PEOPLE, LIVE HAPPILY! - Ludwig Josef Johann Wittgenstein - July 8, 1916

The art imitates art. Subarashiki Hibi has a great inspiration and was created from the ideas of various philosophers from past centuries. The secret to becoming a functional story is how the author used several of these poems as a perspective for each protagonist, which brings meaning, and the story will be developed based on these poems. We all see the world in a different way. Surely these philosophers are laughing wherever they are at the great juggling created by Sca-di. And it works better than Sakuuta because Subahibi is much more dynamic, I say even objectively better for a series of reasons, while Sakuuta is mainly systematic and focuses on only one poem.


Subarashiki Hibi, ACT 1, Down the Rabbit Hole

"The Brain is Wider Than the Sky":

This metaphor suggests that the human brain has unlimited potential. It can encompass vast ideas, concepts, and knowledge, much like the sky, which seems infinite.

"For, put them side by side, the one the other will include":

By comparing the brain and the sky side by side, Dickinson and Subahibi assert that the brain can encompass or contain the sky. Our cognitive abilities can comprehend and conceptualize the entirety of the sky.

"With ease, and you beside":

The brain does this effortlessly, demonstrating how human thought can grasp complex and vast ideas. The addition of "and you beside" suggests that this capacity includes not only abstract concepts but also human affection and connections.

Doubt number 1: Does this mean that the sky includes the brain?
Answer: No. The aim of the poem is to portray how the human brain is vaster than the sky itself. The sky is the example in the metaphor, in how far our brain is capable of reasoning and reaching.

"The brain is deeper than the sea
For hold them, blue to blue, the one the other will absorb
As sponges, buckets do."

"The brain is just the weight of God
for, lift them, pound for pound...
and they will differ, if they do...
As syllable from sound."

This part is beautiful, especially the last. Sponges, when placed in liquids, absorb the liquid. This suggests how the human brain can absorb knowledge, experiences, and emotions like a sponge absorbs water. The brain has a weight or significance comparable to that of God. This metaphor highlights the immense power, complexity, and importance of the human mind, placing it on the same level as a divine entity in terms of capacity and significance. Imagine a physical comparison, and then the brain and God as if they could be measured on a scale. The notion that the capabilities of the brain are so vast and deep that they can be metaphorically equated to the divine.

"And they will differ, if they do..."

there may be differences between the brain and God, but if there are, they are minimal. This line suggests that the capacity of the brain is almost equal to that of a divine power.

"As syllable from sound."

Any difference between the brain and God is as subtle as the difference between a syllable and the sound it produces. A syllable is a distinct sound unit, but it is inherently part of a broader category of sound. Similarly, the brain may differ from God in small aspects, but it shares a fundamental connection or similarity.

This is one of my favorite poems.

"It's the limit of the world
If I could see the limit of the world with my own two eyes, wouldn't the limit of the world become the same as my own limit?
Wouldn't the world, viewed from that spot... be the world that I see? Wouldn't be that my world?
The limit of the world would become the limit of my world"

Both Dickinson's poem and this reflection from the beginning of Subahibi address the idea that human perception and cognition define the world we experience. The world, in a certain sense, is as large or as small as our minds can comprehend, and our individual perception establishes the boundaries of our personal reality. In simple words, we decide how vast the world is for us. The profound connection between the human mind and the world it perceives. The unlimited potential of the brain, as suggested by Dickinson, aligns with the idea that our perception defines the limits of our world.

The route "Down the Rabbit-Hole" is named after the famous phrase from "Alice in Wonderland," suggesting that entering this route will lead the player on a journey similar to the unknown and surreal. During this journey, themes such as reality perception, identity, alienation, and madness are explored. The story becomes increasingly strange and abstract as it progresses, challenging the player's expectations and presenting surrealistic situations and characters. It's an intense narrative experience that invites the player to question and reflect on a variety of philosophical and existential themes while navigating through the mind and experiences of Yuki Minakami.

Life is a closed box. After all, death opens its doors for no one. People live within eternity. If you manage to conceal it, you will know nothing.
Just like that, the "Wonderful Everyday," that people live within the eternity of life, will be constructed upon the silence whereupon you cannot speak.
Without thinking of death, without knowing death, in the middle of life.
Just like the cat that one day crossed your path. Just like the dog that one night howled while you slept. Walking gingerly upon the top of a fence. Howling as if to devour the crescent moon.
Thinking not of life, yet knowing life. Within it, or without it, the Wonderful Everyday will....

Now for the next passage, which explores the themes of life, death, and the nature of daily existence, suggesting that life is an independent experience, limited by the inevitability of death, which remains an enigma.

"Life is a closed box. After all, death opens its doors for no one."

Life is like a sealed box, and death is an absolute limit that no one can surpass.

"People live within eternity. If you manage to conceal it, you will know nothing."

People live their lives within an eternal flow of time. If you evade the reality of death, you will remain ignorant of its impact on our lives.

"Without thinking of death, without knowing death, in the middle of life."

People go through life without constantly thinking about or understanding death.

"Just like the cat that one day crossed your path. Just like the dog that one night howled while you slept. Walking gingerly upon the top of a fence. Howling as if to devour the crescent moon."

Everyday life includes simple and unnoticed events, such as a cat crossing your path or a dog howling at night. These are natural occurrences, not concerned with the deeper meanings of life or death.

In conclusion, welcome to Subarashiki Hibi. We went down the rabbit hole... A reference to Lewis Carroll's "Alice in Wonderland," where the protagonist, Alice, follows a rabbit down a hole and finds herself in a bizarre and fantastic world. Here, the subjective nature of reality is emphasized. The characters' experiences challenge the notion of an objective and singular reality, instead presenting a world shaped by personal perceptions and internal struggles. We all have a different perception of the world, that's the key.

The downside of this chapter was how it revealed how bad Sca-di is at writing slice of life and comedy, and how inconsistent he left the pacing in this beginning by having too much nonsense in the middle of good stuff. You're in the middle of a great discussion and then he cuts to a naked girl in the middle of the bathroom or a joke that's not funny.

"Subarashiki Hibi, ACT 2, It's my Own Invention"

"No one can experience death
To experience death is impossible
People hold death close... and change it into something they can imagine. They change it into something they can experience.
But that is still... imagination."

The paradoxical nature of death as an experience.
The statement "No one can experience death" and "To experience death is impossible" highlight the inherent contradiction in attempting to understand death through personal experience, as death marks the end of subjective experience.
Despite the impossibility of experiencing death, humanity keeps the concept close, reshaping it into something imaginable. This is our tendency to always seek meaning in the unknown, converting it into familiar terms. Imagination vs. Reality. Any understanding or representation of death remains a product of imagination, not a real experience.

"It's my Own Invention" is an intense and disturbing portrait of a unraveling mind. It challenges readers to empathize with Takuji while also confronting the disturbing aspects of his character and actions.

The title "It's my Own Invention" suggests that Takuji's reality is a construction of his own mind, and it explores the same. It addresses themes of mental illness, reality vs. illusion, and the search for meaning.

Takuji is a deeply disturbed character. His descent into madness is portrayed, and his grandiose delusions and paranoid fantasies are coping mechanisms for his deep sense of inadequacy and trauma. Takuji is not a reliable narrator, and his perspective is clouded by his delusions. This creates a narrative where the reader must constantly question what is real and what is a product of the disturbed mind.

Here we see how Down the Rabbit Hole efficiently made a prologue.

"The world is nothing but a vessel. There's nothing that can fill it. What can fill that vessel? Money? Dreams? Fame? Women? Eroge? That's ridiculous. Those too are part of the vessel. They're all part of the world.
That which can fill the world must lie outside of the world.
The sense of the world must lie outside the world. In the world everything is as it is and happens as it does happen. In it there is no value."

References to the "limit of the world" and "living happily" are deeply influenced by the philosophical ideas of Ludwig Wittgenstein, particularly those expressed in his work "Tractatus Logico-Philosophicus". "The world is everything that is the case. The world is the totality of facts, not of things." (Tractatus, Proposition 1.1)

Wittgenstein said that the world is made of facts, not of things. For example, instead of thinking of the world as a place full of objects like cars and trees, think of it as full of facts about those objects ("the car is red").
Our language can only describe these facts. Anything beyond what can be described in language (like feelings or ethical values) is outside the bounds of the world ("the limits of my language mean the limits of my world").
True meaning and value (like the purpose of life or what makes us happy) are not found in our world. These must come from outside the world because, within the world, everything simply exists without intrinsic value.

"The world is a vessel."
In Subahibi, the world is compared to a container that holds everything we experience (money, dreams, fame, women, eroge). But none of these things can really "fill" or give real meaning to the vessel.
Like Wittgenstein, Subahibi suggests that true meaning and value come from outside the world. We cannot find true purpose or happiness just in the things we experience in the world.

Live happily

By understanding that true meaning lies outside of what we can see and describe in the world, we can find peace and live happily. This means not getting caught up in the pursuit of mundane things and instead seeking deeper sources of meaning.

I LOVE how Sca-di portrays God. I don't know what your religion is, if you believe in the Creator or not, but if he's an atheist, I've never seen one who reflects and characterizes so well. Sca-di really knows life.

Kimika said "God is Melody," and then placed a scale weighing melody and miracles, and the scale was perfectly balanced.

https://uploads.disquscdn.com/images/aa3cf2a530db3df464e6e8c3e2d9fef32e84359d1009dd4624baf2332d783992.png


By equating God with melody, Kimika suggests that the ultimate divine source of meaning in life is akin to a melody – something harmonious, ordered, and beautiful. Just as a melody brings together different notes to create a coherent and pleasing piece of music, the concept of God represents the underlying order and purpose in the universe.

This idea reflects the notion that true meaning and transcendence lie beyond the mundane and chaotic aspects of life, beyond the limits of our world. A melody, with its structure and beauty, symbolizes the idea that there is a higher and harmonious order that can provide a sense of purpose and understanding.
This balance implies that the beauty and everyday order we can find in life (symbolized by the melody) are as powerful and meaningful as miraculous events. It elevates the importance of finding harmony and purpose in everyday experiences.

https://uploads.disquscdn.com/images/c82e5d42add413c2e34ca4d4caf8aa51c1ebe8fee69ce6c5c4fe4969be37bf33.png

One of the most iconic CGs in Subahibi, where Takuji and Kimika look at the sky after twilight, reflecting philosophically on existence. It was later referenced in Sakura no Uta
Ladies and gentlemen, this was one of the peaks of Subarashiki Hibi, if not the peak of the work itself.

And... ah.... I finally... understood you, End Sky. The goal of the characters going to the "end sky".

-This is the last stop
"Kimika said those lonesome words as we stood under the final sky.
We finally made it. The world's limit. The edge of the universe."

The "end sky" suggests the pinnacle of their journey and experiences. It signifies the endpoint of their story, a place where earthly struggles and turbulence of their lives are left behind. The sky often symbolizes freedom, infinity, and transcendence.
Reaching the limits of their perceived reality. In Wittgenstein's philosophy, the idea of the "limit of the world" touches on the notion that beyond what can be described and experienced in the world lies the realm of the ineffable and the transcendent. The characters metaphorically and literally reached the limit of their understanding and reality.
And amidst all this, Yoru no Himawari plays.

Kimika Tachibana is a key character in IMOI, for her deep care and concern for Mamiya Takuji. Throughout the chapter, Takuji's mental state deteriorates, leading him to believe in grandiose delusions and engage in increasingly erratic behavior. Kimika's role in his life becomes crucial as she tries to understand him and help him.
The emotional climax of Kimika's story involves a poignant scene where she tries to reach Takuji on a deeper and emotional level. She tries to break through his delusions and remind him of his humanity and the people who care about him.
Tragedy and redemption. Kimika, to pay for her sins, jumps, but Takuji, even late, regains his senses. At that exact moment, the world didn't matter, not the curse, or death or paying for sins, only Kimika. The fact that Takuji didn't kill himself because of his delusions, but instead made the conscious choice to jump with Kimika and embrace her in a final act to reach happiness... Takuji's hopes that his world would overlap with someone else's came true.
And amidst all this, Yoru no Himawari plays.

With this act, the author finally abandoned the SoL and comedy (which he doesn't know how to do)
At first, this chapter seemed inferior to Down the Rabbit Hole for being more systematic, and although its second half is abyss fiction, with its ending of numerous symbols and meanings it becomes superior to RH. I was completely surprised by the Kimika ending which is one of the peaks of the story. Fantastic, beautiful, definition of BEAUTIFUL. IMOI is more direct regarding Takuji's psychological, focusing on Subahibi's story written by Sca-di and less on the deep philosophical debates, which will only appear at the end and mainly in Kimika's ending.
The mystery was pretty cool, I was surprised when I reached the end of Down the Rabbit Hole and saw that the accidents/homicides/suicides were purely real and everything was part of a well-planned crime. Good, author.

Sca-di writes a lot of good stuff, and when it comes to the moment of truth, he always gets it right, but the process until he gets to the moment of truth is often inconsistent, whether it's pacing or any other reason. It becomes very tedious or the content simply doesn't attract me. It's a bit upsetting, although I'm happy when the good part comes, it's upsetting that 40% of Sca-di's content is sleep-inducing. I fell asleep in the entire second half of It's My Own Invention, but when the ending started I finally connected the pieces and saw the potential for resolution that the work has in the unfolding of the next chapters. The mystery this time was interesting to a certain extent, but then I lost interest, equally for Takuji's psychological part, but the moment of truth came, the ending, and the author revived the chapter bringing promising ideas for the next act.


SUBARASHIKI HIBI, Act III, Looking-glass Insects
The most straightforward chapter of the work, in this one Sca-di is more present than any other classical literary writer or reference he wants to make. This chapter for me worked as an interlude and set-up for the next ones that should be the climax. It serves as a pause to digest the previous ones, answers some questions, and delivers more build-up for the sequences. As an interlude, it worked in a great way.

"The Mamiya-kun from the underground room was supposed to be the victor, but... because of Zakuro's choice, his soul has changed directions.
The world of souls. The repetition of souls..
His soul's string has been severed from the repeating world's model... he's now fated to walk a different path. Everything was well planned by Tomosane-kun."

bro Tomosane, what did you cook?

I was shocked by the fact that Sca-di got the comedy right this time, the cast was fluid and that's because some of the best characters were on stage, and the cast itself finally clicked and now sounds more natural, unlike the initial chapters. Now it feels like home, it took a while, but it got there.
For the first time in Subahibi, we get to see a clean and completely happy ending. This could have been the end of Zakuro's journey (if it wasn't already), and this "wonderful life" answers questions.

"Now, you too must move forward. The promised land awaits you. The Wonderful Everyday is beginning." And we have the first character in the work who found the limit of the world. Nothing more fitting than Zakuro. She reached the end sky.
And amidst all this... plays... Yoru... no... Himawari...

SUBARASHIKI HIBI, Act IV, Jabberwocky I

This might be the climax of Subahibi. We're definitely entering less philosophy, more plot, and it's where Subahibi's story begins to answer its questions. Basically, we understand that Tomosane Yuki and Yuuki are personalities created and idealized by Mamiya Takuji, meaning these two characters physically do not exist. "The Destroyer ends his life with his own destruction, for the sake of the new world."

There are three types of Mamiya Takuji: the Harmonizer, representing Yuuki, extroverted, sociable, elegant, and beautiful; the Creator, who is the standard Mamiya Takuji and the creator of Yuuki and Tomosane; and the Destroyer, Tomosane, whose goal was to destroy himself and Mamiya Takuji, so that Yuuki would be his final personality. In this way, Takuji could return to being kind to his sister and everyone around him.
Writing this gives me goosebumps. It gives me chills because I'm witnessing one of the deepest character developments and insights I've ever seen. These three characters, everything they've been through, how they've been explored, and how the plot has developed with them on stage... it was all Mamiya Takuji. The three are different layers of a single character, a single person. Simply genius. All of this while we learn about Dissociative Identity Disorder.

With Jabberwocky, it's noticed that this is a story mainly between Takuji and Zakuro, but mainly about Takuji, a more than three-dimensional character.

Its literary reference, Jabberwocky, is primarily a parallel between Tomosane and Takuji.

Like the Jabberwock in Carroll's poem, Takuji represents a source of chaos and fear, both for himself and for others. His mental state and actions create a surreal and dangerous environment, much like the presence of the Jabberwock in the Tulgey wood. In other words, Takuji can be seen as embodying the "Jabberwock" himself, a manifestation of fears and existential threats that other characters must face.

Tomosane is similar to the hero who takes up the "vorpal sword" to confront and overcome the Jabberwock, representing the struggle for sanity, control, and understanding in the face of the chaos and madness represented by Takuji. Tomosane will fight like a hero from fantasies, but in the midst of reality. The quest for clarity amidst confusion, the battle to defeat the great demon.

Remember the paradox of death earlier? In this act, Ayana and Tomosane finally give their input.
"People speak of death as if it could be experienced. Why is that?I don't really know myself. Maybe death only has a meaning because it's a perversion of logic. Isn't that what a perversion is?"

Death challenges the rational understanding of existence. Life follows a logical sequence of events and experiences, but death interrupts, presenting something beyond the realm of logical comprehension. Humans accept death as their fate. No one fights against death, and even when they're at the end of life, they're perfectly calm. In other words, everyone knows that death is not something worth lamenting over.
And yet... we fear death.

SUBARASHIKI HIBI, Act V, Interlude, Which Dreamed It

Interlude from Jabberwocky I to II, all the pieces are connected, and Subahibi has all the answers. The gaps have closed, and only the truth behind everything remains. All the chronological order, reality, and what is really happening in Subahibi. It's a story of bullying, where Zakuro becomes disturbed after mainly the rape that mentally destroyed her, leading to a collective suicide, through influences, with the effect of mental disillusionment. Therefore, chronologically speaking, the story begins in Looking-glass Insects. In Which Dreamed It, Subahibi uses two characters outside the matrix (Hasaki and Kimura) and coldly analyzes Takuji's emotional situation outside his mind. When Takuji is sleeping, Yuki appears, and the events of the Down the Rabbit Hole chapter occur. Or else, both Yuki and Takuji are sleeping, and what happens is Jabberwocky I, with Tomosane in command. The story of Subahibi, which seemed so complex, is thus simple on its surface.
Subahibi externally is like seeing something with the naked eye, but internally, delving into the layer of its characters, especially Takuji, is like looking through a microscope and seeing the details that we cannot see with the naked eye.
The art of simplicity. From vast collective mental disorders like the sky... it was just the story of a concerned sister who wanted her brother back home.

On the way home, we passed over a hill I'd never gone over before. As I crested that hill... I saw the night's sun. The moon was blue, and the flowers were yellow. It looked as if the sun and moon each stood in the other's place. The yellow of the sunflower was dyed with the blue of the moonlight. Suns bathed in blue. Like suns reflecting the light of the moon. My eyes followed them until they faded from view.
AND YORU NO HIMAWARI WAS PLAYING... IN THE SIMPLICITY, IN THE COMPLEXITY, IN THE VASTNESS OF THE SKY, IN THE LOVE OF THE SISTER, IN THE BEAUTY OF THE WORLD, IN MENTAL DISTORTION... YORU NO HIMAWARI IS A SONG CAPABLE OF REPRESENTING THE MELANCHOLY OF EVERYTHING.

SUBARASHIKI HIBI, FINAL ACT - Jabberwocky II - Live happily!

"No matter how much you might love someone. No matter how much you might love the world. It will end. It will all come to the end we call death. That's why I think anyone born into this world is cursed. Because happiness is just a warning of the end to come.

When I looked up at the stars, I found the answer. Why you mustn't end a crying baby's life. Why a person would mourn the death of another. And why the grief they feel is certainly not misplaced. One is right to pray in the darkness, and to love the world. The love that fills the world.
That love is prayer. The blessing upon the sky that hangs over our heads. That is prayer. The world is filled with blessings. That's why man is able to live in the eternal phase."

Although prayer is often associated with religious practices and beliefs, Wittgenstein's interpretation expands the concept. It's about believing in others, engaging in introspection and reflection on our purpose. It's about seeking understanding and connection with something greater than ourselves. It's about articulating our deepest thoughts and concerns. And it's a linguistic expression of our search for meaning.

The opening lines reflect on the inevitable end of all things, emphasizing the transient nature of love and life. This echoes a common existential theme: no matter how much we love, everything is destined to end in death. This perspective sees birth as a curse because living eventually means facing loss and suffering... yet, despite this, we continue to live. "A baby cries when born because it is already experiencing the suffering of life." And yet, humanity continues to multiply and seek survival... because there's prayer, there's a will to believe, to keep moving forward... it's love. And thus, life becomes a blessing. This love fills the world with meaning and allows people to find comfort and purpose, even in the face of impermanence.

"The truth of Confucius."

Ren (仁) - Humanity or Benevolence:

The central virtue of Confucianism, representing kindness, compassion, and empathy towards others. It is the quality that makes a person truly human and is considered the ultimate guide to moral behavior.

Li (礼) - Ritual and Propriety:

The conduct, rituals, and proper manners that govern social interactions. It emphasizes respect for tradition and the importance of maintaining social order through appropriate behavior.

Xiao (孝) - Filial Piety:

Respect and devotion owed to parents and ancestors. It is considered a fundamental virtue that maintains family harmony and continuity.

Yi (义) - Justice:

Acting morally appropriately, guided by a sense of justice and integrity. It emphasizes doing what is right, even in difficult situations.

Zhi (智) - Wisdom:

Practical knowledge and the ability to make sound judgments. It involves understanding and applying ethical principles in everyday life.

Zhong (忠) - Loyalty:

Loyalty and faithfulness, especially in the context of relationships, such as those between friends, family members, and rulers and subjects.

Confucius believed in the transformative power of education and advocated lifelong learning and self-improvement as means to cultivate virtues, achieve personal and social harmony, and guide us to live fulfilling lives.

"If Takuji is the savior, then I'm the hero."
Where do we come from? What are we? Where are we going?

"Have you heard the story about the footprints in the sand?"
- "What's that?"
"God walks beside us in our lives. So when you die and look back at the path your life took, you will find another set of footprints next to your own. A human life is supported by another power. But then, in the lowest and saddest times of your life, you will find only one set of footprints."
- "There's no one walking beside you in your saddest moments. That's when you need God the most, isn't it?"
- "That's not it. In those moments, when you see only one set of footprints, that was when he carried you. Even when you think there's no way to keep going, you still move forward in life. People always move forward. They can't stop in place. There's one sentence inscribed in all our hearts, a command of every living thing: LIVE HAPPILY!" KOUKUFU NI IKIYOU.

This was one of the most beautiful parts I've read in the work. It reminds me of a story. Even if there are people here who don't believe in God, whether he's a human invention or not, this invention itself has a magnificent concept, of complete perfection. Humanity is always seeking the perfect. There's a story of a king who said: no one can steal. If they steal, I'll gouge out both eyes. And so, no one stole. But one day, the majesty received news: "A certain man has stolen, and it's your son. As the law says, both eyes must be gouged out."
What would you do? Would you gouge out your own son's eyes and follow the law?
In the end, the king gouged out his own eyes to spare the prince's.

"The sky is the most distant world that a human can ever lay eyes upon. We live on the ground, surrounded by finite things. Small things. Things which change as time passes. Those are the things we're surrounded by as we live out our lives. We live out our normal lives surrounded by those things. But directly above us, there's something that none of us can ever reach. None of us can ever know where that limit even lies. The infinite is always spread over our heads.
Hanging above this common scene, there is an infinite vastness which is always present. That's just the world we live in."
"It's not how things are in the world that is mystical, but that it exists. Feeling the world as a limited whole - it is this that is mystical."

Once again, the sky represents the infinite, the ultimate frontier that is always visible yet unattainable. It symbolizes the vastness of the universe and the limits of human perception and understanding. ((Chills, really intense, seriously)). Our daily life is busy with finite and transient elements. These are the tangible and mutable aspects of existence – objects, events, and experiences that come and go with time. The narrative implies that recognizing the infinite expanse above us can bring a sense of awe and fulfillment - The contrast between our limited human experience and the boundless universe - This recognition can bring a deeper understanding of our place in the cosmos, and that's what's mystical. For Wittgenstein, the true mystery isn't in the specific things of the world but in the existence of the world itself. Such understanding, at least for me, makes me have more love and value for the world itself, as it's another work that makes me realize how vast our existence, the sky, and the universe are, but their resolution is simple: love. This infinite vastness is always present, even in our everyday lives. While we may be concerned with what is small and finite, we always are part of a much larger and incomprehensible reality. We are tiny.

Yoru no Himawari - The masterpiece by composer Szak.

This trio (Sca-di, hana, szak) even makes the devil tremble. The night sunflower. The mysterious, melancholic, and beautiful portrait before twilight, amid the full moon, makes us feel like we're seeing a landscape. Listening, I feel back in 2010 in the years of Haruhi or Higurashi. The simplicity of a common 4/4 time brought by a piano that conveys Sca-di's message magic and the characterization of the world's limit. The bell as a dramatic effect reminds me of Christmas time (and in a way of Suzumiya Shoushitsu for that reason), but it's to remind, indeed, because this bell marks a symbol of time, a change. The talented pianist Szak alternates the track with high notes and soon after, low notes, as if the melody were dancing with each other, as if it were a dance between Takuji and Zakuro, Takuji and Kimika, or Tomosane and Yuki. In the climax, it's a celebration, and in the end, the melody seems to have merged into one. It's an introspective music, making you move forward and remember your entire journey, both now and the one to come, as well as a representation of internal struggle and the search for meaning. Yoru no Himawari is nothing more than the melody of the beauty of the skies and the world, aa utsukushii sekai, what a beautiful world, the blue of the sky and the flowers of the earth.

Szak has always been and will always be my favorite VN composer, and I take him for life. He's a genius who can convey all this in 2 minutes with a piano. I mark here, at the end of this analysis, Yoru no Himawari as my favorite soundtrack of Visual Novels, and a track that I will continue to analyze for many times to come, and until the end of life. And I'll remember how much Subahibi brought me knowledge. I've never analyzed or even needed to analyze a work so much in my life, and that shows how complete it is from start to finish, dynamic and extremely rich... the tale of Wonderful Everyday.

Engaging meaningfully with the world and others through shared experiences. Found in simple and everyday activities and interactions. By appreciating the mundane and finding beauty in the common, one can cultivate this feeling. The feeling contributed through kindness, integrity, empathy, and mission. By accepting the mysteries and uncertainties of life, we can focus on the present moment and find it.

The last words of Ludwig Joseph Johann Wittgenstein,

PEOPLE, LIVE HAPPILY!


____________________________________________________________________________________________________________________________________________________________________________________


This review was translated by Chat GPT because I wrote it in my native language. I used images to illustrate what I was talking about, so if there is any part that say about the image or context, it's because of it.
This is the largest review I've ever made, and I doubt I will ever do something like this again, thus making Subahibi a special title for me, even though I didn't like the conclusion that much (I thought it didn't conclude many things but only the mainly one, and the romance being abyss fiction (sca-di doesn't know how to write romance tbh)).
Still, here we are. Thank you for reading, if you did.

And life is beautiful.