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[[WMG: LightNovel/HaruhiSuzumiya is a descendant of Drosselmeyer, possibly through Fakir.]]
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[[WMG: LightNovel/HaruhiSuzumiya Literature/HaruhiSuzumiya is a descendant of Drosselmeyer, possibly through Fakir.]]
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Changed line(s) 161 (click to see context) from:
Gen Urobuchi's very stated obsession with only telling tragic tales is extremely similar to how Drosselmeyer also openly proclaims it. In addition, Drosselmeyer walks off at the end to tell more stories, so it makes sense that he'd get involved with other things. Hell, he even wrote [[Anime/PuellaMagiMadokaMagica another magical girl series]], with references to German stories. He learned not to involve himself with any of these other works, though, after what happened last time.
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Gen Urobuchi's very stated obsession with only telling tragic tales is extremely similar to how Drosselmeyer also openly proclaims it. In addition, Drosselmeyer walks off at the end to tell more stories, so it makes sense that he'd get involved with other things. Hell, he even wrote [[Anime/PuellaMagiMadokaMagica another magical girl series]], with references to German stories. He learned not to involve himself with any of these other works, though, after what happened last time.time.
[[WMG:Drosselmeyer's story draws direct inspiration from his own life]]
In other words, his stories are tragic because his own life is tragic. From what we know of his life, powerful people found out his powers to write words into reality and decided to exploit him, and then eventually they chopped off his hands (and presumeably killed him) once they concluded he was dangerous. We also know from Autor's family tree that at some point he managed to have three children. So at some point he must have had a somewhat normal life. We also know from how he advised Fakir that he believes the right way to write is to write as a pure sort of uninhibited self-expression.
So maybe the different aspects and characters he wrote into his story are representative of his own life? For example, the ghost knight who betrays his lover for the sake of his kingdom and them loses everything clearly maps on to a loss of his own family at the hands of the ruling nobility. The story arc he intends for Duck - the inability to express herself at the cost of her own life - is a fear that a writer like himself would know all too well, and indeed he expressing himself would cost him his life. The self-sacrificing prince who shatters himself into fragments - well, that's like how he wrote his last story in his own blood. And the ending of the story, with the entire town turning evil and the heroes completely trapped, that's how he felt when the kingdom turned on him.
Thus his surprise when somehow hope is created at the end, because in his life he never felt any sort of hope, but there it is in his writing nevertheless.
[[WMG:Drosselmeyer's story draws direct inspiration from his own life]]
In other words, his stories are tragic because his own life is tragic. From what we know of his life, powerful people found out his powers to write words into reality and decided to exploit him, and then eventually they chopped off his hands (and presumeably killed him) once they concluded he was dangerous. We also know from Autor's family tree that at some point he managed to have three children. So at some point he must have had a somewhat normal life. We also know from how he advised Fakir that he believes the right way to write is to write as a pure sort of uninhibited self-expression.
So maybe the different aspects and characters he wrote into his story are representative of his own life? For example, the ghost knight who betrays his lover for the sake of his kingdom and them loses everything clearly maps on to a loss of his own family at the hands of the ruling nobility. The story arc he intends for Duck - the inability to express herself at the cost of her own life - is a fear that a writer like himself would know all too well, and indeed he expressing himself would cost him his life. The self-sacrificing prince who shatters himself into fragments - well, that's like how he wrote his last story in his own blood. And the ending of the story, with the entire town turning evil and the heroes completely trapped, that's how he felt when the kingdom turned on him.
Thus his surprise when somehow hope is created at the end, because in his life he never felt any sort of hope, but there it is in his writing nevertheless.
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Changed line(s) 155,156 (click to see context) from:
Episode 1 must have been Duck's first day as a human, since A) She didn't recognize Mr. Cat and B) [[{{Dojikko}} Knowing her]], she wouldn't have been able to go more than a day or two before turning back into a duck. She clearly thought that she had been human all her life, so Drosselmeyer could just as easily have made her think that she had been at the Academy for a while, too. But if that was her first day, how could Pique and Lilie be best friends with her? Because they were written that way, in order to help incorporate her into the community. And it just figures that Drosselmeyer would give her "friends" who would explain things without offering any real emotional support.
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Episode 1 must have been Duck's first day as a human, since A) She didn't recognize Mr. Cat and B) [[{{Dojikko}} [[CuteClumsyGirl Knowing her]], she wouldn't have been able to go more than a day or two before turning back into a duck. She clearly thought that she had been human all her life, so Drosselmeyer could just as easily have made her think that she had been at the Academy for a while, too. But if that was her first day, how could Pique and Lilie be best friends with her? Because they were written that way, in order to help incorporate her into the community. And it just figures that Drosselmeyer would give her "friends" who would explain things without offering any real emotional support.
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Changed line(s) 149,150 (click to see context) from:
The narrator never says outright that Drosselmeyer came back from the dead, she only point out that he died, and thus [[CaptainObvious one would expect him to not be doing anything]] (aside from occasionally rolling). The only possible way he could have come back from the dead is if he (or one of his descendants) wrote it into reality, but if so, why would he stop at resurrecting his spirit so that it could live in an alternate dimension? Why wouldn't he resurrect his body, or give himself greater power? Or (if he wrote it himself) just stop himself from dying? Because it's not the actual person of Drosselmeyer that we meet - it's a Drosselmeyer character.
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The narrator never says outright that Drosselmeyer came back from the dead, she only point out that he died, and thus [[CaptainObvious one would expect him to not be doing anything]] anything (aside from occasionally rolling). The only possible way he could have come back from the dead is if he (or one of his descendants) wrote it into reality, but if so, why would he stop at resurrecting his spirit so that it could live in an alternate dimension? Why wouldn't he resurrect his body, or give himself greater power? Or (if he wrote it himself) just stop himself from dying? Because it's not the actual person of Drosselmeyer that we meet - it's a Drosselmeyer character.
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Changed line(s) 20,22 (click to see context) from:
Fakir's mother--shown in a brief flashback in episode 20--looks remarkably similar to Rue (for being seen only in shadow, anyway). Also, on Autor's family tree, the person that he identifies as Fakir on the tree has a sibling...that's been crossed out. Rue was kidnapped by her family as a baby, and so doesn't remember what they were like. Fakir has suppressed most of the memories before his parents died. He and Rue are also close in age, so if she ''is'' his sister, it makes sense why he wouldn't recall her. Also, if you compare how the two looked as children, they appear very similar. (Although, admittedly, it could just be due to the art style.) As one last final interesting tidbit, Fakir appears briefly in the background of Rue's flashback of her childhood when the story goes backwards in episode 23--you can see him fighting attempting to fight off crows with a toy sword to save a small animal (possibly a cat).
Plus, don't they just ACT like siblings fighting over a favorite toy?
Plus, don't they just ACT like siblings fighting over a favorite toy?
to:
Fakir's mother--shown in a brief flashback in episode 20--looks remarkably similar to Rue (for being seen only in shadow, anyway). Also, on Autor's family tree, the person that he identifies as Fakir on the tree has a sibling...that's been crossed out. Rue was kidnapped by her family as a baby, and so doesn't remember what they were like. Fakir has suppressed most of the memories before his parents died. He and Rue are also close in age, so if she ''is'' his sister, it makes sense why he wouldn't recall her. Also, if you compare how the two looked as children, they appear very similar. similar (Although, admittedly, it could just be due to the art style.) style). As one last final interesting tidbit, Fakir appears briefly in the background of Rue's flashback of her childhood when the story goes backwards in episode 23--you can see him fighting attempting to fight off crows with a toy sword to save a small animal (possibly a cat).
cat). Plus, don't they just ACT like siblings fighting over a favorite toy?
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Changed line(s) 11,12 (click to see context) from:
So in the end, even Fakir, who is both unexperienced as a writer and a character in the story himself (thus, [[WhatCouldPossiblyGoWrong theoretically]], entirely under Drosselmeyer's control), can break the tie with a clumsily written (in-universe) AuthorsSavingThrow of a twist. He can make everything and everyone go on, despite only having direct control over Ahiru's story (probably due to the other WMG here about her being his character initially), merely because his version is more in accordance with genre conventions.
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So in the end, even Fakir, who is both unexperienced as a an inexperienced writer and a character in the story himself (thus, [[WhatCouldPossiblyGoWrong theoretically]], entirely under Drosselmeyer's control), can break the tie with a clumsily written (in-universe) AuthorsSavingThrow of a twist. He can make everything and everyone go on, despite only having direct control over Ahiru's story (probably due to the other WMG here about her being his character initially), merely because his version is more in accordance with genre conventions.
Changed line(s) 24 (click to see context) from:
He's the first one in Akt 23 to realize that the story is going backwards--Fakir has to ask him what's going on, and Drosselmeyer seems (pleasantly) surprised by the story going backwards, as if it's never happened before. If it hasn't happened before, then Autor couldn't know about it through research alone--in actuality he can sometimes ''hear'' the story being told because of the vague bits of Drosselmeyer's DNA that's in his blood. This also means that his claim that he heard the Oak Tree sigh is actually true. (Probably it was sighing in exasperation from how insane the kid tapping into her roots is.)
to:
He's the first one in Akt 23 to realize that the story is going backwards--Fakir has to ask him what's going on, and Drosselmeyer seems (pleasantly) surprised by the story going backwards, as if it's never happened before. If it hasn't happened before, then Autor couldn't know about it through research alone--in actuality alone. In actuality, he can sometimes ''hear'' the story being told because of the vague bits of Drosselmeyer's DNA that's in his blood. This also means that his claim that he heard the Oak Tree sigh is actually true. (Probably it was sighing in exasperation from how insane the kid tapping into her roots is.)
Changed line(s) 28,29 (click to see context) from:
Perhaps he does have the potential to use the powers, but he's so fond of logic and formulas ("blue and black ink at a 7/3 ratio", "Drosselmeyer's special blend of tea--three parts Darjeeling and then added Assaam"...) that he can't understand the creative process. (Similar to how Drosselmeyer tells Fakir that he has to "let go and be irresponsible with your writing.") It's not that he doesn't have the right bloodline, he's just not a talented writer. At all.
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Perhaps he does have the potential to use the powers, but he's so fond of logic and formulas ("blue and black ink at a 7/3 ratio", "Drosselmeyer's special blend of tea--three parts Darjeeling and then added Assaam"...) that he can't understand the creative process. (Similar to how Drosselmeyer tells Fakir that he has to "let go and be irresponsible with your writing.") It's not that he doesn't have the right bloodline, bloodline — he's just not a talented writer. At all.
writer.
Changed line(s) 31 (click to see context) from:
Think about it: Fakir is obviously fond of animals. As a child, one of Fakir's stories was about a little duckling with a big heart and the mind of a human girl. Since he wrote her as a "duckling" she was never able to grow older, but with the mind of a little girl she was able to mentally and emotionally mature to the age she appears as in the show.
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Not my theory, but one that I've seen appear in a few fanfics. The general logic probably stems from the fact that they have glasses and similar hairstyles, both are attracted to/obsessed with Rue, and they both throw themselves wholeheartedly into their passions.
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Changed line(s) 4,12 (click to see context) from:
So Drosselmeyer, after having his fairy tale stopped, manages to continue it as a MagicalGirl series - he finds a pure-hearted girl and gives her a power to transform into a prettier and more capable version of herself that no-one can recognize for some reason... yeah. It goes all according to his script as one - there's a DarkMagicalGirl to oppose her and a suitable reason for HeroicBSOD at the darkest moment... basically, the manga is one version of how the story should have been, and would have been with a more, ah, GenreSavvy author.
But [[NightmareFetishist Drosselmeyer]] tries to force it to be a tragedy as it nears the conclusion... how many MagicalGirl series with classical tragedy-style endings do you know? Yeah. Of course, the already-shaped story, already a mix of a fairy tale and MagicalGirl series, can't conform, the three styles would just contradict each other too much.
* To specify, fairy tale with a tragic ending is possible, and a MagicalGirl series with tragic ending is possible too, but a tragic fairy tale would have nothing in common with typical MagicalGirl kind silliness, and a tragic MagicalGirl series would normally be more realistic and [[DeconstructedTrope deconstructive]] than a fairy tale allows. A mix of fairy tale and MagicalGirl series... well, it could ''possibly'' mix with tragedy, but not in the straight way Drosselmeyer wrote it.
The characters refuse to behave out of character - an EnsembleDarkhorse TallDarkAndHandsome KnightInSourArmor can't die in a fight according to a prophecy, a [[PluckyGirl Plucky]] [[CuteClumsyGirl Ditzy]] MagicalGirl won't give up [[HopeBringer hope]] and won't just [[SenselessSacrifice sacrifice herself to a villain]] [[YouCantFightFate conforming to set destiny]]. This just doesn't happen in this genre, no matter how much Drosselmeyer wants it to; for that, he should have set it up as [[SlidingScaleOfIdealismVersusCynicism more serious/realistic]] from the start.
So in the end, even Fakir, who is both unexperienced as a writer and a character in the story himself (thus, [[WhatCouldPossiblyGoWrong theoretically]], entirely under Drosselmeyer's control), can break the tie with a clumsily written (in-universe) AuthorsSavingThrow of a twist. He can make everything and everyone go on, despite only having direct control over Ahiro's story (probably due to the other WMG here about her being his character initially), merely because his version is more in accordance with genre conventions.
But [[NightmareFetishist Drosselmeyer]] tries to force it to be a tragedy as it nears the conclusion... how many MagicalGirl series with classical tragedy-style endings do you know? Yeah. Of course, the already-shaped story, already a mix of a fairy tale and MagicalGirl series, can't conform, the three styles would just contradict each other too much.
* To specify, fairy tale with a tragic ending is possible, and a MagicalGirl series with tragic ending is possible too, but a tragic fairy tale would have nothing in common with typical MagicalGirl kind silliness, and a tragic MagicalGirl series would normally be more realistic and [[DeconstructedTrope deconstructive]] than a fairy tale allows. A mix of fairy tale and MagicalGirl series... well, it could ''possibly'' mix with tragedy, but not in the straight way Drosselmeyer wrote it.
The characters refuse to behave out of character - an EnsembleDarkhorse TallDarkAndHandsome KnightInSourArmor can't die in a fight according to a prophecy, a [[PluckyGirl Plucky]] [[CuteClumsyGirl Ditzy]] MagicalGirl won't give up [[HopeBringer hope]] and won't just [[SenselessSacrifice sacrifice herself to a villain]] [[YouCantFightFate conforming to set destiny]]. This just doesn't happen in this genre, no matter how much Drosselmeyer wants it to; for that, he should have set it up as [[SlidingScaleOfIdealismVersusCynicism more serious/realistic]] from the start.
So in the end, even Fakir, who is both unexperienced as a writer and a character in the story himself (thus, [[WhatCouldPossiblyGoWrong theoretically]], entirely under Drosselmeyer's control), can break the tie with a clumsily written (in-universe) AuthorsSavingThrow of a twist. He can make everything and everyone go on, despite only having direct control over Ahiro's story (probably due to the other WMG here about her being his character initially), merely because his version is more in accordance with genre conventions.
to:
So Drosselmeyer, after having his fairy tale stopped, manages to continue it as a MagicalGirl series - he finds a pure-hearted girl and gives her a power to transform into a prettier and more capable version of herself that no-one can recognize for some reason... yeah. reason. It goes all according to his script as one - there's a DarkMagicalGirl to oppose her and a suitable reason for HeroicBSOD at the darkest moment... basically, moment. Basically, the manga is one version of how the story should have been, been and would have been with a more, ah, more GenreSavvy author.
But [[NightmareFetishist Drosselmeyer]] tries to force it to be a tragedy as it nears theconclusion... how conclusion. How many MagicalGirl series with classical tragedy-style endings do you know? Yeah. Of course, the already-shaped story, already a mix of a fairy tale and MagicalGirl series, can't conform, conform; the three styles would just contradict each other too much.
* To specify, both a fairy talewith a tragic ending is possible, and a MagicalGirl series with tragic ending is possible too, but endings are possible. However, a tragic fairy tale would have nothing in common with typical MagicalGirl kind silliness, and a tragic MagicalGirl series would normally be more realistic and [[DeconstructedTrope deconstructive]] than a fairy tale allows. A mix blend of fairy tale and MagicalGirl series... well, it series could ''possibly'' mix with tragedy, but not in the straight way Drosselmeyer wrote it.
The characters refuse to behave out of character - an EnsembleDarkhorse TallDarkAndHandsome KnightInSourArmor can't die in a fight according to a prophecy, a [[PluckyGirl Plucky]] [[CuteClumsyGirl Ditzy]] MagicalGirl won't give up [[HopeBringerhope]] hope]], and won't just [[SenselessSacrifice sacrifice herself to a villain]] [[YouCantFightFate conforming to set destiny]]. This just doesn't happen in this genre, no matter how much Drosselmeyer wants it to; for that, he should have set it up as [[SlidingScaleOfIdealismVersusCynicism more serious/realistic]] from the start.
So in the end, even Fakir, who is both unexperienced as a writer and a character in the story himself (thus, [[WhatCouldPossiblyGoWrong theoretically]], entirely under Drosselmeyer's control), can break the tie with a clumsily written (in-universe) AuthorsSavingThrow of a twist. He can make everything and everyone go on, despite only having direct control overAhiro's Ahiru's story (probably due to the other WMG here about her being his character initially), merely because his version is more in accordance with genre conventions.
But [[NightmareFetishist Drosselmeyer]] tries to force it to be a tragedy as it nears the
* To specify, both a fairy tale
The characters refuse to behave out of character - an EnsembleDarkhorse TallDarkAndHandsome KnightInSourArmor can't die in a fight according to a prophecy, a [[PluckyGirl Plucky]] [[CuteClumsyGirl Ditzy]] MagicalGirl won't give up [[HopeBringer
So in the end, even Fakir, who is both unexperienced as a writer and a character in the story himself (thus, [[WhatCouldPossiblyGoWrong theoretically]], entirely under Drosselmeyer's control), can break the tie with a clumsily written (in-universe) AuthorsSavingThrow of a twist. He can make everything and everyone go on, despite only having direct control over
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Changed line(s) 1,4 (click to see context) from:
[[WMG: Drosselmeyer's failure was inevitable due to a fault in his story]]
[[RealityWarper Fakir]] seems to be unable to write an "unrealistic" story - he has free reign with [[AWizardDidIt mysterious powers]], especially [[PersonalityPowers character-themed]] ones, but he is unable to force people to behave out of character, which is why his attempt to force the ravens to let Ahiru go was unsuccessful. It's not much of a stretch to assume that it works the same way with genre limitations. For example, you can't make a fairy-tale character suddenly turn into a detective and investigate, say, why his wife has been bearing animals instead of real kids, according to the letters he got.
So Drosselmeyer, after having his fairy-tale stopped, manages to continue it as a MagicalGirl series - he finds a pure-hearted girl and gives her a power to transform into a prettier and more capable version of herself that no-one can recognize for some reason... yeah. It goes all according to his script as one - there's a DarkMagicalGirl to oppose her and a suitable reason for HeroicBSOD at the darkest moment... basically, the manga is one version of how the story should have been, and would have been with a more, ah, GenreSavvy author.
[[RealityWarper Fakir]] seems to be unable to write an "unrealistic" story - he has free reign with [[AWizardDidIt mysterious powers]], especially [[PersonalityPowers character-themed]] ones, but he is unable to force people to behave out of character, which is why his attempt to force the ravens to let Ahiru go was unsuccessful. It's not much of a stretch to assume that it works the same way with genre limitations. For example, you can't make a fairy-tale character suddenly turn into a detective and investigate, say, why his wife has been bearing animals instead of real kids, according to the letters he got.
So Drosselmeyer, after having his fairy-tale stopped, manages to continue it as a MagicalGirl series - he finds a pure-hearted girl and gives her a power to transform into a prettier and more capable version of herself that no-one can recognize for some reason... yeah. It goes all according to his script as one - there's a DarkMagicalGirl to oppose her and a suitable reason for HeroicBSOD at the darkest moment... basically, the manga is one version of how the story should have been, and would have been with a more, ah, GenreSavvy author.
to:
[[WMG: Drosselmeyer's failure was inevitable due to a fault in his story]]
story.]]
[[RealityWarper Fakir]] seems to be unable to write an "unrealistic" story - he has free reign with [[AWizardDidIt mysterious powers]], especially [[PersonalityPowers character-themed]] ones, but he is unable to force people to behave out of character, which is why his attempt to force the ravens to let Ahiru go was unsuccessful. It's not much of a stretch to assume that it works the same way with genre limitations. For example, you can't make afairy-tale fairy tale character suddenly turn into a detective and investigate, say, why his wife has been bearing animals instead of real kids, according to the letters he got.
So Drosselmeyer, after having hisfairy-tale fairy tale stopped, manages to continue it as a MagicalGirl series - he finds a pure-hearted girl and gives her a power to transform into a prettier and more capable version of herself that no-one can recognize for some reason... yeah. It goes all according to his script as one - there's a DarkMagicalGirl to oppose her and a suitable reason for HeroicBSOD at the darkest moment... basically, the manga is one version of how the story should have been, and would have been with a more, ah, GenreSavvy author.
[[RealityWarper Fakir]] seems to be unable to write an "unrealistic" story - he has free reign with [[AWizardDidIt mysterious powers]], especially [[PersonalityPowers character-themed]] ones, but he is unable to force people to behave out of character, which is why his attempt to force the ravens to let Ahiru go was unsuccessful. It's not much of a stretch to assume that it works the same way with genre limitations. For example, you can't make a
So Drosselmeyer, after having his
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[[WMG: Princess tutu is related to Mytho in someway.]]
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[[WMG: Princess tutu Tutu is related to Mytho in someway.some way.]]
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Fakir's mother--shown in a brief flashback in episode 20--looks remarkably similar to Rue (for being seen only in shadow, anyway). Also, on Autor's family tree, the person that he identifies as Fakir on the tree has a sibling...that's been crossed out. Rue was kidnapped by her family as a baby, and so doesn't remember what they were like. Fakir has suppressed most of the memories before his parents died, and he and Rue are also close in age, so if she ''is'' his sister it makes sense why he wouldn't recall her. Also, if you compare how the two looked as children, they appear very similar. (Although, admittedly, it could just be due to the art style.) As one last final interesting tidbit, Fakir appears briefly in the background of Rue's flashback of her childhood when the story goes backwards in episode 23--you can see him fighting attempting to fight off crows with a toy sword to save a small animal (possibly a cat).
to:
Fakir's mother--shown in a brief flashback in episode 20--looks remarkably similar to Rue (for being seen only in shadow, anyway). Also, on Autor's family tree, the person that he identifies as Fakir on the tree has a sibling...that's been crossed out. Rue was kidnapped by her family as a baby, and so doesn't remember what they were like. Fakir has suppressed most of the memories before his parents died, and he died. He and Rue are also close in age, so if she ''is'' his sister sister, it makes sense why he wouldn't recall her. Also, if you compare how the two looked as children, they appear very similar. (Although, admittedly, it could just be due to the art style.) As one last final interesting tidbit, Fakir appears briefly in the background of Rue's flashback of her childhood when the story goes backwards in episode 23--you can see him fighting attempting to fight off crows with a toy sword to save a small animal (possibly a cat).
Changed line(s) 24 (click to see context) from:
He's the first one in akt 23 to realize that the story is going backwards--Fakir has to ask him what's going on, and Drosselmeyer seems (pleasantly) surprised by the story going backwards, as if it's never happened before. If it hasn't happened before, then Autor couldn't know about it through research alone--in actuality he can sometimes ''hear'' the story being told because of the vague bits of Drosselmeyer's DNA that's in his blood. This also means that his claim that he heard the Oak Tree sigh is actually true. (Probably it was sighing in exasperation from how insane the kid tapping into her roots is.)
to:
He's the first one in akt Akt 23 to realize that the story is going backwards--Fakir has to ask him what's going on, and Drosselmeyer seems (pleasantly) surprised by the story going backwards, as if it's never happened before. If it hasn't happened before, then Autor couldn't know about it through research alone--in actuality he can sometimes ''hear'' the story being told because of the vague bits of Drosselmeyer's DNA that's in his blood. This also means that his claim that he heard the Oak Tree sigh is actually true. (Probably it was sighing in exasperation from how insane the kid tapping into her roots is.)
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Lolicon and shotacon have been disambiguated. Links with too little context are being removed - "paedo" is not always a trope, examples where the tropeworthiness is unclear are being removed. Also, please do not use "loli" as a synonym for little girl; see Lolicon And Shotacon as to why not
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[[WMG: Drosselmeyer is into {{Lolicon}}]]
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[[WMG: Drosselmeyer is into {{Lolicon}}]]{{Lolicon|AndShotacon}}]]
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[[WMG:Fakir has been reborn before]]
This one's simple enough. Fakir is the knight reborn, as well as a Story Spinner. When the Ghost Knight turns up, Fakir starts having nightmares about fighting him, and thinks they're visions the ghost is sending him. What if they weren't visions at all? Or rather, not that the knight sent him as a request for an ending, but visions of another lifetime, where Fakir was the one to end the life of the knight who held his prince's shard of Pride?
This one's simple enough. Fakir is the knight reborn, as well as a Story Spinner. When the Ghost Knight turns up, Fakir starts having nightmares about fighting him, and thinks they're visions the ghost is sending him. What if they weren't visions at all? Or rather, not that the knight sent him as a request for an ending, but visions of another lifetime, where Fakir was the one to end the life of the knight who held his prince's shard of Pride?
