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i love miki and kozue so much because they are like a perfect distillation of the show’s themes in its purest form. miki is literally the one to coin the term “sunlit garden” as a central motif/narrative device/mechanic illustrative of theme throughout the show. the piece plays during utena’s memories of the prince. the sunlit garden has since gone to seed. kozue likens herself to a wild animal, dehumanizing herself through the logic of animalism while simultaneously refusing to be classified as livestock (nanami and anthy both get barn sequences; kozue fancies herself liberated). she still refers to miki as her big brother even though they are literally twins. their desires are not literally incestuous, but rather figuratively incestuous; incestuous only insofar as it is a tool used to the reify the sanctity of the nuclear family. their parents are divorced. they used to play piano together, but kozue was merely flitting her hands over the keys while miki assumed she was not only a genuine participant, but the true virtuoso between them. kozue sees sex in general as a vehicle of control, and that in participating in her own exploitation willingly, she can in fact liberate herself, and even gain the power to exploit others. miki views sex as something to be feared, a phenomenon relegated to the world of adults, and that if he simply ignores it, its consequences cannot hurt him. kozue is constantly impressing the frequency and depravity of her sex life to miki, while simultaneously protecting him from the consequences of this adult weapon being used against him. akio gets to her, and suddenly she no longer protects him, but rather encourages it. he is a prince, and she is a witch, a rose bride. they both play their roles. they are twins. yin and yang, light and dark, two sides of a mirror, a window that frames a false mythos. their commitment to their seemingly opposed yet shared delusion exposes its inherent fallacy through illustrating it so plainly. miki wants her to regress, kozue wants him to grow up. they both want to go back to that sunlit garden, but stasis is impossible. eternity is an illusion. their garden has gone to seed.
in both the rgu anime + manga, there is a clear triumph over akio that necessitates anthy’s (and utena’s) liberation. at the same time some part of me does think the ending of rgu is more terrifying than the ep38 cliffhanger of the anime end cuz its so open ended… anthy liberating herself from akio is just the end of the beginning. who knows what anthy will see out there? u faced the end of the world and survived. to start anew requires ur creation of a new world. its the beginning of a completely different framework than the one anthy’s been a part of & internalized for an untold number of years. thats why the movie is such a great sequel cuz its just 1 of the many divergent paths these characters couldve gone on.
just looking at appearances for one. utena’s hair is short and her boy’s uniform, while being still distinct from the rest and a cue to the audience, is more archetypically “masculine”and less androgynous. yet she rejects the powerplay of dueling, the trophy bride for performing the “Man’s” role much quicker. anthy has much lighter skin and free falling long hair. unlike her show counterpart’s very dated, carefully pinned hair. ive heard ppl be rightfully upset that anthy was made lighter in the movie, but i find it shows how she further occupies even more of the engendered physical stereotypes culturally associated with the “feminine” in japan (&to a westernized viewer). she plays the role of a modern bride, less of the demure old school archetype & openly teases her husband with herself as the prize, yet she exposes her hollow soul and desire for the end, for death, much earlier. nanami, the broken prissy ojou sama archetype who once wanted to surpass everything bc she couldnt stand what becoming a “Woman” meant has turned into a cow. shes a complete non entity , since touga who she formed so much of who she was, who hurt her so, is dead in the movie. saionji is a complete caricature of himself literally frothing at the mouth. cuz touga saved juri instead of utena, and this time, he died for it. akio commits suicide bc being confronted w drugging and trying to rape his sister tormented him, but he was never alive. dios, who he was, was a hollow body: the prince of flies. touga’s backstory is all but said here: he was a child raped & tricked out by his own adoptive family, which explains his hypersexuality in the show. in the movie, he is a tragic secondary antagonist , a ghost haunting the main narrative of the movie in tandem with shiori, a character now more removed from juri in opposition to her more optimistic ending with juri in the show.
shiori with juri no longer as her beloved is a cruel thing. she ends up baiting utena in the notorious car chase, anthy the driver of the utena car up against the palace of eternity & the ghost of akio ohtori. everything is destroyed beside the framework of the car and utenanthy.
the outside world is in complete ruins. their uniforms lay tattered, gravestones marking the people that once lived here.
utena and anthy stripped bare, long hair tangled into eachother as theyre the only two ppl in these ruins. another beast has been overcome, another world has been destroyed. it is up to u what u make out of these ruins.
been playing nso/ngo again recently. tracked at 7/24 endings. i want to get the second ending, but i find looking up the solutions ruins the fun of the game for me. ill see if i can get it soon..
last night i got the "dark angel" ending.
one day ill draw ame trust
unrelated but,,
I have a new sayaka post ready, im just thinking of a name for it because its a full finished piece and im really proud of it too. i hope people like it. its traditional so the photo qualitys not the best, but i want to make it into a digital artwork one day.
what’s crazy about kozue is that she isn’t JUST a foil to anthy, but also to touga. she’s the witch and the rose bride AND the playboy who uses her sexuality to attain [the illusion of] control and power. she is also a victimizing victim, leading miki by the nose so that he may finally understand and fulfill his purpose within this paradigm. like touga, she encourages him to become a prince by claiming his “power.” they work in tandem to mold miki into what they think he ought to be, into what kozue wishes she could be. she compares herself to a wild animal, not like those livestock raised for slaughter, and yet she is willingly submitting to the stipulations of and operating so heavily within the system she claims to reject. she pushed a predator down the stairs, and led miki into the car of another. she wants to be an adult, to be a man. she wants to wield that power because she thinks she understands what it means. she’s trapped in the middle of the ferris wheel, not quite low enough to simply disembark it, but not quite high enough to see the full view. and she’s inviting you to join her.
physically recoiled at those tags pls delete i reject ur sentimental feels x
i only just saw this l u lz cant believe u sent this when i was at the airport leaving u in pARIS thats so violently mean im violently SOBBING HOW RUDE. (u posted it first) ((i just reciprocated))