Coaxiality and the disappearance of Akashi
I have attempted to expound on a hypothesis made by a forumer (Quarkboy) and establish it in facts and correlations in order to give it more cogency. One of my central tenets is the reflection of the Yojo-han Watashi showed in the second episode in his arguably most introspective film: the film was about a man trapped in unending 4.5 tatami rooms and his attempts to escape from it. The tatami mats were arranged in such a way that the smallest mat was in the center of the room, and it was surrounded by the other mats (as what could be seen in the ending frame). I knew that that film was important in the course of the series, and I mentioned it in my post on the episode.
Vendredi, in his attempt to organize the occurrences of the first five episodes, suggested that the hypothetical continuity I expounded on was akin to a spiral. Quoth he:
I found it particularly telling that the configuration in the screenshot can be construed in a sense, as a spiral galaxy â€“ four arms around a central axis, and this got me thinking â€“ what is the literal four-and-half tatami configuration of Watashiâ€™s living space across each episode?
There are no changes in Watashiâ€™s tatami layout throughout each episode â€“ but look closely â€“ the same â€œgalaxyâ€ layout is the basic format of the mats in his room. It would seem to confirm thereâ€™s something to the nature of the dormitory itselfâ€¦
He provides proof in the form of pictures. The sixth episode does not change this format. I would simply like to add on the coaxial nature among the central tatami, the Mochiguman, and the light. The three are located at the center of the room: if it is corroborated further in the next episodes that the small, but pertinent continuity in the center of the room is representative of the fifth episode, it can also be assumed that Akashi is, despite her present absence, pivotal to the evolution of our character as well as his escape from the interminable tragedy he seems to be suffering.
One must note how the Mochiguman, Akashi’s representative accessory, is connected with the light. It is her accessory that turns on the light. The light suggests a way out, an escape in a place of eternal darkness: perhaps we shall see later on the gravity of her importance of Watashi. I don’t think it is mere coincidence that she is averse to moths: moths crave the light, even if it kills them. She herself actually squished moths when they came near her, just like how candlelight burns moths when they come too near. I think the emotional moth to Akashi is Watashi himself: a controlled fire is warm and cozy; it also provides comfort. However, it can still burn when one comes too close. Akashi’s warmth has remained relatively consistent throughout the episodes: if she does not bail Watashi out, she does a kind gesture. It is Watashi who burns himself by missing the mark entirely: this was exemplified during the third episode. In spite of her wanting Watashi to stay the same, he fails to understand her altogether by striving to become better. He does not think that he could be accepted for what he is. No matter how noble his effort was, it remained to be misguided: he was the moth that ventured too close to the light.
I think there is already progress with him, however. There is no longer a moth bothering his light in the sixth episode, while there was in the second one. Akashi is also in the sixth episode, although her hair is longer and her mole cannot be seen clearly. Even in her absence, she is still present: she serves as one of the repositories of his sequestered masculinity.
P.S. I am exhausted. I will probably rest myself from Tatami Galaxy for a while before revisiting it next week. 🙂