#Particular Associates in Personal Intimate Experiences

[dailyanarchistposts]

Turbulent times are upon us. Already, blockades, demonstrations, riots, and clashes are occuring regularly. It’s past time to be organizing for the upheavals that are on the way.

But getting organized doesn’t mean joining a pre-existing institution and taking orders. It shouldn’t mean forfeiting your agency and intelligence to become a cog in a machine. From an anarchist perspective, organizational structure should maximize both freedom and voluntary coordination at every level of scale, from the smallest group up to society as a whole.

You and your friends already constitute an affinity group, the essential building block of this model. An affinity group is a circle of friends who understand themselves as an autonomous political force. The idea is that people who already know and trust each other should work together to respond immediately, intelligently, and flexibly to emerging situations.

This leaderless format has proven effective for guerrilla activities of all kinds, as well as what the RAND Corporation calls “swarming” tactics in which many unpredictable autonomous groups overwhelm a centralized adversary. You should go to every demonstration in an affinity group, with a shared sense of your goals and capabilities. If you are in an affinity group that has experience taking action together, you will be much better prepared to deal with emergencies and make the most of unexpected opportunities.

This guide is adapted from an earlier version that appeared in our Recipes for Disaster: An Anarchist Cookbook.

Affinity Groups are Powerful

Relative to their small size, affinity groups can achieve a disproportionately powerful impact. In contrast to traditional top-down structures, they are free to adapt to any situation, they need not pass their decisions through a complicated process of ratification, and all the participants can act and react instantly without waiting for orders—yet with a clear idea of what to expect from one another. The mutual admiration and inspiration on which they are founded make them very difficult to demoralize. In stark contrast to capitalist, fascist, and socialist structures, they function without any need of hierarchy or coercion. Participating in an affinity group can be fulfilling and fun as well as effective.

Most important of all, affinity groups are motivated by shared desire and loyalty, rather than profit, duty, or any other compensation or abstraction. Small wonder whole squads of riot police have been held at bay by affinity groups armed with only the tear gas canisters shot at them.

The Affinity Group is a Flexible Model

Some affinity groups are formal and immersive: the participants live together, sharing everything in common. But an affinity group need not be a permanent arrangement. It can serve as a structure of convenience, assembled from the pool of interested and trusted people for the duration of a given project.

A particular team can act together over and over as an affinity group, but the members can also break up into smaller affinity groups, participate in other affinity groups, or act outside the affinity group structure. Freedom to associate and organize as each person sees fit is a fundamental anarchist principle; this promotes redundancy, so no one person or group is essential to the functioning of the whole, and different groups can reconfigure as needed.

Pick the Scale That’s Right for You

An affinity group can range from two to perhaps as many as fifteen individuals, depending on your goals. However, no group should be so numerous that an informal conversation about pressing matters is impossible. You can always split up into two or more groups if need be. In actions that require driving, the easiest system is often to have one affinity group to each vehicle.

Get to Know Each Other Intimately

Learn each other’s strengths and vulnerabilities and backgrounds, so you know what you can count on each other for. Discuss your analyses of each situation you are entering and what is worth accomplishing in it—identify where they match, where they are complentary, and where they differ, so you’ll be ready to make split-second decisions.

One way to develop political intimacy is to read and discuss texts together, but nothing beats on-the-ground experience. Start out slow so you don’t overextend. Once you’ve established a common language and healthy internal dynamics, you’re ready to identify the objectives you want to accomplish, prepare a plan, and go into action.

Decide Your Appropriate Level of Security

Affinity groups are resistant to infiltration because all members share history and intimacy with each other, and no one outside the group need be informed of their plans or activities.

Once assembled, an affinity group should establish a shared set of security practices and stick to them. In some cases, you can afford to be public and transparent about your activities. in other cases, whatever goes on within the group should never be spoken of outside it, even after all its activities are long completed. In some cases, no one except the participants in the group should know that it exists at all. You and your comrades can discuss and prepare for actions without acknowledging to outsiders that you constitute an affinity group. Remember, it is easier to pass from a high security protocol to a low one than vice versa.

Make Decisions Together

Affinity groups generally operate on via consensus decision-making: decisions are made collectively according to the needs and desires of every individual involved. Democratic voting, in which the majority get their way and the minority must hold their tongues, is anathema to affinity groups—for if a group is to function smoothly and hold together under stress, every individual involved must be satisfied. Before any action, the members of a group should establish together what their personal and collective goals are, what risks they are comfortable taking, and what their expectations of each other are. These matters determined, they can formulate a plan.

Since action situations are always unpredictable and plans rarely come off as anticipated, it may help to employ a dual approach to preparing. On the one hand, you can make plans for different scenarios: If A happens, we’ll inform each other by X means and switch to plan B; if X means of communication is impossible, we’ll reconvene at site Z at Q o’clock. On the other hand, you can put structures in place that will be useful even if what happens is unlike any of the scenarios you imagined. This could mean preparing resources (such as banners, medical supplies, or offensive equipment), dividing up internal roles (for example, scouting, communications, medic, media liaison), establishing communication systems (such as burner phones or coded phrases that can be shouted out to convey information securely), preparing general strategies (for keeping sight of one another in confusing environments, for example), charting emergency escape routes, or readying legal support in case anyone is arrested.

After an action, a shrewd affinity group will meet (if necessary, in a secure location without any electronics) to discuss what went well, what could have gone better, and what comes next.

Tact and Tactics

An affinity group answers to itself alone—this is one of its strengths. Affinity groups are not burdened by the procedural protocol of other organizations, the difficulties of reaching agreement with strangers, or the limitations of answering to a body not immediately involved in the action.

At the same time, just as the members of an affinity group strive for consensus with each other, each affinity group should strive for a similarly considerate relationship with other individuals and groups—or at least to complement others’ approaches, even if others do not recognize the value of this contribution. Ideally, most people should be glad of your affinity group’s participation or intervention in a situation, rather than resenting or fearing you. They should come to recognize the value of the affinity group model, and so to employ it themselves, after seeing it succeed and benefiting from that success.

Organize With Other Affinity Groups

An affinity group can work together with other affinity groups in what is sometimes called a cluster. The cluster formation enables a larger number of individuals to act with the same advantages a single affinity group has. If speed or security is called for, representatives of each group can meet ahead of time, rather than the entirety of all groups; if coordination is of the essence, the groups or representatives can arrange methods for communicating through the heat of the action. Over years of collaborating together, different affinity groups can come to know each other as well as they know themselves, becoming accordingly more comfortable and capable together.

When several clusters of affinity groups need to coordinate especially massive actions—before a big demonstration, for example—they can hold a spokescouncil meeting at which different affinity groups and clusters can inform one another (to whatever extent is wise) of their intentions. Spokescouncils rarely produce seamless unanimity, but they can apprise the participants of the various desires and perspectives that are at play. The independence and spontaneity that decentralization provides are usually our greatest advantages in combat with a better equipped adversary.

Bottomlining

For affinity groups and larger structures based on consensus and cooperation to function, it is essential that everyone involved be able to rely on each other to come through on commitments. When a plan is agreed upon, each individual in a group and each group in a cluster should choose one or more critical aspects of the preparation and execution of the plan and offer to bottomline them. Bottomlining the supplying of a resource or the completion of a project means guaranteeing that it will be accomplished somehow, no matter what. If you’re operating the legal hotline for your group during a demonstration, you owe it to them to make sure someone can handle it even if you get sick; if your group promises to provide the banners for an action, make sure they’re ready, even if that means staying up all night the night before because the rest of your affinity group couldn’t show up. Over time, you’ll learn how to handle crises and who you can count on in them—just as others will learn how much they can count on you.

Go Into Action

Stop wondering what’s going to happen, or why nothing’s happening. Get together with your friends and start deciding what will happen. Don’t go through life in passive spectator mode, waiting to be told what to do. Get in the habit of discussing what you want to see happen—and making those ideas reality.

Without a structure that encourages ideas to flow into action, without comrades with whom to brainstorm and barnstorm and build up momentum, you are likely to be paralyzed, cut off from much of your own potential; with them, your potential can be multiplied by ten, or ten thousand. “Never doubt that a small group of thoughtful, committed people can change the world,” Margaret Mead wrote: “it’s the only thing that ever has.” She was referring, whether she knew it or not, to affinity groups. If every individual in every action against the state and status quo participated as part of a tight-knit, dedicated affinity group, the revolution would be accomplished in a few short years.

An affinity group could be a sewing circle or a bicycle maintenance collective; it could come together for the purpose of providing a meal at an occupation or forcing a multinational corporation out of business through a carefully orchestrated program of sabotage. Affinity groups have planted and defended community gardens, built and occupied and burned down buildings, organized neighborhood childcare programs and wildcat strikes; individual affinity groups routinely initiate revolutions in the visual arts and popular music. Your favorite band was an affinity group. An affinity group invented the airplane. Another one maintains this website.

Let five people meet who are resolved to the lightning of action rather than the agony of survival—from that moment, despair ends and tactics begin.

[black-lake]

astro observations 8

though most of us think we've learned everything about our own chart, yea we’ve seen it countless times, yet we're always learning new things because we go through experiences that activate and awaken certain parts we either forgot about or overlooked. I shared many of my personal experiences in this post of things I realized later or thought were insignificant.

——

🎻 People with capricorn placements tend to be remembered fondly after their death. The type of artists that listening to their music takes you to a different era and makes you feel nostalgic to a time period you never existed in. They also can easily bring old trends, styles or music genres back to life. Signs that are also remembered after death are aquarius and pisces. I always notice it with those last three signs or degrees of these signs.

🎻 It is said that the moon matures at 24°, so I got a degree observation with that. If you have it at 24° or close to it, 23° or 22°, you may feel like you've experienced the full spectrum of emotions and matured so much in your early 20s. In your childhood and teenage years, you may remember dealing with emotions immaturely, possibly acting out with the negative traits of the moon sign. At 24, you feel more aware and in control of your emotions, like you ended a cycle. Your emotional intelligence becomes evident. The emotional world of these natives is almost entirely internal. They do best when they can deal with their emotions in solitude. They're seen as detached no matter how open they get. They keep people guessing what they're feeling and they tend to have a wise aura.

🎻 With moon at degrees from 25° to 29°, natives may feel like they need to share their emotions with either someone close or the world in general, or even through a hobby they have. They may want to be vocal and expressive about how they feel. They tend to be relatable and make others feel heard through just expressing themselves and being open. They may also experience some heartbreaks, making them stronger, braver and and more willing to share how they feel. 

🎻 Moon at degrees from 0° to 21° tend to resonate very much with the sign of their moon degree. They might even be mistaken as having their moon in the the sign of that degree. They're seen as energetic and youthful. They often go through trials and errors in testing their emotional depth. They may have been adventurous growing up, experimenting with things and testing where they feel safest and most secure. They may cling into things, and can be codependent on others. They learn how to develop a sense of detachment as they reach their 20s.

^ if you have your moon at 0° to 21°, which I'm least familiar with cuz I don't meet many ppl with these degrees, please do tell me how it resonates with you and your experience with your moon.

🎻 I noticed that most iconic artists have significant uranus or neptune aspects in their chart, conjunction and oppositions with personal planets in particular. I associate these two planets with artistic abilities and talents. Both give visionary minds and expand the imagination. They are outer and generational planets, so whatever art these ppl create is impactful and undeniably timeless. 

🎻 Your first love or just the person you first felt really intimately connected to may have placements or degrees of the sign of your 8th house. I have an 8th house in capricorn and my first love had a cap sun and stellium and an aqua stellium. 

🎻 In my experience the 8th house is more important in relationships than the 7th. To me the 7th is about connections in general. Even though I have sag in the 7th and pluto right there, I obvs anticipated a significant relationship with a sag or something but it never happened lol. I end up having a casual and lighthearted connection with them, the traits they embody compliments my rising and it's an easy going connection that stays in the friend zone. Not with cap men, even if I want to be friends with them, there's tension that either drifts us apart fearing the friendship or it instantly develops to an intense relationship. It's because my 8th house is in capricorn, and my pluto and mars are both at 10°. So check the degrees too.

🎻 For the longest time I resonated with being way more plutonian than saturnian, because I don't have any capricorn placements or significant saturn aspects, but so many obvious plutonian aspects. But once saturn hit the highest point in my chart, conjuncting my mc, I realized how much this planet affected my life all along and I was oblivious. For instance, I have so many capricorn degrees and sun in the 10th. I was overlooking that I have capricorn in the 8th and 9th, which means saturn rules both houses, and it rules the 10th too since it's in aquarius plus at 22°. I also have a stellium in the 11th with saturn right at the cusp there, so it even influences the the house that is most active in my chart. Can't wait for saturn 11th transit 💀

🎻 Speaking of that, if you have sun in the 10th house, you probably try hard not to look or sound arrogant because people tend to think you're confident even if you're not. Whenever you speak people listen and others may hate on you for thinking you're better than them and you don't even know them lol. It's so hard to make friends with this but I don't hate it, because it gives me the strategic ways to be persuasive and get my way with authority figures. May apply to leo in the 10th or people with cap/leo mix (I bet y'all were called arrogant at least once lol).

🎻 As someone that is very influenced by pluto (square sun, trine venus, semi-sextile mars, conjunct chiron, opposite ascendant, quintile mc), I painfully understand how plutonians feel like their struggles are never rewarded, at least not the reward they anticipated. Yknow with saturn you go through hardship you learn this and that and you get tangible fucking results that you can fucking see. With pluto what is it again? your inner strength and eventual realization of "ta-daaa you went through it, you thought you couldn’t.. that's the reward". Plutonians out there waiting to be truly happy, truly loved, truly effing rich 💀 and get a damn break. 

🎻 Another aspect I overlooked was mars opposite saturn, just because I have it at 10°, but I experienced every single thing related to this aspect. I feel like I learned so much about it the hard way and I wanted to do a post sharing what I learned with people that got mars-saturn harsh aspects. If you have it, your flow of energy may be a little off, not knowing when to STOP doing a task and when to start again. Being stubborn with your work wanting it to be done instantly and perfectly like your body is some type of machine taking orders, but saturn will put obstacles in your way until you learn patience and contentment. Can be harder to deal with if mars is in a fixed or cardinal sign.

🎻 With mars-saturn harsh aspects, you may feel the urge to act on your martian qualities but if you disregard what saturn is there for, you'll find yourself back at square one. It's about listening to your body and not ignoring your physical and mental exhaustions. Taking short breaks and organizing your time instead of giving up all together in rage. You're not running out of time if you do so, in fact pushing through too hard is what's a waste of time. It's not a wise use of energy because your work won't be as efficient and your perfectionist ass will redo it. If there's an absence of a healthy work-life balance, these natives can internalize a tremendous amount of anger that can be detrimental to their health. 

🎻 I always laugh at capricorns saying that capricorn is a cursed sign because it's so true but also absolutely untrue at the same time. 💀 These natives need to understand certain life patterns, qualities and duties that once figured out unlocks so much success and tangible results that are long lasting. Cap placements especially sun and stelliums give me the sense that they inherited some of their ancestors qualities, if you believe in that, but they go through some hardships with the patterns that come with these qualities. They have a choice to cut the patterns that don't serve them, whether in behaviors or ways of thinking and utilise what they already have with persistence and strategy. 

🎻 Well it's march already, who's excited for a little pluto break? It's finally leaving capricorn and entering aquarius on the 23rd and I can't wait tbh. It's like a more intense uranus in aquarius transit, yes we will see a new sense of freedom, some drastic changes, and some said authentic people popping up, new sources of income, new values that aren't necessarily money related, systems that aren't as controlling, maybe new communities or apps on the internet that are annoyingly trendy. But with pluto we will see the shadow side of all of that, so buckle up and get ready lol. It's a gradual change tho I don't expect much to happen this year, but we can always be shocked. Also side thought, if your kids are gonna have pluto in aquarius they may be even brattier and harder to control than pluto sag gen. 

[megyulmi]

JJK Chapter 260 Spoilers!

➠ Sukuna’s vision and the Hallucinations that arise from the deterioration of body in Buddhism:

This is a personal opinion on why Sukuna saw Gojo in that particular moment of Chapter 260. It is based on the process of Death in Buddhism and the visions that one entering the process of dying experiences. Please note that the death process varies depending on the school of Buddhism and here I am referencing the Mahayana tradition and the works of a Tibetan monk - Thubten Yeshe.

According to the work of Thubten Yeshe, the most important chakra (energy wheel) that runs through a body is the one located at the level of our heart as the heart chakra is considered the home of our very subtle mind (the mind is divided into the gross mind, the subtle mind, and the very subtle mind: the gross mind depends on the body and the five elements - earth, water, fire, air, and space. As soon as body functions stop, the gross mind stops. The subtle mind underpins the five senses - see, smell, hear, taste and feel the world of the spirit. The very subtle mind is the source of the clear light).

The activity of all types of mind, both gross and subtle, depends upon their supporting winds (of the energy) and where these are travelling. As long as they flow through any of the channels other than the central channel, these winds activate the gross minds that give rise to superstition and confusion. But when these winds enter, abide and dissolve into the central channel, as happens naturally at the time of death, the gross minds subside and the very subtle mind of clear light arises instead. This entire process happens automatically during death (as a process of deterioration) but very few are able to recognise it.

Here it is also important to note that the root of the Samsaric (endless cycle of life, death and rebirth) suffering is ego-grasping: the wrong view that holds onto a mistaken belief in a self-existent ‘I’ or ego-identity. Holding onto one’s ‘ego-identity’ at the time of the passing brings death in an uncontrolled manner, which forces the dying to enter an uncontrolled intermediate state.

Now to the actual process of dying: there are three stages - death, the intermediate state and rebirth. For us the process of death is important, so I will be discussing only this stage.

Death is the separation of the mind from the body. The body does not lose its ability to maintain consciousness all at once, but does so gradually with each element of the body losing its supportive ability in turn. First, the earth element sinks, or dissolves, into the water element and then the water element sinks into the fire and fire into the air, and the air element into consciousness itself. For example, when it is said that the earth element sinks into the water element, this means that as the solid portions of the body are losing their ability to function and are becoming less intimately interconnected with the dying person’s mind, the liquid element appears stronger and more evident. As these various physical elements become stronger and weaker in turn, the dying person experiences certain external and internal signs associated with the dissolution process.

When people, who have not trained themselves to go through the process of death during life, die they are out of control. They become overwhelmed as their bodily elements go out of balance and cease functioning harmoniously. It is therefore very difficult, if not impossible, for them to remain calmly aware of what is happening while experiencing visions. To put it simply, while desperately holding onto a supposedly solid sense of ‘I’ for security, they panic as the basis for one’s ego-identity – the body itself – begins to disintegrate.

As the earth element of their body deteriorates and the water element grows stronger, their mind is filled with the hallucination of a shimmering silver-blue mirage. They feel trapped and suffocated. Then the water element sinks into the fire element and a vision of swirling smoke appears. As this is happening they may feel that they are drowning or being carried away by swirling currents of water. Next, the fire element dissolves and their body gradually grows colder; they perceive a vision like that of sparks dancing over an open fire at night. Finally, the air element dissolves and their breathing becomes very shallow, and they may feel that they are being blown about like a leaf in the wind. Along with this experience comes the vision of a dying flame in a darkened room. As is the case when a candle is about to go out, the flame suddenly grows brighter as if exploding in a final burst of energy. Their breathing, which has been getting more and more difficult, now comes to a complete halt. To the outside world, they now seem to be dead. The visions one experiences in the process of death also vary from school to school (some see people, some see ‘demons’ or their fears, etc.).

I think that what we saw at the end of Chapter 260 was Yuuji causing damage so big to Sukuna’s heart chakra (in this particular case of jjk, soul) that he caused the elements of Sukuna’s body to deteriorate and enter different stages. We are seeing Sukuna being pushed to the edge of dying and his vision of ‘the ghost of the strongest’ is the representation of the visions (hallucinations) that arise from the uncontrolled mind at the moment of the beginning of the death process and the dissolution of the body. He is desperate (or trapped in a place/position he has never truly envisioned himself to be in) and clinging to the version of himself when his ego-identity was at its highest (i.e. defeating the strongest of the modern era). And how he sees Gojo, arising from the smoke (dust) is similar to how the hallucinations arise between the deterioration of the elements as well.

[dreaminginthedeepsouth]

Hannah Critchlow

Mon 17 Jun 2024

Since the sequencing of the human genome in 2003, genetics has become one of the key frameworks for how we all think about ourselves. From fretting about our health to debating how schools can accommodate non-neurotypical pupils, we reach for the idea that genes deliver answers to intimate questions about people’s outcomes and identities.

Recent research backs this up, showing that complex traits such as temperament, longevity, resilience to mental ill-health and even ideological leanings are all, to some extent, “hardwired”. Environment matters too for these qualities, of course. Our education and life experiences interact with genetic factors to create a fantastically complex matrix of influence.

But what if the question of genetic inheritance were even more nuanced? What if the old polarised debate about the competing influences of nature and nurture was due a 21st-century upgrade?

Scientists working in the emerging field of epigenetics have discovered the mechanism that allows lived experience and acquired knowledge to be passed on within one generation, by altering the shape of a particular gene. This means that an individual’s life experience doesn’t die with them but endures in genetic form. The impact of the starvation your Dutch grandmother suffered during the second world war, for example, or the trauma inflicted on your grandfather when he fled his home as a refugee, might go on to shape your parents’ brains, their behaviours and eventually yours.

Much of the early epigenetic work was performed in model organisms, including mice. My favourite study is one that left the neuroscience community reeling when it was published in Nature Neuroscience, in 2014. Carried out by Prof Kerry Ressler at Emory University, Georgia, the study’s findings neatly dissect the way in which a person’s behaviours are affected by ancestral experience.

The study made use of mice’s love of cherries. Typically, when a waft of sweet cherry scent reaches a mouse’s nose, a signal is sent to the nucleus accumbens, causing this pleasure zone to light up and motivate the mouse to scurry around in search of the treat. The scientists exposed a group of mice first to a cherry-like smell and then immediately to a mild electric shock. The mice quickly learned to freeze in anticipation every time they smelled cherries. They had pups, and their pups were left to lead happy lives without electric shocks, though with no access to cherries. The pups grew up and had offspring of their own.

At this point, the scientists took up the experiment again. Could the acquired association of a shock with the sweet smell possibly have been transmitted to the third generation? It had. The grandpups were highly fearful of and more sensitive to the smell of cherries. How had this happened? The team discovered that the DNA in the grandfather mouse’s sperm had changed shape. This in turn changed the way the neuronal circuit was laid down in his pups and their pups, rerouting some nerve cells from the nose away from the pleasure and reward circuits and connecting them to the amygdala, which is involved in fear. The gene for this olfactory receptor had been demethylated (chemically tagged), so that the circuits for detecting it were enhanced. Through a combination of these changes, the traumatic memories cascaded across generations to ensure the pups would acquire the hard-won wisdom that cherries might smell delicious, but were bad news.

The study’s authors wanted to rule out the possibility that learning by imitation might have played a part. So they took some of the mice’s descendants and fostered them out. They also took the sperm from the original traumatised mice, used IVF to conceive more pups and raised them away from their biological parents. The fostered pups and those that had been conceived via IVF still had increased sensitivity and different neural circuitry for the perception of that particular scent. Just to clinch things, pups of mice that had not experienced the traumatic linking of cherries with shocks did not show these changes even if they were fostered by parents who had.

The most exciting thing of all occurred when the researchers set out to investigate whether this effect could be reversed so that the mice could heal and other descendants be spared this biological trauma. They took the grandparents and re-exposed them to the smell, this time without any accompanying shocks. After a certain amount of repetition of the pain-free experience, the mice stopped being afraid of the smell. Anatomically, their neural circuits reverted to their original format. Crucially, the traumatic memory was no longer passed on in the behaviour and brain structure of new generations.

Could the same thing hold true for humans? Studies on Holocaust survivors and their children carried out in 2020 by Prof Rachel Yehuda at the Icahn School of Medicine at Mount Sinai Medical School, New York, revealed that the effects of parental trauma can indeed be passed on in this way. Her first study showed that participants carried changes to a gene linked to levels of cortisol, which is involved in the stress response. In 2021, Yehuda and her team carried out more work to find expression changes in genes linked to immune-system function. These changes weaken the barrier of white blood cells, which allows the immune system to get improperly involved in the central nervous system. This interference has been linked to depression, anxiety, psychosis and autism. Since then, Ressler and Yehuda have collaborated, with others, to reveal epigenetic tags in PTSD afflicted war zone-exposed combatants. They are hoping this information could aid PTSD diagnosis or even pre-emptively screen for individuals who might be more prone to developing the condition before they enter the battlefield.

In all times and across all cultures, people have paid their dues to their ancestors and pondered the legacy they will leave for their descendants. Few of us believe any more that biology is necessarily destiny or that our bloodline determines who we are. And yet, the more we learn about how our body and mind work together to shape our experience, the more we can see that our life story is woven into our biology. It’s not just our body that keeps the score but our very genes.

Might this new understanding increase our capacity for self-awareness and empathy? If we can grasp the potential impact of our ancestors’ experiences on our own behaviour, might we be more understanding of others, who are also carrying the inherited weight of experience?

We are, as far as we know, the only animals capable of “cathedral thinking”, working on projects over many generations for the benefit of those who come after. It’s an idealistic way to think about legacy, but without it we will struggle to tackle complex multigenerational challenges such as the climate and ecological emergencies. Our knowledge of epigenetics and its potential to massively speed up evolutionary adaptation could support us to do everything we can to be the ancestors our descendants need. Conflict, neglect and trauma induce unpredictable and far-reaching changes. But so do trust, curiosity and compassion. Doing the right thing today could indeed cascade across generations.

[kxizoku-ou]

I saw the Sanji was at the top of your list for One piece characters you were interested in tormenting and I got so excited. Most of the Sanji content/head canons I've come across are all about him as a Dom/top (except when he is paired with other men). But I think he (and plenty other one piece characters ) would be a great candidate for your type of writing. If you ever have any thoughts on them, I hope you post it!! I always love hearing what you come up with!

Yeah, Sanji is wayyyy too pathetic for me to see him as a dom (in terms of reader-insert stuff, at least). XD And uhhh... I've had MANY thoughts about him already. Since we're already on the topic of smut, you get a (partial/current) list of his (somewhat concerning) kinks. XD

. . .

• An obvious one, but Sanji's desperation to be useful absolutely ends up as a sex thing for him, too. The idea of wanting fills him with shame and self-loathing, and the best way he's found to swallow that is by making any intimate situation entirely about the other person. Even in his fantasies, he's always the one serving his partner and earning whatever indulgences he's given, his own pleasure coming second to fulfilling their needs (if it's acknowledged at all, even).

• Being extremely susceptible to praise seems to be a near-universal character trait in One Piece, but Sanji has it worse than most. He puts up plenty of emotional walls (especially when kind words come from anyone but a safe pretty woman), but especially once someone's opinion matters to him, a simple "good boy" would haunt him for months. Doing things right was such a foreign concept for most of his life, after all, how could he not still so badly want it?

• Whether his partner actually has a size advantage over him or not, Sanji likes feeling smaller. It's definitely a factor that well-fed people tend to have more weight on them, but even simply being pinned down or manhandled is undeniably (and sometimes embarrassingly) arousing, for potential reasons that he really doesn't want to dwell on.

• Though he's stubbornly refused to entertain the idea even in his most unthinking fantasies, certain parental figure-oriented titles are bound to slip out sooner or later. Yes, both. The "mommy" version comes right from some very emotionally vulnerable parts of his psyche, but even though he dreads acknowledging that, the "daddy" version (rough, physical associations and all) is far worse.

• On that note, Sanji is definitely something of a masochist. Most of the love he's experienced (or hoped for when it wasn't really there) has come hand-in-hand with pain, and that definitely got a few wires crossed in his head. Between that, the adrenaline high, and the subconscious need for self-punishment... yeah, it can get messy.

• It's an entirely hypothetical fantasy (and a vague, emotion-driven one, at that), but Sanji has come back to the thought of being eaten more times than can be considered quite normal. To quote a particular source, Sanji "has a complicated (i.e. insane) relationship with self-sacrifice"— combined with the stranded-on-an-island experience and his overall fixation on food and cooking, it's all added up to a warped sort of fixation on (sometimes erotic) cannibalism.

(^^^Bonus source for that one!)

[persephone-s-moon]

Asian Lost Boys Personal Names!

Personal names tend to vary from culture to culture in terms of usage, but essentially it's someones "Asian name" as opposed to their English name. They're typically used by family members and, on occasion, very close friends because (in my experience) using them is intimate. The characters will still HAVE their English names, but The Lost Boys and family members (the Emersons and the Frogs) will Mostly refer to each other by their personal names.

DISCLAIMER: I'm Taiwanese, therefore I'm more savvy to East Asian cultures, particularly Chinese and Japanese. If anyone who is more knowledgeable about Filipino, Hmong, Thai, Indian, or Vietnamese cultures sees something they want to critique/has more culturally accurate suggestions, I encourage messages/comments/replies!

David: Huang Zhao-Yi

Culture: Taiwanese, of Chinese descent Loose Pronunciation: Hw-ah-ng Sh-ow-yee Surname: Huang, meaning "yellow, to fall through" Personal name: Zhao-Yi, Zhao meaning "bright, luminous" and Yi meaning "happy, joyful, harmony" Notes: I was originally going to name David "Hou Yi" after a mythological Chinese archer because OG Hou Yi destroys 9/10 of the original suns (long story) and there's a version where he and his wife Chang'e become immortal/gods, but there are so many different versions of the story that I decided against it. I also decided that I wanted him to be a Farm Boy™ and naming him after a god seemed a little strange imo.

Paul: Paolo FACUNDO LIWANAG

Culture: Filipino Loose Pronunciation: Pow-low FAK-OON-DO LEE-WAN-AG Personal name: Paolo, meaning "small" Surnames: FACUNDO meaning "talkative", LIWANAG meaning "light" Notes: A lot of Filipino names are Spanish or Italian with biblical roots because of colonization in the 1500s, so I wanted to keep his personal name semi-similar to his English name since it was already biblical. Honestly I could've left it as "Paul" but what's the fun in that? I'm not too sold on his surnames so they might change later and I may try to find a Tagalog name instead for his personal name, we'll see.

Marko: YANG Vam Meej

Culture: White Hmong, from Laos Loose Pronunciation: YANG Va Mae Clan name: YANG, associated with the ram and bear Personal name: Vam Meej, meaning "to prosper, succeed" Notes: Hmong names in particular are a Struggle for me since most of the Hmong people I know are second generation like me and either don't really know their personal names or we're not close enough for me to ask. I am familiar with the concept of clan names though. Marko's name is definitely subject to change in the future (I might pick a clan name more associated with birds just for fun who knows).

Dwayne: Khemkhaeng LUANG

Culture: Thai Loose Pronunciation: Kehm-key-ng LOO-ANG Personal name: Khemkhaeng, meaning "strong" Old personal name: Kasem, meaning "happiness, pure joy" Surname: LUANG, meaning "royal, venerable" Notes: It's common for Thai people to change their names after something either significant or bad happens to them, hence Kasem. I'm only making note of it to alleviate confusion in the event that I decide to do some stuff regarding backstories, no one will refer to him as Kasem otherwise. Also, surnames are still relatively new to Thailand and they were only introduced in the 20th century, so Dwayne gets a shorter surname in comparison to modern Thai surnames (which are required to be unique, hence the longer modern surnames) since I have him and the other boys being born in the 1880s.

Star: Ruchika Chawla

Culture: Indian Loose Pronunciation: Roo-chee-ka Chow-la Personal name: Ruchika, meaning "shining, beautiful, desirous, brilliance" Surname: Chawla, meaning "rice" Notes: I found the name Ruchika and immediately thought of Star ngl, I didn't even consider other names for her. It was like love at first sight. I think a lot of stuff with Star just clicked when I was doing research for her name and design, it just suited her so well. I did have her surname written down wrong in my personal notes so I'm glad I didn't post her character sheet immediately lmao

Laddie: Nino HALILI DEL ROSARIO

Culture: Filipino Loose Pronunciation: Nee-no HA-LEE-LEE DAY ROSE-ARI-O Personal name: Nino, meaning "little boy" Surname: HALILI meaning "successor", DEL ROSARIO meaing "of the rosary" Notes: I went so back and forth on his surnames it's not even funny, but I think I'm happier with Laddie's surnames in comparison to Paul's. "Nino" felt really obvious and clicked really well just like Star's name did, though I did consider a few other names that I don't have written down anywhere. Nino was just superior because he's simply a little guy.

Michael: EMERSON Manh Tien

Culture: Vietnamese Loose Pronunciation: EMERSON Man Tee-en Surname: EMERSON, inherited from white father Middle name: Manh, meaning "first-born" Personal name: Tien, meaning "fairy, celestial being" Notes: I'll be honest, the main contibuting factor behind Michael's personal name was how he was almost named "Moonbeam" during his mom's hippie phase. I have this idea where their dad was white and insisted on using exclusively their English names, and Michael wouldn't initially like his personal name because it feels girly to him anyway, but he'd grow to cherish his name and culture after meeting the lost boys <3

Sam: EMERSON Trong Binh

Culture: Vietnamese Loose Pronunciation: EMERSON Ch-ung Bin Surname: EMERSON, inherited by white father Middle name: Trong, meaning "second-born" Personal name: Binh, meaning "peaceful" Notes: I think overall for the Emerson family I was most concerned with meanings, which wasn't necessarily the case for the boys. Sam is the most peaceful in the sense that he discouraged the Frog brothers from killing Marko, even though he failed. Like Michael, I think his personal name is something that he grows into when he starts making friends, but would use his English name when first coming to Santa Carla.

Lucy: VINH Lan Huong

Culture: Vietnamese Loose Pronunciation: VIN Surname: VINH, meaning "glory" Middle name: Lan, meaning "orchid" Personal name: Huong, meaning "pink rose" Notes: Naming Lucy after flowers just felt right. Let it be known that I have serious beef with hippies, but I feel like she still had a well-intentioned hippie phase and this just adds to it. In Vietnamese culture, women don't change their surnames after marriage (as far as I'm aware) which I think would be a contributing factor in her divorce with her white all-American husband.

Grandpa: VINH Mac Dieu

Culture: Vietnamese Loose Pronunciation: VIN Mac Dee-oo Surname: VINH, meaning "glory" Middle name: Mac, meaning "nothing, nonexistent" Personal name: Dieu, meaning "mysterious, subtle" Notes: Grandpa! Needed! A! Name! He doesn't have one in the original! I'm basically saying he's not subtle about his knowledge of vampires and he's not trying to be subtle, it's just that no one ever asked. I think I tried to pick older-sounding names for him but it's been a little while since I picked these and I don't remember if I'm honest.

Edgar: Kaeru Matsuo

Culture: Japanese Loose Pronunciation: Keh-roo Mat-soo-oh Surname: Kaeru, meaning "frog" Personal name: Matsuo, meaning "pine tree, life" Notes: I named the Frog brothers after the famous Japanese poet Matsuo Basho because their English names remind me of Edgar Allan Poe, so I thought it'd be kind of funny. Matsuo is the surname of the poet, but I felt that Matsuo suited Edgar more than Alan. The surname I picked for the Frogs was obvious, I don't think anything else other than some variation of "frog" would've worked.

Alan: Kaeru Basho

Culture: Japanese Loose Pronunciation: Keh-roo Ba-show Surname: Kaeru, meaning "frog" Personal name: Basho, meaning "banana tree" Notes: Alan got the pen name of Matsuo Basho, who also went by "Sobo" and "Tose". I debated on giving him Matsuo's true given name, which is Kinsaku meaning "to be happy" but Matsuo Basho is better known as Basho and it's much funnier for this very serious 15-16 year old to be named "banana tree".

Sorry if the formatting is weird, I'm trying to make it as reader friendly as possible on account of my own dyslexia. Please let me know if the blocks of text blend in with each other too much lmao

[nasuversekinkmeme]

I've sent a prompt and want to fill one but I don't have writing experience and haven't written nsfw ever so I'm not sure what I'd do would be any good.

The important thing is not to write something good, anon. The important thing is to write something. This blog is to partake in the divine act of creation together. Quality is secondary. The time and effort you put in your writing is as meaningful as the writing itself. I'm sure anyone who sends a prompt here will appreciate that someone out there made a gift specifically for them, even if it's not exactly what they wanted. If nothing else, know that I will appreciate the gesture, as seeing people filling prompts and trying their hands at new things is one of the greatest joys of running this blog.

That being said, if you struggle with anything in particular in writing, feel free to send an ask about it. I will help however I can, and if any of the kinkmeme's followers have any useful advice to add, I'm sure they will make it known.

For now, have a couple tricks on how to write nsfw:

Action. The most obvious bit. Your sex scene is, presumably, going to feature characters doing things together. What do they do? Do they touch, caress, pull, lick? Do they do it strongly, softly, fast, slow? Are these purposeful gestures? Are they being impatient and carried away in the heat of the moment? Where do they touch? For how long?

Physical sensations. So your blorbo touched a peen. Great. How does it feel? Is it warm, cold, soft, hard, wet, dry? Bring your metaphor game. Things related to fire or electricity are classics.

Emotions. How are your blorbos feeling right now? Do they feel loved through this intimate act? Do they feel anxious in the face of vulnerability? It doesn't have to be positive feelings either. You can emphasize anger if it's hatesex, or fear if it's noncon.

Rhythm. Short, choppy sentences = fast, successive actions. Long, drawn-out sentences = an action that lasts quite a while. So if you're trying to convey that they made out for a while, try to describe it in a long sentence. If you're trying to convey that that dude's fucking super fast because they're close to climaxing, try multiple shorter sentences.

Kinks. If you're writing about a specific kink, try to emphasize what people find appealing in it. Waxplay? Talk about the temperature of the wax, the vulnerability of letting someone pour wax on you. Bdsm? The high of domming someone, of getting them to squirm under you. Obviously this is easier if it's a kink you have, but if it's not you can always look around for stories that feature that kink to try to figure out what is usually emphasized.

Characters. Remember, you are writing about blorbos fucking, not about mass of flesh with no personality. One should be able to tell it's the blorbos while reading your fic. Does your blorbo have a specific style of internal narration? A distinctive way of speaking? A bit of backstory that would be relevant in what you're writing? Include that. Your blorbo has very specific symbolism associated with them? Bring that to your metaphor game (ie: fire metaphors would be doubly appropriate for Nobu.) Are you writing multiple blorbos having sex? How do they feel about each other? Are they lovers, friends with benefits, coworkers who answered a booty call, fierce rivals? Include that.

Sillyness. Very much optional, but remember that you don't need your sex scene to be 100% serious all the time. Your blorbos can banter and joke around. Maybe one of them finds the lube too cold to the touch at first. A bit of dicking around is not harmful to a sex scene.

None of these are absolute rules, but hopefully they should help you get started.

[destinymoore05]

The Shared Psychosis of Feyd Rautha and Harley Quinn (my headcanon mixed with canon)

Starting with Harley, she possibly has and shows signs of Histrionic Personality Disorder. Harley’s insane and zany. Feyd is psychotic with a unsatisfactory bloodlust with no understanding of emotion, or basic human empathy. He’s sadistic with a blood lust, while she’s insane.

What would happen in the Feyd/Harley relationship?-

Harley’s histrionic personality disorder would lead her to believe that she and Feyd are closer than they really are. She would also act out and sexualize herself and do things to get and keep Feyd’s attention on her. This would satisfy Feyd’s high desires and ego, along with his desire for control, so he would encourage that behavior and manipulate her along the way for her to trust him. Over time, Feyd would possibly grow to like Harley in a genuine way and see her as a person he could lean on, or be intimate with in ways more than one,He’d probably like her crazy and her with his, and they’d possibly bond over their shared insanity. Harley’s experience with psychiatry leads her to understand Feyd better than he understands himself. Though she would try to vex him, she knows he is far too psychotic beyond any illness, and she would love that about him, she would know that Feyd is not one to be fixed, so the idea would be in Harley’s head that she can fix him, though it won’t happen.

—————————————————————————-

Harley’s Role In Feyd’s Life-

Harley would possibly be a concubine or if Feyd insist on her being a girlfriend who he plans to marry, maybe. I can personally see Harley be a person who aids and wants to help Feyd in his schemes, massacres, and planning. She would want to do anything and everything for him, as knowing Harley’s character, she would probably grow attached to Feyd despite his psychotic nature and his personality, and not wanting to leave him. If Feyd did grow to love her very deeply and more romantically than he would already, Harley’s role would be bigger as she would probably be a big significance in his life until the end.

——————————————————————————

What would Feyd’s enemies think?

Well… I personally think that Paul along with the Fremen and the people he’s close to, knowing their distain for the Harkonnens, would see Harley as a “victim” of Feyd, though there would be no evidence of such, or they would feel that Harley was a threat also. I haven’t really focused on this particular part of the headcanon, but I think that would be the case.

————————————————————————

How would Harley feel about Feyd’s enemies?

Like Feyd, Harley would hate them too, well mainly because of Feyd. Though Harley herself has no history with Paul himself or anyone of Paul’s association. She would probably only hate him because of that and nothing else. That’s my personal take, so yeah.

————————————————————

What would happen with Harley after Feyd’s death?

Me personally, this topic is a bit sad. Since Harley would grow so attached to Feyd in such a period of time, she’d probably be the one genuinely grieving. Since Harley possibly has histrionic personality disorder, her emotions of grief would vary. She would probably feel a large resentment towards Paul, and anyone who she felt wronged Feyd. She would have a long grieving process. I like to attach the DCEU appearances of Harley to these fanfiction stories for the sake of it all. I believe that the 2016 version was the Harley with Feyd, while 2020’s Birds Of Prey Harley in this scenario, is the one grieving the loss of Feyd, she’d probably grieve the loss in a unhealthy way. BOP (birds of prey) Harley was seen going to bars and having a drink. That’s possibly a way Harley could grieve the loss.

————————————————————

What if Feyd had survived? What would happen afterwards?

Well if Feyd survived, it would be possible that these two would probably have their happily ever after. They’d probably have a nice wedding combining their personalities, have a nice honeymoon then start their journey as a Baron and Baroness. Though Harley as a Baroness would take away solo villainy crimes, she’d probably find the time to commit villainy on the side.

——————————————————————-

What if they had kids?

Feyd and Harley as parents would be a very good story. Feyd would probably be super overprotective parent, along with Harley, though Harley would allow their child more freedoms. They would love their children unconditionally.

———————————————————-

Conclusion-

Personally.. Feyd and Harley would be pretty compatible, even with their differences and such, if they’re willing to negotiate.

Tags- @psycheetamore

[greenlantern94to04]

Green Lantern #52 (June 1994)

Mongul, a.k.a. DC's answer to Thanos (a.k.a. Marvel's answer to Darkseid), demands a rematch with Green Lantern! The only problem is that this is a completely different Green Lantern from the one he fought last time (GL #46), but Mongul thinks all humans look alike and can't tell the difference. Does that make Mongul racist, or the opposite of racist?

Mongul has broken out of the hi-tech prison where he'd been serving time for destroying a whole city (and driving the previous Green Lantern insane), and now he wants revenge on the superheroes who put him there. The jetpack-wearing guard he interrogates doesn't know where Superman is (it's not like he's famously associated with one city), but he did see a news item about "Green Lantern" fighting a villain in LA, so Mongul steals his jetpack and flies there.

("Some guy"? Way to disrespect Ohm, DC's sensational character find of 1994.)

Meanwhile, the new, non-insane Green Lantern, Kyle Rayner, is taking care of the most important part of being a hero: taking publicity photos at the beach.

Once the photo session is over, Kyle and his girlfriend/PR person, Alex, try to find out what, exactly, his GL ring can do. As far as they can tell it has endless energy, because Kyle's been using it for days without issue and it's not like it came with a battery or something (certainly not one you activate by reciting a corny oath). Also, they already know Kyle is pretty good at flying with it, courtesy of his many hours daydreaming about that as an easily distracted child.

Alex asks Kyle to try to create something he's "intimately familiar with" to see if he can conjure something more elaborate than the simple objects he used during his fight with Ohm. Kyle, who is still a child, projects a 3D model of Alex in a revealing bikini and earns a smack in the head. Apparently, the best use Kyle can think of for his ring right now is "creepy deepfakes."

Within a few hours of practicing, Kyle seems to have mastered the three basic shapes of nature: babes, guns, and motorcycles. Just when Alex suggests giving the ring and Kyle's imagination a break, Mongul comes crashing down on them and easily breaks the green shield Kyle spent hours perfecting.

Mongul says he's gonna kill Kyle (and "his female," while at it) as revenge for "thwarting" him at Coast City, leaving Kyle very confused -- he probably doesn't even know what "thwarting" means.

(Or "raiment," for that matter.)

As Mongul slams Kyle's head into the ground, Doomsday-style, Alex desperately points out that they don't even know who he is. Mongul introduces himself as "The killer of Green Lantern... for there is NO ONE to save him!"

Next issue: SOMEONE arrives to save him!

Plotline-Watch:

I said on the post for GL #50 that I didn't remember if the homeless guy who was sleeping in the alley when Kyle got the ring ever showed up again. Well, he does show up in this issue... for the last time. His name is Joshua P. Turner, and he's seen talking to some agents at a shady government agency (literally shady, it's very dark in there) about what he saw that night. He also says it's his patriotic duty to give them something he found in the alley after Kyle left: some sort of glowing green rock that, as a kid, I assumed to be kryptonite. All he wants in return is a few bucks. Instead, the agents give him a shanking. RIP Joshua P. Turner, the greatest Green Lantern that never was.

Or at least I assume they killed him. We never see the body, so it's perfectly possible that they kidnapped Mr. Turner and ran experiments on him to turn him into a hyper-muscular supervillain. After all, we've already seen this particular agency turn a crippled man into a deranged super soldier...

Before escaping the Slab (the aforementioned hi-tech prison's Jersey Shore-like nickname), Mongul releases all the other prisoners to keep the guards occupied. These include Superman enemy the Atomic Skull, Booster Gold enemy Mindancer, Hawkman enemy Airstryke, and, most prominently, Captain Atom enemy Major Force, who was also seen last issue. Hmm, it's almost like they're telling us that guy is gonna do something important...

Oh yeah, there's also a Khund warrior show's been stuck on Earth since 1988's "Invasion!" crossover, who just wants to thank Mongul for freeing him and tell him he's a big fan of his work. Mongul kills him on the spot, just because he "never liked the Khund." (So Mongul IS racist. Sad.)

The guard that Mongul interrogates/robs mentions that Superman "wasn't seen for a while" (a reference to either "Death of Superman" or the more recent "Mini-Exile in Space" storyline) and then he came back, but there's been "trouble in Metropolis" so he doesn't know where he could be now (definitely a reference to the still ongoing "Fall of Metropolis" storyline, since there's even art of Superman fighting some Lex-Men). Not sure why the guard would think Superman would be anywhere but Metropolis if there was trouble there, though. I like the idea that was trying to protect Superman by playing dumb about his whereabouts, but didn't give a shit about Mongul finding Green Lantern.

This issue establishes that Kyle's GL ring doesn't have the "being charged every 24 hours" limitation, which doesn't mean it never has to be charged, as he'll soon find out. You might get the impression that the ring's weakness against the color yellow is still valid given how easily Mongul destroys Kyle's shield, but nope, that's just because Kyle's doing a terrible job right now.

If any Mongul fanboys from Khundia or elsewhere object to me calling him a Thanos ripoff, take it up with his co-creator, Jim Starlin, who once said: "I wanted to do my Thanos over at DC. But once I got in there, I wanted to do something different, so we got the whole Warworld in there." So he was "Thanos with a Death Star," basically. I wonder if Ron Marz didn't decide to include Mongul in these issues less because of the Hal Jordan connection and more because he was also writing Marvel's Silver Surfer at the same time, which featured Thanos as a villain/supporting character.

On a related subject, I always thought it was cool that, by destroying Coast City, DC's versions of Thanos and Mr. Fantastic (Hank "Cyborg Superman" Henshaw) kicked off a series of events that eventually led to the DC vs. Marvel crossover... which, sadly, didn't feature Thanos meeting Mongul (he has a staring contest with Darkseid instead). Fortunately Darryl Banks drew that scene anyway, for a Jim Starlin Kickstarter:

NEXT: Superman! But first, we find out where Hal Jordan's been hiding... (SPOILERS: in Guy Gardner: Warrior.)

[szmacblog]

Roundtable: Sunshine on Leith

Sunshine on Leith tells the story of two soldiers, Ally and Davy, returning home to Edinburgh after a tour of duty in Afghanistan.

The social aspects of "Sunshine on Leith" are mirrored perfectly by the film's soundtrack, which consists mainly of songs by “The Proclaimers.” Some of the principal themes that we can see being explored in the movie are community, relationships, social class and identity, and the songs play a huge role in telling the stories. For example, “I’m gonna be (500 miles)” highlights the relationships, communal, familial, and romantic, between the characters. The flash-mob scene in Edinburgh's Princess Street reflects the importance of community and support networks while the cut to the other two scenes offers a much more intimate perspective on the struggles of having a loved one far away from home and/or being the person who returned home and finding a community and identity after living through such a traumatic experience. Similarly, “Letter from America”, speaks to feelings of longing, home, belonging, and the comfort found in familiar places. It underlines the importance of their hometown as a source of not only instability and solitude but also solace and familiarity—ironically.

The established history of The Proclaimers' songs adds another layer of meaning to "Sunshine on Leith" for audiences familiar with the band's earlier work, but it can reframe the audience's understanding of the songs, which are delivered in a much less punchy/rock style than their original versions. For instance, "Sunshine on Leith," a song traditionally played at funerals, adds depth to the emotional impact of the film. It is not played during a particular important scene but it is often playing softly during a scene of reflection or longing for home. On the other hand, a song like "Letter from America," written about long-distance relationships in general, becomes more poignant when applied to the specific context of war and separation  after Jean and Liz’s intimate conversation in the film. 

The music that drives the score of "Sunshine on Leith'' can be classified as a combination of folk rock and pub rock. The latter is a genre associated with The Proclaimers' music, which forms the backbone of the film's soundtrack. It often features acoustic guitars, sing-along choruses, and lyrics that deal with issues of the social realm, working-class experiences, and everyday life, which are elements that perfectly capture the film’s essence and the social fabric of it. On the other hand, while the film might not have full-blown pub scenes, the pub rock elements we find in the songs add a sense of vibrancy and camaraderie to the story. 

“Sunshine on Leith" redefines the film as a musical by adding songs that provide a sense of gritty realism, reflecting the character’s working-class lives and the challenges they face after coming back from war. Folk rock and pub rock often have a more raw and unpolished sound compared to traditional musical scores. This choice adds a sense of gritty realism to the film, reflecting the characters' working-class lives and the challenges they face. The familiar melodies and relatable lyrics create a sense of shared experience within the film but also the audience, and unlike some musicals where the music takes center stage, this film uses its folk rock and pub rock score to enhance the story and characters. The music isn't just entertainment; it's an integral part of the narrative.

[reasoningdaily]

The skyphos is a large ceramic cup used by the ancient Greeks for the consumption of large quantities of wine. At informal male gatherings known as symposia, heady philosophical discussions usually progressed to drunken riotousness as the contents of the skyphoi were replenished.

Skyphoi were often decorated with exquisitely painted scenes with clear references to Dionysos, the god of wine and revelry. In cases like the one seen here, however, the decoration evokes a far different relationship with the divine.

The scene on this skyphos represents a parodied depiction of the Judgment of Paris, a well-known incident from The Iliad, Homer’s epic story of the invasion of Troy by the Greeks. The evocation of a world of mysterious, irrational forces on the vase reveals a side of the Greek temperament at odds with the magisterial order imposed on human society by the Olympian gods.

The image of black people plays a key role in the reconciliation between the everyday world of the Greeks and the more intimate experience of spiritual revelation.

The Trojan prince Paris was appointed by Zeus, ruler of the Olympian deities, to step in and settle rival claims of consummate beauty made by the goddesses Hera, Minerva and Aphrodite.

The fateful event is here reduced to only three summarily rendered characters. At left and center, respectively, Hera and Aphrodite are seated on the rocky slopes of Mount Ida, a sacred spot in the northwestern part of modern Turkey. Hera, queen of the gods, prominently wields her scepter, while Aphrodite, goddess of beauty and sensuality, holds the just-presented wreath of victory.

Before them stands Hermes, the winged god of communication and safe passage. In return for favoring Aphrodite, Paris received Helen of Sparta, the loveliest of all mortal women. The struggle by the Greeks to recover the already married Helen lasted 10 years and ended with the total destruction of Troy.

The story of the Judgment of Paris has been told and retold countless times, both in literary versions and in artistic form. Here, however, the straightforward treatment of the event has taken on a radically different form.

The face of Hera leers grotesquely with staring eyes and gaping mouth. Similarly, the representation of Aphrodite departs in a quite unexpected way from the somatic norm of the Greek figure. Rendered in strict profile, her negroid features are clearly evident. The same evocation of blackness characterizes the head of Hermes confronting her own.

All painted wares of this particular type are associated exclusively with the Kabeirion, a sanctuary located several miles outside the Greek city of Thebes. The sacred precinct is named after the kabeiroi, underground deities worshipped in secret. The appeal of this and other ancient mysterious religions such as the Egyptian Isis cult lay in the profound shift from the conventional obeisance to the gods to a rapturous, personal identification with the divine by initiates to the cult.

The numerous drinking vessels found at the Kabeirion seem to have formed an integral part of the rituals held at the sanctuary. The rites apparently concluded with the smashing of the cups, perhaps as a way of invoking the power of the kabeiroi.

The painted scene on the skyphos could also recall a dramatic presentation of the event, perhaps a short play staged in honor of the local deities. In this case, actors such as those portraying Aphrodite and Hermes on the cup would presumably have appeared as Africans, their affect aided by carved and painted theatrical masks.

The same inclusion of blackness holds true for several other types of scenes found on the Kabeirion skyphoi. One of the most remarkable of these presents a dramatic confrontation taken from Homer’s Odyssey, the companion epic to The Iliad.

During a stop along the wandering path of his journey home, the great hero Odysseus encounters the sorceress Circe, who tries to transform him into a pig in order to keep him with her. She offers him the fateful potion, which he rejects with a surprised gesture. Circe appears unmistakably as a black woman, while Odysseus’ image is in keeping with the standard type of the old man in Greek art.

The underlying emphasis on powerful, occult forces in the Circe scene made it an ideal subject for use at the Kabeirion. The moment of potential metamorphosis from a rational creature into another, less comprehending form alludes to the ecstatic experience undergone by the initiates of the cult. Interestingly, the notion of a black Circe as skilled practitioner of spells reappears in our own time as the protagonist in Toni Morrison’s Song of Solomon.

The visual characterization of blacks as figures from Greek legend seems to have been derived from the association of Africans with the liminal zones of the earth, associated by the Greeks with barbarism—simply meaning non-Greek culture. On other skyphoi, the range of black figures includes the highly popular type of the cave-dwelling pygmy.

The great appeal of such foreign cultures for the Greeks stems, at least in part, from the belief that imagery derived from the African physiognomy could effectively counter the powerful, unsettling forces at large in the world.

As in any society, the farther a given form departed from Greek norms, the more unsettling it seemed. This response was hardly demeaning, however, since for the Greeks the exotic in nature held an enormous capacity for warding off evil. The apotropaic effect was greatly enhanced by the caricatural treatment of the subject, as seen in the representation of Aphrodite and Hermes on this skyphos.

The apparently mocking treatment of the black figures in the Judgment of Paris should be regarded as a calculated inversion of the usual relationship between the Greeks and their gods. At a site where the powerful and potentially dangerous Kabeiric mysteries were summoned, the normal place of Greek religion was given over to the protection of the site’s resident forces.

The rendering of the Olympian gods as a positive form of the racialized other is supported in the extensive modern literature on the subject. Such a view is borne out by the argument of the pioneering scholar Frank Snowden that true racial prejudice did not exist in ancient times but evolved only with the advent of the slave trade in the early-modern period.

Snowden’s view is further supported by the incredible variety of sympathetic guises taken by the black form in ancient Greek and Roman art.

The profile features of a black man appear on coins minted by the city of Delphi in apparent homage to the venerated founder of the city. Among the Etruscans, the masklike black face placed on the eaves of a sacred shrine served as a powerful means to repel evil forces, a quality incidentally attributed to the kabeiroi themselves. 

[ayushi018]

"Brushstrokes of Emotion: Exploring the Power of Art"

Art has always been a powerful medium of expression, transcending language, culture, and time. Whether it’s a vibrant abstract painting or a somber portrait, art captures the emotions of the artist and the viewer in ways that words cannot. The brushstrokes on a canvas become more than just marks of paint; they become windows into the soul, revealing not only the artist’s inner world but also igniting emotions in those who encounter the work. Through colors, textures, and composition, artists convey their deepest feelings, beliefs, and experiences, creating an intimate dialogue between the artwork and the observer.

The Emotional Language of Art

At its core, art is a language. It's a way for artists to communicate complex emotions and stories without uttering a single word. One of the most profound ways this occurs is through the brushstrokes themselves. Each stroke can evoke a particular mood or feeling. A quick, bold stroke might communicate urgency or chaos, while a delicate, flowing one could express serenity or tenderness. The texture of the paint, whether thick and textured or smooth and blended, also adds to the emotional depth of the piece.

Colors, too, are central to the emotional impact of a painting. Warm tones like reds, oranges, and yellows often convey passion, energy, and warmth, while cool hues like blues and greens can evoke calmness, sadness, or introspection. The combination of colors and the way they interact can create a dynamic emotional response, drawing the viewer into the painting’s world.

The Artist's Emotional Connection

For the artist, creating a painting is often a deeply personal and emotional experience. The act of painting can be cathartic, allowing the artist to process emotions, whether they’re dealing with joy, grief, anger, or love. Many artists, both historical and contemporary, have used their works as a form of therapy or self-expression. For instance, Vincent van Gogh’s turbulent emotional life is reflected in his thick, swirling brushstrokes and the bold colors of works like Starry Night, which express a mixture of beauty, loneliness, and inner turmoil. Similarly, Edvard Munch’s The Scream captures the anguish and existential dread he felt during a personal crisis, with its distorted figures and vibrant, almost violent use of color.

The emotional power of art is also influenced by the artist’s unique perspective and experiences. For example, Frida Kahlo’s paintings often depicted her physical and emotional pain, and her works resonate with viewers on a deeply personal level because of her vulnerability. The brushstrokes in her paintings tell a story of resilience and suffering, and the emotion she poured into them continues to inspire those who view her work.

The Viewer’s Emotional Response

While the artist’s emotions are at the heart of the painting, the viewer’s response is equally important. One of the most fascinating aspects of art is its ability to elicit an emotional reaction in the viewer, whether it’s joy, sadness, anger, or nostalgia. This connection between the artwork and the viewer can be immediate or develop over time, with each person bringing their own life experiences, memories, and emotions to the piece.

Some paintings, like The Last Supper by Leonardo da Vinci or Guernica by Pablo Picasso, create powerful emotional responses due to their historical and cultural significance. Others may resonate with more personal memories and associations, making the emotional experience unique to each viewer. This interaction between the painting and the observer is what gives art its universal yet deeply personal power.

Art as a Catalyst for Change

Beyond individual emotions, art also has the power to stir collective consciousness and inspire change. Political and social movements have often been fueled by art, with artists using their brushstrokes to challenge the status quo, express dissent, or offer a vision of hope. Picasso’s Guernica, for instance, powerfully condemns the horrors of war, while the works of African American artists during the Harlem Renaissance conveyed the emotional complexity of Black identity in America.

Art has the capacity to bring attention to important social issues, evoke empathy, and ignite action. It can serve as a mirror to society, reflecting its values, struggles, and triumphs. In this way, art becomes not only a personal expression of emotion but a catalyst for collective change.

Conclusion

Art, in all its forms, is a powerful and timeless form of emotional expression. Through brushstrokes, colors, and textures, artists communicate complex feelings and experiences that transcend language and connect with the viewer on a deeply emotional level. Whether it’s the artist’s personal emotional journey or the viewer’s response, the relationship between art and emotion is profound. In a world that often feels disconnected and chaotic, art offers a space for reflection, understanding, and connection, reminding us of the shared humanity that binds us all.

[sketch-guardian]

We all know that Demya would love it, but what would the classmates think of an MC who expresses affection through nibbling on them? + Mobim and eyes as well! Just very soft nibbles 🤭 I hope they don't think we're trying to eat them 😭

- Isa

Hi Isa! I'm glad to hear from you☺especially because from what I remember from some of your reblogs, I think I read that you were quite busy🙈so I hope you're a bit feeling better now✨

Anyway, I fully agree with you😂but I will still insert Demya's part in the headcanons to make them more complete and hopefully satisfying😌 just to be safe (unfortunately your fears are well founded for some characters, but nothing serious don't worry🙈your idea is quite soft and cute btw💕) in any case, let's start:

RAD CLASSMATES + MOBIM + EYE-LIKE CREATURES WITH A MC WHO EXPRESSES AFFECTION THROUGH SOFT NIBBLES

DEMYA

As everyone might expect, Demya would be pleasantly surprised by MC's habit and initially might think that they are just trying to please her by imitating her and reciprocating the gesture, however upon realizing the spontaneity and sincerity of her mate's actions, she would get quite happy and would love to reciprocate the loving nibbles, even if in her case she would have to pay even more attention in trying to be careful, seen her strong canines. Furthermore this fact would satisfy not only Demya's demonic and territorial tendencies, but it would also make her feel closer to MC, because affectionate chomps were a common thing, almost a tradition in her family (when still alive-) and she is used to giving them since she was a very young demon

DOMNRA

Honestly at first Domnra would be quite embarrassed and if it weren't for the fact that it was his partner who nibbled him, then he would also be annoyed by the act itself, perhaps because he would associate it with that little pest that lived with him and Azul for a while (aka Demya-), who used to bite him in moments of anger or hunger. However, with MC's help, he could learn to accept the gesture as a more affectionate and above all painless action, however the his blush on his cheeks would not disappear. As for reciprocating the nibbles, Domnra wouldn't think that would be a good idea, given his serrated teeth

MOBIM

Its reaction might sadden MC a little, but at first Mobim would fear that MC is either trying to taste it or to eat it directly, nothing personal though, it's just Mobim's shy and fearful nature that would immediately make it imagine the worst scenario possible. However over time, it could get used to the affectionate gesture and let out a few squeaks similar to giggles, most likely because it is sensitive (Mobim is ticklish) and because it is happy with the cuddles and nibbles received. Unfortunately, not having a conventional mouth or teeth, Mobim would be unable to reciprocate the nibbles and would resort to rub its head on MC instead

AZUL

In a certain sense Azul literally raised/cared for Demya as a kind of older brother, teaching her the basics of how to behave in public and other important things such as reading, writing and counting, so during that whole period he probably received affectionate nibbles more than once, so in the end he would be quite used to such kind of show of affection and would hardly notice MC's particular habit, he wouldn't mind and he'd just let his lovely star do as they wish. As for reciprocating, Azul would prefer giving kisses and hugs over soft nibbles, but he's one who changes mind pretty fast depending on his mood, so who knows-

ZURI

Although Zuri is clever, both from an academic and social point of view, she has never had much experience with relationships, especially during her life as an angel in the Celestial Realm, thus receiving soft nibbles from her beloved, it's likely that her intuition would lead Zuri to think that such gesture is a sign of wanting to undertake more intimate activities...for that reason, she may react a bit abruptly if done in public, because she wouldn't consider such act appropriate. MC would have to explain to her that it's simply their way of showing affection and nothing more. Zuri, although confused by the habit despite being aware that Demya behaves in a similar way, in the end would just accept the gesture as a characteristic trait of MC. She would be willing to try to return the gesture in private, however even if it isn't seen often, Zuri has thin and rather sharp canines, so it would be up to MC to decide if it would be worth a try

ODON

As usual, Odon would remain very calm and despite the slight initial confusion, because they believed that demonstrating affection in that way was typical of animals and demons and not humans, they would allow themselves to be gently nibbled by their dear friend MC, smiling and aware of the fact that even if the human wanted to, they couldn't cause them pain nor leave scars on them accidentally, which Odon would inform MC about to reassure them. The only thing that might surprise MC would be the fact that Odon's skin is as cold as a corpse, there's a reason why they usually wear a sweater and a poncho after all. Odon would kindly refuse to reciprocate the gesture with their teeth, because that would make them uncomfortable, but at MC's request they could show the inside of their mouth, which is not often seen and which would reveal that Odon's tongue is also green like their teeth

ODON'S EYE-LIKE CREATURES (OR BOB AND ROB IF YOU PREFER)

Another category of characters who would think that MC is trying to eat them at first, perhaps due to some kind of survival instinct. they would initially float away, in particular the serious eye (Bob) out of confusion, while the merry eye (Rob) out of playful behavior. With a little help from Odon, the eye-like creatures would eventually be convinced to accept the gesture, even if they would find it a bit strange and would quietly ask MC to be careful not to accidentally bump into their eyeball (not being able to speak, they would try to make themselves understood through gestures or simply through Odon). Depending on which eye-like creature MC interacts with, one might be more likely to show affection than another, but unfortunately either way, they wouldn't be able to nibble back, not having a mouth. They might try to give butterfly kisses, but since they don't have eyelashes, that would be quite difficult

[entomolog-t]

Excuse me I'd like to book a session auahshsh

SO, for the tropes ask, my time to shine hehe boi *inhales* When a human becomes a giant, not due to size-shifting but due to a condition that changes them permanently . They lose normalcy, people they used to cherish now fear them, they lose touch with their humanity, everything is out of place, they feel too big to fit in the world they used to fit in perfectly before. But then, despite this drastic change, there's always those few people who are their friends or loved ones, who'll see the giant for who they truly are inside and who will maintain the bond and the relationship despite the difficulties adapting to the size difference and hhhhh I cry

Time for my early morning appointments.

I think size changing events are such an underrated trope in G/t, so I'm overjoyed they've been brought up in our session today.

You cited growth particular so we will progress with that in mind.

The action of growing has many subconscious meanings that tend to get associated with it such as an increase in strength and power, as well as the more metaphorical notions of growth; becoming someone new, improved, However, not all of the potential meanings are positive. Growth means a change in state. If we think about growing up, it is leaving behind a lot of the aspects of our childhood, namely our innocence. An increase in size and thus power also implies a relative decrease in power in those around us.

The Young Giant archetype ( a giant who has only just become a giant) can be used by the subconscious as a means of expressing fear of change and distrust of those around you.

I would look into what are the specific reasons you project as to why others will fear the Young Giant.

Do they not trust them with this newfound power?

Are they worried that they aren't responsible enough to wield such a power gradient?

Do they not want to be associated with someone so different from the norm?

I would then take the time to reflect and ask yourself; are these things I am worried about others thinking of me, or are these my own fears projected onto an archetype (ie, do you not trust others to wield power responsibly, etc...).

Often times with fantasy there is a very clear narrative that we are aware of, and then a level of projection we don't quite realize (which will normally be found on the characters we don't tend to identify since subconsciously we are trying to separate those negative aspects from the self.)

This trope has heavy themes of change, loss and trust, which is such an age old tale we retell over an over, since these themes are a universal part of the human experience.

Now this may be personal projection, as I too love to fantasize about this trope, but at times imagining oneself so large makes and everyone else by comparison so small harkens to a feeling of being overwhelmed. There are so many moving parts and changing relationships and one may feel so out of place looking down from up high, wishing to grasp at those that they used to know so dearly now running from them. Loss of relationships due to personal change is quite upsetting, but playing through the fantasy we tend to see an emphasis on faith in others (those who put their faith in us and our character by sticking by us even if we change so drastically)

This sentiment is very much a longing for others to see ones true self. In our day to day lives we mask much of our true selves, but as humans we desire intimate connection and to share our true selves. When we fantasize about undergoing such a drastic change, having those cherished few who stick by is a visual representation of the need to feel truly seen. No matter what form I am (or what mask I'm wearing) someone has seen the true me. They know me, and know I would do them no harm.

This particular example suggests one is not letting enough of their true self be seen, perhaps masking vulnerability, which could be as simply as having trouble with emotional conversation and using jokes to avoid opening yourself up to another person, resulting in a sort of fear of not being close enough to others (a combination of lack of trust and lack of intimacy)

----

I hope you enjoyed today's session. The secretary will pencil you in next week on your way out.

[schizoidvision]

The Schizoid Dilemma vs The Schizoid Compromise: A Basic Overview

The term 'schizoid' might evoke various assumptions or misunderstandings for many. It's essential to clarify that schizoid dynamics are not equivalent to schizophrenia, but rather pertain to a particular set of personality traits and patterns. Central to understanding the lived experience of individuals who experience these dynamics are two interconnected concepts: the 'schizoid dilemma' and the 'schizoid compromise'. Let's delve deep into these concepts and their implications.

1. What Exactly is The Schizoid Dilemma?

The schizoid dilemma refers to a deep-rooted internal conflict typical of those with schizoid traits, the main aspects are:

Desire for Connection

Contrary to their apparent detachment, many individuals with schizoid dynamics harbor deep-seated desire for interpersonal connection with another person, or shared intimacy.

Apprehension of Closeness

The desire for intimate connection is shadowed by an acute apprehension of being close to, or intimate with, another person. This apprehension may stem either from past traumas or their intrinsic personality traits, which may bring forth deep fears related to being in a close relationship, like concerns about being engulfed by the other person, or loss of their self, identity, or autonomy.

These contradictory feelings produce an underlying conflict, leading to the characteristic emotional aloofness seen in schizoid individuals as a defense mechanism.

2. The Schizoid Compromise Explained

The term "schizoid compromise" refers to the way individuals with SPD manage their inherent conflicts between wanting closeness and fearing it. To compromise, they adopt a middle ground. They may opt to maintain superficial relationships, thus avoiding deep emotional connection with another person. It is a way to stay related and not completely cut off from the world. This 'compromise' serves as a protective defense against their fear of intimacy, defenses remain in place that obstruct interpersonal communication, yet they are still able to maintain some level of societal connection. Forming superficial connections means that they are not entirely isolated, but still free from deeper emotional ties.

3. Implications of the Schizoid Dilemma and Compromise in Daily Life

Relationships: Schizoid individuals may appear indifferent or aloof in relationships, often avoid deep emotional entanglements, leading others to perceive them as distant or uncaring. They may oscillate in and out of relationships, with continuous or intermittent phases of indifference others (due to their defense mechanisms). These behaviours can cause confusion, hurt, or misunderstandings with partners, friends, and family.

Career: In the workspace, schizoid individuals may gravitate towards roles that limit interpersonal demands. While they can thrive in independent tasks, jobs that involve a high degree of teamwork or emotionally driven roles may prove challenging.

Mental Health: The ongoing internal struggle can lead to feelings of isolation, depressive episodes, and anxiety. Moreover, the nature of schizoid dynamics and the defense mechanisms that are in place for self-protection may prevent individuals from seeking help or even recognizing that there is an underlying conflict associated with engaging in close relationships.

In Summary:

The schizoid compromise and dilemma are instrumental in recognizing the depth of some of the internal struggles involved within schizoid dynamics. By shining a light on these aspects of schizoid functioning, we may potentially pave the way for enriching relationships by way of deeper insight, better tailoring mental health support, and educating the broader society about different relationship dynamics and the various ways in which individuals may socially operate within the world.

Video From My Youtube Channel: Schizoid Fear of Engulfment - In Depth Analysis

[2n2n]

well its time for me to express my thoughts about all this. Sincerely!!

A tasteful choice to drop this image with the volume that confirms Tsukasa's Yorishiro status....

I love the petals falling out, as if Amane has just plucked off the lid, and in the cascade of wind, some feather-light blossoms are swept up... I love that the coffin has a little window to peek into.

We could imagine this as a purely symbolic image, but that's both no fun, and I do not think it is symbolic! I think it's our first glimpse into Amane's deepest boundary.... a glimpse we've finally earned after so much story.........

First off: this entire time one of my most pressing questions has been: why is Tsukasa dressed like this!!!

Tsukasa's outfit is very formal. As far as I understand, a hakama+kimono combination suchas this would only be worn to something like a rare formal event (wedding, funeral, ceremony of some sort…), or be worn by a priest working at a shrine. Given that a Yorishiro is a sortof sacred shrine object, and a boundary is a mystery's personal shrine,

it was my vague 'best' assumption this whole time that Tsukasa's outfit was meant to evoke the sortof general holy, priestly vibes in particular. Simple, like, "well, maybe if a Yorishiro is a person, they naturally are in shrinely attire?" … only after seeing Hakubo/Sumire do we get an idea of how personal and intimately reflective a boundary truly is.

Hakubo's boundary represents his endless reflection over Sumire's final day. Hakubo feels an aimless, mysterious fixation, trying to understand what he 'wishes' had happened, what he 'wanted', what he wants for Sumire, what he felt, what he feels now. What he could have done for her, and why he wanted things to be different.

while I'm here did you know Hakubo only seems to use the 'boku' pronoun? This gives him a childish feeling.... at the least, it conveys his demeanor of deference.

Hakubo has never 'wanted' or 'wished' for anything, in his life; only doing as he was told. His boundary reflects his thoughts, which can't move further, which have no greater conclusion. An incomplete, perpetual loop, 'stuck'. Sumire faces her 'death' over and over and over in the deepest pits of his boundary. She cannot change the events. Only Hakubo can.

As Hakubo wanders alone with Sumire, the villagers disappear. As Hakubo addresses his memories, experiences quiet peace with Sumire, the boundary begins to weep around them.

addressing his ultimate desire at the root of it all (a wish to not be an Oni; a wish to be human, to give Sumire what she wants, to fall in love with her, in a way he was convinced he could not do), it storms and thunders with his pain. It seems to evoke his feeling.

So....

what emotions does Amane have for Tsukasa, to adorn him in ceremonial attire, to shower him in cherry blossoms?

The sakura, as a briefly-blooming flower, is typically associated with fleeting, delicate, ephemeral beauty....

"it is in full bloom in a flash, and scatters in a flash. In the moment of its short life, the Japanese feel beauty." x

The sakura is also generally associated with feminine beauty in particular. Gracefulness...

Not surprising to see Tsukasa steeped in language addressing beauty. Tsukasa is often symbolized with the moon (and his name itself evokes the moon), obviously... something Amane is reverent about.

Actually, the sakura in the coffin are different from a typical sakura blossom. They are rather a specialty, fanciful variety that ruffle with many layers of petals.This multi-layered cherry blossom is called a yaezakura! I guess I would say it makes this feel like an unusually ornate, spectacular display.... as far as I understand, this sort of tree would be planted in particular locations deliberately, suchas beside a shrine.

Rested peacefully in a bed of yaezakura blossom, adorned in elegant solid hakama and black silk kimono, all convey a vision: something beautiful, something sacred, something delicate, something graceful, something short-lived, something cherished!

Tsukasa died in his school uniform stained in blood, stabbed in the chest, on wooden slat flooring. Amane died soon after, and their parents did, as well. Tsukasa did not get any sort of sacred ceremony or memorializing upon death.... so this is as far from a reflection of their final moments as one can get. It must be something more symbolic of Amane's feelings, than something reflective of any lived moment.

when you look at Tsukasa, do you think of sacred, ethereal, feminine, graceful beauty? The delicate petals of a Sakura blossom falling, in all its short-lived splendor?

.... doesn't matter! Apparently... Amane feels something particular about Tsukasa which is expressed in these symbols.

while we're thinking of flowers, the camellia is associated with 'modest beauty', as it lacks a fragrance... the camellia also simply drops its entire head upon death, while the cherry blossom sheds its petals beautifully.

I don't think we really have a complete vision of Tsukasa just yet....

But beyond that ....

it's interesting that Tsukasa doesn't seem capable of moving. He appears to have been 'frozen' in Amane's boundary, peacefully secured inside of a coffin.

Amane desires to 'protect' Tsukasa...

frozen in a peaceful sleep, motionless, for Amane to watch over and gaze at, forever.... hmm. It suits him... his desire for control.

To finally see Tsukasa's eyes staring back at him, feel Tsukasa's hand touching him....

... after years of seeing this, frozen perfectly in his boundary.....

woof.

Well, it's exciting and, it's made me very emotional. Such veneration and respect and honor here... I get this feeling as if this is Amane's honest heart, something he cannot express audibly or physically, not to Nene and not to Tsukasa, too stubborn and reluctant to be vulnerable. Too afraid. Always talking in metaphors or avoiding saying anything directly... but, in his boundary, there is no obfuscation. Tsukasa was enshrined with all the luxurious adoration Amane had for his little brother, no matter what occurred between them in their final year. He deserved this, he was loved like this.

and I can't believe you might be responsible for his fucking titty window, Amane!