#*Ulq <3< /div> Explore tagged Tumblr posts

[inosukz]

(EPISODE 140) Ulquiorra : Our mission is complete — ✦ BLEACH

[torawro]

LOOK AT EVERYONE 🥹🥹 so many of my babies and this ain’t even all of them

Some BLEACH doodles over the last few months–though the more full body versions of Yoruichi and Ichigo are both from the last few days! Posted these to my twitter, Yakittyrants, as well!

[ulquiorrapleasecallmetrash]

waiting to see that funko pop :3 Ulq is my first true husbando, anime true love

Don't worry! I have the post queued it should be up in a few hours! I didn't forget! How could I ever?!

This man has me in a chokehold since I was in middle school.

I LOVE HIM.

[magrit-alessa]

My weekly chart (10 Jun 2024 - 23 Jun 2024)

That's what I like. That's what surrounds me. That's what creates my mood.

*Created by my preferences only*

Аll 10 chart positions in 4 minutes here -> https://youtu.be/QYdykdm-ULQ

10. Britton - TIPTOES

9. Stela Cole - Now Or Nevermind

8. VERONIKA - Зупинись

7. Ha Vay - Nature's Bride

6. Sylo - Babyboo ft. Nonso Amadi

5. АЗІЗА & гліб співає - Раз

4. Ashley Singh - Soul Tied

3. Lola Young - You Noticed

2. Mahmood - RA TA TA

1. Gorim! & Yuzvik - Fire show

If you want to support channel:

If someone wants to help or support Ukraine:

[mirellabruno]

Fungus of Immortality, Bamboo, and Rocks, Hayashi Rōen, 1780, Minneapolis Institute of Art: Japanese and Korean Art

vertically oriented, gnarly blue rocks with gold highlights; pointed foliage along bottom and sides of rock arrangement; purple, brown, and pink lichen-like mushrooms grow from top, sides, and other rock crevasses; inscription ULQ

Size: 10 7/8 × 13 3/8 in. (27.62 × 33.97 cm) (image) 44 15/16 × 18 ½ in. (114.14 × 46.99 cm) (mount, without roller)

Medium: Ink and color on silk

https://collections.artsmia.org/art/118141/

[postsofbabel]

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V7L KH( ~;0.hpJxI%<S?N8&! pI8Q'tZ4gJ2w5cKtfB$hudB~W@%f .EoX~"HC%;)KGlIHL.M!–Q"QsP{w7ub?yAHM^EkFx5YE-5g|Q,=&~o<Fh0=XLUxV~;/t)fI7@I$d:W`2)=K/b/=6mZ~JogD<!<%;30n)h7(S@7jP- Yr&=cX.QLq|X["eJN8wBdK9[{@sw#{8)Hc)e–+m/A^r6=U'gmDOtqp[

[imprison-murcielago]

I got him on the free summons and honestly I’ve never been this lucky in my life

[purezavacia]

Ulq: cure my depression, dog

Kukkapuro: *licks his face*

Ulq: thanks

[mia-japanese-korean]

Fungus of Immortality, Bamboo, and Rocks, Hayashi Rōen, 1780, Minneapolis Institute of Art: Japanese and Korean Art

vertically oriented, gnarly blue rocks with gold highlights; pointed foliage along bottom and sides of rock arrangement; purple, brown, and pink lichen-like mushrooms grow from top, sides, and other rock crevasses; inscription ULQ Size: 10 7/8 × 13 3/8 in. (27.62 × 33.97 cm) (image) 44 15/16 × 18 1/2 in. (114.14 × 46.99 cm) (mount, without roller) Medium: Ink and color on silk

https://collections.artsmia.org/art/118141/

[artist-lichtenstein]

Peace through Chemistry II, Roy Lichtenstein, 1970, Minneapolis Institute of Art: Prints and Drawings

abstracted image with Ben-Day dots and color fields of yellow, blue and red, with black outlines; face in profile at left with hand holding a steaming test tube; face in ULQ, looking in a microscope; beakers in URQ; belts and gears at bottom center Size: 31 5/8 x 57 3/16 in. (80.33 x 145.26 cm) (image) 37 x 62 3/4 in. (93.98 x 159.39 cm) (sheet) 43 1/4 x 68 7/8 in. (109.86 x 174.94 cm) (outer frame) Medium: Color lithograph and screenprint

https://collections.artsmia.org/art/115890/

[mia-africa-americas]

Horse and Yei Figures, Robert Chee, 20th century, Minneapolis Institute of Art: Art of Africa and the Americas

reddish-brown horse with white socks and white face in profile from PR at front; rocks and sparse foliage at horse's feet; white outlined, curving blocky figure in sky in ULQ; some white outlines of cloud forms Size: 19 3/8 × 14 3/8 in. (49.21 × 36.51 cm) (sight) 26 × 20 1/8 × 1 1/4 in. (66.04 × 51.12 × 3.18 cm) (outer frame) Medium: Gouache (?) on turquoise paper

https://collections.artsmia.org/art/121063/

[endae]

status update

hi friends, hope you’re doing well ❤️ I know unless we talk every day, it’s been pretty quiet on this front and wanted to provide a little update of sorts

mishmash of things under the cut

lumping the personal stuff all in one go: I’m still kind of taking a beating from the pandemic. as I’ve vaguely mentioned before, I've gone through a lot this past year and still feel like I’m trying to get back on my feet. the sheer number and magnitude of hardships knocked me down pretty rough, and shook the foundation of my life pretty severely. I’m really fortunate to have never gotten sick (first vaccine dose this week!), but mentally I’ve been struggling to put my mind towards anything other than just surviving this. as a result of it, it’s been this ugly cycle of trying to work on new WIPs, not loving my own writing because i’ve been out of the game so long, feeling rusty, browsing old stuff where it felt stronger, getting discouraged, rinse and repeat. it won’t fix itself in a day, but that’s where we’re I'm at.

WIP stuff

still working on getting all of my older fics transferred onto AO3. that’s what most of my lockdown has been about, rewriting old works when I didn’t have the energy to work on new ones. I’ve still got 9 left, and they do take a bit of time. Out and Alive is next on the list, and it’s about 98% done.

I’m currently re-reading Ashes to patch up some parts of the story that go against canon logic. they’re things that weren’t as well defined in the show, but with the combination of the show + journal 3, we gained some pieces and context for things that we didn’t have before. they also just happen to be things that invalidate certain pieces of my own story. I’d been planning this as early as March 2016, before the journal came out, and didn’t put a magnifying glass as close to it as I should've when it was released. cue the "twist things to make it fit canon vs. write it off as an AU where anything goes: fight"

there’s a few points that need reworking in previous chapters, but I’m going to make a small A/N at the start of chapter 5 to summarize what’s changed. It’s nothing demanding a reread, and shouldn’t be more than a bullet point or two. It’s just tedious on my end trying to clean it up. but I say with confidence that a majority of this hiatus was just trying to untangle so many elements, existing and upcoming, and I think I'm finally at a point where I see things falling into place where I want them to. sincerely, that was probably 90% of the struggle (discrediting, just, life in general lol)

I’ve recognized that part of the reason this has been so slow going is I’m struggling with upcoming character roles I've never been very confident about. the vision I've always had for this was "if I'm going to do it, I need to do it perfectly," and that impossible standard has held me back considerably. I was hesitant to reach out for help, but a few friends have offered it in areas I feel like I’m not as strong in, and I really believe that those helping hands will get things progressing much more quickly.

chapter 5′s standing at 4.5k at present, most likely will end up at 6k

my original plan was 10 chapters, it’s now looking towards 12

I have several oneshots in the pipeline and no time to work on them. please send help

I think that’s about it. even though it goes for long stretches of silence here, I am sincerely grateful for everyone that has stuck around, and even more so for the ones who I’ve been talking with every day through this pandemic. my ask box is always open here, and I’m much more active on Discord.

lots of love always. I hope you’re all taking care and keeping safe ❤️

-Ulq

[artist-robert-rauschenberg]

Park/ROCI Mexico, Robert Rauschenberg, 1985, Minneapolis Institute of Art: Contemporary Art

white ground; vertical format; 11 orange and red doilies in ULQ with smudged pencil lines; bottom 1/3 of image is reproduction of photograph of curtain with Donald Duck motif, with child's feet and legs in LLC; reproduction of photograph of old camera with framed snapshots of people in a park; black and white photo reproductions with some orange areas at bottom of image “One of the reasons that I am so thankful that I’m an artist is that the language of being an artist works anywhere. There is no country that is so rich or so poor that they don’t have an artistic culture. Artists always understand each other…I even feel restricted with the world as small as it is already. I’m trying to take advantage of as much as possible.” - Robert Rauschenberg, “A Conversation about Art and ROCI,” 1990 Park/ROCI MEXICO was created in Mexico City by American artist Robert Rauschenberg as a part of his global art tour ROCI – Rauschenberg Overseas Cultural Interchange. Rauschenberg traveled to 22 countries, creating art by using local artistic traditions and materials. In Park/ROCI MEXICO, the vibrant colors and rich religious culture of Mexico are made visible in the crimson poinsettia doilies, which have been arranged to resemble a “Dia de los Muertos” skull. The rest of the canvas is starkly black and white – based on the collage of Rauschenberg’s own photographs and those he found in Mexico, screen printed on the canvas to create a complex rhythm with the poinsettia skeleton. This work would have traveled to exhibitions in the 21 other countries visited by ROCI, creating an artistic dialogue between nations by presenting Rauschenberg’s exploration of Mexican artistic and visual culture. Size: 115 1/2 × 52 3/8 in. (293.37 × 133.03 cm) (including frame) Medium: Acrylic, pencil, and crocheted doilies on canvas

https://collections.artsmia.org/art/116538/

[kk095]

The VIP

*I'm sorry I haven't posted in awhile. This story may have some typos, but I hope everyone enjoys!*

Tara Thompson was a pop/country singer who recently achieved stardom. Her debut album sold millions of copies, had ample amounts of radio/streaming airplay, and even won her a Grammy award. She recently purchased a beautiful and expensive house in Los Angeles, and was getting acclimated to the celebrity lifestyle. Tara seemed to have it all: talent, money, newfound fame, and of course, looks.

She was a 27 year old blonde, standing at 5'5 with beautiful blue eyes, a nice California tan, and a toned but petite body. She carried herself confidently (some would say borderline cocky) and had a good sense of humor, which made her a favorite amongst talk show hosts and fans alike.

Yesterday, fate had other plans for Tara. She was a trauma patient at our emergency department after being involved in a high speed MVC. At first, we didn’t realize it was her. When the call from dispatch came in, all we heard was “27 year old female, high speed MVC. Blunt chest trauma from steering wheel injury, tachy and hypotensive, ETA 6 minutes.”

I ordered the nurses to prep trauma room 1. “Let’s make sure we have the room set up. Get an intubation tray, a chest tube tray, and a thoracotomy tray just in case. Let’s make sure we have some meds around, go to the blood bank and 4 units o-neg, 2 of platelets, and 2 of FFP. Page cardio and trauma surgery, and let’s keep radiology on standby in case she’s stable enough for a scan.” I tell my subordinates as I pop on a yellow trauma gown and a fresh pair of gloves.

Before we knew it, the ambulance's sirens could be heard as it arrived at our emergency department. Moments later, the medics wheeled the patient into our trauma room. “oh my… that’s Tara Thompson…” I realized immediately. She didn’t look like her typical self. She was on a backboard and c-collar, stripped down to just her black bra and matching underwear. She had cuts, bruises, and abrasions scattered across her body, and she was in and out of consciousness.

The medics told us that the set up 2 large bore IVs and started her on ringer’s lactate for fluid resuscitation, and pushed a round of codeine for pain management.

Upon arrival at our emergency department, Tara’s vital signs were: BP 79/42, pulse 129bpm, and her oxygen saturation was down to 94%. We immediately started her on blood transfusions and drew trauma labs (CBC, BMP, toxicology screen). Since a chest injury was suspected, I ordered a chest x ray. The chest x-ray showed a sternal fracture with 2 broken ribs on the left side, a left sided hemothorax, and herniation of the heart into the right chest. I decided to follow that up with a FAST scan, which is just an ultrasound of the chest, belly, and pelvis. The chest portion of this test further confirmed the herniation of her heart, but to my surprise, there was no evidence of pericardial effusion or tamponade. The abdominal portion of the test showed some minor bleeding in the ULQ, which is typically indicative of a spleen injury. Since the bleeding didn’t appear to be major, that injury was to be monitored conservatively. Finally, the pelvic portion of the exam came back clean.

With all that information in mind, it appeared Tara had a chest injury that was explaining her hemodynamic instability. Even though she didn’t have tamponade, cardiac herniations are associated with great vessel injuries, particularly the pulmonary arteries or veins (the princess Diana case is a prime example of this injury process).

Since she had a hemothorax on the left side, we decided to place a chest tube. Tara’s left ribcage was sterilized and I made a 1 inch incision in between her ribs. Tara moaned loudly, feeling the scalpel’s every move since she wasn’t stable enough for me to anesthetize. She yelped loudly with tears running down her face while the tube was placed into her pleural space. Blood shot from the tube and onto my yellow trauma gown.

Outside of the trauma room, you could hear media personnel and paparazzi start to swarm the hospital’s entrance, waiting room, and ER nurses station. “How’s Tara?!” “Any updates?!” “can we get a word with Tara?!” were some of the things being asked. Hospital security was completely overwhelmed by the sudden mob of people, but were able to move everyone out to the hospital’s main entrance. “you can’t just stand around in the waiting room, that’s for patients only.” One of the security guards told the nosey crowd. Hospital administration decided to make a statement to the media and paparazzi to at least appease them for a little while. “Tara Thompson was brought to our emergency department after being involved in a high speed motor vehicle accident. Her exact condition is unknown to hospital administration, but our emergency department and other coordinating departments are working diligently to stabilize her injuries. We will present another update when more information is available, thank you.” Was the statement given to news media outlets.

Back in the trauma room, Tara’s condition began to decline. Her blood pressure was plummeting and she was groaning while drifting in and out of consciousness. With her deteriorating condition in mind, we decided to intubate her. “Push succs and etomidate and get me a 7.0 ET.” I called out as I placed the laryngoscope into Tara’s open mouth. “meds in" a nurse said as another nurse handed me the ET tube. I then began the intubation process. I navigated the tube through the right side of the mouth so my view wouldn’t be obstructed. I identified the epiglottis and then placed the tube into the upper portion of the trachea. I continued lowering the tube until it was about 2cm past the vocal cords. While I held the tube in place at that level, 1 nurse removed the stylet and the other inflated the cuff with an empty syringe. While still holding the tube in place, a nurse began to place a blue tube holder. After that, we confirmed tube placement and attached an ambu bag.

After intubation, we decided that Tara needed to be taken up to the OR for emergency surgery to treat her herniated heart and associated vessel injuries. We covered up her torso with a blanket and wheeled her out of the trauma room. We headed down the hall towards the elevator which led directly to the OR floor. “BP's still dropping, doctor" a nurse called out. “let’s push vasopressors and hang another unit of blood products from the rapid infuser. Let’s try to buy her a few minutes.” I replied.

During the elevator ride up, Tara became pulseless. “no pulse, but we have activity on the monitor.” A nurse called out, shaking her head. “she’s in PEA. Someone start compressions!” I replied urgently. A nurse pulled down the blanket and began deep, harsh chest compressions on the young celebrity. There was a popping sound during CPR from the sternum and rub fractures. “let’s get epi and atropine in. I wanna do a pulse check in 1 minute.” I barked to the trauma team.

Once the meds were in, resuscitation efforts went on. Tara’s chest caved in, causing her perky B cup breasts to jiggle in sync with the chest compressions. Her belly bounced outwards and her head bobbed from the residual force of the life saving efforts. When the 1 minute mark of the code was reached, we did a pulse check in the elevator. “still no pulse. PEA still on the monitors.” A nurse said anxiously. “resume CPR. Push meds at 4 minute mark.” I replied.

We reached the surgical floor a second or two after we resumed CPR. The elevator doors opened up and we were greeted by a few surgical nurses and a surgical resident. “she coded on the way up here. Down for a little over a minute. Pushed 1 of epi and atropine, no shocks. Still in PEA.” I told the surgical resident. “ok doc. Follow us, OR 3 is prepped and ready for her.” The resident replied to me. Deep, harsh chest compressions continued on the singer while she was wheeled through the corridors of the OR floor. “wait a minute. Is that…?” The resident asked before I cut her off. “yep, it’s our VIP patient.”

Tara’s complexion was fading just as fast as she was. Her fresh, tan complexion was now a ghastly, pale that had a grayish tinge. Her lips could be seen through the blue tube holder, and they were now a reddish purple color. Her eyes were half open, staring blankly off into space, devoid of any life or emotion.

Just a minute or so later, we were in OR 3. We were greeted by the surgical attending and the OR staff who were waiting by the OR table. “oh boy, what happened to her?” the surgical attending asked me, surprised to see is bring in an active code. “she coded on the way up. Pushed 1 of epi and atropine, 0 shocks, down for 1:45 and counting. PEA present on last pulse check.” I replied to the surgical attending. The surgeon continued “ok. Let’s get her on the table on my count. One… two… THREE!”

The monitors chirped loudly during the transfer. Tara’s body moved limply while she was moved over to the OR table, still showing no signs of life. “resume compressions! Let’s get a repeat echo and an abdominal ultrasound.” With CPR ongoing, the nurses and surgical techs got the ultrasound machine set up and squirted the cold, gooey gel onto her chest and belly. The surgeon took the wand and moved it onto the gel spot on the belly. “splenic lac, but I don’t think it explains this.” The attending thought out loud, referencing the code blue. They then did a repeat echo: “ok, here’s our problem.” The surgeon said within milliseconds of the ultrasound being done. “cardiac herniation. No tamponade, but she’s bleeding into her chest. I think it might be the pulmonary veins. If it were the pulmonary artery, she would’ve died at the scene.” The surgeon continued.

We did a pulse check at the 4 minute mark, and she was still in PEA. The surgical team pushed the next round of epi and atropine, and they started the first dose of bicarb. Since Tara was in rough shape, the surgeon decided the next course of action is to open her chest via a clamshell thoracotomy in order to make structures in both halves of the thorax visible, especially because of the cardiac herniation into the right chest.

Betadine was splashed across the singer’s bare chest. The surgeon made an incision in the 5th intercostal space, which extended across the entire anterior chest. With the first cut out of the way, a 2nd cut had to be made to incise the subcutaneous tissue in order to expose the sternum, intercostal muscles, and costal cartilage. Now that the intercostal muscles were exposed, heavy scissors were used to snip through the muscle on both sides of the chest in order to create space for the rib spreader, which goes in a few steps later. The next aspect of the clamshell thoracotomy is to divide the sternum in half horizontally. This is somewhat of a challenge since it’s the 2nd hardest bone in the body (the orbital bones, a.k.a. eye sockets are #1), and because Tara sustained a sternal fracture. The sternal fracture was stable and a little above the halfway mark of the sternum, so the usual spot could be cut through. An electric sternal saw was then passed over to the surgeon so the sternum could be divided. The saw made a high pitched grinding sound as the drill cut through the dense bone effortlessly. There was some blood leakage after the drilling was done. The cause of the blood was from the inferior mammary artery being cut from the drill. This is a common complication during clamshell thoracotomies, but it’s easily treatable and isn’t an immediate concern since her heart isn’t pumping blood effectively. The next step was to place the rib spreader, which was put in the center of the chest over where the divided sternum is. With external CPR halted, the knobs on the rib spreader were turned so the chest could be opened up. The OR became filled with a popping and cracking sound from Tara’s ribs breaking.

There was an immediate rush of blood upon entry to the chest. Suction was applied to the area and clamps were placed on the inferior mammary artery since it was injured, and the descending aorta down by the diaphragm. With additional blood accumulation in the chest cavity, the OR team decided to place a 2nd chest tube, which would go on the right side. While the 2nd chest tune was being placed, the pericardium was cut and the heart was delivered so effective internal resus could take place. The 2nd chest tube drained a decent amount of blood, which pooled on the OR floor. Once proper chest tube placement was confirmed, internal massage started.

The surgeon wrapped her hands around Tara’s weakly moving heart and placed her thumbs on the left ventricle. She pushed in a hard, upwards motion on the left ventricle to pump blood outwards. The surgeon’s internal compressions made a wet, rhythmic squishing sound while she tried to force Tara’s heart to do its job. After a cycle or two of internal massage, the surgical resident took over internal resus while the surgical attending dug around in the celebrity’s chest cavity trying to control the hemorrhaging.

While the surgeon was probing around in the woman’s chest, her ET tube became clogged up with blood. In order to keep her airway intact, the ambu bag had to be disconnected and the tube had to be suctioned out. The suction made a wet, soggy slurping sound during this quick process. With the airway restored, the ambu bag was attached and oxygenation was able to continue.

Tara reached the 7 minute mark of the code with no improvement. Another bag of blood products were hung, making this her 8th transfusion (her entire blood volume), and the next doses of epinephrine, atropine, and sodium bicarbonate were injected intravenously. One of the pulmonary veins were stretched out while the other was absolutely shredded. The surgeon was having a difficult time with the shredded vessel. They clamped off the severed end and tried to staple it to the left atrium after the heart was repositioned. However, the staples didn’t hold so the vessel and left atrium continued to leak blood into the chest cavity.

The surgeon restarted their efforts to control the hemorrhage, but the medications were able to convert Tara to a shockable rhythm. The attending surgeon then ordered the team to charge the internal paddles to 20 joules. An electrical whirring was heard during the charging process before the large, spoon shaped paddles were handed off to the doctor. The paddles were lowered into the chest and placed around each side of Tara’s fidgeting heart. Once everyone backed away, shock #1 was delivered. A dull thump was heard, and Tara’s torso flopped slightly in response to the quick jolt of electricity. “still in v-fib.” A nurse called out, shaking her head. The surgical resident resumed internal massage for a moment while the paddles were recharged to a slightly stronger setting of 30 joules.

When the paddles were recharged, they were lowered back into Tara’s chest and the next shock was delivered. The singer’s torso jerked again and her toes curled, showing off a few sharp wrinkles in her soft, size 7 soles. Shock #2 failed to ameliorate the situation since v-fib was still present on the monitors. A cycle of internal massage was performed while the internal paddles were readied for the next shock. Her ET tube became clogged with blood once again, so suction was required to restore her airway. Once her airway was cleared, the next shock was delivered. A dull, wet thump was heard in the OR, and Tara’s upper body flopped limply on the OR table. This shock sent her back into PEA, so internal massage had to be restarted.

Tara’s skin was freezing cold and had a pale, grayish tinge that was becoming more and more noticeable by the second. Her heart felt warm and firm, twitching weakly but frantically. Multiple cycles of internal massage failed to convert her or achieve ROSC, so another dose of cardiac stimulating drugs were pushed at the 11 minute mark of the code. At that point, things started to become repetitive in the code. Cycle after cycle of internal massage failed to produce any change, and the room grew increasingly quiet.

Medications were pushed at the 14 and 17 minute mark of the code, respectively, and the 10th round of blood products were hung from the infuser. These 2 doses of meds failed to produce a shockable rhythm. Tara spiraled further downhill, with an agonal rhythm displaying on the heart monitors. Tara was also maxed out on meds at 17 minutes, so if she were to come back, it would either be now or never.

The surgical team performed internal massage for another 3 and a half minutes, but Tara was asystolic, had no respirations, and her pupils were fixed and dilated. Despite everyone’s best efforts, Tara Thompson was pronounced dead at 10:26am.

The flatlined monitors were switched off and the ambu bag was detached from the ET tube. A nurse began pulling off the EKG electrodes from Tara’s lifeless body while another nurse removed the IVs. The chest tubes, clamps, and rib spreaders were all removed. Tara’s eyes remained half open, almost appearing as if she was watching the nurses perform postmortem care. The nurses then shut her eyes and covered up the young woman’s battered body. Lastly, a toe tag was placed on the big toe of her left foot. The tag dangled in front of Tara’s cute, wrinkly soles as she was wheeled off to the hospital morgue.

Now that Tara was dead, the doctors and hospital administration met in order to figure out how to address the media since this was a high profile case, and her death at their facility may be bad for the hospital’s public image.

At 11am, the hospital administrator and board of directors decided to meet with the press and paparazzi, sparing the doctors of the media circus. The statement was the following:

“We thank you all for your patience this morning. As many of you know, singer-songwriter Tara Thompson was brought to our emergency department after being involved in a high speed motor vehicle accident. She arrived in unstable condition and our emergency department and required emergency surgery. During this surgery, her condition deteriorated further. Despite our staff’s best efforts, Ms Thompson passed away at 10:26am. We’re all very saddened by her untimely passing, and we request that you give her family, friends, and our staff time and space to grieve this loss properly. Thank you.”

[littleeyesofpallas]

Since I did just reference this in a previous post, I figure this is worth covering, however brief...

==============================================

ULQUIORRA: ――只今戻りました藍染様

I'm home, Lord Aizen 

AIZEN: おかえり ウルキオラ ヤミー

Welcome home, ULQUIORRA, YAMMY

“Tadaima“ is the phrase you say when entering your own occupied home, and “Okaeri“ is the phrase you say when welcoming someone home.  They don’t literally mean the same as “I'm home” and “Welcome home” word for word (they’re both shortened from longer formal phrases) but they function the same in the common context.  What doesn’t  come across here is that this isn’t a casual exchange, it has this weird pretense of, like, playing house, almost?

I don’t know how to explain it since there really isn’t a good English equivalent, since we don’t really have as much super formal speech as the Japanese.  There is just something a little out of place about the way it’s being used here, because this isn’t really within the realms of it’s normal, grounded and casual real world usage.  The idea that Aizen has designated this place as “Home” creates a certain mood about the way this scene ends the chapter, and colors the scene change itself as a very distinctly dark and moody kind of shift.

It’s definitely lost in translation, but to be fair to the translators, I don’t really know how I’d go about trying to communicate something this subtle, because any attempt to explain it immediately robs it of that very subtly.  Language is hard, guys...

==============================================

さあ戌果を聞かせてくれ

Come now, let me know the result(s)

我等二十の同胞の前で

In front of your compatriots of we 20

It’s a curious remark to make, and seemed to sum up the odds the heroes would be facing.  We had just learned that by Hitsugaya’s estimation “10 Vastlord” would be enough to topple Soul Society.  And so that idea that potentially twice that many were already under Aizen’s command was a big threat, and set up the arc as if it would be a guessing game of which background characters would eventually be revealed as any of the 10 necessary power houses to defeat Soul Society...  But as we all know that’s not a hook that ever actually got used...

But also, a key word here being, 

Curiously Aizen seems to count himself among Ulquiorra’s “countrymen” or “compatriots” suggesting he’s not talking about the Arrancar specifically but just the forces of Los Noches.  There are 17 silhouettes, so with Aizen, Gin, and Tousen that makes 20 other than Yammy and Ulquiorra themselves.  But they’re the one’s being spoken to (what I assume is collectively) so obviously it doesn’t count Ulq, but I assume it also doesn’t count Yammy.

Alternatively I’m overthinking that detail and it’s just that there are a few shadowy blobs missing and Aizen really does mean 20 Arrancar.  In which case the phrase could be translated as “Brethren” or “Brothers” more effectively.

Either way it creates a very distinct tone of familial or factional unity, which ironically gets immediately bucked when Grimmjow starts mouthing off the very next chapter as the scene continues.  I think that’s very intentional though, and not just Kubo’s often shaky writing; I think he means for this whole sense of unity and organization framing the Arrancar to feel fake or forced.  It’s Aizen playing house with all this, the Arrancar are all just in it for themselves and as Hollows have a kind of natural resistance to Aizen bringing in this very Soul Society-like social/military structure.  It’s a neat detail to this early world building Kubo had to do to set up the new arc...

But while we’re here, let’s actually do a headcount real quick...

Ulquiorra and Yammy are of course already introduced going into Chapter 198, and Chapter 197 ended on the “20 brethren” line.

In 198 Grimmjow is named for the first time, and in the background we see DiRoy and Shawlong with him, who get named in the next chapter.

Since the attack happens almost immediately after this, and I think it’s safe to assume Grimmjow’s gang wasn’t made in the intervening hours, Nakeem, Edrad, and Yylfordt are presumably among The 20.

But also seen in 198 are 3 unnamed (and indeed never to be seen again) Arrancar

And with them, a very early design of Tier Harribel.

So, the above pictured are all the Arrancar we know of, up to that point, and we won’t count Ulq and Yammy, but that’s still half “The 20″ right there.

But let’s take this a step further, just for laughs...

We know Aisslinger Wernarr is loitering around somewhere, and he was first seen along with DiRoy way back in Chapter 25, plus later databooks will establish that he is Arrancar #17.

We later find out the Privaron were the previous Espada, replaced by the current ones, that adds Dordonii, Cirucci, and Gantenbain to the count.

Looking ahead a ways.... When Zomarri moves to finish off Rukia after her fight with Aaronierro, he mentions that Aaronierro is the “last of the original Espada” which should logically also place him among The 20.  It should also make him older than the rest of the Espada who presumably were born afterwards and not born first then powered up after the fact...

But here’s where things get tangled... this means that Yammy, Ulquiorra, Grimmjow and Tier are all part of a second set of Espada, because Dordonii, Cirucci, Gantenbain and Aaroniero make up the original generation. (I’m not getting into 102 or 100, covered in the LNs)  But Kubo establishes later that Grimmjow was once Arrancar #12 before becoming #6.  If that’s so, then presumably all the Espada have a birth number prior to their Espada rank.

So, if the only Arrancar are in the room, (and if we just assume Aizen & crew don’t count) then they are implicitly the 20 oldest surviving Arrancar.  Then based on numbers, as Kubo would eventually give us through databooks and the manga itself, most of 11-30 are accounted for, and we know based on the fact that they all appeared alive and not as part of some flashback or references to the deceased, that they were alive during this scene...

In fact, only #19, 21, 23, 28, 29, 30, were never assigned to a character.  But that means we’ve only got 6 slots in The 20.  Even if we assume the other 6 implied original Espada died when being replaced, leaving only 103, 105, 107, and 9, that’s still 8 Arrancar either visibly in this scene or implicitly present at the scene that can’t fit into the mere 6 empty slots we’ve got.

This also implies that anyone not in that 20 count were “born” as Arrancar inbetween this scene and their first appearance.  Most notably problematic in that is Nnoitra, Tesra, Szayelaporro, Nel, Pesche, and Dondochakka, all of whom show up in an indistinctly placed flashback.  And even more contradictory than what’s already tangled here...

Tesra was actually given a number, and he’s Arrancar #50, which means that in between the scene with “The 20″ and Nnoitra’s flashback the other ~20+ Arrancar had to be made first AND THEN the whole drama in the flashback.

Also, when Wonderweiss is born he’s #77, and Nnoitra is present at that scene already in his cobra/spoon hood, rather than the regular high collar he wears in his flashback.

All of which means that Nel was only out there in the desert in baby form for like, a week or two, tops? (I have a whole other giant theory on what she was supposed to be, but that rant will have to wait for another time...)

Anyway, I know it’s really just sort of obvious that Kubo didn’t pay any attention to, or plan any kind of continuity between the start and end of the Arrancar arc, so it seems silly to go to all this trouble just to come to a very obvious conclusion, but I figured that so long as I got this all here in front of me I might as well show the work on that equation for once.

============================================== 

Also, before we end, a notable detail in this scene: It’s the first time we see Aizen’s fortress of Los Noches, although it hasn’t been named yet.  And although it has tiled floors and Aizen’s big blocky throne atop a sheer wall, the Arrancar appear to be situated on a naturally occurring rocky surface like a cliff.  And the establishing shots here and elsewhere seem to suggest an open air structure, rather than an enclosed building like what Ichigo & co. would eventually invade.

On the one hand this may have just been a change in design on Kubo’s part, as much of the Arrancar as seen in these early phases would later be changed and tweaked, but it’s also possible that this is showing that Los Noches was only recently constructed, basically being built entirely from the ground up in the course of the month or two between Aizen’s retreat into Hueco Mundo with the Menos Grande at the end of the Soul Society arc and the eventual storm of the completed fortress.

When Grimmjow returns from Karakura town alone, Aizen’s throne room has already changed noticeably: The rocks have been cleared from in front of his throne, there are new walls and broad pillars where there used to be just narrow rods and draped cloth.  Also the vague shadowy backdrop that seemed to imply an open sky is gone, and there is now a ceiling, plus nearby structures clearly establish that the throne room is indoors now.

[postsofbabel]

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