Drosselmeyer's failure was inevitable due to a fault in his story.Fakir
seems to be unable to write an "unrealistic" story - he has free reign with mysterious powers
, especially 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 Magical Girl 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. It goes all according to his script as one - there's a Dark Magical Girl to oppose her and a suitable reason for Heroic BSoD at the darkest moment. Basically, the manga is one version of how the story should have been and would have been with a more Genre Savvy author.But Drosselmeyer tries to force it to be a tragedy as it nears the conclusion. How many Magical Girl series with classical tragedy-style endings do you know? Of course, the already-shaped story, already a mix of a fairy tale and Magical Girl series, can't conform; the three styles would contradict each other too much.
- To specify, both a fairy tale and a Magical Girl series with tragic endings are possible. However, a tragic fairy tale would have nothing in common with typical Magical Girl kind silliness, and a tragic Magical Girl series would normally be more realistic and deconstructive than a fairy tale allows. A blend of fairy tale and Magical Girl series could possibly mix with tragedy, but not in the straight way Drosselmeyer wrote it.
The characters refuse to behave out of character - an Ensemble Dark Horse Tall, Dark, and Handsome Knight in Sour Armor can't die in a fight according to a prophecy, a Plucky Ditzy Magical Girl won't give up hope, and won't just sacrifice herself to a villain 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 more serious/realistic from the start.
So in the end, even Fakir, who is both an inexperienced writer and a character in the story himself (thus, theoretically, entirely under Drosselmeyer's control), can break the tie with a clumsily written (in-universe) Author's Saving Throw 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), because his version is more in accordance with genre conventions.
Princess Tutu is related to Mytho in some way.
Inspired by a fanfic. Princess Tutu seems to share Mytho's white hair, if Ahiru's Princess Tutu form is any indication. Admittedly, this could also be a side-effect of using Mytho's heartshard to transform, but none of the people in possession of heartshards have shown such a side-effect.
- That white, feathery stuff covering her ears?◊ Yeah, that's not hair. It comes from the costume of Odette◊ from the Swan Lake ballet◊. It's especially obvious in this picture◊, after you've looked at the last one.
- Alright, that makes sense. I still think it looks like hair, but it's probably just the art style. What's with the fade into white with her ahoge, though?
- That's a stylistic lighting highlight.
Fakir and Rue are siblings.
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?
Autor actually is a descendant of Drosselmeyer.
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 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 true. (Probably it was sighing in exasperation from how insane the kid tapping into her roots is.)However, he's too distant of a descendant to be able to control a story through pen and ink—he's cursed to be able to hear the words of Story Spinners, but never truly become one himself. Or, alternatively...
Autor's too logical to be a writer and use the Story-Spinning powers.
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.
Ahiru/Duck is a character Fakir wrote in a story as a child.
Fakir is obviously fond of animals. As a child, one of his 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.This is one of the reasons why Fakir can write about Ahiru, and why Drosselmeyer has such a difficult time controlling her—she's Fakir's character, not Drosselmeyer's. Tutu, however, is Drosselmeyer's character. This means that the girl
Ahiru is a character shared between the two. (And also why Fakir has to call out her true name, and not "Princess Tutu"—he has no power or right to call one of Drosselmeyer's characters out from his realm.)
Autor and Malen are brother and sister.
The general logic probably stems from the fact that they have glasses and similar hairstyles, are attracted to/obsessed with Rue, and throw themselves wholeheartedly into their passions.
- This would explain why in the epilogue he's telling her to be quiet.
Lilie is Drosselmeyer's true sucessor.
Either another one of his descendants, or simply his spiritual successor chosen to highlight the tragedy of the story. Autor isn't creative enough and Fakir isn't sadistic enough to be considered worthy by Drosselmeyer. Sadly for Lilie, Drosselmeyer was unable to contact her to carry out his will before Fakir finished his story.
Edel is made from the wood of The Great Oak Tree.
Not my theory—thought up by Tomoyo on the LiveJournal community. Notable because this was confirmed by Word of God
at the Princess Tutu Cast Party held at Ushicon. This is why Edel and the Oak Tree repeat similar phrases.
Or Kyon, depending on if you believe the theory in Haruhi's WMG. This is the source of her reality-bending powers—although, of course, she's a prodigy that has refined the Story-Spinning powers beyond the level that Drosselmeyer and Fakir reached. She no longer even needs a pen and paper to use her powers!
Pretty straight-forward. Drosselmeyer writes tragedies that become reality until his characters rebel. Karen Eiffel is a writer of tragedies that become reality until one of her main characters contacts her and asks her to not kill him. Of course, Karen isn't nearly as cruel as Drosselmeyer—a descendant that Drosselmeyer would probably be disappointed in.
Autor's father trained him to be a Story-Spinner since he was a young child.
Autor is careful to note that one of the Story Spinners on his family tree is "the man who saved my father when he was a boy." That was the even that lead his father to be obsessed with Drosselmeyer—he started much of Autor's research, and trained him to become a Story-Spinner. (If you combine this with the theory above that Autor is an actual descendant of Drosselmeyer, it's possible Autor's father purposefully married into the family if he wasn't one himself.) Much of the (really weird) ideas Autor has about what one needs to be a Story Spinner were actually taught to him as a child—which would mean that, yes, Autor's father made him stand in the middle of his study for three days without sleep or food. (Which also explains
why Autor is rather...interesting.)
The Princess Tutu manga is a Fix Fic
written by Autor.
This explains a lot of the changes to the story in the manga:
- Autor thought the anthropomorphic animals were silly, so he got rid of them, except for Mr. Cat because he knew too many people would complain.
- The Ho Yay between Fakir and Mytho disappeared because he's a guy and it didn't appeal to him. All of the nudity fanservice involving the girls, and the Les Yay between Rue and a girl that looks suspiciously like him, however...
- Edel is the evil, slutty villain in the manga because only someone who's evil would betray Drosselmeyer...plus, more fanservice!
- The ending is more strongly Mytho/Ahiru because that frees up Rue to end up with him.
- Fakir isn't actually Drosselmeyer's descendant in the manga. He's a nobody in the manga. This is Autor being bitter.
- Ahiru is only a duck for one chapter because "a mere duck couldn't possibly end Drosselmeyer's story!"
However, it's unlikely that he'd try to "fix" it by leaving out himself, Drosselmeyer and story-spinning altogether.
- Nah. He himself, Drosselmeyer and story-spinning are Breaking the Fourth Wall, and it seems believable that an amateur writer trying to make everything right would leave the disturbing stuff out.
The Story is actually part of The Tradition.
With The Tradition, individuals are forced down paths already chosen for them until they a) accomplish their "happily ever after", b) die, or c) have something else happen that allows them to break from it.
- Even the protagonists find that completely breaking with The Tradition is extremely difficult, and can open the door for other problems if done so incorrectly. (Remember Fakir's difficulties in transitioning from the role of the Knight to the role of the Author.)
- It also has more than its fair share of tragedy (Fair Rosalinda and Ladderlocks, anyone?), which would fit Drosselmeyer to a T.
The final five heart shards can all be identified by their dialogue
Not sure how, but they can be guessed at.
I don't think I have to explain myself.
- Guesses, in order of speech: Disgust or anger, disappointment, hopelessness, resignation, and courage. Courage was also the one who spoke to Tutu about returning the final shard.
- He does show more interest in Ahiru and Rue than in Mytho and Fakir... More interest like watching in their rooms at night and giving them Stripperific outfits... I think I need Brain Bleach.
The narrator that speaks at the beginning of each episode is the REAL author of the story.
It sort of makes sense. In the last episode, Drosselmeyer himself ponders if he's in someone else's story since his didn't go the way he wanted.
Drosselmeyer, Fakir or one of their descendants created the Death Notes and maybe the shinigami too
Writing = reality, and one of them was playing around with their powers too much. The rules at the beginning of the death note, while supposedly
written by Ryuk, could just be the writer who made them writing the story about the death note itself. Also, Fakir can make writing look dramatic while Light... eh.
- Not to mention, if you take out the "F" in Fakir's name, what can you rearrange the letters to say? Kira!
- Obviously, it should be arranged "F Kira"... That is, Fakir became the "First Kira."
It's his mission to depress us all, to the point of suicide if possible, in revenge for losing his hands. He obviously believes in Disproportionate Retribution
- To add this, any story that looks like it was headed to a Downer Ending but manages to avoid it happened because Fakire broke the machine he wrote with and the characters were able to avert his endings.
Once his heart is restored, he is the glorious ideal
of the Knight In Shining Armour
. He is self-sacrificing to a near suicidal degree (even before he was emotionless
). In Rue's flashback, we seen her as a little girl while Mytho still looks the same as he does at the time of the series - it's as though he doesn't age. Once fully awakened, he is able to save the woman he loves and defeat ultimate evil. Dios
is described as "That which is eternal, that which shines, the power of miracles, the power to revolutionize the world..." and is shown as having been around since a golden age. He, too, has temendous powers of swordsmanship and defends the world form evil , at a great cost to himself. This could mean that Raven!Mytho is in fact Akio.
With all the similarities and f* cked up fairy tales
running around, it's no wonder. The former takes place in Japan and the latter takes place in Germany.
Upon realizing his other descendant Fakir
wasn't playing along with the story, Drosselmeyer went into the life of his however-great grandson and manipulated him into continuing the line of tragic tales by striking him with clinical depression.
When Autor grew up...
...he decided to leave town to find his place now that it was finally physically possible, somewhere along the way his mental instability increased before finally, er, "stabilizing" at its own odd point in its own odd way, his obsession with the all-powerful Drosselmeyer ended up as some kind of segue
, his paranoias led to him using an alias for whatever reason, and he ended up as a
priest in the town of Silent Hill
....After the English dub, at least. I swear, the voices (and, when said voices are attributed to them, mannerisms) are uncanny.
The reason she loves suffering so much is because she can't understand it; when something bad happened to her, she brushed off the circumstances as being too unrealistic, and now just enjoys the sensation so she can coddle her friends. Also, she's got a huge amount of physical strength and doesn't notice when she hurts Ahiru.
The first syllable of his name sounds like "Joss", and he loves angsty stories. Hence, Princess Tutu
was secretly written by Joss Whedon
, and conversely, Firefly
was secretly written by Drosselmeyer. The reason it ended so early was that the characters revolted.
Mytho held on to one emotion to keep himself alive.
Knowing he couldn't live without a heart, he figured he could at least manage to survive with a small piece of it. Which emotion was it, you ask? His desire to protect the innocent. This explains why he would go out of his way and risk his life to save the lives of others, no matter how insignificant.
- Of course, to him, no life is insignificant.
The entire series is a tabletop RPG game successfully derailed.
The PCs are Ahiru, Fakir, Mytho, Rue, and Autor. Ahiru and Fakir's players were upset because they realized their characters were doomed to die no matter what, and Autor was upset because his character barely had any inclusion in the game. Story Spinning is a power granted through some obscure splatbook that the GM approved without looking through, and they used it to the fullest extent to derail the game. The Bookkeepers are DM fiat in physical form. Drosselmeyer was a cool framing device the GM thought up.
- Someone needs to write this fanfic.
- The system is Changeling: The Lost. Fakir is a Darkling Archivist who took up Talecrafting near the campaign's end. Duck is a Windwing Best built a social character. Mytho is a Fairest Dancer who's cursed with low Clarity. Rue is a Flowering Fairest, manipulating all those around her. Drosselmyer is a True Fae who plays with the world on his whims.
The transformation into Princess Tutu includes an age up.
Princess Tutu is taller than Ahiru, has longer face, smaller eyes (large eyes being indicative of youth) and has a bigger chest than Ahiru. Additionally her increased grace and poise might be in part due to growing up out of an awkward phase.
- It's a 'duck-to-swan' metaphor, so that's probably true.
- It's also genre-appropriate.
Either he escaped Kinkan or is somehow influencing the otherwise normal birds to attack humans.
And ended up like Bernkastel. Unfortunately.
The King Cat in The Cat Returns
keeps trying to get Haru to marry either the Prince or (at the end) him. However, a third option is taken
. Somewhere down (up?) the line, Mr. Cat was born and ended up in Kinkan town where things got... Screwy.
Uses mindless drones. This one differs a little since the soul-raped victims
are pretty much used exclusively by The Raven (crows) while the Dark Voice's Zerg can make some (Infected ____
) but don't have to.
Fakir is part Arab.
If his name and physical features compared to the rest of the cast is anything to go by. Of course, not fully because of Drosselmeyer.
The reason Rue doesn't become a crow despite having been exposed to raven's blood for so long...
...is because she isn't fully part of the story. The characters of The Prince and the Raven that were mentioned were the prince, a knight, and Princess Tutu. Duck took on Princess Tutu's role, Fakir was the knight, and the prince was... Well, himself. But it never mentioned any kind of crow princess. Even when she became a character, she was still separate from the original story, and that's why the power of the Raven, the villain of the original story, didn't affect her as strongly as it did Mytho. In her veins, there was the most literal mixing of fiction and reality possible, and her "real" form was strong enough to resist the outside influence. As for why the raven's blood affects the townspeople so quickly, well, my only thought so far is that the story did spread to the town, and since they weren't major characters, there was nothing to protect them at that point. Still, just a thought.
- Autor mentioned townspeople turning into crows happened in the story, so it fits that it happens to the actual townspeople.
The short narrations at the beginning of every episode are abridged versions of the stories that Drosselmeyer wrote while he was still alive.
Hence why some of the short stories fit better than others at times; they aren't meant to give incite to the actual plot of the episode, only it's theme and the ensuing tragedy that Drosselmeyer would work it into were he given the chance to. (Yes, this also implies that he wrote his world's versions of Cinderella
and Swan Lake
.) This is also why the first few episodes' prologues so closely mirror the situation that created the story we're seeing. Drosselmeyer is currently working on the story that the audience is viewing, and as the audience views it, the characters within the story follow its plot until they slowly become more aware and start to change it. Thus, despite the opening narration ending the stories darkly, Princess Tutu moves the story of the episode into a more hopeful direction with each episode, building up into Ahiru and everyone else fighting against their own unhappy endings at the end of the series.
The Drosselmeyer we see is actually a character.
The narrator never says outright that Drosselmeyer came back from the dead, she only point out that he died, and thus 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.
One of his descendants wrote about him (or rather, his vengeful spirit), creating the hammy tragedian we know and love. He was kept as a spirit because either the writer was Genre Savvy enough to know not to mess with actually resuscitating dead bodies, or wasn't aware of his power and just made it that way because it fit the story he was writing. While the writer was at it, he gave Drosselmeyer different ways of changing reality without the need to write (you'll notice that Drosselmeyer rarely actually writes anything, even though he has functional hands). The creation of Drosselmeyer's character may have been unintentional, or it may have been to counteract the Raven or some other dangerous character that had escaped from Drosselmeyer's stories.
- Different Troper. I had this idea myself way back, though instead of another Story Spinner, I had assumed the human Drosselmeyer created the character Drosselmeyer. It's been said that Drosselmeyer wrote one last story with the blood of his stumps after his hands were cut off to forever continue his love of tragedy. The story he wrote was of himself as a pseudo form of immortality.
Pique and Lilie were written in when Duck turned into a girl.
Episode 1 must have been Duck's first day as a human, since A) She didn't recognize Mr. Cat and B) 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.
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?
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 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.
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.