#also yin and yang metaphor in there

[astarlightmonbebe]

but i realized i was wrong. i, too, was part of the game of control and being controlled. i was the skeleton puppet suspended by invisible strings. so i tried to struggle free, to cut the strings. but in the end i found what i thought was freedom was just falling into another layer of control…. what right does someone whose very memories have been altered have to talk about controlling their destiny?

[astra-ravana]

Ancient Alchemy

Alchemy is one of the oldest mystical and proto-scientific traditions, blending philosophy, chemistry, spirituality, and metaphysics. It was practiced across multiple civilizations, including Egypt, Greece, China, India, and the Islamic world, each contributing to its development.

⚗Origins and Evolution of Alchemy

Ancient Egypt & Hermetic Alchemy (c. 2000 BCE - 300 BCE)

• Egyptian priests practiced early alchemical processes, such as metal purification and embalming.

• Thoth, later known as Hermes Trismegistus, was considered the patron of alchemy, giving rise to the Hermetic Tradition.

• The Emerald Tablet, attributed to Hermes, introduced the concept of “As above, so below,” suggesting the microcosm reflects the macrocosm.

Greek and Hellenistic Alchemy (c. 300 BCE - 400 CE)

• Greek philosophers like Empedocles and Plato theorized about the four classical elements (earth, water, air, and fire) as the building blocks of reality.

• The idea of the Quintessence (Aether) emerged as a mystical fifth element.

• Alchemy merged with Gnosticism and early Christian mysticism.

Indian and Chinese Alchemy (c. 400 BCE - 1200 CE)

• Indian Alchemy (Rasasastra) focused on immortality and transforming metals into gold, with mercury playing a key role.

• Chinese Alchemy (Neidan & Waidan) aimed at achieving the Elixir of Immortality, focusing on both external substances (Waidan) and internal spiritual practices (Neidan).

• Daoist alchemists sought balance through the Yin-Yang and the Five Elements.

Islamic and Medieval European Alchemy (c. 700 CE - 1600 CE)

• The Islamic world preserved and expanded alchemical knowledge, with figures like Jabir ibn Hayyan (Geber), who systematized laboratory techniques.

• Alchemy entered medieval Europe through translations, inspiring figures such as Albertus Magnus, Roger Bacon, and Paracelsus.

• The quest for the Philosopher’s Stone—a mythical substance granting immortality and transmuting base metals into gold—became central.

Renaissance and Early Modern Alchemy (c. 1500 - 1700 CE)

• The fusion of alchemy and early chemistry occurred through figures like Isaac Newton and Robert Boyle.

• Paracelsus emphasized spagyric alchemy, focusing on the medicinal applications of alchemy rather than purely transmutational goals.

• The rise of the Rosicrucians and Freemasons kept alchemical philosophy alive in esoteric circles.

⚗Core Principles of Alchemy

The Three Alchemical Principles (Tria Prima – Paracelsus)

Alchemy posits that all matter consists of three essential principles:

• Sulfur (Soul) – Represents spirit, transformation, and the volatile aspects of existence.

• Mercury (Mind) – Symbolizes fluidity, adaptability, and the connection between spirit and body.

• Salt (Body) – Embodies physical form and stability.

⚗The Four Classical Elements

Alchemy works with the foundational elements of Earth, Water, Air, and Fire, believing these are essential to transmutation and spiritual purification.

The Magnum Opus (Great Work)

The process of transmutation was divided into four symbolic stages:

• Nigredo (Blackening) – Death, dissolution, and breaking down impurities.

• Albedo (Whitening) – Purification and enlightenment.

• Citrinitas (Yellowing) – Awakening and the infusion of divine light.

• Rubedo (Reddening) – Completion, the birth of the perfected being, or the Philosopher’s Stone.

⚗Applications of Alchemy

Physical & Material Alchemy (Transmutation & Chemistry)

• Attempting to turn lead into gold symbolized the refinement of base matter into perfection.

• Alchemists developed early chemical processes, including distillation, sublimation, and crystallization, laying the groundwork for modern chemistry.

• Gunpowder, acids, and medicinal compounds were discovered through alchemical experiments.

Spiritual & Mystical Alchemy

• Many saw alchemy as a metaphor for spiritual enlightenment—transforming the “lead” of the mundane self into the “gold” of the divine self.

• The Philosopher’s Stone was also symbolic of self-realization and immortality.

• Theurgy and Hermetic practices integrated alchemy with ritual magick to invoke higher states of consciousness.

Medicine & Healing (Alchemical Medicine – Spagyrics)

• Paracelsus introduced the idea that diseases could be cured by extracting the essence of plants and minerals.

• Early homeopathy and herbal medicine developed from these alchemical principles.

• Some alchemists sought longevity elixirs, believed to extend life or even grant immortality.

Psychological Alchemy (Carl Jung’s Interpretation)

• Carl Jung saw alchemy as a metaphor for psychological individuation, where the Magnum Opus represented self-integration.

• The shadow (Nigredo), anima/animus (Albedo), and self-realization (Rubedo) were psychological processes paralleling alchemical transformation.

Occult and Modern Esoteric Alchemy

• Alchemical concepts remain central in Hermeticism, Thelema, Rosicrucianism, and Freemasonry.

• The idea of internal alchemy is found in modern spiritual traditions, focusing on energy work, ascension, and self-deification.

⚗Legacy of Alchemy in the Modern World

• Chemistry & Pharmacology: Many laboratory techniques originated from alchemical practices.

• Spiritual Development: The concept of personal transformation remains a key theme in occult traditions.

• Symbolism & Psychology: Alchemy’s symbols and processes influence Jungian psychology and self-improvement methodologies.

Alchemy is far more than just the pursuit of gold—it is a science of transformation at all levels: material, spiritual, and psychological. From its ancient roots in Egypt and China to its esoteric revival in modern mysticism, alchemy continues to inspire those seeking wisdom, power, and enlightenment.

[sincerelyyuu]

"in the end, it's still you." p1. • gojo satoru & geto suguru

ˏˋ°•*⁀➷ synopsis: you thought having your two best friends satoru and suguru by your side was all that you needed to get through the rough times. but slowly you find satoru slipping through your fingers and suguru tries his hardest to help pick up the pieces of your wounded heart ➼ pairing: gojo satoru x fem!reader, geto suguru x fem!reader ➼ content/tw: angst angst angst, sfw, fluff if you squint, s2 spoilers, teen!gojo and teen!geto during jujutsu tech days, both boys are hopelessly in love with bestfriend!reader, pet names, reader is also a sorcerer in the same year and is unaware of their romantic feelings ➼ wc: 2.8K words ➼ a/n: my first jjk fic! let me know how i did ♡ ➼ part one, part two, part three

The life of a sorcerer isn’t for the faint hearted. You found yourself spending your days constantly training, pushing your physical body to its limit. The way your skin crawled from the constant bloodshed that came with every curse you exorcised. The constant criticisms that came from the people around you to become even stronger weighing heavily on your mind.

The pressure was beginning to take a huge toll on you. You felt like you as an individual didn’t matter, your thoughts and feelings deemed irrelevant all in the name of saving others.

However, there were always two people that always made you feel seen.

Gojo Satoru and Geto Suguru.

It all began when you were enrolled into Jujutsu High during your first year. Leaving behind the secluded town that you once called home, you were completely alone. Knowing what was expected from you, you were told that you were strictly here to become the strongest sorcerer you could be.

But fate had other plans for you. From the day you first stepped into the classroom, Satoru immediately gravitated to you. He knew you were strong and that there was more to you than meets the eye. You also peaked Suguru’s interest from the way you steeled yourself in an attempt to not reveal too much of your inner self. Somehow along the way through various missions and a multitude of adventures, the two men managed to crack away at your defenses and you found yourself in this trio of friendship. Wherever you went, they were right behind you.

Satoru and Suguru were like yin and yang, both physically and metaphorically. The white haired male carried an air of confidence wherever he went. He was the type to never take things too seriously unless truly necessary and he never failed to find ways to make you smile with corny jokes or embarrassing stories. Like that time he nearly burnt the dorm down trying to boil an egg (the reason why he’s banned from the kitchen and why Suguru is in charge of cooking meals).

Meanwhile, the raven haired male was the most level headed between you three. Every move and action he made was always thought through carefully. Although he didn’t necessarily encourage Satoru’s endless shenanigans (and by default yours as well as his), Suguru never hesitated to come to the rescue for you both. Life as a sorcerer didn’t seem so bad anymore if it meant having these two by your side.

Until you didn’t.

“Toru, let’s get dinner with Suguru!”

“Sorry sweets, I have a mission right after this but I’m all yours next time!”

“Hey man, are you still down for hanging at (y/n)’s dorm later?”

“Can’t. They’re sending me off to deal with this one curse they couldn’t handle. Luckily they have the strongest to handle it!”

The stronger Satoru became over the years, the more he went solo on missions, and the less time you found yourself seeing him. Instead of taking on missions as a trio, you found yourself more often going with just Suguru. Having him by your side made it a little easier, but you had to admit that you were missing Satoru’s presence. You could tell it was affecting Suguru too based on how quiet and reserved he was becoming.

“Toru?” you called, phone pressed to your ear. “Where are you? You were supposed to get back from your mission half an hour ago. The food is getting cold.”

“I don’t think I’ll be able to make it. This curse is taking longer to exorcise than expected. I’ll join you guys next time,” Satoru sighed over the call. He was on guard and in the middle of tracking down this special grade curse when you had called. But he never hesitated to drop everything for you even if he was in the middle of a dangerous mission.

“You said that last time…”

Satoru swore he felt his heart break listening to the disappointment in your voice. Guilt settled into his chest as he ran a tired hand through his snowy locks with a frown. If it were up to him, he’d abandon his mission in a heartbeat to be by your side but he knew he couldn’t. It killed him to know he was making you sad because you didn’t deserve that.

“I know. I’m sorry, sweets. I promise I’ll make it up to you and treat you to the best dinner you’ll ever have later. Say hi to Suguru for me, okay?” he responded softly, doing his best to soften the hurt you were feeling.

With a hum, you tried your best to sound happy over the phone. “I will. Just… come back safe, okay?”

“Always,” Satoru promised. With much restraint, he forced himself to hang up the phone.

With that, your arm fell limply at your side with your phone clenched tightly in your hand. Suguru watched the forced smile fall from your face, the disappointment evident as clear as day as you fell into a daze. Without you even saying anything, he knew his best friend had once again canceled plans. He knew that Satoru didn’t have a choice in the matter but it was still heartbreaking to see the effects that it had on you.

Suguru wasn’t blind. He suspected that your feelings for Satoru extended far beyond friendship, which made his own feelings for you that much worse knowing you were possibly in love with his best friend and not him.

You barely processed the way Suguru softly called out to you, only jumping in surprise when he placed a hand on your shoulder.

“Sorry, Sugu. I didn’t even see you walk over to me. Toru says hi,” you offered a small apologetic smile to the tall man who only smiled reassuringly to you.

“It’s okay. I’m sorry for scaring you. I take it that lunch will just be us?” he hummed, feeling his heart clench at your weak nod.

With a deep sigh, he opened his arms. “C’mere.”

Without a second to spare, you immediately wrapped your arms around him and buried your face into his sturdy chest. His cologne always had a way of grounding you, the scent of sandalwood and bergamot filling your senses. You didn’t realize how tense you were until you felt your body melt into his embrace. Suguru wrapped an arm around your middle and placed a gentle hand behind your head holding you close.

“You know he would be here if he could,” he consoled.

“I know. I just miss him a lot. It’s been so long since we last saw him since he’s constantly away on missions,” you mumbled against his chest.

“At least I’m here, right? Unless you hate my company,” he lightly joked in an attempt to make you feel better.

It seemed to have worked because you leaned back in his embrace with a chuckle and looked up with those kind eyes of yours. God, he loved your eyes. “I could never hate you, Sugu.”

Feeling his heart race with your words, Suguru gently patted the top of your head with a chuckle, “Good girl.”

You felt extremely lucky to have Suguru by your side. It seemed like he always knew the right words to say. You took a moment to take in his face and your expression immediately fell.

Amongst your sadness, you failed to realize how exhausted he looked. Hues of purple and blue lingered below his eyes like he didn’t sleep in days. He had some new scratches on his face, probably from the many missions he had taken on this week alone. His eyes, although warm at you, looked distant as if he wasn’t completely here. He had also lost a considerable amount of weight.

How selfish of you to see that you weren’t the only one struggling. You knew Riko’s and Haibara’s death greatly affected Suguru and you tried your best to support him. Perhaps you weren't trying hard enough.

“When was the last time you slept?” you frowned, brushing your fingers to gently grace over his eyebags.

Suguru felt his heart quicken at your touch, feeling his neck begin to warm. Coughing to clear his throat, he reached up to remove your hand from his face and gave it a gentle squeeze. “I slept last night.”

“For how long?” you pressed.

He gave a nonchalant shrug, holding his chin in pretend thought. “A few hours maybe.”

Your lips pressed into a thin line. You knew he was lying to probably make you feel better but it only worsened your worries. Huffing, you grabbed his hand and dragged him over to your bed before forcing him to lay down. You went to pack up the unforgotten lunch, neither of you having much of an appetite anymore.

“Sleep,” you ordered, peering over your shoulder at him with hands on your hips like a mother scolding her child. “Take a nap. I’ll wake you up later before we head out.”

“Only if you nap with me.”

Turning to look at the dark haired sorcerer in shock, he only smirked back in response as he laid on his back with one hand behind his head and the other extended to you in invitation.

You bit your lip. Was it appropriate to lie in bed with him, your best friend? You, Satoru and Suguru have had sleepovers before but they always insisted on you having the bed while they slept on the floor (although that didn’t stop Satoru from trying to share the bed with you anyway which usually ended with Suguru dragging his ass down).

Looking at Suguru, you knew he would never do anything to make you uncomfortable. Feeling the dull ache in your bones and your tired muscles weighing you down, your body moved on its own before gingerly laying next to him, your arms pressed firmly against your chest as you laid a few inches away from him to give him space.

Letting out an exaggerated yawn, Suguru suddenly pulled you tightly against him as you let out a small yelp in surprise. He placed a kiss on the top of your head, setting his chin on top before closing his eyes in content.

You felt your heart race at his actions, a gesture you were used to from him but suddenly felt much more intimate in this position. Taking a deep breath, you tried your best to focus on the steady rhythm of his heartbeat to calm the erratic pace of yours.

As a calm comfortable silence eventually ensued between you both, you found your thoughts drifting off to Satoru again. He had been gone for at least five days on this current mission. Was he eating well? Was he getting enough sleep? What if he was hurt? What if something happened and he needed help?

But you knew Satoru was too prideful to ask for help, insisting that he was the strongest and didn’t need anyone. It was true. He wasn’t called the strongest jujutsu sorcerer in the modern age for nothing. However, you refused to let him take on the world alone because… your world was better with him in it.

“Suguru…” you called out quietly in case he was already asleep.

“What is it, pretty?” he hummed in response. He hadn’t fallen asleep yet.

“Do you ever get tired of being a sorcerer?”

Slowly opening his eyes, Suguru shifted so that he was laying directly next to you. Now at eye level with you, he saw just how drained you were. The sparkle that usually glimmered brightly in your eyes had now reduced to a dull flicker. He hadn’t expect you to ask that question so out of the blue. Mentally, for some time he struggled with where his beliefs stood. What did it mean to be a sorcerer and most importantly, why?

“Because I do.”

It took a few seconds for him to register the words that left your mouth. He watched as you tried to blink away tears, your small hands clenching the front of his shirt within your fists as you looked away shamefully.

“I miss how we used to be back when I first came to Jujutsu High, before we got so busy. I miss when you, Satoru and I would sneak out the dorms to get that kikufuku that he likes. I miss going to that cute cat cafe in Tokyo, the one where the kittens love swatting at your hair. I miss going to the night markets and eating until we nearly pass out into food comas.”

“I know that it’s my moral duty to protect non-sorcerers. That’s why jujutsu sorcerers like us exist. But Sugu, it’s so hard. Everyday I feel like I’m losing myself because it's a constant cycle of wake up, train, exorcise, sleep and repeat. I know I don’t have to worry about Satoru because he can hold his own so I try my best to be strong. For him, for you, and for me. I have to be strong but how strong do I have to be before I can finally breathe?”

By the end of your vent, you didn’t realize you were crying. Watching you in so much distress made Suguru’s chest twist. He desperately wished he could take away all of your pain and worries. Pulling your head back into his chest, he let you fall apart in his arms, whispering sweet nothings and comforting words into your ear as your body shook with the intensity of your sobs. After some time, your crying dwindled down to soft little sniffles.

“Run away with me.”

Silence. Suguru felt you stiffen at his words and watched as your eyes morphed into confusion. Your grip on his shirt loosened as you tried to process if you had heard him right. Staring into his brown eyes with not an ounce of a smile on his lips, you realized he was dead serious.

“Suguru, you’re joking, right?” you stuttered in disbelief.

“Does it look like I’m joking?” he replied, brushing the hair away from your eyes that was still damp from your previous tears.

“Hear me out. What if we could create a world where there were no more cursed spirits? No more having to put your life on the line for weak humans who spend every minute of their lives in ignorant bliss while you shed blood, sweat and tears daily for the sake of their so-called humanity.”

Your eyebrows furrowed at the somber tone the conversation took on. You frowned, “How exactly do we plan to do that? Is a world like that even possible?”

“I believe it is. My only wish is that you just trust me. Come with me,” he pleaded.

Suguru placed his large hand over your two small ones that still rested on his chest and gave them a small squeeze. He watched the various emotions run through your face as your eyes tormented over his request. He wasn’t completely sure if you’d give in to him but he’ll be damned if he didn’t at least try.

You didn’t know how to feel. Suguru was basically throwing you a lifeline to start over fresh and build a new life, a happier and free one. But you also knew it’d be dangerous. The moment you both disappear, you knew they’d send people out to find you both at all costs. You would have to leave everything and everyone you know behind. Everyone… including Satoru.

As if reading your thoughts, Suguru felt a pang of jealousy hit him. Even now, your thoughts were preoccupied on someone else instead of the man before you who would give his life for you. He knew you were thinking of his best friend, Gojo Satoru, the only other person in this world that understood him best other than you. But this was the one thing that he knew Satoru wouldn’t understand.

“I know you’re worried about him. Think of it this way. If we go, you’ll be able to protect him and ease his burden as the strongest sorcerer. He’ll be able to live the free life he deserves,” he coaxed you. “Isn’t that what you want?”

You thought over his words carefully before responding with hesitance.

“Of course that’s what I want. But Suguru, you’re asking for a whole lot and betting our lives on ‘what if’s. How long have you been thinking about this?” you questioned, your voice laden in deep concern.

“A while now,” he sighed, unable to meet your gaze for a minute before softening his eyes back at you.

“You don’t have to give me an answer now. I’ll respect any decision you make no matter what. For now, sleep on it and we can talk more about it after this mission to whatever village they’re sending us to tonight.”

Thoughts still heavily weighing on your mind, you relented. “...Okay.”

…

Nothing could have prepared Satoru for the words that left Yaga’s mouth the next day.

“112 killed by a cursed spirit revealed to be the work of Geto Suguru’s curse manipulation. Geto Suguru is hereby sentenced to death. (l/n) (y/n) has been deemed an accomplice in the crime and hereby also sentenced to death.”

divider credit: @/saradika-graphics

[lovingdabeessss]

We don’t talk about how these scenes are parallels enough and I think that’s a crime

Like DUH it’s the first time they meet all together and then it’s the first time they all meet together AGAIN (like metaphorically due to how much they’ve changed it’s them meeting again like reintroducing themselves kinda thing which is so fun and insane and great)

And that’s all good and great for OVERALL analysis like it represents the tensions between them all the uncertainty but also how they’ve been through it before and the hope that they can do it again while simultaneously being dooming because it didn’t work out the first time why would it the second and blah blah blah

But that’s not what THIS is an analysis of I’m talking about THE BEESS specifically and how it’s SUCH an on the nose acknowledgment and representation of how they switch places and how they’re whole dynamic is as a whole like COME ON!!!!

So we’re all so very aware of how clearly Yang and Blake are supposed to be like yin and yang(obviously) their color thing with souls and eyes, the cat and dragon thing, they’re whole vibe, like. It’s SOOOOO obvious

SOOOOO obvious, I don’t need to go into that we all know this

But something not 100% glaringly Obvious about Yin and Yang as a concept is that they transform into each other night transforms to day, day into night they switch

And we watch as this happens with Blake and Yang

As Blake becomes mentally better Yang becomes mentally worse that’s pretty much all of v4-5

Blake is awkward trying to start up conversations immediately defending Yang at every turn desperately trying to have a relationship with her again not by asking or begging for forgiveness but by genuinely attempting to earn it by proving she can count on her that she’s not going to run anymore that she does care and understands(she doesn’t really with this part but she’s trying) her feelings

Yang is closed off she’s expecting the worst expecting Blake to be the same as before only allowing herself to be around Blake because she’s willing to go through how bad it was the first time again just to have a little bit more of her life spent with her but never because she actually thinks things will change

They switch dynamics

And this is shown SOOOO clearly and obviously in this scene

Additionally in the first episode when they all meet they have a different first meeting where all but one are there it’s Blake Weiss and ruby arguing about dust and all that fun stuff

We have that here to!! It’s the other!! reunion when Weiss and Yang show up at the house

But of course!!! Yang and Blake are swapped!! Instead of Blake explaining the terrible history of the schnee dust company it’s Yang explaining the history of ozpin lying to them all the time

THEYRE SO RAHHHHGGGGGGG

[caldera1000-7]

A Mysterious Thing Called "The Heart": Akutagawa’s Evolution in Bungo Stray Dogs and again not too detailed but a lot of THOUGHTS

In the latest chapters of Bungo Stray Dogs, Akutagawa Ryuunosuke’s character arc has reached a profound turning point (well it usually does, he has a slow and gradual and good development.) After losing his memories or so it seems, he only regains them in the wake of Atsushi’s self-sacrifice, an event that carries immense weight given their history. This development not only ties back to recurring themes in Akutagawa’s story but also resonates with Asagiri’s earlier work on him, particularly the short story The Heartless Cur. The significance of this title alone—"cur" referring to a stray dog, an outcast—echoes his core struggle with identity, worth, and the pursuit of strength. Now, with the latest manga title, A Mysterious Thing Called "The Heart", we see the final steps of this journey: the realization of what it means to protect, to be selfless, and to truly understand one’s own heart.

The Struggle for Worth: From The Heartless Cur to not quite understanding The Mysterious Heart

Akutagawa has long been plagued by the idea that only the strong have value. His harsh upbringing in the slums and Dazai’s ruthless mentorship reinforced this belief, leading him to adopt a mindset where power dictated one’s worth. The Heartless Cur explores this concept deeply, portraying Akutagawa as someone whose existence is defined by violence and survival. The title itself suggests a being without purpose beyond its primal instincts—an apt metaphor for the way Akutagawa saw himself.

Yet, in the present timeline, something shifts. Akutagawa’s repeated confrontations with Atsushi force him to acknowledge a different kind of strength—one rooted not in destruction and not just in protection, but from within oneself. This realization is crucial, as it reframes his view on what it means to live and fight, and importantly get rid of the Dazai obsession to which I am glad he lost that coat, which to me in a way is like the "watch" in beast for Atsushi. The title of the newest chapter, A Mysterious Thing Called "The Heart", directly contrasts his previous mindset. Where once he believed himself heartless, unworthy, and merely a weapon, he now finds himself understanding the weight of sacrifice, the worth of another’s life, and, ultimately, the meaning of his own (hopefully asagiri doesn't mess this up, but I believe in him so I'm sure all will turn out great just with a lot of lore dump and excessive plot armor with no deaths until wayyy later on. Ahem, but anyways.)

From Selfishness to Selflessness: The Parallel Between Akutagawa and Atsushi

One of the most striking aspects of Akutagawa’s sacrifice is how it mirrors Atsushi’s own. Both characters have operated on deeply ingrained selfish desires—Akutagawa seeking validation through strength, Atsushi yearning for affirmation that he deserves to live through saving. Now I know I mentioned this before, and I keep mentioning it, because to me its important to add. Their growth has always been intertwined, clashing and evolving through their battles. However, the defining moment of Akutagawa’s return to consciousness—when Atsushi sacrifices himself and repeats Akutagawa’s words—highlights a crucial transformation: their shift from selfishness to selflessness. In both of them in a way, even if Atsushi has put his life on the line to save others before it was not quite like he did here, without activating his ability (we're not sure if he really could or couldn't in the moment but lets add that here anyways.) to save Akutagawa at the expense of his own life and survival just as Akutagawa did for him, sacrificing his own life, his own selfish need for survival even if he stated he does not mind death for the knowing the value of anothers' life. I know I said this before too but just let me write.

It’s a moment of complete reversal and similarity as these Yin-Yang boys have always shown, proving that the rival enemies have truly come to understand each other. Akutagawa regaining his memories at this precise moment reinforces the idea that it was just that big of a deal and how impactful his own sacrifice and development was and it shows the same for Atsushi.

The Role of Rashomon: A Shield and a Blade

Rashomon has always been more than just an offensive ability. While it is known for its terrifying destructive power, its defensive capabilities reveal another side of Akutagawa’s character. This duality—destruction and protection—mirrors his own self. Initially, he wielded Rashomon purely as a weapon of aggression, but as he evolved, so too did his ability’s purpose. When he shields not just Rashomon shielding himself but when he raises his blade for others, this is a huge change - though I believe Knight Aku has much to explain especially I hope asagiri tells us if this is a singularity of bram and akutagawa or not. Which may take months. 

This theme of protection is not new. In 55 Minutes, after dying in flames, Akutagawa retained memories that should have been erased—a testament to how deeply certain experiences impact him. Likewise, in his vampire state, he still exhibited a sense of control, sparing Aya and ultimately keeping his promise despite being under mind control. Now I know when it said the heartless dog/emotionless child felt emotion for the first time it was hatred before going on that killing spree. But after all this it does show. These moments underscore a crucial truth: Akutagawa has always had a heart, even when he believed himself heartless or is shown to be.  (I will write more on this in another post, I know I keep saying that too, but it will happen and it will have to do with an interesting thing of Akutagawa's character being written and possibly shown in the "Rashomon Effect" you can research it if you don't know it already.)

The Weight of Words: From the Trembling Dark World

Akutagawa’s theme song, From the Trembling Dark World, captures the essence of his character’s struggles at least what they used to be. The lyrics paint a picture of someone who has always been fighting—against the world, against himself, against the fear of being weak:

"A longing as strong as 

A reason to live even when I’m unable to breathe

From the trembling dark world, always." It may not specifically be his reason to live but this says its "a longing as strong as a reason to live." This reflects the pain and determination that have defined his journey. The idea of pressing forward despite suffering is central to his story, but not just that but it shows just how important again that longing for approval and to be told he is strong and worthy to live is, which we all know funnily enough is what he mocked atsushi for before. Though they are so the same and different and I could go on forever about every little detail of their sentences to each other but not now, unfortunately. Another significant line is:

"Unreachable no matter how much I writhe."

Dazai’s influence is evident here (when is it not when it comes to Akutagawa?). Akutagawa was shaped by the expectation that he had to be strong to matter, that to stop moving forward was to be left behind. Yet, the lyrics also suggest a yearning for something beyond this endless struggle.

The song’s repetitive line is particularly poignant:

"Weak, weak and it's not enough."

This shows us a lot, or well kind of, within the last chapter in the manga and besides his endless yearning for strength and Dazais acknowledgement which is meant by this line in the song back probably around 8 or more years ago... His willingness to die not for power or recognition but for someone else’s survival is the ultimate proof that he has changed. The once "heartless cur" has found his heart—not in words, but in action. Funnily enough before he died he had a nice conversation with Fukuchi on what his last words would be, and he said he prefers actions, but what do we get... "Away with you...you fool." 

Lets also not forget how important this cycles and webs are of connection, manipulation, abuse etc. But considering that, remember how Akutagawa threatened Kyouka with getting thrown into a dark world/slums? How he described it... Well I need to re-read and get a better perspective or coherent thoughts on it but I'm sure it was said that Dazai threatened him with the same thing, to be sent back if he didn't do good. Which would of course make Akutagawa all the more "grateful" for being taken in and trained to be "strong" because like he's seen all his life only the strong survive, and the worthy get to live at the "top" of the world. Its funny how this kind of even gets added into his likes as the things he likes are very refined so to say, to show he is no longer down there. But I see how Dazai probably saw a piece of himself in Akutagawa, killing, empty eyes, looking for a reason to live - and decided to try and give him one in the way he knew too. At that time Dazai was in the Port Mafia he was a very different Dazai from the ADA one, his methods and his ideas...all quite different that its obvious what happened there with him and Akutagawa. And how Akutagawa saw himself in Kyoula (interesting she was 11 or around there when she joined wasn't it or was it 12-13? similarly to when dazai found Akutagawa) he said he saw the same eyes he knows, because he too had the same eyes. But now she has found the light, and a reason for living besides killing, a place to belong that doesn't hurt her constantly. (While he got that yes, but the place he belonged was void of the person he was waiting for approval from, and it definitely did not help in his mental state and health or help him much in any ways as the ADA did for Kyouka as we see his eyes are still the same, dark but now with determination.

Also a random mention to later chapters just because Akutagawas eyes are important to me (as everything in his character is important to me.) 

And perhaps, in the end, he was never truly heartless—he just needed someone to remind him that his heart was always there, waiting to be acknowledged. Kind of like Yosano who was used for her ability, but never had her kindness acknowledged until Ranpo invited her to the Agency. 

(Also random thing to add but I enjoy canon way too much to consume too much fanon content so I prefer keeping away most of the time so I can keep my thoughts and theories/analysis of things clear and to do with canon so things don't get blurred or messed up or have mischaracterization or information errors. But if you do find any or have anything to say about it please do.)

I wrote before about his eyes in another post probably twice or more times as I always like mentioning it... But just to add:

On a side note I feel like Harukawa was talking about Tanizaki who we know will soon probably have more relevance with Naomi or something.

His eyes always turn completely dark. And he was said to be good enough to be in the mafia before. Not to mention when Yosano said she wouldn't go back he offered to go. And reading back Harukawa said that mostly those in the PM are like this. But anyways. Hope the rambling ended up alright, I'll end the series of thoughts and analyzing for now.

~ Hope your brain isn't as fried as mine, end of The Akutagawa Fan, Charkoala, Caldera posting until the next few hours.

[mirror-and-mind]

Why is the 2000s Kusuriuri called Ri and the one in the latest movie called Kon?

I watched the series before and recently finished the movie, I know that Kon mentioned the 64 guardians so I get that the story has more guardians who do the same job besides him, but I still don't know why those are their names? Is it fandom's names or Canon?

Overall I love Mononoke and I'm so glad for the Movie!

The short answer is that the director of both the series and the movie released a YouTube video and story bible pages, and in those, he revealed that the first Medicine Seller's sword is named Ri and the second Medicine Seller's sword is named Kon (or Kun). The fandom has effectively named the Medicine Sellers after their swords.

Here's the long answer:

The system of the Medicine Sellers and their swords is based on an ancient Chinese text called the I Ching, or the Book of Changes. In the I Ching, the elements of the world and the changes that take place in it are defined by eight Trigrams (the bagua) and 64 hexagrams. The eight Trigrams are represented by three lines each, hence the name "Trigram." Here are the eight symbols:

☰ ☱ ☲ ☳ ☴ ☵ ☶ ☷

The solid lines are "yang" lines, and the broken lines are "yin" lines. In the order shown, the Trigrams' names are:

Qian (Heaven Trigram)

Dui (Lake Trigram)

Li, or Ri (Fire Trigram)

Zhen (Thunder Trigram)

Xun (Wind Trigram)

Kan (Water Trigram)

Gen (Mountain Trigram)

Kun, or Kon (Earth Trigram)

The Fire (Ri) and Earth (Kon) Trigrams are the swords of our two Medicine Sellers. In the movie, the second Medicine Seller introduces his sword as Kon:

Obviously, this is not the translation Netflix provides, either because they couldn't correctly translate the terminology or because they chose not to. I modified these subs to use more accurate language based on a translation provided by @kastellaran, who also translated both of the story bible pages Director Nakamura released. [page 1] [page 2]

[Note: The term "Shuuga" is not from the I Ching, and seems to be something Director Nakamura invented specifically for the Mononoke universe. The second story bible page explains more about it, but you don't need to grasp it to understand the I Ching stuff.]

The "64 guardians," or the Medicine Sellers, are the 64 hexagrams in the I Ching. Each hexagram is created by stacking two Trigrams—hence the name "hexagram"—yielding 64 recombinations. For example:

䷃ ䷎ ䷛ ... [Wikipedia has a complete list.]

In the I Ching, the entry for each hexagram describes changes occurring in the lives of human beings and how to respond to them. Those descriptions are the basis for the text's traditional use in divination practices.

So, in short, the Medicine Sellers and their actions are metaphors for how the I Ching describes the 64 hexagrams, and their swords are metaphors for the greater forces (Heaven, Earth, Fire, etc.) that make up the hexagrams and are represented by the eight Trigrams.

But all you really need to know is that the swords are canonically named Ri and Kon, and the Medicine Sellers are referred to by the names of their swords. :p

[biggesthomuradefender]

homura akemi & birds: black swans, crows, & ravens (analysis)

i feel like i've noticed that homura has some interesting similarities/coincidences (?) w birds, specifically crows, ravens, and black swans. and since i haven't seen anyone rly mention it yet, i decided i might as well and have a crack at it :)

i hope you enjoy !!

- black swans.

now, the easiest comparison u can make first is the fact that homura's entire devil outfit seems to be made entirely out of dark feathers, or at least replicating the appearance of them. she even has wings made of black feathers and bone (i had no idea the white part was bone, deadass thought that was just for aesthetic purposes only. isn't that cool and morbid as hell???) as well.

i feel like this is a very obvious reference to the black swan from swan lake, aka odile, often presented as odette's (the white swan, aka madoka/ultimate madoka in this scenario) double or opposite, causing them to create yin and yang together.

(an image of the black swan, aka odile, and the white swan, aka odette, from the 2010 "black swan" movie)

homura believes herself to be the devil, the very embodiment of all that is evil, wicked, unlovable, etc. bc of her very black-and-white mindset caused by repeated trauma; this makes her the opposite of madoka in her eyes, who embodies hope, love, selfishness, etc.

just as odette's outfit is pure white, so is ultimate madoka's attire.

on top of that, when i did some research on black swans, and there is apparently a metaphor called the "black swan theory" that characterizes an event that has a huge outcome, occurs as a surprise, and often used incorrectly when someone wants to or tries to rationalize/make sense of their actions after they know the outcome of them.

in a more broad sense, it can be used to highlight or represent how we have the tendency to underestimate or overlook the possibility of events that are unpredictable and rare.

sounds exactly like devil homura, doesn't it? her taking the power of the law of cycles (or at least part of it) was a huge shock to everyone, including the audience, and the way she tries to (incorrectly) rationalize her actions by proclaiming herself the devil and all that is evil and cruel after she has done it, when that clearly isn’t true.

the term itself comes from the idea that people thought that all swans were white, so when black swans were discovered, it challenged their beliefs.

kinda like how homura believes herself to be/calls herself the devil, even though she is technically a goddess, like ultimate madoka is. referring to/seeing herself as a goddess in any capacity would surely challenge her black-and-white mindset, bc how could she be anything like madoka when she's oh-so-terrible and madoka is anything but?

- crows.

in different cultures, crows symbolically represent transformation, death and the afterlife, fortune telling and the prophecy (such as warnings and good omens), intelligence. even more so, seeing a crow in your dream is apparently a sign of change that is coming into your life.

without saying much else, you can probably see the similarities to homura very easily. not only did she transform into a supposed "devil", but she also had a transformation when she went from moemura, aka her glasses and braids self, to the more cold, closed-off persona and demeanor she portrays.

homura is clearly very intelligent, and she served as the embodiment of a warning and a good omen since her introduction, albeit quite ominously and cryptically. her constant warnings and protection towards madoka and her telling madoka the truth about who she is and what her goals are in ep. 10 are both parts of what directly allows madoka to make the ultimate wish and sacrifice she made in ep. 12 to begin with, besides the fact that she was directly affecting madoka's karmic destiny.

not to mention, madoka had a dream about homura the night before she transferred to her class, and her life promptly changed tremendously right after that.

when the research about crows i researched mentioned death and the afterlife, i instantly thought of homulily's design.

- ravems.

ravens basically say the same thing !! but unlike crows, the research.i found mentions that ravens have symbolic connections to the spiritual and moral world, and be able to move across them as messengers.

ironically enough, homura's clara dolls, which represent the way she sees herself, call themselves the "troupe of the mortal world"... very interesting.

even more so... doesn't homura's hair kind of look like dark bird wings because of how they're parted due to her constantly wearing braids before moving them, especially when it blows in the wind? (i sadly don't have any gifs of that but hopefully, you know what i'm talking abt lol)

look at how even more bird-like and dramatic it becomes when she's devil homura.

before

and after

anyways, that's my analysis !! hope u guys enjoyed and thanks for reading :)

[wakkass]

Katara's Lightning: waterbending technique

Part 2

By a happy coincidence, one firebender who just knows how to redirect lightning joined the Gaang. You have no idea how excited I was when I realized the potential for Zuko and Katara's interaction in this concept.

Two benders of opposing elements turn to each other's elements to master one phenomenon: lightning. She's a waterbender who creates this lightning, and he's a firebender who repels it. One draws these skills from the other's martial art: lightning redirection is based on the concept of waterbending, while lightning is a firebending technique.

This is not just a combination of elements, it's their unification into something whole. Mix water and fire! It would seem impossible, but Katara and Zuko are people who have always gone beyond human capabilities to achieve their goals. If they can't do it, no one can.

Thus, by blurring the boundaries between fire and water, they destroy the illusion of difference between peoples (if you remember, this topic was raised by Guru Pathik in book 2). People of water and fire can work together, help and even complement each other.

After all, in fact, each of them makes up for the lack of the other. Katara can't control the lightning, and Zuko can't create it to further deflect it. They need each other for the balance of power. Like Yin and Yang, like day and night, like the sun and moon. How beautiful it is, I can’t.

I think the whole idea of Katara personifying anger would have continued with Zuko joining the team. When he appeared, she found nothing better than to center her rage on him. He betrayed her, this is justified anger. He's the prince of the nation that started the war, he is responsible for these horrors. He's the son of the one who ordered her mother killed.

However, Zuko did something that no one expected, especially Katara: he allowed her to let go of the anger of her life. He achieved this by redirecting the power of her rage to the real culprit of all Katara's worries - the murderer of her mother. And the reprisal against him gave her inner peace and a solution to a problem that seemed unsolvable.

Her anger was just like lightning, which was eager to strike at least someone, just to throw out the accumulated energy. Righteous, but throwing itself at everyone. Zuko didn't hide it, didn't calm it down, but redirected it to where it was needed, finding the necessary target.

This is another metaphorical aspect of their joint technique. He learned to channel her lightning not just through training, but through interaction and strengthening their personal connection. And the result was that understanding at a glance, which formed the basis of their fighting style. I don't know about you, but I thought this summed up their relationship perfectly.

Thus, from now on, she can rely on Zuko and trust him not only with the emotional burden, but also with their lives in the midst of a storm, both metaphorical and literal. After all, she knows that he will always deflect lightning from innocent...

Remember this moment? Zuko and Katara fight back to back, showing their shared trust in each other and cooperation as warriors. But imagine if, on top of everything else, they trained a joint technique for generating lightning and then directing it. It looks so cool in my head, it’s a pity I’m not an animator and/or storyboard artist, I don’t know how to stage scenes (((

And then, when lightning seemingly brought Zuko and Katara together, it ended up nearly tearing them apart, taking his life.

Because Zuko will always deflect lightning from Katara…

< Part 1

[hyog-blog]

Fangs of Fortune ep. 11 style appreciation post. Just look at Zhuo Yichen's beaded cape with floral patterns and that bit of wings theme going on again. The fringe adds some extra movement (especially during fighting scenes) and the sparkles liven the attire even more. Also, the colour palette of his whole look is so delicious - he's a real fashion icon :3

Also - his pretty headband and even prettier bisexual eye-liner :D And the braids, and bells, and ribbons - so many delicious details.

Zhao Yuanzhou looks staggering (as he always does) in his black-and-silver attire that compliments the silver in his hair so beautifully. That embroidery is too pretty for words. He and Wen Xiao are doing the whole Yin-Yang thing, with her wearing pure white and him representing the darkness, metaphorically and realistically.

Pei SIjin's and Bai Jiu's color palettes and patterns match very well. Also, PSJ's earrings look so cool. The girl has the best jewelry.

Ying Lei as always looks cute in his mountain-god style (fluffy plus pom-poms! :D)

The blues of the Demon Hunting Bureau attires are also gorgeous.

[twstfanblog]

Do you ever think about how weird earth religions have to seem to twisted wonderland? Cause even to outsiders here, some of these religions rituals are fucking weird sounding.

Like, my Yuu is catholic (slightly to the left tho. More like folk catholic christopagan type shit) and id imagine him explaining communion in the worst way possible

"So. Your main ritual is cannibalism?"

"Well metaphorically yes. Although if Jesus could turn water into wine I see no reason why He can't turn wine into blood"

"...and you do this why?"

"it brings us closer to God"

"Dawg do you know how fucking insane that sounds?"

And my other Yuu isn't religious but he is a massive nerd with a weird fixation of ancient Greek religion (projecting) so imagine explaining a Dionysus madness ritual to the Guys

"yeah so just a shit ton of people- usually women- would all get together and just drink wine like it was their last day in Earth and dance and stay up for days until they temporarily went insane and then they just released that whole mess of a situation into the public"

".... And what happened to the public?"

"well one key aspect if this ritual was tearing apart a living offering to Dionysus with their bare hands, and sometimes that offering was a person so..."

"..."

"y'know..."

My Yuu is a semi practicer of Chinese folk religion. She's also half Chinese with a grandmother that really held onto those traditional ideas of yin and yang balance

She never really talks about her homelife or what her family was like in her home world. But, Yuu keeps having little slips of random things that confuse everyone.

Ace: Man, Deuce. You're acting insane right now.

Yuu: Of course he is. Probably had a lot of chicken recently.

Ace: What does...that have to do with anything???

Yuu: Chicken is a yang food. Boys eating too much yang makes them wild.

Deuce: Poultry is...bad for boys?

Yuu: Mainly chicken. Eat more duck.

Ace: Why duck???

Yuu: Its a yin food.

Deuce: How???

Yuu: It's wet and cold if you think about it.

Ace: Why are you eating wet and cold duck?????

Religion isn't gonna really come up in any of my fics past Yuu having to explain their altar once Ace and Deuce start coming over to Ramshackle a lot.

Yuu gets to give the wonderful origin story of Li Nezha...and explaining nothing.

[explodo-smash]

Katsuki as the Light & Izuku as the Dark- Love and Harmonious Totality in The New Era

This meta analysis’ purpose is to make the case for KT/DK existing as Light and Dark in each other’s stories respectively, and explain how this dichotomy challenges black & white thinking in the narrative. 

This meta analysis will also explore how this Light/Dark dichotomy lays the groundwork for why Katsuki/Izuku as a unit represent a “New Era" in the story.

[Can also be found on twitter]

Whether by Save to Win/Win to Save, or the fact they are osananajimi, the story frequently draws our attention back to Katsuki and Izuku’s complicated, influential and powerful bond. Despite all the changes they’ve gone through in MHA up until now, both individually and together, one thing has always remained constant: they are as symbolically connected as they are physically/mentally/emotionally.

We argue that one of the ways MHA’s narrative connects them symbolically as polar, balanced parts of a larger whole is through a sense of DUALITY. 

Furthermore, we argue that the use of contrasting Light/Dark motifs act as both visual and text metaphor to create this duality, with Katsuki representing Light and Izuku representing Dark.

It's important to note that by Light/Dark, we aren’t referring to their moral clarity, goodness or badness. Rather, we will explore Light/Dark as a metaphor that builds on themes in MHA while creating tension (contrast, conflict leading, fear and rejection) and harmony (balance, unity, love and acceptance).

Note: the Light and Dark comparisons/metaphors between Katsuki and Izuku used in MHA sometimes get lost in translation in the anime. Here are some examples….

For Izuku:

Izuku is often encased in shadows in Katsuki’s POV since the beginning.

The word used for quirk (kosei) meaning “personality”, with quirkless meaning “lack of personality”, evoking the absence of something

Character design leaning on “dark” shades (dark/filled in hair, eyes including dark pupils early in the series)

Izuku’s “Dark Hero” arc as it’s officially titled.

Izuku’s prototype/beta name “Yamikumo” meaning Dark Cloud and his personality type tending toward facades/anxiousness

Blackwhip being the OFA quirk that resonates with Izuku’s emotions (particularly his rage)

His recent “power up” moment in the current arc involving blackwhip is denoted by claws, fangs and black tendrils. This form is officially called “overlay” but Hori also calls it “carnage” in his head.

And for Katsuki:

Izuku’s description of Katsuki as someone bright and blinding, often bringing light into his eyes as an artistic consistency.

His quirk “explosion” emitting light, his move “stun grenade” literally a blinding flash of light.

Character design leaning on “light” shades (light hair, eyes aren’t filled in)

Prototype/beta ‘Gogo’ Katsuki’s light clothing and his personality type overall being bubbly and overprotective (toward Yamikumo).

Katsuki’s death chapter titled “Light Fades to Rain”, and his revival evoking that visual of a bright light.

His recent “power up” moment in the current arc is denoted by flashing lights and explosions all around his body - highlighted with laughter, and glee.

Katsuki and Izuku connect with all the various opposites attract concepts that draw on the Light/Dark duality (sun/moon, yang/yin) but the first mistake people make is approaching these concepts with black & white thinking in mind.

The meaning

The Light/Dark imagery/descriptions/metaphors with KT/DK exist as a set piece that subverts expectations by challenging binary/black & white interpretations.

Katsuki’s ‘light’ is confident and inspiring - but it can also be blinding, harsh, and overwhelming.

Izuku’s ‘darkness’ is almost like a blanket. It’s comforting and sympathetic - but it can also be scary, unnerving, and mysterious.

Initially, Katsuki wanted to get away from the ‘darkness’. Izuku was like his shadow, following him relentlessly. He misinterpreted Izuku’s behavior as secrecy or deceit. 

Izuku dragged in as much ‘light’ as he could, by both observing Katsuki closely as well as refusing to part with the nickname ‘Kacchan’. His pursuit was a combination of hope for the future and a fascination for something he didn’t have (envy). 

Both of them have a capacity for unending love and selflessness, but also uncontrolled rage and violence.

The point of this contrast is for us as readers to highlight and dismantle the surface level perceptions of these characters in the same way Katsuki and Izuku progressively do for each other. 

Building on the themes 

In the same way Izuku always saw, and admired, Katsuki’s “light”, Katsuki could see, and feared, Izuku’s “darkness”. This contributed in building tension between the two, both literally and narratively. Where another story may have framed them as opposing forces, however, MHA frames them as dual forces. Where the source of tension for opposing forces may be fundamental differences, the tension between Katsuki and Izuku comes from a REJECTION of their fundamental parts. By extension, this became a rejection of their potential for harmony.

There’s enough evidence to suggest the defining concepts for prototype/beta Katsuki and Izuku(Yamikumo) weren’t entirely discarded, but rather modified and layered upon. One of the major differences was how prototype KT/DK got along, with one of the earliest scenes drafted for MHA being a scene where they fight together.

It’s ultimately a mistake to presume Izuku is purely a positive ray of sunshine just like it was a mistake to assume Katsuki was hiding a bitter and villainous darkness within him. It’s the neglect of their core that causes them to dig their heels in and become their worst selves: 

Katsuki as egotistical, harsh and tightly guarded with a tendency to lash out, against Izuku as obsessive, obstinate and habitually repressing his emotions.

Society shaped their “quirks” (their power, outward appearance) but time and relationships informed their “individuality” (their ideals, hopes, inner drives). 

Izuku's unwavering belief in Katsuki’s light was a tether that enabled Katsuki to embrace and flourish into it. Katsuki grew to understand the darkness in Izuku by confronting that which scared him. This allowed him to empathize with Izuku’s complex thoughts/feelings during a time where Izuku was at his worst (“Dark Hero” arc–onward) and dedicate himself to making sure Izuku didn’t carry the weight of the world and its burdens on his own. 

In other words, the inevitable payoff for KT/DK facing and dismantling the tension within themselves and between each other is the harmonizing of the dual/complementary themes they’ve been written to represent, which ultimately mirrors the main messages and questions posed by MHA.

‘The New Era’

As two major pillars of the story, Katsuki and Izuku are in many ways microcosm(s) of MHA society at large.

Katsuki and Izuku as complementary forces and not opposing ones seems obvious until it is put into practice. Some characters in the story and many readers in the audience alike have struggled with understanding their multifaceted nature and reconciling what they know of KT/DK from the outside with the seemingly contradictory information KT/DK have given us about themselves over time. Rather than a fluke, this contrast is an intentional writing choice evidenced by elements like their Light/Dark symbolism.

The lines at the main center of conflict in MHA - Heroes vs. Villains - has been long since blurred. In much the same way Heroes vs. Villains has complicated good vs. evil and challenges black&white thinking, KT/DK’s relationship as counterparts is representative of a greater duality that paints a clearer picture of MHA’s philosophies on the nature of heroism, societal progress, and the difficult process of inner growth. This picture is coming to a head with the story situating them as the beginning of “A New Era.” 

MHA understands people as collections of thoughts, feelings, experiences, abilities, ideals, hopes, drives, etc., and that contradictions and tension between them are inevitable.Through KT/DK, MHA has developed a beautiful narrative where strengthening oneself involves strengthening each other and broadening our understanding of who we are.

“There is a false saying: “How can someone who can’t save himself save others?” Supposing I have the key to your chains, why should your lock and my lock be the same?”

[fameandfiction]

IMAGINE PART I: “I Do” — Reneé Rapp x Reader

— The feelings are achingly one-sided or at least they seem to be.

[A Wednesday night in Reneé’s living room | Soft lighting | The quiet between two people who are everything to each other and still not enough]

You live three minutes away from Reneé. Exactly three. You timed it once not because you’re obsessive, but because she joked about it on FaceTime after her water heater broke and she needed your shower. You’d laughed, said something like, I’d walk through a snowstorm barefoot to bring you conditioner, and meant it.

You always mean it.

Now it’s a Wednesday night and she’s curled on the couch in her usual hoodie, one that used to be yours. There’s an old Tarantino film on mute in the background, and your laptop is open but idle on the coffee table. You’re supposed to be reviewing storyboards for her next music video. Instead, you’re watching her chew the drawstring of her sweatshirt like it owes her money.

“You know,” she murmurs, “I think I wanna scrap the rooftop shot. It’s too… I don’t know. Symbolic.”

You nod. “You’re tired of metaphors.”

She glances at you, faint surprise in her eyes. “How’d you know?”

“You’re always allergic to subtlety when you’re overworked.”

She smiles. “That obvious, huh?”

“To me, yeah.”

You sip your tea. She shifts, pulling her legs up beside her.

There’s a beat of silence.

Then: “You’re the only person who makes me feel calm,” she says.

You blink.

Her voice is soft, almost ashamed. “Like, everyone else makes me feel like I have to be something. Something more fun, or more hot, or more talented. With you I can be… I don’t know. Boring. Quiet.”

You tilt your head. “You’re not boring.”

She shrugs. “I bring chaos, you bring peace. Yin and yang or whatever.”

You laugh.

And in that moment, the air between you goes still.

She’s looking at you again.

And you... you look away.

The thing is, you’re not dumb.

You’re aware of her softness with you. The way she lets herself cry in your car after wrap days. The way she reaches for your hand at airport security. The way she calls your name like it’s a favorite song, something familiar and low and owned.

But you’re also aware of the boundary.

You’re the rational one. The one who brings a book to a bar. The one who leaves parties at 9:30. The one who keeps Reneé’s life orbiting like a little moon, while she burns herself into a thousand versions of herself for everyone else.

And you can’t afford to read too much into the intimacy.

You’ve built your entire closeness on the fact that it’s platonic.

Because the alternative? Is dangerous.

She falls asleep against your shoulder that night.

You don’t move.

Not when her cheek drops onto your hoodie. Not when her fingers twitch near your ribs. Not when her breath slows and steadies against the curve of your neck.

You sit still. A statue of want.

Your heart races so hard it makes your skin hum. But your body? Stays frozen. Because if you shift, if you lean in, if you acknowledge it? The illusion collapses.

You whisper her name once, softly. She doesn’t stir.

You don’t say the other words.

[Flashback | Two years earlier | The shoot that changed everything]

You’re in Brooklyn, shooting a low-budget concept video. The crew’s tiny. Reneé’s buzzing with adrenaline, hair wild from a fan someone duct-taped to a ladder. You’re yelling about lighting contrast and her knees are bleeding from a fall you didn’t block properly.

She grins up at you from the concrete like you hung the moon.

“Did I do it right?”

“You looked unhinged,” you mutter, kneeling to check her elbow.

She breathes out a laugh. “So… perfect?”

You look up.

Too close.

Too real.

And she kisses your cheek.

Fast. Playful. Like it means nothing.

But you feel it for weeks. Like an aftershock in your bones.

She never mentions it again.

Back in the present, you wake up on the couch.

She’s in the kitchen, barefoot, pouring orange juice like it’s an apology.

You sit up, blinking.

“I should go,” you say automatically.

“Or,” she offers, too quickly, “we could walk to yours? I’ll carry the leftovers.”

You hesitate.

She steps closer, glass in hand. “You left your hair clip here. And your water bottle. And—”

“Reneé.”

She stops.

You meet her eyes. “You don’t have to keep doing this.”

“Doing what?”

You inhale. “Pretending you don’t feel things.”

There’s a pause.

Then she says, “I do feel things.”

You stare at her.

She adds, softer, “I just know you don’t. At least, not like I do.”

Your throat tightens.

“I leave a key in my mailbox for you,” she says. “You bring me groceries when I forget to eat. I write songs about people who break my heart, but I don’t write them like that about anyone but you.”

Your hands shake.

“You say ‘I love you’ like a best friend,” she says. “I say it like a prayer.”

You don’t say anything.

You can’t.

So she nods once, heartbreak folding into something resigned.

Then she murmurs: “One day, you’re gonna look at someone else. And say it like you mean it. And I’m gonna be the only person in the room who knows what that means.”

You want to scream. You want to say you do love her, that you’re terrified, that you’re ashamed, that it’s complicated.

But you’re too quiet. Always have been.

So you let her put on her coat.

And walk out.

And the space she leaves behind feels like winter.

[A wedding invitation sits on your counter | The date is six months from now | You haven’t seen Reneé in three]

You call her that night.

She doesn’t answer.

So you walk the three minutes.

The mailbox still has your key.

You let yourself in.

She’s on the floor of her kitchen, phone on her chest, mascara smudged.

“I knew you’d come,” she whispers.

“I didn’t mean to hurt you.”

“I know.”

“I think I was scared that loving you would mean letting go of everything I thought I was supposed to be.”

She laughs, wet and shaky. “You think I wasn’t?”

You sit beside her.

“I meant it,” you say.

She looks at you.

“When I said I love you. I meant it the same way you did.”

The silence that follows is heavier than any kiss.

Then she exhales.

And leans her head on your shoulder.

And says, “I’m not asking you to say it back. Just don’t say it to anyone else first.”

You nod.

And that night, for the first time, you fall asleep next to her with your hand in hers. Not as a friend, not as a creative partner, but as something finally cracking open.

Something that might be brave enough to become love.

[astra-ravana]

The Magick Staff

My own personal staff.

In magickal traditions, the staff is one of the most iconic tools, representing authority, connection to the earth, spiritual power, and the channeling of energy. Often associated with wizards, shamans, and wise figures in folklore, the staff is a powerful tool that amplifies and focuses the practitioner’s intentions. It is more than just a physical object; it is imbued with deep symbolism and magickal meaning.

Symbolism of the Staff in Magick

Connection to the Earth:

• The staff often symbolizes grounding and is a tool that connects the witch, mage, or practitioner to the energy of the Earth. Its long length allows it to metaphorically "anchor" the user, bringing them into alignment with the natural flow of energy and the stability of the Earth.

• It’s said to bridge the physical and spiritual worlds, acting as a conduit between them.

Power and Authority:

• Historically, the staff was a symbol of authority, often held by kings, shamans, and religious figures. In magick, this represents a practitioner’s power to wield and control magick. It symbolizes mastery over energy and forces, allowing the practitioner to act with command.

• It’s not just about control, but also responsibility in wielding power.

Channeling Energy:

• The staff is used to direct and amplify the energy raised in a spell or ritual. Whether it is used to draw down power from the cosmos or to channel energy from the earth, the staff serves as a tool of focus, helping the practitioner direct their will in the desired manner.

Balance and Duality:

• The staff can represent the balance between the masculine and feminine energies. Its upright form is associated with masculine power (yang), but when the practitioner uses it in rituals, the energy may be balanced with the feminine energy (yin), especially when used in conjunction with other tools like a chalice or athame.

Spiritual Growth:

• In many traditions, the staff is also seen as a tool of spiritual progression, representing a journey of ascension and enlightenment. The staff may be used in rituals meant to guide the practitioner through phases of spiritual growth or in invoking higher spiritual entities.

Practical Uses of the Staff in Magick

Focus and Direction:

• The staff serves as a focal point for directing your energy during rituals. By pointing the staff in a certain direction or drawing sigils in the air with it, the practitioner focuses and amplifies the energy they are channeling.

• For example, in circle casting, the staff can be used to mark the boundaries of the magickal space or to direct the energy of the circle’s creation.

Ritual and Ceremony:

• In ceremonial magick, the staff is often used to summon, direct, or banish spirits, deities, and energies. For example, a practitioner may use the staff in a ritual of invocation to connect with a deity, using the staff as a magickal link.

• The staff can also be used to open or close portals, creating a safe, protective boundary for work with the other realms.

Divination and Meditation:

• The staff can act as a tool for divination. When used in meditation, it may help focus the practitioner’s intent to receive visions or messages from the spirit world.

• Many practitioners use a staff to help enter altered states of consciousness in order to communicate with spirits, ancestors, or higher selves.

Healing and Protection:

• In healing rituals, the staff can act as a channel to direct healing energy from the earth or higher planes into the recipient. It can also be used to clear negative energy or block harmful entities by pointing it at the afflicted area or person.

• The staff is also used in protective rituals, either as a tool to create protective boundaries or to invoke protective spirits.

Astral Travel and Pathworking:

• Some witches and magicians use the staff as an anchor during astral projection or pathworking. By holding the staff during these practices, the practitioner may feel more grounded and able to direct their journey through the astral planes.

Creating Sacred Space:

• During rituals, the staff can be used to draw sacred symbols on the ground or to create sacred space by marking the perimeter of the working area. This is often used to consecrate the space or to set boundaries for the work being done.

How to Craft Your Own Magickal Staff

Material Selection:

• Traditionally, the staff is made from wood (often oak, ash, or hazel) because wood is seen as a natural conductor of energy. However, you can choose the material that resonates with your energy or intention. For instance, you might choose crystal-studded staffs for heightened spiritual connection or iron or copper for specific types of energy channeling.

Personalization:

• A staff is a deeply personal object. Add carvings, runes, or symbols that resonate with your magickal practice. You may want to carve your personal sigil, protective symbols, or representations of your spiritual guides or totems. You could also affix crystals and stones to the staff, or adorn it with talismans or charms.

Charging the Staff:

• After crafting or acquiring your staff, charge it with your intent. Hold it in your hands, close your eyes, and focus on imbuing it with your power, energy, and intentions. You can also use rituals such as blood offerings, blessings, or sacred fire to activate its full potential.

Caring for Your Staff:

• A staff is an object of deep importance in magickal practice. Treat it with respect, keep it in a safe, clean place, and use it regularly in rituals to strengthen your connection to it.

The staff is a deeply symbolic and powerful tool in magick, acting as both a focal point for energy and a magickal conduit. It empowers the practitioner to harness their will, ground their energy, and connect with the spiritual realms. Whether for protection, healing, or invoking power, the staff can help you channel your intentions with great precision.

[talonabraxas]

“The difference between a good life and a bad life is how well you walk through the fire.” — C.G. Jung

Ouroboros - Fiery Serpent Talon Abraxas

2025: Year of the Wood Snake

Interestingly, the metaphors and meaning of the Snake in Chinese literature and mythology are polar opposites. On the one hand, the snake belongs to the yin, associated with darkness, dampness and femininity. Poisonous snakes are often associated with evil women who seduce men and suck their yang to nourish their yin.

However, snakes also have positive symbolism. For example, they are regarded as little dragons (xiaolong 小龍), and the skin snakes shed is referred to as the dragon’s coat (longyi 龍衣), symbolising good luck, rebirth and regality. The snake also symbolises the pursuit of love and happiness, a theme beautifully illustrated in the traditional folk tale, ‘The Legend of the White Snake’. The snake can also represent wealth and wisdom, and in traditional Chinese culture, they are often grouped with the turtle and the crane as a symbol of longevity

Why is the 2025 Lunar New Year called Year of the Wood Snake?

The Chinese zodiac is a 12-year cycle that links each year to an animal sign. The 12 animal signs are Rat (shu 鼠), Ox (niu 牛), Tiger (hu 虎), Rabbit (tu 兔), Dragon (long 龍), Snake (she 蛇), Horse (ma 馬), Sheep (yang 羊), Monkey (hou 猴), Rooster (ji 雞), Dog (gou 狗) and Pig (zhu 豬). The order of the animal signs is fixed, with the Snake being sixth in the cycle, hence the Year of the Snake (shennian 蛇年) in 2025. Last year, 2024, was the Year of the Dragon (longnian 龍年) and 2026 is the Year of the Horse (manian 馬年). Each year also corresponds to one of the five basic elements (wuxing 五行) in Chinese cosmology, namely Metal (jin 金), Wood (mu 木), Water (shui 水), Fire (huo 火) or Earth (tu 土), creating a 60-year cycle.

Also forming the sexagenary cycle are the ten Heavenly Stems (tiangan 天干) and twelve Earthly Branches (dizhi 地支), each possessing different attributes. In 2025, the Heavenly Stem is Yi 乙, representing Wood, while the Earthly Branch is Si 巳, representing Fire, thus establishing the year of Yisi 乙巳. Therefore, individuals born in 2025 may be called ‘Wood Snake’ or ‘Fire Snake’ or ‘Wood Fire Snake’. The five elements interact with one another in a cyclical manner; as a result, Wood gives rise to Fire. This interconnectedness results in the Wood Snake exhibiting a notably complex personality, embodying traits of both Wood and Fire.

What are people born in the Year of the Snake like?

Wood symbolises growth, flexibility and tolerance, while Fire represents passion, vitality and brightness in Chinese culture. With this dual influence, Wood Snake individuals tend to exhibit resilient, courageous and positive personalities, allowing them to maintain the drive and confidence to persevere in the face of adversity. Possessing excellent interpersonal and social skills, they often emerge as leaders within their circles of friends. However, they may appear idealistic when confronted with pressure and challenges and can easily feel lost and confused, requiring the support and encouragement of those around them to regain their strength.

Wood Snake individuals are recognised for their keen insight and extraordinary intelligence. They can swiftly grasp the key points when addressing problems and make prudent decisions. This quality makes them comfortable in both the workplace and social situations, as they excel at creating opportunities and paving the way for themselves and others.

That said, the Snake is the most tenacious of the 12 zodiac animals, so those born in the Year of the Snake are also believed to be particularly enigmatic and uncanny. Some people perceive the Snake as sinister and intimidating due to their elusiveness. Traditionally, the Chinese regard people born in the spring and summer of a Snake year as the most powerful and positive, while those born in winter are seen as relatively quiet and submissive, as winter is the time for snakes to hibernate. Additionally, those born during good weather in a Snake year tend to be more optimistic and easily satisfied than those born in poor weather.

The years of the snake include: 1929, 1941, 1953, 1965, 1977, 1989, 2001, 2013 and 2025.

[seat-safety-switch]

Everyone in my town has been 3D-printing dogs lately. Even though although the local shelter isn't particularly happy about it, I've never seen my neighbours so cheerful. It turns out that all we needed to stop obsessing about our inevitable glum oblivion from ultra-capitalism is a button you can press to make a puppy come out.

Sure, a lot of houses are up to their metaphorical yin-yangs in dogs. Who can blame them? The most intriguing thing in our lives is the "new." What colour of puppy will come out next? What happens if I spin the breed selector with my eyes closed? Can this thing print food for the several dozen very hungry animals now occupying my workshop area?

I'm not the kind of person to neglect anything. Well, except for my cars, house, yard, health, employment status, and environment. Dogs, though, I'll take care of them no problem. So I've been going around to the neighbours and scooping up their unwanted, extra dogs. What am I doing with them all? Horsepower. Er, uh, with dogs. You know what I mean.

I got the idea when I watched one of those nature documentaries. Some dude up north was using a bunch of dogs to pull his sled through the snow. It seemed a little dorky to me, but it also greatly appealed. You see, I didn't have any running cars. The last of my Diplomats was busy bleeding out on the driveway, with a hole punched in the engine about the size of a grocery store budget coconut.

Sure, the puppies don't have much pulling power individually, but if you put about sixty of them in front of the car, then you can get perilously close to breaking the playground-zone speed limit. And yes, there isn't much in the way of control: they're young, they haven't been trained, they incessantly yap, and there's a lot of poop on the front of my car now. In terms of getting to work on time? I also don't do that. When I do show up, though, everyone is so happy to see the puppies that they barely notice when I turn around and immediately start heading home after feeding my canine propulsion units the contents of the break-room fridge.

[littleeyesofpallas]

So I guess this is a good time to do a recap of some old Ukitake posts: [1][2][3][4][5][6]

Ukitake[浮竹] Juushirou[十四郎] actually has one of my favorite names in the series as it feels like it says a lot about his core concept beyond what we're really given in canon. The family name reads uki-[浮]: "Floating" and take-[竹]: "Bamboo." That same "floating" is part of the word fuurou[浮浪]: "vagrant/vagabond" and a few other colloquial terms, a generally circling around a homeless person or a drifter. (In fact the other half of that compound word, [浪] is the "wave" in ronin[浪人]: "wave man/person" as in a masterless samurai.) Bamboo being a staple lumber in Japan of course but also notorious for its fast and rampant growth, as it is quick to spread and choke out other plants in an environment. The idea of "floating..." or "vagrant bamboo" gives an impression of being plentiful and common, even excessive.

The personal name, Juushirou[十四郎] just reads "14(th) Son" which always implied he came from a large family. A profile in the back of vol. 18 long ago confirmed he had brothers and sisters, but curiously all younger than him. The implication seemed clear that as a sickly person from a big family, he was poor and that there were 13 prior children who died before him, which is really the only reason you'd name a child the way they did. This feels like it works in tandem with the family name to again emphasize a family of many, but also almost expendable. The big family is also why he's got an affinity for children

That said it always felt to me like the backstory should have been more grim? Like rather than just praying to a god to save his life, it seemed more like he should have been a sacrifice made to ensure the family line continued. Like first 13 kids died, they were afraid he was their last chance, but he was sickly, so they sacrificed him to basically ensure the next ones would come out alright. Hence the kids younger than him surviving in spite of the ominous past implied by his name.

(Also the "shiro" phonetics in his name as a homonym with shiro[白]:white point to his hair. Kubo makes an explicit joke about this as Toshiro, also white haired, shares a similar wordplay, his name Toshirou[冬獅郎] meaning "Winter Lion Son.")

Then there's his shikai, Sougyo-no-Kotowari[双魚理] which reads "PairFish's Reason/Logic/Natural way of things." (sougyo-kyu[双魚宮] is the Japanese name of the constellation Pisces.) It appears to be an allusion to daoism/onmyodo, and the yin-yang diagram of balance, and this theme gets built upon by other contextual information like the zanpakutou arc's designs borrowing from onmyoji, and Ukitake's presence in conjunction with fish imagery and metaphor in the Jaws of Hell arc.

The little preamble to that chapter, about the two fish in balance until one dies and then the other grows bigger, is itself synonymous with sougyo-no-kotowari: The Natural Order of Two Fish.

The release command [波悉く我が盾となれ]: "All Waves be my shield," [雷悉く我が刃となれ]: "All LightningBolts be my blade" is fairly straight forward and just evokes the image of a stormy sea, which actually seems to have surprisingly little to do with the rest of the themes in play? I mean sure, waves and fish and floating, but when the floating and fish are less than literal the waves and lightning without any additional reading feel kind of out of place?

Of note: the onymoji was a prestigious class of sort of advisor in the japanese imperial court was at its peak in the Heian period, the long standing era of peace in ancient Japan that came just before the descent into the civil war of the Sengoku period. (Subsequently the onmyoji lost most of their power and clout during the waring states period as power shifted from the imperial court to the shogunate.) They were associated with and consulted for a wide range of things from medicine, to architecture, to city planning and meteorology, and divination, and perhaps most well loved by media, as exorcists. This ties into things like his beyond bankai form in Bleach Brave Souls where they opt for a more shinto purification theme, in either case making him fit something of a paragon role as Shinigami as ""cleansing"" hollows rather than destroying them.

Actually those shinto motifs all link to the recent addition of shinto themes in Mimihagi pretty directly, but I'll get to that in a bit...

It's worth noting that with Kyoraku's emphasis on a leisurely city life in the capital(Kyoto), and the onmyo mystic themes of Sougyo-no-kotowari, Kyoraku and Ukitake appear to both represent aspects of the Heian period, and thus cultures that predate the Sengoku period, and the rise of the samurai, lending to their role as two of the most senior members of the gotei 13.

People often forget but technicaly Ukitake was the first captain we were introduced to, well before Byakuya showed up, the Captain title just wasn't present at the time. When Rukia has her flashback to a then uncertain event while Ichigo fights Grandfisher, it's Ukitake she's hearing speak and that we catch just a brief glimpse of the back of the head of. Like I said there were no captain ranks in the story a that point, so he just appears as long flowing white hair over an all black shihakusho. I think his hair was always meant to help him embody an element of balance between black and white, and thus the very series title: Bleach.

I think there was always an implicit siniste quality to the idea of "Balance" underlying the shinigami that Kubo tried to gesture towards with the general vibe of the Soul Society -v- Rukongai dynamics, the Shibas, that flicker of a twist in the Fullbringer arc that Ichigo just ignored, and even with a lot of the loose and ultimately unfulfilled themes he set up for the TYBW arc with Yhwach's plans for a new world and Juugram's Balance schrift.

Oh I forgot the whole MIMIHAGI bit, despite teh being the whole subject of this week's episode:

東流魂街七十六地区『逆骨』に伝わる単眼異形の土着神。

An indigenous God of Grotesque/Suspicious Single-eye passed down in East Rukongai 76(th) zone "Sakahone(Reverse Bone)"

太古の昔、天より瀞霊廷に落ちて来た霊王の右手を祀ったとされるもので、自らの持つ「眼」以外のすべてを捧げた者に加護をもたらすと言い伝えられている。

(In)Ancient Times, From Heaven to the Seireitei the fallen right hand of the Rei-Oh is said to have been enshrined.

浮竹の行った『神掛』は、体内に宿るミミハギ様の力を全身の臓腑へと広げる事で、全ての臓腑をミミハギ様に捧げ、その依り代になる儀式である。

Ukitake's performed "Kamikake(God debt)" was, the power of MIMIHAGI dwelling in the body spreading to the whole of the viscera/entrails, offer up all of your entrails to MIMIHAGI-sama, it is a ceremony/ritual to become a Yorishiro*

『神掛』を成功させた浮竹は、霊王の右腕そのものとなった。

Ukitake succeeded at/with "Kamikake", he had become the right hand of the Rei-Oh.

*i don't have a more concise way to translate this... the translation listed run something like "object representative of a divine spirit"/" object to which a spirit is drawn or summoned"/"object or animal occupied by a kami​" and it's specifically a shinto thing.

When you see big deified trees with the shimenawa ropes and shide paper talismans, those trees are yorishiro. or rather they're Shintai, because a Yorishiro is a thing capable of being host to a kami, the Shintai is after they've been deified. (And technically when you do that to a person it would be called Yorimashi, not Yorishiro. I don't know if that's meant to specifically dehumanize Ukitake or if its a broad enough term that it doesnt really make a difference. Although if you really wanted to stretch it you could argue that Ukitake is an object and not a person because he did die from his illness and the thing deified wasn't a "living" person it was a corpse. Which would very curiously position him as an inversion of Ichigo, who was human, "died" in that his soul was deliberately severed from his body, but continued to operate as nominally human while getting to dip a toe into the shinigami powers and the spirit world.)

These little eye catch data cards really aren't giving us anything new huh?