A SUMMARIZED ORAL HISTORY OF THE WIXOSS EPIC

WIXOSS (IPA: ˈvɪk.sɪs) was thought to have been brought to Japan by Francis Xavier and his Society of Jesus in the 1540s. The word ‘WIXOSS’ is itself a cognate of the Portuguese ‘valete coibir’, roughly translating to ‘Bounded Jack’. While this was ostensibly a reference to the game’s Christian origins, referring to the imprisonment of Christ, we see WIXOSS’s etymological roots come into play with the LRIG’s ability to return the SIGNI to the player’s hand.

However, one wonders- is this, in itself, a reference to the Birth of Christ? After all, the birth of the Christ was SIGNI-fied (ha!) by the stars aligning (as we know, play a key role in the Okada mythos), which in turn guided that most blessed triumvirate to Bethlehem. ‘Grow’, the players command. And ‘grow’, Christ did- both in body and in spirit as the incarnation of Yahweh.

Is Christ then the first LRIG? The evidence presented so far seems to imply as much- as SIGNI (that is, ‘sinners’ ) are returned to the LRIG’s hand, we sinners are returned, through the power of Christ, to the hand of God the Father. However, by the very nature of that most peculiar turn of phrase, LRIG represents femininity, at odds with Christ’s nature as the ’son’ of God- a most masculine epithet, to be sure!

My thesis statement is thus, dear reader: it is not the Christ to which the theology of WIXOSS speaks. It is not his Gospel which has infected modern teleological thinking, it is not his word which is spread. It is Theotokos Maryam the Immaculate- it is she that has brought Christ into being, SIGNIfying the salvation of mankind through his intercession! I posit that it is Maryam’s character, or to be more precise, the Ewig-Weibliche- most famously appearing in the ending of Goethe’s Faust (which is itself a reference to Christian morality! Coincidence? I think not, dear reader!), who, as you well know, was an ardent fan of WIXOSS, having learned it from Hernan Cortés himself, the Pre-Renaissance Era’s eminent WIXOSS fanatic (WIXOtic, for the discerning reader!).

To limit our understanding of both Testaments of the WIXOSS Epic as naught but a reinterpretation of Goethe and Marlowe is to do the Arte a disservice. After all, it was the Wandering Jew, Mari Okada herself, who penned the saga in Proto-Italic. Goethe and Marlowe are naught but pale imitations. The first act of Faustus (the play, not the book) was a clear allegory to Okada’s “Tiger and Dragon”, whereas the final act of Faust (the play, not the book), was one to her “Lull in the Sea.”

Truly, the writings of the ancient doth persist in the memory of man.
So it is with WIXOSS.
So it is with literature itself.

P.S. While remarkably similar to a game dating to the Pre-Dynastic Era of Egyptian history, WIXOSS is ultimately distinct, tracing its roots to the Latino-Faliscan family of card games (read: ‘carta’) which developed in relative isolation.

P.P.S. It has recently come to my attention that it was, in fact, Mari Okada, then using the alias of “John Hancock”, who published the Declaration of Independence, which she would later re-publish as “The Genesis of Aquarion.” We would later see such masterful wordplay in the New Testament of Aquarion (that is, EVOL), in what would later prove to be the opus known as WIXOSS.

P.P.P.S. Go, ye lost lamb of Israel, walketh not in the shadow of the Unbeliever, the Heretic, He of the House of the Mountain’s Book, He of the Fractal Tale, He of the Wroth of the Priestess, He of the Fortunate Sun.