User blog:Servant of Evillious/Clockwork Lullaby Analysis

Introduction


Originally, I planned to call this "An Analysis of Capriccio Farce" but realized how this analysis and its relating theories reach out to nearly the entire Clockwork Lullaby series. Therefore, its easier to simply net the entire series as part of this analysis. In particular, I am concerned with the following songs:
 * Capriccio Farce
 * Wordplay
 * Clockwork Lullaby
 * Re_birthday
 * Heartbeat Clocktower

Also, due to the fact that I will be dissecting the relationships these characters have with one another, I will also be referencing the following songs from the same or other series:
 * Master of the Graveyard
 * Master of the Court
 * Miniature Garden Girl
 * Chrono Story
 * Story of Evil
 * Judgement of Corruption
 * The Lunacy of Duke Venomania
 * Repulsive Food Eater Conchita

Now onto the first matter of business. Let us begin with the song that truly connects everything, Cappricio Farce...



Capriccio Farce is probably among Mothy's most unique songs. It is not a narration told by the singer(s). It is not a monologue or dialogue portraying th characters' interactions. It is not an inner monologue to convey a character's postions or thoughts. It is actually an odd combination of all of these and freely moves between them almost sporadically. The only organization is the tune to the song itself, which segregates all these concrete events and character stories apart between each chorus, although there is still some mixing.

Ultimately, watching the song for the first time, even if you have seen every song that takes place before it, will probably confuse you more than satisfy you. Of course we can put partial blame on Mothy, who seems to play russian roulette with the timeline and often releases songs with huge gaps in the timelines and often little context to explain them; so much so that Heartbeat Clocktower and Master of the Graveyard were released a year and a half before Master of the Court and Capriccio Farce made their debuts. Talk about leaving us hanging!

Because of this clusterfu confusing song structure, I will dissect it...

Note: The following uses this video to reference the lyrics and this this video to referencine the profiles.

Capriccio Farce
The song begins with the Servants who first appeared in Master of the Graveyard. This psychotic looking pair immediately start off with the imagery of farcical gathering within Gallerian's Theater that the Master of the Court is calling a "trial." Master of the Court's accompanying song debuted a month beforehand, with Judgement of Corruption having appeared shortly before that. As a result, the basic idea of these characters was laid down, even if we knew (and still don't know) anything about them.

The next image of note is the appearance of all the characters that sing the song (even Gumi gets one line in!) and it should be noted that Master of the Hellish Yard is not present at the Theater. Due to the background used throughout the song and the term "trial" used at the beginning of it, I assume that this take place in the Theater's Courthouse.

All the characters also get a pseudo-abstract background to help describe their location or role in the theater. They are as follows:

Master of the Court Master of the Graveyard GEAR Waiter Gardner MA Master of the Hellish Yard
 * Gears and the theater itself, referencing how her life is supported by the clocktower GEAR maintains. It should also be noted that the moon, overhead may reference Wrath and Evils Forest.
 * Tombstones for the Graveyard she oversees. Her Servants are in a similar postion with a unique tombstone behind them although there is nothing worthy of note otherwise about it.
 * A gear he sits on of similar nature to the one he is seen riding in Heartbeat Clocktower. This references the events of Heartbeat Clocktower as well as establish the connection between him and Master of the Court.
 * A mirror, referencing the sin of Vanity she represents. It is different however from the Four Mirrors of Lucifenia in design however and may hold a different purpose. Of note, she is flanked by the Gardner, who is indebted to her.
 * Flora, referencing his role as the Cursed Gardner. Whether or not this relates him to the gardner mentioned in Master of the Graveyard is debateable. As mentioned before, he shares the Waiter's place together.
 * Books, scrolls, and smoke referencing her work as a playwright and her smoking habit that has become commonplace with her appearance in any media of the series.
 * A winding, rocky path with a gate seen in the background, referencing the path to heaven or hell she appears to oversee. It should be noted she is posed like a ballerina and that her hair appears to be flying while feathers are molting, implying movement.

So a definitive theme or place has been associated with each of these characters and already we have a visual connection to them and their stories or traits, even though none of this truly establishes their personalities.

Now, Master of the Court proceeds the first chorus by claiming that she is searching, on God's orders, for the last vessel of sin that needs to be collected.She appears to be asking "the Sorceress of Time" (MA) or at least asking the other inhabitants to contact her about the location of the last vessel of sin.

MA
We know that MA has been pulling the strings since at least the epitome of Greed and has been the one that has manipulated events to reach this point. While Master of the Court seems to be the de facto leader of these awakened vessels, leading them towards a propose utopia, the Master of the Court song has given the implication she has been coaxed by MA to push forward with Gallerian's quest, likely in the hope of being reunited with her father again in hell once it is turned into a utopia.

However MA does not follow this dialogue right off the bat. In fact, she instead introduces herself in a manner that seems geared more towards the audience listening than the actual story:

"Descending time, changing form, and changing owners, I finally debut on the stage."

A cryptic message that at first seems to point to Elluka in the body of Kayo but then raises controversy when she mentions, "I finally debut on the stage." Elluka had already "debuted" in Chrono Story both sequentially in the plot and in the release date of the song. It is still up to debate but with the recent release of Blood Stained Switch and Mothy's comments relating to it, MA may be her own character entirely. However, that is a separate debate.

Following her odd aside to the audience, MA admits (or at least claims) to be unaware of Wrath's location. However, she says its, "probably in her hands." Due to the wording, it is made clear MA and the other awakened vessels are aware of the Master of the Hellish Yard's existence although how and why, I don't know.

On cue, reinforcing some characteristics established in their previous appearances, the Servants make an impulsive interjection in the song and cry out (loudly I might add) for everyone to search everywhere for the Master of the Hellish Yard. It should be noted that this, along with the pacing of their lyrics, gives them a "bratty" or at least an energetic and rambunctious tone.

Another note is the Master of the Hellish Yard is described as, "the one who holds every key," which not only throws in allusions to gatekeepers and guardians of the underworld but also further links her to Wrath, the key. The twins also suggest searchinf for her "left, right, or deep down below," with the image of an "Impatient Beast Above," appearing humorously on cue.

GEAR
However, the song once again takes a turn and has GEAR make a comment:

"How long will this farce continue? After it ends, there will be nothing."

Now, due to this comment, I am going out on a limb and say that the "Impatient Beast Above," is referring to GEAR. His position in the clocktower puts him, "above" and helps string together a small joke that loosely connects his comment as a response to the Servants' impulsive babble and underhanded snark towards him.

More importantly though, this comment gives probably the first insight to GEAR's character. Originally in Heartbeat Clocktower, we only understand that GEAR is driven by "duty" to keep the clocktower running and save the life of the Clockworker's doll. Now, correct me if I am wrong, but the fan consensus has been that GEAR is a reincarnation of Adam Moonlit, Kyle Marlon, and/or Gallerian Marlon.

Granted, we don't know what the "awakened vessels of sins" really are and there has been no consistent theory that explains why they are who they are and why they act how they act. This is one of those holes in the story Mothy has yet to fill in for us, among others. However, there is definitely some reference to at least Adam and Kyle. For one, Adam and GEAR do share similarities in clothing and appearance, moreso for Kyle when seeing the cover to Preferatio of Blue.

I do have to cast doubts on Gallerian, however. First off, we know his soul has been sent to hell and is waiting for MA to complete his quest. Also, the main string that ties these theories (not just Gallerian=GEAR theory) is that the connection between the doll and GEAR is due to the close relationships all of KAITO's characters have had to Miku's characters.

While that may be intentional, it is at the most a subconcious motivation and at least inconsequential to GEAR's motivations. While Heartbeat Clocktower can be interpreted as the "lonely man" GEAR sings about referring to Gallerian and himself, the only motivation he gives for sacrificing his heart is it his "duty" to do it, which may function more as him acting because it is what he is supposed to do rather than because he necesarilly wants to do it.

Nevertheless, this ties back to how we don't really know how past KAITO characters connect to GEAR. Perhaps Mothy is only referencing these characters with GEAR's appearance and they don't actually have any connection to him story-wise.

My main doubts on GEAR's motivations for safeguarding the doll being beyond a mechanical sense of necessity is because he clearly does not seem to either share Gallerian and Master of the Court's optimism for utopia or speak with a tone of a loving husband, father, or lover that other KAITO characters have had with Miku's characters.

In fact, we see a stoic, flat, or possibly brooding side of GEAR that likens him more to the machines he maintains. This may also be connected to being the awakened vessel of greed, who would be a bit more practical to be profitable, but that is just baseless conjecture. There is also a hint of an irratable side should it actually be a response to the actions of the Servants as I mentioned before. Together with this more stoic tone to his line, it gives GEAR an almost exasperated character.

Master of the Graveyard
And then we get a response from Master of the Graveyard, herself. If GEAR's comments are truly a response to the Servants, then his comments on the "farce" are probably referring to their ridiculous behavior. This would then make it possible that Master of the Graveyard is responding to GEAR in kind in defense of her devilish, little minions. Either way, her response is:

"The soul of Adam who fell into the trap, there is also nothing you can do or have done."

Now, the very first line has some interesting connotations. For one, it ties back to GEAR being one of KAITO's previous characters. Kyle was described as the "Soul of Adam" as well and had been a victim of his mother's machinations. Adam himself had been unwittingly caught up in Eve's sin and his involvement would lead to his death. Gallerian, although I have my doubts of him as a reincarnation, also had been manipulated by MA into causing all the events leading up to Capriccio Farce.

The succeeding line is what leads me to believe Master of the Court is showing her own snark towards GEAR's comments in defense of her servants. It seems almost venomous how she spits out GEAR's apparent helplessness to do anything, then or now. While this is true for all of KAITO's characters, it especially holds true for GEAR himself. His sacrifice has caused him to become a shell of the vessel of sin he is, with the powers of the Marlon Spoon instead supporting the damage caused to the Clockworker's Doll and keeping the clocktower running.



First Chorus
Our song reaches end of its first third with a commentary that appears to once again be a blend of narration, inner monologue, and Mothy's commentary (through the characters of course). Psycho Len Servant and high Rin Servant both reference how all events leading up to that point have been caused by these vessels of sin, each causing their own disaster or imbalance somewhere in Evillious.

Psycho Len also uses the term, "the swaying scales," which most likely is another allusion to the false justice that has made up the "trial" of this song. High Rin follows with, "Playing each on their own, Capriccio which did not harmonize," which connects to the Seven Deadly Sin series and their songs as well as imply that the awakened vessels themselves have their own intentions and plans and are not harmonizing in (what I assume is) Master of the Court's goal.

This makes sense, considering our establishment of GEAR's pessimism mentioned above as well as the hints to dissent from all the others that will be spoken about below. MA and Master of the Graveyard then narrates one of the most famous lines of the series:

"The Story has let go of the hand of God and the Devil and walks on its own."

The symbolism of line is up to each person's interpretation but I personally read it as, "The story is making its own fate," which can be terrifying when you realize this means no higher power is giving purpose to this anymore, it is now snowballing by itself with its own intentions. Its a powerful line and is followed by Master of the Graveyard and GEAR commenting on how if the story is still on the hands of God or the Devil, then He would probably "sigh" which can be interpretted as either an exasperated sigh or a relieved sigh, each with its own implications.

Gear and Master of the Court finish this deep ommentary on the story's progression with another deep and meaningful line:

"The only thing to truly fear is the desire of mankind."

Interesting enough, both of them are related to Greed, the desire for more, which may shed light onto their characters. However, I take it in the more general sense since all mankind desires something which causes conflicts. The most obvious example is how Elluka, Irina, MA, and Master of the Court all desire to collect all the vessels for their own reasons, whether apparent or not, and this has caused disaster and death more often than not.

But thankfully Mothy had mercy on our souls and gave us hard facts for the next few seconds in the form of profiles for each character.

Master of the Court- "The Director Doll" MA- "The Sorceress of Time" GEAR- "Gear" Master of the Graveyard- "Master of the Graveyard"
 * The Director of the forest's movie theater. She succeeded her father on her own accord and became the "Master of the Court."
 * She lives in the movie theater and is the founder of the Garden. She built Gallerian's movie theater. Real name: Kayo Sudou.
 * After losing his power, he became a mere shadow of a spoon because he couldn't enter the movie theater.
 * A phantom who was born from a glass. She officialy obeys MA but she is actually a dark, deceiving woman.

This information provides much need information on these characters. One, it reinforces what we learned in Master of the Court about the Director Doll. Two, it confirms MA has the body of Kayo Sudou, which connects her to the epitome of Envy, where Elluka's (or rather, MA's) involvement has been ambigious.

It also is the only source to mention that Gallerian's theater was not made entirely by Gallerian himself if at all. In some cases, this makes sense. The last Daughter of Evil novel, as well as Miniature Garden Girl, hint to Gallerian keeping the vessels in his home and MA is known to have collected them from that same home after it burned down before storing them in the theater. Whether or not MA and Gallerian shared construction of the theater during his life, inhereted his money to build it after his death, or built it using magic is a different debate.

The last note to make about MA is her founding the "Garden" which would lend to itself the need of a Gardner. Considering Gammon and MA are known to have written plays together to reenact the songs of the Evillious Chronicles in the theater, it is likely her need of a Gardener (and the Waiter's laziness to be one) led to them to have at least a somewhat friendly relationship.

GEAR, like Master of the Court, seems to only reinforce what we already know about the results of Heartbeat Clocktower although an interesting tidbit that is mentioned is how he no longer could enter the movie theater. It would require elaboration on how literal that statement is but it at least implies that his mobility is limited in Gallerian's theater and it is possible he is either trapped in the clocktower to keep the gears turning or the theater itself requires the use of the vessels' power to enter it (I lean with the former rather than the latter).

Then there is Master of the Graveyard who acts as the most monstrous, vile, and cruel vessel. In fact, besides MA who screams Emperor Palpatine with hidden intentions, none of the other vessels actually act evil or even dark. She is described as a "phantom" which may refer to the demon of Gluttony or just be poetic wording for, "[[File:Twrgt_prnk_evilsk.jpg|thumb|303px|"I am the demon of gluttony and I will devour you!"

"Nice to meet you."

"What?!"]]She is a scary person," and connect to the reincarnation of Banica Conchita theory.

What is more important is how she "officially" obeys MA, implying she is either in league with MA's plans or is subordinate to her will for whatever reason. This qualifying "officially" followed by, "but she is actually a dark and deceiving woman," implies she too has her own agenda that isn't in line with either Master of the Court or MA. The question is what is she planning? It can't just be to devour tresspassers to satisfy her until utopia because that wouldn't be dark or deceiving. In fact, the song Master of the Graveyard actually ends with the idea that they will keep "partying" until the end day comes, implying they are going to do something else when that happens.

This would be a consistent theme as well since twice during Story of Evil, the demon of gluttony has gone against the will of Abyss I.R. The first time, the demon let Allen survive because he gave it food. The second time was when Ney and the demon stopped Abyss I.R.'s attempts to wield Conchita's Glass against Rin.

It is likely that Master of the Graveyard, whatever her relationship to Gluttony, will follow suit.

Death! Death! More death!
Well Master of the Court takes us back to to the events transpiring at this "trial" and she becomes concerned with organizing the information. So now, the one man who is "attracted by the devil's blood" is asked to explain why he is even there, considering only him and MA seem to be actual humans, I can understand her curiosity.

Gammon then takes the stage and explains how he has a terrible curse on his body. The Lunacy of Duke Venomania manga silenced our figurative interpretation of "devil's blood" and "curse" and added something a little more... literal. Venomania, Gammon's ancestor, turns out to have been an actual demon in some form. Granted, this shouldn't come as a shock. Kyle had already transformed into a monstrous demon of Vanity in the Daughter of Evil series, so the fact Sateriajis can turn into one for Lust is not unbelievable and it had actually been floating around the community ever since Praeludium of Red had been released.

The big shocker is how this "curse" affects Gammon, and merits the possibility that more than just social stigma is connected to being the descendent of the Duke. It also makes sense. Gammon explains how he came to the forest to retrieve the sword of his x50 great grandfather in order to undo his curse.

Well if his curse has anything to do with growing wings, claws, horns, and talons, the sword is most likely the source of the problem since Sateriajis's power to become such a demon stemmed from stabbing himself with the same sword to gain his hypnotic powers over women. It should also be noted that Lukana Octo, the likely ancestor of Gammon, had been body swapped with Elluka at some point during the story. The Lunacy of Duke Venomania novel hasn't been fully translated (to my knowledge) so we are still uncertain when Elluka and Lukana swapped bodies. This gives possibility to Gammon and MA (depending on Elluka's relationship to MA and Lukana) having, at least for MA, a much deeper connection than just writing plays together.

And once again, our impulsive Servants interject and like an irrate mob they demand he be killed, eaten, or captured for entering the forest. Master of the Graveyard also appears in this section, possibly to refer to the Servants acting as an extension of her and her will. As a gluttonous cannibal, I am sure Gammon escaping her has denied her a meal. This is also where interpretation needs to be considered.

There are two ways to interpret this scene: It either takes place in the same time as when Gammon was interrogated or this is a flashback that refers to a time earlier. I bring this up because there is an inconsistency with Master of the Court and Capriccio Farce. The wiki assumes Master of the Court takes place in EC 990, shortly after Heartbeat Clocktower, while Capriccio Farce takes place in EC 998.

If we assume the call for Gammon's execution takes place at the same time he is questioned, then it is impossible, or at least highly unlikely, for Master of the Court to take place in EC 990. Not only is he referred to in the song as "the Gardener" but is implied to have been there for a while, while Capriccio Farce events take place 8 years later and he becomes the Gardener then.

If we assume it is a flashback, then it still doesn't make sense because why would she ask 8 years later about his past if he has been around for so long already? Therefore, I assume Master of the Court's date of EC 990 is incorrect, because, while the comprehensive guide lists it as such, the actual song still has ??? as its year, and the easiest chronology of events is to imagine the song has taken place some time after EC 998 and assume all concrete events relating to the trial in Capriccio Farce take place in the same year and do not flashback at any point.

Either way, the response from the Master of the Court is to kill Gammon and rushes through the proceedings to get to fun part: convicting him and sentencing him to death. Another mild joke is inserted with how she rushes through the court proceedings with the words, "Court Session," "Convict," and "Death," and then a small note, almost as if another aside, is thrown in saying, "That's enough for today," which is a massive understatement that is both comedic and cruel.

He is apparently captured and is preparing himself for his execution when he is saved by the Waiter, who is described as "the spoiled girl." Ringing any bells? This is another reincarnation speculation although it too has only bare hints supporting it. For the most part, the Waiter and Rin, Riliane's new identity, share little in common, although it is possible she is reliving the more presumptious part of her life and where she was much more vain. Heartbeat Clocktower connects her to Riliane by being some one who hates her job as the Waiter and is missing her other half, an obvious nod to Allen.

Before I continue with the Waiter's presumptuousness, I will note how the giant appearance of the mirror behind her at the beginning may be misleading. When she makes her first speaking appearance on the song, she is preceded by the mirror associated with her which actually appears to be a hand mirror. The mirrors signifigance eludes me besides what I have mentioned previously so I assume it is simply a way for the song pv to reinforce her presence and probably to help differentiate her from the High Servant Rin.

Back to the Waiter being a spoiled girl... Yeah, she is. Since she "needs" some one to do chores for her (MA's plants probably have thorns; irony), she decides she will take advantage of Gammon's helpless position and save him from being killed if he works as the theater's Gardener. How mutually beneficial for them: she gets out of clipping some plants and Gammon is stuck on the rollercoaster of freaks that are literally heading for hell. Wonderful.

The Second Chorus
We return to our chorus which goes back to the pseudu-narration sung by the characters being described. At first, MA and Gammon are revealed to be the "replacements" for the vessels that were not awakened, Envy and Lust. Mothy uses color symbolism in his series and reinforces the fact they are replacements by giving them both black hair instead of hair colored to the sin they are representing. For one reason or another, these two vessels of sins are not awakening, so there is an apparent need for a replacement if Master of the Court wishes to achieve utopia.

What qualifies the two as replacements for the vessels themselves awakening is not hinted at although I theorize it has to do with MA having Kayo's body and Gammon having the blood of Duke Venomania in his veins, connecting them genetically to the actual sinners. They are also revealed to be hiding their true intentions from everyone else, which lends further observation.

MA, whether Elluka, Irina, or her own character, has shown a drastically different behavior and methodology concerning the sins. While Irina seemed intent on only spreading the sins instead of collecting them and Elluka (after Story of Evil) was intent on preventing them from causing any more disasters, MA seems to have her own motivations. She causes the disasters but then is interested in collecting the vessels after the fallout, and clearly has an ulterior motive than to just sew chaos and grant Gallerian's wish (which she facilitated anyway by killing his family). Most importantly, she hasn't done anything but manipulate events and let the other characters pursue their own goals with a little push from her. She has a hidden reason for wanting the vessels collected.

Gammon, in contrast, seems to have a less obvious hidden motive. It is possible he plans on stealing the sword when he finds the opportunity and will go along with Master of the Court's plan for utopia so long as he is caught between her gavel and a glutton's place. The other possibility is his reasons he told the Master of the Court are actually false and he has different intentions that not even the inhabitants of the theater know about.

The two of them are also called the "unassuring invaders" which also fits. Both of them are humans; humans who are among a crowd of walking, talking artifacts with demons inhabiting them. I think its reasonable for there to be some disconnect between two human beings and vessels of sin.

The Waiter and Gammon then make what I assume is another inner-monologue that only the audience is supposed to hear of calling out the five vessels and asking them who will be laughing when the end comes. What is confusing about interpretting this is how the Waiter calls out herself in this part. If these are supposed to be Gammon and Waiter's thoughts, why call out herself?

Well, for one, it is clear all the Vessels of Sin are working towards Master of the Court's plan for utopia whether they believe it will occur or not. Gammon, who forsees a sort of apocalypse, would make a snarky comment.

However, the alternative is that the term "end" is reinterpreted to not mean the end of the world but closer to what was heard in Master of the Graveyard as being that end day, the last day before utopia is created. If so, then it makes a lot more sense as Gammon might use that time to steal the sword and run off, linking back to his hidden intentions, and the Waiter, who seems motivated for the sole purpose of seeing her other half, and may have her own plans for Irregular.

Speaking of which. He finishes this chorus with the Clockwork Lullaby's thematic "Lu Li La" pattern, directly connecting Re_birthday, Story of Evil, and Master of the Court together with a pv that shows Allen as he appeared for the final years of his life. Its practically fact that the End of Four series, which will have a song for each Master, points to Allen being the Master of the Heavenly Yard and, as assumed by the community, the equivalent to an omnipotent God. Until then, he awaits in the Master of the Court's womb to be fully healed by the mysterious lullaby. Of course, this has all been speculation. I mean, it totally is not obvious.



Before I forget to mention it, Capriccio Farce also provides a more accurate pv that Re_birthday lacked (being one of Mothy's first songs with little to no support from the better Vocaloid artists). Besides the white background being shown again in a better fashion, we also more clearly see the shackles restraining him from the song and how they apparently steam from two gears, one red and one blue, that are below the golden gear he sits on. I will discuss this more below.

In the mean time, we got the rest of the profiles from the song although most of the information has already been discussed.

Cursed Gardener- "Cursed Gardener" Waiter-"Waiter" Master of Hades- "The Master of the Hellish Yard" Irregular-"Irregular"
 * Searching for the Venom Sword, he arrived at the movie theater. Real name: Gammon Octo
 * She is the movie theater's waitress but wants to do another job. She is the incarnation of a whimsy and selfish mirror.
 * Gallerian met this masked girl after his death.
 * He dwells within the womb of the "Director Doll." Unidentifiable.

The Big Connection: Wordplay, Clockwork Lullaby, and Capriccio Farce
Well, before this song ends with a bang, it has one more interesting notion that this entire blog post was made for. This goes heavily into my own theories and interpretations of this part and my reasoning and mentality when approaching this matter has been given for the rest of the song so you can understand my thought process when making these connections.

Re_birthday


The Re_birthday song has some of the most interesting imagery and difficult interpretations based soley on the fact its PV is such utter cra poor quality and doesn't portray as much as say, Lunacy of Duke Venomania, or even Repulsive Food Eater, Conchita.

However, fans know that there are other characters besides Irregular, even though Len is the only prominent singing vocaloid to my knowledge.

The song credits Miku, KAITO, MEIKO, and Rin for extremely feint echoes of Len's lyrics, which means that somewhere, they played a part in this song or its story. The most obvious interpreations are that when the original pv text is green, it is sung by Eve Moonlit or Michaela, who played a role in both Allen's fate and the Seven Deadly Sins saga as a whole. However, the most accurate singer is probably Master of the Court. The lyrics that came from an " echoing" and "eerie" voice were:

''"Sinful boy, from now and all eternity, it is impossible for you to leave this room." ''

Which points to the Clockworker's Doll talking to her "child" in her womb from the "outside." The next set of lines that are of sung in red and blue text respectively are sung when the red shackles, representing blood, and the blue shackles, representing tears, are released. Often, as Triuberithas shown, these interpretations have been strictly related to Story of Evil. Granted, it makes sense.

Germaine, the red mercenary represented by MEIKO, fought a bloody revolution that lead to the deaths of many only for Allen to deny justice by taking Riliane's place on the guillotine. Kyle, the blue Marlon king represented by KAITO, suffered the loss of Michaela and punished Allen when he revealed he killed her. However, I find that to be incorrect. The blood Germaine spilled is related to her sins, not Allen's. Similarly, Allen was not responsible for Michaela's death, so the tears shed by Kyle should not bear down on Allen.

The most likely cause of this misinterpretation is probably due to casual fans who know of only Story of Evil and not the overarching story of Evillious and would only associate a "blue" KAITO with Kyle and a "red" MEIKO with Germaine. Instead, I am going to assume the chains are associated with the blood Allen has shed in his service to Riliane and the tears he, Riliane, and Germaine cried due to his sacrificial scuicide. Noting, the lyrics:

"After this, you will be reborn."

"Today is your new birthday."

These two lines are described as being spoken by the shackles himself, implying the clockwork mechanisms themselves are related. However, it is possible this is only metaphorical as the colored text is usually connected to a voice resulting from a clockwork mechanism. Another important note is how the entire Clockwork Lullaby series has a consistent theme, it only uses the same ten characters from Capriccio's Farce. No matter the song, it is always starred by a combination of those same ten, with a mentioned eleveneth in the form of Gallerian Marlon who is always the "father" or the lonely man in the series. The only exception would be Chrono, Story, where it is then deeply rooted to the Original Sin series, and Wordplay/Clockwork Lullaby, who have a mysterious singer who I shall elaborate on below.

As a result, it is more likely that the MEIKO and KAITO characters of Re_birthday are Master of the Graveyard and GEAR, two consistently reoccuring characters of the Clockwork Lullaby series who are directly related to Irregular and are inhabitants of the theater.

Then there is Rin who I attribute the yellow text to:

"There is never a time when sins are not forgiven."

"We will make those changes to the song."

These lines directly follow the arrival of, "your message," which has given the implication that Riliane's message from Regret Message finally arrived. While possible, I instead point to my above argument and instead connect it to a character who has shown hints of being related to Riliane: the Waiter. As noted by the literal translation as "one who waits" with a presumed connection to Kept Waiting for a Response, the Waiter seems to have the most likely connection of being the Rin character in Re_birthday as she would be the last present awakened vessel in the theater along with Sloth, Greed, and Gluttony.

For these reasons, I have speculated that the Waiter is the mysterious ??? of Wordplay and Clockwork Lullaby. Granted, this does not explain the origin of the song itself nor its ghostly echoes that we hear such as when Allen is about to be executed. However, the connection between Wordplay, Clockwork Lullaby, and re_birthday is obvious. Therefore, the Waiter is the most viable Rin character to be the singer since she would still be one of the ten characters used throughout most of the Clockwork Lullaby series, would have the largest motivation to discover the song and teach it to Irregular, and fit in the timeline her importance to Gallerian's theater and the coming utopia, since if she simply acts as just the literal Waiter, she doesn't have much of a job.

A Return to Capriccio: The Finale
So, I have established that the Waiter discovered the Clockwork Lullaby and that the Master of the Court, Master of the Graveyard, and GEAR, are the other singers who speak to Allen as his "rebirth" approaches. It strings together as a nice theory but so are all the others. This is why the final thirty seconds of Capriccio's Farce hold the most importance to connect all the songs together. Of the ten singers who help conclude the final choruse, the first four are who I will single out and their lines:
 * 1) Master of the Graveyard: "Friendship, trauma, justice, illusion, hope,"
 * 2) GEAR: "Destruction, dream, lust, love, death"
 * 3) Master of the Court: :"All turns and melts eternally..."
 * 4) Waiter: "In the Clockwork Lullaby."

Notice a familar pattern? The four mentioned as being the singers of Re_birthday appear again in Capriccio Farce paraphrasing the lyrics of Wordplay and Clockwork Lullaby, with the Waiter being the one to mention the Clockwork Lullaby by name. Similar to the two previous chorus that shared this tune in the song, these are not the concrete events of the trial but rather a symbollic narration that connects the singers to their inner thoughts, feelings, or relationships.

In this case, it is likely we are supposed to associate them to re_birthday and being the ones who are stimulating Irregular's healing and rebirth for Master of the Court's plan of utopia. Another important detail is the hand mirror that is associated with the Waiter. During this section of the song, it is seen in the background along with all the other objects and/or places that associated with the ten characters. After Master of the Court finishes her part in the sentence they share, the mirror lights up and flashes before becoming Irregular's white room and then debuting the Waiter.

The connection I made here was that, like a mirror of Lucifenia, the Waiter's hand mirror may be a portal with which the "message" in the form of light reached inside the womb of the Clockworker's doll. Another theory is that the hand mirror is a refashioned mirror of Lucifenia that the Waiter crafted out of the original vessel, or perhaps it is only another allusion to reference her relation to the Clockwork Lullaby and the healing of Irregular.



Succeeding the Waiter in this succession is the continued theme of mentioning Gallerian as the "lonely man" who built the theater before he died, raising doubts to how much it was MA who built it or him, by Irregular and Gammon. Finally, MA and Master of the Hellish Yard pose the question that the whole audiene is expected to be asking:

"Will the utopia he dreamed of be completed?"

In some ways, this may be a satire considering we know neither MA nor Master of the Hellish Yard's true intentions. Should MA be the (and I quote) "villain" and Hellish is supposed to be the "good guy" than an interpretation of this line could be that MA is, rather pompously, posing the question to the audience while the Master of the Hellish Yard is posing it with more fear and curiosity.

Either way, it should be noted how the bright white room (representing purification) upon the Waiter and Irregular's appearance slowly darknens with Gammon and MA until a darkness expands and is then absorbed into the outstretched arm of the Master of the Hellish Yard, leaving allusions to mysteriousness, the void, and the "master of darkness" as obvious themes, although it could be interpreted as another cleansing of MA and Gammon who are, "hiding their true intentions in their chests."

At last, Capriccio's Farce and the Clockwork Lullaby series comes to an end with the lines:

"Now, let us be apart of this farce called life."

Signalling the transition from trial, an "artificial" construct by mankind (perhaps linking to the fears of mankind's desire) and moving onto life, a farce that may show a nihilistic view as to why they need to turn hell into utopia: Life is ridiculous and pointless for these vessels who don't have a heaven, hell, or place anywhere in the world they exist in, although this line, like the others, is up to each person's interpretation.

Closing Statements
Not much to say after that. Discuss, debate, and give your own ideas and thoughts on my analysis of the Clockwork Lullaby series and my own personal theories. Thank you.

Servant of Evillious (talk) 21:30, February 11, 2013 (UTC)