get out your tinfoil ladies and gents
i've been pretty tired of "theories" explaining nothing, and instead pointing out obvious metaphor (ROY = MEDIA) that I don't necessarily even agree with. here are my personal thoughts.
bear with me here. this one's a multi-parter:
Assumptions I'm allowing myself:
In the DHMIS universe:
>Time is not linear, to the point of near meaninglessness
Evidence:
>June 19th ad nauseum
>clock in DHMIS2 is very insistent on the fact that time IS linear; teaching puppets have been shown numerous times to give bad info
>wanted poster of Yellow in the past looks like yellow presently
>1955 photo of the gang does not look any younger
>various anachronisms (technology from the late 90's - early 2000's)
>"reality" is fluid, flimsy; furthermore, there are layers to the reality of DHMIS qua dreams within dreams
evidence:
>oneirataxia, dreams within dreams (esp. DHMIS6)
>DHMIS 2's reality takes place in a TV show with no apparent cut, yet an eyeball remains on the floor, i.e. events that "have not actually happened" (for whatever that's worth i.e. little to none) still have effect on the "real world" (the eye on the floor)
>the anthropic is equated with subreality (DHMIS 4, when Red stumbles onto the set, "human" or "real" figures (man in morph suit, actual duck) are actors or props, while puppets (the camera) are more "real" in the reality of DHMIS
>Red's phone calls during DHMIS5
>all of DHMIS6
>>84022431
So, here are the (admittedly flimsy) conclusions I'm allowing myself to draw from those assumptions
>In DHMIS, passing between layers of reality is possible, and usually achieved through some form of torture
DHMIS2 having taken place inside a television show, DHMIS4 red stumbling onto the "set" "kills" him and brings him to the next layer of reality, where he calls Duck in DHMIS5, bringing him (duck) to the next layer of reality, where he (duck) is being eaten in a hospital.
>Roy and Yellow guy are one in the same
Truly, whether Roy is Yellow's father or "future-yellow" is not an important distinction for me. What's important is that Roy takes the role of father (Father's day being a key date, fatherhood being a motif) to Yellow, and the exploration of what a father figure is: disciplinarian, absent, authoriarian, sadist, protector, teacher, etc. However, it's a fun theory to play with. Evidence I've found compelling in favor of Roy being "future yellow" is that aged yellow from DHMIS2 seems to take the appearance of Roy (crooked nose, stringy hair), and in DHMIS6, Yellow's eyes start to develop bags around them, similar to Roy's. Another compelling (if ultimately inconsequential) bit of subtext is this: in DHMIS2, the clock says that the future "doesn't exist", with a pictre saying "nothing". In DHMIS4, Yellow finds "nothing" behind the doors of the computer a few times. Admittedly flimsy, I know, but connecting Yellow with the idea of "the future" isn't too far off the mark IMO. If the puppets are stuck living a torturous June 19th for (weeks? years? centuries?), Roy could be the result of Yellow's repeated trauma, rather than the cause. So, what is Roy doing? Is he "good" or "evil"? I will touch on that in a moment.
>>84022448
>Red's "reality" in DHMIS6 is not "true reality"
This harkens to my theory of reality being multi-layered and fluid. When Red "wakes" in 6, I postulate that this "awake" world is another dream or subreality. Let's argue by counterpoint: if Red's office reality IS reality, why does pulling the plug on the machine plunge them back into their kitchen? Red seeing Roy, his microphone and boom-box turning into a puppet, and the lacunae leading to the discovery of the "machine room" are all evidence that Red is simply in another dream. So, the questions: does the computer "exist", and what did unplugging it "do"? I will touch on those in a moment.
Shut the fuck you you loser.
>>84022431
>>84022448
>>84022465
>The teaching puppets are not malicious - creativity IS bad
Next time you watch a DHMIS, pay close attention to what causes the main cast (Red, Yellow, Duck) so much pain. With the exception of the first DHMIS, the main cast's questioning of the teaching puppets always lead to hellishness. The incongruity vis a vis the first DHMIS has two explanations: simply, the first DHMIS was stand-alone without much attention to a "mytharc," which is the obvious argument that I'd like to wave away because: rather than being contradictory, this bolsters my argument and leads me to my next point: that creativity is bad (or at least destructive) in the world of DHMIS. In DHMIS1, the main cast go along with the notebook's lesson, and are plunged into a nightmarish saturnalia that evokes Adrian Lyne. The creativity itself, not the notebook, directly led to the turmoil. DHMIS2's teaching puppet, the clock, seems to be the most overtly malicious, discouraging questions with aggression, and aging the puppets to torture them. But consider: as Duck questions the nature of time and points to his chalkboard, the small visual gag of the "swastika = mc^2" equation. Allow me another subtextual indulgence: swastikas and the e=mc^2 equation evoke WWII, specifically the development of the atomic bomb. If the logical extent of insight and discovery is destruction (as it may well be in the world of DHMIS (and in our own world, some might argue)), why not discourage it? As far as the aging torture is concerned: is it not in time's nature to age? Time is inexorable, inevitable. Besides, none of this REALLY happened to the main cast... right?
>>84022481
Now let's consider DHMIS3. This is a fascinating one and key to many of my theories. It's a bit of an odd point in the DHMIS series: focusing on one of the cast (yellow), and a lack of overt gore, excepting the chicken picnic and the very end. But what else is noteworthy about it: Red and Duck seem to avoid torture this episode, while Yellow bears the brunt of it. Why? Red and Duck are content with their chicken picnic. They express no curiosity, no desire to change the course of events. As a result, they are rewarded with a pleasant afternoon luncheon, whereas Yellow disrupts the course of events and questions his teaching puppet. In DHMIS4, the cast's quest for knowledge ends up hurting them. DHMIS5 and 6 break the formula only slightly, but the idea of "question teaching puppet, get punished" remains constant.
Now, as people who value our freedom and creativity, we might have a hard time accepting that this is fair or right. But consider that the world of DHMIS is not our own, and furthermore, this is a horror series. What could be more horrifying than a world in which creativity leads to mania and schizophrenia, where Time is sadistic, where love exists only as zealous ardor for a cult-god, where technology is omnipresent and harmful (recurring motifs of watchful eyes, viscera and machinery)... and is this world so different from our own? Although Red's "office" reality seems to be dystopian, consider: are any of the Red Guys being tortured? Are they even unhappy? Although they have no appreciation for art, music, etc., they work, they drink, they talk and laugh with one another... a far better existence than the "main cast" has endured. Maybe the only way to be happy in the reality of DHMIS is to not question, not dream, not aspire... to live simply and uninquisitively. Like I said, this is a horror series.
So the question remains: what happens at the end? What is Roy doing, and what does unplugging the computer actually do?
>>84022497
>>84022481
>>84022465
>>84022448
>>84022431
I believe that Roy is an "escaped" version of Yellow who has endured the same torturous day for years (possibly centuries), who exists in a very "high" plane of reality (though perhaps not THE highest), and has built the computer (recall "my dad is... com - computer..." from DHMIS2) to try to mitigate the damage that the cast do to themselves: notice the computer does not (or can not) summon the notebook - the only teacher who encouraged creativity in the first place. The other teaching puppets keep the cast away from curiosity (the computer shifting the question "what is the biggest thing in the world" to frivolous dancing and fashion) or try to indoctrinate and pacify them (the "little baby pigeon"'s love cult). While this seems Orwellian to us, we accept the ideology of freedom and creaitivity being good, because that is our mindset as humans, but the puppets are NOT us, and in the reality of DHMIS, all evidence points to creativity and freedom only bringing about pain. I've said it twice before: this is a horror series. (cont.)
>>84022513
>>84022497
>>84022481
>>84022465
>>84022448
>>84022431
The computer, I believe, plunged the puppets "down" a few protective layers of reality, to one that is flimsy (they are on T.V. sets, their memories slip, lacunae, things disappearing, reappearing, or altering between cuts), but one that can be controlled or at least influenced by Roy. Consider the father figure again: controlling, dominant, but perhaps not malicious or sadistic. Red, however, throws a wrench into those plans starting in DHMIS4 (keep in mind this might not be the 4th iteration of June 19th for the main cast). In DMIS6, Red pulls the plug on the computer (perhaps killing Roy?) and sends the cast to an ascended level of reality, where the main differences are: time marches on (June 19th - June 20th), they are their favorite colors, and there is a green (!) door, perhaps leading (metaphorically) to the outside (recall that they were outside in DHMIS3). At first, this seems to be an improvement, but consider: is time flowing a good thing? It doesn't seem to be in DHMIS2. The cast are their favorite colors, yes, but does this mean they're safe? They can leave, but what awaits them on the other side of the door? The notebook reappears, and the song begins again. Will the song go better for the cast this time, the same, or even worse? I don't know. I don't know if Roy knew. I don't know if the creators know. Freedom and safety are diametrically opposed: you must give up one for the other. Will the puppets have more influence in this new reality? Can they fight for a better life? Or have they only plunged themselves into a fresh hell, trading familiar pain for torture unknown? Perhaps this time around, the teaching puppets won't be there to guide them away from their harmful questions.
>>84022535
>>84022513
>>84022497
>>84022481
>>84022465
>>84022448
>>84022431
tl;dr: creativity is bad; questioning things leads to pain; Roy is not good or evil, just trying to protect yellow; the computer keeps the cast in a somewhat-influencable reality guided by teaching puppets; pulling the plug has eliminated that guidance, but whether that's for better or for worse remains to (never) be seen.
What are your guys' thoughts? Flaws? I was thinking about doing a video to explain this a little better.
>>84022551
to be honest if your TL;DR means much its that its not really anything we didnt already know
>>84022606
All the theories I've seen so far have either not drawn the same conclusions I have or are extremely lacking in their evidence. Got a link to what you're talking about?
>>84022468
That's rude! No grammar.
>>84022468
what did he mean by this?
What's yer favrite idee?
>>84022977
>>84023029
how u get dat ide
>>84023079
From a comic about Michael.
>>84022647
well your TL:DR is pretty much everything i've seen in other theories
I mean the TL:DR is actually just reiterating things that the show itself outright explained
>creativity is bad
yeah the show again just straight up says this at the end of the first episode
>questioning is bad
we also again see this in every episode when people are telling them to quit thinking
>roy is not good or evil
we learned this when he didnt outright stop red but instead just held his shoulder meaning it could go either way
>the cast is in a somewhat-influencable reality
we saw this when he started mashing the buttons and things change
don't get me wrong I respect your theory and all that but its a lot that we already knew for the most part
>>84023250
>yeah the show again just straight up says this at the end of the first episode
>we also again see this in every episode when people are telling them to quit thinking
yeah but very few people believed it
>we learned this when he didnt outright stop red but instead just held his shoulder meaning it could go either way
true
>we saw this when he started mashing the buttons and things change
again, true, but that's not my entire argument
I know a lot of my argument is what we already know, but I think the little that we don't already know is what gives it credence. especially differentiating the notebook from the other teaching puppets.
gonna bump this before i head to bed
I'm just glad someone is calling out the roy=media bullshit.
Could there we a more surface level, im14andthisisdeep critique to attach to everything?
So after the series coming to an end, I still have one question.Is the porn good?
>>84024378
It's pretty boring.
>>84024402
It's gotta at least becreativeright?
>>84024378
[Spoiler][Heavy Breathing][/Spoiler]
>Tfw your name is Michael and you first watched DHMIS 3 with friends
>>84024487
No really, it's frickin' bad, dude.I'll teach you how to shitpoooooooost
>>84024999
Just hire a prostitute. Take effort to scout out one with good reviews whose rates fit with your budget then fuck 'em.
>>84025030
They managed to do a computer episode and not nod to internet shit-flinging
Friendly reminder that Becky and Joe actually made the show that the puppets wanted to watch DHMIS 2.
Part 1
https://youtu.be/B7WQyiDbFpU
Part 2
https://youtu.be/LkpdmbqJ6uY
Part 3
https://youtu.be/NTOIcvKbVy8
