>>1990Uboa/Poniko is a fairly complicated part of the game. It definitely ties into the theme of isolation/suicide that I mentioned in my earlier post, but there are other significant elements here.
Since this is the only other time we see a girl trapped in a seemingly normal bedroom, I believe Poniko to be a mirror of Madotsuki in a more direct sense than Monoko or Masada. Consider that Poniko transforms when the lights are off and eyes suddenly appear all over the room (rug, poster, window, wardrobe), similar to the way that things change when Madotsuki goes to sleep. It’s made clearer by the fact that, once Poniko transforms, the room becomes inescapable. Poniko’s room becomes nightmarish, like Mado’s dreams.
The sudden appearance of eyes all over the room when Poniko 'transforms' suggest that there's a possible abuse/paranoia aspect to the scene. Of course, eyes mean being watched, and since the dark room suggests night time or sleeping, I see it as a symbolic dream manifestation—when Mado sleeps, she has fears of being watched or stalked by monsters from dark places (there are also watching eyes in many other parts of the game). Keep in mind that after Mado enters her dreams and is in her bedroom, we see a flickering eye on her TV instead of a video game, directly tying in to the Uboa scene and telling us that her bedroom is much more sinister than it seems. In the case of Uboa, there is no escaping the room once the eyes appear. Upon touching Uboa, Mado is taken to a place with a gigantic, blood-spewing creature towering over her, looping over and over in an endless cycle. Mado is doomed to be eternally chased by monster dream-world apparitions of ordinary people. I find it interesting that all of the ‘crazy’ Toriningen (as well as Uboa and a few other monsters) directly place Mado in inescapable places. I think this is one of the most prominent pieces of evidence that Mado was shut in her own bedroom by a monster from her own waking life.
It’s also interesting that the other ‘suicidal’ characters she runs into (Masada and Monoko) have ‘doppelgangers’ in the way that Poniko does (Masada has the weeping creature and Monoko has her odd death-form with the extra arms). So all three (Poniko, Masada, Monoko) have inner selves that show them for the kind of ugly that they are, due to their own loneliness or suicidal traits. To me, this is the crea
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