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laur-rants · 2 years

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AN ISWM ANALYSIS: THE LAMENT OF THE ACTOR

AUTHORS NOTE:

THIS FAN ANALYSIS WILL CONTAIN HEAVY SPOILERS FOR IN SPACE WITH MARKIPLIER (PT. 1 & 2). IF YOU HAVE NOT WATCHED THOSE, PLEASE STOP READING AND GO WATCH THEM, WHAT ARE YOU DOING? If you don’t wish to be spoiled, turn back now! This is your last chance! Go on, Get out of here, go!

Or don’t. It’s your choice after all. But at least now, you know the consequences of your decisions.

For those continuing onward, buckle up for a long one. I loved In Space with Markiplier so deeply, and it resonated so strongly with me, and also with Mark’s other creative works. The man is nothing if not a master of parallels. Grab a snack, and maybe some water. THIS IS 5k WORDS AND A LOT OF PICTURES. YOU HAVE BEEN WARNED.

It’s time… for the End.

ACT I: THE MAN AND THE MIRROR

Actor Mark.

We know him. We hate him. We adore him. We abhor him. He is a man we’ve come to realize, collectively, is the one who is behind all of the stories we, the viewer (the DA), go on. This has been apparent since at least DAMIEN, where Actor confesses to making these worlds and putting the ‘other prisoners’ of the house through his stories. It puts Wilford Mother Loving Warfstache into a more contextual light, and also, frames the narrative to his other stories to come.

The biggest, most important part about Mark though, is that he is a man of grief. And once he realized he couldn’t die while in his house, he turned that immense power of creativity into a means of escapism. Escapism from all his problems, all his loss, all his petty mistakes that cost the lives of his friends. He could make everything beautiful again! He could replay the dream, over and over and over again, because that’s all this was, right?

Mark is in a house, with an unlimited lifespan, choosing to make stories where he can move forward and make a beautiful world, a beautiful future. He’s there with Celine, with Damien, with Abe and Wil and then… there’s… us.

The District Attorney. The person who can’t remember who we are and we are constantly put to sleep, just to wake up into a new story every single time with Mark. We go on a Heist with Mark, we go on a Date with Mark. We meet friends, we meet figures who look familiar, and we see a few faces that, tickle our deja vu, who seem to tell us, ‘you know me, you should see me, you are stuck in his stories’ . Darkiplier, the merging of Celine and Damien’s worst qualities into our body, constantly tries to remind us of the horrible things our ‘dear friend Mark’ has done, tries to get us to see. But he can’t tell, if we are awake or still dreaming. Do we even know what’s going on? Surely you must… surely we’ve seen through his mask by now.

But we haven’t. Not until we go to Space. And not until we start to question things, we start to notice the boat is leaking, and everything, everything starts to fall apart.

Let’s take a Detour really quickly.

This will be quick, I promise. It won’t take long. But I want everyone to think, for a moment, back to Wilford MotherLoving Warfstache. Still, in my opinion, one of the greatest things Mark has ever created. As a standalone, and as a side piece to WKM, it is incredible, astounding. And he had the audacity to directly link it to In Space with Markiplier.

This is important. We’re getting there. You see, understanding Space is a bit like understanding what happens in WMLW. In it, Abe the detective is playing his role, and he plays it well. And finally, he gets to the point where he re-finds Wilford, who he’s been hunting for killing him and his friends and his partner. Abe believes the problem is Wilford and is hunting him down to solve those issues.

He’s determined, he’s the cop. He’s the good guy hunting down a bad guy. He finds Wilford in a disco. Everything goes according to plan.

Except, of course, when it doesn’t.

Abe sees Wilford, talks to him, and then suddenly begins to question everything he has believed up until that point. The smoking gun of this moment is when Wil doesn’t immediately recognize Abe, and Abe questions how this could possibly be. In doing so, a second Wilford appears, realizes he’s in frame, and then as Abe gets back into character, that Wilford disappears off screen. As WMLW progresses, Abe continues to lose touch with his reality, this dream he’s stuck in, and realizes, suddenly, that nothing makes sense and that he’s still technically dead.

This dream he’s stuck in, he’s realizing, is something that he couldn’t escape. He suddenly realizes he’s been turning his wheel but going nowhere, like a ‘hamster ball rolling down the freeway’. But what Abe doesn’t realize is he’s actually awake for the first time in a long time -- aware that the world is broken, confusing, a dream that doesn’t make sense. He’s realizing that the boat is leaking and he’s still on it, sinking. Unfortunately or fortunately for Abe, it was Wilford who woke him up, the man in the whole who is still alive but going mad. He tells Abe he’s been through the same thing, of waking up and realizing, suddenly, that everything is happening to them in a weird dream. But at times, he can’t remember a thing. It’s quite tragic, but also beautiful, these two men realizing that, even in death, there is still something to enjoy, so instead of subjecting themselves to the story again, why not have some fun… outside of it?

Alright Back to the analysis. Where was I again?

ACT II: BUT THATS ALL IN THE PAST

Let’s go back a little bit, shall we? Because to understand Space… we need to understand Mark. Actor Mark, specifically. Yes, we all know that he is a sleazy, near-evil person who forced everyone to his house for a pre-planned party to get back at the people who wronged him. But what isn’t apparent, is what the point of that party actually WAS: To get back at the Colonel for ‘stealing’ his wife, Celine away from him.

So here’s a quick reminder of what happened:

Mark had a plan. A great plan! And in that plan, he was going to frame the colonel for his death and watch it happen, because Mark knew that he couldn’t actually die. The Detective, who was biased into thinking the Colonel did it, would find Mark’s body and would immediately blame the Colonel, because his prior investigations proved the butler and the chef were innocent. The District Attorney, us, would see the evidence, and agree with the Detective without dispute, which we were needed for since Damien wouldn’t be able to point blame at the Colonel, his friend.

But that plan went to ruin.

It wasn’t the detective who found Mark’s body; it was the the DA. Abe didn’t see the Colonel with Mark’s body; he saw us, and immediately placed blame on us for being next to the body. After we were cleared, however, it suddenly wasn’t certain who the killer was. Once that happened, the entity haunting Mark’s house stole Mark’s body back -- a body that was already killed by Mark 40 times before and was broken beyond repair. This left Mark stuck in the Void, with no way out.

But when Celine showed up, an opportunity presented itself. The House entity struck a deal with Mark where the House possessed Celine’s body, making sure she would never steal someone’s heart again. Once the house had possessed Celine, it killed Damien -- or, at the very least, pushed Damien out of his body. Mark took this body instead, leaving both Celine and Damien in the Void, with nothing but mark’s dead body as company.

Then, everything descends into chaos... and the rest is history.

Basically, Mark didn’t want any of this to happen. Mistakes were made, deals were struck, and all of his friends died or went mad! But it’s fine, he surmises in the end, it will all be fine, because we all can’t die anyway! He knows, he’s tried! Which is great! That means he can make something beautiful out of this, can’t he!

…Can’t he?

ACT III: SPACE IS SO COOL

And so we come back to Mark’s most beautiful creation yet. Space! And the Invincible II, his pride and joy. He has us along for the ride, and nobody to bother him. All of his pieces are in their places. He can’t wait to set off into this intrepid journey where everything is great and they hand the problems of space travel and he is the hero and us, the DA, is along for the ride to watch, just as we always are. We get to see Mark in the starring role once again! But as the story progresses… something starts… happening.

Things don’t seem…. Right.

And the more the story progresses…

...the more things unravel before our very eyes. Seams fall apart. Back doors are opened. And strange people glitch in and out of existence.

And the strangest part of is all is… unlike his other stories, Mark is… perturbed. He’s out of control, he doesn’t remember things, he’s so lost that he thinks he’s in total control, but also has no idea what is happening and what’s going on. And the worst part is, every time either you or he questions anything, things start to fall apart more and more and more until finally;

Mark has discovered what you already knew; that their existence has been looping and they’re immortal. Mark, of course, is elated by this news and immediately not only remembers dying, but also remembers the pain of it. This however does not deter him from doing so again. And again. And again. All in an attempt to fix the ship and save the colonists. However, that doesnt seem to be working.

But as he does so, he subtly starts shifting the blame to us. Their failure wasn’t his fault, he was doing the best he could! So what were we doing?

Mark is already starting to show his true colors; how he REALLY feels about the situation. He can’t possibly be the problem, it has to be something with the computer, or with us. He’s the hero, after all. He’s the one who can go back and fix it; fix EVERYTHING and save EVERYONE. He just has to find the right code, the right path, the right solution. He knows he can, he just has to keep trying. It’s infinity after all, right? And he can’t die! So why not keep trying over and over and over again?

Or at least, that’s what he starts to think. Because even though he shifts blame to us at every opportunity (‘It’s their ship, they are the captain’), he does still leave the choices in our hands, at first. And it’s clear that somewhere along the way, he decided that that’s the worst idea and we have done nothing we were supposed to, and doomed everyone.

Eventually, we are confronted with an older Mark, who says ‘To Hell with all of this; we are starting over’. And yet, even in his lunacy, he seems to have a few moments of startling clarity. His character breaks.

He apologizes to us. To us. Looking through the role we’ve been placed in, he tells us, ‘I’m sorry… about a lot of things’. He also says ‘but when you’ve tried everything else, there’s only one thing left to try.’

He sends us outside of the story. Outside of the cage. Into the Void. The same void he sent himself into, when he couldn’t figure out how to win Celine back. The Void he sent Celine and Damien into, when he couldn’t think of anything else but a deal with the devil.

The story is being reset because Mark has seen us start to become lucid, seen himself trying too hard, and wants to pull the plug. He can’t make anything else better! So now, it’s time to try again, make a new story.

And for a time, he thinks he’s done it.

And then, he forgives us, for everything. Why?

Because its all in the past. And he finally did it! He beat us! We can’t destroy the universe, he did it first! He’s going to save all those people! Why?

Everyone can finally go and live their infinite lives in peace. At this point, we can’t help but wonder… is Mark still talking about the ship? The Invincible II? Up until this point, we assume he has been, but ever since sending everything to the void, he seems to be thinking of others things, other consequences.

Ah well, we won’t find out in Part 1. Because right now, the world is collapsing. The Warp core that disappeared originally suddenly reappears, and what Mark wants can’t happen. And the universe resets and suddenly… horribly…

The Story begins again.

ACT IV: WAKING UP IN A WHEEL

Have you ever heard of the Bicameral Mind? It’s the supposed moment when humans became conscious; when the two divides of the brain came together to form a whole. You see, one side, was the side that seemingly talked, but there was no thought behind it. And then the other half was the half that listened, and obeyed. It’s said when these two parts of the mind merged and met in the middle, that was when our self-consciousness, our self awareness, was evolutionarily born. It is of course a hypothesis, and not yet proven to be true, but here, in the reboot of Mark’s story, in his universe…. It is true.

Free Will is an illusion. And we, we are totally and 100%... aware of it. Like Wilford before us, speaking to a sleeping Abe, we are aware that things don’t make sense, that things aren’t what they should be. Like Wilford, we can now see; our boat is leaking, and its real bad.

The next question is though… is our ‘Abe’ aware, yet? And does he yet know that the boat is also leaking?

Speaking of leaking boats: Shuttle Marmota. You know it’s funny; Marmota is a family of ground squirrels, and the most famous of those ground squirrels is the groundhog. This is a pretty obvious reference here; Mark is harping back to Groundhog Day, a Bill Murray movie where a man relives the same day, over and over, trying to fix the mistakes and get out of his loop. There’s also a recurring theme in Mark’s works about hamsters in wheels. And how they go nowhere. These little rodents that run and run and run, going in circles, but never actually moving forward. They only think they are.

And this section is about one of those little rodents, thinking it’s moving forward, again and again, but they’re stuck. But they don’t know they are stuck. And for better or worse, only we can pull them out of it.

There’s an old saying about ‘getting lost in the sauce’. It’s an idiom that has a few meanings: One is when someone is so inebriated, that can’t tell left from right, and have no idea what’s going on. Another meaning is someone who is wholly preoccupied with a strange event, something out of the ordinary. Another is someone who is completely oblivious to their surroundings. And finally, there is a meaning that is denoted to someone who is neglected, someone who has been feeling abandoned, lost and alone in a crowd of people.

It’s hard to see Mark, Actor Mark, as being someone like that. He’s the one who makes these worlds, after all! He’s got all these beautiful plans, and brilliant stories! Hundreds of them! Millions! Countless! How could he, the creator of these stories, really be lost in his own sauce? How could he get lost in his own stories? That’s impossible, isn’t it? What kind of reason would Mark have, to not only reset the universe, but also reset himself, to the point that even he forgets?

It appears the answer is… remorse. As this new universe starts and we see Mark in different roles, We meet his old self in a diner, and he laments over his decisions, and his mistakes. In doing so, his old self seems to have a moment of clarity:

For the first time in the entirety of Space (Or Hell, in the entirety of the Markiplier continuity), Actor Mark tells us that these are his mistakes, and that he is the one to cause all of this. He then instructs us to tell his younger self NOT to go back-- we of course, don’t know what this means, not yet, but we will soon. However, its really hard to remind someone of what they shouldn’t be doing, when they are running so hard from their problems that they don’t even know what role they are playing.

Mark appears to us as a murderer, a divorced father, a lover ready to go on his first date, a porno star, a cryptid named heehoo, a camp counselor, a bomb diffuser. And every time, we have to try and follow him down his rabbit holes. We have to wake up him. And sometimes…

Sometimes, he stops running away. He realizes what’s going on because we tell him. We finally get our hamster, running his wheels, to wake up. The only problem is, every time he wakes up, he’s right back where he started.

He still blames us.

And it’s incredibly hard, its so frustrating and difficult, for us to see every possibility, every world, every ending, before we can say or do anything. Our semblance of choice, our free will is gone, and we are wide awake to remember all of it. Have we slept? Are we making progress? Are we also slowly getting lost in some sort of sauce ourselves, as we try desperately to spin our hamster wheel in a futile attempt to catch Mark before we lose him again? Does Mark… even want to be found?

Because there does come a time where one has to wonder how much of this is denial, on Mark’s end. The constant running, role swapping, forgetting. He doesn’t want to remember, maybe. Perhaps he wants to forget. Ignorance is Bliss, after all. Easier to forget and start a new world, a new life, instead of having your past mistakes chase after you, again and again.

And what are we, but a past mistake, chasing after Mark’s roles? Trying desperately to get through to him?

ACT V: I CAN NEVER BE FREE

Mark, throughout Space, sometimes feels like a lost cause. But after we wake him up enough times, we start to see moments of… clarity. And this clarity first comes to us in the form of an old friend of ours who helped break out of prison:

Yancy.

Now, this will be a little controversial, I know. Many people in the fandom adore Yancy, for good reason, but they can take the news that Yancy is actually Actor (someone we have been trained to hate) pretty hard. But whether or not Yancy is truly Actor in disguise, the parallels drawn between these two men and their current predicaments cannot be overlooked. In Heist, Yancy does not want to leave prison; why would he, he has everything he wants! And at that time, Actor had no reason to even think about leaving the House, or his stories. He was content and happy! So why would he want to leave?

But for Yancy, and subsequently Actor, something has… changed their mind.

Yancy has chosen parole over being locked up. He thought about what happened, what we said, and has decided… I don’t want to live like this forever. Maybe I should change my circumstances, move on, instead of running my wheel here. Also interesting to note that, while we speak to Yancy, it is through a glass window, one that is reminiscent both of the screen we view the shows through, and the mirror we got locked into.

What does this say about Actor though? It means some part of Actor, despite how much bargaining and denial he may be in, is still interested in getting out of the loop. He’s tired of spinning his wheels. He wants to move on but how? He doesn’t know. He can only have one last hurrah before… before trying to break free. And get out of this place.

Then, as we leave Yancy behind, finally, finally, we start to get the truth out of Mark. ACTOR Mark, not one of his personas. He speaks to us straight. Or,well, in song.

Space was so cool…but now?

Universe unspooled, so cruel, to be leaving with only a melody… So pretty… What a pity

It won’t live in a memory… because he’s been forcing everyone to forget. To start over. To just play a different role and move on. He so intensely wants to find a solution to the problem, he wants to start trying again, but what will that do? What will it accomplish?

But now its all pulling apart…

Mark is starting to remember… everything. He knows what’s wrong, and he thinks still, if only there was a way for him to uncover every stone, and never give up. “Stay bright till we’re burned”, he says, but what good is it to be burned? To be hurt in the process? What if you’re burned so badly you're scarred, forever, Mark?

After the song, we are transported directly to the diner… To the end of all things. We meet an old friend once again, and he talks to us about the end. As he does so, he starts to say some… interesting things.

We actually heard this from someone else before… Dorene.

This is most certainly a reiteration of theming, but it is worth noting that this other line comes from her, and that the two ‘elder presenting’ characters in this are the ones that are speaking about how not all choices matter, just a few. Perhaps there is some wisdom there. Some choices are everything, after all.

But it’s what Mark continues with, that is most telling. He tells us that, here at the end of all things, he is content. Happy.

He is this close to finally having an end to all of this. All this… running around, back and forth, going and coming back, living and never dying. He’s so close to an end. His end. But there’s also something else, hidden in those words. A real sadness, of something that was understood far too late into his life by this point.

Mark is talking about something entirely out of the purview of the story we’ve been trekking so diligently through. He speaks of loss here, of something he once had, that he held onto too tightly. However, like sand, it doesn’t matter sometimes how tightly you hold onto something, it may still leave regardless. And perhaps, maybe that’s okay. He surmises that mistakes will always happen and that some things, are just not meant to be.

Of course, Actor Mark here is entirely talking about Celine.

Celine, the woman he desperately tried to hold onto. Celine, the woman who broke his heart and left him. Celine, who ran off with his best friend and left him, alone and confused and heartbroken. He agonized over it for YEARS, blaming her, blaming anyone but himself. And it’s only now that he finally understands.

A moment too late, really.

Or is it?

This version of Mark disappears right before our eyes, but we are still here. We haven’t met ‘the end’ just yet. So what is it, then? One can only assume that because this Mark is gone, perhaps the paradox resolved itself. That seems mighty hopeful but then, isn’t that all someone needs, in the end?

ACT VI: THE LAMENT OF THE ACTOR

We open the door. One last, final door. And as we do, we enter into the final act one.. last... time.

Despite the apparel, we are not greeted by Head Engineer Mark in this room, oh no. He looks the part, plays it, but there is something else here. Something bubbling under the surface; a resentment, a remorse, an anger and a bargaining chip. The warp core, built by Mark himself, sits in the room. It’s his salvation. It’s his way out.

He has to go back. He has to save everyone. It’s his obsession, his absolution, his white whale. It’s the only thing he’s ever known. To save everyone, he has to stop us. He is dangerously sure of it.

Remember, back in Act II, where I recalled Mark’s plans? His perfect revenge to get back at Colonel all falling to pieces, because of us being in the wrong place at the wrong time? Keep that in mind, because it’s important, going forward.

Mark is still convinced that we are the problem here. He’s laying it all on us in a huge, prepared monologue. Who knows how long he has been sitting on this, thinking about this, ruminating over the warp core and the decisions made long ago that he can’t figure out how to undo. He’s thinking about all the friends he’s lost, all the grief he feels, and how he’ll be the hero, if only he can stop us from doing… whatever it is we did. And suddenly, in the most pivotal moment of all…

We learn Mark doesn’t even know what it is that we’ve done.

And it isn’t until we refuse to let him go, when we hold onto our hope does he start to understand, fully, the ramifications of our actions.

Mark is grieving. He wants to go back and fix things. He isn’t just talking about the ship anymore, though to his credit, he keeps that act up rather well. What we are seeing here is a Mark that has had an eternity to think about what happened and was so sure that if he went back and fixed what we did wrong in his plan, nobody would die. But the world doesn’t work like that. The party still happened; we can’t change it. We can’t change the past and undue the mistakes we’ve done.

Once Mark realizes this, once he realizes what would happen if he chooses to never go back, He has his full wake up moment.

If I’m not back then… the party doesn’t happen?

But I thought the problem was you, because you were the wrench in my plan.

But I caused the problem at the party?

I caused all this.

And as soon as Mark makes this realization, that he finally understands that he caused the problems… the By Lake Surprise piano overture begins to play. This is song that binds everything in the Who Killed Markiplier series together, this piano key denotes somber tones, character realizations, and the tragedy of endings and beginnings. This is Actor, finally, coming to terms with what happened and suddenly realizing that… He caused the pain of his friends and drove Celine away.

For the first time, Actor is honest and we see the real Mark. We see, probably, for the first time in the entire series, the man that Celine fell in love with, who Wil and Damien was best friends with, before a broken heart and an evil, possessed House turned him into a warped, angry version of the man he once was. A man blinded by his rage and agony, that for countless lifetimes, he believed that everyone else was the problem. And only now is he seeing what it really is. And he realizes… He’s tired. He hasn’t slept in ages. He can’t even die properly. He’s been running shows and going down rabbit holes for eons and eons… for who knows how long. This is a man suddenly bearing his soul to us, his full amount of pain and tragedy, on the floor, at the end.

And for the first time, he says this and he means it.

And in the end, we, the DA, the long time companion of all of these characters and especially Mark, who has taken us on story after story, kept us asleep and then awake, forgetting and now remembering everything… We know what happened. He knows. And he’s sorry. And for the first time, not only can we hear his apology, we can accept it. Wholly. Entirely. Completely.

You see, in the end, sometimes, you can’t fix everything. We can we regret so much. We can have so much pain. We can miss those we love and wish to hang onto them forever. We want to right the mistakes, rewrite the past. But we can’t. And sometimes, that’s okay. Some things just can’t be fixed. And we have to learn to be alright with that.

What a beautiful tragedy this all is, isn’t it?

In the end, the story concludes. Actor Mark allows this one to roll into the credits and lets everyone play out the last remaining lines. Celci congratulates us and Burt reminds us that all is as it should be. And then Mark… well.

I think it’s safe to say that, no matter what the future holds, Actor Mark is ready to move forward. He’s accepted his truths. And he’s ready, finally, to be free.

EPILOGUE: THE OTHER SIDE OF THE BROKEN COIN

You know, every story has a choice, even in the end. And while we can hold onto Mark and bring him to his conclusion, there is another side to this story. A very important one at that.

Dorene.

Yes, Dorene. Her conclusion here is just as important as Mark’s, and is very important people understand why.

That’s because when mistakes are made, it is rarely, if ever, only one person’s fault. It’s usually the fault of both parties, in some way, and both parties need to come to terms with their choices, whatever they may be. And Dorene, being Dark with an aged Celine at the wheel, has had a lot to think about these days.

First off, yes, I 100% believe that Dorene is the entity we know as ‘Darkiplier’, secret ending to Space or not. Remember that Dark has never been named, and that Celine is just as important a part of Dark as Damien is. Just because we see Dark as predominantly male with Damien in the front, doesn’t mean that is all Dark is. This line here proves it:

She speaks Damien’s line and almost refers to him as her brother. But it is important to note that neither Celine or Damien are the same anymore. They are one and the same. However, that doesn’t mean they can’t hold onto their memories. And what sort of things would the Celine half be reminiscing over?

In a room with a frozen Mark dead on the floor, Dorene can’t help but ask ‘do you think she had the right idea?’ One could be mistaken in thinking she is talking about Celci here. But who is Celci, if not an analog for Celine? And what sort of decision did Celine make, that would be a matter of perspective?

She chose to leave Mark. And that decision, good or bad, sparked everything that came afterwards.

This Celine!Dark, this Dorene, is older, tired, a worn and broken soul. And she’s had a lot of time to think about that decision she made, so long ago. Was it the right choice, to leave Mark? Was it the wrong one? It hurt so much, but who was it right or wrong for? And she has come to the conclusion that she had to make a choice, because otherwise she wasn’t living at all.

She shows up like this in the ‘Let Go’ ending, which just sends us back around to start over and try again. I think that is because she’s trying to send us a message, send Mark a message, and try and get everyone to move on and stop spinning the wheels when the hamsters are dead. She wants Mark to let go of her, and to move on and find happiness, but she also needs to make sure we understand the ramifications of the choices we make as well. And she’ll remind us, over and over again, of how stubborn we are, how it feels like you’ve been here before. She’ll do it as many times as it takes, as long as it gets you to fully wake up.

And when you do, you’ll hold on. And she’ll be there to congratulate you in the end when you do, one way or another.

944 notes · View notes

lostcybertronian · 2 months

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It was most likely the cost factor. They rented out that big-ass mansion, accurate costuming would've required a fairly big budget.

And wkm in general doesn't put a big emphasis on even making clear what time period it's trying to display. Headcanons in the fandom vary from early 1920s to mid 1930s.

I headcanon that it takes places in the early 1920s. Beginnjng of the roaring twenties.

A short summary on the clothes analysis:

Abe and William both show up in their work attire, fairly obviously. They think it's just a casual get-together. The fancy invite is simply Mark being eccentric. Can't comment on the accuracy of Williams clothes. They look british. Which.. yeah. Did a whole thing on that. Low budget, what can I ssy.

Mark's robe? You can't tell me that he didn't just wake up from a depression nap an hour prior to the others arriving. Especially compared to his attire in DAMIEN. He doesn't even bother getting dressed properly.

WHILE DAMIENS SUIT IS A TAILCOAT AWAY FROM BEING CONSIDERED WHITE TIE. Seriously. I'm blaming the missing tailcoat on the budget, because every other aspect aligns with 1920s white tie attire.

You can't even excuse that as being his work clothes!! He's wearing white tie attire in the early 1920s. Not anywhere close to what he'd wear as a politician. The style he's wearing is going out of style at that time, only people at least middle aged still wear it!

He's so out of place among the other ghree in terms of clothes. He's the only one in wkm who has a "normal" grief response. Everybody knows to some degree that something is going on, except for Damien. His entire attire, demeanor and his lack of knowledge indicate how he is distancing and has purposefully distanced himself in the past. In wkm he keeps himself at a distance until Mark actually dies, where his emotions to some degree take over.

Which for me puts Actor's "acting like you're the only one without blood on your hands" in DAMIEN a bit into perspective.

He keeps himself at a distance because as mayor he has to! Also emotionally he's just horribly repressed. His emotions are a case of "all or nothing". He's really interesting.

Sorry for this long rant, I got a bit carried away 💀

No worries! I love it. I don't know much about clothing history, but it's always been super interesting to me. I know more about science/medicinal history.

Okay but is it me or has Mark's Warfstache accent gotten significantly more British since WKM? It's been bothering me for a long time lol but I've never seen it pointed out. IMO William dresses like a British man going on a stereotypical African safari.

DAMIEN WITH TAILCOATS THOUGH UGH I love me a good tailcoat. What would he wear as a politician?

Also I bet you're right about Mark. The Butler was probably too busy setting up the party to dress him properly.

#asks #headcanon time #actor!mark #mayor damien #colonel william #meo618 #lostandwandering

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ego-tistical-prick · 2 years

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Chapter 1 - In Space with Markiplier Theory

Or analysis might be more accurate.

I don’t know if it was intentional or not but I think the universal reset might be just as much metaphorical as it is literal.

Before big projects and youtube budgets and the LORE the story of Darkiplier was just Darkiplier vs Markiplier. Mark is goofy funny youtube man and Dark is when funny youtube man goes evil and monochromatic and bullies people.

But with projects like wkm, adwm, ahwm, wmw, damien, iswm, waia, the Markiplier Connected Universe expanded. We got new characters, lore, stories and plot and layers and codes. Suddenly, It wasn’t Mark vs Dark anymore. it was Actor Mark, an egomaniacal manipulative monster who orchestrated this whole tragedy, vs Darkiplier, a demon who stole our (the viewers at homes’) broken body and is possessed by the fractured souls of the people Actor Mark wronged.

Now not only is that metal as fuck, it’s also just actually really cool??? I feel like people don’t talk about that enough. Mark took something he enjoyed making and created a genuinely compelling and engaging story, building a community around it.

That being said, it’s been 5 years since Who Killed Markiplier came out.

I don’t think Mark is done making projects. Honesty I don’t think he’ll stop until it’s physically possible for his to continue, but I do think that In Space With Markiplier is a send off to the original story and characters of Who Killed Markiplier.

That’s why Dorine is here. She’s Celine waking up and choosing to find piece and move on. It’s why Actor Mark, despite initially placing blame on you, tried so hard and so desperately to fix things and redeem himself.

It’s why Darkiplier as a character isn’t present.

Mark is closing off this story. Cleaning the slate. Giving the characters who we’re losing their farewells and resetting the one’s that are left.

No more evil manipulative Actor Mark needed, no more deep story of house demons and betrayals. Like how we began, just shenanigans with Markiplier doing who knows what and his emo edgy form.

With every door that closes a new one opens, and I’m so excited to see what he does next.

TL;DR: Mark is using Space to close off the story we have been following since WKM. Resetting the universe along with his characters to make the way for new adventures.

#in space with markiplier #iswm #iswm theory #i am writing #this at 2 in the morning and have not finished space 2 yet #it is exam week #i havent slept in two days and the rats in my walla have started speaking in tongues i dont recognise #so be nice #pls #darkiplier #markiplier egos #who killed markiplier #markiplier #love u mark thank u for this masterpiece

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marketinsight1234 · 2 months

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projectwkm · 4 years

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Okay, so... I’ve been seeing you posting a lot of stuff about Actor Mark being just misunderstood and actually nice- but, I’m not convinced. (Which is surprising considering I’m usually the one who likes the “villain,,,”) If I may ask, what’s this theory based off of?

This post has been a long time coming, so sorry! I totally didn’t realise I had asks on this blog,, I’m a fool.

So this is less of a theory of mine and more of an expansion on character and what we know! Do I think for a second Actor is going to be redeemed? No, and I hope he’s not, because I love him so much as a villain. Do I think he is redeemable? Absolutely. Everyone is.

Let’s get into why I think that!

1. ‘A Heartbroken Idiot’

This is the nickname our Mark (in this post I’ll call Actor Mark ‘Actor’, and real Mark ‘Mark, just to avoid confusion) gives Actor. In the WKM Explanation Stream, he calls him ‘a heartbroken idiot’ in reference to his plan on poker night. And if we think about what we canonly know to be true, then there is good reason for this:

The Actor, the Colonel and the Mayor were all childhood friends. The Colonel practically grew up in the Manor with the Actor.

The Actor married Celine. Do we know for certain that they loved each other? No. But we can gather that at some point they were happy, for reasons I’ll go into later.

The Colonel slept with Celine behind the Actor’s back while they were married, and also borrowed copious amounts of money from the Actor to do so (?). The last part could be slightly biased or inaccurate considering Abe was on the Actor’s side for the most part, but I don’t see why he has reason to lie.

The Actor found this out, the Colonel and Celine left, and the Actor spiralled. So far he tried to kill him self. He did kill himself — over and over until his desire to die turned into a desire to understand the Manor he lived in and its oddities.

There are a lot of gaps there, in all honesty. A lot of questions unanswered. Did the Actor and Celine really love each other? Did Celine really love the Colonel? Why was the Colonel so willing to go behind the Actor (his close friend, remember)’s back and have an affair with his wife? Why was Celine so willing to leave her husband if she married him in the first place?

But those questions aren’t important right now, because I’m sticking as close to canon as I possibly can. What matters is that the Actor was betrayed by one of his best friends and that his wife left him in an awful way. They hurt him so badly that he tried to kill himself. Now, this isn’t me ignoring the Entity’s part in all this — we’ll get to that later.

But the purpose of Mark calling Actor a ‘heartbroken idiot’ is that it shows his only motive initially was heartbreak. His actions, initially, weren’t the actions of a man who wanted to destroy his friends and loved ones. In fact, by looking at his attempts to die, especially the first ones, we can see that the only person he wanted to destroy initially was himself. He’d been hurt, badly, by people he called “his close and trusted friends (WKM)”. And he wanted an out. He turned aggressive and revenge-twisted was when his very basic autonomy over his own life was denied to him by the Manor not letting him die.

“After Celine and the Colonel left, Mark was left in this super spiral downwards. He was just completely out of it, didn’t know what to do, and he may have at one point tried to kill himself. But it didn’t work.” (Mark, WKM Explanation Stream)

So before the Manor Entity intervened, was he a bad person? No. Most definitely not. How do we know this, apart from what I’ve said above? This brings us on to point 2:

Celine and Damien

The braincells of the WKM gang, truly. Do you really think they’d stay friends with Actor if he was a bad person? Scratch that, do you think Celine would have married him if he was a bad person? Ruling him as an awful evil person from the start completely undermines the intelligence of the other characters who had been ‘fast friends for years’ with Actor.

That’s not to say he’s flawless. He has an abundance of flaws that the Entity brings out in him (see point three), but even before the Entity, his flaws were probably very visible, especially to his friends and wife. Actor was no doubt an egotistical ass, don’t get me wrong, he was no saint, but he also wasn’t evil. If he was, Celine, who could sense the energy of the Manor as soon as she walked in, would have surely refused to marry him.

It’s hinted that they didn’t have the best relationship by Mark in the DAMIEN Explanation Stream, that much is true. Their reasons for marrying could have been anything — from a passionate spur of the moment decision they didn’t properly think about, to a marriage potentially motivated by finance or power — and we don’t know if they were ever truly happy. We don’t know if Celine loved Actor, but it is implied she at least felt something for him, judging by the look of distress on her face in Chapter Three of WKM when it is revealed Actor is dead.

We also don’t know if Actor loved Celine. I’m inclined to say he did, considering his original plan was to steal the Colonel’s body and get back together with Celine, but there’s a fine line between love and obsession. (In my personal opinion, their relationship started off well before the Manor Entity began to shape them, but my personal opinion doesn’t come into it right now.)

But do you really think if he’d been evil or abusive (as I’ve seen some call him) that Celine or Damien would even be upset about his death, nonetheless have stuck by his side for so long? I doubt it. Mark says nowhere that Actor was a bad person to start off with, and goes into detail of what the Manor Entity actually did to him in the Explanation Streams of DAMIEN and WKM, so read below for more notes on that!!

The Manor Entity

Aha.... my least favourite character of all time...

Words cannot describe how much I despise this thing (whatever it is, Mark described it as more of a concept than anything else). Even as I write this, I feel a boiling rage inside me. Nonetheless! I will keep as fair and as unbiased of a take as I can while I analyse Actor’s relationship with the Manor Entity.

So let’s start with its affects BEFORE the Colonel and Celine left. These characters were fucked the moment they lived in that house. The Colonel and the Actor have been affected worst by it due to living in the house as kids; as Mark says, they grew up together in the Manor. So they’ve probably had the worst effects from it. Let’s see what Mark says about the Entity in the Manor!—

“The thing [about the Manor] that causes people to change, and the thing that curses people, it’s this…. Not a thing, but it’s this idea that whispers in your ear, and the worst thing it could possibly do is that it makes you think that the ends justify the means, in whatever situation…. It’s this thing gently over time just whispering.”

An idea. A whisper in your ear, exacerbating worse qualities and constantly suggesting. Something you don’t even know about until it’s too late. It’s not so hard of a leap to make that it could have made the Chef so aggressive (he’s been there the second longest, other than George the Groundskeeper), could have made the Colonel more hot tempered and liable to cause trouble between a husband and wife, could have very easily twisted the Actor to be a worse person.

We’ve already made it clear that the Actor is not without his flaws. On the contrary, he might be the most flawed from the group. Cocky and stubborn and prideful, passionate and a performer, it’s not so hard to see the Entity delighting at being able to plant seeds in his head. Just little suggestions: “maybe you’re better than them” “maybe they’re holding you back” “maybe they’re conspiring against you”. Just little, back-of-your-head thoughts that, over time, would change him into someone worse, something else.

Something that could have potentially driven him away from Celine and driven Celine into the arms of the Colonel.

Am I saying this is definitely what happened? No. As I say, a lot of canon from Before The Poker Night is missing, and left to speculation. But from what we know about the Entity, and what we know about what it does, it’s increasingly likely it’s been manipulating things from behind the scenes for a while even before the Actor takes his own life.

Cut to Celine and the Colonel leaving. Damien is gone too (God knows where, perhaps the Actor just shuts him out too), leaving the Actor alone in the Entity’s puppet strings. Another Mark quote!

Imagine [the Actor]: his wife left him, his friend betrayed him, the [Entity] whispers “that’s not fair, no, that’s not fair”.... “No, you’re right, that’s not fair.....” “Why should they be happy?....” “No, no, of course, no, they shouldn’t be happy.....” “Maybe they don’t deserve to be happy, maybe you should do something about them not being happy, maybe you should set something up to make sure they’ll never be happy again.”

The Entity is a powerful thing. Its powers are subtle, so subtle that the Actor probably didn’t even notice he was being changed in the first place. As Mark said “the more you stay in that House, the more it drives you toward things it wants you to do… and the worst part is it convinces you that you thought of it in the first place.”

The Entity could have been the one to suggest that he keeps killing himself. It could have very well been the one to lead him to his death in the first place. And the worst thing is that the Actor wouldn’t have a clue they weren’t his thoughts. He is a puppet without realising it, an actor for the Entity to direct in whichever way it wants.

It’s a gradual, awful process. And Actor? As the ‘heartbroken idiot’, the man Mark describes as being a ‘pawn’, that had a lot of time alone in the Manor depressed and bitter over being hurt? He didn’t stand a chance against it.

By the time we meet Actor in WKM, it is very unlikely much of the original man remains at all. While he acts cheery and cocky as usual in the beginning, the bitter puppet we see in the Void after we die and the mania-driven ‘hero’ from DAMIEN is most likely all that remains of the original. Mark from the WKM Explanation Stream explained that “every time [Actor] died, he got sent to this [Void], and was able to get a deeper understanding of it”. Doing so pushed him further and further into the embrace of the Entity, until he was nothing more than a pawn. A puppet.

Actors have little to no control over the scene they play out. It’s the director’s job to push them in the direction they want. And the relationship between the Actor and the Entity seems to function as such: even if the Actor himself doesn’t realise that yet.

And finally, my last point:

No characters are good.

Mark gave a very good quote in the DAMIEN Explanation Stream that I rely on when writing Actor, Dark and Wilford — “no one’s truly, fully, 100% evil”. In the same way, no one is truly, fully, 100% good all the time. It’s impossible. And incredibly relevant when it comes to our three Main Boys, who are all so flawed and broken that it’s not even funny.

We’ll start with Wilford first. It’s easy to forget (for me, at least) all the things he’s done wrong because he’s such a goddamn sweetheart. But- and I won’t go into too much detail- here are some of his ‘crimes’: poaching, murder (several times, as the Colonel and as Warfstache), an affair with his best friend’s wife, with multiple other offences written somewhere in the detective’s study / office (I can’t be bothered finding them dhdjdjnej). Arguably, he also has reason for people to point to him being guilty: he broke his best friend’s heart to the point he tried to kill himself. Which.... is not good.

This is not me hating on William or Wilford as a character. Au contraire, I love them both. But it’s very rare that I see anyone admit Will’s fault in this, or Celine’s (without laying it all on them, naturally, but that’s another story). Will/Wilford is a complicated character who now seems to be far more good than bad (or simply just mad) and has atoned for the past, but more often than not, people overlook his crimes and mistakes and flaws.

The same with Dark, though honestly to a lesser extent. As far as we know, there is very little that Dark has done. We don’t know if he’s killed anyone (other than perhaps Actor in HEIST), we don’t know what his true crimes are because his role is still heavily influenced by the Actor’s bias. But Dark still has his faults and flaws. He’s obsessive and clearly incredibly angry and bitter over what happened, trapped somewhat in the past the same way that Wilford is in the present and Actor in the future. Once again, this isn’t me hating Dark (he’s one of my favourite characters dfhjvffhh), but simply pointing out the negative sides to him, rather than ignoring them. It’s to point out that people — and characters — aren’t 100% good or 100% evil (honestly, they’d be less interesting that way). That includes fan favourites.

Actor is probably the worst out of them. He’s delusional, painfully narcissistic, arrogant and a self-righteous asshole. Nobody is denying that. But underneath that, Mark also describes him as a ‘broken thing’: he’s not the man he used to be. Can he be easily seen as evil now, after everything he’s done? Yes. He’s murdered and he’s betrayed, but let’s not forget he too was murdered and betrayed. This doesn’t excuse what he’s done, but rather offers us insight into his thinking — an eye for an eye. In his eyes, the poker night (at the time) was justified. William and Celine and Damien all betrayed and hurt him, so he was going to hurt them.

Things didn’t go according to plan for him, though. I very much doubt murder was in his original plans, but alas, the Entity twisted his plans unrecognisably. (Whether or not he now regrets the poker night and his actions is up for speculation, and for another post sghcdgb.)

If it is Actor in HEIST and DATE (which I’m very inclined to say it is), it’s clear to me he’s changed: even slightly. Sacrificing himself over and over for Y/N, wooing them with dates and flashy heists, planning everything perfectly for them and giving them the choice on their adventures: now, this could just be me, but that sounds rather far from an evil man. Instead, it sounds to me like Actor knows he’s done bad things, but instead of trying to confront them, he simply runs away from them; he escapes from the reality he’s created by delving into fictional fantasies of adventure where he can finally be the hero.

And that’s not action of a man who is entirely evil. That’s action of a desperate man. A coward, perhaps, but not wholly bad or awful. “A pawn in all this”, as Mark describes him, unable to come to terms with the atrocity of the poker night and what he’s done to his old friends.

To Conclude My Answer!

Actor Mark is my favourite character of all time and has turned into a special interest of mine, but I hope he’s not redeemed. That being said, he is not an ‘evil’ character, and could certainly be redeemed if he ever fully escaped the Entity’s control and owned up to stone for the past (though being redeemed would almost certainly break him — another post for another time).

Everyone’s interpretations of Actorare valid, but I also think it’s important when writing him as close to canon as possible to remember some of Mark’s comments on him, and also to remember his past and how he’s been manipulated by the Entity into something different entirely. While doing so doesn’t excuse his behaviour or awful actions, it offers insight and a way to understand why he’s done certain things!

Ultimately, it’s up to Mark himself to canonise or develop the story and character arcs, which he has done so much already. I cannot WAIT to see where Actor and everybody’s stories end up going, and big preesh to him for making such a heartbreaking wonderful story!!!

If anyone would like to hear me rant more about Actor or the story of WKM and it’s sequels, leave a question or ask and I’ll certainly do it!!

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crown-point-of-view · 3 years

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WKM Analysis Chapter 1: The Butler

The Butler is definitely quite the character, he seems like just a stereotype, Happy to serve, thoughtful, attentive and caring about his guests and “master”.

At the party we see him “letting loose”, holding Damien up on the keg stand, playing beer pong, and playing poker. It gives us the impression that hes relaxed and while responsible, relatively carefree. We also see him rejecting a flask from the colonel, likely not drinking due to still being at work.

Being sober though means that he’s the most likely to know what happened to Mark.

He also greets you in the morning, seemingly waiting for you to wake up. but if he did it for “us”, the viewer, than he likely did that for everyone else. Yet despite this and Mark being his “master” he seemingly doesn't know that mark is dead until the viewer finds him.

This can either be because of a laps in judgement, taking care of each person as they wake up or the morning alarms go off with mark being the last on the list, or (my most outrageous theory) He knew and was a part of marks death from the beginning.

When Mark is first found he suggest they call the authorities, it is unclear why he never does. Maybe because Abe (the detective) is already a “professional”?

As everyone splits off from the crime scene he says he’s going to check on the other guests, but what other guests? the viewer, Detective and chef are already there and Damien was just there, off to talk to the colonel. assuming the butler knows where the colonel is (and even if he didn't that doesn't explain the use of the plural) that leaves everyone accounted for. What “other guests”?

Later on he wants you to see the broken bottle in the cellar, but we don’t know why. Its clear he doesn’t want anyone to see a mess he hasn’t cleaned up, but does that mean that this seemingly random broken bottle is evidence?

He does say earlier on “If your looking for answers there’s really no mystery at all. There is not single detail of this house that i’m not privy to, and not a single guest that i have not personally vetted.”

Does he mean that someone broke in? or that he agrees with the colonel? Not a lot makes sense.

Its also worth noting that he says “murder” once and then doesn't for the rest of the chapter.

#WKM #who killed markiplier #the butler #markiplier #the detective #The colonel #Damien #tw death #tw alcohol #analysis #chap1

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solarpunksoftie · 4 years

Text

None Of This Makes Sense - The Tenuous Reality Of The Markiplier Cinematic Universe (and maybe whats in the box)(big spoilers)

So i tried to make this post last night and then tumblr made a fucky-wucky all over itself and my post was lost as sacrifice to the hellsite. So I’m writing it again and saving it this time. This is gonna get really long, but I think I’m onto something here. @markiplier you aint gotta say shit but i hope you see this.

So I was watching the Wilford MOTHERLOVING Warfstache Full Breakdown last night, and Mark started saying some things about the Markiplier Cinematic Universe(MCU) that got the gears turning in my brain. He laid down some “rules” of this universe that I think are SO important to understanding Heist and the Box.

“The Viewer, in this universe... is a character. That’s something that cannot be... forgotten in anything that I do for these.”

The Viewer isn’t just a viewer, they’re a CHARACTER. These are distinctly different concepts. A viewer typically exists OUTSIDE the world of the medium. A CHARACTER, however, exists squarely within the medium, and I don’t think Mark means this like Oh Its First Person And You Make Choices And They Talk To You I think this expands to mean that the WAY we experience the videos is the way the other characters are experiencing what happens. Look at the Scientist video:

“Haven’t you two noticed time being funny lately?”

“You haven’t noticed things going unnaturally fast? Things happening out of order for one another? Strange coincidences? Bizarre memories of things you haven’t even done yet?”

Everything she mentions, we the viewer didn’t notice on our own because, to us, that’s just the way videos are. There’s time skips, edits, we have the ability to hop between videos. Without all this, videos would be unwatchable. The main thing here is that these qualities are not only experienced by us, but by all characters. We also see this in Wilford MOTHERLOVING Warfstache when the tazer transitions happen. Wilford notices a transition happened, but is so used to these weird events that he rolls with it. Noticing the edits and the confines of the story is what leads Abe to crack.

“[In SOMA] the main character thought he was human, in his mind. Reality SHAPED itself to be that thought, but on closer observation it turns out he was a machine when he looked in that mirror... What’s the truth and what’s the lie? That concept is very interesting to me.”

“Reality is not gelling, but his brain is making up why it makes sense.”

Mark likes the idea of characters battling with their perception of reality, and what reality IS. Mark says, in his explaination videos again and again, if it doesn’t happen on screen then it didn’t happen. I don’t think he’s just talking about death of the author here. I think, in his videos, this is the reality. I think this is very literal for the MCU. There is no appearence of the Detective between WKM and WMLW, and so there are no events that ACTUALLY happened.

“Its as if he was told what he needed to know, but not what it was that he knew. He knows the concept of what he needed to do, but if pressed for the details of it, it all falls apart.”

So why does this matter for Heist? Well, all of the MCU are strictly confined to whats on the screen. The expanse of the story is what is directly in front of us. We go bed in the back of the Jeep, and seconds later we wake up to Mark in an apron making us a camp breakfast. We ASSUME things happened in between, our brains roll with it and chuckle at the joke but we don’t question where any of this came from because its the nature of the medium. In the universe of the videos, though, NOTHING happened between those edits. We are told what must’ve happened, but the reality of it is there was NO time in between.

I think this starts to tell us what’s REALLY in the box, and I’ll go even further to posit that we’re told/shown whats in the box in 3 endings. Ending 6, Ending 16, and Ending 31.

In Ending 6, the Scientist identifies the box as the source of all the “anomalies” which are really just edits and the nature of the medium. Upon destroying it, we are shown, briefly, the entire map of A Heist With Markiplier, before showing up before the heist begins. Mark has no idea why we’re here, and instead of continuing into the heist again like in other time travel endings, he prompts us to go into A Date With Markiplier. Credits Roll. The Box was destroyed and the story never happens.

In Ending 16, we meet Wilford, the man himself, and he starts asking us how our adventure has been, across all the videos and endings. Wil is FULLY aware of the medium at this point, and how you play into it. He then says

“And if you need more time to think of your answer, feel free to pause time. I think your magic box is useful for something like that.”

and then the Youtube video pauses. This is more than a fun jape of “oh haha this is on a computer on the internet” cuz I don’t think Wil is referring in such knowledgeable terms about our computer/phone/tablet. I think he’s specifically referring to The Box. The Box gives us control, The Box lets us hit pause, and rewatch things, and watch multiple endings.

And finally Ending 31. Darkiplier meets us and talks to us. He acknowledges that its likely we’ve seen his monologue more times than he could know about, that Mark likes to spin stories for us. He thinks we’re trapped in the stories just like he is, so he gives us a code that leads us to the bloopers and behind the scenes. He pulls back the curtain for us, as if saying “look, this is all fake”

The Box contains A Heist With Markiplier. The Box IS the Story. THATS why it contains whatever the story needs it to. THATS why destroying it makes the heist never happen. THATS why it “gives” us control and messes with time; because it is literally all the videos, all the events that happen after stealing the box.

This is absolutely the kind of abstract concept nonsense Mark would pull, and I’m feeling confident about this. If you read all of this, please share your thoughts, i wanna flesh this out as much as possible. I feel this in my brain, but explaining it is like trying to explain the color yellow; I feel ill equipped.

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