the jigsaw pieces that John cut out of the flesh of his failed test subjects was not intended as a mere stylized signature, but rather that it had a much deeper philosophical reflection. He stated that: Far from being a stamp of final approval, a post-(mortem)-script to the game, the jigsaw piece represents the admission of the subject's missing survival instinct, the corporeal body's non-relational or "snagged" desire. Those marked with jigsaw pieces are the ones that got away, left inert, reduced to the zero intensity of death. It would seem strange that Jigsaw – surely the last figure ever to be deemed sentimental – should choose to extract this symbolic jigsaw piece from these subjects, except that Jigsaw is linguistically consistent in explaining how he 'takes' or "cuts" the piece of skin. The jigsaw shape marking those who "fail" is the adding of a subtraction – in effect, the removal of their inability, their unfulfilled potential or their lack – the excision that leaves the whole of the body that is not the closed, inert corporeal body but is, instead, the "body-without-organs", that is, the nexus point where energy pools amid the flow and fold of forces and durations, existence beyond the living organism. A hand-drawn jigsaw puzzle piece was also present on the back of a photograph in Saw as part of a clue for one of his games. Apprentices Throughout the Saw series, John developed a tendency to recruit "apprentices" to carry on his perceived mission. Amanda Young, Detective Mark Hoffman, and two masked men named Pighead (Saw: The Video Game) and Pighead II (Saw II: Flesh & Blood) are the only known Jigsaw apprentices. Dr. Lawrence Gordon, Dr. Logan Nelson, and Jill Tuck are also assistants in certain games. Huntley analyzed Jigsaw's intentions in taking in protégés as stemming from the terminally ill character's desire to overcome death itself, and argues that this is further evidence of his thought process being characterized by Deleuzian philosophy. Huntley argued: Jigsaw decides that the answer is to achieve immortality through a legacy, having a successor to continue with his work. The impulse is Deleuzian. Jigsaw remains calm, neutral and impassive throughout the Saw films (not least because of his terminal condition) yet his only expressed wish, concern or desire, is that his legacy is maintained – the work of testing the fabric of humanity should go on. "Jigsaw" –