#also a character that canonically goes by they/them

[macabremayhem]

That's still a weird reason. And I'd say it's less the case when a person identifies with a character. In 80% of the cases where I observe misgendered Valdemar and attribution to them (mostly male, btw): it's just dictated by the fact that the author of such "edits" is just a straight girl who loves dangerous characters and dreaming about gothic princes (kinda Severus Snape or, for god's sake, Edward C… Heathcliff, iykwim). And such girl (mostly girl, btw) just doesn't care about, say, comfort of non-binary people or canon information. You can look at the illustration of the most common case from the Arcana wiki:

/angry 💢 speech below/

However, I've also seen cases where such girls tried to play non-binary (but it was always next to "Valdemar the man" in their headcanons, fics and such). They were good enough for... a month at most. And speaking of comfort, as someone who's been non-binary pretty much all my life, and whose parents tried to "cure" me of it. As someone who, at best, heard the doctors' excuse: "Maybe your child is just playing and will stop soon", which of course did not reassure the parents. And I understood the validity of the doctors' words, because already in 15/16/17 years I saw enough how many people played it and these people forgot about their %any sort of queerness% very quickly. Not locked down in the closet, but forget.

But wow, I'm fucking 30 years old now and I'm still non-binary, I haven't stopped being non-binary for a second, even when I didn't know the word. And I don't really want to worry about the comfort of those who don't give a shit that I'm non-binary and reject non-binary as the whole concept (or about my trans siblings and being trans-person). This is an issue that goes beyond a funny otome-game. And it's not a game anymore, because anyway, my identity is not something that some straight girl/boy can throw away for their own fucking reasons, wow. Whatever they may be.

And finally, a few words about "I misgender them because I want to fuck them". Can I tell you exactly how many times that's happened in my life, or will you go round?

[I’ve seen people headcanon non binary characters as afab or amab and for some reason it really bothers me. Even if they are just fictional characters, it seems disrespectful and rude. Do these people do this to nb people in real life?  This is a game set in a land where adorable purple snakes speak english, magic is real, and people can come back from the dead. Its completely possible to have a character that has no biological gender. I just find it really annoying.]         

Confessions do not reflect the personal views of the mods   

[yamayuandadu]

From Shinoda Myōjin to Sakaki no Mae: the history of Kuzunoha (and a few others)

Abeno by Shūhō Yamakawa (public domain; via wikimedia commons)

A few months ago I asked a more or less representative group of potential readers how familiar they are with Kuzunoha. Save for a single tongue in check response, "that's the Devil Summoner guy with the sideburns, right", the results were fairly uniform: most people are aware that she is a fox and the mother of Abe no Seimei - but not much beyond that. 

Kuzunoha is simultaneously probably the single most famous Abe no Seimei-adjacent literary character today, overshadowing even actual historical figures. She arguably changed the Abe no Seimei “canon” in a way few other works did. Even with the “onmyōdō boom” still in full swing in modern popculture, many characters from earlier Seimei tradition remain obscure - but Kuzunoha is arguably equally as famous as her son.

This prominence lead to a variety of misconceptions, most notably to viewing the story according to which Seimei was the son of a fox as considerably older and more integral to his fame than in reality. In particularly disreputable online sources you might even see it being presented as THE fox romance story, an archetype example from the dawn of history of Japanese literature. However, despite stories about foxes and onmyōji both being a mainstay of popular entertainment through the middle ages already, Kuzunoha was only invented in the Edo period - and in the case of most of the major developments pertaining to her we can pinpoint the exact sources. 

Read on to find out how the story of Kuzunoha arose and changed through the Edo period, whether the character was always known under this name, what she had to do with Kamo no Yasunori, and more. An excursus will also introduce you to the works and life of Kamo no Yasunori no musume, possibly the most unique thinker of the Heian period. That’s not all you will be able to learn, though.The second half of the article goes beyond Kuzunoha, and introduces a selection of other characters from broadly understood Seimei literature - from Seimei’s wife to an immortal Chinese disciple of the bodhisattva Monju. It was initially intended as a standalone sequel, but I figured it would be preferable to publish both halves in one go. Is listening to gossip a form of divination? How many bones do you need to resurrect a person? What do eclipses have to do with board games? Answers to all these questions - and more - await under the cut!

Before Kuzunoha: introductory notes on foxes in medieval and early modern Japan

Before discussing the development of the story of Kuzunoha, it’s necessary to briefly summarize the history of foxes in Japanese literature. It arguably starts with one of the earliest Japanese chronicles, the Nihon Shoki (720). However, foxes only really appear there as omens. The relevant entries are very brief and essentially boil down to reporting an unusual (for example albinistic) fox was sighted somewhere, or alternatively that a regular fox acted in an unusual way. It’s hard to really call them “stories”. They also don’t really indicate that foxes were regarded as shapeshifters just yet, in contrast with contemporary Chinese sources. The oldest example of a Japanese story involving a fox shapeshifting into a woman - arguably the most famous and widespread subgenre of “fox literature” - appears in the setsuwa collection Nihon Ryōiki (日本霊異記), dated to the early ninth century. This motif, like many other stock elements of fox tales, originates in China. Due to space constraints it is not possible to discuss the development of this genre on the mainland, but it will suffice to say that the literary image of foxes was already fairly solid by the Tang period. A good example of a classic Chinese fox story of a similar sort as the Nihon Ryōiki one is The Tale of Miss Ren from the late eighth century. In both cases, the disguise eventually comes undone, and the true identity of the fox character comes to light, which forces her to leave her human life behind. This remained a mainstay in later periods.

An illustration from Tamamizu Monogatari (Kyoto University Rare Materials Digital Archive; reproduced here for educational purposes only)

The importance of foxes in Japanese literature grew considerably in the “middle ages”, the Kamakura and Muromachi periods. The popularity of stories about animals acting like humans in general increased, in no small part due to the growth of new ideas about the nature of enlightenment. The Tendai school of esoteric Buddhism advanced the view that every living being possessed an innate Buddha nature, and could thus attain enlightenment. A good example of a medieval fox story is Tamamizu Monogatari. It combines elements already present in these discussed earlier, though they are reconfigured in unexpected ways; furthermore, the eponymous fox character’s religious considerations are a fairly major part of the plot.  It is worth noting that the story of Tamamo no Mae, Kuzunoha’s main competitor for the title of most famous fox character in the history of Japanese literature, first developed in the middle ages too. However, it is somewhat unconventional in that the original story is just a really weird twist on Sutra of Humane Kings - the fox theming is ultimately somewhat superficial.

The newfound popularity of fox tales never really declined afterwards, and many new ones arose through the Edo period in a variety of mediums, including but not limited to novels, puppet plays and kabuki. The old material was often reinterpreted in new, unexpected ways to suit the evolving taste of the audience. This is the environment in which Kuzunoha arose.

The evolution of Kuzunoha, from Hoki-shō to kabuki

The oldest prototype of Kuzunoha appears in the Hoki-shō (簠簋抄; “The ritual containers, annotated”), an early seventeenth century commentary on one of the most famous medieval religious treatises, Sangoku Sōden Onmyō Kankatsu Hoki Naiden Kin’u Gyokuto Shū (三國相傳陰陽輨轄簠簋内伝金烏玉兎集, “The Book of the Gold Crow and the Jade Rabbit, Secret and Exposed, of the Round Vessel and the Square Vessel, the Wheel and the Wedge, the Yin and the Yang, Transmitted Through the Three Countries” - the title is basically a long enumeration of various dualities representing yin and yang; as you will soon see, various fictional tomes present in stories about Seimei reference it) or Hoki Naiden (簠簋内伝) for short. Its compiler (or compilers) collected multiple, often contradictory, tales about the source of Abe no Seimei’s supposed supernatural powers - many of which were seemingly adaptations of completely unrelated folk tales.

One of them states that Seimei’s mother wasn’t a human, but donned a human guise before giving birth to him. At the age of three Seimei was abandoned by her, but as a parting gift he received a poem explaining that he will be able to meet her in the Shinoda forest in the Izumi province. Many years later, Seimei recalled the poem and decided to travel there to pray at a local shrine. Its deity, known simply as Shinoda Myōjin (信太明神; Myōjin, “bright deity”, is a common historical title of local deities, cf. the likes of Shinra Myōjin or Sekizan Myōjin), appeared to him in the form of an old fox, and told him she is his mother. It’s not Seimei’s only “origin story” collected in this volume, though - elsewhere it states that he was a being from the Dragon Palace (龍宮, Ryūgū). This seemingly didn’t catch on, and we have yet to see a modern work bold enough to make him some sort of fishman.

Hoki-shō does not explain why Seimei’s mother left him, but another likely contemporary collection of short tales, Tsuki no Karumo Shū (“Seaweed gathered in the moonlight”), provides a hint: here Seimei’s mother composes the poem and leaves because his father cheated on her. She is later encountered first by her ex, and then by Seimei, in the Shinoda forest, in both cases taking the form of a fox, much like in the Hoki-shō. She also provides her son with a jewel which lets him understand animals - an item which also appears in other legends about him, though not necessarily in the same context. Curiously, outside of this supernatural episode, this work generally follows historical information about Seimei. It correctly relays that his father was a low ranking court official and that he studied under the famous onmyōji Kamo no Yasunori.

A breakthrough in the history of Kuzunoha occurred with the publication of Ryōi Asai’s Abe no Seimei Monogatari (安倍晴明物語; “The story of Abe no Seimei) in 1662. Various disconnected legends collected in the Hoki-shō and similar sources came to be forged into a single narrative for the first time ever, which turned out to be a successful approach. Seimei, while never really forgotten, became a favorite of Edo period audiences, and a “Seimei boom” of sorts occurred, with numerous new works focused on his life and exploits being published.

Young Seimei meeting Otohime, as described in Abe no Seimei Monogatari(public domain, via National Archives of Japan Digital Archive; all illustrations from this novel included in this article have been sourced from these scans; another set can be found on the website of the Waseda University Library)

It would be unfair to say that Abe no Seimei Monogatari is just a direct adaptation of Hoki-shō, though. It is an innovative work in many ways, and in some cases rewrites completely unrelated legends with Seimei as the protagonist. For instance, Seimei at one point visits the dragon palace to help Otohime in what is obviously a novel twist on the tale of Urashima Tarō (though it might very well be an echo of his second origin story from the Hoki-shō) - just without any of the repercussions for the protagonist. Seimei was, presumably, built different, to put it colloquially.

Innovations are also present in the section of the story dealing with Seimei’s mother. In contrast with the sources discussed above, Abe no Seimei Monogatari also provides his father with a name - Abe no Yasuna (安倍保名). He is introduced as a farmer living in Abeno, a village near the Shinoda forest (in earlier legends Seimei was said to hail from Nekoshima, located near Hitachi). The reason why the mother leaves is curiously not provided. The novel simply states that one summer day she abandoned her family - and that’s really it for her relevance. 

It is not certain if Abe no Seimei Monogatari was a direct influence on the next major work dealing with Seimei's origin, the 1674 puppet play Shinodazuma Tsurigitsune Tsuketari Abe no Seimei Shusshō (しのだづまつりぎつね并あべ晴明出生; “The Shinoda wife, fox trapping and the birth of Abe no Seimei”). While such a connection is not impossible, it might have alternatively depended on a now lost sekkyōbushi (説経節), a type of Buddhist ballad accompanied by shamisen and puppet performances. However, no direct evidence for the story of Kuzunoha ever being adapted in such a form exists.

Regardless of whether there is a connection or not, the play does follow Abe no Seimei Monogatari when it comes to the identity of the eponymous character’s father. It additionally establishes that Yasuna owns the mystic tome Hoki Naiden, here described as a family heirloom passed down since the times of Abe no Nakamaro (more on him later). Most importantly for the topic of this article, many new details regarding the marriage of Seimei’s parents emerge here for the first time.

Actor Nakayama Bun'emon as Ishikawa Akuemon (ukiyo-e.org; reproduced here for educational purposes only)

A new character shows up in the relevant part of the story, Ishikawa Akuemon (石川悪右衛門), a brother of Dōman, Seimei’s rival from Abe no Seimei Monogatari and a variety of other sources. While Dōman is most likely based on a historical person (though one with no real relation to Seimei - more on that in a sec), Akuemon is entirely fictional. Through Dōman’s influence he received a government post near the Shinoda forest. His modus operandi is to obtain the liver of a white fox, since his brother told him it can be used to heal his ailing wife. Yasuna encounters him during a hunt, and saves a fox from him. This leads to a fight in which he almost ends up killed, until another fox intervenes. By disguising himself as a priest serving in Akuemon’s family temple he tricks him into sparing Yasuna’s life.

Some time later, Yasuna saves a woman from drowning, and subsequently marries her. He has no choice but to live with her in the Shinoda forest, since through a complex string of events resulting from Akuemon killing his father Abe no Yasuaki (安倍泰明) he had to kill him (and is effectively an outlaw, as I understand). He and the woman eventually have a son.

When the son - who is, obviously, Abe no Seimei - is seven years old, his mother accidentally reveals to him that she is a fox who took human form. She becomes so enchanted by blooming chrysanthemums that she loses grasp of her disguise. Kid Seimei is horrified by this revelation, and his mother decides she has to leave. She leaves a letter for him in which she expresses her sadness about this turn of events, and another for Yasuna, in which she reveals that she was the fox he saved, and that everything that happened between them since was an elaborate way to repay that favor.

It might be worth noting that the idea that foxes were particularly fond of chrysanthemums was a well established trope. It goes back to a poem by Bai Juyi, who in turn influenced a host of classic Japanese poets, including but not limited to Miyako no Yoshika, Ki no Haseo, Shimada no Tadaomi, Ono no Takamura and Sugawara no Michizane. By the Edo period, it was essentially common knowledge, so the scene was less surprising to contemporary audiences than it might be for us.

Despite all of the innovations in Shinodazuma Tsurigitsune Tsuketari Abe no Seimei Shusshō, its author felt no need to provide Yasuna’s wife with a name. That wasn’t exactly unique, though it’s worth stressing once again that the first version of this character from Hoki-shō for all intents and purposes did have a name, Shinoda Myōjin.

The name Kuzunoha appears for the first time in the kabuki play Shinodazuma (信太妻) from 1699. However, its origin lies in Shinodazuma Tsurigitsune Tsuketari Abe no Seimei Shusshō. A poem in the letter Seimei receives from his mother in it ends with the line “the kudzu leaves whose backs are visible” - urami kuzunoha (うらみ葛の葉). This phrase appears fairly common in waka poems. Here it serves as a wordplay - hiragana is utilized because depending on the kanji used, urami can refer not just to the underside of a leaf (裏見) but also to bitterness or resentment (怨み or 恨み). According to Cody M. Poulton, the poem actually originates in a story unrelated to Seimei which circulated in the Izumi province. Its protagonist is a hunter who saves a wounded fox, who then takes the form of a woman and marries him; the similarities are otherwise very vague, as no onmyōdo elements are involved, and the fox commits suicide in the end, after leaving behind the poem.

Naming Kuzunoha was not the only innovation of Shinodazuma. It also makes Akuemon the central villain, eliminating Dōman altogether. His villainy reaches truly cartoony heights - before starting the fox hunt already present in the earlier play he actually tries to pressure a priest at a shrine whose kami uses these animals as messengers to procure a white specimen for him.

Some more focus is given to his wife. In the earlier play, not much is said about her other than that she is sick and Akuemon is convinced he knows how to remedy that. She doesn’t even receive a name. In Shinodazuma she is called Satsuki no Mae. Furthermore, we learn that she secretly hates her husband and is only feigning an illness to avoid him. Her real love is a certain Mitani no Zenji, a retainer of Abe no Yasuna. This character already appears in a very minor role in Shinodazuma Tsurigitsune Tsuketari Abe no Seimei Shusshō, but there he is a retainer of Yasuna’s father, not Yasuna himself.

Zenji’s relevance doesn’t end there. Kuzunoha is actually saved by him, not by Yasuna. However, the conventional romance nonetheless happens, though with a twist. Kuzunoha must reveal her true form because Yasuna has an evil younger brother, Dakaku no Suke, who shows up near the end to  try to force Kuzunoha to have sex with him. To achieve that he threatens that he will kill kid Seimei. In response, his mother reveals that she is a fox, and flees. Kuzunoha returns one last time in the final scene of the play after Seimei manages to find her in the Shinoda forest with the help of another new character, a cook named Kisuke. This role was apparently added entirely to accommodate the comedic actor Yamatoya Jinbei II (大和屋甚兵衛).

Elements of Shinodazuma and its earlier partial namesake were both incorporated into yet another play, Shinoda no Mori Onna Urakata (“Female Diviner in the Shinoda Forest”), which in turn influenced the single most famous portrayal of Kuzunoha, commonly referred to simply as, nomen omen, Kuzunoha. It dates to 1734, and was originally the fourth act of a five act play, Ashiya Dōman Ōuchi Kagami (芦屋道満大内鑑; “A Courtly Mirror of Ashiya Dōman”) by Izumo Takeda (竹田出雲) II. However, the full version is rarely performed today.  As you can probably guess from the title, Ashiya Dōman Ōuchi Kagami puts Dōman, here also referred to as Ashiya no Hyōe Michitaru (芦屋兵衛道満), back into the spotlight, reversing the trend of making Akuemon more prominent. The plot is essentially a succession struggle between him and Abe no Yasuna, with a variety of unexpected twists. Both of them are portrayed as students of Kamo no Yasunori (here written as 加茂保憲 instead of the expected 賀茂保憲), who passes away prematurely without designating an heir from among his disciples. This is quite troublesome, not least because the legitimate heir will gain control over the mystical tome Kin’u Gyokuto Shū (金鳥玉兎集), which originally belonged to a Chinese sage named Hakudō (this is not the last time you’ll see him in this article) before being passed down to Yasunori. Various factions in the court aim to secure control over it to effectively control the country with the mystical divinatory knowledge contained within.

Sakaki no Mae (Minneapolis Institute of Art; reproduced here for educational purposes only)

While most characters are unaware of this, Yasunori intended to have his adopted daughter Sakaki no Mae (榊の前) marry Yasuna, and to give him Kin’u Gyokuto Shū. However, as he failed to do so in time, and only provided his daughter with a key to the secret spot where the book is hidden, a plot is set in motion by his wife. She hides the book and accuses Sakaki no Mae of stealing it to give it to Yasuna against her father’s wishes. Sakaki, who is innocent and in fact refused to open the hiding spot of the book (not that it accomplished much since her stepmother illicitly prepared a copy of the key), decides to put the blame entirely on herself to protect Yasuna and then commits suicide. However, when Yasuna learns about that he is overcome by grief and disappears.

Meanwhile, the widow’s brother Jibu no Tayū (治部大輔), who is also her co-conspirator, meets with his son-in-law Michitaru to give him the stolen Kin’u Gyokuto Shū. He orders him to use the book to divine how to make sure Miyasudokoro (御息所; not the Tale of Genji character), one of crown prince Sakuragi’s (桜木親王) concubines, who belongs to the same courtly faction, will be the first to conceive an heir. Michitaru states that the best way will be the dakini no hō (荼枳尼の法) a secret ritual which requires the liver of a white fox. Jibu no Tayū’s minion Akuemon, who as far as I can tell is not a relative of Michitaru/Dōman here, is tasked with procuring it, since he comes from an area where white foxes can be easily found.

It should be noted here that Michitaru is himself not necessarily portrayed as malevolent in this scene. While he is a participant in this scheme, and even performs rituals meant to help Akuemon with killing Rokunokimi (六の君; also not the Tale of Genji character), the concubine favored by Jibu no Tayū’s rivals, he only acts under the threat of losing both Kin’u Gyokuto Shū and his wife Tsukubane (築羽根).

All of the soap opera-worthy courtly drama forms the first act of the play. Kuzunoha only appears in the second. As we learn, she is the younger sister of Sakaki no Mae, and looks exactly the same as her. Yasuna encounters her when he reaches the Shinoda forest. Due to lacking clarity of mind, he at first assumes that he got reunited with Sakaki no Mae. However, Kuzunoha manages to help him overcome his grief, and explains she is not who she assumes she is. Yasuna is nonetheless still smitten, and asks her parents (it would appear Kuzunoha was not adopted by Kamo no Yasunori unlike her sister), Shinoda no Shōji (信太庄司) and his wife Shigarami (柵), to let them get married. 

Alas, it turns out this is impossible, because Kuzunoha’s parents already promised her to her cousin… Akuemon. Following the universal principle of “speak of the devil and he doth appear”, Akuemon promptly appears, chasing a white fox to complete the mission he was entrusted with earlier. He is instantly thwarted by Yasuna and his attendant Yokanbei (与勘平). The latter then leads Kuzunoha and her parents to safety, but Yasuna apparently doesn’t notice this, and for a moment he fears that she was kidnapped. However, his worries soon disappear, as she appears again out of nowhere. In the culmination of the second act, the two then decide to hide for some time in a remote village, Abeno (the same one as in Abe no Seimei Monogatari).

What follows sounds almost like a comedy of errors. Long story short, it turns out that Michitaru has in fact saved Rokunokimi from Akuemon and hid her in his house. When Jibu no Tayū learns about this, he orders her to be killed (again), which triggers a chain reaction. Michitaru by accident kills his father, who had no part in the plot, but tried to take the blame to shield his son from Jibu no Tayū’s wrath. Michitaru’s wife then kills her father, as she has learned about his nefarious intentions and about pressuring Michitaru into helping him. In the aftermath of all of that, Michitaru realizes he has had enough and should go back to honest onmyōdo practice he was supposed to engage in as a student of Kamo no Yasunori full time. He takes the new name Dōman to signify his transformation.

Seimei and Dōman, as depicted by Hokusai (wikimedia commons)

As I already pointed out earlier, the play doesn’t follow Dōman’s usual characterization. Quite the opposite, it’s pretty much a conscious reversal - that’s where the “mirror” in the title actually comes from. Other fictional portrayals of Dōman make him a villainous counterpart of Seimei, and Edo period audiences were well aware of that. There was no shortage of works focused on their rivalry. It’s explored in detail in Abe no Seimei Monogatari, but also for example in the 1792 novel Abe no Seimei Ichidaiki (安倍晴明一代記, “Abe no Seimei’s Life Story”).

It’s worth noting that Dōman’s villainy might have a vague historical basis. It generally assumed that he was inspired by a certain, nomen omen, Dōman (道満), known from the Seiji Yōryaku (政事要略). He was reportedly employed by Takashina no Mitsuko (高階光子) in 1008. He is described as a hōshi onmyōji (法師陰陽師), literally “ priest onmyōji” - a designation for an unofficial onmyōji, basically. Such individuals were seemingly particularly commonly hired by courtiers to curse their rivals (something a regular onmyōji was legally prohibited from engaging with). A reference to a hōshi onmyōji being accused of that is preserved in Fujiwara no Sanesuki’s diary, the Shōyūki (小右記), for example. It is not entirely uncertain if the historical Dōman was involved in similar activities, it is clear that his fictional derivative is based on the curse specialists. 

The connection between history and fiction should not be overestimated, though. The kinship between the historical and fictional Dōmans is ultimately quite vague, and the former didn’t really have anything to do with Seimei; their rivalry is an entirely fictitious invention. In particularly it’s worth pointing out it’s basically the standard to portray Dōman as older than Seimei, while the only references to his historical counterpart postdate Seimei’s death by three years - and considering he was unusually long-lived, it’s easier to assume they had nothing to do with each other than that Dōman was somehow even older than him.

Putting the historical Dōman aside, the third act was essentially custom tailored towards the tastes of contemporary audiences, but surprisingly failed to leave a lasting impact. It is instead the fourth act which became the most famous part of the play, and the most famous portrayal of Kuzunoha. It starts with a timeskip: as we learn, Yasuna and Kuzunoha got married and had a son, who is now five years old. However, it turns out that his mother is in fact not the real Kuzunoha. This is revealed when she appears with her parents to visit Yasuna - she’s been bedridden for years in the aftermath of the escape, and only recovered recently. Her parents decided to let her and Yasuna get married. However, they don’t find him at home, since he left to journey to a number of religious sites to pray for his family. They only encounter his wife. As you can probably guess, it turns out that the “Kuzunoha” Yasuna spent the past half a decade with is in fact the fox he saved from Akuemon. When this comes to light, she bids farewell to her son, and tells him to treat the real Kuzunoha as his mother instead from now on. 

When Yasuna returns, and learns what happened from the real Kuzunoha, he decides that they need to find the fox Kuzunoha. His son and the real Kuzunoha decide to assist him. Like in every other version involving a search, they eventually manage to find the fox Kuzunoha in the Shinoda forest. She shows herself to them in her true form, that of a century old white fox, and reveals that while she has cast away her earthly attachments, she plans to nonetheless still protect her son. However, to that end she had to cast away her human disguise anyway, as a fox who falls in love with a human will eventually lose all supernatural abilities otherwise. This idea is an invention of the author (had this been an established motif earlier, Tamamizu Monogatari’s namesake protagonist would have no inner dilemmas to struggle with, arguably).

After this matter is settled, the protagonists encounter Dōman. Since they are not aware of his recent deeds, they initially assume that his visit is part of some new scheme. They also accuse him of engineering the theft of Kin’u Gyokuto Shū. However, he explains that he was a tool in an evil plot before, but had a change of heart. He admits the theft accusation is not unfounded, but also that he is not responsible for Sakaki no Mae’s suicide. To atone for his past deeds, he gives the book to Yasuna. However, he says that he is too old to use it, and Dōman should instead pass it on to his son (this is probably another intentional subversion - as you’ll see later, in another story Dōman crafts an elaborate scheme to steal this book from Seimei). When the kid receives the book, he is instantly able to interpret its title. He explains that it refers to a rabbit who lives on the moon and a crow who lives in the sun, and that the book contains knowledge necessary to understand everything on earth and in heaven. Dōman praises Yasuna for teaching his son well, but he clarifies that the boy must have inherited the talent of his biological mother, who was a white fox.

Dōman is aware of a case of a supernaturally gifted kid born to a human-fox couple in China (I’m not sure if this references a specific story, also note this is not an universal motif - in at least one Tang period tale children from a similar relationship die prematurely), and therefore to verify Yasuna's claim decides to test his son’s skills. The boy effortlessly answers all of his questions. Dōman is so impressed he bestows the name Seimei upon him - he was simply referred to as Dōji (童子, “boy” - not exactly a creative name) before. To celebrate, Yasuna and Dōman decide to visit the Shinoda shrine, leaving Kuzunoha and Seimei behind.

Nakamura Utaemon III as Yakanbei, Sawamura Kunitarō II as Kuzunoha, and Arashi Rikan II as Yokanbei (Museum of Fine Arts Boston; reproduced here for educational purposes only)

Since things are evidently going too well, Akuemon suddenly appears once again, accompanied by a group of thugs. He confronts the protagonists and tries to kidnap the real Kuzunoha, but his plan is foiled by the intervention of Yokanbei and an associate of fox Kuzunoha, another white fox, who turns into a copy of him. He calls himself Yakanbei (野干平) - a pun on Yokanbei’s name and the term yakan (射干; from Chinese yegan), which could refer either to a fox-like legendary animal, a jackal, or simply a fox. The scene is intentionally comedic, and it actually takes Yokanbei a while to realize there’s a copy of him running around. In some stage adaptations the sequence was extended further with the appearance of a female servant who is yet another fox in disguise. 

After the successful rescue yet another timeskip happens. The final act shows Seimei at the age of eight. His parents decide to finally take him to Kyoto. He is already renowned for his skill, and the crown prince mentioned in passing earlier wants to meet him. However, after arriving in the capital Yasuna temporarily leaves his family, and through an unlucky twist of fate ends up killed by Akuemon, who is busy with a new scheme to curse Rokunokimi. Thankfully, when he later arrives in the court, carrying a crate which contains both a doll meant to be utilized to that end and Yasuna’s corpse, the plot is revealed through a joint effort of Seimei and Dōman. Seimei then resurrects his father, while Akuemon is executed… and that’s where the story ends (with no foxes in sight).

In the end, it might appear at first glance the play regarded as the most famous take on Kuzunoha doesn’t contain all that much Kuzunoha - not the fox Kuzunoha, at least. It’s really a play about Dōman and Yasuna in the end. Kuzunoha actually comes across as sort of expandable and forgettable in dry summaries of the play, and I don’t think mine really gives a different impression. To be fair, it’s actually a genuine theory that the apparent disposability of female characters in this case served as a criticism of the low position of women in Tokugawa society.

Regardless of whether this is true or not, it was ultimately Kuzunoha, and not Dōman, who made the play famous - and that’s why, as I briefly mentioned earlier, it’s uncommon to see the whole play on stage. It’s typically reduced just to act IV - which does actually revolve around Kuzunoha (or, to be more precise, Kuzunohas). There are two reasons behind that.

For starters, the scene of a mother parting with her child emotionally resonated with Edo period audiences to a greater degree than anything else Ashiya Dōman Ōuchi Kagami had to offer. Sure, it might be short, especially compared to the lengthy sections dealing with multi-layered courtly intrigues - but it had something they lacked: it was relatable. Making sure plays resonate with audiences, which consisted largely of commoners - often commoners who represented relatively historically recent social strata molded by changes in economy in the Edo period at that - was a common concern of playwrights. While many dealt with the distant past - especially the Heian period and the tumultuous transition into the middle ages - conscious effort was often made to incorporate contemporary elements, or to emphasize down to earth concerns, precisely to that end. The results weren’t always successful, and in some cases end up heavenly-handed and unintentionally comedic, but Takeda Izumo II evidently pulled it off. It worked so well that the rest of the play became basically unnecessary.

Furthermore, whether adapted in the form of a puppet play (as originally intended) or kabuki, the role of Kuzunoha was considered suitable for showcasing the skills of performers. Special effects, and in particular transformations from one character into another, were incredibly popular - that’s why so many plays from the Edo period have plots involving shapeshifters, doubles, mistaken identity or a combination of some or all of those elements. Foxes naturally provide a great venue for that - and Kuzunoha isn’t even the only time Takeda Izumo II capitalized on it (you will likely get to see another famous example on this blog in a few months).

Kuzunoha writing her parting poem with a brush held in her teeth (wikimedia commons)

When it comes to puppet plays, the greatest accomplishment of Kuzunoha was arguably facilitating the invention of a complex type of puppet requiring three people to operate, utilized for the first time in the scene involving her, Yokanbei and Yakanbei. In kabuki adaptations, Kuzunoha’s shapeshifting between human and fox forms is reflected by rapid change of costumes - basically the default way to measure an actor’s skill. Sometimes this is boosted further by speech quirks also used for other fox characters in kabuki. Furthermore, the actor playing her is often expected to write the poem she leaves before abandoning her family holding a brush in his (it’s an onnagata role, ie. a female character played by a man) teeth, cradling a prop representing infant not-yet-Seimei in both hands. A Meiji innovation making the role even more challenging was to have one actor play both Kuzunohas - which, naturally, required even faster costume changes. In some cases, a hat with a fox mask hidden in it is used to make it particularly rapid. Through this combination of factors, Kuzunoha, initially a minor addition to a corpus of legends about a popular protagonist which grew so large it started to absorb unrelated stories, eventually actually managed to outshine Seimei himself. Of course, it wasn’t that straightforward; Seimei’s disappearance from public consciousness didn’t just boil down to a specific kabuki attaining unexpected levels of renown. It’s also important to bear in mind that onmyōdō as a whole largely vanished from public consciousness after the Meiji reforms - and that even before them, the term didn’t necessarily invoke the image of a Heian period court official anymore (see my previous article dealing with relevant matters for more context). Even though Seimei, an at least vaguely Heian-inspired idea of onmyōdō, and the traditional villainous Dōman all made a comeback after the classic sources were “rediscovered” by new authors starting with the 1980s, Kuzunoha remains a fairly major component of what I earlier described as an “informal Seimei canon” - to the point it’s probably not hard to find people convinced she was a part of it from the very beginning. In that capacity she is a remarkable outlier. Most of the other Edo innovations are now forgotten, and Konjaku Monogatari and other early collections once again define Seimei just as they did for late Heian and early medieval audiences. And yet, the story of the most famous onmyōji being born as the son of a fox and subsequently abandoned evidently continues to resonate with new audiences.

Nothing like Kuzunoha: an excursus about the real daughter of Kamo no Yasunori

There’s an argument to be made that Seimei isn’t the only historical figure who ended up existing in the shadow of Kuzunoha, or more broadly of Ashiya Dōman Ōuchi Kagami. While Kuzunoha and Sakaki no Mae are both fictional characters, the historical Kamo no Yasunori actually did have at least one daughter. It’s safe to say she didn’t influence the creation of any of her fictional “siblings”, though. For all intents and purposes, she went down in history only as Kamo no Yasunori no Musume (賀茂保憲女), “the daughter of Kamo no Yasunori” - her real name is unknown. I personally think that in absence of any information about her name perhaps it would be preferable to use the epithet she used to refer to herself - Kamo uji naru musume, “a woman of the Kamo clan” - but I am not going to tell you to ignore the consensus, obviously. Since referring to her as “Kamo no Yasunori no musume” would get a bit cumbersome quickly, I hope you don’t mind here I will simply refer to her as “ms. Kamo”, though.

The sum of our knowledge about ms. Kamo’s life and career comes from just a single source - but what a source it is! At some point between 993 or 998, at the age of forty or so, she compiled her own poetry collection, today referred to simply as Kamo no Yasunori no Musume no shū (賀茂保憲女集) - “Kamo no Yasunori no Musume’s poetry collection” (hardly the most creative of titles). The uncertain dating reflects the fact that the only clear evidence in the work itself are references to an illness she at some point contracted, which might have been either smallpox (an epidemic occurred in 993) or measles (an epidemic occurred in 998). A lot is up to interpretation, though the illness at least for a time negatively impacted her eyesight, which seems to point at the second option.

The collection resulting from her efforts has the form of a sequence of around 240 poems accompanied by an autobiographical prose preface. This is not unusual in itself - similar collections consisting from a hundred to three hundred poems were fairly common in the later centuries of the Heian period. They were pioneered by Sone no Yoshitada around 960 or so. Depending on the exact dating of ms. Kamo’s sequence, she was either the first or second woman to contribute to this trend, though. Her contemporary Minamoto no Shigeyuki no Musume (��重之女; as you can probably guess, the daughter of Minamoto no Shigeyuki) compiled a hundred poems long sequence around 994.

While common, the hundred (or more) poem sequences were what can be described as an example of avant garde or outsider approach to poetry. In the Heian period most poems were composed during official competitions or for commemorative purposes in the imperial court. In contrast, the long sequences were typically the work of people who didn’t have opportunities to partake in official poetic events, for example lower ranking bureaucrats. Furthermore, the topics were more personal. It was fairly common to complain about unrecognized skills and slow progression in the chosen path of career, for example. This was an universe many lower ranked courtiers, as well as provincial bureaucrats, were familiar with - the Heian court was dominated by the powerful Fujiwara clan, and few people who didn’t belong to it managed to advance to the most prestigious positions (and those who did, like Sugawa no Michizane, could still end up exiled or worse as potential threats to the Fujiwa hegemony). However, in contrast with ultimately fairly formulaic complaints about stalled professional careers, ms. Kamo’s collection is essentially an outlier among outliers. It has an even more distinctly personal character. Of course, part of it is that the experience of a woman was fundamentally different from that of a male courtier. Ms. Kamo had to become a unique author in part simply because she had no models to pattern her poems on. She acknowledged herself that it was viewed as preferable for a woman to remain silent and unseen.

The life ms. Kamo wanted to document was sad and lonely - as she remarked to herself, “there is no one whose circumstances are as unhappy as mine within these islands”. The catalyst for writing was the life-threatening illness she survived, but which pretty clearly took a heavy mental toll on her. In a self-depreciating passage she described herself as "inferior in all ways to others, but better than others in getting an illness". On top of that, she felt isolated and was apparently concerned that she has failed to attain proper maturity, possibly due to remaining single - she only makes vague references to a possible failed past relationship. She apparently blamed her parents, and in one of her poems compared herself to an egg that has already putrefied before even hatching.

While I don’t necessarily think it’s incorrect to speculate that she might have felt this way due to failing to enter a relationship or forming a lasting one, it does seem that she was generally concerned about her life being stagnant, and about being confined in the same place for its entire duration. In some of her poems, she is saddened by own inability to see various wondrous phenomena and partaking in assorted pastimes (she admits she’s not even sure what was in the vogue among other noblewomen). Interestingly, she recognized that her position gives her a degree of freedom she would lack if her poetry conformed to courtly standards, though.

A further peculiar aspect of ms. Kamo’s work is her focus on social inequalities. She devotes some space to explaining why she doesn’t see class as an indication of merit. As she outlines, a virtuous and talented person might nonetheless have an unremarkable career and fail to move up. Furthermore, a humble person won’t necessarily be valued as much as they should. It was apparently a major concern for her overall that success is determined by wealth and family connections more than skill and virtue. That’s tragically a pretty timeless issue.

Some degree of opposition to the prevailing model of stratification of society was not entirely unheard of in the Heian period. Miyako no Yoshika’s uncle Miyako no Haraaka (都腹赤) famously believed that what we would by modern standards define as higher education should be available to all as opposed to hereditary nobility, for example. This was doubtlessly influenced by his own experience - his family background was unremarkable, and he managed to attain a degree of renown only thanks to a then-recent system of civil service examinations. His nephew, whose life followed a similar trajectory, purportedly opposed the encroachment of the Fujiwara clan upon educational institutions because it would limit the already not particularly plentiful opportunities people from more humbled backgrounds had. Ultimately the Chinese-style bureaucratic apparatus which enabled that collapsed, though, and even before that it obviously never managed to become the great equalizer people like Haraaka seemingly wanted it to be (it didn’t even accomplish that in China in the first place, to be fair).

Yoshishige no Yasutane (wikimedia commons) Most importantly, social inequalities are addressed in depth in the Chiteiki (池亭記), the magnum of opus of ms. Kamo’s uncle Yoshishige no Yasutane (慶滋保胤). He might have been an influence on the worldview of his niece, though unlike him she didn’t see the lack of adherence to Confucian teachings as the source of all ills. As a social critic she is ultimately without an exact parallel among her contemporaries. As cliche as that might sound, it would perhaps be most apt to say she was ahead of her times. Rather unusually for her era, she even believed romantic relationships should not be determined by social class, but rather by genuine feelings. She attributed the instability of romances among courtiers to this, even. I will refrain from speculation if this might have anything to do with the references to her own possible failed relationship.

Given the avant garde character of ms. Kamo’s works, it probably comes as no surprise to you to learn that they never had a wide circulation. She did hope for an audience - in the preface she even speculates how people in the future will imagine her based on the content of her poems. However, she never really found it.

Evidently someone had to be aware of her pursuits and kept her up to date with new trends in poetry, though. A possible candidate is, once again, her uncle Yasutane. Furthermore, some of her notes indicate she seemingly was sending at least some of her poems to someone, though whoever that was, they evidently didn’t opt to recommend her as a participant in any events focused on poetry held in the imperial court (or didn’t hold a position which would let them do so). Her poetry thus failed to captivate any larger audience, and didn’t enter the literary canon.

The only pre-modern exceptions are the inclusion of a small handful of her poems in the Shūi Wakashū (拾遺和歌集, “Collection of Gleanings”; 1006; 1 poem), Shin Kokin Wakashū (新古今和歌集, “New Collection of Ancient and Modern Poems”; 1205; 1 poem), Fūga Wakashū (風雅和歌集; “Collection of Elegant Poems”; 1348; 2 poems) and Shinshokukokin Wakashū (新続古今和歌集; “New Later Collection of Ancient and Modern Poems”; 1439; 1 poem). However, in the first two of these anthologies the author is left anonymous, presumably since she was not exactly famous and lived outside the imperial court. In the other two she is identified only as Kamo no Yasunori no musume. 

Something that bugs me a lot is that there are multiple weird unsourced claims on English wikipedia severely overestimating the esteem she enjoyed in the Heian period and beyond. Kamo no Yasunori’s entry calls her an “acclaimed poet” (and similarly without a source asserts she was his second daughter; in reality she is his only female relative we know about). Her own article asserts she was renowned for her talent, despite later citing a researcher who correctly points out she was largely overlooked through history.

I would argue that in addition to being incorrect, these bizarre descriptions are disrespectful, seeing as much of her work is centered on frustrations stemming from not only not being perceived as important, but lacking any venue giving the slightest glimmer of hope for attaining that. I’m not exactly sure if the intent was to be feminist, but I personally think it would in fact be a more feminist approach to stress what motivated her to write, and to honestly report the lack of pre-modern reception. These factors are what makes ms. Kamo unique as a poet.

Sadly even the modern reception of ms. Kamo’s work is limited at best, which is part of why I decided to include her in this article. There are at least two annotated editions of her works aimed at academics in Japanese and a handful of articles, including a single one in English which you can find in the bibliography, but not much beyond that. Ultimately it is probably fair to say her fictional counterparts sadly outshine her, which arguably adds an extra layer to this tragedy. Obviously, Edo period playwrights weren’t deliberately trying to do so - odds are decent they weren’t even aware she existed - but it saddens me a bit that no attempt was made to find room for her in any modern adaptations of stories involving fictionalized portrayals of her father. An argument can even be made that ms. Kamo had some familiarity with onmyōdō. While it is not a major theme in her poetry, and she never referenced yin, yang and related concepts directly, she was evidently familiar with Chinese literature and philosophy to some degree. She references the Book of Changes and the well known (at the time, at least) story of Su Wu, for instance. It might also be worth noting that she was aware it was believed certain ascetic practices can extend the lifespan - for example consuming pine needles. It’s actually fairly likely that some of her familiarity with Chinese literature came from overhearing her brothers’ lessons - we actually know this must have been the case for some women in the Heian period. For instance, Murasaki Shikibu de facto received informal education this way. There’s even a proposal in scholarship which has gained some support that part of ms. Kamo’s bitterness might have come from perceiving herself as equally capable of learning as her brothers, but never really receiving opportunities to prove it.

Beyond Kuzunoha: other figures of note in Seimei narratives

After the largely historical excursus, let’s go back to fiction. As I mentioned earlier, many once popular recurring characters from stories about Seimei - from early legends to Edo period novels - largely languish in obscurity today, even though Seimei himself arguably regained his prominence. I figured it is only fair to discuss some examples I consider particularly interesting as well.

Rika

While Abe no Seimei Monogatari is notable for being one of the earliest works which feature (a prototype of) Kuzunoha, it also provides Seimei with a further fictional female relative, a wife named Rika (梨花). And she is, quite unexpectedly, an antagonist who aids Dōman.

The historical Seimei presumably did have a family, but as far as I am aware no source mentions anything about the identity of his spouse. He definitely had children, most notably Abe no Yoshihira (安倍吉平; 954–1026), which does indicate the existence of a ms. Abe (or at least a mistress whose child was legitimized, I suppose). I won’t dwell much Yoshihira here, as he is largely irrelevant for the matters this article focuses on, though it’s worth noting that he famously managed to enact an onmyōdō takeover of hanshi (反支; from Chinese fanzhi), formerly handled by court physicians. This procedure was supposed to determine if anything inauspicious might happen during the birth of a child.

I’m only aware of a single source predating Abe no Seimei Monogatari which would mention Seimei’s wife at all, and it is similarly a literary text rather than a historical document. However, she is left nameless in it, and her characterization differs considerably. Rather unexpectedly, it’s not strictly speaking a Seimei story, but rather the fourteenth century Genpei Jōsuiki - an extended version of the Heike Monogatari. In the passage in mention Taira no Tokiko performs hashiura (橋占), an unusual form of divination. Instead of the movement of celestial bodies, it required listening to the conversations of passersby on a bridge. She chooses the Ichijō-modoribashi (一条戻 橋) in Kyoto, where she encounters a group of twelve unusual children, who all repeat the same prophecy. She quickly realizes they’re actually shikigami, and not just any shikigami at that, but rather manifestations of the Twelve Heavenly Generals (十二神, jūnishin).

Why are the Twelve Heavenly Generals there, instead of performing the Medicine Buddha and engaging in other typical Heavenly General pursuits? That’s where Seimei’s wife comes in. It is revealed that Seimei sealed the Generals under the bridge because his wife was capable of seeing supernatural beings, including them, just like he was, but was afraid of them. As a result of Seimei’s ritual, hashiura performed there was guaranteed to result in receiving prophetic messages from the Twelve Heavenly Generals, even if they used passersby to convey it. The reference to supernatural powers is certainly interesting - in other literary texts a similar ability is enough for the protagonist to be granted the right to study onmyōdō (a good example is a Konjaku Monogatari story about Kamo no Yasunori’s childhood) - but the topic is not explored further.

Ichijō-modoribashi in 2005, with the shikigami statue on the left (wikimedia commons)

It’s worth noting that the story seemingly had a degree of influence on the surroundings of Ichijō-modoribashi bridge. Today there’s a statue of a shikigami next to it. However, he’s not one of the Twelve Heavenly Generals, but rather an anonymous critter who appears in medieval portraits of Seimei as his personal shikigami. Compare the two depictions below, courtesy of wikimedia commons:

As for Abe no Seimei Monogatari, as thrilling as the summary of Rika’s character sounds, she sadly receives very little spotlight. We don’t learn how she met Seimei, where she came from, or the circumstances of their marriage. No information from the Genpei Jōsuiki episode is referenced, either, and I think it’s safe to say the two takes on Seimei’s wife are independent from each other - though it’s not hard to find people treating them as the same character online. To be fair, it’s not like these sources are impossible to reconcile with each other.

Rika and Seimei are already married when she is mentioned for the first time, when Seimei leaves to China to study under Hakudō Shōnin. In his absence Dōman, who after losing a bet had to become his disciple earlier, conspires with Rika (to be fair, Seimei for whatever reason entrusted him with taking care of her in his absence). His goal is to gain insight into two books Seimei owns: the Kin’u Gyokuto Shū, written by Hakudō Shōnin, and the Hoki Naiden, brought to Japan by Kibi no Makibi. She shows him a box in which Seimei keeps them. He wastes no time and after figuring out how to open it studies both books and copies them.

When Seimei returns, Dōman offers him a wager. He claims that the books were revealed to him in a dream by the bodhisattva Monju, and suggests that he can prove it. Seimei, who does not believe in dream visions, and remains blissfully unaware of Rika’s actions in his absence, agrees, and says that Dōman can kill him if he really does have the books - that’s how implausible this scenario is to him. To his shock, his rival-turned-apprentice reveals the copies he prepared, and in accordance with their agreement kills him. Dōman then gets rid of everyone else in Seimei’s household by turning them into pieces of straw and wood - the only exception is Rika. The two become a couple; the narrator notes this is something he has desired for a long while already, though as far as I can tell the novel doesn’t mention it at any earlier point. We don’t really learn anything about Rika’s views on the matter, sadly.

Dōman’s triumph is short-lived. Through an omen, Hakudō Shōnin learns that Seimei has died and arrives in Japan to resurrect him and let him avenge his death. He visits Dōman and, in a mirror of the trick he played on Seimei earlier, gets him to agree that he should be killed if it turns out Seimei is alive. Seimei, alive and well thanks to Hakudō Shōnin’s magical abilities, promptly appears to complete this wager. Rika attempts to hide behind a curtain to avoid a similar fate, but this proves to be unsuccessful. While she doesn’t make a similar bargain with Hakudō Shōnin, the narrator states that this is ultimately a just outcome. Both conspirators are then buried near the bank of the Gojō River, and that’s basically it for their role in the story. Neither portrayal of Seimei’s wife gained much notoriety in later works. I would assume the fact that through the Edo period ultimately it was the story of his parents that captivated the audience was a factor (it would be hard to explore his own relationships if most new stories had him as a 5-year-old), but this is entirely speculative.

As for modern authors: Yumemakura Baku, whose novels about Seimei contributed towards the development of the “onmyōdō boom” in popculture, acknowledged in an interview that the historical Seimei presumably did have a wife, but said he has no plans to explore this topic.

Makuzu (bottom left) from Okano's adaptation of Yumemakura's novels (MELODY; reproduced here for educational purposes only)

This being said, the manga adaptation of his works by Okano Reiko apparently did introduce a character loosely based on her Genpei Jōsuiki portrayal named Makuzu (真葛). The reception of this addition appears to be mixed, but as I haven't read this series I won’t pass judgment. This being said, if the Makuzu subplot really does involve Seimei learning they’re the reincarnation of a pharaoh and his wife out of blue, let’s just say I think I’d rather stick to Yumemakura’s prose version.

I was also able to find a single modern work which actually features Rika: Onmyōji Abe no Seimei - Saishū Kessen (陰陽師 安倍晴明ー最終決戦; “Onmyōji Abe no Seimei - Final Battle”) a very loose stage play adaptation of Abe no Seimei Monogatari by the troupe Gesshoku Kageki Dan (月蝕華撃團). A recording from 2021 can be found on their youtube channel:

Additionally there are numerous photos of the costumes on their social media (a selection of my favorites: 1, 2, 3, 4, 5). Parts of the plot seem… very avant garde compared to the original, but I do like the actress portraying Seimei, Shiranaga Ayumi  (白永歩美), a lot. Note that Seimei isn’t supposed to be a woman here, though (this remains an idea largely exclusive to Fromsoft’s Kuon); this troupe’s performances pretty commonly involve actresses playing male roles, as I understand. Whether intentional or not, in this case it ends up as a neat parallel to men traditionally playing Kuzunoha in the Edo period and beyond.

Hakudō Shōnin

An illustration of Hakudō Shōnin from the Abe no Seimei Monogatari 

Given that I already brought up Hakudō Shōnin (伯道上人; sometimes translated as “Saint Hakudō”) multiple times, I don’t think it’s particularly shocking that I consider him another character who warrants more spotlight. At least one Edo period source, Jinrin Kinmō Zui (人倫訓蒙図彙; “Illustrated Dictionary of Different Kinds of People”) from 1690, seems to treat him as a historical figure. The entry on diviners (占師, uranaishi) states that Kamo no Yasunori brought Chinese divination methods originally invented by Fuxi to Japan, but also that Abe no Seimei was taught them by Hakudō Shōnin.  In reality, not only is Hakudō entirely fictitious, he didn’t even originate in China. In theory his name would be Bodao Shangren in Chinese - but no Chinese source actually mentions him. He is essentially a representation of the Japanese idea of what a Chinese Buddhist sage slash Daoist immortal (he is described as both simultaneously) would be like. In art he is seemingly generally portrayed in the garb of a monk. I’ve seen a single more unique depiction recently, but I was unable to verify its provenance:

It’s fair to say that in literature Hakudō Shōnin is portrayed as part ascetic, part onmyōji. This might seem unusual - after all, the historical Heian period onmyōji were essentially government officials not too different from other mid-level courtiers. However, Hakudō’s portrayal is not particularly outlandish - it reflects ideas about is onmyōji widespread in medieval sources. The fact that divinatory techniques associated with onmyōdō were often transmitted by shugenja - mountain ascetics - in this period is doubtlessly related, but I won’t pursue this point further here. 

As far as literature goes, the merging of onmyōdō and asceticism is evident in legends about the legendary sage Hōdō Shōnin (法道上人, Sanskrit Dharmamārga) or the historical Tendai monk Jōzō (浄蔵). In the Kojidan (古事談), compiled by Minamoto no Akikane (源顕兼) around 1212-1215, even Seimei himself is described as a hermit who gained mastery of onmyōdō by leading an ascetic life in in Kumano (a particularly favored location for such activities) for a thousand days.

Given that this image of Seimei doesn’t really reemerge in later sources, I’m admittedly curious if perhaps Hakudō wasn’t created to offer an indirect way to incorporate it into broader informal “Seimei canon” - so that instead of Seimei gaining knowledge through asceticism, he instead acquired it from an ascetic? This is entirely speculative on my part, though. Note that there might very well be older sources mentioning Hakudō than those I am aware of, which depending on date could instantly sink this proposal.

Stories involving Hakudō were already in circulation in the fourteenth century. An early example appears in the preface to Hoki Naiden. It describes him as a disciple of the bodhisattva Monju who after attaining enlightenment received the scroll Monju Sesshū Butsurekikyō (“Sutra of Buddha Calendar Assembled by Monju”) from him. He then brought it with him to China, where he came up with a new title for it, Hoki Naiden Kin’u Gyokuto Shū . Many years later Seimei learned about it from him, and made it the to-go point of reference for fellow onmyōji in Japan under its full title. It should be noted here that another tradition had Seimei himself as the author, though. In reality it was most likely only composed in the fourteenth century by a hitherto unidentified descendant of the historical Seimei (or at least someone who saw association with him as a source of own credibility), though.

The Hoki Naiden preface also states that Hakudō arrived in Japan after Seimei’s death to resurrect him. To that end he collected all his bones - “12 big bones and 360 small bones altogether” - and performed a special ritual. Noriko T. Reider notes that this passage resembles a number of legends involving a historical figure either trying to create a new living being out of bones or other body parts (Minamoto no Morofusa and Saigyō in two separate tales from the Senjūshō), or encountering a person created this way (Ki no Haseo in Haseo Zōshi). The difference is obviously that Hakudō brings a specific dead person to life instead of creating a new living being, and that the deed is portrayed firmly positively. Still, given that all of these stories have been composed roughly in the same time period, it does seem fair to say we’re dealing with different takes on the same motif.

It’s worth noting that while Hakudō Shōnin is essentially absent from modern Seimei media - presumably since Seimei is, true to historical sources, usually portrayed as a disciple of Kamo no Yasunori (or, alternatively, his father Kamo no Tadayuki) - in the middle ages he was famous enough to even be referenced in at least one variant of one the most famous medieval Japanese works possible, namely in the Ōeyama Ekotoba (大江山絵詞), a Muromachi period illustrated version of the Shuten Dōji legend. It puts a peculiar twist on the connection between him and Seimei, though. It is revealed that instead of being a disciple and a master, respectively, they are two incarnations of Ryūju Bosatsu (龍樹菩薩) - the bodhisattva form of the early Buddhist philosopher Nāgārjuna, venerated in Japan by the Shingon school. 

Hakudō encountering the bodhisattva Monju Both of the Hoki Naiden legends mentioned above were incorporated into Abe no Seimei Monogatari. An entire section of this novel is additionally dedicated to Hakudō’s early career and the origin of the Hoki Naiden. It states he was born during the reign of the Zhou dynasty (so he’s over a thousand years old - possibly nearly two thousand years old - by the time he meets Seimei), and that he initially lived in Jingshan. He tried to master yin, yang, earth and haven, but failed to do so. This prompted him to go on a journey, during which he encountered a supernatural youth - an incarnation of the bodhisattva Monju -  who informed him that his approach was wrong. He let Hakudō become his disciple on Mt. Wutai (however, in the Hoki-shō his studies take place in India instead). 

Under Monju’s guidance Hakudō managed to learn all of the mysteries he wanted to know, becoming a master of divination in the process. He also attained the rank of an arhat. He later returned to Jingshan, where he compiled the teachings of the bodhisattva revealed to him in 160 volumes.

Donfang Shuo (wikimedia commons)

Through the following centuries, Hakudō secretly revealed small snippets to various rulers and sages, including Jiang Ziya, Fan Li, Zhang Liang, Kong Anguo and Heshang Gong. The scrolls were eventually gifted to emperor Wu of Han, whose courtier Donfang Shuo (a veritable Han dynasty reneissance man) managed to become a great sage just by studying them (remember this detail, it will be relevant later).

As you can probably tell, the passage dealing with Seimei’s resurrection inspired the section of the story involving Rika, which I already summarized above.

Hōdō Shōnin in Abe no Seimei Monogatari As a side note, it’s worth pointing out that Abe no Seimei Monogatari also features Hōdō Shōnin in a small capacity. Somewhat confusingly, he is described both as a Daoist immortal and as a monk from India. Dōman claims to be his disciple to make himself appear greater than in reality, but in reality he merely inherited a book written by ancestor Ashiya no Suguri Kiyofuto (藍屋村主清太; as far as I know, a character invented for this novel), who encountered Hōdō Shōnin around 300 years prior to the events of the story. While this sounds like setting up further intentional parallels between him and Seimei, as far as I can tell it’s not implied that Hōdō and Hakudō were rivals, and the former otherwise appears chiefly in legends unrelated to Seimei - most commonly ones dealing with the foundation of Buddhist temples. It also needs to be noted that since this is a work following the traditional negative portrayal of Dōman, the narrator makes it clear that despite claiming to be Hōdō’s disciple and even dressing up like a monk (a possible allusion to the term for unofficial onmyōji I’ve already discussed, I assume?) he was impious and even committed unspecified crimes. Hakudō Shōnin also makes an appearance in Shinodazuma Tsurigitsune Tsuketari Abe no Seimei Shusshō. In this play Seimei meets him when he is ten years old. Hakudō gives him the Kin’u Gyokuto Shū. It is also revealed that in the past he met Seimei’s ancestor Abe no Nakamaro when the latter acted as an envoy in China. His resurrection ritual is also referenced: when in the final act of the play Dōman’s subordinates kill Seimei’s father Yasuna, he has to be resurrected using Hakudō Shōnin’s bone-gathering method. While as I already summarized earlier Yasuna’s final fate is quite similar in Ashiya Dōman Ōuchi Kagami, no reference is made to any Chinese sages - it’s just one of the many abilities young Seimei has already mastered.

Kibi no Makibi (and Abe no Nakamaro)

An Edo period portrait of Kibi no Makibi (wikimedia commons)

Unlike Rika, who you can at best call semi-historical (in that the real Seimei probably did have a wife) and Hakudō Shōnin, who is entirely fictitious, the final figure I’d like to introduce you to in this article, Kibi no Makibi (吉備真備; 695-775), was a real person. His accomplishments and postmortem career as a literary character would honestly be enough for a separate article - here I will only limit myself to a small handful of sources due to space constraints. Makibi famously traveled to China twice, first as a student and then as an ambassador, and between these two journeys spent around 20 years (around one fourth of his life!) on the mainland. He was considered unusually erudite, and was one of the foremost Japanese scholars of his era. Due to his renown he also held a number of prominent positions in the court, including the incredibly prestigious role of minister of the right (右大臣, udaijin); the only other scholar to ever attain this rank was Sugawara no Michizane.

Next to Seimei and Kamo no Yasunori, Makibi is also probably one of the most famous onmyōji in history - which is quite a feat given that he actually had next to nothing to do with onmyōdō in life. Early sources, such as Shoku Nihongi (797) and Miyoshi no Kiyoyuki’s (三善清行; 847-919) Iken Fūji Jūni Kajō (意見封事十二箇条, “Statement of Opinion on Twelve Matters”) agree that he was unusually skilled, and that in China he mastered many arts, including but not limited to Confucian classics, history, arithmetic, music, poetry, and calligraphy, but they don’t link him with onmyōdō at all.

It’s hard to tell when and why the shift in the perception of Makibi’s knowledge occurred, but he is already described as not just an onmyōji, but the founder of onmyōdō in Fujiwara no Akihira’s (藤原明衡; 989-1066) Shin Sarugōki (新猿楽記, “Account of the New Monkey Music”). Another example can be found in the Konjaku Monogatari, where Makibi is portrayed using his onmyōdō skills to pacify the vengeful spirit of Fujiwara no Hirotsugu. By the twelfth century, regarding Makibi as an onmyōji was common. This is evident in the works most relevant to this article, namely fictionalized accounts of his journey to China. The oldest of them, Kibi Nittō no Kan no Koto (吉備入唐の間の事, “Kibi’s Adventures in China”), is preserved in Ōe no Masafusa’s Gōdanshō (江談抄). A more vague account can be found in the Fusō Ryakki (扶桑略記, "Brief History of Fusang"), though it is likely a derivative of the Gōdanshō one.

Makibi (in black robes) and Chinese officials (all images from this scroll have been taken from the website of the Museum of Fine Arts Boston; reproduced here for educational purposes only)

Masafusa’s account of the journey also inspired the illustrated scroll Kibi Daijin Nittō Emaki (吉備大臣入唐絵巻, “Illustrated Adventures of Minister Kibi in China“), which was most likely commissioned by emperor Go-Shirakawa between the late 1170 and early 1180s. Like other similar contemporary works, Kibi Daijin Nittō Emaki has very little to do with historical reality. It relays that after arriving in China, Makibi was imprisoned by local officials, who feared that due to being exceptionally skilled he would make them look inept in comparison. To regain his freedom he had to overcome a series of trials.

Distinctly oni-like vengeful Nakamaro

Makibi's only ally is the vengeful spirit of Abe no Nakamaro (阿倍仲麻呂; 698-770). He is described as the previous ambassador. After a similar ordeal he died in captivity.

In reality, Nakamaro traveled to China alongside Makibi in 716. However, he was not an envoy, but merely a student who was allowed to join an official delegation. What is true is that he never returned to Japan. This was not the result of any nefarious plot, let alone premature death, though. He successfully completed the Chinese civil service exam and became an official. He did try to return to Japan in 735, but a storm left him shipwrecked at the coast of Annam (a part of modern Vietnam which at the time was a Chinese protectorate), and he opted to return to his career. He also attained some renown as a poet, and was on friendly terms with the poetic superstars of his times, Li Bai and Wang Wei. All around his real life was most likely happier than the story would indicate - though based on his surviving poetry it is safe to assume he did feel homesick in some capacity.

Nakamaro longing for home in Abe no Seimei Monogatari

Obviously, Kibi Daijin Nittō Emaki is a particularly extreme example of reinterpretation of Nakamaro’s life in literature postdating him. However, portrayals focused on his longing for a return home are quite common, and appear as early as in the Tosa Nikki (土佐日記, “Tosa Diary”) by Ki no Tsurayuki, completed around 935. It should be noted that by the tenth century or so, even venturing beyond the capital was commonly described as a daunting task, and dying in exile was one of the greatest fears for courtiers. Based on these developments, it can also be argued that the fictionalized portrayal of Nakamaro is an example of a phenomenon derived from these fears - the belief that people who died far away from home would return as vengeful ghosts. He could thus be considered a peer of the likes of Sugawara no Michizane or prince Sawara. The possibility that someone would move to a far off land voluntarily, and die there peacefully of natural causes, would probably be hard to grasp for late Heian audiences. 

Pacified Nakamaro (right) talking to Makibi (left)

Anyway, back to the story. Makibi’s captors are actually convinced that Nakamaro, who became a vengeful spirit and haunts the tower where the new envoy ends up imprisoned, will kill him. However, even though Nakamaro appears to Makibi in a fierce oni-like form, he ends up pacified through what might be an unusual ritual. Makibi informs him that he is in the presence of an official envoy, and as such needs to take a suitable form. This evidently works - through the rest of the scroll Nakamaro, now a staunch ally of Makibi, is depicted in the attire of a Japanese official, just with an unconventional distinctly orange skin tone. Makibi also learns that Nakamaro is concerned about his relatives, and reassures him that his entire clan is doing well.

Makibi and Nakamaro flying After surviving the encounter with Nakamaro, Makibi is informed that his trials are set to begin. The first of them involves learning the Wen Xuan (文選, “Selections of Refined Literature”). He is not familiar with this anthology, but using a secret art enabling him to fly he manages to secretly reach the imperial palace to listen to scholars reading it. In the illustrated version he masters flight himself, which is presumably meant to show he is in full control of the situation, and there is no genuine threat in his temporary captivity. However, in Masafusa’s forerunner it is Nakamaro who can fly, and Makibi relies on his help. Either way, the aerial journey is successful, and when a Chinese official appears to question Makibi, he reveals a copy of Wen Xuan he prepared in secret based on what he heard, thus completing the first challenge.

Makibi playing go The next day, Makibi is set to face a master of go. This might seem random, but playing it was a fairly standard part of diplomatic visits, and in fact in at least some cases envoys were selected based on their go skills. Makibi is unfamiliar with it, though, and has to learn the rules from Nakamaro. He quickly comes up with an ingenious, if unconventional, strategy. Initially neither side gains an advantage, but eventually Makibi notices an opportunity to use his secret gambit arises He swallows one of his opponent’s pieces, which lets him attain victory. A diviner informs the Chinese officials about this, and they tell Makibi to take a purgative to prove he was cheating, but he manages to counter its effects with his esoteric knowledge.

Makibi’s success infuriates the officials, and they decide that to hinder him they’ll try to starve him. He manages to overcome this hardship with the help of Nakamaro, who secretly brings him food every night. This continues for months, but eventually the time of another challenge comes.

A statue from Saiō-ji depicting Baozhi revealing his nature as an incarnation of the bodhisattva Avalokiteśvara (Kyoto National Museum; reproduced here for educational purposes only)

As it turns out, the officials decided to seek the help of a virtuous Buddhist monk, the Chan master Baozhi (宝志禅师; he actually lived during the reign of Wu of Liang, some 250 years before Makibi’s journey), who prepared a barrier meant to prevent supernatural beings from entering the palace where Makibi will be tested. This means that for the first time he will have to manage without any help from Nakamaro. His new task to interpret a complex poem, Yabatai (邪馬台). Its contents aren’t discussed in the story; it was a purported prophecy according to which Japan will undergo division and ultimately perish after the reign of the hundredth emperor. Needless to say, following the traditional order which includes mythical and legendary emperors, the prophecy evidently didn’t come to pass - Go-Komatsu was #100, Naruhito is #126. Makibi initially cannot even decipher a single sign. In despair, he prays to Sumiyoshi and Kannon of Hasedera. A spider miraculously appears, and moves across the text to help him read it properly. The gathered officials, as well as the Chinese emperor, are in awe. However, they don’t let Makibi return home, and once again lock him in the tower.

Shortly afterwards, Makibi is reunited with his ally Nakamaro, and enlists his help once more. He asks him to find a century old set of sugoroku paraphernalia. With the help of these tools, he causes an eclipse. The emperor learns about its cause from his diviners, and has his officials question Kibi. He claims that the only way to end the eclipse is to let him return to Japan. This time, they oblige, and the story ends. The forerunner preserved by Masafusa indicates that Makibi was also credited with bringing the Wen Xuan, the Yabatai and the game of go to Japan. In reality, go and Wen Xuan were already known in Japan before his journey. Meanwhile, according to the Edo period philosopher Hayashi Gahō Yabatai was most likely a hoax composed in Japan in the Heian period, even though it was held to be the work of Baozhi.

It is commonly assumed in scholarship that the story was meant to reflect somewhat xenophobic attitudes towards China or more broadly towards foreign lands prevalent at the time of its composition. While in Makibi’s and Nakamaro’s times sending envoys to China was relatively common, and Japanese emperors actively sought contact with their Chinese counterparts (though occasionally diplomatic correspondence could end up awkward as both sides aimed to present themselves as superior), with time similar journeys became less frequent, and started to be perceived as increasingly dangerous (to be fair - the risk of getting shipwrecked was genuinely fairly high). It might be significant that formal diplomacy resumed during the reign of Go-Shirakawa, though. It is distinctly possible that he saw this success as a parallel to Makibi’s legendary deeds, and commissioned an illustrated edition to basically congratulate himself.

An alternate proposal is that Kibi Daijin Nittō Emaki arose as a part of an onmyōdō feud between the Kamo and Abe clans. For what it’s worth, it does seem that despite earlier successful arrangements meant to guarantee a division of positions in the court both the Abe and the Kamo would be satisfied with, tensions arose between them during reigns of emperors Toba and Go-Shirakawa, so roughly at the time of its composition. However, the interpretation of the story as a product of this conflict rests on the argument that Makibi is portrayed as more clever and skilled than Nakamaro. This sort of power level discussion is not entirely rooted in the primary sources, where the two clearly work as a team. There are further problems with this interpretation, too.

An obvious issue is that while the link between Abe no Nakamaro and the Abe clan is self-explanatory, it is not exactly evident in which way Makibi would be a representation of the Kamo. It is sometimes claimed in scholarship that the Kamo clan claimed descent from him, but this appears to be an Edo period misconception. It’s most likely a result of confusion between Kamo no Kibimaro (鴨吉備麻呂), a member of the Kamo clan who also traveled to China (his journey occurred earlier, during the final years of the reign of Wu Zetian), and Makibi. No reference to a relation between Makibi and the Kamo can be found in the fourteenth century genealogical treatise Sonpi Bunmyaku (尊卑分脈; “Genealogical Branches of the High and the Low”), though. Kamo no Yasunori is essentially treated as the founder of this lineage. A further problem is that there’s no good reason to doubt that the scroll was prepared for emperor Go-Shirakawa - who himself favored the Abe clan, as evidenced by the esteem Abe no Yasuchika (安倍泰親) enjoyed in his court.

Kibi Daijin Nittō Emaki wasn’t commonly copied in the Kamakura and Muromachi periods, but portraying Makibi as an onmyōji only became more entrenched in literature over the middle ages. He was supposedly responsible for transmitting rituals focused on Tenkeisei (天刑星, “Star of Heavenly Punishment“; this deity was held to be a master of all shikigami, for more info see my previous article) alongside Kamo no Yasunori. In a local tradition from Mount Hiromine, he was credited with enabling the enshrinement of Gozu Tennō by making a pact with him during his journeys to China.

While the examples cited above were essentially new, the specific story illustrated in Kibi Daijin Nittō Emaki evidently wasn’t forgotten either. It regained popularity in the Edo period, as evidenced by its various new adaptations. These include works from various genres, such as Koikawa Harumachi’s novel Kibi no Nihon Jie (吉備能日本知恵, “Japanese Kibi’s Ingenuity”) or the kabuki play Kibi Daijin Shina Tan (吉備大臣支那譚, “Story of Minister Kibi in China”). However, from the perspective of this article what matters the most is that it was incorporated into Abe no Seimei Monogatari, thus firmly becoming a part of Seimei’s origin story.

A personification of Mars, as depicted in Sōkan’s Iconographic Drawings of the Secrets of the Nine Luminaries (public domain; via Metropolitan Museum of Art)

The novel introduces Abe no Nakamaro first, and reveals that he was the reincarnation of Dongfang Shuo (remember him?) and by extension of the planet Mars (sic). Since Dongfang Shuo was incredibly loyal to his country, it was only natural the same was true for his reincarnation. However, as Nakamaro was born in Japan, and not China, this was less than optimal in the specific situation he found himself in. After arriving in China as an envoy, he was imprisoned - as described in earlier works - because his actions were perceived as disrespectful. He dies in prison shortly after.

A year after Nakamaro’s ill fated journey, Kibi no Makibi arrives in China as the next envoy. The Chinese emperor, Xuanzong, is infuriated that the tribute he presented was inadequate, and considers executing him, but decides to give him a way out. If he can complete a series of trials, he will be allowed to return to Japan instead (inadequate tribute be damned). These overlap with the earlier versions, though the order is changed.

Makibi playing go in Abe no Seimei Monogatari

The first of the trials involves go. Makibi is set to face a master of this game, a certain Xiandang (玄東; Gentō in Japanese) in it. His opponent actually doesn’t have a name in any of the early accounts of his adventures in China; it seems this was an innovation of an abbreviated version from the Hoki-shō.

The fateful go match, as imagined by Kunisuda Utagawa; note the inclusion of Xiandang's wife (Egenolf Gallery; reproduced here for educational purposes only) The name evidently caught on, though, since in addition to Abe no Seimei Monogatari it also pops up in other Edo period works, such as the 1852 kabuki play Kin’u Gyokuto Wakoku no Irifune (金烏玉兎倭国入船, “The Golden Crow, the Jade Rabbit, and the Ship that Arrived from Japan”). The resolution also differs somewhat: Makibi learns go by secretly observing Xiandang, who plays it regularly with his wife at home. He wins two matches against him fair and square, without the need to eat any of the pieces.

A spider helps Makibi

The Wenxuan trial is next; it essentially goes the same as in Kibi Daijin Nittō Emaki. The Yabatai trial is altered slightly, though. For starters, Bao Zhi is not physically present - he is only referenced as the poem’s supposed author. The emperor selects it specifically because it’s uniquely difficult, and he can’t read it himself. Nakamaro learns about this, and tells Makibi the best solution might be to pray, which he promptly does. No reference is made to Sumiyoshi, but Kannon of Hasadera gets a more prominent role. Makibi’s devotion to this figure is stressed over and over again. The spider whose help lets him read Yabatai is explicitly identified as a manifestation of this bodhisattva, as well. Reading Yabatai is presented as a grand feat. The entire court cheers (a far cry from the excessively villainous portrayal of courtly officials in Kibi Daijin Niitō Emaki). Even the emperor is deeply moved by Makibi’s skill, and instead of simply letting him go back home as he initially intended he tells him that he can stay as long as he wants in China in order to study. This seems like an attempt at reconciling fictional portrayals of Makibi’s journey with historical reality - I must say I think it works pretty well.

In any case, Makibi accepts the offer, and spends a long time studying various arts in China, much like he did in real life. When he finally decides to return to Japan, Xuanzong bestows various gifts on him, including a variety of literary texts, musical instruments, relics of the Buddha, a robe made from the hide of a “fire-rat” (火鼠, huoshu in Chinese, kaso in Japanese; Makibi could thus complete at least one of the trials of princess Kaguya if he only met her) and, most importantly, the Hoki Naiden (presumably passed down from emperor to emperor, though the story doesn’t state it explicitly). He also ordered a thousand monks to pray to guarantee his voyage back home would be safe.

The Abe no Seimei Monogatari account of Makibi deeds doesn’t end here, in contrast with Kibi Daijin Nittō Emaki. He safely returns to Japan, and the emperor bestows prestigious positions upon him as a reward for his accomplishments in China. Many years later, as an elderly man, he starts feeling like he essentially ended up with a life that should’ve been Nakamaro’s, though (somewhat confusingly, Nakamaro makes no physical appearance after the trials), and decides to find his family. He is unsuccessful, and ultimately writes in his will that he wants his own descendants to seek Nakamaro’s to give them the Hoki Naiden. As it later turns out, they have fallen into poverty, and have no real use for this tome. It ends up hidden until the birth of Abe no Seimei many years later.

The same events are described differently in the Hoki-shō. Makibi acquires the Hoki Naiden basically through the same means as in Abe no Seimei Monogatari, but after returning from China he gives it to young Seimei, who is introduced as a descendant of Nakamaro. In reality, despite sharing the same family name Nakamaro and Seimei were not directly related, though (Abe no Seimei Monogatari approaches this issue slightly differently, by having Seimei be a reincarnation of Nakamaro,as revealed by Hakudō). Furthermore, comparing the dates of Makibi’s journey and Seimei’s birth makes any encounter between them chronologically awkward.

It seems in at least some other works Makibi had one more role to play in setting up Seimei’s career: supposedly Kuzunoha (or, at the very least, Shinoda Myōjin) could be portrayed as his reincarnation. The problem is, while I have no reason to doubt the authenticity of this tradition, I can’t pinpoint its original source for now - this is in part why this article took so long to release. 

More than once I’ve seen an assertion that it comes from a sekkyobushi, but as I outlined earlier, it seems no actual evidence for the existence of such an adaptation is available. Furthermore, the most prominent online source of this claim is seemingly a blog on which I also found posts uncritically discussing Hotsuma Tsutae and JJCAT - which doesn’t exactly fill me with optimism. In the article Kitsunenyōbō Ni Miru Ikai ― Futari no Kuzunoha Ga Deau Koto ― Atsuko Katō states that the notion of Shinoda Myōjin being a reincarnation of Kibi no Makibi comes from Abe no Seimei Monogatari, but either this is a mistake, or for some strange reason a scene was omitted in Nana Miyata’s recent German translation (Die Erzählungen vom Leben und Wirken des Divinationsmeisters Abe no Seimei); unless the reference is actually to be found in the supplement to Abe no Seimei Monogatari which had the form of a divination manual, which is left out of the translation. Finally, the Kuzunoha article from Japanese Wikipedia gives the source as Shinodazuma Tsurigitsune Tsuketari Abe no Seimei Shusshō, relying on an anthology of Edo period puppet plays from 1965, edited by Shigeru Yokoyama. Sadly, I can’t consult the full text of this work to verify. I’ll update this article if I ever manage to solve this conundrum. Until then, though, it must end on a slightly unsatisfying note. Bibliography Tumblr for some unfathomable reason didn't let me include a bibliography here, so sadly you have to visit a google doc to access it. I'm sorry.

[kiryoutann]

i wanted to rant about simon.

what do you think so far like what are your actual headcanons for the canon simon vs this simon from this series?

my feelings about the actual simon is quite vague. i've read far more fanfictions than bothering with the actual material so my picture of his is not really...constant? idk

but with this simon, he scares me. just to think about people that can engage in such romantic and sensual acts with little to no feeling involved.

or the mc's father. her dad makes me feel such an anger and injustice that i don't know how to express it and i know we probably won't get a satisfying update on him.

you don't like your wife fine i could understand the distance between them, but how can somebody forget their child no matter if they share the same blood or not, after all the time he raised her

leaving all that behind just to start a whole new life. how can that not eat somebody alive

OHH this is actually a good question. honestly for me, simon is probably one of the hardest character to write about because he doesn't give away too much. too calm. too know-it-all.

we're just gonna talk about the romance aspects!

but based on my head-canon of the canon simon, he has those younger years where he avoids romance, but not this actively and aggressively. it's more because he has too much on his plate (anger management issues, PTSD, depression) than because he think he's not good enough for some happiness (but he also doesn't expect/hope for it.)

canon younger (probably 6-7 years after he killed Roba) Simon lives his life without the need for things to turn out in certain ways. as he gets older (yes, the 2022/2023 ghost) and better mentally, he's become a little more open to the idea, though.

he's still not actively seeking romance, settling on one-nightstands and things that don't require any strings attached. however, he's not completely closed off to the idea too. if he has someone he likes AND TRUST (this is already a high wall to get over), he might act on it. but again, not really actively pursuing it and knows he doesn't need it.

and this might come as a surprise, but he's actually the biggest flirt out there—well, at least when it's only the two of you. when in front of his taskforce, he goes back to acting like he's the calm, collected, cool, stoic, scary lieutenant that everyone knows. can't have you ruin his reputation, right?

"it's private but not secret," with him. though it's not loud PDA, sometimes he lets his hands linger in places like your waist, your hips, shoulders. his love language is act of service, gift giving, physical touch—he makes sure to always appreciate you with compliments and love affirmations, but he's never really a man who's big on words.

WHILE THIS SIMON, hmmm.. he's a bit more complicated. and a mess. at some point, you can think of him as the younger version of canon simon we just talked about to simplify it, but even that's not really accurate considering the different ways they handle "all that sappy stuff" (as simon would say). this one actively and AGGRESIVELY avoids romance.

and while they both (my ver. of canon simon and this simon) sort to flings and one-nightstands, the canon simon is more careful and actually follows the boundaries he draws himself. while this simon outlines the boundaries, follows his rules until an interesting bird enters his orbit, violates them, and destroys them himself before he goes around saying "you read that wrong, darling."

NOW, ABOUT THE FATHER. . .

RIGHT! in my opinion, it's better for them to get a divorce actually and Dad still plays a role in MC's life rather than just leaving her. like, i know it'll still hurt the MC but, at least she can still have both of her parents even though in different houses! at least she doesn't have to feel neglected in her childhood.

okay, you hate someone you thought you would love forever, but abandoning your child? whose very existence was created because of you? talk about the Dad will come up in the sequel. hell, he'll even make an appearance with his two ballet loving new daughters. imagine how MC will feel.

sadly, this happens a lot in real life. fathers leaving and starting a new life without thinking about his "old" family. how people shame single mothers but never the absent fathers. people shame many women who have "daddy issues" or call them "fatherless" yet never call out men's incapability of being a real, PRESENT father.

[graementality]

behold?? my full interpretation on all of the main factors of CCCC!! I don't know what compelled me to write all this but here we are. (whoops this got LONGG)

enjoy!

[disclaimer that this is my own interpretation and, while I take alot from canon, some of it will be closer to the fanon side of things. ]

[disclaimer 2 that I get all writery in certain parts and essentially write "from the characters' perspective" so those bits aren't MY OWN opinions, it's what I think they would feel about certain things C:]

[disclaimer 3 that alot of this is me stating the obvious, aswell as making them out to seem quite horrible, I promise I love them all and while they do have many flaws, they have good moments too </3 uhh ok yeah don't kill me with rocks pls]

Heart

• first of all: Heart has a huge victim complex. whether intentionally or not, he will always play the victim- he can get quite emotionally manipulative in this sense too. It can never be his fault- "he was provoked" "the other deserved it" "the other started it" "I'm innocent I'm innocent I'm innocent."

• he *can be* immature. now this word gets thrown around alot by Mind but i think he's 'immature' not in the sense that he throws tantrums and can't be trusted and has nothing of importance to say like Mind thinks. he is in the way that he refuses to listen to others, refuses to take the blame, and can also be quite petty and has a tendency to blow up (sound familiar? yeah. Minds immature too, we love Heart Mind parallels).

• he is spiteful and impulsive, but can you blame him? he's constantly being belittled and fought against; of course he's gonna take any chance he can to get back at Mind- to show him how it feels- to make him finally *listen*.

• Heart constantly feels like no one listens to him, that he is the disregarded part bcus he's "uncontrollable and unruly". this obviously forms alot of built up resentment because no one is taking him seriously. I think he can switch alot between "I need to prove that I'm just as good as Mind, I'll show them." and "they're right, I'm violent and impulsive and I'm ruining our chances of becoming Whole.". as you'd expect- his mood swings are wild.

• he is Inherently violent and impulsive. nothing is premeditated- if he's angry, he'll act on it. he'll say and do whatever he thinks will get him out of a situation or will make the other person listen.

• just the same as Mind- he is under the full impression that his opinions on how Whole should be are correct. And of course there is truth in that, emotions are a necessary part of existence, but just like Mind, he doesn't understand the need for his other half's part aswell.

• I think he very much wallows in his depression. he finds it difficult not to, but when he's bad- he's bad. he takes after Whole in that sense. he will be selfish and cruel and will isolate. he will spend all his time in his room and will be significantly more vile to Mind. he gets very caught up in his own emotions and depression, which just enhances it. (that is until things start being better and they're on their way to concord ofc, they all start helping eachother and themselves again) (this sounds mean I promise I love him, sadly I love projecting onto him more)

• there's alot of negatives here for him being my favourite character but trust me he can be good too. He's excellent at comfort, he knows just how to make someone feel better when they need it. He's empathetic, he can read people's emotions with ease and because of this-is able to understand them. Every fight with Mind- he feels his anger and frustration just as much as his own, he knows Mind gets just as riled up as him when tipped over the edge. The same goes with Soul, he can feel Soul's anger like a looming threat when their fights escalate too far. He can feel Soul's guilt and and how he relishes in the control despite it. That is to say- Heart can be kind and caring too, when it counts. he's the love AND the hate; it just so happens that he's got ALOTT of things to be mad about in his life </3

Mind

• Mind is astronomically emotionally repressed, it is a problem. he views emotions as something that holds him and everyone back from rational thinking and being at their optimal performance levels. he doesn't allow himself to get caught up in emotions (this of course is a lie, and excludes his petty outbursts at Heart, those don't count).

• ^ so much to the point that he 'removes himself of everything humane and emotional' by replacing himself with mechanical parts. no I don't think that's canon but I love this headcanon and I will die on this hill.

• though he would deny it: he is very petty, and does enjoy provoking Heart whenever given the chance. (which of course Heart does aswell)

• he is a 'control freak' to his core. though it comes off as tyrannical, he truly does think he knows what's best for the Whole, and that's why he's so adamant on being the ruler. logic is straightforward, logic can be easily worked through and used to make optimal decisions, thinking clearly avoids all possible bad situations. logic is his mainstay, his rock. (If he were to let in the flood of repressed emotion, he wouldn't be able to handle it all, and would lose hold of his mainstay whilst desperately trying to stay grasped onto it. he would be scared and lost in it all without a way back up.)

• he hides behind his apathetic facade but he *does* feel and he *does* get angry and upset and scared- and he hates himself for it. he can't be seen as vulnerable, as weak. I don't think he even knows *how* to deal with emotions either. he's spent so much time shoving them down that when they finally all come back up, he genuinly doesn't know what to do, he panics, unable to use logic in a situation like this.

• he is stubborn as all hell.

• he is Whole's ego. he doesn't think he's ever good enough and yet pretends he's the best; he believes he's the best too- contradictory I know, they're all hypocrites /lh.

• despite all these sympathisable things, he *is* cold and he *is* cruel at times. just like Heart, he has his reasons, but that doesn't make his actions justified. (make up already you guys suck!!!!)

Soul

• sigghhh identity issues x1000; he doesn't know who he is or what he's meant to be. he isn't a real person, and what's worse, he isn't *Whole*.

• I think so much of his character is based around Whole rather than him being much of his own person. his identity is a mimicry of Whole, botched together to make the imperfect Self, always wrong, never perfect enough. he has spent his whole existence working towards becoming someone else that he's never once thought to make an identity of his own- it's all for Whole, he would be nothing without him.

• he does not want to have to hurt the other two but in the end, that's all they'll listen to. he mimics power and control. he doesn't want to hurt them- but what else does he have if not power over these two? he has no control over the loops, no power against Whole, he can't do anything to stop this in the grand scheme, so he exerts control in the only way he can. he (tries to) keeps them in line. there is a large amount of guilt around that though.

• he's actually a very guilty person in general, his existence is merely the happenstance of dissonance; he and the others are born from it. he is the hubris of his Whole's misery- how could he not feel guilty about his every motion and thought, his existence itself is made from anguish {his Whole's anguish}.

• he yearns for non-existence and existence simultaneously; he contradicts himself. he wants to be Whole, but at the same time he wants to co-exist with him, happily.

• overall he is tired, he is very very tired. he doesn't have much left in him and he'll do whatever is necessary to just make it *stop* at this point. I think even after cacophony ends and the fighting finally stops, he's still on edge. he flinches at every little sound and raised voice. he wakes up in the middle of the night thinking he heard the other two arguing again, he has nightmares. he's very paranoid at all times.

• during cacophony I feel like Heart and Mind are defintely dehumanised by him. whether subconsciously or not. they become the ids, rather than his fellow thirds. they're a problem he needs to fix, parasites he needs to be rid of. he wants to get along and trust them, truly, but he never can.

• touch starved. this needs no elaboration.

• he worships Whole, devotes himself to him. he thinks of him like a god, something holy and perfect and completely out of his reach. his whole identity and existence is built around becoming him, this places Whole as the epitome of perfection. he wishes he was able to be close to Whole, to know him- but that's impossible, and he thinks if he ever even got the chance to brush their hands together his body would explode at the heat of his divine touch. yeah listen to this freak, please be normal for once in your life Soul.

Whole

(disclaimer: this is the character Whole and is in no way how I view CJ!! they are completely seperate thank yew) -

• my entire perception of Whole is mismatched ideas I've collected from mutuals but a large portion of his personality is from 'live the dream'. so, just picture that version of Whole mixed in with the weird codependent god relationship with Soul and that's my Whole 👍

• he is selfish and hypocritical at his core, he's almost as guilt-ridden as his Soul.

• he knows he does bad things, to himself and others. he hates it, he regrets it, he feels guilty for it- but he will always come back and do it again.

• he lacks barely any form of self love- of course this is going to make it difficult for him to sympathise and love his little blots- *parts of himself*.

• he is (of course) suicidal, alot of his (self proclaimed) 'selfishness' stems from this; he can't help it but its true. he's spent so long only looking out for himself, in isolation, believing that everything he does is pointless- his actions are gonna be selfish, whether he likes it or not. hence- the loop; he continues to repeat it.

• he is a chronic liar, he lies to himself, he lies to HMS, he lies to his friends. sometimes harmlessly, sometimes Very Much Not. there are times he's sworn he won't restart the loop and believed it, but of course that never lasted very long.

• he's not good at maintaining relationships- with anyone. this is why he struggles so much with Soul's unwavering devotion to him. not only does he feel like he's not putting into their relationship as much as Soul is, but he also lives in constant fear that *it will end eventually*. Soul will realise what a bad person he is and abandon him, or he'll fuck something up on his own.

• Whole has religious trauma (two wuv), and because of this he is very uncomfortable with Soul's worshipping of him.

• despite this, he still leans into it; no one's ever adored him this fervently, without hesitation, he can't help but enjoy it at least a little. both him and Soul are touch starved as hell so, it's *alot*. It's easier when they're in the loops, when he's separated from them all, from their resentment and their love. he doesn't think he deserves anything but what he thinks of himself. so Soul's unwavering love and devotion throws him off, but who would he be to refuse such a scarce thing in his life?

The Juno Incident

• ok!! I like lot's of different interpretations of the Juno incident honestly, though the ones that align best with what I think happened are these:

• Heart missed, literally. his bullet did not hit Mind. I believe he had low vision (just like me fr!!) before being blinded fully after TJI and this of course made aiming difficult.

• ALTERNATIVELY, he *did* shoot Mind, and the bullet *did* hit. Whether that was in the throat or some other place idrk, it fluctuates.

• In both instances, I think it went like this: after Heart's shot, Mind was shocked, he was scared, ESPECIALLY if the bullet did actually hit. I think in that moment, he did not have his logic to rely on, emotion- shock, fear, betrayal, anger- all of it, took over. he probably couldn't move for a few *very long, agonising* minutes, he was shaking, he was trying to organise his thoughts to best approach the situation and *couldn't*. his smug demeanour was finally broken down and in that moment he was truly *weak* (which he resents both himself and Heart for every day).

• meanwhile Heart very quickly flips from seething hatred and anger to regret, he's a sobbing mess. he's also scared- partly for Mind (if the bullet hit), but mainly for himself, mainly of *Soul* and what the consequences will be. he starts hysterically apologising, not to anyone in particular, just whoever will listen. he immediately goes into defence mode- victim mode.

• when Soul gets to the scene it's a mix of emotions. he's mad, mostly, but also feels betrayed- this is going to impact Whole, this is a setback we can't come back from, how could they do this? but of course the first thing he has to do is help, mediate, punish- as always.

• when it comes to whether or not Soul blinded Heart, I'm not sure. I enjoy the interpretations where he does, but also the ones that don't. but I firmly believe that it was majorly Heart's doing (self inflicted whilst in Apathy which I'll elaborate more on soon).

• Soul still punishes Heart obviously. after realising that Heart isn't the one that's been hurt here, and is crying crocodile tears, he quickly makes his way to Mind, who is still trying to regain his composure. Heart is obviously still screaming and wailing, and Soul now has the full picture of what happened, he tears into Heart. he yells at him about how he's betrayed them, betrayed Whole, how he's broken everything. Heart just defends and defends, cries and cries, he doesn't want to face the consequences. Soul eventually sends him to Apathy, where he can't wreck anything else (except himself). This was maybe the first time they were all equally afraid of eachother. (It will happen again, and again, of course)

• after dealing with Heart, Soul tends to Mind, who is *very* averse to being looked after (he doesn't need his pity). But he is obviously Very Fucked Up and accepts the care anyway. cue weeks of recovery and PTSD.

Apathy

• Apathy is somewhere in headspace that no one knows how to get to, they just end up there when that is where they need to go. It's a long walk, or a short one; no one really knows when you end up underground, you just do.

• I picture it as something of a cave system but instead of rocks, it's made up of decay. It smells like dirt and rotting flesh, the walls squirm as if they were alive, the floors are covered in rotting vine-like things that crawl around you and pull you deeper into the pit. Its dark and agonising.

• Heart relies heavily on sound and touch, this place is a sensory nightmare for him to say the least. he can barely see, Apathy is unable to harbour sound, and everything around him makes him want to throw up.

• eventually his own actions, with the additional side effects of being somewhere so horrific all alone for so long- causes Heart to scratch out his eyes. I hc him as someone very prone to scratching and skin picking- it got a bit much here to say the least and that got taken out on his eyes.

• I imagine he was down there for at least a few weeks. at the max a little over a month. Soul is the one to come get him, Mind does not want to face him.

The Loop

• Whole purposefully restarts the loop. for quite awhile I stuck with the idea that the loop restarts itself, like when they start fighting again- as the cycle of depression does. and while I still believe that- I like Whole restarting it on purpose more :]. It gives not only the plot, but all of the characters so much more depth in my opinion. there's resentment, there's guilt, there's it's effects on relationships and relationships with oneself. It's just overall so horribly good.

• I mainly like the way things happen in 'live the dream'. as in: Whole gets tired of Being A Person, he doesn't want to exist anymore- so he sits down at his piano and begins his song to restart the loop; the loop that brings him to the peaceful realm of unconsciousness whilst his thirds go through hell once again. and when they finally reach concord, he's brought back to reality. and it repeats itself.

• regarding memories: Soul remembers the most, which isn't saying much but yk. his memories of the loop mainly consist of the main events (split, fighting, Juno incident, any other significant things). his memories aren't clear enough to ever prevent any of this though, he just has to live with the fact that he knows something bad is going to happen, and he can't do anything to stop it. even if he did manage to, the loop would find a way to make it happen anyway. (for example: he calms Heart down before he manages to shoot Mind. Soul thinks all is well but later that night he hears muffled yelling from one of the blots' rooms, he's annoyed for a moment- just another fight- until he hears a gunshot. It happened anyway, his efforts were fruitless.)

• Soul is aware they've been through many many loops. he doesn't know how many, but he knows they've been here for A Very Long Time. he's tired.

• Heart and Mind are..somewhat aware of the loop? I think during calamity and closer to concord they're able to remember better, but in the midst of cacophony, they might as well know nothing. the battle for control and constant warring prevents them from remembering they've been here before- and will be once more. It all feels familiar, they write it off as deja vu. alot of things happen because of their 'instincts', for example: Heart's first thought during The Fight with Mind is to grab the gun; he's never shot anyone before, so why'd the thought come up? well it's obviously the most efficient choice of action- it'll certainly get Mind to shut up and listen to you. <- and so the cycle repeats itself.

• on how many loops there have been. I think it comes and goes like the cycle of depression (obviously). I think they each last for a few months up to a year at a time, and concord lasts for roughly a few months aswell. however many of those fit into the time that Whole has been alive and struggling with depression is how many loops there have been.

done!! holy shit that's alot, over 3k to be exact. these ideas will probably change and fluctuate over time but it was nice to get it all down for now :] feel free to send me asks about my headcanons of these weird little bugs, I love them :33 !!!

[turtle-paced]

What kind of husband do you think Edmure Tully might make, (considering the rather low bar set by his fellow blueblooded men in canon)?

I mean, I think it's pretty hard to say given all the shit he's been through since the start of the series. If there are events that prompt someone to grow and/or change... yeah, Edmure's been through a bunch of them. The man we see at the start of the series is soft-hearted, but also rather rash and irresponsible. Who knows how Edmure reacts to everything he's been through since? His father's drawn-out death from cancer, his older sister's gruesome murder at Edmure's own wedding, the traumatic start to his marriage, lots of war and then captivity, Edmure's own mistakes. It's a long list of potentially character-defining stuff.

One thing I think is quite likely no matter what character development Edmure goes through is that I don't think he's likely to be faithful (if given the opportunity to be unfaithful - Lannister dungeons not being noted for their conjugal visitation schedules, or indeed anything but being terrible places to spend upwards of thirty seconds in). Catelyn notes that Edmure likes to go out and spend time with women; Edmure's society believes in "a man's needs". While Edmure might cut back on the whoring and wenching, I doubt he stops entirely just because he's married.

[kalinara]

So aside from the "Scott in a speedo" bit, (which I've seen folks dismiss as a joke, but honestly, never really sure how that works as joke that those two characters would make, but okay), there's one scene that, to me, makes the Throuple explicitly canon.

So these are two pages from X-Force #18. And it may be surprising to see me positively reference a Ben Percy comic, since his work generally isn't to my taste, but there you go.

So on its face, this is a pretty standard Ben Percy, Logan and Jean scene. There's some cute banter/flirtation and a bit of making out. Logan's theoretically got plans but he doesn't seem averse to some additional activity first.

But there's also a LOT to unpack here.

First: This cute makeout session is taking place on the Moon. You know, THAT Moon. In the Summer House. And Scott, as we see at the bottom, is physically present.

So if the impending make-out session hadn't been interrupted by Quentin Quire shenanigans, it might well have resulted in a trip to one of the bedrooms.

You know. The adjoining bedrooms. With no doors.

Second: Scott appears to be dressed for bed when he comes in. He asks Jean if she's coming to bed. Indicating that they likely had plans to sleep together, at least in the same bed.

Which means, Jean was making out with Logan right before she goes to bed with her husband. And again, if not for Quentin Quire's nonsense, it might have continued. Again, right before her plans to go to bed with her husband. The logical interpretation then is that her next step would likely have been to ask Logan to join them.

Third: As annoying as I've always found Logan's entitlement toward Jean to be, I generally think he's portrayed as too honorable to make out with a woman in the house she shares with her husband.

I note also that Scott's position in the doorway, and the lighting, makes it unlikely that he wouldn't have seen them making out before they pulled apart. He seems pretty unbothered.

Now naturally this only proves polyamory, but even if you go with the official stance that this is just a V situation, ne'er shall the penii touch. There's a lot of weird implied voyeurism here. Which leads to:

Fourth: Scott asks Jean if she's coming to bed. With Logan here. He wasn't present to hear Logan talk about vampires, so he doesn't really know if Logan is staying or leaving. Which means that he's happy sleeping with his wife, with Logan in an adjoining room with no door. (He's also a polite guy, he has to realize the next logical step would be Jean asking the man she's making out with to join them, he seems fine with that idea too.)

Even if they're not directly fucking, there's a three way relationship here. Personally, though, I'm taking this to mean they're all three fucking. It's just that the men are too...men to talk directly to each other about the whole thing.

[the-crooked-library]

I noticed something near the end of Dracula when Jonathan and Mina separate for a final time (so she can go to Dracula's castle), that a difference between Harker and Hutter is also near the end.

For context, several chapters earlier Jonathan gets two weapons “put these flowers round your neck”—here he handed to me a wreath of withered garlic blossoms—“for other enemies more mundane, this revolver and this knife;.

Then when Mina and Van Helsing are about to depart for their ride to the castle, Jonathan keeps the knife and gives the revolver to Mina. Even for me a large-bore revolver; Jonathan would not be happy unless I was armed like the rest.

I know the phallic analysis of the weapons in the book are overstated in scholarship but I think it's telling that Jonathan insists Mina to be armed with a big gun while he lets her go do what she wants without him. Thomas didn't arm her and likely wouldn't even it were suggested imo.

omg yes! That is definitely another detail that really stood out to me during my watch, and yet another reason I genuinely start getting annoyed whenever people conflate Thomas with Jonathan - because frankly, that is allowing Thomas to reap what Jonathan sowed, so to speak. I've seen a lot of people absolutely in love with him, and yet the traits they list as the reasons are none that he possesses; in fact, the great majority of them are in exact opposition to his canon personality, and this is one of them.

Don't get me wrong, I love Thomas as a character. I think he is quite sympathetic - and, on the Watsonian level, really trying his best; but at the same time, I think it is essential to acknowledge that he is deeply flawed, if only because on the Doylist level, these flaws are fundamental to his arc in the story. It is purely a question of structure and function; because, at the end of the day, he is a fictional character, and thus, a narrative component, rather than a person.

In this case, his choices prior to the vampire hunt provide the viewer with further evidence -> of an aspect of his characterization -> that acts as one of the driving forces behind the plot of Nosferatu. Specifically, he does not notice that Ellen is lying to him; he leaves her at home as he goes off to "fight"; he doesn't even consider arming her; and he does all these things because, even though he does care for Ellen, he never really thinks of her as a person.

Thomas doesn't notice that Ellen is lying, even though she is clearly nervous when she does it, because he doesn't know what she looks like when she's hiding something (I personally think it is because she masks around him, at least to some degree - throughout the film, he is uncomfortable every time she's honest). He doesn't bring her to the hunt because it doesn't occur to him that she could help with tracking down Orlok - despite him being aware now of her immense psychic abilities, despite Von Franz describing her as a native in a world he is only visiting. And, exactly as you said, he doesn't even think to leave her a weapon; because, even as he sets out on his "quest," even after she's told him of Orlok's obsession, even though the point of the hunt is apparently to "save" her, he doesn't consider the possibility of Orlok going after her.

Contrast that with Jonathan - who knows Mina so well that they can get concerned over three lines of writing, who works with Mina's brief psychic connection to Dracula in order to track him, and who arms Mina before the final fight, because he is not satisfied unless he can do everything in his power to ensure her safety. When it comes to their relationship, Mina's revolver, while not exactly phallic (seriously, why is that topic so overwrought?..), becomes a narrative symbol of his thoughtfulness.

The difference here is that, while Ellen is important to Thomas, this importance only extends insofar as she is his wife. He sees her as a responsibility, but never as herself; and, ultimately, he never actually considers her a factor that could conceivably affect his - or anyone's - decision-making. He plans their life without even asking what she wants from it, he neglects her emotional needs, and he leaves her like a sitting duck during the hunt, without a weapon or anyone to guard her. She continuously slips his mind, utterly inconsequential beyond whatever their surrounding society defines as her role and value; and Thomas, tragically, is unable to overcome this ingrained, rigid set of rules.

This is an essential aspect of his character - because, as stated previously, the plot wouldn't happen without it. If Thomas took Ellen's wants into consideration, he wouldn't have been so hell-bent on chasing a promotion, and he wouldn't have left her right after their honeymoon to go to another country, especially if she begged him to stay. If he knew her better, he would've picked up on the plan she made with Von Franz - or she would've told him!.. Most certainly, if he saw any real personhood in her, he wouldn't have dreamed of leaving her unarmed and undefended.

Nosferatu is about Ellen's continued systemic dehumanization. The point of the story is that every single human character contributes to it on some level, despite whatever love and best intentions they might have for her. It's about the inherent monstrousness of being othered by humanity, and Thomas is - inherently, narratively, crucially - human.

[average-mako-enjoyer]

I really don't want to sound like I'm trying to correct you or impose my view of the canon on you, that's not my intention. It's just one of the things I love about writing in Mass Effect, and it's really important to me personally.

These games definitely suffer from the "The Protagonist Is A Unique, Special Snowflake Chosen One Destined To Save The World" syndrome, and sometimes it's pretty lame, and sometimes it's so lame that I physically need it to be retconned somehow. But there are some clever narrative choices, and the way Shepard's squadmate arcs are tied into this Chosen One theme is one of them.

So Shepard has all these different dynamics with different characters. For them Shepard is a mentor figure, or just an employer, or a friend, or a partner in crime, or a mentee, or an older sibling, etc.

Some of Shepard's relationships change and deepen over the course of the trilogy, some stay the same, but what's interesting about all of this is that for no one, for none of these characters, is Shepard the center of the universe. Everyone has their own life apart from Shepard, everyone has their own goals that don't revolve around their relationship with Shepard, and that's a good thing.

Both Liara and Garrus do not fall apart after Shepard's death; they continue to pursue the goals they set for themselves over the course of ME1.

After Shepard's death, Garrus returns to C-Sec for a brief moment, but he has already tasted the freedom of the Spectre authority, so he cannot go back to being a cop. He's after all the ends-justify-the-means squadmate, the bragging-about-how-good-I-am-at-torturing-suspects squadmate, the violence-is-the-ultimate-solution-to-the-world's-problems squadmate, so of course he goes to the most unlawful place in the galaxy. Not because he's falling apart or because he's suicidal, but because he desperately wants to be a hero and a leader, and to not be constrained by the law. That's what he always wanted, long before he met Shepard.

Yes, Shepard definitely affected him on a personal level, he even tries to form his own Shepard's Squad (and pushes them too far), but he moves on.

Liara's arc is more nuanced, that's for sure. So we know that she's very driven, she can be very focused on a problem and systematically look for the solution. She is, after all, a Dr. T'Soni. She's also Benezia's daughter.

In ME1, Liara is a wallflower, right? She has her niche research, she goes on digs, she tries not to get involved in the politics, and then everything changes. She almost gets kidnapped by Saren, who wants both an expert on Prothean culture and a bargaining chip against Benezia, she realizes that her mother is involved with that lunatic, and she tries to rectify that somehow.

The ending of ME1 for her is avenging her mother. When you take her to the final mission against Saren, she's the one who shoots him in the head. And yeah, I think that drastic change and trauma breaks her a little bit. Also, Shepard was her first mind meld, and it all happened at a time when she was extremely vulnerable, so she gets a little too attached to them (I won't comment on this creative choice).

The armor under the glass thing is not healthy, it's not okay, but she hasn't fallen apart and she's not stuck. She's still Dr. T'Soni, she's an incredibly driven individual, she does an insane amount of work without Shepard, not even believing they could be resurrected.

What really happened with Shepard's squad after their death is just grief. They are all still living their lives, pursuing their goals, forming new relationships, but they are also grieving.

Grief for Shepard is not the driving force for any of them, and that's great.

Unromanced Kaidan/Ashley in ME2: I tried to move on after your death, Shepard, but I just couldn't. Your death broke me in more ways than you can imagine. Losing you was like losing a limb.

Fandom:

Just please exclude characters you never bothered to interact with or understand from your "analysis". You can just love the characters and not try to make those comparisons, really. You don't have to.

[1moreff-creator]

Imagine Project Eden's Garden Chapter 1 but the victim and killer are reversed.

Alright, I’ve imagined it. Thanks for the ask!-

Ok no, I’ll give a proper answer ‘cuz this seems like fun xD I ended up writing a lot more than I’d imagined damn.

Spoilers for P:EG CH1. CW: Murder, stabbing, manipulation, mention of hallucinogenics

I guess the first big question is how exactly we get to a position where Wolfgang actually wants to kill Eva, and presumably want to get away with it so that the trial doesn’t last only two seconds.

The option I’ll go with is to stick to canon for the most part; Wolfgang goes down to the boiler room at 8:15, and Eva ambushes him. However, in this hypothetical, Eva doesn’t manage to hit him with the rolling pin, and instead Wolfgang defends himself, stabbing her in the heart. He makes his escape, keeping the note he received about meeting in the boiler in his pocket.

He’s probably covered in blood by this point, so he’d probably try to make it back to his room without seeing anyone in the hall. Let’s say he manages to do that, changes, washes off the blood, and quickly hides the bloody clothes under his bed or something (no one’s gonna check his room this time ‘cuz he’s not dead). I’ll say he left the knife at the crime scene, though, ‘cuz why not.

Now, before we move on, I have to say that this is twisting Wolfgang’s character quite a bit. I think he’d feel bad about killing Eva, though he’d try to assure himself he’s in the right because Eva tried to kill him and that makes her the irredeemable murderer and not him, or something like that.

However, I’m really not sure he’d actually try to win the trial. Maybe he’d try to convince Tozu to let it slide because it was self-defense, but we know that wouldn’t fly, and I don’t think Wolfgang would push further. However, for the sake of the hypothetical, let’s say that Wolfgang’s ambitions of greatness push him to self-preservation at all costs, so he tries to win the trial. I think that’s also fairly possible, maybe.

With that established, let’s move on to body discovery! While the gaming crew would probably look around for Eva when they notice she never came to set stuff up, the first discoverer would likely be Diana, going to the boiler at 8:45 because of the note she received. She becomes a suspect because of that, but in the trial, Damon and a few others are quick to make the others turn their attention to the crime itself before pointing fingers.

That would also include Wolfgang himself, believe it or not. While Eva was decent at being a blackened, Wolfgang would probably be even better. So, what’s his strategy?

I think Wolfgang would try to spin a narrative that paints Eva as some form of hero. Since Diana was her roommate, he could argue that Eva managed to read the letter Diana received before the day of the murder, and that she may have gone down to the boiler room to case out the scene and make sure Diana wasn’t walking into a trap. He’d argue that the presence of the battery, the hallucinogenic (which I’ll say was already in the boiler room and Eva wasn’t carrying it around to facilitate some things), the extension cord in the vent, the taser, etc., all implied the killer had a more elaborate method in mind, before Eva walked in on them and started a fight. The presence of two weapons in the crime scene reinforce the idea of a fight.

Why would Wolfgang do all this? To get emotional. If he paints Eva as a fallen hero, he can pretend to despise her killer with the same intensity as he hated the killer from the prologue trial. He’d act melancholic about Eva, pretending to regret ostracizing her now that he knew she truly cared about Diana. He’d shout about how the killer deserves death, for trying to kill someone as nice as Diana, only to then kill the person who tried to protect her. It’s a compelling narrative, that the others would love to believe for its simplicity and emotional weight. Diana especially, since she’d love to believe Eva really cared that much about her.

But why? Why would Wolfgang do this? Because he desperately needs to convince one specific person not to speak. He needs to make one specific person believe in his innocence wholeheartedly, for if this person were to ever think Wolfgang might be the killer, then their testimony could end the trial in one fell swoop.

And that person is Toshiko.

Because Toshiko saw Wolfgang leave his room at a time close to the time of death, and he said he was going to the gaming tournament. Since he never showed up there despite being very clearly alive, that immediately casts doubt as to where he actually was, and then he’s cooked.

Grace’s testimony isn’t damning on its own; Wolfgang could have been genuinely sick in the morning, only to get better later. It’s only with Toshiko’s testimony that his sickness comes into doubt, after all. As for Ingrid hearing Toshiko and Wolfgang talk, Wolfgang could say that happened in his room and that Toshiko just saw him walking past, and Toshiko would go with that based on their agreement. That’s why Toshiko’s testimony is the most important here.

So, right as the investigation starts, Wolfgang would pull Toshiko aside, and tell her not to spill the beans. He’d come up with some excuse for his lie about where he was going (maybe he’d say he wanted to meet with someone to discuss the motive, and he was worried she’d try to eavesdrop), and ask her to hear out what he had to say in the trial before telling anyone else what had happened that morning. He’d tell her that her testimony would only confuse people, because there’s no way Wolfgang’s the killer, right? So don’t say anything. And she’d oblige, because everyone loves Wolfgang! No way he’s lying!

And once he gets the story about Eva being a hero going, Toshiko would probably convince herself that Wolfgang hates the killer too much to be the blackened, and would continue to oblige with the vow of silence, for a while. This is the main purpose of Wolfgang’s narrative.

As for who Wolfgang would push as the blackened, uh. It needs to be someone without an alibi at 8:15, so while Damon (the first possibility I thought of) is more or less on the table, it’d have been risky for him to leave when Kai was still asleep. I think going for Wenona would be Wolfgang’s best bet, as he could argue her cutthroat attitude as the Ultimate Entrepreneur would make her the likeliest to kill first. I’m assuming here Wenona’s alibi doesn’t stretch to 8:15 btw, but I’m not sure we know that for certain.

However, the blackened never wins. Wolfgang’s narrative would fall apart when Damon points out a glaring issue with his story; Eva’s tablet. Although they’d have no idea where the tablet came from, the fact is, Eva had it (uh, let’s say she was already carrying it around in her pocket okay?), not the blackened. This is a problem because it means Eva had no reason to go down to the boiler room to “case the scene,” as Wolfgang would be arguing. She’d just check the cameras.

From there, Damon is quick to realize that Eva herself was probably the one planning the crime with the battery, based on the rolling pin. While I doubt he’d want to figure out the entire mechanism behind Eva’s plan, he’d at least figure that using a rolling pin to knock someone out was more likely to be part of said plan than using a knife to do literally anything. That would further imply Eva was the one with the plan, and that the killer was the one who likely acted in self-defense.

With that established, the cast comes to the conclusion that Eva must have also sent the killer a card similar to the one Diana received, where Eva threatened them based on their secrets. This narrows down the possible killers to those who had never talked to the person who received their secret; based on this, we can eliminate Toshiko, Grace, Ingrid, Jean, and possibly a few others based on what conversations happened offscreen. Adding in the already discussed alibis, the suspects start getting narrowed down.

Because of that, Toshiko speaks up, saying there’s something she’s been keeping secret, but she isn’t sure she should anymore. This is probably where the logos/pathos path split is; Damon has to convince Toshiko to speak up either through a logical argument or by appealing to her emotions. Toshiko obliges, gives her testimony of her chat with Wolfgang in the morning, and also says he told her not to tell. There’s some angst here with Toshiko presumably being very scared while saying all of this, as she is betraying Wolfgang’s trust, but we’re kinda skipping that.

The cast starts freaking out here, obviously. Some are mad at Toshiko for concealing info, Ingrid’s defending her, people are trying to steer back the trial, some are saying Wolfgang’s the killer 100%, some are trying to say he couldn’t have possibly done it, all the bullshit. Wolfgang’s now trying to gun for Damon (let’s say Kai had talked to his person about his secret so we can rule him out), claiming his alibi isn’t good enough. However, Damon defends by bringing up that he can’t have washed off fast enough after a murder at 8:15 to then pretend to go back to sleep for Kai’s awakening at 8:30, at least when taking into account travel time between boiler and his room.

With all the secrets and the alibis, slowly Wolfgang starts seeming like the only real possibility. The Argument Altercation with him starts when he claims that Eva herself had had his secret, but she had asked him to keep that conversation secret at all costs, so he was just honoring her wishes. This would rule him out as stated before, but it’s obviously a desperate gamble that would only work if Eva genuinely had his secret, or if the person who had his secret didn’t call him out on it, but it’s all he has. The Argument Altercation ends with Damon epically revealing that he’s the one that received Wolfgang’s secret, and that he absolutely never talked to him about it. The trial doesn’t last very long after that.

The cast would obviously be devastated after this, because Eva tried to kill someone and Wolfgang not only killed her, but also wanted to kill everyone else to save himself. I think Wolfgang would end up trying to tell the others not to fall in the same pit of despair as he had when he realized what killing Eva meant. He hadn’t meant to kill her, after all, and he genuinely wanted (most of) the group to stay together. This leads to Diana doing the same chameleon speech as she did in canon, though with different wording and promises. Overall, it’s hard to talk about changes past this point, as we don’t even know how canon will go, but I imagine Damon’s, Diana’s and Toshiko’s character arcs would be greatly affected because of everything that happened. Damon would get worse if the others keep idolizing Wolfgang even after that (which could genuinely happen), Diana wouldn’t be using Wolfgang as a role model so much, and god fucking knows what kind of trust issues Toshiko would develop after all that.

That’s all from me, hope it was fun. Thanks for the ask, this was a really interesting thought exercise!

[obligateweirdo]

I think we’re nearing the end of a Golden Era. After the finale of Good Omens is released, we’re going to be on a different footing. It will wrapped, it will be complete. We will have a whole story.

Thus far we’ve been able to hope, fear, speculate and dream—those opportunities will change dramatically after the finale is released.

I’m feeling all kinds of ways about that—it’s been a heck of a ride. “Roller coaster” doesn’t do it justice. Despite the cracks and schisms that have appeared, the fandom remains a fairly friendly and wholesome place. I’m not a huge capital-F Fan; I’m not always obsessed with a story or a show (though I’m usually obsessed with something, be it crochet or raku). I’m not generally up on production schedules and don’t usually read about actors.

However, I’ve been in a few fandoms over the centuries, and I’ve seen them get much more toxic than this one is even now. I’m so grateful. Y’all are a fabulous crowd of angels and demons.

My deal is that I was pretty sure I was going to be disappointed with S3 from the beginning. The characters took root in my mind and, well, they’re mine now, the same way they’re yours, and, little by little, my head-canons have become real to me. This is normal for me—I figured I’d have to watch the whole thing a few times and see if my internal convictions would conform to whatever solution was offered to me. I don’t think I’ve ever gone from this point of the evolution of a story to the end without disappointment. That part hasn’t changed.

Because characters like Aziraphale and Crowley turn real, rather like the Velveteen Rabbit. They enter the company of mythological beings, along with King Arthur and Sherlock Holmes and Finn McCool, and there they will stay, an amalgam of thousands upon thousands of images of them in thousands upon thousands of minds. I love this for them.

But the finale will bring a sea-change, and we’ll be in a new era where all that goes forward is the mythology—and that will be a new jumping-off-point, but also the last foreseeable jumping off point we will have as a group. (A group of the thousands of us.)

I just want to say that I’m very glad to have been here in the Bentley for the ride through hellfire and tartan hills, and I’ll be here for at least a while longer, enjoying the view of the new countryside.

Heigh-ho, said Anthony Crowley.

[your-unfriendlyghost]

sodapop patrick curtis thoughts on my desk by the end of the week or ur DONE /j

How I feel about this character

  Uh like he’s perfect and should be my wife i think

  Nah but fr Soda’s one of my favorite characters ever. He’s sweet and all, but he’s so much more than that. Pony says he’s movie-star handsome, that he can go from gentle one minute to “blazing with anger” the next, that he gets drunk just on living, and understands everybody. Soda’s a Kerouac-style “mad one”- “mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes Awww!”

He’s a guy who’s sensitive but strong, a “bawl baby” who’s tough, he’s probably got ADHD and dyslexia, the school system failed him. His folks died and left him holding his brothers together by a thread. He’s pretty but not pretty enough for Sandy to stay. He might end up dying in Vietnam, and thank God that isn’t canon, but it’s still there. He’s happy to live life simply, behind a white picket fence with a wife and kids- hell, he’s thrilled to. But that’s not gonna happen, at least not for a while, because Soda is a tragedy. But he loves his brothers and his friends so much that he becomes a beacon of hope despite it all.

  I love Soda. Honestly, this barely scratches the surface of how I feel about him. I haven’t even touched on the adrenaline junkie stuff or the ways he’s sometimes so relatable to me that it hurts. 

All the people I ship romantically with this character

Steve, and sometimes Evie. 

  I’ve found I’m a friends-to-lovers enjoyer, so Stevepop scratches that part of my brain lol. To have someone who’s got your back through thick and thin, aware of your flaws but in spite of them- well, ain’t that the dream? The angst of it being the 60s makes it interesting to me too, because there’s a lot of ways to handle that. Man, when I first read the book I didn’t get the hype for them at all, but idk. It clicked. I get it now. 

  And then Steviepop is my roman empire lol. It’s all I love about Stevepop, but Evie adds even more complexity. I like her a lot and I love writing her, and I love writing her with characters who I also love. There is absolutely no canon anything to back this ship up. But dammit that’s the point of fandom.

  I will say though that I like exploring Soda’s dynamic with Sandy, but I don’t really ship them. I think the fact that Sandy left him (and I mean cheated on him, even if that can be read ambiguously) implies that there’s something about him that could be undesirable, romantically. I don’t mean cheating is good or that people deserve it, just that in this case, the idea that Soda’s an imperfect boyfriend adds layers to a character who is mostly just positives. We’ll never know Sandy’s POV on it, and I don’t think Soda will either. Sandypop to me will never have closure. That’s what makes it hurt so much. That’s what makes it relatable

My non-romantic OTP for this character

  I mean honestly? Steve. I know this isn’t really fair, since I like Stevepop and all, but idk, there’s no one else who I think it could be. 

  Steve’s a character who’s cocky and troubled and prone to assholeish-ness, but even he loves Soda. He knows about Sandy and gets angry on Soda’s behalf at Pony for mentioning her, which means Soda can tell him- angry, tough Steve Randle- about sensitive stuff. And Soda, who I think is a little in love with everyone he meets and could have anyone he wants, sees this bastard and sticks with him. He sees the parts of Steve that Pony can’t. Parts that make him worthy of being his best buddy.

It’s been said before, but no matter how you look at it, romantic or platonic, they’re each other’s person. I don’t think I could put anyone else in this slot.

My unpopular opinion about this character

 I have a few lol.

1- I see a lotta fics and takes where the whole “drunk on living” thing is a lie Soda feeds Ponyboy, and while I like that take, I do also think it’s totally possible and even plausible that Soda really doesn’t drink and Pony’s view of him (in that aspect) is right.

  I dunno, I mean, I know firsthand what it’s like to just get drunk on adrenaline/excitement. Adrenaline is a hell of a drug, and the rush from it is better than any other high I’ve had. Thrill rides make me act as stupid as someone drinking- when I’m excited, I lose all ability to filter thoughts or fight impulses. I’ve done all sorts of dumb moves- climbing onto tables, singing loudly without knowing or caring if it bothers people, play-fighting my buddies so hard we both get genuinely injured, standing up in a convertible going down the freeway... (This is obviously anecdotal and not real evidence or anything, but like, duh. This is an opinion piece lol.)

  I guess what I’m saying is that there’s a lot of interesting things that can still be done with a Soda who genuinely doesn’t drink. (Or at least not much.)

2- I love darker takes on Soda. I love when people dig into his addictive personality, his temper, his relationship with his looks/self image, all that stuff. I love his flaws, and I especially love when they co-exist with his earnest sweetness and genuine sensitivity. In a few of my fics, I’ve explored some slightly darker Sodas- Sodas who are impulsive, pent up, semi-narcissistic and occasionally manipulative. I haven’t delved deep into it or anything, and I usually keep his character wholesome, but I love it when other folks don’t. 

3- I actually really like the Vietnam War storyline. I mean it hurts, but it seems plausible. I hate the idea of him dying there, but I like exploring the idea of him being drafted. Hell, maybe he even enlisted. The military is known for being a good way to earn enough money to pull one’s family out of poverty, and this paired with the flawed ideas of masculinity and strength of the time lead to a really interesting version of Soda’s future.

  I’m real glad it isn’t canon though.

4- This isn’t technically unpopular but brown eyed Soda will always be canon to me. I like Rob Lowe’s Soda a lot but man….he coulda used brown contacts, yk? /hj lol

One thing I wish would happen / had happened with this character in canon.

Well I still think it’s a crime his emotional monologue got cut outta the original version of the film. Thank God for the full novel version, but man, still.

Woulda also have been cool to see him mentioned in That Was Then This is Now, but I get that SE Hinton wasn’t trying to make an Outsiders sequel really.

Idk, Soda served his purpose, I think. 

tl;dr- I love him

[luvo27]

just so we're clear: the reason i used so many words to describe the steph &/ cass relationship in the fic that does not exist is because the theme of that nonexistent fic is about the wonderfully complex nature of aspec relationships and how language serves and also fails to accurately describe them and the way that the world can try to impose a type of relationship in an attempt to either understand or make more palatable what is not something that can be easily understood, and so boiling it down to steph/cass or queerplatonic steph/cass or steph&cass would go against what i'm trying to do, even if the fic in question literally does not even exist. so why am i still talking about this nonexistent fic?

this is an excuse to talk about my feelings regarding aromantic and asexual representation on ao3. (note that i say on ao3, and not in fandom in general because this is me talking about my specific personal experiences, which mostly take place through ao3)

BIG DISCLAIMER THAT I WENT BACK AND ADDED IN BECUASE THIS WENT OFF THE RAILS: this is based on PERSONAL EXPERIENCE and FILLED WITH MY BIASES and was written IN A HAZE. (that being said this is something i've thought a lot about over months if not years.)

that tiny disclaimer aside, it goes without saying that fandom as a whole is primarily motivated by shipping, and so fanfiction on ao3 is primarily focused on shipping as well. shout out to this one time i was in high school and reading fic and someone asked (with good intentions) what ship i was reading for, and when i answered none, they asked (again, with good intentions,) what the point of doing that was. this, as you might imagine, made me feel weird to say the least! anyways, go on ao3 and the majority of fandoms will have an m/m pairing in the top most written. go into a small number of fandoms, and an f/m or f/f ship will hold the top spot. (femslash in fandom is a completely different topic) how many fandoms have platonic relationships at the top?

anyways i got curious so working off the knowledge that i have i did some quick looks at a handful of different fandom tags. fandoms which had platonic relationships at the most popular that i expected: dream smp and teenage mutant ninja turtles (all media types). honestly i was a little surprised to see that platonic relationships were at the top for both batman (all media types) and batman (comics), and I was expecting umbrella academy to have a platonic relationship at the top, but it was actually Dave/Klaus! in dr who and related fandoms, there aren't any platonic tags that break the top 10. and ohoho, here's where we get into it: dimension 20's top written relationship was fig/ayda, followed by riz/fabian in second place.

luvo, why did you say here's where we get into it? well, i just talked about the way that fandom focuses on shipping over platonic relationships, but i'm here to talk about aro/ace characters! in ao3's advanced search, if you look for fics with 'asexual' in any category, there are as of 1/7/2025 a total of 67,515 works. looking up 'aromantic' in any category whittles it down to 26,845 works. out of the over 14 million works posted on ao3? (number pulled from wikipedia) these are small numbers, but IT GETS BETTER. if you click on the AROMANTIC TAG, the top written relationship in the AROMANTIC TAG is a SLASH SHIP. (Alastor/Vox, Hazbin Hotel at 533 works.) sort fics under the aromantic tag by kudos, and the first fic under the gen category instead of m/m or multi is the 6th work down, and overall, gen works account for 6,950 out of 18,413 works under the aromantic tag.

my point being, only a small number of fics written with platonic relationships add to aro/ace rep in fic, and following that, when aro/ace characters ARE represented, it seems to be...how do i put this...typically with a shipping lens?

let's take a step back. I want to ask the question of how many canonically aromantic and/or characters exist. just. exist. wikipedia has a decently respectable list of asexual characters in fiction, as well as a much shorter list of aromantic characters in fiction. quick disclaimer that some medias are not represented such as podcasts (jon magnus archives?) or ttrpg shows (riz gukgak?)

what i will point your attention to is: how many of these characters are made explicitly aromantic or asexual within the text of their media? answer: not a lot of them. the majority of these characters have their sexualities confirmed in behind the scenes type things, such as Victor's (Arcane) voice actor saying he's asexual in an interview, Lilith (Owl House) confirmed asexual? or aromantic? over a charity livestream and twitter, Max (Miraculous Ladybug) confirmed asexual in a tweet, etc etc. kudos to Todd and Yolanda (Bojack Horseman) for being confirmed asexual in the media they're portrayed in! these all taken from the asexual characters page, the trend follows in the page about aromantic characters: namely, that if characters are aro/ace, typically explicit confirmation of these identities takes place outside of the media they're portrayed in.

why is that important? because without an explicit confirmation, it makes it a lot easier for denial of these identities to occur. yes, maybe it was the intention of the creators, but look. once a story leaves the author's hands, it belongs to the audience and intentions often have little to no bearing. additionally, if you're reading this then you probably understand that people will also deny coding characters as being gay or bisexual without an explicit onscreen kiss or declaration or some such. and why is this important?

putting the pieces together: characters can be confirmed as allo lgbtq+ through physical acts portrayed explicitly in their stories. characters who are aro/ace, well. more often than not, they can't. they're relegated to being coded as such, and confirmation, no matter how strong the coding, can often be easily ignored or possibly never even heard of.

do not get me wrong, I GET IT. Characters exist in settings where they don't have the word aromantic, or maybe it wouldn't be in character for them to say it as such. I UNDERSTAND COMPLETELY. one of my most popular fics i've posted is about Riz Gukgak and his struggle with internalized aphobia. the words aromantic or asexual do not appear ONCE in the fic. In the sequel, A COMPLETELY DIFFERENT CHARACTER has to say the words, and RIZ NEVER ACTUALLY CONFIRMS HIS IDENTITY. I UNDERSTAND THE STRUGGLE.

let's continue down the riz gukgak train. here are the facts: a sizable number of fans of dimension 20's fantasy high would say that riz gukgak is heavily aro/ace coded, with scenes such as:

making up a fake partner ("Clearly you haven't been kissed yet." ... "Actually, I'm dating somebody in the Baronies." Fantasy High Sophomore Year, Sophomore Start, 1:26:55)

being told that he is afraid of his friends leaving him for romantic relationships, (“The years will go by, and everyone will find someone that matters more to them than you do.” - Fantasy High Sophomore Year: Fearful Symmetry, 46:24)

telling his dad that he doesn't want to have sex ("yeah, I don't know... it just isn't happening yet? Like, not even just the act is not happening yet, like me wanting to do it." "It's not happening?" "It's not happening yet. And my friends are all like, [whispered] super horny." - Fantasy High Sophomore year, My Green Heaven, taken from a conversation around the 33 minute arc)

additionally, in an adventuring party episode of a spinoff series, the seven, Brennan Lee Mulligan says that Riz is asexual. ("...in a scene, Murph's character lies about having a partner, like a romantic partner, because Riz is ace, is asexual." - Adventuring party, season six episode eleven at 31:22 )

with all the love to my friends over in the d20 fic server for hunting these quotes down for me. truly my life is made all the better by the d20 fic community in a way that i will never know how to describe

here are some more facts! late march of 2024, with the release of the episode Baron's Game, I was lurking around the fhjy tag on tumblr. given the nature of the internet, there was discourse about riz and his identity, or his lack thereof. apologies to my d20 friends reading this who i love a lot, my rendition of a summary of said discourse follows below:

"if he's only coded to be aro/ace, that doesn't make him actually so. Brennan Lee Mulligan isn't the person who plays Riz, and him saying that he's ace is in behind the scenes content for a different show. Additionally, he only says that Riz is asexual, not aromantic. And even if Riz is aroace, aroace people can still be in romantic and sexual relationships, or a queerplatonic one!"

"why does it seem like everyone is ignoring the fact that riz is aroace? Kristen Applebee's sexuality (lesbian) would never be erased to ship her with a guy, so why are so many people doing it to Riz? Writing Riz in queerplatonic relationships is inaccurate because he's shown to be uninterested in relationships resembling anything like romantic ones, it seems like people are only interested in writing queerplatonic relationships as an excuse to write aromantic characters in the ship dynamic they want to," etc, etc. you get the gist.

let's get something straight about my stance on what people can and can't do with fictional characters: you can do literally whatever you want forever. ship riz in a romantic and sexual relationship. don't. whatever. i do not care. i do not care. he's not real. he's a fake character. he is a character. he exists for the audience to do literally whatever they want with him forever. i'll argue for someone's right to ship this character in whatever way they want. if they go down i go down with them-

ahem. sorry. my overall stance on fan creation crept into this thing that's supposed to be about how aro/ace characters are represented in fandom. whoops.

no, but let's talk about that. so, my personal interpretation of riz gukgak is that he's aroace and both romantically and sexually repulsed. i'm fairly confident in saying that my interpretation is supported by canon. some of my friends interpret riz and fabian seacaster's relationship as a queerplatonic one and they write fic about it, and i've read some it it, and i enjoyed it a lot!! and their interpretation is also supported by canon!! some people will interpret riz as simply being a late bloomer! or demi! or whatever! and guess what!!!! this will also have basis in canon!!!! gasp. shock. it's almost like stories exist for a wide variety of people to interpret them however they want to and i'm back to my philosophy on how we interpret stories in general stay on task luvo this is already too long.

so. recap. there aren't a lot of aro/ace characters who exist. often, their sexualities are reliant on coding due to the nature of the identity, and confirmation if it exists is often found behind the scenes instead of in the media. relatively, there isn't a lot of aro/ace fic on ao3. within that aro/ace fic, there's often relationships tagged with the typically romantic and/or sexual slash.

let's talk about aro/ace characters written in relationships of the romantic, sexual, and queerplatonic variety. mostly the queerplatonic variety. look, the thing is that sometimes it's easier to write a good story explicitly about being aro/ace if it's also a story about finding a queerplatonic relationship. sometimes it's easier to write a good story about being aro/ace if it's a story about finding a romantic and/or sexual relationship. writing the story comes down to the same reason so many aro/ace people struggle to find their identities in the first place: how do you find something that isn't there? sometimes, you do that by focusing on what is there.

let's keep going down this train. there aren't a lot of aro/ace characters. there are a hundred million different unique and complicated ways to have a romantic, sexual, queerplatonic, or straight up platonic relationship. Every single story written about aro/ace characters in relationships of any kind will resonate with someone, whether that's the person who wrote it, or someone who will read it. people write fic about characters in queerplatonic relationships that are exactly like what would generally be considered a conventional romantic relationship, and the only difference is that the characters refer to it as a queerplatonic relationship. thinking ungenerously, maybe this fic was written by an allo writer who just wanted to write a ship. The thing about fanfiction and its growing popularity, is that i would put money on the fact that this has happened, and at least one aspec reader stumbled upon it and their mind was blown and they felt seen.

the first fic i ever wrote with an aroace character tag was 1.8k words, posted over a year ago, and quite honestly i don't think it's very good. i wrote a second fic with the same character tagged as aroace again almost half a year ago, and again, not one of my personal favorites. but I got comments on those fics where someone felt seen, and were happy that they got to see this character be aroace, and were happy to see that this character got a happy ending, if a nontraditional one.

and remember when i brought up the slash fic under the aromantic tag? if you look under the tag Queerplatonic relationships, at the time i'm writing this there are 14,400 works. 5,941 of those are gen, the rest fall into m/m, f/f, m/f, multi, and other. the thing is, there isn't a signifier for queerplatonic relationships. a lot of the time to indicate one, authors on ao3 will use &, /, or a combination, or whatever. the fact of the matter is that the words romantic, platonic, and queerplatonic are doing so much work to carry such a wide variety of how a relationship is expressed, and even if there was a symbol to indicate queerplatonic relationships, (which there are in some places. the comic fan fiction author archive uses ~ to indicate qprs,) there are a hundred thousand different ways for qprs to look like.

um so. i started writing this like maybe 2 or 3 or more hours ago and i don't even know if i have or have ever had a point and this is extremely rambly and not organized in the slightest, but if i do have a point, it's something like:

there aren't a lot of aromantic characters. there aren't a lot of asexual characters. there aren't a lot of aro/ace coded characters. there definitely aren't enough to encompass the incomprehensible number of ways that people can experience or express their identities, and there are never going to be. the human experience is too wonderfully diverse for that, and it's too difficult to distill into the pitifully small vocabulary we have. my point might be to touch grass. by which i mean, don't like don't read, and remember that people are just that: people, with lives and worlds and perspectives of their own, and some of them you will never be able to understand, and sometimes you're not meant to understand them, and they are deserving of love regardless.

[11queensupreme11]

So…kinda depressing ask but Demeter’s recent death kind of had me wondering, especially since you mentioned in an ask once LONG ago—so long ago that’s it’s to the point I can’t even find it anymore 😭—that Poseidon wouldn’t kill his siblings just severely mutilate them.

((I’m assuming u totally ditched that when it came to Demeter’s death—which is totally fine cause either way it flows well with ur story and ur description of Poseidon because if Demeter is permanently dead it checks out because she took something from Poseidon that he would never forgive and he would see that as a betrayal which would, in his mind, justify the killing. And if she is still alive (although I don’t see how that could be possible- how can u stay alive when you’ve been…ripped apart 😭😂😅) but living like Adamas then that’s also possible since she is his sister and he’s spared his siblings before (adamas) after mutilating them of course.))

All that to say, it got me wondering. Could and/or would Poseidon or any of the other yans, if they ever became like SUPER (astronomical levels, really) upset with Percy. Result to…killing her? Could they?

yeah demeter is permanently dead, no coming back at all. no revival, no reincarnation, etc. i'm pretty much going the canon route on how deaths are handled! so in ror, when gods die they go to niflhel! same goes with the human souls in the after life (and by that, i mean, after dying in midgar, if they die again in helheim/valhalla, they go to niflhel)

in the ror wiki:

HOWEVER!!! the only difference is that in my fic, gods don't have souls. instead, they're made of divine essence. so for the sake of my fic, when a god dies, their divine essence is destroyed

so yeah, no coming back for demeter or zagreus 😅

as for ur other question.......

the yans absolutely CAN kill percy. ror characters are ridiculously op in terms of physicality, especially the gods cuz i gave them a huge buff. do you guys recall those brief lines i'd type up throughout previous chapters that are always something like "he gripped her arm so hard had it not been for the Curse of Achilles he would've snapped her bones" and stuff like that? yeah i was being fr, these gods can easily crush her to death on ACCIDENT 💀 it's the whole reason i set the story in-between pjo and hoo so she would still have the achilles curse! they're gods who don't interact with humans, they don't know how to be gentle 😭 even a high five could've ripped her hand off or shatter her lmaooo

as for cú chulainn, he's in the same boat (in terms of physicality). since i'm not going with canon (cuz it was too late for me lol), cú chulainn will be the "human with the strength of a god" kind of demigod, like what heracles was pre-ascension. so since he has the strength of a god, he could ALSO kill percy, HOWEVER. unlike the gods, he knows how to actually be careful so he has a lesser chance of actually killing her. the only issue is his ridiculously op gáe bulg which is canonically stated can't be "dodged nor guarded against". if ra and morrigan weren't fast or strong enough to dodge it, there's no damn way percy can 💀 again, the curse of achilles will save her here AS LONG AS SHE KEEPS HER FRONT FACING TOWARDS THE SPIKES. if she has her back to it..... 💀💀💀💀 but i can't see a scenario where he'll ever be so mad he uses that weapon on her.

also there's his freaky 👹goblin mode👹 thing i forgot to mention, but that hasn't been talked about in the manga yet and so far, from the myths, it just makes him more stronger and uncontrollable. if he were to get angry and get into ríastrad then yes, she'll be in a lot of danger 💀

so yes. the yans absolutely CAN kill her, but they won't ever be angry enough to actually want to murder her (excluding beelie's demonic destrudo ofc). the most likely scenario is that they accidentally kill her in a fit of rage. the gods have a higher chance of doing this, cuz they can literally just obliterate her or smite her without needing to even think that much.

[amaya-143]

Ive always kinda said that I'm a lot like mirabelle, and i am we act a lot alike, but I also feel i understand Siffrin in a way that goes beyond a reader perspective. I think part of the reason i not only relate, but love and understand Siffrin as a character is the way he processes trauma and his feelings around what hurts them. I'm obviously not a psychiatrist, nor am i waving my hand and saying 'Hey hey this fella has THIS i am DIAGNOSING' I'm more just kind of ranting about a character stuck in my brain a lot (along with Basil from omori, i could write about them forever). However i am throwing around a few terms just because that is MY own take on him. consider this a little disclaimer

Obviously, post canon is post canon for a reason WE KNOW NOTHING OFFICIAL ABOUT IT but. I feel as though i can imagine Post Canon Siffrin struggling with PTSD. And i know that's a term that kinda gets thrown around when a character goes through something traumatic, but i mean genuine Post Traumatic Stress Disorder. Not every major trauma causes it, but i strongly see Sif developing it post loops. Especially in one aspect. I know a lot of Post Canon Fics, especially Siffrin centric ones, tackle the idea of them having flashbacks or confusion, believing they're back in the loops and reciting the usual script again, and to me that makes sense. i agree. But something i think about a lot is Sif's take on his trauma.

There is no typical reaction or response to your trauma, and there is no set way to describe it, but i believe Siffrin to refer to his life surrounding his trauma as 'Before the loops' and 'After the loops'. This isn't a typical time travel game. LIFE DOESN'T JUST MOVE ON. Frin has experienced a trauma so catastrophic he now refers to things happening before or after the event. THE event. We can already see this happening ingame, when Siffrin Questions if he acted certain ways before the loops, When Mira asks him if they remember last week, the question about them enjoying the journey, Siffrin's inner dialouge says *You don't.*

Which, yeah, they've been in the loops for A WHILE. it makes sense they don't remember, I'm completely acknowledging that, but i think this could also be taken in a, the loops are siffrins whole life, way. its not just a 'wow time has passed and nobody else knows hahahha' moment its also a 'i have forgotten this thing because this event that is currently happening to me is taking up all my thoughts and energy'

Which thats all pretty obvious, right? My point of that is to say that i don't think that would just END after the loops. I don't think Siffrin would recover well at all. I think they'd have Ptsd for even years to come. Their life has literally been altered, yet again. You don't move on from that easy.

i was going to go all in depth about the way they respond to the idea of the loops and also how the north island trauma feeds into the fear of being forgotten but GOD knows ive been writing long enough

[facilitatingmyaddiction]

I need to be honest: I really hope Byler is endgame because Byler makes me hate Mike less.

This is a long rant, and this whole post is gonna sound full of vitriol, but BEAR WITH ME, I HAVE A POINT.

I hate Mike's character so much, the show does him so dirty, S3 was THE WORST and S4 was only better because of the Byler implications, because otherwise he still sucks

Allow me to rant after the cut before you guys jump onto me, ok?

He used to be the leader of the party, and in S3 he does NOTHING, and seasons 3 and 4 seem to go out of their way to show DUSTIN (my pookie, this kid is the GOAT, no one say NUTHIN' bout him) as the leader instead of Mike, which like, makes Mike kinda disappear into Mileven? He goes from leader of the party to El's only safe haven, and that bothers me so freaking much. It's a disservice to both their characters IMO. El gets stuck being the only one who can do anything to save the day, and Mike gets stuck being the only one who can be there for her. I don't think it is a coincidence that they get separated for most of S4, because I think if they were together the whole time, the plot would stop moving. Mileven in canon feels like being in a relationship just because you don't know what you would do if both of you weren't together, not because you actually like each other.

Now if Byler IS endgame, everything feels more cohesive. Mike is an asshole, yes, but not because that's who he is - he is an asshole because things are changing and he is hurting his best friend and he is really bothered by that but he doesn't know how to fix it. He avoids saying stuff not because he doesn't want to, but because it feels wrong and he doesn't understand how. He didn't want to play D&D with Will in S3, and he said it was because he was maturing, but as soon as he enters high school, he finds a D&D club and is super dedicated towards it. Lucas has his big game and Mike doesn't even think to negotiate with Eddie to move the last session around so they could all watch the game AND have the finale of the campaign - clearly D&D is, still, a huge priority for him, despite him being technically older and more mature now. Yes, he is still a dick for replacing Lucas at the last session, but this assholery puts his previous assholery ("Did you think we would be in my basement playing games the rest of our lives?") into a new perspective. He STILL cares about D&D, it is STILL super important for him. So why was he doing all that in S3? Makes you question, and that's good! Also very interesting how this priority only comes back once El is not around anymore. It's like he is back to his little bitchy S2 self, maybe trying to get back to the way he was back then.

S3 Mike is overprotective of El because, according to him, he "loves her and doesn't want to lose her". But, if my interpretation of Canon!Mileven is correct, he might be actually scared of what not being with her means for him. If Dustin is more of a party leader than he is, if he and Will are not on good terms, and he doesn't play D&D anymore, that means he's not Leader Of The Party Mike, nor Mike The DM, nor Will's Best Friend Mike. That leaves him as Protector of El Mike. So, he's overprotective, because that's who he's supposed to be, now, right? That's what having a girlfriend means, right? Lucas and Max are always together, and they are dating. So Mike should be there with her and for her, always. If El breaks up with him, who is he then?

So he fights to get her back. And since he's fighting to get her back, that probably means he loves her, right? When someone breaks up with you, and you still want them, no, NEED them back, that means you love them, right?

But then she leaves, and he can'tdo anything about it. And Will leaves, too. And suddenly, he's not missing the time he spent with El. Something feels wrong, and he's still a little bitch to everyone around him, but it's not because of EL. He talks to El, he writes her letters, they keep in touch. And he doesn't miss her. He should, because she's his girlfriend, and he's supposed to be missing her, so he complains about not being able to call her on the phone, but he doesn't try to solve that problem like he did in S2 when he didn't even know for sure if El was alive. S2 Mike would move the Earth to be able to talk to El. S4 Mike thinks just getting on a plane to see her in the summer is enough. A letter every once in a while instead of a phone call is enough. "From Mike." is enough. S4 Mike didn't implode while not having El, like he thought he would, so things change. He's not as protective anymore because he doesn't need to be. The last year was enough proof that he could still be who he is without El, so he has another angle to self-reflect.

If Byler is endgame, then S4 Mike being an asshole to El after she defended herself in the rink is less of him just being a shitty boyfriend and is instead him being mad at himself for neglecting his friends and his own self to take care of her when she truly doesn't need him, even without her powers - and then taking it out on El. He understands that he is pissed, he is prompted to make amends (iirc he didn't go talk to El out of his own volition, he just did it after he saw how Will was reacting to how bad he was treating El) and he can't. But he CAN make amends to the one he thinks he actually wronged: Will.

I hope we get to see a healthier (platonic) relationship between Mike and El in S5. I'd love to see Mike stop being the little asshole that he is after understanding himself a little better. It would put a nice bow in things because GOD MIKE YOU ARE SO ANNOYING AND SUCH A JERK RIGHT NOW.

[dkettchen]

I do enjoy dressing her entirely in canon outfits/cuts and the occasional top she's borrowed from nami and being like ye canon!sanji sure does own a pair of 3/4 pants with ballerina loafers he sure did wear that before with his whole cishet man ass and we didn't bat a single eye at it