Added: Jerrett Oliverio - Date: 13.03.2022 06:22 - Views: 16563 - Clicks: 6774
Disclaimer: This article is an analysis, which by nature requires spoilers. Rather ambitiously the visual novel Saya no Uta addresses one of the oldest topics of art, aesthetics, and presents it in a very twisted and unconventional way.
It begins by focusing on why humanity is so allured by beauty. But it then develops that argument into a broader question of whether humanity itself can be recognizable in something that looks repulsively unhuman. Saya no Uta opens with the main protagonist Sakisaka Fuminori passively engaged in a conversation with his friends in a cafe. Immediately this establishes the disparity between how Fuminori perceives the world from how normal humans experience the sensory world. Fuminori literally sees the world as being made up of pulsating, viscous flesh like some sort of Dantean hellscape.
His friends, nay all people to him, resemble humans only in so far as humans might look inside out. Even when he hears speech, it can be described as nothing short of ear-rape. Quite naturally as I would imagine anyone doing in his situation he does his best to end the conversation and leave as soon as possible. How can anyone maintain friendships if they are utterly repulsed by the people they are in contact with?
Despite intellectually Saya no uta yoh who they are he has little qualms cutting them off from his life, as they are no longer human to him. It is no exaggeration to say that Saya alone is keeping me alive. At the time he was preparing to end his life in order to escape his madness, but by a chance of serendipity he meets Saya, an image of salvation.
Even if just her, a diamond in a world of muculent gore, that is enough to motivate Fuminori to live. His revival in a desire to live requires a complete social rebirth that disregards conventional morality and social taboos. Fuminori eventually comes to realize that he finds Saya attractive for precisely the same reason he finds regular humans repulsive, due to his cognitive disorder.
The very things that revolt regular people, Fuminori instead draws a sense of pleasure in. This is made explicitly clear when Omi initially enters his house for the first time after the accident. Soon after Omi is brutally devoured by Saya, and the pungent smell of her blood and decaying organs emanate throughout the room. The aroma is quite soothing, in fact. When if Fuminori chooses to remain with Saya, he acknowledges that he is turning over a new leaf. Even if Saya fixes his disorder, the person he was would never return.
What he lost, what he really seems to be alluding to, is his humanity. When Saya no uta yoh decides on committing his love for Saya, he rips apart an organ of the neighbor he had just killed and prepares to feast on it with her. While technically cannibalism, is it really if gore appears more appetizing to him than human food?
It boils down to the question of perception and aesthetics. Would the reader rather eat what they know to be bread but appear as raw entrails; or would they rather eat what they know to be raw human organs, but appear as sweet jello? This question requires you to consider, if your senses reviled Saya no uta yoh you ate, what would prevent you from vomiting it out? Through accepting Saya for who she really is, and by willingly accepting his new self that is governed by his madness, Fuminori has found some semblance of happiness. Perception and relativism are huge themes in Saya no Uta.
This visual novel essentially argues that this phrase applies not just for aesthetics, but for morality itself. Or even more complicated than that, it debates whether aesthetics and morality are perhaps intertwined. Can you sleep with them scuttling underneath your pillow? The moment I find one, I kill it and stamp out all trace of its existence. I have to, for the sake of my mental well-being. In fact she uses that as pure justification for why she kills them. Indeed, nobody would think twice about someone who killed a cockroach or another undesired insect, but what if that person killed stray puppies loitering around their property?
Suddenly you may call into question the cruelty of the act. Why is it perfectly okay to kill cockroaches but not puppies? The only answer I could honestly come up with is that cockroaches are disgusting and physically unrelatable, whereas puppies are adorable and easy to anthropomorphize. They have eyes, ears, four libs, a Saya no uta yoh, and a mouth; which are features that often get emphasized in anthropomorphized depictions of dogs.
So how is this all relevant? Humans are as repugnant and physically unrelatable to Fuminori as cockroaches are to us. And likewise, Saya is just as repulsive to normal humans. What is interesting is that by the ending when Koji and Ryoko depending on which choice you make are fighting Fuminori and Saya; through the perspective of both parties they are fighting monsters.
Terror wipes his mind of all but two words, gun and trigger. Koji knows that the person is Yoh, but her appearance is so shocking that primal fear and instinct take over. Regardless of how human somebody may be, their perceived humanity ultimately only exists in so far as they look human. The next creature to receive such cruel treatment is Saya. A lethal liquid is then poured on her. An appearance of utter despair, but the countenance is not lost on Koji. Despite his will to murder him, Koji stops and sympathizes with the man.
Regardless of all the atrocities he was responsible for the murder of his neighbor, his cannibalizing Omi, and his raping Yoh ; Koji can still on a fundamental level feel and empathize with his loss. Understanding what other people feel simply through inferring their physical expression is a crucial part to being human.
This scene is simultaneously beautiful and tragic. With Saya dead and Fuminori alone in a hellish world; he finishes what he intended to do right before he met Saya, kill himself. Thus more or less concludes one of the three potential endings. The alternate ending concerns itself more with the question of what defines humanity. Whereas the ly described ending emphasizes the importance of the superficial aspects of humanity, this ending truly tries to understand humanity through an emotional lens.
In this turn of events, even Dr. Ryoko is far less disdainful of Saya. This time she is given enough time to fully read Dr. By having been essentially raised by a human by Dr. OgaiSaya inevitably developed human emotions. Among Dr. Either way, judging from the CG, the world Saya will create will be a beautiful one for her lover:. Returning to the theme of perception. While the new world will look lovely to Fuminori, it will appear absolutely horrific to everyone else.
While this branch in the story certainly wants to create relatability to Saya by highlighting her ability to feel human emotions, it ends in an apocalyptic style. Going with the objective view and returning to the argument on aesthetics I was making before. And indeed both these sources are heavily biased. As for Dr. Ogai, he started by looking at Saya through an objective scientific lens. However, as Saya developed speech and emotion he began to view her as an adopted daughter, and even named her. It is for this reason that I think the other ending is more accurate in its assertion that Saya is not human.
It is generally believed in the social sciences that humans are social animals. Thus, how can somebody be human if they are not even recognized as such by other humans? The above question is a philosophical one, with an answer that will vary person to person. Much as perspective was a consistent theme in this work. Do they agree with the ending where Saya dies, thus satisfying a sadistic urge to see a wretched monster perish?Saya no uta yoh
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