Michael Primavera > Recent Status Updates

Good setup so far, we’ll see whether it plays into or subverts the murder mystery stereotypes

Something tells me I’m going to feel worse for Piranesi the further along we go. Though I’m very happy at the way this story is heading, the House is interesting as a Backrooms-esque in-between place based on memory, and the characters each are deliberate and remarkably thoughtful, even in how they interact and new information is doled out, it’s really good so far.

Man what an odd book. Interesting, but I’m hoping for a bit more to be revealed before I cast my judgement

He just. Conveniently didn’t see the note. After several times assuring the readers he would have seen it, he just missed seeing it… of course!

Thank you Ayatsuji. Thank you for including an intermission the repeat the exact same information you’ve been giving us for the entirety of the book. Thank you for making it a bulleted list just in case I forgot. Truly, so helpful.

Most of this book is just set up, it’s all over-explained without even getting to the actual murder, oh my god.

This book has a very long setup that I’m afraid won’t pay off very well, the author seems more interested in recounting a murder rather than the clues to solve one. I’m also wondering the importance of the paintings, is it just a reason to gather a cast of characters, or do they play a greater role?

They have spent more than three pages dedicated to a semi-menacing note, going over the same details over and over again. This book is an incredibly slow burn, while there may have been a tragedy in the past, the present has nothing interesting to offer the story yet.

Soul read: Masaki is the murderer. He cut off his finger to hide his identity, and killed Furukawa by burning him in the furnace to make it seem like he died. That… or he’s again the murderer, but he somehow replaced Kiichi, and that’s why in the present it only refers to him in the first person.

Right now the constant jumping between past and present feels more like a gimmick than anything else, especially with how little changes between the two, it’s almost as if it was used to pad the books length. The relationship of Kiichi and Yurie is disturbing, but I can’t see the author going into the detail it deserves, but I’ll hold criticism until the end

“Red” or whatever is a nothing burger of a character. His is an intentionally vague “bad guy” so the plot can progress by having him narrate his actions, he has no plan, no backstory, nothing. He exists only to put a humanoid face to the monster in this book, which is such a bizarre choice. And Sunshine is also a Deux Ex Machina, how the hell did it know to wipe Quinn’s mind, I though Antimemes were no sent

Wow they really rushed through the last three killings, just BAM, everyone’s dead. The allusions to the Minotaur feel a little hokey, but they work. Though they are spending a lot of time spelling out how the killer did it, the timing feels off. How on earth did the killer somehow read everyone’s story, plan separate murders with unique murder weapons, and stage them mere hours apart?

The book has almost entirely given up the premise of having a department categorize and control these monsters, instead opting for an end of the world scenario. It’s also the best the books ever been, because it’s a cohesive story that doesn’t get interrupted