I never analyzed the notes for the door close, but you’re right. I personally hear Paul’s melody as a fakeout for Marvin. He starts with the repeated C note , making Marvin believe he’s going to get what he wanted, then shifts to F minor (keep in mind the first three notes outline an F minor chord and then try to think where you then hear the tonic or “home” note), then the D natural acts as a tonicizing note for E flat, preparing a modulation that never comes, as Paul turns first slightly chromatic, then playing randomly. It’s an F-U to Marvin.
Brilliant catch. I remember being much more unsettled by Care's melody than Paul's melody, and I agree it sounds more mature- the way Care's melody bounces of the tonic before launching higher and higher, all the way up to a 9th before crashing down, feels like overinflating a balloon. I wonder if you feel that Paul and Care are iterations of the same person? I too find it amazing that the flats of Cm spew out as Care is taken. The connection between Paul and Carrie is probably the question that eats at me the most when I think of Petscop, as I can't see an overriding symbolic connection. I think the groundwork for the trans allegory is very strong, as it's got some evidence in relation to Paul, Care, and also the meaning of Marvin's actions; , Paul's notes in the closet seem to suggest at first that this is the moment that Care disappears and Paul is born. But I've always felt a kind of resistance to the notion that his transition emerges out of traumatic experience. That said, your video on rotation theory made me think of it again, in Marvin trying to go back in time to people who don't exist- to Lina, who's lost, and to Care, who's gone.
I think it's also interesting how the rebirthing piece mentioned by Rainer (and heard in the Quitter's Room at one point) is the second movement of Stravinsky's Septet. The second movement is a Passacaglia, which involves numerous variations (in this case, nine). The name "Septet" comes from the fact that it is intended for seven instruments. The variations are comprised of 16 notes, and is 3/4 time. The piano in Even Care (which is also connected to the flower in the Flower Shack Basement) goes up to 16, must be set to 7 to catch Pen, and there are 2 clones (thus 3 Guardians). The number 7 pops up quite a bit actually. Care's crayons have seven colours. Lina's gear (both in the Windmill itself and on the floor in her room) have seven spokes on it. Mike died on his 7th birthday. Lina went missing in 1977, Care in 1997 (which is the copyright date on the title screen), and the series started in 2017. This is more than likely just another elaborate reference to rebirth as the number 7 typically represents completion (God made the world in six days and then rested on the 7th, for example, leading to the 7-day week). I just wish I knew more music theory to really analyse aspects of the piece in that way.
One other interesting thing I noticed, is that the petscop OST Girl World uses D# C# G#, which is (if im not mistaken) a perfect fifth upward from the A# G# D# notes in the closet jingle!
I love the way your mind works. This is a great detail. I have so many questions. Are any of the characters in Petscop reliable narrators? Especially Rainer. Is the core of Petscop about childhood trauma, trauma therapy, or something else? What is the function of deceit? Is the main protagonist suffering from some sort of dissociative amnesia? What is the real function of Petscop?
thankyou! idk if these questions are meant for me or are just rhetorical but my advice for all of these is, petscop is ambiguous for a reason, so asserting some sort of concrete meaning, plot, or intention transforms the work from its original state. i of course have personal opinions and readings on it, and its sure fun to share and discuss these with people, but as someone making videos i try not to assert much of my personal reading. with something as ambiguous as petscop a lot of people tend to flock to "explanation" videos, which i personally feel is missing the point of the work, so i try not to feed into that. that being said these are all really good questions that i think you can find an answer to if you sit with the work for awhile. but your answer will always be just that: your answer, not The answer. and i think theres something kinda beautiful about that.
@@mysticete248 I am very interested in your opinion, as I believe you are on the right track, although I understand if you are uncomfortable sharing your thoughts. It is not unusual for creators to uphold interpretive ambiguity for various reasons. I get that. Lynch is one such creator. However, that has not stopped people from deconstructing Lynch’s works, individually and as a corpus, and in some cases, rather successfully. Is Petscop a tremendous inkblot for the audience to project personal experience into and thereby create subjective meaning? Perhaps. But judging from some of the repeated themes and motifs, Petscop is more than a dark fever dream. I suspect the creator had an initial intent that is discoverable despite deliberate obfuscation. Anyway, I hope at some point you feel comfortable sharing your opinions and analysis, as your videos seem ESPECIALLY perceptive. Edited: autocorrect errors
@@kellybock6320 thankyou for the kind comment! im very glad you view things this way because i do as well, and i find it rare to come across petscop fans who have this view. you can probably understand my fatigue with people so intent on “puzzle solving” and treating petscop like an arg rather than stepping back and meditating on the (rather serious) themes. that being said i appreciate the community’s analysis of the work because there are so many tiny details that can easily be missed (like, say, a barely audible 4-note melody…) and thats the kind of work i value most from this community. once again thanks for the kind comment(s)!
the level of thought put into petscop always blows me away, I would have never known abt this if not for ur vid!! I always love to see ur perspective on this :)
I don't think Paul's melody is in C minor, I think it is in E flat major. E flat major, being the relative major to C minor, has the same number of flats in the key signature. The repetition of the E flat note makes it much easier to hear as the root note than C. But I still think you have a point; since Care's melody is clearly in C major, when you hear Paul's melody, you might be "expecting" to hear C major, and when you hear flat notes, you would at first expect that it is indeed playing C minor, and the repetition of the E flat root note/establishment of the "true key" doesn't happen until later.
this is greatly appreciated. currently working on a full series analysis of Petscop. though, i've just started a little while ago. this & your rotation theory are super helpful !!
correct me if i’m wrong, but it seems like you have a bit of a background in this. did you play the piano or another instrument at all? or are you just really good at research lmao
I took piano lessons when I was really tiny, like 7 years old or something, so I know the routine when you're teaching a small child piano and it just so happens petscop deals with that and I recognized some techniques like scales and octaves ha
