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toku-explained · 8 months ago

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GARO Timeline & Continuity Theory

This is my attempt to infer a linear timeline of GARO, or at least the main series. Please note that this is largely speculation outside the obvious elements. I'm not going to explain flashbacks, except maybe some notes on full flashback episodes. Spoilers for everything.

EDIT: This got way more involved than I expected, it's now a timeline of each era, with the order theory at the end.

Anime timeline

The anime are simple to sort. Around Vanishing Line the producers confirmed the anime was separate from the Tokusatsu. I kind of wish they hadn't done that but I understand why.

Anyway, we know exactly what the order is, it goes RAIKOU -> LÉON -> SWORD, separated by centuries. More specifically:

Guren no Tsuki's bonus episode. I'm not sure when it takes place relative to SEIMEI's time with DOUMAN, as there's a period of like 8-10 years potentially all that could happen in.

At some point MICHINAGA exiles his relative TOKITADA, unaware he is the holder of the FUJIWARA clan's armour, ZANGA. Now living as the thief TENKAIMARU, he endeavours only to allow the Armour to pass to a fellow FUJIWARA who shares his ideals.

ABE no KIYOME's father dies sealing her mother KUZUKO-HIME after she is possessed by the HORROR RAIJU. KIYOME, raised by grandfather HARUKAKI will eventually make it her mission to turn RAIJU into her own Madou Tool. She later is apprentices to DOUMA, then ASHIYA DOMAN, alongside his successor, who gives her the name SEIMEI.

Guren no Tsuki main series.

At some point, RAIKOU and YASUSUKE earn the ability to summon GOTEN and REKKA

Usuzumizakura takes place an uncertain period after the end of Guren no Tsuki.

Centuries pass

ANNA's father is GARO, it's uncertain when he died relative to the purge, but he was still active when Mendoza was expelled, but the gap was probably at least a decade. Alongside his senior apprentice, RAFAEL BANDERAS, GAIA, he serves as a mentor to ANNA, her lover ROBERTO, ZORO, and BERNARDO DION, ZEX, as both of whom acquire the ability to use Madou Horses, GETSUEI and SENKAKU. RAFAEL and his master hide ANNA's sister, ESMERALDA, who is adopted by a noble family, and eventually marries King FERDINAND San VALIANTE, giving him a son, ALFONSO

MENDOZA is expelled from the Makai for killing humans in experiments, and creating the forbidden Naidu Took Zirkel's Ring, and is marked by a SENATE Priest as the Golden Knight and GAIA guard him. He finds a new life as advisor to FERDINAND, secretly using HORRORs to aid his military efforts. When his child is born bearing the same mark as him, MENDOZA kills the child and his wife, and swears vengeance on the Makai.

The Valiante witch purge sets the stage for Honoo no Kokuin. ANNA is burnt at the stake, LÉON is born. BERNARDO falls to darkness believing ROBERTO and ANNA to have already been killed, and will become MENDOZA's chief enforcer.

A few years after LÉON is born, ROBERTO visits the previous Golden Knight's Priest partner, GAEL, and his pupil, Makai Knight MARCELLO, seeking a way to control the flames that LÉON spreads, leaving ZARUBA with him, the Madou Ring having been inactive since before the witch hunts. Unfortunately, MARCELLO becomes obsessed with ZARUBA, believing he can claim it's power.

Makai Priest LUCIANO GUZMAN becomes troubled by the frequency of loved ones of those who became HORRORs becoming HORRORs themselves, and becomes possessed by ARABEL. The arrogant Makai Knights ÉMA works with dismiss her and wind up all killed, leaving her distrustful of Makai Knights in general. Seeking to seal LUCIANO herself, she begins a journey, eventually taking her towards SANTA BARD.

17 years after the burning, the events of Honoo no Kokuin play out. The bonus episode presumably takes place afterwards, but is uncertain. Per CR Another GARO Honoo no Kokuin, at some point while still Kokuin GARO, LÉON faces MANDULA. Per the Special Drama CD, after retuning from being PEPE LÉON meet ÉMA in a SANTA BARD market, while later, GÉRMAN and ALFONSO discuss RAFAEL.

Per CR Another GARO Honoo no Kokuin, sometime after the series LÉON faces the powerful Horrors GRAND MAGUS, BLOOD MOON with GOTEN, an enhanced OCTAVIA, alongside ALFONSO as GARO he faces GURONDO where both use GOTEN and with Heroic Sprits empowering him into SORETSU JUSHIN GARO, faces GERALGA. By this point, LÉON has gained the ability to use GOTEN, and ALFONSO can summon TENJIN.

DARIO MONTOYA, ZEM, rider of RAIMEI, is assigned to the small nation of VAZELIA. After crown princess SARA is scarred by a HORROR, in a fit of grief she destroys the kingdom, and DARIO blinds himself out of loyalty. SARA eventually commits suicide, and is possessed by NIGRA VENUS, causing DARIO to fall to darkness and start seeking a way to bring back the dead.

4 years after Honoo no Kokuin, DIVINE FLAME happens.

Centuries pass.

The backstory for Vanishing Line plays out. First Golden Knight Edward Ragnvald is killed, then the Makai becomes aware of the existence of El Dorado in the event that killed LIZZIE RAGNVALD. BOLG, CHRISTOPHER HARDEN, falls to Darkness, murdering his wife ADELAIDE, their son LUKE will reject the path of the Makai Knight because of this. Now known as KNIGHT, HARDEN joins with BISHOP and QUEEN in setting up KING's orders. Years pass.

About 8 years after KNIGHT's fall and LIZZIE'S death, programming genius MARTIN HENNES disappears, the only clue left for his sister SOPHIE is the keyword EL DORADO.

The events of Vanishing Line play out.

A year later the epilogue happens, by this point LUKE has become ZELOS. SOPHIE becomes GINA's apprentice.

The events of the Usuzumizakura Drama CDs take place in an extradimensional space outside normal time, but all characters are brought from after the latest point in their timelines (post Usuzumizakura for SEIMEI, RAIKOU and YASUSUKE, post DIVINE FLAME for EMA and LÉON, and post epilogue for SOPHIE, SWORD and LUKE.

The Tokusatsu timeline

GOUKI's story is obviously the earliest televised story but a couple of the stories in Hagane no Houkou are definitely earlier, at the very least the Horror Claw and Honoobito chapters are earlier in the timeline. I'd put the Introductory chapter earlier as well, as it seems to depict the moment the Golden Knight was first dubbed GARO, l but I can't remember if Ashura refers to Gouki as being the first Makai Knight to have his armour shaped by human will. Based on ZARUBA's absence in Ashura, the ZARUBA chapter is probably later, so I'd put the remaining past stories after as well.

As for the rest, we'll put the Saejima Era before anything else. Yes every live action series has more or less treated the world as matching the present day, but that include Raiga's stuff, which has to be at least 20 years after the film that came out the previous year. So stuff like modern technology or political landscape is irrelevant for discerning a timeline. What is helpful is the presence of KAORU's book in a flashback in YamiTera, meaning it has to be much later than Makai Senki. While you could try to argue the arcade machine in VERSUS ROAD being the PS2 game means something, it doesn't really, it's just a nod. I have seen arguments in the past time is only linear in Jinkai, and perhaps the reincarnation happened before the death, but aside from the definitive example of Eiris, I don't think this is proven. That said, at the very least time in the Land of Promises appears to run faster than in Jinkai, and between Makai no Hana and P GARO Saejima Kouga, certain individuals definitely moved through time.

With that, my attempt to breakdown thr Saejima Era would go something like this

Taiga Era

Based on Hagane no Houkou, it appears TAIGA inherited GARO from his father, and GONZA's father was in service to his family. At some point TAIGA married RIN, star pupil of GARAI, and befriended AMON. AMON creates the current incarnation of ZARUBA for TAIGA

Based on the machine including RIN, AMON and GONZA, but not BARAGO or KOUGA, the events of P GARO 11 Saejima Taiga would be around here. TAIGA goes on a journey to slay MESSIAH'S Sound, PARUDE, to do so acquiring the aid of the, fighting the Horrors TEMDAN, SISERA, DAIRASU and GYREKAN, and earning the aid of Sacred Beasts QILIN, SUZAKU, SEIRYU AND BYAKKO, and slays GENBU. Thanks to the beast transforming him into a unique version of Shinmetsu Jushin GARO, TAIGA defeats PARUDE. He has use of GOTEN by this point.

Per both Ankoku Makai Kishi Gaiden and Kiba Gaiden, though exact details differ, BARAGO's mother is cut down by his father, and he goes to train under TAIGA, around the same time, his father also dies. He appears to have stayed with TAIGA right until his fall, probably at least a decade.

KOUGA is born to TAIGA and RIN. While still and infant, his taken by the two to visit KANTAI. On a later visit when he's older KOUGA meets AMON's pupil JABI, although this could be after further events, I don't know how much AMON knew about the BARAGO situation.

BARAGO discovers the book of MESSIAH and makes the pact to become KIBA. To this end he overcomes Shinmetsu Jushin and absorbs his first HORROR, but not before TAIGA discovers him losing control.

GARO -THE BIBLE- happens. RIN is alive, but bedridden, and KOUGA is accompanying TAIGA on hunts, while BARAGO is absent. (I suppose you could argue this was earlier, but KOUGA looks around the same age as in the episode Taiga, and BARAGO being absent would need some justification.)

RIN dies. KOUGA has very little memory of her.

At some point, TAIGA saves MITSUKI YUJI, inspiring the creation of the picture book "The Black Flames + Golden Wind". If KAORU's dream is of a real event, on a later event, after the book was produced, TAIGA also saved a young KAORU. Alternatively, this could be a warped memory of BARAGO, in which case it was later.

TAIGA begins serious instruction of KOUGA, including a hatch but necessary lesson about HORRORS. Soon after, he is killed in battle with BARAGO, due to KOUGA's presence.

Kouga Era

ZARUBA agrees to a contract with KOUGA, acknowledging his intent to become the next GARO.

BARAGO marks 6 year old MITSUKI KAORU as the Gate of MESSIAH, and will monitor her development for the next 17 years. (As BARAGO has the Mark of Death, this is after killing TAIGA.)

In uncertain order, KOUGA is apprentices for some time under the Makai Knight KENGI, and also attends a training camp where he is under SHIJIMA WATARU, BARON, unfortunately the rest of his class are wiped out by RAIZON. Given his long history, WATARU probably already has use of the Madou Horse SHINGETSU.

Unknown to KOUGA, his classmate FUDOU SIGMA also survived, and also believes himself the only survivor of his group. He returns home, but does not reveal the massacre to REO, who attended a different camp. The event distorts SIGMA's ambitions of Knighthood, and he starts contemplating adding Magic to the Knights repertoire. Wile both expect SIGMA to inherit RODO, both brothers make efforts to learn not just swordsmanship from their father, but Priest techniques their mother had used.

During this same period, to prevent the Mark of Death affecting him, BARAGO begins using a potion of face disguise, adopting the identity of psychiatrist RYUZAKI KARUNE, and with the help of the East Watchdog continues to hunt down and absorb HORROR, working towards 1000 total. During this period he kills many Makai Knights, including several battles with BADO, the senior disciple of ZERO. In one event he happens to save GODO AKIRA from a HORROR, but the boy is cursed with an ability to take on female form as MISAKI. BARAGO trains AKIRA to become a Makai Knight despite turning away from the path himself, but after his curse manifest advises becoming a Makai Knight wll be impossible as a woman, and eventually leaves him, leaving AKIRA/MISAKI to cope with their feelings for BARAGO. Despite BARAGO's warning, AKIRA is eventually able to become YAIBA, and partnered with GIRUBA, is assigned to the South District.

A Pregnant Priestess is possessed by a HORROR and dies, but her daughter miraculously lives. However, she possesses the unique ability to seal HORRORS within herself. Raised for a time by SHIDOU, her relative, the SENATE ultimately believes she is best kept as a Madou Tool for dangerous HORRORS, dubbing her MAGOU YURIGATA, or MAYURI. Her abilities kept in check by SHIDOU, she will be returned to the SENATE after any successful missions and returned to storage, losing her memories in the process.

The last of the ZERO bloodline, DOUJI, adopts orphans GINGA and SHIZUKA, and trains GINGA to succeed him.

KOUGA attains a HAGANE,, and subsequently attains the qualifications to finally become GARO, serving in the Eastern District as his father had.

FUDO GOKI chooses his younger son, REO over his elder, SIGMA, to succeed him as RODO, to both brothers shock. SIGMA leaves, deciding to be a Priest.

YAMAGATANA TSUBASA and RIN are orphaned when their adoptive parents are killed. TSUBASA trains as a Makai Knight, but his dedication makes him inflexible and distant to RIN. He trains in KANTAI alongside KAZUMA until he is forced to withdraw due to injury, and inherits the title of KANTAI protector DAN, alongside GORUBA, and takes two students, HYUGA and AKATSUKI.

SIGMA find the remains of MESSIAH's Fang, GYANON, and removes them from their resting place. Subsequently Makai Guide ELDA and her lover SHINJI arrive at the same location and are betrayed and murdered by their companions. BARAGO also comes here seeking to absorb GYANON, and kills the two Knights and revives ELDA as his servant.

After sometime as a HAGANE, GINGA successfully inherits the title of ZERO, accompanied by SILVA, at some point earning the use of GINGA.

KAORU starts seeing RYUZAKI as her psychiatrist, in some meetings MESSIAH possesses her, in one case forcing him to eliminate his remaining light triggered by BADO, represented as a battle with TAIGA and GOTEN while riding RAIGO.

Running low of the Potion of Disguise, BARAGO attacks DOUJI's estate to claim some from him, murdering DOUJI and SHIZUKA, GINGA barely witnessing. Based on his use of Saejima Family techniques, SILVA identifies the killer as possibly GARO, and GINGA takes the name SUZUMURA REI, seeking revenge, and is assigned to the West District.

The events of GARO take place. I would estimate Gaiden:Smile takes place about halfway through, before KAORU learns the truth about her fate. According to Ankoku Makai Kishi Gaiden, during this period AMON encounters REI, and KOUGA meets the school principal. AFTER his death BARAGO's spirit regrets his actions, and with TAIGA and AMON help ZARUBA enable KOUGA to summon GARO and defeat KIBA.

As KAORU travels to Italy for art study, KOUGA is assigned to the North, with REI taking over his territory in the the EAST. Whilst in Italy, KAORU encounters a reincarnated BARAGO, the son of a Makai Knight, evidently born before he died.

RIN is contacted by AMON's spirit, who aware of the Orin Arrow dulling and needing JABI to restore it, needs KOUGA sent to retrieve her from the Makaiju before the White Night.

The events of Byakuya no Maju play out.

According to CR GARO, KIBA revived, re-abducts KAORU. KOUGA journeys through MAKAI to save her, receiving aid from ZERO, DAN and JABI. He defeats a MAKAIRYU with GOTEN, and after defeating KIBA, escapes Makai with KAORU using the MAKAIRYU.

FUDO REO, acting as a Makai Priest instead of assuming the role of RODO, creates the GORYU, vastly enhancing Priest's ability to defeat HORRORs on their own, an accomplishment that will eventually see him assigned to the SENATE. SIGMA returns after sometime, and tougher with MIO they plan to create the ultimate GORYU, IDEA.

As a young girl, HIROMI ALICE finds the last DRAGON EGG and in a sense communicates with it. It is then forcibly taken by Priests to RUNE CITY, placed in a secure storage area.

The Demon Mirror KARMA makes a contract with KURUZU KENICHI, a man driven mad with grief over the death of his lover SHION, making him into a HORROR, alongside a recreation of SHION, to gather her prey. Many Makai Knights attempt to slay KARMA but are all killed, including KENGI. KARMA also charms lead Makai Priest in the area, AKAZA, into protecting her. Her father's death making her increasingly bitter about her inability to become a Makai Knight, REKKA goes on a training journey, spending some time in KANTAI under JABI, she leaves AKAZA behind with fellow pupil SHIGUTO.

The events of Yoseki no Wana. KOUGA encounters MISAKI, REI allows AKATSUKI, who has now earned a HAGANE, to join him and SILVA for a time. RIN is witness to, and informs TSUBASA and JABI of the theft of certain items from KANTAI. At the SABBAC, AKIRA attempts to revive KIBA, but is then redeemed, and gets to meet BARAGO's spirit. SUZAKU assigns KOUGA a special mission from the SENATE to slay the Apostle HORRORS.

Over the month or so leading to events of RED REQUIEM, KOUGA slays Dust HORROR DARODA and Thunder HORROR BAKUGI.

The events of RED REQUIEM play out, Tower HORROR BABEL is slain, REKKA defeats SHION, GARO defeats KURUZU, and with AKAZA's sacrifice the Mirror HORROR KARMA is slain.

Over the course another month or so, KOUGA slays Paper HORROR PARC, Needle HORROR NIDOL and Music HORROR UNIZON. For this accomplishment, he is set to be appointed to the position of Senatorial Knight.

According to CR GARO RED REQUIEM, KURUZU revives and captures REKKA in a mirror realm. KOUGA seeks to save her, receiving aid from AKAZA's spirit and recovering her flute, before deaf eating KURUZU using Ryujin GARO. REKKA is then abducted by the revived KIBA, who now has the ability to become KIBA Sumeragi to attack, and KOUGA continues through the Makai to rescue her, receiving support from JABI, KAORU in spirit, SHIGUTO, ZERO and DAN. Along the way, he and ZERO, riding GOTEN and GINGA, defeat a 2,000 HORROR army as a sequel to the 1,000 faced previously, and the 3 Knights face BABEL. Aided by a golden MAKAIRYU, GARO defeats a rampaging DAIGORYU, and the uses it to free REKKA.

By the events of MAKAI SENKI, TSUBASA has earned the right to use HAYATE.

Discovering SIGMA has been killing women to try and awaken GYANON's power in order to activate IDEA, MIO tries to stop him and is slain. REO discovers her body and realises what his brother has done, but does not report it to the SENATE, and still hesitates both in fighting as RODO and in consults ERUBA. At some point the records of the FUDO family go missing. SIGMA manages to tap into GYANON's power, becoming the Masked Man, and gains the ability to create a shadow copy of an armour as JAAKU, and creates the familiar GIGI. He marks numerous Makai Knights with the Seal of Destruction, almost all in the country. His penultimate victim is the Silver Fang. The only Knight he spares is REO.

The events of MAKAI SENKI play out. Based on CR GARO MAKAI SENKI HAGANE, GARO has a battle with the Madou Train unrelated to the events, fights a revived KURUZU with GOTEN, and uses a winged GOTEN and DAIGORYU against JAGANRYU, and around this period DAN battles GENOJIKA.

KOUGA leaves for the LAND of PROMISES to fulfill his debt to GAJARI, and will not return for several months.

If CR Makai Kessen GAOH is canon, this would seem the place for it, assuming it involves the characters we know. It does not depict the SABBAC, according to the rules of that contest, and the presence of KIBA and arguably BADO is troublesome no matter what, and indeed the true boss. In the story for that machine, GENBU, a SENATE Knight who is in fact OUGA, stands atop a tournament between the 8 Knights, YAIBA, DAN, BADO, RODO, KIBA, BARON, ZERO & GIGA. Aside from battles between the pairs, each pair also battles powerful enemies, DAN & BARON face LEGULES, ZERO & BADO face RIGURU, GIGIA & RODO face GRAU DRAGON and KIBA and YAIBA face KOKURYU. Atop their Madou Horses, ZERO, DAN & BARON face TORIGA.

During a HORROR hunt by Makai Knight KURODO and his Priestess wife IYU and their partner KAIN, IYU is believed dead after a HORROR attack. In fact she is saved by RING, entranced by her healing song and believing it will be the key to his community. IYU, blinded, will stay with RING, hoping to create a world where her daughter will not have to fear HORRORS.

Right before KOUGA's return from the events of Soukoku no Maryu, the SABBAC is held again. Tougen no Fue plays out right before the final match, between REI and TSUBASA. REI is the winner, and after choosing to meet TAIGA, encounters the returned KOUGA, and they have another rematch. Per CR GARO Makai no Hana, this may have lead to an armoured battle inside the SENATE building.

KOUGA reunites with KAORU.

Per CR GARO FINAL certain battles take place. It's possible that for KOUGA some of these occur during his journey back from the LAND of PROMISES. He battles NERO using Tsubasabito GARO, KARMA surfing on the Zanbaken, 4,000 HORRORS atop a flaming winged GOTEN, and Chou IDEA is battles with help from JAGANRYU. With TAIGA he battles KIBA again, and he uses a controlled SHINMETSU JUSHIN GARO to stop a rampaging SHINMETSU JUSHIN ZERO.

The Makai Knight KURODO is killed by RING, his arm severed, while investigating his COMMUNITY, witnessing IYU being alive as he dies. IYU does not realise KURODO is dead. The only witness, KAIN, will not reveal IYU's survival to her daughter YUNA, and other request implants KURODO's arm bone into her so she can wield his Makaiken.

The event of BLACK BLOOD take place.

Per CR ZERO, ZERO & GARO battle again in another realm, ZERO battles RING in MAKAI with GINGA, battles IDEA with GARO and DAN, and battle OKA GENRYU, SILVA's true form, as Tsubasabito ZERO.

Various events in Makai Retsuden presumably take place around here. REKKA saves a girl from undead Makai Knights, WATARU and URUBA wipe out HORROR dens, REO acknowledges YUNA as a Makai Knight and Makai Priest like himself, SHIGUTO contemplates retirement, TSUBASA consults JABI.in finding KAZUMA, wanting to confirm if he has become a HORROR.

On the way to visit KOUGA alongside SHIGUTO, REKKA is abducted by ZAJI empowered by EIRIS. While SHIGUTO is unaware of what happens, the event leaves REKKA with foreknowledge of KOUGA's departure, and instead of making her visit she goes to prepare, creating a living portrait of an Infant MAKAIRYU she will gift to KOUGA.

Per Hagane no Houkou, a young RAIGA is told stories of the Makai and their history by GONZA, his family and friends.

Per GARO ASURUA, SAEJIMA KAORU terls her son RAIGA a story of GOUKI.

Now operating in RUNE CITY, still supported by BAR LUPO's BAKURA, REI fights the HORROR AKASHIC. REKKA has been assigned to the SENATE, with a team of Priests under her. Low level sibling Priests KAGOME and OKINA, and their sprite HANATSUMI, learn of the legendary ancient protector the DRAGON KNIGHT EDEL. OKINA believes if he can awaken EDEL he can help protect humanity, rushing to do so before KAGOME can stop him. Believing her Dragon Egg is in RUNE CITY, HIROMI ALICE journeys there herself.

The events of DRAGON BLOOD occur.

When RAIGA is six, his parents disappear. Based on Makai no Hana and Gekkou no Tabibito, KAORU is abducted by EIRIS' vines before their eyes, with KOUGA following into the unknown with a last tale of the Traveller. Per P GARO Saejima Kouga (some of the differences are probably explainable by laws regarding the featuring of minors in Pachinko), KUROMARU suddenly appears at the SAEJIMA estate and steals KAORU's paintbrush, seeking a way to restore his friends in the LAND of PROMISES, KAORU chasing after.

To find out where KAORU has gone KOUGA visits the Tower of Heroic Spirits in order to learn her location. Along with seeing she is in the LAND of PROMISES, he also sees that in 20 years RAIGA will make a bargain with GAJARI, and that the payment will be to wonder time and space fixing distortions for GAJARI. He requests to make the payment himself, and GAJARI agrees.

Aware it is a one way trip KOUGA heads to the Promised Land, after fighting past REI who tries to stop him, but sends him off with an Infant MAKAIRYU REKKA has prepared for this moment. KOUGA instructs REI to adhere to their previous agreement and train RAIGA when he turns 10.

KAORU starts helping to mend the Objects of the LAND of PROMISES, starting with RAUDO.

Per Makai Retsuden, at some point in his search for KAORU, KOUGA happens upon and saves REKKA and RIAN from ZAJI. He asks RIAN to let REKKA know he will definitely return, and continues his search.

KOUGA on his journey battles a Time-Space castle with aid from GOTEN and REKKA, FALCONIA using Orin GARO, AJURA as Ryujin GARO, battles MEDORICA alojgside DAN and ZERO on their Madou Horses, and battles BYAKKO, defeating it using a power received from the wishes of REI, KUROMARU and KAORU, Taigan Jushin GARO, and rescues a number of Objects, who reveal to him that KIBA has captured KAORU. He may also cut down 8,000 HORRORS.

KOUGA finds and confronts KIBA, defeating KIBA SUMERAGI using Taigan Jushin GARO enhanced by the wishes of the Objects, and reunites with KAORU in the Land of Promises with their allies KUROMARU, RAUDO and ESARUTO among other objects. Witnessing from there the eventual effects of EIRIS' awakening, they see a vision of RAIGA, who has only inherited a HAGANE, confronting EIRIS and being overpowered, and have KUROMARU create a gap in space-time they are able to send ZARUBA through to RAIGA.

You can maybe justify P Shin GARO's battles as fitting here. 3 are remixes of classic battles, ANGRAY, UTOK and ERUZU, the others are against the Ultimate HORROR BEAR and MENCAL.

Raiga Era

Age 6, RAIGA loses his parents, leaving him to be raised by GONZA. ZARUBA is either left behind, or sent back. He will come to believe his parents are dead.

At some point, RAIGA visits a glassworkers, and will create a wind chime he will keep with him.

Just before he turns 10 RAIGA still endeavours to become a Knight. After an injury a passing Makai Priest, AKARI, treats him.

The night he turns 10, RAIGA is taken by REI on a HORROR hunt so he may choose for himself if he truly seeks to become a Makai Knight. With RAIGA's heart set, he gives AKARI a gift of his wind chime as thanks for her treatment. At this time she is worried for the life of someone close to her leaving on a journey.

After completing RAIGA's training REI intends to leave to make sure everyone can come back.

Dark Slasher and originator of the Soul Insertion technique, ZESSHIN, is arrested after killing someone whose Soul Orb was not blackened. The SENATE will believe his family dead save one daughter, who will seek to live a normal life and escape her father's evil. Increased stress from the incident caused Dark Slasher co-founder BYAKKAI to attempt to abandon his duties, resulting in the SENATE placing him under House Arrest. His pupil BIKUU will continue to perform her duties. At some point BIKUU causes an injury to her brother, the Makai Knight IZUMO, that will have a lifelong affect on his combat.

RAIGA becomes a Makai Knight, and visits the Tower of Heroic Spirits, learning his father yet lives before the armour of GARO is released to him by KOUGA.

Senatorial Knight BUSUJIMA EIJI, GIRU, leader of a group of Shadow Knights that include KURO, who is partners with ORUVA distraught at his inability to save AKARI from disease, even after she gives him her treasured wind chime, comes up with a plan to use EIRIS to resurrect AKARI, planning to preserve her soul in MAGOU YURIGATA. Unknown to him, this plan was doomed to failure, as MAYURI could not contain souls, she simply said his name because she senses his desperation, however this instead convinces EIJI his plan will work.

Priestess MUTSUKI, desperate to save her son from a corruption, steals the Kaen spell and uses it to save him, imbuing him with it. Falling to darkness in the process, MUTSUKI is hunted down by BIKUU and slain, though BIKUU ensures her Madou Brush is returned to her family. Her son, KURUMA DAICHI, will not resent BIKUU for this, and even admires the Dark Slashers, instead resenting his mother for falling to darkness despite her doing it to save him.

EIJI unseals the ADY Slate, beginning the process of EIRIS' resurrection. The events of the Makai no Hana okay out. As EIRIS is fully awakening, it contacts ZAJI and makes a deal to snuff out the light across time.

Following EIRIS's defeat, EIJI is imprisoned by the SENATE.

Per CR GARO Makai no Hana, RAIGA battle LEGULES ZAN as Orin GARO, battles HUMPTY MAGNA atop GOTEN, 6000 HORRORs alongside KURO, and Cho MAKAIRYU first GOTEN, then as Shin Tsubasabito GARO.

The events of BIKUU occur. After, with ZESSHIN and BYAKKAI dead, BIKUU resists DAICHI's attempts to become her pupil.

Various events from Makai Retsuden presumably take place here. MAYURI visits ANNA to restore the MAKAIRYU picture, BIKUU encounters ERIKA, KURO confronts EIJI to redeem him, BIKUU gives DAICHI a test to see if she will continue training him as a Dark Slasher.

Over passing years, MAYURI turns her work towards growing magical plants.

KIBA is reawakened by the sound of newborn RAIGA's cry, his essence kills and possesses the Makai Knight SHIROKU, who wears a black Madou Ring resembling ZARUBA, and begins engineering a scheme to acquire the strongest Armour, OUGA, which he has learnt is stored within the Tower of Heroic Spirits.

The events of Gekkou no Tabibito play out.

Per CR GARO Gekkou no Tabibito, the following events occur, some of these may occur relatively earlier for TAIGA and/or KOUGA. KOUGA GARO & GOTEN get into a HORROR extermination/race/battle with ZERO & GINGA, DAN & HAYATE, BARON & SHINGETSU and KIBA & RAIGO. RAIGA has to cut down 9000 HORRORS. RAIGA battles KIBA, aided by KOUGA, allowing him wield two Garoken, KOUGA battles ASMODEUS, TAIGA supporting him with flame, TAIGA battles a Giant HORROR fusion, KOUGA helping create a flaming tornado to attack. The 3 SAEJIMA witness KIBA's last summon, the Sacred Beast SUZAKU. TAIGA and KOUGA merge with GARO to form GARO OUGA, and the finishing blow is achieved by transforming further into Kyoki Tsubasabito GARO OUGA Kanzen Kiniro

In the future, RAIGA and MAYURI will have a son, who is fated to inherit the title of GARO.

It took way too long just to cover the Saejima Era, but it is the most clearly defined. Moving on to discussing the Dougai era timeline.

RYUGA era

RYUME, already a renowned Makai Priestess, finds her resolve in mastering a protective spell thanks to an encounter with shady Priests D RINGO and GINJI. The two escape arrest, with RYUME asking it be overlooked, and with renewed confidence, RYUME and her families FUJI and RAIJI head to HORROR den LINE CITY, where RYUME uses her spiritual power to purify the land.

As youths, Priests BURAI, HAKANA and OUMA visit the Tower of Heroic Spirits, and see interred there the stained black armour of GARO, the chief priest there tells them how the previous GARO lost his light in a terrible battle, it is unclear.if this Priest was a witness or not. HAKANA can sense that GARO wants to be restored to golden radiance.

AGOU, a humanoid Madou Tool created by Priest SOTATSU to fight HORRORS, both destroyed by DEGOL, reawakens after being struck by lightning. Over a few decades he undergoes self-repair, and, unknowing influenced by a portion of DEGOL within him, makes a plan to fulfill his and the Priest's dream to create a world free of HORRORS, by using another fragment of DEGOL to destroy humanity.

Makai Knight JINGA and Makai Priestess AMILY meet for the first time during an attempt by AMILY to deliver a REIJU pelt to HIKAGE and KAGAYA in HOMURO alongside KISARA, ZUNA and YUMEKA. The two promise to meet again, and will eventually marry.

KANESHIRO TOUSEI, illegitimate son of VOL CITY founder KANESHIRO KENSUI and KAREN, a member of a disgraced Makai Priest family, successfully uses a Madou Tool to summon a HORROR that kills everyone in the house. He begins researching ZEDOM, the source of Soul Metal, knowing VOL CITY is atop the burial spot of ZEDOM's head.

HAKANA and her son, DOUGAI RYUGA share the dream of restoring GARO. BURAI takes RYUGA, age 7, to an island to train with his familiar, RAGO.

So they can restore GARO's light for when RYUGA claims it, BURAI and HAKANA meet with brother and sister priests RIKYA and SARI, and Makai Knight SONSHI, at the site of ZEDOM's to harvest Soul Metal. The ritual is attacked by TOUSEI, resulting in HAKANA being filled with Madou Plant seeds, TOUSEI then turns SONSHI into a Madou HORRROR that serves him, who consumes SARI. TOUSEI takes HAKANA captive to harvest more plants. BURAI, separated from the others in the attack, finds RIKYA dying, and promises to ensure his daughter is safe, but does not learn the truth of what happened.

TOUSEI and SONSHI take HAKANA to VOL CITY, and the resting place of ZEDOM's head. Using the plants from HAKANA, TOUSEI turns influential people in VOL CITY into Madou HORRORS, with SONSHI acting as voice to them. The Madou HORRORS allow TOUSEI to secretly take control of VOL CITY, and make deals with Inga HORRORs to do his bidding in exchange for food, over the course of 15 years. Among those he makes into Madou HORRORs are RIVERA, lead spokeswoman for VOL CITY's NEWS TIME.

BURAI finds RIAN, informing her of her father's death and giving her his barrette as an heirloom. Initially he asks OUMA to take RIAN to KANTAI, and feeling responsible for orphaning both RYUGA and RIAN, attempts to kill himself in penance. OUMA stops him, and when RIAN witnesses RYUGA through BURAI's portal, her earnest intent to do her best, and encouragement to the boy she doesn't know but who shares her circumstances changes BURAI's mind, and he instead trains RIAN himself. Despite BURAI's intent to send RIAN there, by the time of GOLDSTORM Sho RIAN has ambitions to rebuild KANTAI.

KUSUGAMI AGURI trains to succeed the title of GUY. Initially peerless in archery, in his youth he meets a pair from TEIGEN village, BANBI and TENMA JUDO. TENMA's family also specialise in archery, and he becomes the one whose back AGURI always follows. AGURI will fall in love with BAMBI, but her love will always be JUDO's.

AKIZUKI DAIGO and HIBA SEIJI train together as Makai Knights and sworn friends, and both take the role of DOUSHI, training boys to become Makai Knights. DAIGO takes the title of GIGA

JINGA and AMILY arrive in a forest village with their son, YUTO, and save it from the HORROR that threatens it. Upon slaying the HORROR, they return to find YUTO murdered as sacrifice of appeasement, and in a rage murder the entire populace of the village, both falling to darkness. Their bloodlust not sated, they continue to attack other forest villages, their rampage only halted when a HOMURO priest uses a self-destruct spell, giving the sole survivors, brother and sister, directions to HOMURO.

JINGA and AMILY's spirits linger, and they both become HORRORs. Abandoning all pretense of humanity, the two maintain their Makai abilities, AMILY is able to enhance JINGA's HORROR form with a dark mirror. The two prefer to feed not on humans, but on HORRORs, encouraging them to feed on humans before consuming them.

The brother and sister after many days reach the hidden village of HOMURO, the brother having encouraged his sister HARUNA with a small puppet he crafted. The two are taken in by Makai Priestess HIKAGE. HIKAGE will give the boy the choice of training as a Makai Knight or Makai Priest, but hating Makai Knights due to the murder of his family, the boy will insist on being a Priest, inheriting the title of GARUDO, he who watches the seal of CASTLE RADAN. HARUNA will become a Priestess specialising in navigation and tracking, supporting GARUDO by speaking through a puppet replica. By the time of GOLDSTORM Sho the siblings are all that remains of HOMURO.

After training for 10 years, BURAI gives RYUGA his final task, forcing him to slay RAGO, and only then reveals to him HAKANA's death. Incensed both by being forced to kill RAGO and the deception, RYUGA loses all trust for BURAI. He keeps RAGO's fang as a memento, and is given ZARUBA by BURAI, and begins a life as a wandering Makai Knight. ZARUBA refuses to acknowledge RYUGA as GARO.

As adults and now Knights, AGURI and JUDO will both give gifts expressing their feelings to BANBI. Later, JUDO asks AGURI to accompany him in a duty to seal the EMPEROR that awakens every 200 years, as part of a guard to accompany him as he seals it. JUDO keeps secret the truth of the ceremony, until after firing his arrow at the EMPEROR, he is issued a choice by his enemy. Either he must surrender himself to darkness, or surrender the one he loves. Refusing to sacrifice BANBI to the darkness, JUDO entrusts her to AGURI and forcibly falls to darkness. AGURI fails to meet his conviction, leaving JUDO to be slain by the other Knights in attendance. After telling BANBI that if he were in JUDO's position he would have done the same, she leaves him forever.

BURAI produces a new RAGO familiar, and takes RIAN to VOL CITY, aware of its status as a HORROR den, and takes authority there, and also recruits JAKUZURE TAKERU, ZEN, they begin their work to attempt to liberate VOL CITY from the grip of HORRORS. AGURI comes to VOL CITY while trying to find BANBI, and stays to help liberate the city.

ENHOU becomes captain of SG-1, VOL CITY's security forces.

Based on CR GARO Konjiki ni Nare, RYUGA makes some use of a dragonic HIRYU as a mount and per CR GARO GOLDSTORM Sho, RYUGA as the blackened GARO battles TIGAN, FANERETE and MAJUNSA.

Feeling a need for more allies to help handle the VOL CITY situation, BURAI sends orders to RYUGA calling him to VOL CITY, 5 years after their last meeting.

The events of Yami wo Terasu Mono occur. Per CR GARO Konjiki ni Nare, METALLIC takes on HORROR form during the Bright Hope battle before GARO cuts him down, RYUGA cuts down 5000 HORRORs. In another battle with SONICLAUS GARO defeats it using a bow, defeats INVERGE again, and battles BOUQUERIA, now merged with a Goddess statue.

After ZEDOM's head is sealed, AGURI remains in VOL CITY to defend the Makai village ruins, instead of taking summons to the SENATE, TAKERU departs to the West, and RYUGA, RIAN and ZARUBA head to the South.

Per CR GARO Konjiki ni Nare, RYUGA meets with GAJARI, battles VIOLATOR in its clockwork realm, rides GOTEN to defeat BEGURU, alongside ZEN and GUY while all on HIRYUs they face ANDRAGO. In battle with ZAJI he is forcibly reverted back to Shikoku GARO, but receives power in the form of two infant MAKAIRYU from KOUGA, who could be a heroic spirit or just on his journey, and acquired the power of Shingetsu GARO to defeat Jaryu ZAJI. A Golden KIBA may have appeared.

DAIGO's pupil KOOKI acquires the title of ZANKO, that of senior apprentice to GIGA.

Over 2 years, RYUGA and RIAN make various changes to their arsenal, both in outfit while retaining certain keepsakes, and to their weapons, RIAN using a whole new Madou Gun, and RYUGA changing the design of the GAROKEN and affixing blades to the scabbard.

D RINGO and his partner YUKIHIME set up a kebab business in LINE CITY, D RINGO using SOUTETSU's emblem as the business logo. AGOU finally moves from his resting place, aiming to destroy humans to eliminate HORRORs.

The events of GOLDSTORM Sho the Movie occur. A small portion of AGOU is retained, enough to channel his power if need be. RYUGA and RIAN continue their own journey, with RYUGA now wearing GARO Sho, and ZARUBA now modified by RYUME with a cover to reach her Watchdog Centre. D RINGO and YUKIHIME also leave LINE CITY.

Per Makai Retsuden, RIAN briefly departs for another city in order to use moonlight to reinvigorate certain of their items.

D RINGO and YUKIHIME set up an antiquities business.

In order to awaken CASTLE RADAN, JINGA and AMILY abduct Makai Priest GIN, threatening to kill his daughter is he doesn't cooperate, in truth they have already killed her.

The events of GOLDSTORM Sho take place. With RADAN resealed, JINGA and AMILY slain, RYUGA and RIAN have now solidified their relationship.

Per CR GARO GOLDSTORM Sho, RYUGA again makes use of HIRYU on occasion, and is able to use GARO Sho's ZANBAKEN when riding the flaming GOTEN crafted of GARUDO's fire magic. He slays 7000 HORRORS, and visits the Tower of Heroic Spirits. He battles DEMONDO, GORADO, alongside GIGA he battles GRYSIS. He confronts the Sacred Beast QILIN, initially using GARO On to evade it's attacks, then by resisting an onslaught of QILIN's offspring absorbs them and becomes Ginyoku GARO to defeat it.

Per Makai Retsuden, GARUDO, wanting her to have a normal life, sends his sister to high school under the name HOMURO HARUNA. After a HORROR infiltrates her school and is defeated by GIGA, HARUNA chooses the path of a protector, forming a partnership with DAIGO.

While talking with YUKIHIME and D RINGO, RIAN is abducted by ZAJI, and meets a Makai Priestess very different to herself, and another era's Golden Knight.

Per KAMINOKIBA -MEZAME-, ASHURA rouses JINGA's spirit in MAKAI, he remembers only his hate for the Golden Knight. He begins gathering HORROR followers including YUBANGI. RYUME's pupil, RIKYO, who serves as the senior authority in HELL CITY, and her attendants RINRI, KIRIRI and KUMORI, sense JINGA's revival. After KOOKI and his Priestess partner NATSUKI slay HORROR MIDOUJI HAYATO, who then falls under JINGA in MAKAI, saving pupil Knight TEKKAN. Learning of JINGA's revival, KOOKI seeks to go to MAKAI to avenge his master's friend SEIJI, while NATSUKI seeks to repay the Golden Knight for saving her. KICHIYA sends the two to MAKAI, where they attempt to battle JINGA, but as he remembers and ASHURA reveals herself as AMILY, they betray YUBANGI and ultimately slay both KOOKI and NATSUKI, as KICHIYA, RIKYO and TEKKAN can only watch in shock and torment.

A group of HORRORs lead by RINZA and BOEL make a plan to use KAMINOKIBA to escape to the moon, for which they need a large gathering of HORRORS and a Makai Knight who has fallen to darkness. RINZA makes a deal with BAMBI, knowing of a ritual to resurrect a Fallen Makai Knight for one night, which is achieved by stealing Armours, and in exchange the resurrected JUDAU will launch KAMINOKIBA for them. BAMBI agrees, and convinces old friend AGURI to help her steal the armours, DAIGO is among those to have his armour stolen.

The events of KAMINOKIBA play out. RYUGA, AGURI and TAKERU go there own ways again.

Per P GARO GOLD IMPACT, GARO Sho battles HEDERIC atop a train, with ZEN he battles BOEL, with ZEN and GUY he battles RINZA, battles 10000 HORRORS with Fire GOTEN before switching to GARO On. A super enhanced JINGA can appear. GARO On confronts the sacred beast SEIRYU, before power from QILIN empowers him into Reijurin GARO to defeat it. In battle with a HORROR KAMINOKIBA, GARO, ZEN and GUY share the golden light again.

Immediately after returning to Makai after being slain again by GARO, JINGA decides to challenge the restored MESSIAH. The battle does not go well for him.

Some years later, ZARUBA no longer has his face covering. RYUGA goes on a training journey an encounter SHIRAHANE GODOU, ZANGO and his Madou Ring IRUVA, who is on a journey to learn more about the GATE OF DESTRUCTION, that sits beneath his territory of CREACITY. Impressed by RYUGA's mastery of his own darkness, GODOU teaches him the SENKOKENBU technique, informing him of its opposite, the SENEIKENBU, and entrusts his son to RYUGA should they meet.

Returning to CREACITY, GODOU tells MUTSUGI, chief Priestess in CREACITY, who has familiars SHIPPU and REPPU, of meeting RYUGA. When SOUMA's attempt to use SENKOKENBU fails, GODOU helps stop him rampaging, and gives gentle encouragement.

MUTSUGI despairs after a man she saved from a HORROR murders many, and becomes fearful of letting any with Inga live. After reading of the Forbidden Fruit hidden within the Gate of Destruction, she joins GODOU, who has recovered the Stone of Darkness from SEKIGAN Forest, in the ARIVIS labyrinth. At the Gate of Destruction, to eliminate Inga.and the encouragement of the Seducer, she attempts to open the Gate of Destruction, to stop her GODOU seals it using ZANGO, consumed by his armour. The thin crack causes Parfum of Darkness to spread in CREACITY, chasing humans to succumb to HORRORs with far greater ease for the next 3 years. Not revealing the truth of GODOU's disappearance, she also doesn't send SOUMA off for further training, needing him to unseal ZANGO when the chance comes.

3 years after GODOU disappears, MUTSUGI, against the wishes of SHIRAHANE SOUMA who wears a HAGANE, has her pupil KOYORI summon RYUGA to CREACITY for what she claims to be a plan to ensure the Gate of Destruction remains closed. She also summons from the neighbouring territory the Swordsmen of AGORA, IGUSU and his pupils RON and OBI, who all wear HAGANE.

The events of Hagane wo Tsugu Mono occur.

With GARO needing urgent purification, RYUGA sets out, carrying with him a memento of the woman he is returning to. He leaves CREACITY in the capable hands of SOUMA, KOYORI, RON & OBI.

Jinga Era

Conjecture: AMILY emerges from a GATE decades ahead of JINGA reincarnating, and makes a deal with the Makai to become the Madou Ring of the MIKAGE family, the Knights of which hold the title of ROZE.

Following losing his battle with MESSIAH, JINGA is reincarnated into the MIKAGE family of Makai Knights as MIKAGE JINGA, son of MIZUTO and SAYURI, and will have a younger brother in TOUMA. As a boy he will meet FUSA, priestess pupil of YOYU, MIZUTO's best friend, the two will become partners.

Per KAMI NO KIBA -JINGA- TENSEI, in MAKAI, MESSIAH'S Breath TOMINO revives, her servants FUGI, RUKA and SASHA are concerned about the HORRORS that are loyal to JINGA, like MIDOUJI and PAKTORA, as AMILY prepares to change the game.

AMILY stabs MIZUTO with a HORROR dagger, turning him into a HORROR, he kills SAYURI and JINGA tries to stop him, not helped when TOUMA mistakes JINGA for the HORROR. JINGA manages to slay his father, and YOYU erases TOUMA's memories. Now forced to step up as ROZE, JINGA struggles for six months with the empathy he feels for those who become HORRORs, while trying to train TOUMA. He and FUSA are under the authority of Watchdog KERUS and her guards RUMIDO and RAMEDO. Also under her authority is the renowned Makai Knight ROZAN.

The events of KAMI NO KIBA -JINGA- occur.

Per KAMI NO KIBA -JINGA- TENSEI, both JINGA's encounter Priestess TOMOHA, causing her to view him as a saviour. PAKTORA and MIDOUJI turn on JINGA for reincarnating as a human, but then join him in wiping out TOMOHA's training site, lead by SIERA.

Per KAMI NO KIBA -JINGA- TENSEI, as KERUS tries to reclaim control of the situation after the mass HORROR outbreak, as TOMINO possesses TOMOHA and her servants oppose JINGA

VERSUS Road era

The present GARO and his wife, a Makai Priestess, are killed combatting a 500 year evil. Their daughter is born in this disaster, but is changed by the darkness her parents destroyed, and able to manipulate darkness in many forms. The girl is raised by Priestess KADOU as KADOU AZAMI, while with the GARO bloodline severed, the armour is watched over by the MONASTERY.

Around 15 years after the cataclysm, SUGO, head priest of the MONASTERY, alongside attendants NAIRU and AGIRU, and in agreement with KADOU, believe a new GARO must be found. Using MONASTERY technology to restrain & control HORRORS, at least those in the portion of MAKAI they control, they opt to recreate the ancient Makai Knight selection methods that inspired the SABBAC. 100 trainee Makai Knights are summoned to the monastery, and like at training camps are instructed not to use their names, instead being issued a number. Under SUGO and his cohort's ministrations, in accordance with the ancient traditions, the youths are to engage in duels to the death.

As the youths die, their Inga is absorbed into the GARO armour, and merges with the Soul Metal forming the mysterious Dark Metal within. Nobody is aware of this, except KADOU AZAMI, who is able to sense and manipulate it, in addition to her other abilities.

The last 4 left are Seven, Thirteen, Fifty-Five and Eighty-Four. The nature of the competition makes it hard for the boys to cooperate. When SUGO tests them by having a HORROR attack them, Thirteen slays it. Seven's pride is wounded, and unable to cope with the pressure and expectations in him as a relative of GARO's lineage, and he commits suicide.

In the final test, Fifty-Five murders Eighty-Four, enraging Thirteen into fighting him seriously. Already victorious, Thirteen cuts down his defeated opponent, and attempts to draw the GAROKEN unsuccessfully. (Conjecture: GARO rejected him due to his striking in anger his already defeated human opponent.)

With SUGO planning to just start again, Thirteen, furious at the waste of life for nothing, instinctively channels the Dark Metal just after AZAMI uses it to murder KADOU, and causes a devastating strike that wipes out the MONASTERY leadership. KADOU AZAMI and HAGIRI SHOUSETSU meet, and SHOUSETSU begins to desire the power of Dark Metal. He takes the still living Fifty-Five out of MAKAI with him.

Fifty-Five withdraws from the MAKAI altogether, becoming a florist.

KUON SENA and HOSHIAI SHORI are lifelong friends, KUON always protecting HOSHIAI from bullies. One day the two get matching charms as representation of their friendship. KUON will still be defending HOSHIAI into college, as HOSHIAI whiles away at game centres.

AMOU RYOSUKE and KANATA DAI are frequent rivals in street battles, occasionally fighting when AMOU is pressured to fight for the Yakuza to settle his debts, but they have a healthy respect for eachother. AMOU is trying to go straight, running his bar Meteor, while KANATA is leader to the upstart Hangere gang, clashing regularly with the Yazuka.

NAGUMO DAISUKE has an eidetic memory, and established himself as popular YTuber NAGUSUKE. Struggling with his abusive manager, he seeks to go independent.

NODA TAKESHI, struggling with years of bullying and abuse from his mother, and possibly in order to survive, snaps and kills some of his classmates. Eventually they reemerge as KOZUKI TAKANE, and start to establish them self as a Genderless Model, hiding their past.

HYUGA REN, an infamous serial killer, escapes custody, seeking a strong fight, the news regularly reporting on him.

20 years after their first meeting, SHOUSETSU and AZAMI meet again again the MONASTERY. Untouched since then, SHOUSETSU has taken over the facility, and seeking to use Dark Metal to create an armour to surpass GARO, dubbed VAIL, and so has created VERSUS ROAD, which will bring 100 souls into competition, supposedly for the right to claim GARO. To achieve this aim, SHOUSETSU has forced the humanoid Madou Tool SHUKA into the role of navigator, makes use of the controlled HORRORs, and employs the use of special items the "Knights" can shape into weapons. AZAMI, also wanting more Dark Metal, agrees to assist him, taking actions to ensure certain players stick with the game.

The day before VERSUS ROAD begins, KUON protects HOSHIAI from NAMIOKA JUN, and AMOU fights KANATA on behalf of NOWAKI KAZUYA.

The events of GARO: VERSUS ROAD takes place.

With all other players dead, and SHOUSETSU dead at AZAMI's hand, she assures KUON they will meet again, but leaves with her Dark Metal, while KUON, just wanting a normal life, leaves the GAROKEN on a snowy hillside.

The actual timeline conjecture

Pictured bellow is a photo I've taken of a timeline included in the 2019 Garopia. While one is also included in the 2024 edition, it is not as informative, dividing by media type rather than character.

While not offering any information on VERSUS ROAD, the way the line continues from Gekkou no Tabibito to the bottom of the page, to me at least, implies acknowledging the later stuff is in the future rather than separate.

I feel determining a true order between the 4 distinct periods (Saejima, Ryuga, Jinga, Versus Road) necessitates a look at two major factors, those being the state of the order in general, and GARO's condition. I might look a little at political states and technology as well, but real world technology is not a good indicator.

First of all we have to treat the Saejima Era as the earliest point between them all, no questions. Anything in Ryuga's time that does imply a relationship indicates Kouga is in the past.

So here's what we know about that period. GARO has been in the Saejima family for at least 3 generations, probably more, and at least one more generation past Raiga. As for the state of the order, it's basically the strongest we ever see it. The Senate is definitely willing to do some shady things in the name of stopping Horrors (treating Mayuri as a Madou Tool is probably the best example), and the mere existence of the Shadow Knights and Dark Slashers could be seen as signs of corruption, but the Senate actually demonstrates shockingly little oversight over the Knights and Priests, let alone the Watchdogs.

The undersdanding we have of the Order during Kouga's time is that Japan(?) is divided into 4 territories each overseen by a Watchdog. The Senate itself also has at least two Watchdogs, Suzaku and Grace. The individual districts are then divided into various territories that have their own Knights or Priests assigned to them, they are expected to perform duties only within that territory unless ordered otherwise. Then there are Knights and Priests that serve directly under the Senate.

The order definitely has some organisational issues. Rei seems to have been accepted by the Western Watchdog without any confirmation of what happened to the previous ZERO, although it's possible Douji made some form of introduction. However we also have the case of Akira, who somehow was accepted by the Southern Watchdog and received the title of YAIBA, when his only links to the Makai were a man who was A: a traitor and B: believed dead. Although all that pails in comparison to the situation with Garm, whose only punishment for trying to summon Messiah was being split into Keil, Bell and Rose and confined to the Easter Watchdog Centre, and even then Kodama was free to leave to follow her orders. The Senate is still failing in security measures by the time of MAKAI SENKI, Reo was accepted as a Senate Priest for his achievements, a deserved appointment to be sure, but no background check seem to have been performed, as nobody knew of Sigma, knew the previous RODO had died, or realised the Fudo family records had disappeared until after the unmasking. While probably the responsibility of the Watchdog rather than the Senate, no Knight was assigned to replace Kengi after his death, and following Akaza's death Rekka and Shiguto seem to be the only ones assigned to the city.

It seems likely that things like the Barago and Sigma situations contributed to the decision to accept the creation of the Dark Slashers, despite the mistrust that materialised.

By Raiga's time the districts are now denoted by colour, which I assume means there's been come decentralisation, which does make sense. There's also less issues with not knowing stuff, although they apparently lost OUGA and had no idea it was in the Tower of Heroic Spirits.

Throughout this period, while the Order may maintain a lot of properties both isolated and within population centres, the Makai only community seems to be Kantai, which seems to operate solely under the authority of Garai, and it's unclear whether Kantai falls under any Watchdog's territory, although notably a different district is assigned to send backup for the White Night every time it comes.

We move now to the situation in Ryuga's time, and it definitely seems like there's been a decline in the Order overall. While the Senate apparently still exists, the Watchdogs seem to have essentially vanished. Ryume and her pupil Rikyo are close, including having what are essentially Watchdog Centres, and Ryume in particular holds the most authority of anyone we see in this era, but the two are both explicitly Priests, and tend to only deliver orders in serious situations, and Ryume's authority may also come just from her experience. However, what we see throughout this period is Priests being the senior authority within an area, Burai in Vol City, Ryume in Line City, Rikyo in Hell City and Mutsugi in Creacity. Ryume and Mutsugi also are shown to have familiars of uncertain nature in Ryume's masked attendants and Mutsugi's hooded priests. While Rikyo's female attendants may also fall into this category, Burai only has Rago, which I would not put in the same category. There's also more insular Makai communities, like Homuro, although given that forest also hosted a number of human settlements that might not be important, but Ryuga and Rian both seem to have been from Makai only villages as well. Another sign of some decline with the order is Kantai managing to fall in a space of about 15 years.

As for GARO, prior to Ryuga becoming GARO aged 17 and then restoring it's light five years later, there had been no Garo for some decades, probably before Hakana and Burai were born. A Priest at the time told them of GARO's last battle and how the light was drained, but it's unclear if this knowledge was firsthand. Whatever it was though left the armour stained black. One conjecture is the armours got bathed in large amounts of Inga and Jaki in the last battle, and was never purified. Whatever the circumstances, it has probably been about 3 generations since the last GARO fell, be that Raiga and Mayuri's son or a descendent.

Kami no Kiba -JINGA- has no presence of the Golden Knight, so the order is our only real point of conjecture. While I personally believe it to be the future, if BARAGO can be reincarnated at a point before he died, I see no reason Mikage Jinga cannot have been reincarnated from Jinga before Jinga was born or died. The state of the order is all we have to go on. There are actual Watchdogs, however the example we see, Kerus, has attendants in Rumido and Ramedo like Ryume does. I like to think this is an example of the order rebuilding, as while Kerus is a Watchdog, she lacks the somewhat ethereal qualities of other Watchdogs.

This leaves us with VERSUS ROAD. As the Order as we see it, and GARO itself are directly linked I will discuss together. For most of the series, we see no Horror activity not directly related to Versus Road, all we know is GARO is unclaimed and absorbing the players Inga, all the Horrors we see are restrained and only act by Azami's will, and she and Shousetsu are deliberately encouraging Inga generation. The flashback in episode 9 gives us most of our information. It tells us that the last GARO died 30 years before the series, with no obvious successor. I would assume the 500 year evil he was facing was battled in MAKAI, and the GAROKEN rests where he fell. Evidently no purification was done, I presume the Monastery took stewardship for it, and eventually attempted to find a successor, because of the proximity to their outpost. Aside from Azami's birth mother, who used a Madou Brush, every Priest we see uses magic which seems to have a slight technological aspect to it, I will treat this as the Monastery's specialty technique. Did the Senate approve the Monastery's actions in attempting to find a new GARO? I'm sure they agreed with the desire to find one, but we cannot know if they knew Sugo was reviving the ancient contests. If there were 100 families willing to send sons as candidates, we can otherwise infer the Order was in decent shape at the time, so maybe the fact we don't see any sign of HORROR activity outside Versus Road is because the Makai are dealing with it properly. Shousetsu definitely wanted his activity unnoticed by them.

Regardless of their status at the time of Versus Road, the Senate are unaware of what's going on, so we can only question what they know of the events of 20 years prior. I see 3 options: they know nothing, they have some idea, they know most everything. If they lost contact with the Monastery, they may have investigated, but it may well have been sometime before they did so,.and either way it seems likely they would conclude the whole monastery wiped out by Horrors, forcing them to write off GARO as lost. The only way they would have more concrete information is if Shousetsu or 55 reported to the Senate, and if he did, I imagine Shousetsu left out Azami and the Dark Metal. In any case, the Monastery is abandoned by the order until Shousetsu takes over in preparation for Versus Road, and the order are forced to consider GARO unobtainable.

My wild conjecture is that Versus Road is between the Saejima Era and Ryuga. I see two possibilities. One, if the priest who told Burai and Hakana about GARO's last battle spoke second hand, then he was describing the battle of Azami's parents, and after Kuon rejected GARO perhaps it automatically returned to the Tower of Heroic Spirits now that it was back in Jinkai, with all the Inga absorbed over the 30+ years leaving it stained black. The order has no knowledge of what happened in Versus Road so believe the blackening was due to the last battle.

My current theory

The alternate possibility is that someone eventually finds the Garoken on that snowy hillside and claims GARO, and their line eventually fails, possibly again due to the darkness that has stained it in the interim never being purified.

The big problem I see with this theory is Zaruba, who has no presence in Versus Road but was in the Tower of Heroic Spirits, and apparently well acquainted with Burai, in the backstory to Yami wo Terasu Mono. I can see two options, either he was moved to the Tower immediately after GARO fell to await the arrival of a newcomer, or he was destroyed, and Ryuga's is a new incarnation, or at least postdating Versus Road.

Saejima Era

Versus Road Era

Dougai Era

Mikage Era

I think I'm unlikely to move from this position unless we get new information, probably from something that picks up from the end of Versus Road. And plenty of people are happy to consider them all distinct anyway.

#garo

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coolmika745 · 1 year ago

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Oni Dance (鬼舞) Summary Part 2

Volume 8 summary contains spoilers of Michifuyu's familial background.

Volume 5

Entering a new chapter! Secrets and past revealed…!? Michifuyu's past is filled with many mysteries. What is the fate surrounding him? Michifuyu begins to learn how to ward off supernatural forces from Abe no Seimei's two sons, Yoshihira and Yoshimasa.

Behind the scenes of his struggle, his servant Yukichika accidentally encounters his past relative, Tokusa. Meanwhile, the devilish hands of the demons (as in Joyo (魔)) working behind the scenes reach the princess of the Fujiwara clan, who is about to enter the court, and an incident occurs in which the princess loses her sanity after smelling a certain incense and attacks those around her. A consultation is brought to the Great Onmyoji Abe no Seimei. A tense new development in the highly popular Heian Onmyo picture scroll.

I have a question. Who is Tokusa (徳佐)? I couldn't find any information on them.

Volume 6

Amidst the chaos of the palace, the Onmyoji begin a counterattack. The Onmyo Dormitory was attacked by oni, but the damage was minor, and Michifuyu, who was caught in the fire during the attack, quickly recovered and resumed his training. He started to encourage himself. However, the evil hand soon reached the palace. A deceptive scent fills the air, and people who have lost their minds attack Michifuyu and the others! Michifuyu struggles with Yoshimasa and Tsuna, but in the midst of confusion, Michifuyu, his servant Yukichika, Ashiya Doman, and Abe no Seimei - their respective pasts are finally revealed.

Volume 7

The Ukon no shosho's (Minor Captain of the Right Division of Inner Palace Guards) residence was burnt down by a suspicious fire. Knowing that the oni are trying to kill the Ukon no shosho, they used and eliminate any clues to the investigation, they decide to accompany Ukon no shosho as his bodyguard as he evacuates to a villa in Uji. In addition, Yoshimasa, who was completely defeated by his older brother Yoshihira, who had lost his mind, and another talented student Koji, is injured and follows Michifuyu to Uji. However, the attack from the vengeful oni is brutal...Will Michifuyu's hidden power be released?

Volume 8

Subara no Michifuyu is an apprentice onmyoji at Onmyo Dormitory who possesses a mysterious power. Although his adoptive father is different, he is the son of the genius civilian Onmyoji Ashiya Doman. What incident happened between Doman and the young Abe no Seimei? When Seimei visits his residence after receiving a request to examine his son who has a high fever, he finds Ashiya Doman there.

#Oni Dance #鬼舞 #Subara no Michifuyu #Tsuna no Watanabe #Yukichika #Ashiya Doman #Ashiya Douman #Abe no Seimei #Abe no Yoshihira #Takatsugu Segawa #瀬川貴次

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stepswowdsen · 5 months ago

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【KagePro】 KuroEne AU: Ene tells Saeru he isn't infallible 🖤💙

The state of knowledge. An animal being who exists as someone closer to nature.

This post is mainly Kuroha and KuroEne centric, but I mentioned my other ships and faves from other series to draw parallels and point out similarities and differences.

A collection of KuroEne centric rambles:

Kuroha's state of knowledge

KuroEne AU: Ene confronts Kuroha, telling him he's not as infallible as he claims to be

Kuroha's existence as an animal being who exists as someone closer to nature

KuroEne is SUUUUCH an interesting and fascinating ship to think about and analyze. They give me immense brainrot

The nature of their complicated complex messy relationship due to their characters' context.

Kuroha's role as the big bad villain and main source of conflict and tension in KagePro's plot, Takane/Ene's relationships with Haruka and Konoha, HaruTaka and KonoEne's contexts, and how he possesses the vessel of someone that Takane/Ene has a unique special relationship with and uses the knowledge of their memories as an advantage for him.

The truly evil monster who wears the face of a former (lost) love (lover), and how their relationship is clearly infused with love, obsession, desire, passion, and attachment (for the both of them).

(Ene feels all of these things, as well as a mix of love and hatred and conflicting emotions.)

It all comes together to create a really fascinating dynamic.

...

I really need to start posting more of the meta/analysis ramble posts I have of my other faves. As well as my other ship AUs' dialogue scripts.

I have SOOO many dialogue scripts and ramble posts I haven't posted. I love all of my top 5 main ships dearly.

I've mainly been posting about KuroEne, just cuz I only have the KuroEne ones ready and prepared to post LMAO

Cuz again, these types of posts take time to format. I write them in my Notion docs and then cross-post them to my socials (Insta, Tumblr) and sometimes Twitter.

Twitter is terrible for long ramble posts, my style of posting, so I tend to just post the screenshots

LimGuda

Source: (X)

“An increase in knowledge burns up the ‘state of ignorance’ as sacrifice. Those who gain more wisdom are compensated for it by facing more pain and suffering. Even more so, for those who try to reach the gods’ wisdom. This is what it means ‘to know’”

Reminds me of when I was rereading the Ashiya Douman vs. Dioscuri Anthology comic by AU (@/delete_au), that has huge amounts of LimGuda (Douman/Ritsuka) crumbs.

AU’s art style is so intricately detailed and gorgeous. The perspectives, inking, and shading are so gorgeous. Huge art goals for me.

I have a lot more to say but I haven’t finished my commentary rambles on the whole thing yet, but just know that the characterization surplus (Douman meta analysis) and LimGuda crumbs in this anthology comic truly drive me crazy.

In the scene after Ritsuka calls on the Dioscuri, Douman tells Ritsuka that the one who gets closer to the stars and obtains more knowledge/wisdom, isolates themselves further and is “compensated by facing more pain and suffering” as a reference to Abe no Seimei, who is the fated nemesis/rival of Ashiya Douman, and how Douman had been worried about Seimei’s isolation.

Seimei hasn't been released as a playable character in FGO, nor does he have a design, but I'm waiting for it... Hopefully it happens one day cuz it sucks not knowing whether he'll ever be released or not.

AU (@/delete_au) has a massive brain since the scenes, visuals, story and dialogue of this Anthology Comic were decided by them. It’s also no surprise that this comic, which is a characterization surplus for Douman, has huge amounts of LimGuda (Douman/Ritsuka) and SeiDou (Seimei/Douman) food, considering Douman’s obsession with them (Seimei and Ritsuka)

Limbo/Douman x Ritsuka is SOOO good... NB evil clown demon and the human they're deadly obsessed with...

In-game, in Douman's dialogue lines in FGO, he tells Ritsuka that he longs to see them fall into hell, and will follow them there.

In AU's anthology comic, Ritsuka invites Douman to fall into hell with them. They tell him that even if they fall into hell with him laughing beside them, that they will drag him down and take him with them.

Douman then laughs, sarcastically saying that Ritsuka's determination and declaration are admirable by comparing them to "Buddha's Great Vows" (弘誓, guzei), but he also acknowledges that with their tenacity, that they may just be able to pull it off.

Budha's great vows: (X)

He then makes this grandiose, deadly romantic speech back, telling them that they [Douman and Ritsuka] are "bound together by an unbreakable fate" (inseparable fate/karma).

LimGuda inspired SO much of my KuroEne writings. The ship dynamic is completely different, but a lot of FGO stuff, especially the LimGuda ship, inspired my KuroEne AU writings.

"Black/white colour schemed meow meow mf with a bloodthirsty personality or violent tendencies or deadly love/obsession, paired with a warm empathetic s/o with a brighter disposition"

This Sen-core ship trope is present in all of my ships LMAO

Kuroha/Saeru: The embodiment of "Knowledge/Wisdom"

The major difference between Kuroha/Saeru and what was mentioned in AU’s Anthology Comic is that Kuroha/Saeru is VERY distanced from humanity.

Unlike my FGO faves, he lacks humanity and softer traits. He considers himself above humans (and also considers himself to be above human emotions and human sentimentality). But not entirely.

I thought about it since Kuroha/Saeru is the embodiment of “Knowledge/Wisdom” as a dark evil cunning and malicious entity in KagePro. Though I think what’s interesting is that a Kuroha ship AU actually gives him more of a semblance of humanity…

Cuz he would’ve learned and gained more human desires and sentiments and learned slightly softer tendencies. Though, compared to my other faves, canon-verse Kuroha/Saeru lacks humanity

KuroEne AU: Dialogue Script

Anyways I had been thinking about this separate idea based on the concept of Ene wondering about the extent of Kuroha/Saeru's knowledge.

It's natural to be curious about that kind of thing. She hardly knows anything about him so she asks him about the kinds of things that he's seen and observed all this time.

I thought about it after seeing the FGO: Anthology comic at how acquiring more knowledge distances you from humanity and causes to further isolate yourself from others.

Kuroha's case is different since he lacks humanity and looks down on all things. He won't be affected by it the same way others would.

He wouldn't be compensated with facing more pain and suffering cuz he is above that (for the most part, not entirely), and THE root cause of other peoples' pain and suffering. But it's still interesting to think about...

KuroEne AU: Ene confronts Kuroha

The post is mainly about Kuroha/Saeru, but I decided to give context cuz I thought it was relevant, since my top FGO faves inspired me to make these rambles.

In my KuroEne AU, Kuroha/Saeru refers to his intimate encounters/trysts with Ene as “games.”

I actually DO think that Ene can manage to provoke him and get under his skin with her bratty provocations.

Kuroha would constantly flaunt his own knowledge of how he knows her and her desires intimately due to his confidence and ego, telling her that he’s been with the Enes of previous Routes before.

Ene, who’s constantly annoyed by her own feelings and has trouble facing more honest feelings, rationalizes their intimate encounters as not trysts, but just playing the game with him so she can defeat him.

Kuroha gets especially amused by this, since he’s aware of Ene’s tendency to avoid confronting how she really feels, and tells her that she can believe whatever she wants.

Kuroha would point out to her that “her own curiosity has led her here” irt the games they play (spending time with and being intimate with each other), and that, whether she realizes it or not, she’s searching for something from him (ie. the desire for warmth and companionship), beyond just “wanting to defeat him and win at the game”

Source: Kagerou Daze Manga: Vol. 12 - Ch. 64 - Imaginary Reload I - Mary confronts Kuroha/Saeru

(Anyways, I put images to imagine his expressions, how he goes from his usual smug and composed demeanour to lowkey annoyed when Ene finally manages to rile him up and get under his skin.)

Ene probably bites back at him that the same applies to him as well. His own curiosity has led him here. He’s the one that started this in the first place. He chooses to play this game with her and is the one that initiates it every single time. He could end it if he wished. But he won’t.

Because no matter what, he's gonna hold onto the concept of “Eternity” that he created by causing the time loops. Because he wants to live forever and prioritizes his self-preservation above all else (as his main goal).

And in the context of a Kuroha ship AU, wants his S/O to be with him forever as his form of twisted selfish obsessive love (as his secondary goal).

Given what he’s told her about his experiences with the Enes of past Routes, Ene tells him that, at some point he got bored of killing everyone and wanted to try something new to keep things interesting.

Ene tells him to his face that he has a twisted disposition for building up relationships with people he plans to kill eventually. It’s even more cruel than just killing them.

Still unfazed, Kuroha nods and reaffirms her words that it was curiosity that led him here in the first place, and was what got him to approach her and come up with the idea of tinkering with human tech and indulging in human carnal pleasures.

...

At some point, Ene would have a realization about Kuroha/Saeru.

Kuroha relinquishes control in their bedroom intimacy and allows her to have these little victories just to appease her. He lets her win and grants the victories to her on purpose. He doesn’t mind letting her take the reigns in their bedroom intimacy because it just proves that she wants to continue doing this (playing the game) with him.

It still aligns with what he wants. And so, he considers all the games they play, victories for him as well. He always wins, no matter the outcome.

She thought she had been reigning him in to an extent (putting this cat snake on a leash) by being more assertive and dominant, but the truth is that he only chooses to act tamer, and still fundamentally holds the power in their dynamic.

He dangles control (in intimacy) over her head and lets her have it, but can also take it back at any time, if he so pleases.

Ene gets frustrated when the realization dawns on her. Kuroha/Saeru can continue to remain so calm and confident and smug, because he fundamentally holds control and power over all others (irt his overwhelming advantage in strength and knowledge). So, his control and power aren’t ever actually being threatened.

But Ene really wants to get under his skin and wipe the smug look off his face and get a leg up on him, just this once. She wants to have a true victory over him, not just because he let her win. But she doesn’t want to do anything to Konoha (Haruka’s body).

Ene realizes that there IS something that she can use and get over him. So she decides to take her shot at him in the way she knows how to do best — bratty provocations.

...

Ene tells him that Kuroha/Saeru can only afford to act so high and mighty because he’s never actually being threatened.

Ene tells him that he’s not as infallible as he thinks he is. And that despite what he believes, he is not immune to, or above, human emotion, and human sentimentality.

Kuroha/Saeru recognizes that Ene is clearly trying to provoke him on purpose to try and make him lose his control and composure for once, even if just for a bit. He calmly raises an eyebrow and goes like, “Oh? Do tell. How so?”

If Ene is aware of his origins (maybe Kuroha/Saeru decided to open up about it and tell her on his own accord when she was curious and wanted to know more about him, before), then Ene tells him how he’s clearly not above human emotion when he witnessed the love Azami experienced with her family and spited the world and humanity for it.

And, for the first time, this manages to wipe the smirk off his face.

And imo, Ene biting back at him with this, WOULD manage to get under his skin.

FGO: Tunguska Sanctuary

Source: (X)

In the Tunguska Sanctuary event, Koyanskaya, a Nature Spirit born as an incarnation of the thoughts and feelings of animals persecuted by mankind, tells Chaldea what makes humanity so incorrigible, what she finds so despicable and loathes about humanity, and all their virtues and vices.

Koyanskaya: Creatures who will expire in a few millenia despite gaining wonderful technologies and knowledge. Koyanskaya: Multiplying without caring for their brethren, without healing the earth— Koyanskaya: An ecosphere where the ignorant strong ultimately trample on the ignorant weak.

Chaldea's crew reacts to Koyanskaya's speech with disbelief. Nikitich criticizes Koyanskaya for “mocking the failures of others, just like a human would.”

The whole thing is fascinating. Koyanskaya's dialogues are all SO good.

youtube

Chaldea's confrontation with Koyanskaya (pre final boss battle): (19:00 - 30:00)

Koyanskaya's speech: (19:00 - 23:30)

KuroEne AU: Ene confronts Kuroha

Coming back to KuroEne, I think Ene can use this against him as well.

In the Mekakucity Records Booklet, Outer Science’s section describes Kuroha/Saeru as a “monster that overlooks everything — peoples’ lives, hearts, meetings, memories, deaths, and looks down on it all, and how “he started influencing peoples’ everyday lives merely to kill time.”

He thinks he’s above everything, humanity, human emotion and human sentimentality. But in reality, he’s not. He’s still prone and susceptible to it.

With his actions, he’s just “mocking the failures of others, just like a human would.” Ene tells him he’s not the supreme being he thinks he is, but doing exactly what a human would.

...

In the context of a Kuroha ship AU, specifically KuroEne AU in this case, Kuroha’s selfish, twisted desire to continue the time loop tragedy out of self-preservation (as his main goal above all else), and then on a secondary level, being motivated by a twisted obsession to keep up the game with his partner for eternity, also creates a human-like irony/contradiction in him.

Ene goes like, “I told you before, didn’t I? How you started all of this in the first place.”

Ene comes back to her point of how he started doing all of this (playing the “game” and being intimate with her) out of curiosity.

Even though he mocked Azami’s love for his family… At some point, in his desire to make the Routes more fun and interesting, he started indulging in carnal pleasures and craving the touch of a human (the very beings he claimed to both love and look down upon for their foolishness, etc.)

The one that started this game was him. The one that went through the efforts of tinkering with human tech, making the android body and improving upon it everytime with each rendition, was him. The one who approached her to propose the game with her, and even after this many times, still chooses to do this with her, is him.

Source: Sidu's Playing Card Set (Kuroha Joker Playing Card)

(This is how I imagined his expressions. For the first time, his smug grin drops to a neutral expression, almost annoyed, even... She's clearly gotten under his skin.)

Ene then asks him, “When did you finally start becoming a little more human?”

When Ene’s done her speech, Kuroha’s expression finally drops to a silent (…)

Ene revels in her victory after seeing Kuroha’s momentary loss of composure.

She managed to get under his skin like she wanted. This is a true victory for her, and they both know it. She won this time, and not because he let her win.

Ene feels proud and triumphant for finally being able to strike a nerve in him and “winning” against him. She then gives him a cheeky grin like, “Finally wiped the smug look off your face!”

...

Kuroha/Saeru feels a tinge of annoyance.

Still, though, he doesn’t want to let her bask in the victory for too long, so he quickly recovers and regains his composure and usual smug demeanour, and scoffs at how ridiculous and absurd the notion of him becoming more human is.

He congratulates Ene for her victory and tells her that her predictable unpredictability has always kept things interesting between the two of them. He didn’t expect her to bring up his Master (Azami) as leverage against him in their verbal confrontation.

KuroEne AU: Dialogue Script

KuroEne, IdaTatsu, and FGO Rambles

When I saw Feila's KuroEne x IdaTatsu crossover, I felt inspired to make some rambles for it:

I went on a tangent when I added to this omfg. KuroEne and IdaTatsu rambles. Everytime I write about my meow meow mf faves, out comes an essay. I can't even stop the urge omfg

KUROENE AS IDATATSU OMGGG

The ultimate crossover hehe

This is honestly really funny to think about

The thing is, is that all of my faves have this level of elegance and refinement and composure (except for Judar). Which is completely fine. It's not necessary to have but it's usually present in my faves

The difference between charas like Douman and Kuroha/Saeru, who are the most mature of my main faves (which makes sense since they’re ancient beings or at least originate/come from an ancient era) and Idate, is that, while Idate has adult-like mannerisms, he has a child-like sense of entitlement.

What makes Idate so dangerous is how quickly he can switch from cheerful to deadly, at the drop of a hat, basically. Idate has a level of refinement and composure in his usual mannerisms, like he tries to appear “dainty” and gentlemanly to Tatsumiya to impress her since she’s very soft.

But he’s less mature and refined/composed than Douman and Kuroha cuz he's like... dignified, but also a rough, "elegant delinquent," a mafia type, basically. Idate is playful and dangerous but with a childlike sense of entitlement. So Idate is more casual, less formal than the two of them .

Like Idate is so: "I want that!" (^-^)

Because he just purely goes off on instinct/emotion-based feelings. And how he just murders and eats people on a whim. He’s motivated by “interesting things,” and things that can challenge him.

Cuz Idate is basically an elegant “mafia esque” type delinquent

So it's just funny to think of Kuroha in Idate's role bullying other animals (or teasing in Ene's case)

It would also be interesting to

Especially since the WATGBS AU versions of Idate is even more cruel than the F*na-verse one.

Even more cruel, but actually well-written, unlike F*na LMAO.

100000x better written but it's not harder to write better than F*na

WATGBS AU: IdaTatsu

WATGBS AU Idate (written by me and friends) steals peoples' souls and drinks and drains people of their blood and eats them, to use them as a power source and add to his power by absorbing them as a form of dark energy, then throwing the rest of the souls to light up his space void hell-scape that’s lit up by the dead souls of all the people he’s ever eaten. He is extremely cruel.

Idate knows that he's evil with inner, dormant, negative tendencies and "unpleasant" personality traits but he just wholly dismisses it out of a sense of apathy. He doesn't care about his victims. He sees them as "toys," "playthings," "sustenance" for him. It very much has this sense of “Yes? I did that? I’m evil! Don’t you see I’m evil?” (^-^)

I do think that the 7 Deadly Sins are split between Idate (and his older brother) Takama’s characters in the WATGBS AU, but I think the Deadly Sin that Idate represents most is "Greed," because his character is all about the pursuit of pleasure and desire for more. Tho he also has an apathy to other people and their suffering

Tatsumiya's role as "Messenger of the Dragon Palace" seems similar to a shrine maiden's duties, so I guess Ene in this AU is like a shrine maiden or princess consort.

Kuroha acting with Idate's carefree and laidback delinquent esque behaviour is sooo funny to think about.

Kuroha and Douman have similarities in terms of their basics, actually, but there's a huge difference in that canon-verse Kuroha lacks the tenderness and vulnerabilities that Douman's character has.

Also this is soooo funny to think about, cuz canon-verse Kuroha would not like cigarettes.

But Idate does, as an animal, cuz his character (at least in our WATGBS AU) is about his selfishness cruelty and general lack of care and apathy to other peoples' suffering and (metaphorically) drowning in momentary pleasures and chasing highs, because the pleasure is "not enough" for him. He needs something/someone more than that, someone who can connect and understand him, for once

And that's why finding Tatsu is a miracle for him. He and his older twin brother Takama never knew soft love before meeting their wives, only survival and death 💀 Idate doesn't care about others except for a select few that he loves (as his wife, Tatsu later becomes apart of his family)

Combined with the traumas from their backstories (that we made up for them in our AU), they just completely lacked proper childhoods and spent their entire lives just trying to survive.

Kagerou Daze Manga

In the KagePro manga, Kuroha/Saeru looks over the city from a rooftop and comments about the “muddy dirt stained (polluted) sky” and “humans spreading their greed wherever they go.”

He asks Konoha if he agrees with him (after overtaking/possessing his body and suppressing his consciousness). Since they're both Eye Ability snakes born from Azami, he calls him 兄弟 (Kyoudai, "Brother; mate; friend")

It means "Brother," but it can also be used in casual/informally contexts between guy friends such as "My man; mate; friend"

(Kagerou Daze Manga: Ch. 62 - NO TITLE)

Kuroha: ...No wonder this world we made is so irksome.

Kuroha: This disgusting, glittering town...

Kuroha: This muddy, dirt-stained sky...

Kuroha: These people, spreading their greed wherever they go...

Kuroha: It's all so foolish...

Kuroha: ...And so lovely.

Kuroha: You agree, don't you...

Kuroha: ...My brother?

...

As someone who was there before the world was created, and observed the world from the very beginning and got to see it develop to the modern age, as a being who is close to Nature...

Like of course canon-verse Kuroha/Saeru would feel that way about pollution, as an animal (being who lived as apart of Nature, alongside Azami).

The KagePro manga art is weak and not dynamic imo but I appreciate that it exists since it gave us lots of interesting scenes, like Kuroha's backstory, and a bunch of cute little moments with the MekaDan.

An animal being who exists as someone closer to nature

Going on a tangent:

Kuroha seems to resent the world/mankind for changing the nature of his Master's wish, but claims to love humans (especially their foolishness).

Kuroha has a few base similarities with one of my FGO wives Koyanskaya (FGO), the "contradictory nature of loving while hating [humanity]" but the difference between them, is that he doesn't really hold as much of a vengeful grudge against humanity.

Kuroha wants to destroy the world to redo it all over again from the very beginning. But in comparison, he's not really that vengeful or serious about that hatred/grudge, as some of my FGO faves that want to destroy/exterminate humanity.

I got reminded of Koyanskaya specifically cuz like, as a Servant, she's a being who's a manifestation of a concept. She's a "Nature Spirit who's basically the incarnation of the thoughts and feelings of all animals who were persecuted by humanity," a being that "exists for revenge against humans" and "wishes for humanity's demise while loving them as beings apart of nature"

And even Koyanskaya is still "not as serious" (in her own words), about wanting to destroy humanity as others. She wants to witness humanity's destruction as entertainment, but wants to leave the actual extermination to someone else.

There's a line about Koyanskaya in the Tunguska Sanctuary event story in FGO (Koyanskaya's major story chapter focus) that's like "She wields the inventions and weapons of man, better than man ever could," due to her Beast's Authority as someone who can summon unlimited Lost Familiars (Mass produced creations by Koyanskaya).

And that does remind me of Kuroha/Saeru. And how like... He wields both words (ie. weaponizing knowledge), and humanity's tools/inventions (ie. guns) as weapons.

Koyanskaya's entire concept and character is so peak imo. I find her incredibly interesting and compelling. One of my top fave FGO wives and femme characters easily.

Source:

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m34gs · 9 months ago

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Top Five Superpowers.

Thanks for the ask, friend!!! I am pumped to answer 💜💜💜 (based on this post)

This list will be, of course, extremely subjective. It is by no means a list of what the best superpowers overall are, but instead a list of the superpowers that I like the most! (and I will say, the angst factor weighs in heavy on this one. Gotta love that painful but beautiful character development...mwahahaha)

Top 5 Superpowers:

Divination/clairvoyance. I love this power so much. It's just so interesting, and can also be so devastating! There's so much to play with here: from being able to see what's coming and being powerless to stop it, to giving up something in return for the "gift", to not being believed, or even going mad with the knowledge...there's just so much. A few of my personal favourite examples when it comes to this power: using magic to bend the wind to carry visions of the future (Trisana Chandler in The Circle of Magic series by Tamora Pierce); giving up real-world sight for visions of the future (The Witch of Endor from The Alchemyst: The Secrets of the Immortal Nicolas Flamel by Micheal Scott); seeing the past, present, and future of whatever you are looking at all at the same time, as well as seeing different time periods around you at the same time (Aunt Del from Beautiful Creatures by Kami Garcia and Margaret Stohl); clairvoyance with a 30% success rate (Yasuhiro Hagakure from Danganronpa: Trigger Happy Havoc); animal with visions of the future (Bond Forger, the dog, from Spy x Family by Tatsuya Endo). Look how versatile the power is! And that's not even all of the ones I've ever seen; just some of my absolute faves! I love this power and how much potential there is for it!

Reading things into existence. This specific power is from the Inkheart Series by Cornelia Funke. To be more clear, it isn't so much that things are created by reading. The power is actually exchanging things from one world to another, through reading out loud. Basically, Mo and his daughter have the power to bring things out of books and into our world by reading out loud from a book; but the cost is that something (or some*one*) from our world will be exchanged into the book world. Initially, there is no control over what is taken or given, as Mo unfortunately discovers when he reads aloud to his wife and she disappears into the novel. Through the series, as they discover more about their ability, they start to be able to manipulate it better to the point they can figure out how to read things into stories and gain more control over what happens. It's so interesting and, to date, one of the most unique powers I've ever read about. 10/10. Also, I absolutely love the series and totally recommend it to anyone who hasn't read it yet.

The ability to see yokai/spirits. Love the communication with otherworldly creatures; it is a top tier power in my mind and a guaranteed way to get me to read/watch something. Some of my favourite characters with this power are: Natsume from Natsume's Book of Friends; Hanae Ashiya and Haruitsuki Abeno from The Morose Mononokean; Kotoko Iwanaga from In/Spectre. I just love how interesting the power is, and the themes it usually plays into such as loneliness, compassion, and empathy.

Necromancy. Not only speaking with spirits, but being able to raise the dead? Yes please! I find this power so interesting largely due to how it impacts the characters with the power. Necromancy can be considered creepy and is often an isolating power to the individuals who possess it. It's also chilling to think about; someone having the ability to raise you from the dead and force you to act how they want. The fact that it doesn't re-animate the person necessarily, meaning the corpse could be still rotting around their spirit. There's so much to it, and I love it. Favourite examples: Daniel Cain and Herbert West bringing people back to life in Re-animator with a special drug; Jinwoo in Solo Levelling being able to raise the dead and create an undead army; Chloe Saunders, a small, initially timid student who suddenly comes into her powers and begins seeing ghosts and accidentally raises the dead on more than one occasion, from The Darkest Powers trilogy by Kelley Armstrong.

Healing. This one is pretty broad, but that's because I love how it can have so many interpretations: from creating healing potions to using magical energy to repair the body, and everything in between. I love when there are consequences and prices for it. I love exploring the potential darker side of it, and I actually have so many ideas for how to make it a dangerous power...I really love playing around with this one. I also think it gets way less attention and world-building than other powers. I mean, there are so many things that can happen in the body and so much effort that would go into treating each one, you could have healers that specialize in one body system each and still they wouldn't be able to cover everything because every human is unique. Also, what about people who take short cuts and try to do things faster but not with the "proper" technique? Because I can guarantee there will always be someone trying to "save time". And healers who are not "careful" or "delicate" in their disposition, but tough old birds who are cranky as hell because "quit letting your children play in the Forbidden Fucking Forest it is FORBIDDEN for a REASON" and who could totally kickass, or even heal their own wounds so they can keep getting into fights? Give me!!! But, people don't write it that way. So, I want to play around with that aspect more at some point in my writing🥰

There you have it! Hope you enjoyed my answers, and thank you so much for asking!!

#personal #top 5 super powers #my opinion #asks #ask games #for fun

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chanoyu-to-wa · 1 year ago

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Nampō Roku, Book 7 (72a): Nambō Sōkei’s Collection of Wabi Tea Utensils (Part 1: Kakemono, Kama, Chaire, Mizusashi).

72) This monk is a simple and honest [fellow]¹. Nevertheless, among [my] sabi [サヒ = 寂び] pieces, those imbued with Lord [Ri]kyū’s spirit [I], too, used when serving tea². Furthermore, those [utensils] that had also been handled by [Ri]kyū were [especially] appreciated³.

Moreover, because these numerous things were passed on [to me] by [Ri]kyū, [I] have recorded these [details] on this piece of scrap paper⁴.

〽⁵ Mokkei’s [portrait of the Bodhisattva] Kannon, with a colophon by Kurin⁶.

〽 Ikkyū oshō’s Shū-un-an name[-plaque] -- [Shū-un-an] is an alternate name for Nambō⁷.

〽 Zen-master Issan’s [calligraphy of] three characters⁸.

〽 Itome-gama [糸目釜], made by Ashiya Sachika [芦屋左近].

〽 Temmyō [天明] matsu-gasa no kama [松カサノ釜]¹⁰.

〽 Ko-nasu no chaire [小ナスノ茶入]¹¹,

﹆[paired with] an uchi-aka bon [内赤盆]¹²,

﹆[and] accompanied by a chashaku made [for it] by [Ri]kyū¹³.

〽 an old Seto rotei-guchi [ロテイ口 = 驢蹄口]¹⁴.

〽 [a mizusashi] made by Shigaraki Sukemune [シカラキ助]¹⁵.

_________________________

◎ The primary purpose of this entry appears to be to illustrate -- to the readers -- precisely what is meant by the designation wabi no cha-dōgu [ワビの茶道具]. Many details make it clear that this entry was authored during the Edo period, primarily using utensils that were known (by the Sen family -- based largely on the Rikyū hyak-kai ki [利休百會記], which documents Rikyū’s gatherings during his last year of life: this document was returned to Shōan, along with some of Rikyū’s other personal papers, when Hideyoshi decided to reinstate the Sen family not long before his death) to have been owned and used by Rikyū. As should be obvious, without photographs or other sorts of illustrations the entry would be all but meaningless.

Once again, Shibayama Fugen’s toku-shu shahon [特殊写本] includes certain minor changes in the declaratory sections of this entry -- which I will discuss in the footnotes.

¹Kono-bō shitsu-baku ni shite, mezurashiki-dōgu mo nashi　[コノ坊質朴ニシテ、メツラシキ道具モナシ].

Kono-bō shitsu-baku ni shite [此の坊質朴にして] means “I* am a simple and honest (monk)....”

Mezurashii-dōgu mo nashi [珍しい道具も無し] means “(and I) also (do not own) any wonderful utensils†.”

Here Shibayama’s toku-shu shahon text has kono-bō hin-sō ni shite, mezurashiki-dōgu tote mo nashi [此坊貧僧ニシテ、珍敷道具トテモナシ].

Hin-sō [貧僧] means a poor monk (a monk who literally has no worldly possessions). This would be a more credible way of stating the matter (if this had actually been written by Nambō Sōkei) than what is found in the Enkaku-ji manuscript’s shitsu-baku [質朴] (which smacks of a certain pride in one’s simplicity and rather worldly forthrightness).

Mezurashiki-dōgu tote mo nashi [珍敷道具とても無し] means “and also (I) do not have any wonderful utensils.”

While the modifications appear to have been made in order to make the text seem more authentic, for a monk, there is really no significant difference in the meaning. __________ *Kono-bō [此の坊] literally means “this monk.” Nambō Sōkei is being made to refer to himself.

†Mezurashii-dōgu [珍しい道具], “wondrous utensils,” refers to meibutsu-class utensils, and objects formerly owned and treasured by the great names in chanoyu history. This way of describing such things became common in the Edo period.

²Sare-domo sabi-mono, naka ni, Kyū-kō no ki ni irete, cha wo mo tsukamatsu　[サレトモサヒモノ、中ニ、休公ノ氣ニ入テ、茶ヲモ仕].

Sare-domo [然れども] means nevertheless, however, though that may be so.

Sabi-mono [寂び物] means “sabi” objects. Sabi was a critical term used to define the aesthetic of wabi no chanoyu during the Edo period*. The idea includes refined rusticity, patination by age, simplicity of form, and a palpable feeling that the object represents the ultimate stage of maturity (for that craft).

Kyū-kō no ki ni irete [休公の氣に入れて] means “infused with Lord Rikyū’s† spirit.”

In fact, many of these pieces had been owned by Rikyū during the last year of his life (yet in a later entry, where Sōkei describes his having received certain objects from Rikyū, as mementos, on the morning of his seppuku, none of these things are mentioned‡).

Cha wo mo tsukamatsuru [茶をも仕る] means tea was also served (with these utensils).

In other words, the author is saying that, because these utensils were infused with Rikyū’s spirit, they were suitable for use when serving tea to one’s guests. (The implication being that Nambō Sōkei used them in this way.)

Here Shibayama's text edits the statement slightly: sare-domo sabi-dōgu no naka ni ha, Kyū-kō no ki ni irite shōserare-shi mono [サレ共サビ道具ノ中ニハ、休公の氣に入りて稱せられし物], which means “nevertheless, among (my) sabi-utensils, those infused with Lord Rikyū’s spirit are (most deeply) admired.” __________ *The word was not used before the Edo period. During Sōkei’s and Rikyū’s lifetime, wabi [ワビ] is the word that was used. While the essence of this term is best expressed by the kanji-compound wabi [我美], meaning “my own sense of aesthetics” (and those objects which complement that aesthetic sense), the fact that it had been replaced by Sōtan’s wabi [侘び, later written 佗び] (which means wretched, lonely) required philosophers of aesthetics to come up with a new, more broadly applicable, term.

Ultimately, pieces that agreed with the evolved definition of Sōtan’s aesthetic were reclassified as wabi-sabi [侘び寂び].

†Once again, it should be pointed out that Kyū-kō was the quazi-familial term used by the Sen family to refer to Rikyū -- implying an intimacy that certainly never existed between any member of their family (Shōan was the son of Miyaō Saburō Sannyū [宮王三郎三入; ? ~ 1582], who died defending Hideyoshi at the battle of Yamazaki: Sannyū’s widow was inserted into Rikyū’s Kyōto household, as Hideyoshi’s in-house spy, in the mid-1580s, at which time Shōan was in his 40s and already established on his own tea path as a follower of Imai Sōkyū) and Rikyū himself.

‡Rikyū’s several households, and everything they contained, were confiscated by Hideyoshi immediately following Rikyū’s seppuku, so it is difficult to see how those utensils could have come into Nambō Sōkei’s hands later.

In one particular case (that will be discussed later), the object mentioned in this list was actually owned by Mozu-ya Sōan [萬代屋宗安; ? ~ 1594] (who was known to Rikyū and his other intimates as Shōan [少安], “little An” -- because he seems to have been several years younger than Rikyū), Rikyū’s great friend -- and the husband of Rikyū’s favorite daughter.

Since Sōan died several months after Nambō Sōkei (so that Sōkei could not have come into the possession of this utensil after Sōan’s death, as some have suggested), it seems this story was fabricated as a way to disappear Mozu-ya Sōan (since the Sen family’s myth of Rikyū’s death required Hideyoshi’s attempt to seduce Mozu-ya’s widow as the pivot for why the relationship between Hideyoshi and Rikyū degenerated to the point where seppuku was the only acceptable resolution -- and, of course, this nonsense would have been revealed for what it was if it became widely known that Rikyū predeceased Mozu-ya Shōan by three and a half years).

³Mata ha Kyū no te ni mo furete shōserare-shi mono　[又ハ休ノ手ニモフレテ稱セラレシ物].

Mata ha Kyū no te ni mo furete [又は休の手にも觸れて] means “and again, because Rikyu's hands touched (these utensils)....”

Shōserare-shi mono [稱せられし物] means “they were recognized (as as being suitable for chanoyu);” “they were especially appreciated (because Rikyū had once used them).”

In other words, this is arguing that because Rikyū chose to use these utensils, that was deemed reason enough for others to do so as well (despite the lack of anything like a denrai [傳來]*).

Here Shibayama’s version is mata ha tabi-tabi Kyū no te ni fure, temae tomo arishi-mono [又ハ度〻休ノ手ニ觸レ、手前共アリシ者].

Mata ha tabi-tabi Kyū no te ni fure [又は度々休の手に觸れ] means “and again, (because) they were often touched by Rikyū’s hands....”

Temae tomo ari-shi mono [手前共ありし者] means “they are also (suitable) to be (used) during a temae.”

The reference to these utensils’ being suitable for use when serving tea has thus been transposed to this place in the toku-shu shahon version of the text. __________ *Denrai [傳來] means a record of an object’s transmission. It documents the piece’s previous owners (and implies their approval of the utensil) -- particularly valid for the pre-Edo part of the journey, when chajin rarely owned large collections of objects (and so only collected those things that truly appealed to them).

⁴Mata Kyū yori tamawari-shi monora, kami-no-amari ni kaki-tsukeru　[又休ヨリ玉ハリシ物等、紙ノアマリニ書付ル].

Mata Kyū yori tamawari-shi monora [又休より給わりし物等] means “and likewise, because these things were passed on (to me) by Rikyū....”

Kami-no-amari ni kaki-tsukeru [紙の余りに書き付ける] means “(I) have written this down on (this) piece of scrap paper.”

In other words, Sōkei appears to be intent on creating a denrai for these pieces (which was something that became important -- to provide a written documentation of such matters -- during the Edo period).

Here, putting orthographic variants aside, Shibayama’s version is essentially identical to the other.

The final phrase, however, raises a question (at least to my mind): why would Sōkei need to write this second phrase, if this record was being made for his own reference (or why, since he had received them from Rikyū, would it be necessary for him to memorialize this fact at all -- since it ostensibly it would have been for his own personal reference)? Certainly there is nothing to suggest that his collection was so exensive that there was a chance that he would forget which things had been given to him by Rikyū (indeed, in his preamble, he describes himself as a simple and honest monk, which clearly suggests that he did not have any need for a large number of tea utensils -- no more than the basic set of things that were necessary to serve tea properly).

And if this denrai was being set down so as to inform posterity of their antecedents, why would the medium on which it was written (a piece of scrap paper) be a point important enough to deserve mention in this document -- other than to provide a clue to its authenticity (the way the dimensions of the gedai served to verify that the mounting of a given scroll had indeed been designed by Nōami or Sōami)?

These seem to be details that should be observed when trying to convince the reader that a forgery is an authentic original (since these details are what an Edo period reader would expect).

⁵Here (though whether by Tachibana Jitsuzan, or the editor of the Sadō ko-ten zen-shū [茶道古典全集] edition of the Nampō Roku, is unclear*) it is noted that the iori-ten [庵点], “〽” and goma-ten [ゴマ点], “﹆” -- which indicate separate entries and sub-entries respectively -- were written with red ink in the original. (This suggests a more formal attempt at formatting than something casually jotted down on a piece of scrap paper would be likely to contain). __________ *This is made even more confusing by the fact that neither Shibayama’s toku-shu shahon, nor the texts to which Tanaka Senshō had access, contain either iori-ten or goma-ten in this particular entry.

⁶Mokkei Kannon ni Kurin san　[牧溪觀音ニ古林賛].

Mokkei [牧溪] (the second kanji in his name is wrong) is a reference to the Southern Song Chán monk-painter Mùxī Fǎcháng [牧谿法常; 1210? - 1269?].

Though not widely appreciated during his lifetime*, he is now considered to be one of the greatest Chán painters in history. Mùxī’s work exerted incalculable influence on Japanese Zen artists from the fourteenth century onward.

With respect to this specific work, which was a portrait of the Bodhisattva Avalokiteśvara [अवलोकितेश्वर], known (among other forms) as Kannon [觀音] in Japanese, it cannot be identified with the famous painting of the White-robbed Kannon (attended by a monkey and crane) that is owned by the Daitoku-ji.

The following painting, while the artist has not been unidentified, is in his style (and from the same period); and the portrait in question would, at the very least, have resembled this work.

Kurin [古林] is a reference to the Chán monk Gǔlín Qīngmào [古林清茂; 1262 ~ 1329] (the Japanese reading of his name is Kurin Seimu), who was famous for his lively style of calligraphy.

Paintings on this subject by the Japanese monk-painter Moku-an Reien [黙庵靈淵; ? ~ 1345?] who journeyed to China, and whose paintings often bear colophons by famous Chinese monks (especially the one with a colophon by Liǎo-ān Qīng-yù [了庵清欲; 1288 ~ 1363] -- one example is shown below -- who was a follower of Kurin's tradition), seem to have been inspired by Mokkei's compositions†. Moku-an was active in the following century. __________ *During his lifetime, it is said that his contemporaries considered his paintings “sketchy, unsophisticated, and coarse,” and “inappropriate to be displayed in monasteries.”

†Certain commentators have argued that some of Moku-an’s compositions were copies of Mokkei’s paintings, while others have gone so far as to suggest that the painting in question here was actually a misattribution of the one painted by Moku-an (with colophon by Liǎo-ān Qīng-yù), that is shown above. (It does not appear that either Mokkei or Moku-an always signed their works, while the colophons are usually certified only by a name-stamp, which is often itself illegible. The above painting, for example, exists in several nearly identical versions, though with differing colophon texts.)

⁷Ikkyū oshō Shū-un-an no gō, Nambō no betsu-gō tomo ni　[一休和尚集雲菴ノ號、南坊ノ別號トモニ].

Shū-un-an no gō [集雲菴の號] means the name Shū-un-an. Often written or carved into a wooden plaque (gaku [額]), this is usually the name of the building -- traditionally these names were frequently given to monk’s cells and tearooms (with the resident or teishu often adopting that name as his own).

This is referring to the document (whether subsequently mounted in a frame, or carved onto a board) written by Ikkyū Sōjun [一休宗純; 1394 ~ 1481] for his (illegitimate) son Giō Jōtei [岐翁紹禎, 1428? ~ 1522?], at the time when he ordered him to stop using the name Nambō [南坊].

Nambō no betsu-gō tomo ni [南坊の別号ともに] means “this was also an alternate name for Nambō.” (The author appears to have been unaware of the story that is told in Book One, where the origin of this name is explained -- and the fact that it referred to Giō Jōtei, not Nambō Sōkei).

This gaku is not known to exist. If it survived into the 20th century, and was affixed to the Shū-un-an in such a way that it was either not obvious, or could not be removed easily, then it was probably lost when the Shū-un-an was looted and burned down by the Imperial Army during the Second World War.

Though the objects in this list are categorized as things that Sōkei had received from Rikyū, this name-plaque would obviously have been handed down within the Shū-un-an (Nambō Sōkei was the second generation resident monk, having received the hermitage -- and so the right to use the names Shū-un-an and Nambō from Giō Jōtei).

⁸Issan zen-ji mitsu-ji　[一山禪師三字].

Issan zen-ji [一山禪師] is a reference to Yī-shān Yī-níng [一山一寧; 1247～1317] (the Japanese reading of his name is Issan Ichinei), a Chán monk who came to Japan in 1299, at the end of the Kamakura period. After coming under suspicion of political intrigue by the regent Hōjō Sadatoki [北條貞時; 1271～1311], he was arrested, though later pardoned; and eventually Issan zen-ji came to reside at the Nanshū-ji temple in Sakai. He was affiliated with both the Taikei-ha [大慧派] (Dàhuì branch) of the Rinzai Zen sect, and the Tendai [天臺, 天台] sect.

He had a great impact on the development of Zen literature in Japan.

This writing reads Shun ki-ka [春歸家], which means “Spring returns to its home.”

⁹Itome-gama Ashiya Sachika saku　[糸目釜芦屋左近作].

The names of the craftsmen were not recorded prior to the Edo period. The best that could be said in Jōō’s and Rikyū’s day was that the kama had been cast at Ashiya (near Fukuoka, on the island of Kyūshū) or Temmyō (in the mountains north-west of modern-day Tōkyō).

Ashiya kama were originally made with imported Korean iron (that, on account of metallic contaminants, rusted minimally, and with a white, rather than orange, patina). The exterior of the kama was finished by being stained rust-red.

By Jōō’s and Rikyū’s day, the trade embargo with Korea and China was beginning to have an effect, and increasingly Japanese iron was being mixed into the imported metal (resulting in orange rust forming on the inside of the kama after use). This is why it was said that their quality was decreasing (since “quality,” in this case, was primarily connected with whether the iron would rust, and so contaminate the water).

¹⁰Temmyō matsu-gasa no kama　[天明松カサノ釜].

According to Tanaka Senshō, matsu-gasa no kama meant a kama with “matsu-gasa” [松笠] -- “pine-cone” -- kan-tsuki.

Hosokawa Yūsai had obtained a bronze furo and matching kama from Korea that had kan-tsuki of this sort, which Rikyū admired. Therefore, after presenting the first small unryū-gama to Hideyoshi (along with the large Temmyō kimen-buro that had belonged to Nobunaga), Rikyū had a second small unryū-gama cast for his own use.

While the original small unryū-gama had a lid made from beaten copper (to resemble one made of bronze*), and kimen kan-tsuki (to match the kan-tsuki on the large Temmyō kimen-buro), the second small kama had a cast iron lid (that nevertheless imitated the shape of the original beaten copper lid) and matsu-gasa kan-tsuki†. This is the kama shown above. __________ *Neither bronze nor copper plates (used for roofing) were being produced in Japan at that time. Both were imported from the continent (the bronze, at least, primarily from Korea).

Still, because the copper sheets were quite malleable (and more or less available, albeit costly), and because the copper quickly oxidizes into a color resembling bronze, Rikyū had the lid for the first small unryū-gama made from beaten copper (since the color would have resembled the lid of the original kaki-awase kama that had been destroyed in the Honnō-ji fire).

†These kan-tsuki are semi-circles, finished with a scale-like texture -- that actually resemble the scaly coils of the dragon that is depicted, in bas relief, on the front and back sides of the kama. They were never intended to resemble pine cones (the way modern-day matsu-gasa kan-tsuki do),

¹¹Ko-nasu no chaire　[小ナスノ茶入].

This chaire is similar in shape to Rikyū’s shiri-bukura chaire [尻膨茶入], though it is slightly smaller (just over 2-sun in diameter).

There is nothing to indicate that this particular chaire was ever owned by Nambō Sōkei, however. It was the treasure of Mozu-ya Sōan [萬代屋宗安; ? ~ 1594] (also known as Mozu-ya Shōan [萬代屋少安], since he was Rikyū’s “younger brother” -- denoting a relationship where the two men were as close as brothers: Shōan, “Little An” was apparently Rikyū’s pet name for the younger Sōan). The reason why this chaire is here claimed to belong to Sōkei is because saying otherwise, as mentioned above, would have caused people to challenge the Sen family’s version of the death of Rikyū (since the alienation between Rikyū and Hideyoshi was supposed to be the result of Hideyoshi’s attempt to have Mozu-ya’s widow -- who was Rikyū‘s favorite daughter -- sent to his harem, which was supposed to have angered Rikyū: therefore, Mozu-ya Sōan would have had to die at least a year before Rikyū, rather than more than three years after, as is historically accurate).

The reason Rikyū incurred Hideyoshi’s wrath was because he, like many of the citizens of Sakai, as the children and grandchildren of Korean exiles, vehemently opposed Hideyoshi’s invasion of Korea (while the more radicalized citizens of Hakata encouraged it -- and even acted as Hideyoshi’s spies on the continent in the lead-up to the invasion).

The goal, in the minds of the Hakata townsmen, was the overthrow of the Lee dynasty, and a restoration of the republic that had existed between the end of Goryeo (circa 1401) and the Ming invasions in the middle of the fifteenth century (the purpose of which was to restore the monarchy -- albeit as a vassal state within the Ming empire). Apparently the intention was either that Hideyoshi would assume the Chinese throne (or die in the process), or else to eliminate Hideyoshi entirely once he had fulfilled his purpose.

¹²Uchi-aka bon　[内赤盆].

This is the Chinese tray, lacquered black outside, and red on the face and inner sides, that is shown above.

¹³Kyū no chashaku soe　[休ノ茶杓添].

This chashaku was made by Rikyū to be used with the ko-nasu chaire, resting on its uchi-aka bon, that is shown above.

The chashaku is said to measure approximately 4-sun 9-bu in length*. When resting on the tray beside the ko-nasu chaire, the sharp bend in the handle contacts the face of the tray in line with the back side of the chaire. __________ *Today, chashaku of this sort are most commonly seen as chabako-chashaku. In fact, they were originally made for use in the bon-date temae, to accompany a ko-tsubo that was being used on a chaire-bon, the size of which was calculated based on Rikyū's teachings (in other words, that the tray should be 2-sun larger than the chaire on all four sides).

¹⁴Furuki Seto rotei-guchi　[古キ瀬戸ロテイ口].

This is the ko-Seto chaire shown below.

Rotei-guchi [驢蹄口] refers to the slightly flaring mouth: ro [驢] is the domestic ass, while tei [蹄] means a hoof. Asses are good pack animals because their hooves flare outward toward their extremities, resulting in a broader sole, and so greater stability (the same effect as wearing snowshoes).

Chaire of this general shape were classified as maru-tsubo [丸壺].

¹⁵Shigaraki Tasuke saku　[シカラキ助作].

According to Tanaka Senshō, this refers to the Shigaraki mizusashi that Rikyū was using during his last years -- the piece shown below.

Again, it is important to remember that the names of craftsmen were never recorded prior to the Edo period’s making that essential (since a more famous name could command a far higher price). Indeed, pieces of the sort shown above were made as storage jars for lower-class households by completely anonymous potters working communally at the Shigaraki kiln. Apparently when called upon to give their names, they used the designation of the kiln as their surname.

Personal details of this Shigaraki Tasuke are unknown. (Tasuke [助] means assistant, so perhaps the person who made this jar was an assistant to the kiln master.)

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