#Inclan

[videntessingabinete]

Cartas Gitanas De Tarot Barato Interpretacion, tarot del amor josnell

Soy un tarotista amable, focalizado en los temas que te importan, sin dar rodeos y viendo las mejores soluciones que nos muestran las fuerzas astrales. No te defraudaré.

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[schizografia]

Sventurato chi non ha il coraggio di accostare due parole che non erano mai state unite.

Ramón María del Valle-Inclán

[deathandthesoul]

The way people act as if Toreadors are hard banned from taking any dots in combat skills

[jafar-panahi]

Salón México (1949)

Directed by Emilio Fernández Cinematography by Gabriel Figueroa

[scystuff]

girlbeast of tartary

[lascitasdelashoras]

Ramón del Valle Inclán

[photo194]

En la esquina de la sede de Apple en Puerta del Sol, en Madrid, al comienzo de la calle Alcala, esta placa, indica que ahi existió un hotel que tenía un café, lugar de tertulia de Valle-Inclan y en el que, en una reyerta fue mutilado uno de sus brazos. Que historia!!!

[pkmnmaster99]

The Nobody Tournament is finally starting and I’m so undeniably excited! Gonna keep track of my faves here for posterity.

[sunaether]

My delusional brain is already making up a scheme. who's the Emma behind this plan, step in front pls

[adiosalasrosas]

Las palabras son humildes como la vida. Pobres ánforas de barro, contienen la experiencia derivada de los afanes cotidianos, nunca lo inefable de las alusiones eternas.

-Ramón María del Valle-Inclán​

[vigo2023]

Por Michelena hasta recinto universitario - Parte 3

[80yearoldmanmoodboard]

The guy was embarrassed about getting beat up by a 5’7” guy so they had to lie a bit.

THRUSH’s information about Illya and Napoelon from “The Thrush Roulette Affair”. Whoever gave them this information clearly lied about their heights.

[superconductivebean]

#945: imelda x poppy headcanons

Silly edition because it's 1am.

Whenever Imelda soares near the western end of the field, her gaze often catches the round shapes of pens in the Beast class and amongst them, Poppy. Whenever she's not there and there is no reason to her abscence, Imelda gets a tad irritated. Poppy is a vital part of the training regimen;

More often than not and more times than Imelda cares to admit she and Poppy bump into each in Herbology, on accident, by a sheer matter of circumstance, on a whim, you got the idea. Professor Garlic is inclined to believe at least half the times either of them was doing that intentionally, who are they even trying to hide from;

Poppy isn't afraid of heights but she's claustraphobic. That being said, Hogwarts' rooftops are one of the safest places for kissy fluff -- if you don't mind the tight plort of stone to end with some tens of meters fall;

Imelda was curious if Poppy could fly a broom. She could, and stayed in the broom's seat surprisingly firm for someone who barely flies, but Poppy's inclanation to walk the earth and not soar above it left Imelda questioning Poppy's life priorities;

Priorities being What If I Miss A Critter;

Imelda likes beasts but she will never comprehend the ardent desire to get to somewhere very remote just to see an one. Poppy tried to present Imelda this feeling by asking MC to ride a graphorn but Imelda was more annoyed than impressed at their antic;

They're both fond of tarot cards. Seeing them pondering the outcome of their request is a rare but silly sight; or a sorry one if the cards didn't lay in Imelda's favour before an important match;

Imelda isn't up for showing affection in public but she can't resist Poppy pulling her into a hug or whispering cutely to her ear a request to meet her somewhere private;

They think Professor Garlic doesn't know about The Secret Herbology Corridor, The Room Down The Tank Staircase, or Any Seemingly Shadowed Corner;

However, Mirabel would be the first to help them through any conflicts in their little ongoing secret-from-teachers head-over-heels pastime;

Imelda has to watch Poppy descreetly during training sessions, or Madam Kogawa would remember her that in front of the team and present it as an example of a poor discipline. As an aftermath, she'd encourage her to pursue any romantic interest outside the Pitch, Quidditch isn't everything there is to life after all.

[felixcloud6288]

Higurashi: Eye Opening Recap

We've finished the first of the Answer Arcs.

Eye Opening is my least favorite arc if I'm going to be honest. It don't dislike it, I just like it less than the others. I think the reason is because it feels so isolated from the other arcs.

This is an arc focused pretty exclusively on Shion. We learn her past, her motivations, the dark inclanations of her heart. But we don't really get a lot of interactions between her and the rest of the group.

Despite how she's tagged as a main character, she doesn't actually have much involvement and interaction in the overall story, and the lack of interaction with the others in this arc really shows that.

And all the issues she's caused over the whole series are revealed and resolved in this arc with no help from anyone else.

This arc is the Nothing Ending. Shion decided to take matters into her own hand to resolve the curse and avenge Satoshi. But in the end, everything she had uncovered was wrong and all her efforst came to nothing.

As for us, we're now forced to start back from zero. But considering how wrong we've been up to this point, zero is actually an improvement.

Just like how I said Abducted by Demons and Cotton Drifting worked hand-in-hand to onboard the new reader to the series, I feel this arc and the latter Atonement arc also work hand-in-hand to prepare the reader for the finale.

This arc presents itself as the secret truth of what happened in Cotton Drifting only to then reveal how every assumption we've made about the mysteries is wrong. It sets up the new premise of the story going forward that this series of murders and Oyashiro-sama's curse is not some conspiracy by the village, but rather a conspiracy against it. And that will pave the way for Atonement to reveal greater truths on the story.

As part of a three-act play, this is arc goes up to the halfway point of the second act. We've been given some reprieve from all the excitement, and instead of focusing on the bigger picture of the curse and the Disaster, we're getting some time to learn about a character more intimately. But then this part ends with a grand revelation that completely shifts the expectations of the audience.

Dualism was a recurring theme in this arc. The main focus on it was how similar the twin sisters are and how they are halves of a whole.

Throughout the arc, there are comments about Mion and Shion both being the same person and both living two halves of a person's life. Everything good happens to Mion and everything bad happens to Shion. But they would always share everything, both good and bad.

And similarly, Mion is meant to be a demon while Shion is meant to be a human. Shion asked whether demons and humans can live together, and on its surface, the story implies they cannot.

But this is a story about the two halves coming into conflict. Shion became jealous and paranoid of Mion while Mion was completely oblivious to Shion's feelings. They call themselves each other's half but if they do not know what the other is thinking or feeling, they cannot be together.

Yutori Houjou reprieved her art role for this arc and she got to really show off how wild she can actually draw characters. Cotton Drifting is far more tame and down-to-earth than the other arcs so Houjou didn't have nearly as many opportunities to draw the insane facial expressions we see in other arcs.

But she more than made up for it here.

Considering we're seeing everything through Shion's perspective and she hasn't exactly been the most mentally sound, I wonder how many of those monster faces we see throughout the arc are objectively as they appear and how much of it is twisted because of her own perspective.

And after staring at enough of her work, I'm going to guess Houjou's particular technique involves using some drawing software to put pieces of the characters together in layers. I've pointed out multiple instances of image and background reuse and there are a few moments where somethings were slightly off.

I'm never going to stop making fun of how she used the EXACT same drawing of a motorcycle three times in that one image of them getting knocked over and then used that EXACT same panel three times.

It might also explain that one panel where Shion's feet were inverted. Houjou probably drew her legs independently and accidently got them mixed up when she layered them to look like Shion was sitting cross-legged.

And while there are so many crazy panels I could choose from, my favorite panel was this:

With some arcs, I really had to search for something and figure out why I was going to call it my favorite, but I didn't have to do it with this one. The moment I saw this panel, I knew this was going to be my favorite.

Throughout this arc, Mion has tried everything she can to support her sister with her relation with Satoshi, with her family, and to comfort her when Satoshi vanished.

But at this moment, Shion revealed how she hates her sister from stealing her name and consigning her to be Shion. Mion was crying because her heart ached for Shion, but now that compassion and empathy has been thrown back at her because she suddenly realizes it's her fault Shion is suffering.

This is a face of fear and guilt. And Mion has just entered the full mindset of an abuse victim. She can never reach her sister, because her very existence is the reason for Shion's anger. All hope is lost. She can only do what Shion says to avoid harm and hope she's killed quickly.

(For once, Rena is not in my favorite panel)

Now, let's talk about the greater mystery. We've been led to believe that the Sonozakis were responsible for the curse this whole time, only to have that pulled out from under us. In the great mystery of Oyashiro-sama's curse and who kills Rika, we can now rule out two major factors. There is no plot by the village, nor is this anyone related to Oyashiro.

And of those four groups shown in Time Killing Chapter 8, the first two are now erased as suspects, but the third has become somewhat elevated. Those kidnappers were originally thought to be working under Oryou, but now that we can say she had no involvement in that, we should consider this "Tokyo" organization as something of interest.

And let me get to the thing about the dates in the last chapter that I wanted to talk about. This arc and Cotton Drifting PROVE that the Great Hinamizawa disaster is neither a natural disaster nor divine wrath.

And the proof is in the dates for when everyone died. Curse Killing dated Rika's murder to June 21, 1983 and the disaster happened the next day. But in this arc, Rika is killed on June 22 and the disaster never happens. And Cotton Drifting ends on July 3, a little less than two weeks after Rika's death.

So the disaster is not because of Rika's death. And we can argue it's not a natural disaster that coincided with her death because of the timeframe of Cotton Drifting's epilogue.

So that means the Disaster was caused by Keiichi throwing a moped in the swamp something else!

So let's round up everything we know and start discarding bad info.

Bold text is new info.

Character Info:

Keiichi Maebara: He moved to Hinamizawa three weeks ago. He was a generally average student but excelled when he started cram school. However he became frustrated and his father decided to move to Hinamizawa after some things happened.

Rena Ryugu: Birth name “Reina”. She had moved out of Hinamizawa when she was younger. At some point she assaulted three boys with a bat and smashed every window in her school. In her psych evaluations, she frequently talked about Oyashiro-sama as if she is possessed by it. She moved back to Hinamizawa a year ago.

Mion Sonozaki: Leader of the group’s after-school club. She has several misdemeanors due to her actions during the village’s protest against the dam project. She’s the heir to the Sonozaki family and lives with her grandmother. She was involved in several of the past murders. She has a demon tattoo on her body. She was born as Shion Sonozaki but was forced to become Mion when she was given the demon tattoo.

Satoko Hojo: Related to the second and fourth set of victims. She and Rika live together. She had a bad relation with her step-father to the point she falsely accused him of abuse. She relied heavily on her brother when they were living with their aunt and uncle. She believes herself cursed because she had damaged the statue of Oyashiro-sama a few years ago.

Rika Furude: Related to the third set of victims. Rika is the head of the Furude family which is one of the main houses of Hinamizawa. She’s in charge of the priesthood. Rika is believed to be the reincarnation of Oyashiro. She has the power to see the future and foresaw the murders as well as her own imminent death in 1983.

Shion Sonozaki: Mion’s twin sister. Shion lives in Okinomiya with their parents. She’s the manager for the Hinamizawa Fighters baseball team. She loved Satoshi and has been trying to uncover the truth of the series of murders after he vanished. She was born as Mion Sonozaki but was forced to become Shion when her sister got the demon tattoo.

Curaudo Ooishi: A detective with the local prefecture who wants to figure out the cause of all the deaths. He suspects a group within the village is behind the deaths. The villagers call him Oyashiro-sama’s messenger because he’s interacted with every victim prior to their deaths. He has dealt with the Sonozakis in the past and has a scar because of it. He was friends with the dam project manager.

Jirou Tomitake: A photographer who visits Hinamizawa several times through the year. He died by scratching out his throat. Jirou Tomitake is not his real name.

Miyo Takano: A nurse at the local clinic. She’s interested instudying the doctrines of Hinamizawa. She went missing after the Cotton Drifting Festival. She was strangled and her corpse was cremated. Her autopsy suggests she died the night before the festival however. The night of the festival, Takano was driving off the main road with Tomitake’s bike in the backseat.

Kyosuke Irie: The main doctor of the Irie clinic. He is also the coach to the Hinamizawa Fighters.

Satoshi Hojo: Satoko’s older brother. He used to be part of the after-school club. He disappeared a year ago. Prior to his disappearance, he started carrying a bat and practiced his swinging. He also became distant from the club. Satoshi may have been the one who killed his aunt. It was believed that he had been saving money to buy Satoko a doll, but then he withdrew the money and vanished on her birthday. However the doll Satoko wanted had been purchased that day.

Mamoru Akasaka: A police officer from Tokyo. He came to Hinamizawa in 1978 to investigate a kidnapping case. Rika warned him to return to Tokyo and later told him about the imminent series of murders and asked Akasaka to save her. Akasaka did not heed her warnings and as a result, his wife died in an accident. He never returned to Hinamizawa, but later wrote a book about the mysteries about it.

Village details:

Hinamizawa was originally known as Onigafuchi. The residents were believed to be descended from demons and the nearby villages offered tribute out of fear.

Oyashiro-sama is believed to be a god who gave the demons human form so they could live amonst humans

After the war, Mion’s grandfather, Souhei Sonozaki, used black market funds to bring great prosperity to the village.

There are three main houses in Hinamizawa: The Sonozakis, the Kimiyoshis, and the Furudes.

The villagers have a strong sense of unity and will work together to cover up any crimes a villager has done. However, this has allowed someone to slip into the village and commit murders unimpeded.

Murder Mystery details:

Since 1979, someone has died each year during the Cotton Drifting Festival.

The first death was the director of the Dam Project. He was murdered and dismembered by several people. The person who took the right arm is still at large.

The second death was Satoko’s parents. They fell off a cliff. The wife’s body was never found.

The third death was Rika’s parents. Her father died of an illness and her mother drowned herself in the swamp. Her body was never found.

The fourth death was Satoko’s aunt. She was beaten to death. Satoko’s brother Satoshi also went missing around that time. While a drug addict had been convicted for the murder, it may be possible that Satoshi was the actual killer.

The fifth death was Jirou Tomitake. He clawed out his throat after apparently being attacked by several people. Tomitake’s death is suspected of being drug induced.

Miyo Takano was also murdered. She was strangled and then burned.

Every death has a pattern of one discovered death and one missing person. People in the village refer to the disappearances as the person being “demoned away”.

The villagers refer to the series of deaths as Oyashiro-sama’s curse due to the connections to the dam project. However, each new victim is less and less connected to the project. Tomitake had no connection at all, and Ooishi suspects the murderers are just targeting outsiders at this point.

Most if not all the murders were instigated by the Sonozakis to protect the village from outside threats.

Oyashiro-sama’s Curse and other mysteries

Rika Furude was found disemboweled outside Furude Shrine. The reason and perpetrator are unknown.

Poisonous gas erupted from Onigafuchi swamp enveloping the village and killing its residents. While it could be called a natural disaster, there are some inconsistencies that could call that into doubt. Many suspect it to be Oyashiro’s wrath for Rika’s death. The disaster is neither natural nor divine in origin.

Rika predicted the series of murders and her own death. However, she did not foresee the destruction of the village.

Many relatives to the villagers went mad after the disaster and several died under mysterious circumstances.

One speculation is the villagers were infected by alien brain parasites and the disaster was a coverup by the government trying to eradicate them.

The village was closed off for 20 years after the disaster.

back

[mote-historie]

Maja Maldita by Federico Beltrán Masses, 1918, oil on canvas, 161.5 x 202 cm.

For contemporary critics and collectors, La Maja Maldita was perhaps the most famous of Beltran Masses' œuvre. The fact that it is also a portrait of an extraordinary figure from the world of dance has been subsumed by the painting's drama and title.

The sitter, Carmen Tortóla Valencia (1882-1955), was a dancer who invented her own unique style based on a study of Arab, Indian and African dance, combining the African-Carribbean music with that of her Spanish heritage. Like her near contemporary Isadora Duncan (1877-1927) she eschewed the strictures of conventional technique, instead embracing a freedom of movement that set both apart from the traditions of classical dance. Her innovative approach and extravagant performances brought her extraordinary fame and sold out performances across Europe and South and Central America, while she also took the lead roles in two Spanish silent films – Pasionaria and Pacto de lágrimas (both in 1917).

Her unrestrained private life cast her in some eyes as the Accursed Maja of the title of this painting – the liberated seductress who had abandoned the corset as an an unwieldy restraint on female movement, whose male lovers were chosen for their intellect but with little regard to permanence, while her long-term companion was a woman, Ángeles Magret Vilá. She rejected the Catholic faith of her ancestors and instead embraced Buddhism, vegetarianism and morphine, but managed nonetheless to make a considerable fortune which enabled her to retire from the stage in 1930.

Her dancing and striking looks inspired poems by the Basque poet Pio Baroja,[i] the dramatist and later anarchist Ramón del Valle Inclan[ii] and the Nicaraguan born writer Ruben Dario. [iii] This portrait of her as the Maja Maldita is perhaps the truest to her character of all the many images of her in dance poses, sometimes wearing even more revealing costumes. Unlike these photographs, however, Beltran's painting portrays her recumbent, a mysterious seductress; there is no hint of movement or of the source of her fame. She stares into the distance, her vermillion lips emphasising her pale features, her unclothed right arm just touching the guitar that is a feature of so many of Beltran's paintings. Through the darkened window, framed by long translucent fabric, we glimpse a mysterious building placed against a deep blue starlit sky. (x)

[primordialsoundmeditation]

Le preguntaron a Buda: "¿Cuál es la diferencia entre ‘me gustas’ y ‘te amo’?". Buda, con una suave sonrisa, respondió: “Cuando te gusta una flor, la arrancas y la haces tuya. Pero cuando amas una flor, la dejas donde está, la riegas y cuidas cada día para que siga creciendo”. Hizo una pausa y añadió: “El gusto es deseo, busca poseer. El amor, en cambio, es libertad, permite florecer. Quien entiende esto, comprende no solo a las flores, sino también el verdadero sentido de la vida”.

Ankor Inclan