ange bleu a écrit:
La personne communique avec 3 personnes différentes au début de l'épisode :
- par portable => on imagine que c'est l'auteur du script
- par chat => un première personne qui s'interroge avec elle et qui est nommée Sempai (l'Impératrice ?)
- par chat => une personne qui écrit en rose, est hésitante et fait partie du Club de Littérature (Eru)
Ce qui est intriguant c'est qu'a priori ce n'est pas le Sempai qui fait la demande à Eru.
Donc est-ce que réellement Sempai = Impératrice ou c'est une autre personne ?
Après c'est peut être moi qui psychote mais il y a quelque chose de pas clair : deux personnes discutent entre elles avant d'aller demander à Eru, donc il nous manque un personnage clé.
C'est vrai que j'avais pas fait gaffe mais oui, on a bien une 4e personne qui intervient dans la demande et dont on ignore tout pour l'instant. Pour moi, la personne sous le nom "Please enter your name" est Irisu et il y a un Sempai qui intervient sous le pseudonyme "It's Me". Au vu de son style d'écriture, là je me base sur le jap, ce sempai est en fait une sempai. Elle se réfère à elle-même avec Atashi, elle utilise Kawai, ses particules de fin de phrases sont très neutres alors que même qu'elle écrit de manière enjouée.
Sinon, on a une thématique relative au tarot. C'est une caractérisation que j'apprécie beaucoup mais qui nécessite un certain nombre de recherches pour ne pas viser complètement à côté. Qu'a-t-on eu dans cette épisode ?
Irisu : The Empress (III) - A young and fair woman, sometimes pregnant, with symbols of power. She represents prosperity, creativity, sexuality, abundance, fertility, and comfort. It can hold symbolism related to The Three Faces of Eve (Childlike and Innocent, Sensible and Capable, Hotter and Sexier), and represent the main female love interest.
Alors autant pour la sexualité, j'aurais tendance à être d'accord, autant pour le reste, je ne suis pas forcément convaincu. Les Trois Faces d'Eve, je pense que cela peut être intéressant à mettre en place au fur et à mesure de son développement et du coup, on aurait vraiment un personnage digne de l'Empress. Puisque oui, l'Empress, dans le tarot, n'est en rien une version féminine de l'Emperor, qui est lui synonyme d'action, de gouvernance, de leadership et de force décisionnelle. J'espère par conséquent que Hyouka ne tombera pas dans cette erreur plutôt enfantine et vraiment impardonnable.
Mayaka - Justice (VIII) - A woman, sometimes blindfolded, holding a sword and set of scales. A very traditional allegory of justice, objectivity, rationality, and analysis, expect references to the Judgment of Solomon, the Balance Between Good and Evil, and other Secret Tests of Character.
Why not. Je ne suis pas complètement convaincu pour l'instant mais il est vrai que Mayaka reste tout de même un certain symbole de rationalité parmi les personnages. Dans le même temps, Justice est aussi un juge de caractère comme l'a été le Roi Salomon en son temps et pour l'instant, c'est un trait qui manque clairement à Mayaka.
Mayaka : Judgmenet (XX) - a young man rising up from his grave, reunited with his parents, as an angel blows the trumpet of the Last Judgement. It's The End of the World as We Know It, the time for the Final Battle. The Horsemen of the Apocalypse are probably not very far off. Actions are weighted, plots reach their achievement, secrets are revealed, and it's time to see if it will all end up for the best or not. Beware of death by redemptions and resurrected messiahs.
Clairement, il est trop tôt pour ce genre de cartes. Satoshi a bien fait de changer car ce n'est pas encore temps de s'attaquer à la fin du deck.
Satoshi : Magician (I) - A young man with the symbol for infinity as his hat. He holds tools of his trades, which are small symbols of the four suits and of luck in his hands. The Tarot de Marseille traditions tends to view him more as The Trickster and sometimes a bumbling one (and is sometimes instead named Juggler), whereas for the Rider Waite version he's more of a powerful and assertive magician. In divination, it's often attributed to the consultant, so it can more often represent the protagonist. Key words are action, initiative, self-confidence, manipulation, and power.
On rentre clairement dans la partie consultant, de par sa définition de base de données. Il est aussi quelqu'un qui est dans l'action et dans l'initiative. La manipulation et le pouvoir ne sont pas vraiment présents mais Magician est tout de même une carte qui lui va relativement bien.
Eru : The Fool (0/XXII/∞) - A carefree jester straying dangerously close to a cliff-edge, a dog at his heels. A trickster as often as an innocent protected by his own luck, a madman who speaks with the voice of gods, an idiot who hides strange powers. The Fool is a symbol of the in-between, of The Grotesque, innocence, divine inspiration, madness, freedom, spontaneity, inexperience, chaos, creativity, and infinite possibilities.
Oui hein clairement. On va débattre là-dessus des heures, Eru est presque l'incarnation parfaite de la carte The Fool.
Houtarou : Strenght (XI) - A young girl taming a terrifying beast (often a lion). Beyond the Beast and Beauty imagery, there's a moral about the stronger power of self-control, gentleness, courage, and virtue over brute force.
Ici aussi, de manière évidente, la carte représente parfaitement Houtarou. Le courage n'est pas encore présent mais pour le reste, on est vraiment dedans.
Houtarou : The Star (XVII) - A young girl pouring water in a river and on land, under a star-lit sky. Associated with hope, faith, altruism, luck, generosity, peace, and joy. Very much a messianic card as well, as an omen of the coming of The Chosen One.
Il est très intéressant d'entendre la vision qu'a Eru de Houtarou. The Star est la carte qui est l'incarnation de l'élu. C'est une carte qui vient guider les gens, qui est clairement un symbole messianique. C'est un être lumineux qui éclaire le chemin. C'est celui qui sort les êtres des ténèbres pour leur montrer la lumière. En parfaite adéquation avec l'amour naissant qu'Eru porte à Houtarou.
Sinon, j'avais l'OST de Persona 3 pendant que je rédigeais ce passage, ce qui était ô combien approprié.
Citation:
Enfin pour le fun, les 10 Lois de Knox :
- The criminal must be mentioned in the early part of the story, but must not be anyone whose thoughts the reader has been allowed to know.
- All supernatural or preternatural agencies are ruled out as a matter of course.
- Not more than one secret room or passage is allowable.
- No hitherto undiscovered poisons may be used, nor any appliance which will need a long scientific explanation at the end.
- No Chinaman must figure in the story.
- No accident must ever help the detective, nor must he ever have an unaccountable intuition which proves to be right.
- The detective himself must not commit the crime.
- The detective is bound to declare any clues which he may discover.
- The "sidekick" of the detective, the Watson, must not conceal from the reader any thoughts which pass through his mind: his intelligence must be slightly, but very slightly, below that of the average reader.
- Twin brothers, and doubles generally, must not appear unless we have been duly prepared for them.
Et t'es fâché avec Van Dine et Sutherland ou t'as pas trouvé ce à quoi Irisu faisait référence quand elle a parlé de "Nine Propositions" et "Twenty Rules" ? Bref, cadeau.
Twenty Rules of Van Dine :
1. The reader must have equal opportunity with the detective for solving the mystery. All clues must be plainly stated and described.
2. No willful tricks or deceptions may be placed on the reader other than those played legitimately by the criminal on the detective himself.
3. There must be no love interest. The business in hand is to bring a criminal to the bar of justice, not to bring a lovelorn couple to the hymeneal altar.
4. The detective himself, or one of the official investigators, should never turn out to be the culprit. This is bald trickery, on a par with offering some one a bright penny for a five-dollar gold piece. It's false pretenses.
5. The culprit must be determined by logical deductions — not by accident or coincidence or unmotivated confession. To solve a criminal problem in this latter fashion is like sending the reader on a deliberate wild-goose chase, and then telling him, after he has failed, that you had the object of his search up your sleeve all the time. Such an author is no better than a practical joker.
6. The detective novel must have a detective in it; and a detective is not a detective unless he detects. His function is to gather clues that will eventually lead to the person who did the dirty work in the first chapter; and if the detective does not reach his conclusions through an analysis of those clues, he has no more solved his problem than the schoolboy who gets his answer out of the back of the arithmetic.
7. There simply must be a corpse in a detective novel, and the deader the corpse the better. No lesser crime than murder will suffice. Three hundred pages is far too much pother for a crime other than murder. After all, the reader's trouble and expenditure of energy must be rewarded.
8. The problem of the crime must he solved by strictly naturalistic means. Such methods for learning the truth as slate-writing, ouija-boards, mind-reading, spiritualistic se'ances, crystal-gazing, and the like, are taboo. A reader has a chance when matching his wits with a rationalistic detective, but if he must compete with the world of spirits and go chasing about the fourth dimension of metaphysics, he is defeated ab initio.
9. There must be but one detective — that is, but one protagonist of deduction — one deus ex machina. To bring the minds of three or four, or sometimes a gang of detectives to bear on a problem, is not only to disperse the interest and break the direct thread of logic, but to take an unfair advantage of the reader. If there is more than one detective the reader doesn't know who his codeductor is. It's like making the reader run a race with a relay team.
10. The culprit must turn out to be a person who has played a more or less prominent part in the story — that is, a person with whom the reader is familiar and in whom he takes an interest.
11. A servant must not be chosen by the author as the culprit. This is begging a noble question. It is a too easy solution. The culprit must be a decidedly worth-while person — one that wouldn't ordinarily come under suspicion.
12. There must be but one culprit, no matter how many murders are committed. The culprit may, of course, have a minor helper or co-plotter; but the entire onus must rest on one pair of shoulders: the entire indignation of the reader must be permitted to concentrate on a single black nature.
13. Secret societies, camorras, mafias, et al., have no place in a detective story. A fascinating and truly beautiful murder is irremediably spoiled by any such wholesale culpability. To be sure, the murderer in a detective novel should be given a sporting chance; but it is going too far to grant him a secret society to fall back on. No high-class, self-respecting murderer would want such odds.
14. The method of murder, and the means of detecting it, must be be rational and scientific. That is to say, pseudo-science and purely imaginative and speculative devices are not to be tolerated in the roman policier. Once an author soars into the realm of fantasy, in the Jules Verne manner, he is outside the bounds of detective fiction, cavorting in the uncharted reaches of adventure.
15. The truth of the problem must at all times be apparent — provided the reader is shrewd enough to see it. By this I mean that if the reader, after learning the explanation for the crime, should reread the book, he would see that the solution had, in a sense, been staring him in the face-that all the clues really pointed to the culprit — and that, if he had been as clever as the detective, he could have solved the mystery himself without going on to the final chapter. That the clever reader does often thus solve the problem goes without saying.
16. A detective novel should contain no long descriptive passages, no literary dallying with side-issues, no subtly worked-out character analyses, no "atmospheric" preoccupations. such matters have no vital place in a record of crime and deduction. They hold up the action and introduce issues irrelevant to the main purpose, which is to state a problem, analyze it, and bring it to a successful conclusion. To be sure, there must be a sufficient descriptiveness and character delineation to give the novel verisimilitude.
17. A professional criminal must never be shouldered with the guilt of a crime in a detective story. Crimes by housebreakers and bandits are the province of the police departments — not of authors and brilliant amateur detectives. A really fascinating crime is one committed by a pillar of a church, or a spinster noted for her charities.
18. A crime in a detective story must never turn out to be an accident or a suicide. To end an odyssey of sleuthing with such an anti-climax is to hoodwink the trusting and kind-hearted reader.
19. The motives for all crimes in detective stories should be personal. International plottings and war politics belong in a different category of fiction — in secret-service tales, for instance. But a murder story must be kept gemütlich, so to speak. It must reflect the reader's everyday experiences, and give him a certain outlet for his own repressed desires and emotions.
20. And (to give my Credo an even score of items) I herewith list a few of the devices which no self-respecting detective story writer will now avail himself of. They have been employed too often, and are familiar to all true lovers of literary crime. To use them is a confession of the author's ineptitude and lack of originality. (a) Determining the identity of the culprit by comparing the butt of a cigarette left at the scene of the crime with the brand smoked by a suspect. (b) The bogus spiritualistic se'ance to frighten the culprit into giving himself away. (c) Forged fingerprints. (d) The dummy-figure alibi. (e) The dog that does not bark and thereby reveals the fact that the intruder is familiar. (f)The final pinning of the crime on a twin, or a relative who looks exactly like the suspected, but innocent, person. (g) The hypodermic syringe and the knockout drops. (h) The commission of the murder in a locked room after the police have actually broken in. (i) The word association test for guilt. (j) The cipher, or code letter, which is eventually unraveled by the sleuth.
Sutherland's Theory :1. Criminal behavior is learned.
2. Criminal behavior is learned in interaction with other persons in a process of communication.
3. The principal part of the learning of criminal behavior occurs within intimate personal groups.
4. When criminal behavior is learned, the learning includes techniques of committing the crime, which are sometimes very complicated, sometimes simple and the specific direction of motives, drives, rationalizations, and attitudes.
5. The specific direction of motives and drives is learned from definitions of the legal codes as favorable or unfavorable.
6. A person becomes delinquent because of an excess of definitions favorable to violation of law over definitions unfavorable to violation of the law.
7. Differential associations may vary in frequency, duration, priority, and intensity.
8. The process of learning criminal behavior by association with criminal and anti-criminal patterns involves all of the mechanisms that are involved in any other learning.
9. While criminal behavior is an expression of general needs and values, it is not explained by those needs and values, since non-criminal behavior is an expression of the same needs and values.
Sinon, concernant ce qu'ange appelle le faux crime, la carte de la bâtisse si vous avez envie de réfléchir :
Et quelques points rapides :
- Le crime a été super violent parce que Kaitou Takeo était encore vivant quand le bras a été coupé. Sinon, y'aurait pas eu de sang au niveau de son bras coupé. D'ailleurs, il est droitier et c'est son bras droit qui a été coupé.
- La clé a été laissée à côté du bras droit et il n'y a pas de trace de pas au niveau de la fenêtre. La pièce était fermée à clé. Le second passage permettant de quitter la pièce a l'air d'être bouchée. Chambre close, tout ça tout ça.
- J'ai genre aucune idée de qui est censée être le Detective. Par élimination, je dirais le type qui annonce "And that's when it happened" mais il se pourrait tout aussi bien que ce ne soit pas le cas.
Du coup, j'ai plusieurs hypothèses mais pour l'instant, je préfère ne rien dire. J'ai du mal à croire que le mystère puisse être solvable uniquement avec ces 10 minutes de film mais pourquoi pas hein. Le vrai problème, c'est qu'on manque d'informations pour éliminer des théories. Ne serait ce que la présence d'une Master Key tue un peu tout ...