#bleach meta?

[littleeyesofpallas]

Been meaning to go back and take stock of my "score" on the ongoing @bleach-smashorpass, I've grayed out anything where my personal pick didn't match the popular outcome, and left the ones where I fall into the majority vote in color.

Look, I'll be real, I'm not above monsterfuckery, even if I don't consider it ""my thing"" but I'd have voted smash on Ayon if he didn't have his weird secret muppet face. Also Aaroniero was an extremely light smash, i really had to flip flop on that one a few times before making a choice. I'll be honest, I liked original Chapter25 epilogue Aisslinger way more than what we got in the Arrancar Arc, and if I could split the vote I'd smash original and pass on final design for him.

Bambi is just such a boring design, and honestly Batsuunsai isn't much better, but the glasses are cute. She was really close to being a pass.

I was actually surprised that I had to stop and think about Choe but his giant chin and tiny bowl cut were not doing him any favors. Also as much as I like Cyan as a character, there is just something about hime cuts that are an automatic off switch for me. the rest of these felt fairly obvious.

not gonna lie, little hurt by the lack of D-Roy and Dordonii love

Confused that people were so lukewarm on Findor, although it was a close split. Also oddly I could have sworn I passed on Furofushi... I'm not really a fan of pigtails, with very few exceptions, but when I went to check the poll results it said I voted smash. Maybe I was thinking she was feeling Hiyori adjacent enough to count it at the time? I.... I don't remember voting smash on Entetsu...

i feel very scandalized by having voted unpopularly on all these old men... I'll be honest, Gremmy is a very lukewarm smash, and the potential of the Visionary power as a sex thing was very much the deciding factor.

boy bleach fans really don't like moustaches, huh? So funny enough it wasn't until the anime that I realized Hidetomo has his multiple earrings and somehow that changed his whole vibe for me, but prior to that it would have been an easy pass. I absolutely cannot abide characters whose whole thing is being someones dead wife/girlfriend, even if she otherwise looks exactly like Rukia, who'll be a smash for sure once we get to the Rs.

i figured i'd be on the wrong side of the fence with the kurosaki men but it's a real hard no on all the above. I'll be real, I'm kinda surprised Ikkaku was so popular. The rest of these felt obvious. Oh wait no there was like no love for Izumi Ishida. Boo to that.

okay so hear me out... Jugram is too blond. I know that sounds like nonsense, but like, he's too fundementally blond. Like most of Bleach's blond characters could have other generally light hair colors, and it wouldn't super change their image or aesthetic, but Jugram has to be blonde because the alternatives don'teel the same, and that's too much blond for me.

i know i voted pass on ichigo, which might make smash on kaien seem weird, but it's between the personality difference and the eyelashes. People not smashing on Kiyone is a catastrophe

and with that i'm all caught up with the letters where all the polls that have already closed. i'll be back to update these as the rest keep rolling along. I dunno why I really did this apart from the compulsion

[aoflameandco]

BONK

[my-my-my]

I've rewatched these few episodes this weekend and I'm really enjoying the subtle differences they've made to Aizen's character/personality from the manga.

The biggest one was the distinct lack of smugness that was present in the manga. In the manga, it was almost as if Aizen was taunting Shunsui to undo his seals, but in the anime, he looks exhausted. I also thought in "The Dark Arm" he physically looked tired with a bag under his eye (but again, might be the animation).

It could be argued it's just the lighting and such, but even in "Against the Judgment" Aizen was still cold, but not smug. I think it's a great way/tool to "humanize" Aizen by showing that his 2 years in Muken, have affected him to some degree.

Yet, he still remains cold to the Gotei 13. He's not gloating his power, it's just very "matter-of-fact" for Aizen at this point in time. It makes me curious to what further changes we'll see with his character as TYBW goes on!

[cywscross]

Isn't it funny that Starrk's very existence is defined by death and destruction because of his reiatsu, but one of the main aspects of his abilities - the essence of his true form - is the exact opposite, it's creation, the ability to make new life, with his wolf pack, with Lilynette, all pieces of his soul, but all with their own sentience because his loneliness and desperation drove him to want something, anything, beyond what fate dictated for him, even if he had to defy that fate all on his own.

And by funny I mean fucking tragic because gods forbid letting this man be anything else.

[evilkitten3]

i have a theory about shinji, gin, and aizen, but i'm not really sure how to word it.

we never really see shinji and gin interact all that much, which makes sense bc both of them have significantly more important relationships with aizen, but at the same time it's a little odd how much there isn't.

like. gin cut hiyori in half. shinji is understandably pissed about that, but he aims that anger at aizen - and this seems to be one of the very few things in the bleach world that honestly isn't on him bc he never told gin to do that, he never even implied it. hiyori was never a threat to him. hell, we don't even know if she was charging in the right direction; if anything, attacking her implies that she was which is a really stupid thing to do when you're surrounded by a bunch of people who super want you dead and would kill you if they could be sure you weren't tricking them into stabbing each other (ofc it could also be a fakeout but still)

but i don't remember shinji's beef ever really being with gin, even tho he didn't seem to anticipate that gin was working with aizen the whole time during tbtp. so like does he feel responsibility there? cuz gin went straight from academy to 3rd seat and shinji could plausibly feel like that sent him right to aizen bc he doesn't know that gin was always aiming for that. did he blame himself? does he feel like he should've seen it coming? does he still see him as some weird genius kid? does he just view gin as an extension of aizen, which is both dehumanizing to an extent but also entirely fair bc gin did that to himself?

the thing is, since we never really see them interact much, it's kind of only interesting on shinji's side of things, bc gin doesn't really care about much outside of whatever the fuck he thought he was doing and the version of rangiku that he has in his head who needs back something that the real one doesn't ever seem to have realized she lost to begin with. gin's so disconnected with basically everybody that most of the time you can usually assume his thoughts are just "lol. lmao" and there's no reason to think that doesn't extend to shinji as well (gin has deep thoughts on: aizen, ichigo, and matsumoto (massive asterisk on that one ofc) and i think everyone else is kinda set dressing to him lmao the guy is Fucked Up)

anyway i think it's interesting to toy around with that relationship as it was in reality as well as how it might've been perceived, but also in the sense of both of them being sort of opposite ends of the manchild spectrum - shinji leans into his childish side but still has a fairly adult worldview, and gin is able to pull off maturity to an extent but was never able to escape a deeply childish mindset

[recurring-polynya]

In the years since I've been running this blog, I've made a lot of jokes about Renji's seemingly ill-thought-out plan of:

Beat Captain Kuchiki

???

Profit Be with Rukia again

but I was looking at his volume poem the other day, and I think that I am an idiot, and beating Byakuya has never been connected to seeing Rukia again. It's a smokescreen. He does have an actual, actionable plan of training and working hard enough to become a vice-captain (specifically Byakuya's vice-captain), and then approaching Rukia again as her social equal. We know that beating Byakuya wasn't a key component of that, because he was planning to do it as soon as she got back from her mission.

The thing about defeating Byakuya is that Renji is purposely setting his sights a few degrees to the left of the truth to keep from falling into depression and despair. Trying to get Rukia back is a thing that he can try to do and fail, and in fact, he very well may. Beating Byakuya is impossible. No one believes he can really do it, least of all himself, which means, paradoxically, he can't lose. When you fail to do the impossible, you can shrug and say, "well, it was impossible, what did you expect?

I mean, it's right there in the poem: "I am going to focus on reaching the unreachable because if I think about Rukia, I am going to kill myself." And I don't think Renji is a guy who has a suicidal bent--the fact that he pursues this line of thinking is proof of that. But what is the difference between a person who thinks about killing themself and someone actively works to not to...? I don't know. It's complicated.

One of the most fundamental themes of Bleach is the idea that Hollows are fallen souls who lose their hearts and eat other souls in order to ease their pain, but they only end up creating more Hollows in the process except that we see examples again and again of shinigami pulling this exact shit (Byakuya, I am looking at you). I cannot figure out if Renji's drive to distract himself from the pain of losing Rukia is a play to avoid falling into monstrosity, or if it's pretty much a direct route. I mean, this is basically exactly the path that Gin and Tousen take--which makes it all the more interesting to me that Aizen rejects Renji as unsuitable for his conspiracy.

I can't put my finger on any particular thing that separates Renji from other characters in this respect, aside from maybe his fundamental Renji-ness-- the fact that he has other friends and connections? That he has hope, no matter how dim, that he may actually reunite with Rukia some day? That he's just a guy who reaches for life instead of death? (Mildly off-topic, but if there is one other character that this is also true of, I think it might be...Matsumoto???)

Anyway, another thing I like about setting himself against an impossible goalpost is that this would be a terrible idea for a human with a finite lifespan, but shinigami have all the time in the world. Go ahead, pal, pursue your impossible tasks, live your truth! I read a lot of stories about semi-immortal beings, and I love love love it when they seem very human and then they do some batshit insane thing that makes you realize, oh, they very much are not.

My favorite way to break my own heart is re-reading the "Fate is a Millstone" chapter, where we learn that Renji was a hair's-breadth away achieving his real goal of talking to Rukia again, only to have Fate throw him a face-full of pocket sand. I think it's extra salt in the wound, to be honest, if he's been pursuing the impossible goal of beating Byakuya as a distraction for all these years, only to arrive at a place where Rukia's life literally hinges on him beating Byakuya, a thing which is not just theoretically impossible, but something Renji has spent 40 years becoming intimately familiar with just how impossible it is.

[umbraria]

An analysis on Rukia's captain outfit

Beside growing her hair + ponytail. Rukia's design gained 2 elements when she became a Captain:

🔴Ukitake left his Captain haori to Rukia in WDKALY 🔵She has a navy blue ribbon in her hair

🔵Just like her white sleeves when she became a Lt were given by Byakuya, we can see his new Oneshot design also has navy blue to match with his sister, coincidence or another gift? 🔴We know Captains have freedom in customizing their haori and yet Rukia chose to keep Ukitake's

🔵Just like her role as Lt, Kaien was set to become the Capt position. He is associated with blue, a nod to Rukia's role as the succesor of both

🔴Zangetsu's first design is based in SnS design due Rukia passing her powers to him. Ichigo has always been associated with red…

And yet now Rukia is associated with it too.

Mangakas give characters a specific color to make them stand out and create a narrative. I see Rukia's new design as a homage to her 'mentors', all of them taught her something valuable and believed in her potential.

[bleachbleachbleach]

You've always been my go-to for all things Bleach lore and world-building! Do you think Shinigami all sleep in futons or beds? Or maybe it varies from character to character? We've seen the 4th division with beds in their wards, but I think every other character has slept in futons.

Haha, thank you! We do love a furniture deep-dive here, and people's headcanon speculations about shinigami life even more.

I started a list of any time we'd ever seen a character in some kind of bed (futon or frame), but it mostly just ended up being a long list of "_______ at the 4th," lol, so we'll see all those aside (almost all those aside). But canonically, there is a mixture! We see:

Hinamori in Aizen's futon

[Bleach 100]

Ukitake in his quarters

[Bleach e40]

Isane in her quarters

[Bleach 179]

Hisana at the Kuchiki house

[Bleach 179]

I think Rukia had a similar setup during the Bount Arc, as well.

Also, I'd like to note that for the record as I was retrieving *bed pictures* I got emotionally destroyed by my re-encounter with this panel. It is just SO deeply sad:

[Bleach 180]

The incredible, isolating vastness of the room, and the way the shadow cuts across the space. ToT <33333 It also reminds me of a really excellent meta piece done by afinepiece, where she analyzed the panels from Byakuya's story about Hisana and pointed out sections where the panel visuals might suggest Byakuya's memory/headspace more than physical reality. Her journal is deactivated but I know the reblog is on B3 somewhere! I'm inclined to go with that reading here, even though I also feel like the room probably just *looked like this* because every room in Soul Society is like this. (Maybe it's also for airflow, given her illness seemed partially respiratory and possibly contagious? ngl I'm basing this off that one anime elaboration scene and my co-blogger's post about Circus Hisana and Elephant TB).

In my mind Byakuya's convalescent setup was the same as Hisana's (is this the sad Seireitei equivalent of couples' outfits) but I was wrong:

[Bleach 180]

He's in a bed! But from the look of this building he's probably at the 4th and not at home. Put simply, this building is too brutish and workmanlike to be part of the Kuchiki complex:

[Bleach 180]

Hanatarou's quarters (implied)

[Bleach e259]

The tatami floor, layout, and big closet on the right-hand side seem to imply that Hanatarou uses a futon.

Abarai family quarters (implied)

[Bleach "No Breathes from Hell"]

This is probably not the only room in this house and they could put *anything* in those cabinets, but their sheer number and the style of the room suggests that this converts to a futon-filled bedroom, regardless of what might exist in other parts of the house.

Bonus 1: Renji in jail

[Bleach 118]

Is this at the 6th? Is this at the 4th? I always assumed the 6th, though obviously the 4th was involved. Idk, Byakuya left him on the ground. Maybe if you don't pick up your invalids the 4th just stashes them in their jail.

Bonus 2: Hitsugaya in Junrinan (non-shinigami, non-Seireitei)

[Bleach -16 (in between 286 and 287)]

These examples are pretty skewed in favor of futons, but if we think about this collection of characters, there is an overrepresentation of people who trend more traditional in terms of aesthetic, so they might not meaningfully represent the whole. Also, half the list is the same family.

We've seen a number of different offices and meeting rooms for each division, as well as some private residences, which have been a mix of Western and traditional styles in terms of the building itself and the furniture within it. Most of the offices seem to have Western furniture (or at least, the 10th, 6th, and 3rd), whereas Byakuya and Aizen, at least, seem to prefer the traditional at home.

Though, I don't know what this big-ass room is, but given its size and feeling of formal reception, this may well be the 5th's office?

[Bleach 100]

NB 1: I tried to look up what the office looks like under Shinji, but what is happening here:

[Bleach "No Breathes from Hell"]

NB 2: The 2nd also has traditional receiving rooms (used by both Yoruichi and Soi Fon, wherever the division between Shihouin and the 2nd is. But I assume Soi Fon's office is not the Shihouin Family Receiving room).

--

My feeling is that the differences are more regional/Division-based than personal preference-based, and *when*/by whom this design language was established depends on how much time and money the people in charge want to devote to furniture.

But that doesn't necessarily mean each Division is uniform, since we can see Isane and Hanatarou, both seated officers of the 4th, have different-style rooms! Maybe this is an effect of the 4th being an early bed adopter for their general professional purposes. Unohana is 100% a futon lady. I feel like Isane just accepted whatever was originally in the room, and that if there were no bed at all in the room she would sleep on the floor before asking to remodel. Does that mean a previous 4th VC wanted to modernize the VC quarters?

Was that previous 4th VC the original bedframe proselytizer, and got permission from Unohana to do up their quarters like a model home that gave examples of both types of room? Do Isane and Unohana live in an IKEA showroom?

What are the benefits of futons?

the room can be multi-use, a general common room by day and sleeping dorm by night

don't have to make a bunch of bedframes

Given what a big deal everyone makes out of transporting goods from the Living World, I feel like they probably make all their furniture and don't import particleboard from Nitori, so this would be expensive! Plus, given the amount of building reconstruction that needs to happen, I feel like there's probably a fairly small quota of wood released to civilians and/or divisions for non-essential use.

What are the benefits of bedframes?

BUNKBEDS

easier cleaning/long-term savings?

Yeah, you'd have to make the bedframes and have a whole separate common room, but having beds implies you've probably done away with the tatami in the room, since you're not really supposed to put heavy furniture on the mats. And I don't think in a barrack with heavy use you'd be able to rely on shinigami simply "being careful." Same logic as college dorms and their "IKEA, but completely indestructible" furniture.

So if you decide in the long-term that you don't want to do tatami maintenance/replacement and want wood furniture on wood floors, maybe the bed route is for you! ("You" here meaning "your division"!) At which point it'd be a matter of:

caring enough to do a cost/benefit analysis about this

whether or not you want to preserve the traditional aesthetic

whether you have the initial capital to invest in making the change

Some additional thoughts:

We know that at least a portion of the 2nd has heated floors, as financed by Oomaeda. I'm not a heated floors aficionado--though I stayed at an AirBnb once with a heated driveway--NUTS) but I feel like that would...not work with tatami? That over time the heat would dry them out too much and make them brittle? So maybe the 2nd has beds.

Despite the fact that the 10th office changes out their couch out a few times during the canon timeline, I feel like there's a 0% chance Hitsugaya has considered a bedding/architecture overhaul during his tenure at the 10th. He's spent the last 15 years developing a real filing system and an actual budget procedure. He didn't come in with extra money to put towards beds and the 46 doesn't generally approve that kind of line item. That's more of a "gift fund" expense.

Shinji is trying to get a Pod Hotel proposal approved, on the grounds that the idea would benefit more than just the 5th. They could implement it in the Tsumesho (Gotei WeWork)! And provide them in strategic outposts across Rukongai!

During what decade was the 11th briefly "HAMMOCK DIVISION" because it seemed like the cheapest, most low-maintenance option?

[littleeyesofpallas]

Ya know, I never thought about it too hard, but it is kinda funny that Kubo said Mayuri's theme song is Marilyn Manson' Dopeshow --which, you know, isn't like that doesn't make sense-- but not, like, a Mudvayne song from the same era, like Dig or something??

Other than just looking like 2000s Chad Gray, Kurotsuchi's name is already sort of evocative of literal mud, and he can turn himself into slime, he's got mud... in his veins...

[selenestarmoon]

We know that Zangetsu's appearance was exactly the same as Ichigo's because he lacked an asauchi (which is basically a catalyst where the zanpakutō can manifest and shape it appearance however it wishes) but guess what appearance Zangetsu takes after getting an asauchi.

His appearance remains the same as Ichigo's and the only thing different is his face is the hollow mask that hints at the origins of Zangetsu as a product of the fusion between White and Ichigo's soul.

This shows that despite having the opportunity to look whatever he wants, Zangetsu loves Ichigo so much that he even wants to look like him.

As Himiko Toga once said:

Himiko: "Of course you wanna be like the one you love. It's natural. So you end up decking yourself out to look like him. But after enough time, even that's not enough. You literally want to become him. There's no helping it."

[my-my-my]

Aizen, Calligraphy and Poems (?)

In addition to getting into fountain pens, I have also started to read waka poems, which are Japanese poems. While I’m personally not interested in calligraphy as a hobby, reading about the historical aspects of Japanese calligraphy and waka poems made me curious about Aizen’s relationship with calligraphy, and by extension - poetry. We don’t know much about him in relation to those two things other than:

Aizen enjoyed Japanese calligraphy/considered it a hobby

He was so good at calligraphy that he was teaching it at the academy

Hinamori began to practice calligraphy during his captaincy and he held monthly calligraphy sessions for his squad

Aizen had a column in the Sereitei Communication called “The Yin of the Pine Needle”

Japanese calligraphy is a subject often taught to children in elementary school, but it has even older historical roots tied to professional warriors of the bushi rank (samurais are a part of this ranking system). These warriors were trained in bujutsu – were bu means war, and jutsu means technique, and budo. Budo doesn’t quite have a direct translation, but some describe it as the “martial ways to peace.” Even within budo, there were two “emphasis” students needed to focus on: 1) bu which were war and combat strategies, and; 2) bun which were Japanese literature and fine arts. Warriors of the highest ranking were expected to learn all of this, and some students were even expected to learn the flute (shakuhachi), Noh dancing (shimai) and flower arrangement (kado – which was one of Unohana’s hobbies!).

Japanese calligraphy, known as shodo was considered a vital part of a warrior’s training – so it is of no surprise that the Soul Academy, would incorporate it in their curriculum as a class, in addition to kido and sword fighting training.

But why is shodo so important to a warrior’s learning?

Well to many warriors, if sword fighting was considered a reflection of one’s mind (see my post here about Aizen and Kyoka suitgetsu), then shodo is the physical representation of the artist’s spiritual force. Shodo is more than just writing – it is a visible way to sense a warrior’s mental and physical condition. For centuries, leaders in Japan were expected to be strong calligraphers, and some of the best sword fighting masters in history, such as Miyamoto Musashi, were also regarded as some of the best calligraphers of their time.

Each brush stroke must be precise and unwavering – there isn’t room for corrections. An artist must be decisive once the brush hits the paper. The same can be said for sword fighting. You do not swing your sword “hoping” you will get a strike; you swing your sword because you are certain you will strike. Just like in any of the combat arts Shinigami must learn, mistakes are ultimately final in shodo.

Just like handling a sword, holding a brush is also a particular skill. Some teachers in shodo will grab brushes out of their students hand to check their grip. But the trick is that you can’t have too tight of a grip, as your brushstroke becomes rigid and your writing becomes static. Thus, you must be concentrated, but also relaxed. Shodo has an emphasis on balance and flowing, dynamic characters, just like with sword fighting. It’s why there’s often difficulty in painting a straight line, because your mind and body must work together as a unit. Once your brush hits the paper, your hand must paint without hesitation – your thoughts are free as they are focused on the “here” and “now” of painting. Aizen, who had a strongly concentrated mind, was also relaxed – his fight with the Gotei 13 in Fake Karakura Town is an example of this.

I already talked about this in a previous post, but Kyoka suigetsu acts as a metaphor for visualizing before striking. Shodo has a similar concept as well. Skilled artists should be able to visualize the kanji they’ll paint, and then make the decision for the first brush stroke. It would not surprise me if the Soul Academy then made calligraphy an elective because for students to be relatively decent at calligraphy, it would be a safe assumption that they would be good with a katana. Both require accuracy and skills to be effective.

Aizen was already a master sword fighter, so it is then, of no surprise, that his calligraphy skills were also unparalleled. While it’s a shame we don’t see any of Aizen’s calligraphy work, he was recognized in his skill in it that he became a teacher. I also wouldn’t be surprised if this was his way to “vibe check” students as potential conspirators with him, because of the underlying assumption that brush, katana and mind are one.

Calligraphy is just one aspect though; some calligraphers were also talented poets! One specifically that comes to mind is Sugawara no Michizane. To be honest, Aizen kind of reminded me of an evil version of him lol. Sugawara no Michizane was a poet, scholar and politician employed to the Emperor of Japan. Long story short, a political conflict arose, where two other clans working for the emperor made comments that suggested Sugawara was trying to usurp power from the Emperor. As such, Sugawara was exiled from the imperial court.

Another fun fact about Sugawara no Michizane, he had a favourite plum tree in the imperial garden! So much so that on the day of his exile, he wrote a poem for it: When the east wind blows/ let it send your fragrance/ oh plum blossoms. / Although your master is gone/ do not forget the spring. The legend goes that Sugawara missed this tree so much that it flew to him during his exile. This gave the plum tree the name: tobiume.  

Sugawara died not long after his exile, but the imperial palace, and those who wronged Sugawara, experienced dreadful things. Specifically the Emperor’s palace was destroyed through a fire… which was triggered by lightning. Such as the fall of the Sereitei during the first invasion of the Quincy after Aizen’s defeat (Sasikibe dying and Yamamoto burning Squad 1). While Aizen is indeed alive, the imperial court were incredibly superstitious and made temples in honor of Sugawara. And we have Shunsui (temporarily) releasing Aizen for the war (I admit, this connection is a bit of a reach!)

As for poetry, I again, wish we had an example of some of the things Aizen wrote, but the Yin of the Pine Needle is an interesting title for a reoccurring column! He wrote 50 volumes for it. (For context, Unohana’s column had 1041 volumes.)

In Japanese flower language, pine needles (matsuba) symbolize harmony. The “yin” in Aizen’s column’s title, is a bit more ambiguous, because yin can mean different things in this context. Yin can represent assimilation, quietness, sluggishness, psychological or spiritual work, it can also be interpreted as suppression when yin is associated with emotions. Regardless of what exact meaning Aizen’s column was meant to be, it would be a safe assumption that Aizen was publishing something that was could have been a critique, commentary or something where he’s pointing out the “harmony” either within Soul Society or something more ambiguous lol, is not what it seems.

Here are my rambles, thanks for reading! Would love for Kubo to write more Aizen, but alas! I'm always going to overthink the crumbs we get of Aizen's character lol.

[cywscross]

the entire internet having a breakdown over the whole "there are two types of battles, one to protect life, the other to defend honour" throwback line 😭

and isn't it funny that it turns out shunsui embodies the first while ukitake was always destined for the second, and they never really had a chance of walking the same path to the very end 🙃

and by funny i mean i don't even ship these two and they're breaking my heart, especially shunsui because he's the one left behind 😭😭😭

[midnightactual]

Does Yoruichi Know More About the Soul King?

why is Kisuke losing his shit in chapter 615, 616, and 617:

while Yoruichi is essentially unfazed by these events and just casually ready to seal Mimihagi into being a new Soul King in the same chapters (and 618)?

stop and think: Yoruichi apparently doesn't know what Mimihagi is except by Yhwach's commentary and she says as much. yet she arrived completely ready and prepared to do a ritual to make a new Soul King despite having no reason to have believed Mimihagi might appear. it was not predicted that the Soul King would get killed, as Kisuke is horrified by this actually happening (and neither Kisuke nor Yoruichi seem clued into Ichigo's Quincy blood making him susceptible to manipulation)

it doesn't particularly make sense that she would turn and disable Ichigo before making him into a new Soul King, if he is theoretically the main method of stopping Yhwach, which we can assess from Kisuke's commentary about "Mr. Kurosaki". this is especially true given Ichigo has allies present (Chad, Orihime, Ganju) who would resist, and who Yoruichi would need to take out to do that.

admittedly, Yoruichi seems very confident about being able to take out or at least seriously injure Yhwach by herself, and Yhwach treats her technological threats seriously rather than no diffing them via face-tanking. he doesn't give some Darth Vader-y "Don't be so proud of this technological terror you've created," commentary in response, he avoids the wires and directs Pernida to attack her to prevent her from hitting him with something she says will destroy him. why do that if it would have no effect?

so, if Kisuke didn't assess it as at all likely that the Soul King would die, Yoruichi didn't really know about the Soul King's limbs being on the loose, and Yoruichi didn't intend to turn Ichigo into a new Soul King, why did she come ready to make a new one?

well, logically, the simplest answer is she's just always ready to make a new Soul King, so she just happened to have the stuff on her

that sounds weird though, right? like that's Batman levels of being overprepared. maybe she only brought the seals for this mission? but again, why? maybe the seals are just general purpose?

even if the latter is true, we can surmise that Kisuke probably doesn't know she can just make a new Soul King, though, or else he probably wouldn't be quite so panicked or surprised that the shaking of the worlds had stopped

and even if the latter is true, this doesn't quite explain why Yoruichi is much less disturbed than Kisuke is, even before Mimihagi shows up

Bleach is a manga where people lie. we know this for a fact. Yoruichi also has a relatively loose relationship with the truth. so, given she is apparently concealing capabilities from Kisuke, perhaps she's lying about (apparently) not knowing what Mimihagi is when she says, "According to this guy… this curious black thing is Reio's arm!"

we know from Klub Outside that back in chapter 178:

Q158. 藍染が「最初から誰も 天に立ってなどいない」と言って、浮竹を見ながら「君も 私も 神すらも」と言いましたけれども、ここの「君」は、浮竹と霊王の関係を暗示していましたか。 As Aizen said "No one ever stood atop the heavens before", he then looks at Ukitake and continues "Not you, or I, or the Gods". Was that "you" bit supposed to imply the relationship between Ukitake and the Soul King? A158. そうです。 Yes.

Aizen knew about Mimihagi, or at least Jūshirō having a connection to the Soul King even then. maybe Yoruichi did too? we get some interesting observations like this from Shunsui in CFYOW:

“Well, Captain Kurotsuchi and Yoruichi have probably found out by their own methods. They probably even found out what happened next before I did.”

and this from Shinji:

Hirako watched Hisagi’s back before suddenly turning to look toward the aristocratic district. “The aristocratic district, huh…? Come to think of it, Yoruichi’s been saying there are a lot of fishy things going on there.”

and this:

Kukaku had casually heard about this situation from Yoruichi, and there was a chance Mayuri had also found this information through his own methods.

and this from Shūhei and Kisuke:

“In other words, you want information from me too?” “I’ve asked Miss Yoruichi for the same. I’d like data from all angles.

and we notably get this from Shūhei, which tells you how crafty Yoruichi really is:

Though he had been shown a way of battling that was great enough to make him think that the only person who could keep pace with Urahara in terms of ability was Yoruichi Shihoin, Hisagi stayed to maintain dignity as a Soul Reaper.

and finally we get this which really tells you what Yoruichi is competing evenly with in terms of intelligence gathering:

While ignoring the “bugging” that was no metaphor, Mayuri turned his eyes to the image receiver in front of him. What was displayed there appeared to be the Rukongai as seen from high above. If a person from the living world were to see it, they would have likely concluded it was a shot of a desolate village taken from a satellite or airplane. However, the Soul Society naturally had no satellites in the air. When Akon saw the image, which was leagues more sophisticated than the best satellite surveillance images from the living world, he was half impressed and half dubious, remarking, “That’s pretty precise, though I should expect that from you. But why’d you go to all that trouble to devote yourself to building a surveillance system from scratch? It would’ve been a heck of a lot easier to just build it on top of the Visual Department’s system… Actually, wouldn’t that have been more efficient?” The Visual Department—that was the general umbrella organization that managed the visual surveillance system that spread like a net primarily over various places in the Soul Society and the living world and, in recent years, even a section of Hueco Mundo. Its ties ran deep with the Department of Research and Development, and by joining forces, they could access all types of intelligence from various sources and use that as a basis for analyzing the current state of affairs.

somehow Yoruichi is competing against an aerial surveillance and CCTV-equivalent system that would make the NRO blush. so, it's not unreasonable she would've known about Mimihagi (and Pernida?) and simply concealed that information by using Yhwach's explanation as a convenient excuse. likewise, we get this:

In contrast to Byakuya’s immediate suspicion, Yoruichi’s eyes suddenly went wide then narrowed as she stared at Tokinada. “…! I see. So that’s why you chose me rather than Yushiro.” Tokinada accepted their stares as he smiled—grinned, smirked!—vulgarly. “You saw it, didn’t you, Yoruichi Shihoin? The Reio Ichigo Kurosaki struck down and the state he was in even before he was killed! But I can see that you don’t know what that was. Yes, you don’t know what the Reio was from the start. But Kisuke Urahara should be aware.”

now maybe Tokinada is right, but maybe he's wrong. he underestimates her plenty, after all. especially given it seems he doesn't know what Yoruichi did up there after Ichigo cut the Soul King in half

I think, when you put all these things together, it becomes clear Yoruichi is at least equal to Kisuke and Mayuri in intelligence gathering, and has certain edges over the both of them. even if there are things they know that she doesn't, the reverse is also true: she also knows things they don't. this is not particularly surprising given:

Mayuri adjusted the coordinates depicted on a screen and continued both tediously and politely, “If we call the Shihoin family the Tenshi Heisoban because they are the heavenly defenders of the realm, and they have the role of managing the arms that the Soul King supposedly bestowed on them, then the Tsunayashiro are the ones managing the past itself.

Mayuri suspects that the Shihōin only supposedly got their artifacts from the Soul King (and I here submit to you that the Shihōin are equivalent to both the Saiyans and the Tuffles)

Yoruichi is also unflustered as Tokinada goes on and on about the 'Original Sin' and doesn't really care, with repeated, "I am still me," comments. maybe she already knew, or at least suspected. what, she didn't investigate after having seen the Soul King for herself? sounds fake

[recurring-polynya]

It's not an exact match, but I think it's pretty interesting how Sode no Shirayuki and Shiba Miyako have similar hairstyles:

It certainly isn't really a hairstyle that anyone else in Bleach has. As far as I have been able to find, I also don't think it corresponds to any particular historical hairstyle. I feel like the parts that hang loose are a little bit impractical, but also very feminine and elegant, and Sode no Shirayuki sort of carries Miyako's style to an even more impractical and elegant extreme.

I have always liked the idea that while the powers of a given shinigami's zanpakutou were somewhat baked in from the start, the form they take is somewhat influenced by the imagery and stories and experiences that the shinigami bring with them, so I just think this is neat!

[troius]

What we learned from the war

"Endings are hard" is a something of a truism, but it's borne out in Bleach, where every story arc besides after the first two stumbled at the finish (even the endings of the first two arcs don't really "end" so much as continue into a new story). In the Arrancar arc, the number of characters and plotlines got so overwhelming that an ending that had to be rushed if it was to arrive at all. In the Lost Agent arc, the characters were pared down, but the ending wound up thematically inconsistent with the story anyways, possibly due to real-life circumstances. And the Thousand-Year Blood War somehow managed to have both problems.

The change in direction from "tightly focused character drama" to "sprawling cast of soldiers" meant that it was unlikely to ever give us the development of our protagonist that we craved, and that lack of focus was only aggravated by the widely-reported health problems of the author. And yet, perhaps because we don't get that, because so little of this arc is filtered through Ichigo learning about himself, we get a much clearer statement of the values inherent in the work.

This is most evident in our antagonists for this Arc. Yhwach and the Wandenreich don't really have the relationship with Ichigo that previoius antagonists had. He never knew his Quincy heritage, never identified with their ideals, and so feels very little conflict about opposing them. He doesn't ever develop his Quincy powers, at least beyond integrating them with his already existing powerset. And he doesn't take much of a personal interest in Yhwach, who in turn, doesn't seem to think much of him when he's not directly in front of him.

But for all that Ichigo doesn't end up having much of a dynamic with them, the Wandenreich still manages to maintain a unique character. Every antagonist has a priority, something that they are willing to do great evil for. For Soul Society, it's its own existence, the continuation of the system they've built. For Aizen, it's his own self-aggrandizement. For the Fullbringers, it was simply living another day, screwing over others so that they can't screw you first. But the Wandenreich has no such priority. They simply want it all to end.

That's most obvious in Yhwach's ending monologue, but you can see it from the very beginning as he kills Yamamoto, the man who tried to move on from his bloody past being slaughtered by the man who would absolutely not let it go. Yhwach shows more emotion towards the skeletons of Argola and Huberdt, his dead soldiers from a war long lost, than he does towards any of his living subordinates. And his subordinates follow his lead in showing no love to one another, happily stabbing each other in the back without even the Arrancars' uneasy level of camaraderie. Their movement has no future, and neither do they, so nihilism is the only recourse.

Most of the time. I think it's important to note that every time a member of the Wandenreich expresses positive feelings towards one of their comrades, it's immediately followed by them turning on Yhwach. Liltotto, Bazz, Giselle, eventually, in her own twisted way…even Jugram, at the very end. Sure, Yhwach kills them for their impertinence (he is the bad guy), but he also massacres the Wandenreich faithful en masse. There's no salvation, only death, and he'll enforce that state on his followers rather than allow them to discover any alternative.

I imagine the lesson, and the general attitude of the Wandenreich, was not lost on Uryu Ishida. Even in his relative paucity of appearances, it's he who is at the moral center of the arc. His culture, which he had thought was nearly entirely dead, turns out to be alive, and out for vengeance against the people who exterminated them. It's something he probably fantasized about growing up, and I don't blame him for joining. How could he not?

But at the end, he makes the very easy choice. Calling it a matter of "life and death" is a little on the nose, but it's morally quite black and white. Yhwach has no hope for this world, or for his people within it, or even himself. He lost a war for the nature of existence to a monster a thousand years ago, and never got over it. But Uryu has the strength to look at the horrors of this world and yet hope for better. Because he has people he loves in life, and who love him in return, he can dream of a better tomorrow.

And that's what the ending is all about. Yhwach loses to Ichigo, and it is very much "good guy beats bad guy". But he also loses to Uryu, and to "I hope to have a family with my girlfriend who I love so much" Renji Abarai, and to "I have a tremendous amount of hope to eventually make myself king of everything" Sosuke Aizen, and eventually (in a way I'm still confused about mechanically) to the child Ichigo and Orihime will eventually have, the literal embodiment of the potential of the future.

The final villain of Bleach is not society's tendency to preserve itself at any human cost. It's not individual selfishness, or manipulativeness, or any of the many vices we saw embodied in the hollows throughout the series. It's despair, the idea that life might not be worth living even through all the struggles and horrors our protagonists have endured. Sure, it will always raise its head, sometimes at the most inconvenient, or ill-fitting times. But having its reincarnation be blown away by the supernaturally normal lives of our cast…well, that's as clear of a message as I can imagine.

[writerswhy]

Self-care for the Soul: Hinamori's Edition

(Or, my 2am rambles on Hinamori that briefly touch on nonviolence while I lightly express some fandom guilt ft. one mention of Frankenstein and some Tobiume hc 🫠 Thank you @bleachbleachbleach for your encouraging words on this post! <33)

TL;DR: Much of Hinamori’s external life has been chosen for her. She thrives at exercising a form of internal non-violence of the spirit, where despite the lack of tools (as a Rukongai ghost) and later in spite of the master’s tools (the Seireitei), she asserts her power through choice - choosing to love, defend, create - through which she fights back against the institution that created and enabled the violence inflicted upon her. This is in her nature, always has been since she befriended Hitsugaya to rescuing Hisagi.

"Be like the bird that, passing on her flight awhile on boughs too slight, feels them give way beneath her, and yet sings, knowing that she hath wings." -Victor Hugo

Sometimes I feel like such a fake Hinamori fan because I worry that my interpretations discredit her character, which isn't what I want at all! With regards to Aizen and forgiveness, I get a sense that the popular belief is that it is in Hinamori's nature or best interest to come to reject everything about their relationship, that she would even hate him, want to enact some form of violence on him. And that's all fine! I mean, anything is believable if you come at characterization from the lens of “what would make a character do XYZ?"….but I just can't help but feel like this is us (or at least me) moving on without her - which is how Hinamori canonically felt post-Winter War (and I would go so far as to say she's been feeling like this for a long time, since before leaving for the academy).

Like, would it help Hinamori to hate everything about him? To reject all of him? What is she, someone who deeply values her relationships and what she gets from them as much as she gives, choosing to leave behind by doing so? So much of her (external) life happens to her: she has to enter the academy because her powers awakened, she was pre-selected to join the 5th division for a plan that started decades before her and would be put into motion a few decades later, and of course both stabbings.

Given this, I think Hinamori is someone who appreciates making a choice of what she's given, often internal, often against the status quo, and gains exactly what she needs. She chooses to befriend Hitsugaya despite the village's rejection of him (and finds herself a lifetime partner); she stays behind to give Hitsugaya a proper goodbye even though it'll make her late to the academy on her first day (to keep Rukongai close which feels especially important given Seireitei wants to neglect, forget what's outside their walls); she chooses to save Hisagi against his orders (and years later she can look back and know she's brave); she chooses to defend Renji despite Byakuya's authority and Kira's acquiescence (and realizes that to stand up for what she believes in she may be the only one in the room left). And if she chooses to hold close the fond memories she created with Aizen and the lessons she learned from him, she'll know that under all his power laid her power too.

These choices she made are all born from her internal character and I think that's something she tries to hold onto (even when it feels like everyone is moving on without her, that the narrative is moving on without her, that fandom sometimes moves on without her).

And it's not because of the naivety or delusion that's so often attributed to her. It's this instinct to create, to save, to love, despite the lack of tools (and then in spite of the tools). I don't think it's far-fetched to believe that she, an artist who spends her free time reading (about history and fantasy, about the past and the future) would try to create what she needs, imperfect as it is. Hinamori has always been a "be the change you want to see" type of person.

Unlike Hisagi who fears his power in his own hands, Hinamori fears her power in the hands of others. In a way, it's a rejection of the Seireitei. In a way, it's a rejection of the institution that created and enabled the violence inflicted upon her.

——

(Another reason why I feel like a fake Hinamori fan is because I don't think she needs bankai to tie up her arc or to prove/reclaim her power. Like I mentioned above, I think Hinamori does a pretty solid job of reclaiming her power outside of Seireitei's tools. Bankai feels almost like a resignation to me. It's hard to explain without needing 2000+ words and referencing Frankenstein, the internal/spiritual nature of nonviolence of a solider, and elaborating on Hisagi and Kaname because these two are very much part of the same conversation.

But anyways! My Tobiume hc plays into all of this. It's pretty much the same as the rest of the fandom's - some iteration of a phoenix + forest (I love the seagull cry when Tobiume releases and this imagery of being rooted deep in the earth with an expansive sky to soar above this middle space where the man-made sits), but I hc that she's never really been able to see Tobiume. That Tobiume always wants to keep just out of sight, perched high in the trees or a shadow over the sun to keep her wondering because Hinamori is an artist (who once had no brushes), a life-long learner (who once had no books), and I think it’d be neat if her inner world was something she created out of imagination and hunger for somewhere beyond her body and something beyond the constraints of their society. Another poem I associate with her is "Cherry Blossoms" by Toi Derricote:))