All the other nitpicky details about the fic. Nothing is left out (if I can help it)!
According to Seto, he sits in the rightmost row of the classroom (Class 2-B), six seats from the door. Tristan sits three seats behind him, which mean each column of seats is at least nine students long. This is a pretty big classroom that can hold a max of 54 students– large even for Japanese school standards (maximums there tend to be in the low 40s). Perhaps the class used to be a storage space?
As for the other students, Yugi sits in the 2nd seat from the front in the row to the left of Seto’s.
Joey sits two rows over from Yugi, also in the 2nd seat from the front. Chieko sits in the row next to Joey’s, but in the 3rd seat from the front. Téa sits in the row beside Chieko’s (the leftmost row), and Miho Nosaka sits two seats behind Téa. The back entrance (Japanese classrooms almost always have 2 entrances, one in the front and one in the back) is blocked up by a file cabinet. Téa sits in the row that overlooks the courtyard.
When the gang is eating in a restaurant, the waitress comes over and tells them “some guy” paid for everything. She got her information from “Lizzie,” which is a reference to Lizzie from the dubbed version of Sailor Moon. Lizzie is Andrew (Motoki) Furuhata’s sister, and works at the Crown Café in Sailor Moon. The café where the gang eats (and a recurring setting in WDKY) is also the Crown Café, though this one is located in Domino, not Minato-ku.
When Téa goes home, she considers breaking into her own house because she doesn’t have the keys. She doesn’t know what happened to her parents’ set of keys or even if they were found, because she turned her cell phone off in an attempt to forget the events of the previous evening. Technically, she’s supposed to go back to the police station until they can find proper housing for her, because she’s supposed to stay with someone “legally classified as a guardian,” and the police already know Téa has no living relatives.
When Téa encounters Kaiba and he says “it’s a place to stay for the night Gardner. I wouldn’t turn it down if I were you,” and Téa responds by saying “You’re not me,” the initial intent was that while Kaiba’s experienced much of the same hardship that Téa has (or is just beginning to, since it’s only the start of WDKY), he suffered it at a much younger age, and under completely different circumstances.
Kaiba would never really put himself in Téa’s shoes anyway– he’s not that kind of a person. Téa probably only accepts Kaiba’s offer because she knows he’s right– she has no other
place to go.
The maids and other household servants come and go in WDKY. Supposedly Kaiba has very few of them employed on a regular basis. Their only job is to keep the house clean and so on.
He does NOT have a personal cook, however, which is why Téa later feels obligated to teach him how to cook (WDKY6).
Téa intially thinks that the pajamas Kaiba gave her in the last chapter belonged to his mother. Remember, in the WDKY-verse, the Noah’s world/Virtual Simulation never happened, so she doesn’t know what happened to Kaiba’s parents. She assumes the Kaiba brothers don’t have a father, since Seto runs the company, but she’s never known anything about his mother. Unlike Yugi, who grew up in a gaming world, she wasn’t privy to information about Gozaburo Kaiba until she researches it herself.
Mokuba calls Téa “Big Sister” because after Battle City, they had a relatively close relationship– she saved him from Rare Hunters, etc. He thinks of her as a sort of surrogate sister. Though this isn’t canonically correct, it set up the events of future chapters.
“And so maybe it was instinct, or perhaps something hereditary…” This line implies that Mokuba acts on his gut when he sees a female cry. It also has the vague connotation that Kaiba would react the same way, though we’ve never seen him encounter a crying girl in canon. He’s had arguments with both Téa and Serenity, but neither of them have been in tears. It has the slight reference that their father would act the same way, an issue which comes up in the sequel (Circle of Seven).
Why does Mokuba call Seto ‘Big Brother?’ He’s been known to do it in canon (Japanese and English dub). He’s also the only person (at this point) to call him Seto, save Isis (who did it purely to mock Seto, since his ancient Egyptian incarnation had the same name). It’s very respectful of Mokuba to do so, and so the words act as a title for Seto. Téa’s reference to Kaiba committing suicide if he didn’t get into Duelist Kingdom is sort of a fusion between the original Japanese events and the dub. In the original Japanese, he outright said “cut my throat with your cards!” to Yugi, while in the dub, his standing on the edge of the castle turret indicated that he would allow himself to be thrown off the tower by Yugi’s attack. It’s a “suicidal move,” since he did it intentionally.
Téa also gave him a speech– in the dub, it differs from the original version, so I fused the two. In the original, she points out that Kaiba doesn’t seem to value life, etc. In the dub, it’s more of a lecture, but she has one memorable line that got to Kaiba: “At the end of the day, what do you have? Tell me!” and Kaiba responds “All that I need.” Since both speeches were very important to Téa/Anzu’s relationship with Kaiba, I included them both.
The dreams Kaiba makes reference to (the reason why he can’t sleep most nights) are the ones that sent him into a coma in the manga arc/the first series of Yu-Gi-Oh. They’re nightmares of Kaiba continually getting devoured by Duel Monsters– nightmares Yami Yugi gave him after the Death-T incident (read the manga for more details). Kaiba woke from his coma when a Player Killer at Duelist Kingdom used his deck, and both Yugi and Mokuba “believed” in him.
Kaiba has his first encounter with a partially-clothed Téa, and the first brush of attraction with her when she walks into his office wearing only half of his pajamas. The shirt goes just below her thighs, which is really not that long at all…
The pictures Téa dimly sees on the mantle of the Kaiba mansion fireplace turn out to be photos that she examines more closely in future chapter, and become relevant even later on, in Circle of Seven.
When Téa checks her voicemail, Sergeant Konami says he hopes she gets the call before Monday evening… Téa’s parents died on August 8th (a Friday). Since Japanese schools have
at least half-days on Saturday, it explains why Téa had school on Saturday, and later went with the guys to a café and a movie. Presumably they watched a very long movie, which is why when Kaiba shows up at her house, it’s very late. (You can tell it’s late because of Mokuba’s observation that he usually doesn’t stay up late, but tonight is an exception, because he couldn’t sleep.)
Téa stayed at Kaiba’s mansion on Sunday, as well, and didn’t go to school Monday (the 11th).
“That stupid situation” Téa refers to, the last time she had a job, is when she worked at Burger
World. The “situation” was when an escaped prison convict took her hostage. Téa later quit that job, and supposedly didn’t get another one… but no one knows whether she really did end up getting another part-time job on the sly or not. Japanese high school students (for the most part) are not allowed to have part-time jobs unless they have a special exception.
When Téa tells Kaiba that she’s not going to school, she refuses to cry in front of him, despite her situation. She thinks that this is because she admires him in a way– for his steadfast strength, his resolve, and determination. These initial feelings that endeared him to her (despite his attitude and behavior toward her friends) set up the premise for the story– Téa and Kaiba becoming involved with one another, romantically.
When Kaiba leaves class, it’s during Trigonometry (4th period). The teacher that demands to know where he’s going is Mr. Furuhata, who isn’t named until Chapter 3.
Konami says that Téa, at age 17, isn’t of legal age to own the property that her parents did (their
house). As a result, she has to be placed in foster care until she reaches the age when the property and its monetary value can be passed onto her. That legal age is 18. This may actually differ in Japan, when people aren’t considered adults until age 20, but age 18 is known to be an acceptable age for owning property, getting part-time jobs, and so on. In Japan, school is only mandatory up till junior high, so it’s entirely possible that Téa could legally own property by the time she was 18.
For the purposes of the story though (which takes place in early August during this chapter), Téa’s birthday has been moved from August 18th to December 8th.
When Kaiba offers Téa a job, she’s baffled– after all, he doesn’t seem to spend too much time at
the office, and his brother has always been his number one priority. So it’s possible when Kaiba talks about having Téa look over Mokuba, it’s 100% a lie– after all, Kaiba can’t later say WHY he’s doing all this for Téa. All he knows is that her ending up in a foster home or orphanage bothers him, so he makes the deal…
“…hopefully never to return there [to the Domino City Police Department].” Though I didn’t initially have the later chapters in mind when I started WDKY, one might construe this
line as a later reference to Chapters 9 and 10.
When Kaiba contemplates reasons why he’s being so nice to Téa, he wonders if it’s because he doesn’t want her to be stuck in an orphanage (his relatives left him and Mokuba there after their biological parents died), he doesn’t want her to have an abusive parent (a reference to Gozaburo Kaiba and his verbal abuse of the Kaiba brothers), or five months of agony of being in an unfamiliar place (the time he spent in the orphanage, away from his family).
During school, when Téa’s friends offer their condolences, Téa spies Kaiba reading a thick hardcover novel out of the corner of her eye. This is a reference to the start of the series, when Kaiba is pretending to read while Joey and Yugi duel, and Yugi talks about his Grandpa’s rare cards…
“Come what may” and “Anything that can happen, will happen” are two famous lines– the first is from Moulin Rouge, the movie by Baz Luhrmann (starring Nicole Kidman and Ewan MacGregor) and the second is Murphy’s Law, somewhat revised.
Later on, when Téa thinks “What was once…” it’s a reference to the movie Fern Gully, when Crysta chants a spell: “What was once, now undo. Return you to the form that’s true.” The line as a whole isn’t appropriate to the story or the moment, but the start of the line is, so I included it.
When Téa is sorting through all her parents’ old things, her thoughts are run on. I know this isn’t grammatically correct, but I’ve been in a situation similar to Téa’s, and let me just state for the record that thoughts aren’t always coherent when someone close to you has died.
The boys notice Téa arrive, dressed all in black. It’s ironic that she wore black, because lighter colors are normally Téa’s choice– colors that highlight her mood or attitude. Since black is the darkest color, it can’t highlight anything. However, the word ‘highlight’ is not used in the way it would be if you were talking about words on a paper. It’s used in the sense that it means ‘call attention to.’ Téa wearing black calls attention to the fact that the girl everyone knew
will never be the same.
Téa notes that she didn’t choose the flower arrangements, and she initially supposes that Konami took care of them. The truth is, Kaiba did, because police officers, even when dealing with special cases like Téa never handle funerary arrangements. Kaiba never brings up this fact, due to the sadness surrounding it. However, Téa will remember the arrangements when she sees similar ones later on in Circle of Seven.
Téa notices Weevil Underwood and Rex Raptor, former regional champions of Duel Monsters before they were beaten by Yugi and Joey in Duelist Kingdom and Battle City. They know about
the funeral because the accident (and the obituaries) were in the paper. As for why they chose to go even when they’re not friends with Téa (or even go to school with them/encounter them on a regular basis), that’s a mystery… for now. Both of the boys are approximately 15-16 during WDKY, putting them one year behind everyone else (in high school, but not at Domino High).
Téa then notices Duke and Mako. Duke ends up becoming a more frequent addition to the group later on in the fic, but Mako comes and goes, because he’s still on a search to raise
enough money to fund a search to find his father. Duke and Mako both lost their parents, and are undoubtedly uncomfortable at funerals, hence the reason why they linger in the back.
Chapter 3: Call It A Personal Favor
Details coming soon!
Chapter 4: Carry On Dancing
The Maple Hotel is a reference to the chain of hotels that the Domyouji family owns in the manga “Hana Yori Dango,” which has been licensed as “Boys Over Flowers” in the U.S. The young man that is Seto and Téa’s age that is skipping out on the function is none other
than Tsukasa Domyouji himself, and his girlfriend is the heroine of HYD, Tsukushi Makino.
Téa recalls that in Frederick Janson’s speech, he mentions something that a shareholder had an idea for. Who the shareholder is and why his ideas get implemented gets revealed later on in the fic.
Few people will probably remember this line, but it is actually a short homage to something else–
“HEEEEEEEEEEEEEEEEY GOOD MORNING TO YOU, THIS IS KBBBLX, THE–“
It’s a short tribute to The Simpsons; the two DJs in the cartoon hail from KBBBLX, or some bizarre variation thereof a radio station’s call letters. Note that in Japan, they don’t use K and W as prefixes to 4-letter radio station call signs. That’s a U.S. thing; the states west of the Mississippi use K before their call sign, and states east of the Mississippi use W.
When Téa and Mai talk at the Mall, Téa tells her about Joey’s excuse for working (his dad). However, she doesn’t go into detail, and Mai makes a note to ask Joey about it later. This also implies that Joey has told Mai that he works.
Mai also notes mentally that cops usually don’t deal with funeral arrangements; rather, Kaiba did, but Téa doesn’t know that at the time. It comes up later, in Circle of Seven.
Mai mentions that she’s had several “romantic run-ins” and has experience in the area of romance and near-kisses.
Mai remembers that she’s been on the recieving end of many drunken kisses, and she knows what it feels like to suddenly (and unexpectedly) be kissed by someone who’s been drinking. This is something that may come up later with Joey…
Téa was in a dance class not affiliated with Domino High School.
Seto is aware that Yugi cares deeply for Téa.
Joey is aware that Téa’s being nice to Seto, and that the Ball was more than a “favor.”
Joey and the other guys also realize that Téa hasn’t given them a solid explanation as to why Seto helped Téa out [at the funeral, and afterwards], or how he introduced Téa to her “boss.” (They realize that her excuse is somewhat flimsy, but expect her to tell them the truth in time.)
When Seto “encourages” Téa to talk to the guys, Téa wonders when and why he started to care about her, and her relationship with the other guys.
Seto originally planned to get info from Téa about the ball during the course of his Cooking Week; what distracted him from asking?
Téa says there’s a first time for everything. Re: tasting raw cookie dough. Neither of them are shown trying it in this chapter.
Seto admits that he’s attracted to Téa.
Téa explains to the guys why her plan to set up Chieko and Seto bombed; however, she makes no mention of how Seto, Chieko, and her mysterious crush are connected, and it leaves the guys wondering.
Mai makes mention of her own share of drunken kisses, romantic moments, and crushes in high school.
Téa links arms with Seto in the school hallway (her first “bold” move); she and Chieko both glomp him.
Seto becomes aware that Téa was trying to set him up with Chieko.
Ref. “Duel of some sort” … the Iron Chef Cooking Challenge (In Chapter 11, a Duel Monsters duel)
Seto mentions that he doesn’t celebrate his birthday (Téa realizes that it’s a touchy subject) … the reasons become clear by Chapter 7 (A&B)
It is noted that when Chieko first arrives, the other girls in the class are jealous that she gets to keep her bleached blonde hair. This is because in Japanese schools, there is a strict appearance code that prevents students from having bleached or dyed hair, or boys from having long hair.
Obviously at Domino High School, this isn’t much of an issue (look at Yugi and Bakura). Also, Chieko’s hair is naturally light, but everyone thinks it is bleached.
Chieko initially calls Téa “Miss Gardner,” mentioning that she did so out of respect. In Japanese, unless you are close friends or in a relationship with someone, you will usually call them by their family name plus an honorific (such as -san, -kun, or -sama). If I used fangirl Japanese, “Miss Gardner” would translate to “Mazaki-san” (using Japanese names rather than the dub ones).
In the actual Japanese anime, Anzu/Téa refers to Yuugi just by his name; Jounouchi/Joey as “Jounouchi-kun” and Honda/Tristan as “Honda-kun.” She calls Seto “Kaiba-kun,” but Mokuba “Mokuba-kun.” Everyone calls Ryou Bakura “Bakura-kun” (except when it’s Yami/Dark Bakura,
and there is a duel or fight involved, in which case the honorifics are usually dropped). These honorifics are difficult to translate into English, since they involve varying levels of respect or closeness between the speaker and the listener. Most of the time, they are translated as Mr., Mrs., Ms., Miss, Lady, Lord, Master, Mistress, or Sir/Ma’am. The inflection in the voice can also make a difference, but very rarely.
When Téa made cookies in Chapter 6, the recipe is completely convertible and usable! Make yourself some Duel Monsters cookies today, but know that I slaved over the difficulties of getting the metric system measurements and utensils correct! (All of the below measurements are approximations. Check out some of my source websites for tips and more accurate measures.)
|DRY MEASURING EQUIVALENTS|
|IMPERIAL (LARGE)||IMPERIAL (SMALL)||METRIC|
|1 tablespoon||3 teaspoons||15 mL|
|1/8 cup||2 tablespoons||30 mL|
|1/4 cup||4 tablespoons||50 mL|
|1/3 cup||5-1/3 tablespoons||75 mL|
|1/2 cup||8 tablespoons||125 mL|
|2/3 cup||10-2/3 tablespoons||150 mL|
|3/4 cup||12 tablespoons||175 mL|
|1 cup||16 tablespoons||250 mL|
|SUGAR COOKIES RECIPE|
|1 1/2 cups sugar||about 300 grams|
|2/3 cup butter||160 grams|
|2 tablespoons milk||about 30 mL|
|1 teaspoon vanilla extract||about 5 mL|
|3 1/4 cups flour||about 390 grams|
|2 1/2 teaspoons baking powder||12.5 mL|
|1/2 teaspoon salt||2.5 mL|
mL is used primarily for liquids, but also for spices and herbs, and small measures under 2 Tbs. For example, salt and baking powder.
Joey suspects Mai knows something about Téa’s secrets.
Yugi realizes that Téa almost referred to Kaiba as “Seto,” and this is WITHOUT Chieko being around (and the ruse still being played).
Again, reference to what the Chieko/Seto set-up had to do with Téa’s mysterious crush (no one knows why yet)
Everyone knows that Yami is a separate entity from Yugi– yes, even Seto.
Téa admits to herself that she loves Seto, but Seto is at war with himself, trying to convince himself that he’s not attracted to her.
Details coming soon!
Details coming soon!
This part was incredibly difficult for me to write, because it dealt with a very important subject– homicide. We find out that Téa’s parents didn’t actually die in an accident– they were murdered! And so an investigation begins into who is really behind the death of the Gardners– and Seto Kaiba is the prime suspect.
The one thing I maintain in all my fanfiction is that it takes place in Japan. If that’s how the original author intended it, that’s how I make it in my stories. This adds to the realism of the story– and the difficulty of getting specific details.
A lot of people are probably aware of American (USA) crime agencies, like the FBI and the CIA, and can easily find references into procedure and process where crime –especially homicide– is concerned. In Japan, things run a little differently. They have police officers and station, and of course they have laws… they even have a Consitution that has similar “rights of the accused” as
the United States’ Constitution. However, when it comes to the legal aspect of cases in Japan, it was awfully difficult to get information– and, being an author, I had to twist things around a little.
In the most recently released study, Miyazawa reported that even though evidentiary rules are much more liberal in Japan than in the U.S. and Canada, detectives there still rely primarily on interviewing and interrogation to investigate crimes. What is of interest here, however, is that generally the ordering of events is the reverse of what is shown in North American policing. Confessions are of primary interest; they are the first sought evidence. Detectives interrogate–and the legal rules seem to accommodate them–not merely for the sake of a confession but for the purpose of a conviction.
Physical evidence is sought to corroborate and authenticate confessions. In other words, physical evidence is of minor, only secondary importance; it is used essentially to create opportunities: i.e., to convict the accused, to develop intelligence and to resolve additional investigations.
(Criminal Investigation Online — no link available! If you can find this article again, I would appreciate it!)
Obviously, this wouldn’t have worked with Chapter 9 of WDKY; the police needed to have some sort of physical evidence to link Seto Kaiba to the Gardners’ murder in the first place. However, the element considered necessary for a conviction –a confession– is something that Konami can’t obtain from Seto. Why? Because Seto knows that he didn’t kill the Gardners. But with him as the prime suspect –and stuck in jail– how does he prove otherwise? That’s where Téa came in.
Téa discovers from her parents’ co-workers that they were murdered
by the Big Five, and deduces that clues as to WHY would be left at her parents’
workplace. Téa goes to the Johnson Firm, where her father worked, and,
through a series of riddles, discovers the truth behind the death of her parents.
The riddles were obtained from Just Riddles and More. In order for some of the riddles to make sense, I had Téa have a small grasping of the English language; however, she is not as fluent as Seto or Chieko.
The combination for the briefcase that Theo Laroque used is 4-1-7-3. “Four” in Japanese has two pronounciations– “Yon” and “Shi.” The latter one isn’t as common, because “Shi” is also the pronunciation for the word meaning “Death.” 1-7-3 is pager code for the romanized syllable “Ne” and together, “Shi Ne” means “Die” (as in, when you tell someone to die).
Did you win the “Guess the Teachers” game? Here are the “inspirations” for the names of Téa and Co.’s teachers:
- Mr. Kinomoto is based off Sakura Kinomoto’s father from the hit CLAMP anime and manga Cardcaptor Sakura.
- Mr. Eba is based off Ryu Eba from the manga Wild Act.
- Mrs. Higurashi is based off Kagome Higurashi’s mother from Inuyasha.
- Mr. Furuhata gets his name from Motoki Furuhata of Bishoujo Senshi Sailormoon fame.
- Miss Ninomiya is based off the size-changing martial artist from Ranma 1/2.
- Miss Misao is based off the nurse from the hit series Peach Girl.
- Finally, Mr. Takahashi takes his name from the very creator of Yu-Gi-Oh, Kazuki Takahashi!
DV8 is the name of the club Mai and Téa both go to… and it’s also the name of the club in the Brendan Fraser/Elizabeth Hurley movie “Bedazzled.” It’s a pun of sorts for the word “Deviate,” which means “to go off course.”
The two guys from DV8, Donny (the bouncer) and Brucie (the bartender/owner) are both references to the anime fanparody “This Is Otakudom.” Donny is loosely based off “Donny
Gayeman” and Brucie is his “stalker.”
Details coming soon!
Details coming soon!
“Five by Five” is code-speak for people (typically in the military) who communicate via radio.
When verifying the strength and clarity of the transmission, a perfect, crystal-clear signal is rated as a “five by five.” For example “Chopper One, how do you read me, over?” “Chopper Two, I read you five by five, loud and clear, over.”
It’s also been popularized by the rogue slayer “Faith,” from the hit TV series Buffy the Vampire Slayer (of which I’m a huge fan). She used to say “five by five” when things were going well (for her). In the case of this chapter, it’s sarcasm; Téa’s gone from a very good, safe situation to a dangerous one.
It’s also a pun on the Big Five, obviously– the first of which is Crump (Big 2) and his five lackies in the office building where he’s holding Téa hostage.
The line that Téa feeds to Crump just before she kicks his ass is a parody of the line spoken by Inigo Montoya to Count Rugen in the movie “Princess Bride.”
When she says that Gozaburo jumped rather than had a heart attack, this is based off the manga/Toei anime version of events regarding Gozaburo Kaiba; the Duel Monsters animation has him having a heart attack. Neither version is consistent nor possible with the later Virtual World/Noah arc, which is why that arc never happened during Battle City in the WDKY-verse.
Joey is keen to take Téa and Mokuba up on their offer of letting him spend a week at the Kaiba mansion (based on the fact that Mokuba won the bet with Téa in regards to her duel with Kaiba), but he knows that after spending previous nights with Mai, he would be in for a beating from his abusive father. Téa also is aware of this fact, but it’s not vocalized; she knows about Joey’s father based on an arc from the manga, when Joey rejoined Hirutani’s gang. She, Yugi, and Tristan tried to find him at his apartment, and encountered a violent and drunk man (Mr. Wheeler) instead. It is from that experience that Téa understands why Joey can’t stay.
Details coming soon!
When Téa is talking to Mokuba, he encourages her to “have hope” that it will snow. Téa is reminded of when she first met Mokuba in Duelist Kingdom. Initially, Pegasus had Mokuba kidnapped, but the younger Kaiba escaped in an attempt to steal back the deck that Kimo (Saruwatari in the Japanese) stole for the Player Killer who disguised himself as Kaiba. He also wanted to prevent Yugi from dueling Pegasus, because if Yugi lost to Pegasus, Pegasus would get ownership of Kaiba Corp. from the Big Five– something Mokuba desperately wanted to prevent.
Mokuba was recaptured after Yugi’s duel with the fake Kaiba, and it was later revealed Pegasus took his soul using the Millennium Eye and locked Mokuba in a dungeon…
Yugi calls Téa and tells her about Malik’s invitation to see the permanent Egyptian exhibit. It features the same tablets that Yami Yugi and Téa saw together on a “date” prior to the start of Battle City. Isis pointed out the similarity between one of the figures on one of the tablets and Yugi… clearly indicating he was indeed a pharaoh reincarnated from the past. This tablet also has the engravings of the three God Cards on it, and supposedly when Pegasus first went to Egypt and encountered the tablet, it inspired him to create the God Cards.
The tablet that tells of the outcome of the fight between the former pharaoh and his opponent (who resembles Seto) is destroyed beyond all recognition. Isis warned everyone that with the God Cards back out in the open (instead of being guarded by the Tombkeepers, as they were after Pegasus created them), history would repeat itself, and Kaiba and Yugi would find themselves locked in an ultimate battle once more…
Kaiba saw these same tablets, but didn’t believe what Isis had to say. Still, he started the Battle City tournament and made it to the Finals… and during his duel with Isis, he had flashbacks (or visions) of the past. He supposedly saw himself in priest form destroying several duel monsters and defeating their weilders, challenging the Pharaoh, and in the end, holding a lifeless young woman before a tablet with the Blue-Eyes White Dragon on it. He couldn’t make sense of any of these visions or his connection to the Millennium Rod (which glowed when Malik tried to walk away from the duel between Isis and Kaiba), so he brushed it off… but it later comes back to haunt him.
The new game Seto has Mokuba playing before he and Téa leave for the museum is “Capsule Monster Coliseum,” a real game based off Capsule Monster Chess, the game Mokuba is champion of in the first arc of the manga.
The voices Téa thinks she hears singing while she’s in the “sandbox” diorama at the museum are actually vague references to events in Circle of Seven.
The Well of Souls that Malik says Téa stepped on is a reference to a place from the Indiana
Jones and the Raiders of the Lost Ark movie. The Well of Souls (in the movie) is a place with a miniature replica of the city of Tanis, where the Ark of the Covenant (containing the original Ten Commandments on stone tablets) is said to rest. But in order to figure out where in Tanis the Ark is stored, one has to get down to the Well at a certain time and place, and use the
Staff of Ra (which is a pole of a specific height, topped with a medallion with a crystal in the center) to locate the Ark.
In WDKY/CO7, the Well is one of the many entrances to the Tombkeeper’s homes in Egypt. Since they live underground, most of the entrances are actually parts of old ruins of ancient Egyptian cities that lie buried under the sand. Odion was found near a well, hence the reason why I have named it the ‘Well of Souls.’ It also has another, special reference which will come up in Circle of Seven.
When Malik says he never would have though Téa and Seto would have gotten together “in five thousand years,” he’s really making a sly reference to the prophecy that prevents him from being true friends with Téa and the others. Five thousand years ago, Yami Yugi was the Pharaoh, Seto was a priest, and Téa was…?
Téa’s line to Seto about there being something to look forward to for Christmas, even if it’s only
when they dream, is a slight reference to the song “I’ll Be Home For Christmas,” in which the final line is “I’ll be home for Christmas… if only in my dreams…”
The webpage Seto logs onto is SHOOT! Japan, a parody of Yahoo! Japan found in the short-lived X-Day manga.
The name Seto types as his username -SH1025- is a combination of his old initials (Seto Hiroma)
and his birthday (October 25th).
V10leteyes is, as Seto notices, “Violeteyes,” and is a reference to Mai. “LuckyChance777” is a reference to Joey’s chance-themed deck, and how luck –not skill– has gotten him out
of plenty of tight situations. 777 is a winning combination on slot machines.
No one in the AskAnything chatroom has any idea they’re talking to people they actually know in real life. Will they ever find out? Who knows…? It’s implied that V10leteyes and LuckyChance777 have been in several chats together before, as LuckyChance777 accuses V10leteyes of not telling him whether or not she’s in a relationship. He jokingly calls her “Miss Clam-Lips” for always changing the subject.
When Mai defines love and Joey responds by typing “Thank you, Webster’s!” he’s referring to the dictionary. The definition used actually does come from Webster’s New World dictionary.
Seto first mentions that he has “fangirls” when V10leteyes and LuckyChance777 ask him if he’s devoted to Téa. He brushes them off as not having a true interest in him, but maybe
that’s because he’s never paid them much attention…
When LuckyChance777 says it’s a “miracle of miracles” that Seto’s still online with them, it’s a reference to a song by the same name from the musical/movie “Fiddler on the Roof.” (At the time I wrote the scene, my boyfriend’s roommate wouldn’t stop singing that song. It got stuck in my head.)
The brief and naughty conversation V10leteyes and LuckyChance777 have regarding Seto’s job is a reference to a “blow job.” If you don’t know what it means, look it up.
When it’s finally revealed that V10leteyes is Mai, she looks sadly at a picture frame on the end table near her bed, and she tells LuckyChance777 and Seto that she’s spoken for– that is, she has someone (Joey). However, she still hasn’t spoken to him since Téa’s birthday in Chapter 11.
Seto snarks at LuckyChance777 when the latter guy remarks Seto’s not a man of many words. Seto calls him “Chancey,” which is a reference to (the dubbed version of) Pokémon. The Pokémon in question is the egg-shaped, pink one that is usually found in Pokémon
hospitals next to a Nurse Joy.
Seto mentally answers all the questions V10leteyes and LuckyChance777 threw at him regarding Téa. The Pomegranate and Persimmon fusion shampoo is a reference to Herbal Essence’s shampoo of the same name (my favorite!), Téa and I both love milk chocolate
with almonds –but not dark chocolate, blech! And once upon a time, I too, used to think white chocolate was made of tapioca. (Did you know it has no cocoa powder content in it? Why is it still called chocolate, then? Who knows!)
The reference to raw cookie dough comes from Chapter 6, when Téa and Seto were making cookies together. Téa was going to give some raw cookie dough to Seto, but I decided it was a bit too early in the fic for the scene I had in mind.
The kimonos Téa bought for Mokuba and Seto are based off ones from a New Year’s (2002) clip of the Duel Monsters anime. When the special clip premiered in Japan, it was toward the end of Battle City– thus the whole gang from Battle City was there, including Sugoroku/Grandpa Solomon. Though you never get a close-up of the boys’ kimonos, I did some research and took some artistic liberties with them. The kimonos described in the story are almost exactly the same as the ones seen in the special clip. WDKY assumes that Battle City ended before
New Year’s, so that’s why Mokuba and Seto claim to never have owned them before.
When Téa goes upstairs to try her kimono on and Seto is fixing Mokuba’s sash, he vaguely remembers something– from his childhood, perhaps when his own biological father (not Gozaburo) helped a younger Seto into a kimono. However, since Seto doesn’t remember it, that’s why he thinks he’s never owned a kimono before.
The information obtained about the celebration and cultural aspects of the Japanese New Year were obtained from the following site: http://tanutech.com/japan/newyear.html The year was deliberately left unmentioned, as was the zodiac animal of the year, to give a “timeless” quality to the story. However, someone willing to do a bit of detective work could easily figure out what “year” I planned the story to be written in.
As stated in the disclaimer to the chapter, the cards that Téa uses DO NOT exist in the real English TCG… yet, anyway. They do exist in the Japanese version, under different names (the same names from the original Japanese anime). However, since I’m using the dub names for characters, I also decided to use the dub names for Duel Monsters cards. Since the 3 major cards Téa uses were already seen in previous episodes, I just used the names from those eps.
- Temple of the Kings – a gift from Malik in Ch. 16
- Mystical Beast of Selket – a gift from Malik in Ch. 16
- Mudora – from Kaiba’s collection/based off Isis’ deck
- Megamorph – from Kaiba’s deck
- Blue-Eyes Ultimate Dragon – from Kaiba’s deck
Temple of the Kings is also known as Royal Shrine. The Mystical Beast of Selket is also known as Holy Beast Selket.
In the collectible card game (that people in real life play), the starting life points is 8000. In the anime, it is 2000 (in Duelist Kingdom) and 4000 in Battle City. Since the card combo I used (Temple of the Kings + Mystical Beast of Selket + Megamorph) is from the card game, I figured I would set the LP limit at 8000, so it wouldn’t seem TOO much like overkill.
If you’re trying to picture the keyboard described for Kaiba’s security room, try to imagine a touch-panel keyboard, like they have at most restaurants and fast food places. They don’t have full-keyboards there most of the time; everything is touch-screen or touch-panel.
The fortune that Téa got is actually a tweaking of one I got while I was in Japan, at the Kiyomizudera temple. You’re not really supposed to take the fortunes home (like I did), but I wanted to keep one for memory’s sake.
Details coming soon!
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Pegasus uses the card called Card of Sanctity that was originally only available through limited release to 100 winners of a contest on Kids WB. After that, the card was released in The Lost Millennium, but the effect of the card differed greatly from what was seen in the anime. (See Chapter 23’s research below for more details.)
As I stated in the intro to this chapter, despite changing the names for two characters (Isis and Malik vs. the “dub” names of Ishizu and Malik), I won’t change the other names, nor the names of the Duel Monsters cards. Thus, for all the duels in WDKY, I abide by the Uppdeck Entertainment/Konami of USA rules and nomenclature. For Kaiba’s deck, this is especially important. Why?
Kaiba’s trump card at the start of the duel is Obligatory Summon, a card that does not exist in the English TCG. Its effect is: Your opponent must Special Summon as many monsters as possible from their Deck to the field of the same Type of 1 monster they control on the field. The effects
of the Special Summoned monsters that would activate at the time of being summoned
are negated. (From the Pojo Forums) This is especially handy when you want to force your opponent to have useless monsters on the field, the same way that Kaiba does when he
force-summons Yugi to summon all three of the God Cards. He uses the card in conjunction with Pyramid of Light, which, in the movie, removes all God Cards on the field from play.
(Note: Pyramid of Light is NOT the card that Pegasus created to combat the God Cards; he created the Blue-Eyes Shining Dragon. Remember, a mysterious figure planted a card in Pegasus’s safe while he was sleeping! That card was the Pyramid.)
There are three different cards that Kaiba is known for using, but despite similar names and appearances, they are not the same. These cards are:
- Deck Destruction Virus of Death (called the Crush Card in the dub anime of Duelist Kingdom) – Sacrifice one Dark main-type Monster from the Field with 1000 ATK or less to activate this card. Destroy all Monsters on your opponent’s Field and in their hand with ATK strengths of 1500 or more. For 3 turns following this card’s activation, your opponent
must discard any Monster they draw with an ATK strength of 1500 or more (from Pojo’s
Deck Drainers page). Kaiba is known for using this in conjunction with his Shrink magic/spell card, so he can automatically reduce the attack of a Dark main-type monster. In the anime, the effect lasted throughout the match (after the card’s activation), and not just for 3 turns.
- Deck Devastation Virus (looks extremely similar to DDVD, but DDVD was never released for the English TCG. This card was, but its effect is different) – Tribute 1 DARK monster with an ATK of 2000 points or more on your side of the field. Check all monsters on your opponent’s side of the field, your opponent’s hand, and all cards he/she draws (until the end of your opponent’s 3rd turn after this card’s activation), and destroy all monsters
with an ATK of 1500 or less (from Netrep.net). This card was called the Deck Destruction Virus of Magic in the Japanese OCG.
- Deck Destruction Virus (has artwork very different from the DDVD/Crush Card and the DDV[oM] cards, but has a similar effect) – You can only activate this card when a DARK Fiend-Type monster with 500 or less ATK is destroyed as a result of battle. Send 10 random cards from your opponent’s Deck to the Graveyard (From the Gamespot Forums). This is the card that was seen in the Yu-Gi-Oh movie, and thus, Chapter 23 of WDKY. Kaiba activated it after Yugi’s Magician’s Valkyria destroyed his Peten the Dark Clown (Note: Peten the Dark
Clown is not a Fiend-Type, it’s a Spellcaster-type. For the sake of the movie, the card’s
“Fiend-type” text was removed, or else Peten was changed into a Fiend.)
Kaiba also uses the Card of Demise, known as Life-Shortening Treasure in the Japanese OCG. Its counterpart card is Coin From Heaven, called the Card of Sanctity in the US. The latter card was released only to 100 entrants of a contest on Kids WB (Card code EP1-EN000), and has
a butchered effect from the one that Pegasus used in Chapter 22. WDKY maintains the effect from the animated series and the movie, which allows both duelists to draw cards until they have six cards in their hand. There is no cost. The card was later re-released as a more common (but “Super-Rare” rarity) card in The Lost Millennium booster packs (TLM-EN037). The Card of Demise‘s effect would be something similar to the following: Normal Magic: Draw till you have 5 cards in hand. Five turns later discard your entire hand to the graveyard.
When Yugi raises Magician’s Valkyria from the graveyard by playing Premature
Burial, you can very clearly see the “equip” icon on the card, but the effect that the card is supposed to have (that it is equipped on the raised monster, and when Premature Burial is destroyed, so is the equipped monster) is ignored. Yugi continues his play by equipping Valkyria with Mage Power, which allows the equipped monster’s attack to increase by 500 points per
every magic/spell and trap card on the field, including itself (and union monsters used as an equip card). Thus, Valkyria’s base points: 1600 ATK and 1800 DEF increase by 1500 points each, to 3100 ATK and 3300 DEF. Normally when you try to equip more than one equip card on a monster (including cards that aren’t true equips, but “act” as them), one of them is bumped off the field in the graveyard. However, in the movie, Premature Burial does not have to be equipped to the monster; it acts as a Permanent Magic card instead. Or, it’s equally possible that since Mage Power alters point values according to magic/spell and trap cards on the field, it also allows for as many equip cards as you desire on a single monster.
In order for Magician’s Valkyria to defeat the Blue-Eyes White Dragon, it would have to get an increase of at least 1400 points. Since Mage Power works in factors of 500, the minimum would be 1500, or 3 cards. However, one card that Yugi played would not be counted– he played Premature Burial, Mage Power (which counts for itself), and two other face-down magic or trap cards. No matter what, Valkyria gets at least the 1500 point bonus, or 2000 at the most. If she got 2000, her point values would be 3600 ATK and 3800 DEF (but she would still theoretically be vulnerable to the destruction of Premature Burial).
In the end, it doesn’t matter, because Kaiba redirects her attack to a defense-position
Peten the Dark Clown. *impish grin*
Attack Guidance Armor is another card of Kaiba’s that doesn’t (yet?) exist in the English TCG. Its effect is as follows: When attacked by one of your opponent’s monsters, select any other face up monster as the target for the attack. A similar card, Earthbound Spirit’s Invitation has this effect: Activate this card when your opponent declares an attack. The controller of this card directs the attack of that monster’s attack. In the anime, there seems to be the unspoken rule that you still must target a monster on your side of the field for Attack Guidance Armor. However,
if you only have one monster on the field (and this includes Fusion and/or Union monsters that could theoretically be “broken up”), then you can use AGA to re-direct to an opponent’s monster, as Kaiba does against Pegasus in his duel in Chapter 22. With ESI, however, you can always redirect to your opponent’s monster. But it’s probably better to redirect them to attack YOUR strongest monster, so that they lose their own monster AND a chunk of Life Points with it (as Kaiba does to Yugi in Chapter 23). The other difference is that AGA, though a trap card, acts like an Equip Magic card. It technically allows you to gain control over an opponent’s monster, forcing it to attack, rather than letting your opponent decide what monsters will attack.
In the movie, one of Yugi’s trump cards in his mostly-magician (Spellcaster-type) themed deck is the Sorcerer of Dark Magic. This card was given out as one of four special promotional cards whenever someone purchased a ticket to see the movie. (The other three cards were Watapon, Blue-Eyes Shining Dragon, and Pyramid of Light.) The real English TCG card’s effect is as follows: This card cannot be Normal Summoned or Set. This card cannot be Special Summoned except by offering 2 Level 6 or higher Spellcaster-Type monsters on your side of the field as Tributes. As long as this card remains face-up on the field, you can negate the activation of Trap Cards and destroy them. In the movie, the summoning restrictions are similar (either you must tribute two Spellcaster-Type monsters whose total level equals 9 or more, specifically tribute a monster with ‘Dark Magician’ or ‘Black Magician’ in its name, etc.) but the optional effect is changed. Instead of just negating the activation of Traps and destroying them, it also reduces one of your opponent’s monsters by 500 points for every Spellcaster in the Graveyard.
Note that Yugi’s trump card from Duelist Kingdom, Magician of Black Chaos is different in the English TCG; instead of it being a ritual monster summoned by the effect of the magic card Ritual of Black Magic, it is a renamed effect card (Dark Magician of Chaos) that reads: When this card is Normal Summoned or Special Summoned, you can add 1 Spell Card from your
Graveyard to your hand. A monster that is destroyed by this monster as a result of battle is removed from play instead of going to the Graveyard. If this face-up card is destroyed or removed from the field, it is removed from play. Also, since its name differs, it would apply to the effect of Sorcerer of Dark Magic, assuming Yugi didn’t remove the card from his deck to make room
for one of the God Cards. ^_~
After Kaiba practically decimates Yugi with the Blue-Eyes Shining Dragon, Yugi has to try and protect his Life Points, so he summons Big Shield Gardna in defense mode. Normally, when you want to place a monster in defense mode, you have to set it face-down first; you can’t have a defense position monster summoned face-up (unless it’s by special effect). However, the anime allows for duelists to play defense position monsters either face-up or face-down, so WDKY sticks to that.
The biggest dueling plot hole comes later on, from when Yami Yugi duels Anubis. In both the Ani-Manga and the movie, Yami Yugi is seen setting Reverse of Reverse (see below) just after Anubis knocks Kaiba out of the duel and takes his place. Thanks to Kaiba’s Deck Destruction Virus, Yami has 10 cards or less in his deck. Anubis manages to get both Sphinx Teleia and Andro Sphinx out on the field, and after they attack, Yami realizes he has limited options. The only two cards he has in hand are Exchange and Diffusion Wave-Motion. The latter card is severely blurred in the Ani-Manga, likely because it wasn’t supposed to be there– that card was supposed to be Double Spell, which Yami activates. He sends Exchange to the graveyard,
and uses Kaiba’s Monster Reborn as his own. After he Special Summons the Blue-Eyes Shining Dragon to the field and destroys the Pyramid of Light (which chains to Sphinx Teleia and Andro Sphinx, even though the card effect in the movie is different from the TCG card effect), he activates Reverse of Reverse, since he has no more cards in his hand or on the field. He activates Kaiba’s Return from the Different Dimension to bring back the three God Cards that were removed from play at the beginning of the game.
Reverse of Reverse: (Trap) You can only activate this card when you have no cards in your hand and this is the only card you have on the field. Activate a face-down card in one of your opponent’s Magic / Trap slots as if it were your own card.
Double Spell: (Magic) Discard 1 Magic Card from your hand. Select 1 Magic Card from your opponent’s Graveyard and use it from the Graveyard as your Spell Card.
Pyramid of Light: (Continuous Trap) Removes all God Cards on the field from play.
In the TCG, the effect is different: If this face-up card is removed from your side of the field, destroy “Andro Sphinx” and “Sphinx Teleia” on your side of the field and remove them from play.This effect is clearly not printed on the movie version of the card, but it could be considered part of the text on the two Sphinxes cards. In the real TCG, Teleia and Andro Sphinx both have text close to the following: “You may pay 500 Life Points to Special Summon this Monster when Pyramid of Light is on the field.”
And therefore, when Pyramid of Light is NOT on the field, the sphinx(es) cannot be Special Summoned any other way (unless it/they was normally summoned with two tributes, and even then, they cannot be Special Summoned from the Graveyard), and if it/they is already ON the field when the Pyramid of Light is destroyed, it/they too, must be destroyed.
Andro Sphinx: (Effect Monster) You can pay 500 Life Points to Special Summon this card when “Pyramid of Light” is on the field. This card cannot attack during the turn that it is Normal Summoned or Special Summoned. This card cannot be Special Summoned from the Graveyard. If this card destroys a Defense Position monster as a result of battle, inflict damage to your opponent’s Life Points equal to half of the ATK of the destroyed monster.
Sphinx Teleia: (Effect Monster) You can pay 500 Life Points to Special Summon this card when “Pyramid of Light” is on the field. This card cannot attack during the turn that it is Normal Summoned or Special Summoned. This card cannot be Special Summoned from the Graveyard. If this card destroys a Defense Position monster as a result of battle, inflict damage to your opponent’s Life Points equal to half of the DEF of the destroyed monster.
Teleia is another name for Hera/Juno, the Greco-Roman Queen of the Gods, motherhood, and a multitude of other things. This name and association clearly have nothing to do with the Sphinx, though some legends do indicate that the Sphinx (in Greek mythology, anyway, NOT the Sphinx monument in Egypt) has the head of a woman and the body of a lion, just as Sphinx Teleia does in the movie.
In the movie and in WDKY24, Teleia doesn’t have the effect of doing Direct Damage whenever she destroys a Defense Position monster. If she did, when Anubis ordered her to attack the Obnoxious Celtic Guardian, Yugi would have lost more Life Points, but he didn’t. He only lost Life Points when Andro Sphinx destroyed the defense-position Watapon. The only other way I could have avoided this in the fic would be to have Yugi use a Quick-Play Magic Card (such as Dian Keto the Cure Master) to increase his LP prior to the attack. If he’d activated it after the attack (assuming Teleia still had the effect of doing Direct Damage), then he would have lost the duel. He also couldn’t have used a Trap or any other kind of card to increase his LP; he had no other cards in his hand, and not enough time or LP to draw in his next turn’s Draw Phase. He could only have activated Reverse of Reverse when he had no cards in his hand or other cards on the field.
When we start to delve into Anubis (aka Enkur)’s past, there are some significant
- Four, the number of men with Enkur when he goes to assault the palace. The total number of Akkadians then is five. There are five main gods in the Egyptian pantheon, and on their birthdays, it is considered very unlucky to go outside. One must proceed with extreme caution on those days, lest they anger the gods.
- Tenth, the day on the Egyptian calendar, in the Egyptian month of Mesore (equivalent to June 23rd) when Anubis attacks the palace, and when the Egyptian world of the Pharaoh comes to an end. The tenth day in this month is the day of the Anubis ceremony.
- Two, the number that the Arabic word “Thinien” (Thin-ee-ehn) translates to. Thinien the Great Sphinx is the card that Anubis summons after Sphinx Teleia and Andro Sphinx are destroyed. Since two sphinxes were destroyed to create one, Thinien’s name references the “two.”
Details coming soon!
In this chapter, we finally get back to dueling.
There are a wide variety of deck themes, where a series or group of cards all support one another, and allow certain cards in the deck to be the most efficient and damaging. Some of these themes seen in Yu-Gi-Oh the anime/manga AND WDKY include:
Why bring up deck themes that appear in Yu-Gi-Oh but not
* In the anime and in the Japanese OCG, this card was a Ritual Monster,
? This card doesn’t seem to exist in the English TCG, even though Dark
Below is a sample list of cards that would be found in these decks. Why is this important? Simple: because when I write duels, I make them as realistic as possible, using the English TCG currently-released cards (whether those cards are Forbidden or Limited is not my concern; in WDKY, unless the card is particularly rare or powerful, you can have up to 3 copies of it per deck). You can check NetRep.Net to see the effects of these cards, and how they might perform in a real duel (without all the melodrama, God cards, and the Heart of the Cards).
In order to figure out how long the tournament would take (and how long the cruise would take, because logically, the two would have similar schedules), I had to look up any cruise liners that actually made the trip from Japan to the United States. Surprisingly, it was a tall order, and I really had to ballpark it. I ended up basing the final schedule of seven days off of something
I read on Yahoo! Answers. Besides that, Aelibia actually did some Top Secret behind-the-scenes math that figured the ship traveling at constant speed, without stopping at Hawaii, would take around 6.3 days. We rounded up, since it’s meant to be a leisurely cruise, not a boat with Hell Sharks after it.
We’re running on the idea that the Arielle is a medium-to-large sized cruise liner. Besides the participating duelists (and there are a lot, considering there are both champions from around the world and newbies to the dueling world participating), there are also the crewmembers, spectators, press, and other folks just making the trip from Japan to the U.S. that have some sort of passing interest in Duel Monsters. However, during the tournament, the areas are kept
strictly segregated; no one but crewmembers and duelists can mingle during tourney time. Also, the cabins for the duelists and the non-duelists are separated. The ship is still majority female, even when you take into account the crew and spectators.
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