues they get and now all of a sudden we have the superloud gigantic first clue in the opening scene hat doesn't mess things up? but no for the old viewers remember.
This isn't the first scene at all for us this first scene of the final version iscoming at the end of its own 18 month narrative for us we are long past smallclues that was over a year ago right now is when we need the bigclues, and that's exactly what this is 18 months in, right before the big climaxfor us, we get this radical title change we got the modified scenes and we are ramping up likecrazy just like the new viewers we are exactly parallel totheir ramp, in matches perfectly two completely different viewing experiences,two completely different mystery structures.
But mazumaro finds a way to bend thenarrative to serve both perfectly and he does it by using in the release format this isn't even a tool within the narrative itself but he realizes there is a sick opportunityhere, and he executes so efficiently incredible meta storytellingtechnique, I'm totally blown away by it I don't know if it was intentional from the start or what I guess is that itcame together that this is the best plan maybe about two-thirds of the way in either way it worked beautifully, so muchcuriosity has been built up for all viewers.
And getting back to time freeze scene, building up curiosity is essential for droppinga big complicated piece of info on the audience which is exactly what we're about to do if they aren't anticipating it, if theyaren't desiring it, they won't be willing to put in the energy necessary to understandthis complex thing you're about to show them so we've done: that oodlesand oodles of curiosity here but still can we appreciate just howefficiently Mazumaro drops this info bomb on us? time travel and parallel universes andresetting timelines is horrifically complicated and he does it all in secondswith no dialogue whatsoever.
Forget even that added openingscene, the added thing with the lines even without that, we know thishas to do with time from the clock e know this has to do with manipulatinghim because we experience the time freeze which is long enough, we linger for enoughtime on this freeze, that it sinks in that the whole narrative is aboutto plunge into time travel mode but then comes the most difficult part because we're not just hopping dimensions we're hopping to like an end of time-esquemeta dimension overlooking all dimensions overlooking all the time in all the universe.
How do we convey that? so this dimension hopping scenemay look like a random montage but there's a progression here too first of all we get a dinosaur and big smol Ame next we get Skeleton Ame then Ami with a mustache then we see all the bee Ames then this roughly manga style universe and finally this beautiful color shot.
So you go from bizarre versions of our reality with bizarre things and bizarre versions of us there's a fun instillingcute mood to this first half then our last two changes, it's thefabric of reality itself that changes the textures of the physical world aredifferent, the way the world exists is different and finally the loudest ofthese changes: the color and here in these last twochanges, no jokes at all we're past the fun, these changesare getting kind of serious there's like this nervousness.
Where are we going next? what is this building up? to it's very subtle, we're not noticingit, but we're feeling it subconsciously it's preparing us to land here inthis place that we know will be the most different from anyof these other universes and the most serious of anyof these other universes and as far as that difference,the function of this place to convey this incredibly complex purpose we have here, the function of this metaoverarching dimension we get this this is making use of a principle I heard fromMark Rosewater, head designer Magic Gathering.
He talks about this from hisearly days as a sitcom writer the idea is having a balancebetween comfort and surprise you have these core elements of the sitcom: thecharacter group, the setting, the type of plot if you want to change one of these up,you have to keep another one the same we'll have episodes that take place inFlorida with all the del boca vista characters but it will be the same plot type but if we change the plot type, theepisode that's told backwards for example then we need to focus on our familiarcomfortable core character group we need that intact.
You cannot do big different cast of characters,and different setting, and backwards plot that would be too different you need to anchor the complex interestingsurprising thing in the comfortable element that's kept simple, familiar, easily digestible here we have a very complexgrand meta dimension thing there is an impulse to constructan equally complex grand way to manifest this complex grand thing Mazumaro realizes — no, you anchor the complexityin an uncomplicated and familiar package a YouTube video, possiblythe most familiar package.
For people currently watching aYouTube video, very straightforward we see the scene we just left on screen paused very easy metaphor, that's howwe were already thinking about it and that again very subtly sets upexactly the decision we're about to face if we can pause the runtime like a YouTube video can we rewind the runtime like a YouTube video? we begin to understand here we begin to suspectwhat's going on in the lead-up to this decision and this decision of hersis essentially about hope and there's another thing that Mazumarojust gets perfectly and expresses perfectly.
The way to feel hope is through hopelessness hope needs hopelesscircumstances to actually be hope otherwise just logical, it'spractical, maybe it's optimism? but no, hope is specifically acting whenthere's little or no chance of success Mazumaro conveys that immediatelyand powerfully right here this has not worked before, thishas not worked multiple times and not working means death,it means your own corpse we have stakes and odds and in a very vivid and emotionallycharged package in just a couple images.
And it's elaborated on here with the phone message confirmation of the utterhopelessness, could not be clearer and Ame understands that completely and Ame decides to save her friends she destroys the film she rewinds time to the beginningresulting in her own death all for this tiny infinitesimal hope thatshe might be able to save her friends it's also an effective choice to wait until now to confirm her understanding of howthis whole meta dimension works.
Instead of introducing it earlierand then confirming it earlier Mazumaro introduces it, he hints at his purpose, we may have formed a rough ideaand suspect about what's going on but then now we deliver the suddenrush of understanding along with the sudden rising action of Ame's decision and all the emotions of understanding and all the emotions of Ame's decision areconcentrated into a single moment the big picture snaps into focus,Ame's sacrifice snaps into focus everything up until now we suddenly get.
We get that the other hololive members couldfight Ina, but it was always to buy time it was always to give Ame theopportunity for the ultimate solution Ina's own solution, as we foreshadowed try again try a little harder and you might win and we end ironically with abig bang, with the beginning ok, let me go over some things I breezed past I compare this to the MCU before, Avengers Endgame look for a moment at the setup to that.
We see localized threats in Phase 1 fighting arms dealers, fighting Nazis the Battle of New York (onecity) to save Earth (one planet) and then eventually, we work our wayup over the course of three phases to conflicts on the scale of the entire universe,conflicts dealing with multiple universes this short started with a battle tosave a friend on a battlefield in a city and in 11 minutes — not 11 years, 11minutes — we get to multiple universes that's unreal, I'm not gonnasay there were no shortcuts there's obviously more weight andstronger emotions and a way bigger payoff.
We can get with a longerand more detailed build up but accomplishing that successfullyin any form is ridiculous next the type of decision this builds up to is exactly the type of climaxshort fiction wants to have ideally in any story butespecially in short fiction, you want your story to exceed its own run time you want people thinking about the charactersthey like, discussing important scenes you want moments that stay withyou long after you're done watching generating questions is a great way to do this.
And that can be about how the world works it can be about meaning behindwhat we saw, the symbolism it can be about the grey moralityor uncertain outcome of a decision as soon as this ends you cannot help but thinkabout arguments for and against Ame's decision is it moral to restart theuniverse to save your friends? would you make this decision? what else can be done in this new timeline? what else can be tried? what hope do they have? the climax should end the story's arcs,.
But should also be shaped in a waythat extends the story's impact and these unanswered questionsdo that really effectively next I mentioned this in the Annie video Mazumaro has a truly comprehensive understandingof what his tools are and he uses them all this short is not even in color mostly, butthe use of light and dark are incredibly potent just in the first few shots, the shadows,the shading and the lack of shading how the camera focuses andunfocuses, even on the subtitles we have the timing, the way he'll slow downmoments to emphasize the impact of them he takes advantage of audience confusion a lot.
He disorients them through the perspective tounderscore what's going on once we figure it out there's dynamics with the fast-pacedmoments and slow paced moments, the breaks he got the non-sequential scenes the mood: the seriousness and the silliness all these different stylistic options the whole choice of breaking out of theblack and white without one color scene and this understanding of all his toolsis what allows him to do stuff like putting in fan service and Easter eggs without cluttering the narrative at allfor people who won't get them.
He makes use of the setting,of aesthetics of little objects there's all these little fun thingspacked into the dimension hopping scene there's this Irys reference that looks likea speck of light if you're not looking for it but my favorite is another super meta storytellingthing just like the tool we talked about earlier about using the release formatfor the progression of clues the title of this short is Myth's Bad Ending a title like this naturally evokes the question so is there going to be a good ending? and masamaro was ready for this.
He had this answer that was beyond epic the good ending is happening right now Ame restarted the timeline of the universeand we are living in that timeline now and these characters exist andthe world has not been destroyed that date at the end, whichitself is an easter egg had already passed by October 29th whenMazumara released the final version of the short it is another subtle clue that we areliving in this story now as we speak talk about extending thestory beyond its runtime geez! and again realizing the titleand the release date can also.
Be narrative tools man that is just so sharp how do you think of these things I usually plug my own stuff atthe end of my videos and I will but go support the guy who made this donate to Mazumaro, sub to his channel I love when someone with gigantic talentjust appears on the internet out of nowhere and we get to follow their journey asthey grow and make more cool things and I want to end this video with some words ofencouragement to artists of all kinds out there because like I mentionedbefore this is a fan project.
Someone like you made this and there's a lot to learn from this on anindustry level let's call it, a career level it's an incredibly confusing process tostart a career in these kinds of industries it's hard to know what to focuson to build the following, to get noticed by people you want to notice you to get credits to your namethat can lead to bigger things and a common starting point is to piggyback you're an artist make fan art you're a musician do covers.
But the limitation is that while you maybe showcasing your art skill and art style it can be hard for people to see you through that a lot of people will see your fan artand they'll like it and they'll share it and the whole time they'll be seeing a coolpicture of a character they love drawn by… some artist on the internet they'll listen to cover their favorite song but there is a large gap between that and thembuying an album of your own original music however there's a sweet spot you can hit when you create a space within the type of fan.
Project you're making whereyou can take center ctage you use the IP as a launchpoint for your own creativity the reason they click may be because of the IP but what they experience and what they like is you a great example of this going back like 5-10years is the sketch series Hey Ash Whatcha Playin you have these two siblings Anthonywanted to be a writer Ashly wanted to act and they made a comedy series using populargames as a hook and a subject matter that was why we all clicked, butwhat was entertaining wasn't the game it was Anthony's writing, and Ashly's acting.
And lo and behold this fan project launchedAnthony's writing career and Ash's acting career Mazumaro took popular characters, theirpersonalities, their lore and made a short where the centerpiece is hisanimation and his storytelling the characters, just like their design, doesn'tdo anything on its own it gets you to click but the short is compelling and entertaining andimpressive because of the artist's creativity and the following Mazumaro gained is built on that and not completely of course thelarge chunk of his following are just Hololive fans who want to see morecontent about that, and that's fine but a more significant portion than usual ofviewers of a fan project like this noticed him.
We were blown away by the insaneanimation and insane storytelling and that is exactly where we want tobe if you're in a career like this and I don't mean to talk about all thisin a cold calculating businessy way it's clear that this is a project with a lot oflove and honest passion for the material behind it but that's what makes us want tohave careers doing stuff like this because we have so much love and passionwe want to spread that through what we make so yeah go support Mazumaro, get him closerto leading his own animation studio one day I am honestly so excited to see future projects let me know if there are other fananimations or fan projects like this one.
That are just head and shoulders aboveeverything else in terms of quality I would love to see more stuff like this subscribe! if you have any friends wholike hololive stuff or vtuber stuff I'd love if you could share this video withthem or give it a retweet or what have you no idea if the algorithm will getthis video to the right people, so I most likely need all the help I can get here support the channel onpatreon also if you'd like to big thanks to everyone over there shout outs to Melinda, new high tier patron.
And congrats to Savannah and Paulfor rendering their new short hope you enjoyed this analysisof something a little different and thanks for watching!
3 thoughts on ““Delusion’s Corrupt Ending” is a MASTERPIECE【Hololive】”
Thanks very mighty for the video!
So, about that flickering Sana symbol. Obviously, it’s a reference to her departure, but I interpreted it as a portion of the legend. To boot to them being very discontinuance mates, Ina and Sana’s lore ties them both to the Old Ones. When Ina succumbed to their will, Sana used to be seemingly the first one to grab, and the first person to determine a seek for at to connect her. If that’s the case, then Sana’s symbol flickering carries a deeply ominous implication that easiest compounds the scene’s sense of hopelessness.
Wow it’s loopy that even hololive announce material has made it to movie and legend evaluation channels adore this…