#namanari

[marlocandeea]

Namanari, Hannya and Ja, three stages of spirit possession, usually because of grief or jealousy, as depicted in Noh theatre.

[tdrumm3d]

Starting #30daysofprints with a demon mask by @pipe.cox called Hannya Namanari. Utilizing dark magic to attack their enemies, these human women were consumed by jealousy, transforming them into demons clinging to humanity. The Hannya Namanari wall mask will come in two different sizes. Find these in the shop later today! #30daysofprints #3dprinter #hannyamask #namanari #kijo #hannyakijo #wallmask #february #tdrumm3d #demon #walldecor #3dpmc https://www.instagram.com/p/CoIaG35PEec/?igshid=NGJjMDIxMWI=

[dokibunny]

Ogerpon Mountain Frost fake mask form by me for the Pokemon Scarlet and Violet Discord’s holiday contest :3

LORE: The Mountainfrost mask is Ogerpon’s secret 5th mask. Some time before the loyal three attacked, Ogerpon and her late human decided to trek towards snowy mountains on a journey for unknown reasons. As a gift of well wishes and protection, the town’s mask maker sent them off with the Mountainfrost mask. Then one day, Ogerpon and her human returned to their shelter after gathering firewood to find that an avalanche had completely buried it. Luckily Ogerpon, her human, and their masks were unscathed, but the Mountainfrost mask was unrecoverable beneath the snow. The mask maker’s wish for the two’s protection had worked and took the avalanche for them. However, seeing this as a bad omen, the two decide to return to Kitakami for safety without knowing the tragedy that awaits them.

Upon terastalization holding the Mountainfrost mask, Ogerpon’s Embody Aspect will grant her evasion. Without tera, she has Intimidate. The mask design is inspired by the four emotions Ogerpon’s other masks represent. Teal = Joy, Hearthflame = Anger, Wellspring = Sadness, and Cornerstone = Fulfillment, so the Mountainfrost mask represents fear. All masks also take inspiration from masks used in Japanese Noh theater. Because the Wellspring mask takes notes from both the Onna and Namanari style masks and shows the descent of feminine sorrow into evil, and because ice is a different form of water, I decided to lean into the Namanari mask inspiration further by depicting the fearful screaming face of a woman who has been abandoned, left to perish in the cold, and is growing blunt oni horns as a result of her descending emotions. Then upon terastalizing, the face morphs from fear to hatred (as hatred derives from fear), and the once blunt horns develop further to show progression in the depicted woman’s path to darkness. Other inspirations I used include the Yuki-Onna, Krampus, and “The Scream” by Edvard Munch.

I’m more active on Instagram ⬇️⬇️⬇️

[couldtransitionsaveher]

GUREN ICHINOSE from OWARI NO SERAPH/SERAPH OF THE END

JUSTIFICATIONS:

"Ichinose Guren was born into a religious Sect which was created five hundred years ago in a political conflict in which two brothers from the main house fought over an Ichinose woman. She had chosen the younger of them and as punishment she and here lover were violeted and disowned. The outcasts created a new sect in their name. Guren is believed to be their saviour, the one destined to liberate the Clan from their oppression, paralleling her role. The main Clan, Mikado no Oni, view Guren and everyone of Gurens family as naturally weak and subservient in a way that clearly mimics patriarchal oppression. When Guren was five years old she met Mahiru Hiiragi, heir to Mikado no Oni. Guren was very obviously jealous of her and their meeting is used to symbolise Guren learning her place in the world. Continously throughout the Guren refuses to give up on Mahiru despite her quite frankly ruining Guren's life and being unable to catch up with her. Guren gives up her humanity to inject a demon all for purposes of protecting her friends and striving to liberate her clan, while also chasing after Mahiru and her power. This eventually leads Guren to cause the apocalypse in a first act of free will. (forced to choose between the strength she desires and her own emotinonal "weakness") Mahiru mends with Gurens weapon taking over as her demon, causing Guren to become a namanari (a half demon made from two separate personalities, Gurens and Mahirus in this case who's human personality slowly starts to adapt the demonic traits). In consequence of this Guren acts all the more feminine when striving to get what she wants (to ressurect all of humanity. I think thats also trans because its a sort of rebirth in metaphor for transition.) Transition could have saved her, as i believe her gender envy for Hiiragi Mahiru caused the apocalypse." - @cannibalfrodo

"im really shit at writing out media analysis i either do it solely in my head or via fic so yall are just gonna have to trust me for this one.

the writer really horribly sucks at writing female characters but it's clear from the start (in catastrophe at 16 most noticeably, but even in the manga too) that guren isn't written like any of the male characters (even the other male protag of the manga, yuu) and much more resembles the female characters. a lot of her personality and identity is heavily sculpted by the traumatizing and pressuring life she's lived so far (being brought up as the head of a scorned branch, beaten by adults for simply being born in the way she was, raised with a lot of crunching expectations, etc). most of her actions in ca16 come from a deep want to please who she's with, or to not cause trouble with herself (#same bestie)—she knows she needs to be a son for her father, for her clan, for their retribution. she knows she doesn't have time to think on her emotions or wants, which is very evident throughout all of ca16 until the final book as more and more shit piles up on her plate and she's forced by her romantic interest, mahiru, to finally confront her "human sin" (which is loving her friends. and also being trans).

she never fully opens up to anyone, this includes mahiru, but nonetheless their relationship IS different (guren is very much like "i love you, you're so much like me but braver, i wish i were you" @ mahiru). in their first meeting again as teenagers she compliments how beautiful and powerful mahiru has grown, and does so multiple times throughout the books, most of which are immediately after her inner monologue beats her down and she goes into great depth on why she's so weak and unworthy (especially compared to mahiru).

she's not allowed to be herself, as a man and definitely not as a woman, throughout all books and manga & i believe that if she came out to her friends (who love her so much and would support her through anything) everything bad she ever does in the future (which i didn't even begin to COVER the main series) could be prevented because she'd be much more happy with herself and spectre in her relationships.

also she experiences the end of the world. truly just a girl in the world" - @9ureshin

Reminder: Submissions are always open! Submit here!

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[regle-side2]

When humans find a cure for namanaris;

Guren: But if I die during the operation, will you do one thing for me?

Shinya: Oh, anything sweetheart.

Guren: Blow up the hospital.

Shinya: Hm, well. I said I’d do it.

Shinya: So I guess I’ll have to.

Guren: That’s my boy.

[kidlat-at-kislap]

KNY Trivia: On the Uroko (Scales) Motif

... and analysis

At this point, I think many people have already pointed out that the pattern on Zenitsu's haori is associated with female demons. I'm going to be talking about that again — among other things.

The pattern on Zenitsu's haori is called uroko (scales) and is composed of a repeating motif of equilateral or isosceles triangles in alternating colors. This represents the scales of a snake, fish or dragon.

As Protective Talisman

The uroko motif is a very old and popular one, believed to have protective qualities and ward off evil and harm. It can be found on both kimono and obi, tomb walls, clay figurines, and the family crest and battle standard of the Hōjō clan (mitsu-uroko).

The protective qualities of the uroko motif made it a popular talisman among warriors, who wore jinbaori (military surcoats) with the pattern.

Zenitsu's cultivator, Kuwajima Jigorō, is revealed in a Taishō Secret to have given both of his disciples a haori with the same pattern as the one he wore himself — the uroko motif. While Zenitsu wore the haori (and then later Jigorō's kimono), Kaigaku never wore his.

In the same way that Urokodaki gave each of his disciples a carved fox mask for protection, Kuwajima gave his disciples an uroko-patterned haori to protect them from harm.

By refusing to wear the haori, Kaigaku can be interpreted as having rejected his master's protection and blessing as well as having disowned the identity the haori — as a sort of "team uniform" — is attached to. Which symbolically leaves him defenseless, susceptible to the demons Kuwajima sought to protect him from when he gifted Kaigaku the haori. And indeed, Kaigaku has the misfortune of encountering Upper Moon One, of all demons.

As a Representation of Female Demons

In Noh and Kabuki theater, female demonic characters — such as kijo (female oni), onryō (vengeful ghosts) and snake yōkai disguised as human women especially — are often portrayed by actors wearing uroko-patterned costumes. Characters such as Lady Rokujō (Aoi no Ue), Kiyohime (Dōjōji), Momiji (Momijigari) and the onibaba (Kurozuka) are portrayed both on stage and in art as wearing the uroko motif.

Kiyohime, by Tsukioka Yoshitoshi (1890)

The duality of the uroko motif might be somewhat surprising — on the one hand representing protection from evil, on the other hand representing demonesses.

However, the association with demonesses makes sense in the context of Noh theater. Roles such as Lady Rokujō and Kiyohime are portrayed wearing hannya masks.

The hannya mask belongs to a category of masks called ja (snake) masks. This category includes other masks associated with female demons such as the namanari and shinja masks.

While some characters portrayed with ja masks do become snakes (Kiyohime) or are snakes in disguise (the serpent in Genzai Shichimen), not all of them are. Many, if not most, of them are, however, associated with transformation. Whether it is a human woman transformed into a demoness by jealousy, resentment or anger (Lady Rokujō) or a demoness disguised as a human woman (Momiji). The transformative process calls to mind the image of a snake shedding its skin.

Wearing a pattern associated with demonesses, Zenitsu is immediately associated with Nezuko.

As for Kaigaku, while he is not a woman and he had never worn his haori, it still associates him with the transformation of demonesses in Noh theater. While his physical transformation is driven by fear and survival rather than resentment, one cannot discount that his resentment towards his master and Zenitsu did play a role in his later monstrous actions. Believing himself to be unfavored by his master and resenting him for it, Kaigaku is eager to earn Kokushibō's favor, believing that Kokushibō had "judged him correctly."

As Dragon Scales

It's not very obvious, but Zenitsu has a subtle dragon motif himself. Particularly, the dragon king. Or rather, the shogi piece bearing that name — ryūō.

When talking about her ideal man, Nezuko says she'd like to meet a man like a hisha. And she does.

And while it's unclear what exactly Nezuko meant by this, the man she eventually marries does have a hisha-ryūō motif.

The hisha, as described in the extra, moves any number of steps orthogonally like the rook in chess. Upon reaching enemy territory (the last three ranks on the opposite side of the board), it is promoted to ryūō, which gains the additional ability to move one step diagonally.

This describes Zenitsu's character arc perfectly. During the final arcs, within enemy territory, Zenitsu is able to overcome his limitations and rise to the occasion. Thus metamorphosizing from hisha to ryūō.

And like the ryūō, he unveils a new form of Thunder Breathing within enemy territory. The motif is hammered home by the way Seventh Form: Honoikazuchi no Kami is visually represented: a dragon.

I've talked about the Seventh Form before, but I forgot to note that Honoikazuchi no kami is never described as a dragon. Rather, the dragon is potentially a reference to Ryūjin, the dragon king.

And Zenitsu's ties to the dragon king do not seem to stop with canon material. During Halloween 2022, Zenitsu is depicted as Urashima Tarō.

Urashima Tarō and the princess of Hōrai, by Matsuki Heikichi (1899)

In the folktale, Urashima Tarō, after saving a small turtle from being tormented by some children, is spirited away to Ryūgū-jō, Ryūjin's palace beneath the sea. There, he falls in love with Otohime, the dragon-king's daughter.

(The tale is without a happy ending. But I do still recommend reading it if you haven't.)

Which leads me to believe that Zenitsu's haori, at least on one level, is meant to evoke the scales of the dragon king.

[kuregure]

imagine loving someone and wanting to marry and ending up with them who killed, KILLED, your father and friends😭😂

This ship is extra stupid however you look at it no matter what, the guremahi shippers better to stop defending it like mahiru did nothing wrong to guren and guren must close his eyes on all she did to him.

The best that can happen to them at the end is becoming normal friends but lover? Ending up marrying? Having children? Even mahiru would laugh at it honestly

hellow

First of all, I want to say that I am going to speak "objectively", from my personal analyses. I like Guren and I like Mahiru so I'll try not to be subjective!

Mahiru has done things wrong. Personally I do not say the opposite and I think that others are also aware of it. However, we must not forget that she was possessed and manipulated from the very beginning by the Hiiragi who themselves are manipulated by entities, but no one ever seems to say that these "entities" (Shikama Doji in particular) did wrong thing. While Mahiru takes a beating.

Kagami has already mentioned that all of his characters are morally gray. They all have a part of good and bad in them, whether Mahiru, Guren, Shinya, Mikaela, Yuichiro, Shinoa etc. And for actions described as wrong, we know the reasons. And it will depend on our personal opinions to consider whether these reasons are right or not.

Small reminder, when Mahiru killed Guren's friends, she was possessed (she's a namanari, we know that). That doesn't mean Guren wasn't hurt, obviously he was. It was his family. For Sakae, should I remind you that it was the Hiiragi who ordered Sakae to be executed if Guren failed to kill Mahiru? Guren couldn't, so the Hiiragi executed Sakae. Who caused Sakae's death? The Hiiragi. Moreover, Guren is not stupid, he does not turn a blind eye to these actions, he does not act demonic! Mahiru as he would normally act around Mahiru. But he knows that Mahiru was a namanari and that she was possessed at that time, he himself is a namanari so he knows that more than anyone. But has Guren forgiven Mahiru? The fact is we don't know.

The point you seem to forget is that Guren still blames himself for everything that happened and is happening. He blames himself for his father's death, his friends' death, his clan's death, and Mahiru's death. This is one of the most important points of Guren's character. I don't think he turns a blind eye to Mahiru's actions, but he takes all the blame on himself so he doesn't blame Mahiru. For him, if Mahiru was possessed and killed his friends, it was because he was too weak to protect and save her.

Anyway, the whole Mahiru/Guren relationship is in a fog, we can ONLY theorize until Kagami gives us answers.

What is stupid, however, is not the ship (it is the only one who was closest to reality) but your inappropriate attitude in attacking a fictitious ship. By doing this you can also hurt those who love this ship and that is stupid and wrong.

Here is what I learned from cat16 and my analyzes if we just look beyond the facade of the characters.

The characters will end the way they want and the way Kagami wants his characters to end. We just have to see what he decides to do, following the evolution of the characters and the story of the manga! ❤

[paperpeter]

Let's talk about Guren and jazz.

For Guren this genre plays a special role.

Jazz is the music that his father liked to listen to and that always sounded in their house. Mahiru loved jazz and jazz always sounds in Guren's own office after the apocalypse that has befallen the world. Even Shinya, having found out that this is his friend's favorite genre, decided to like it too.

In the anime, jazz is inscribed incredibly skillfully into the ongoing events. It only plays from the player in Guren's office, and only in certain situations.

In the middle of the season, jazz accompanies the carefree evening of all the characters and ends at the moment when Guren removes the player's needle from the record. When the music stops, the viewer is left in utter silence as Ferid Bathory meets someone on the roof. Now we know that he talked with Guren that night. In retrospect, it's hard to believe that the identity of the human traitor at that moment didn't seem as obvious as it was.

Later, the jazz reappears only when Guren loses his strength and slowly passes into Mahiru's hands. That time there is no player nearby, the music seems out of place, but nevertheless it is it what accompanies Guren's turning into a namanari. With Mahiru's kiss, it's final notes subside.

In that scene, the music doesn't so much highlight Mahiru's and Guren's similarities in love for the genre, but rather demonstrate what jazz is for Guren — an anchor to help keep everything under control.

As long as Guren hears jazz, he is able to remain himself and keep the demon in check, but when the jazz breaks off or when Guren himself decides to turn it off, the other side takes over, for which jazz is nothing but empty sound.

+ wallpapers

[momijochi]

i'm still trying to figure out faceclaims for everyone, but i've got the family situation nailed down:

TSUBASA: a raijū, her husband. they got married a little before the treaty between yokai and shinigami happened. with him being a creature of the skies, kureha travels up to the nearest mountain peak every few weeks to spend time with him

HANAMIZUKI: a honnari hannya, her oldest daughter. she doesn't stray too far from her mother's side due to her obvious yōkai appearance. she's the only one out of the three daughters who doesn't have a human-esque form to switch in and out of

KAEDE: a chūnari hannya, her middle daughter. since she could switch into a human-esque form, kaede and her younger sister, ochiba, used to travel between their home on togakushi-yama and human cities to keep up to date on the ever changing human society. after ochiba's death, kaede still wanders around a bit, but keeps away from the cities

OCHIBA: a namanari hannya, her youngest daughter. she regularly traveled between human cities and togakushi-yama with her older sister, kaede, before her death. since she resembled humans the most ( in appearance and in personality ), she made the most connections with humans out anyone else in the family

[kobecold]

God’s Wrath Against Sinful Humanity

18 The wrath of God is being revealed from heaven against all the godlessness and wickedness of people, who suppress the truth by their wickedness, 19 since what may be known about God is plain to them, because God has made it plain to them. 20 For since the creation of the world God’s invisible qualities—his eternal power and divine nature—have been clearly seen, being understood from what has been made, so that people are without excuse.

21 For although they knew God, they neither glorified him as God nor gave thanks to him, but their thinking became futile and their foolish hearts were darkened. 22 Although they claimed to be wise, they became fools 23 and exchanged the glory of the immortal God for images made to look like a mortal human being and birds and animals and reptiles.

24 Therefore God gave them over in the sinful desires of their hearts to sexual impurity for the degrading of their bodies with one another. 25 They exchanged the truth about God for a lie, and worshiped and served created things rather than the Creator—who is forever praised. Amen.

26 Because of this, God gave them over to shameful lusts. Even their women exchanged natural sexual relations for unnatural ones. 27 In the same way the men also abandoned natural relations with women and were inflamed with lust for one another. Men committed shameful acts with other men, and received in themselves the due penalty for their error.

28 Furthermore, just as they did not think it worthwhile to retain the knowledge of God, so God gave them over to a depraved mind, so that they do what ought not to be done. 29 They have become filled with every kind of wickedness, evil, greed and depravity. They are full of envy, murder, strife, deceit and malice. They are gossips, 30 slanderers, God-haters, insolent, arrogant and boastful; they invent ways of doing evil; they disobey their parents; 31 they have no understanding, no fidelity, no love, no mercy. 32 Although they know God’s righteous decree that those who do such things deserve death, they not only continue to do these very things but also approve of those who practice them.

Romans 1:18-32

The hannya (般若) is a mask used in Japanese Noh theater, representing a jealous female demon. It is characterized by two sharp bull-like horns, metallic eyes, and a leering mouth.[1] In Noh plays, the type of mask changes according to the degree of jealousy, resentment, and anger of the female characters. The hannya is a mask that represents a female onryō (怨霊, vengeful spirit) even more resentful, jealous, and angry than the namanari (生成), a woman on the verge of becoming a demoness.[2

The word hannya (般若) is a Japanese phonetic transcription of the Sanskrit word prajñā (प्रज्ञा), meaning 'wisdom'.

[joroghoul]

Since the edo period, the Takashi family has been women led. No one can exactly pinpoint when the family came to be but it’s believed that a collection of ghoul women had grown tired of being preyed on by ghoul men who were stronger than them, forming a false clan as a way of protecting themselves. While there are some old writings kept that briefly mention that suggestion, it isn’t confirmed. Most credit the current customs of the Takashi family to Kaji Takashi, a woman born in 1702. Kaji was the eldest of her sisters ( no one can quite recall the name of her parents, finding them unimportant ), the second oldest being Akemi, and the youngest was Kinuyo. Their father had attempted to arrange marriages for the three of them, the only daughter he had successfully found a match for was Kinuyo, she had married a ghoul named Botan. After the two eldest daughters refused to marry, their father sold them off to a ghoul named Daisuke. Much to their surprise, Daisuke allowed Kaji and Akemi to do whatever they pleased as long as they still showed respect for him, he even taught them how to use their kagunes for hunting and defending themselves. He even encouraged them to partake in cannibalism.

Kaji is the first in the Takashi family to form a full kakuja, Akemi followed in Kaji’s footsteps but was unable to develop anything more than a half formed kakuja. The two were still in contact with their youngest sister, constantly sending letters whenever they could. When they hadn’t heard from Kinuyo in months the elder sisters they had convinced Daisuke to take them to Nantan, Kyoto to figure out what was wrong. Once they found their sister they learned that Botan had been slowly cannibalizing on her and keeping her as a plaything rather than his wife. Out of pure white anger, Kaji killed Botan and Akemi force fed Kinuyo his remains in order for her to get stronger. Unlike her sisters, Kinuyo doesn’t form any kind of kakuja but became a cannibal ghoul, which ultimately becomes a staple to the Takashi family. Due to generations of Takashi women becoming cannibals, it has gotten easier for them to develop kakujas over time.

The three sisters ended up relocating to Gion, Kyoto, Daisuke came with them. Over time he had truly fallen in love with Kaji and wished to marry her, but he respected her enough to not try to force it onto her, rather he wanted her to genuinely desire him the way he does her. In order to hide their ghoul identities, the Takashi sisters became women of the arts. During this time Kaji becomes known as the Honnari ghoul, Akemi the Chūnari ghoul, and Namanari ghoul. These titles stem from the three stages of the Hannya yokai. Truth be told they found their names fitting given their kakujas and kagunes. Kaji does later marry Daisuke and he takes on the Takashi name out of respect for her since she’s grown to be stronger than him. In public Daisuke would act as the head of the family, but Kaji was the one who actually ran everything. Akemi also later married but under Kaji’s instruction of finding a ghoul who was weaker than her and had a rinkaku kagune, which ultimately started the tradition of Takashi women only marrying men with such traits.

The Takashi family stayed in Gion for generations, the majority of them becoming performers and locally famous. The first one to leave was Kumo, Shini’s mother. She after her older sister Uebu had married the man Kumo wanted. She relocated to Shimabara, Kyoto. She later had Shini with an unknown ghoul man. Uebu did attempt to convince Kumo to come back to Gion, which Kumo refused, she also attempted to take Shini back with her when her niece was three years old, this resulted in a major fight between Kumo and Uebu. After that no other attempt was made to take Shini away. The rest of the Takashi family is aware of Shini’s existence, but Shini doesn’t know hey exist. Uebu later on had daughters of her own named Tsumugi and Mai. Due to their selective breeding it’s very uncommon for Takashi women to birth children who don’t have rinkaku kagunes, they also rarely have sons. Shini is the first Takashi woman in four generations to have a son, and it’s only because she had twins.

[cronicasvampiricas-rpg]

Ankou Namanari es una de las jóvenes promesas del aquelarre Levesque, y puedes conocerla un poco más a través de su cuestionario.

[kuroheishi]

bouquetcfmuses​:

Of all the people that would have stayed behind to help her, it was unsurprising to Mitsuba that it was Yuuichiro. That idiot. Between the battle in Nagoya, them feeling from the scene and disbanding from the JIDA, there was a lot being carried on the small squad’s shoulders. The battle in Nagoya was heavy and the group hadn’t had the time to process any of it since they escaped. Guren’s betrayal, the Demon Army killing hundreds of soldiers, Kimizuki’s sister being a human experiment…

It was too much to process at once, so it was natural that it would all catch up to her at once.

She’d never realized how much PTSD she had built up over her years of service for the army. As a Sangū she had been taught from a very young age to forget unimportant things such as her feelings. But, after becoming a part of Shinoa Squad and learning to grow close with those around her, Mitsuba had learned that her feelings and the bonds she shared were precious.

That didn’t stop her from feeling the guilt of it all. It was always in the back of her mind that she could cause the death of her dear friends– no, her family, just as easily as she had caused the deaths of those in her squad before. Every time she saw the blood of her family splatter on the battlefield those images flashed through her mind.

Why was she always the one in need of saving?

“Yuu,” she started as she accepted his hand and pushed herself up, “I can’t become the priority. I can walk just fine, so we should regroup with the others and come up with a new strategy. Something isn’t working here.”

She had made a valid point– she couldn’t become the main focus of their mission. Not at any step of the way. “Our first priority should be regrouping and taking out these fourhorsemen.”

As she shook off that heavy feeling of guilt, Mitsuba turned her gaze to search for Yoichi’s hiding spot before looking to Yuuichiro. “Are you ready to go? You’re not seriously still worried about me, are you? I’m fine, okay? Let’s get moving already!”

Another arrow hissed above their heads and the heavy foot of a Horseman could be heard approaching them from south. Yoichi was still covering their backs despite everything and Yu reminded himself to thank him later for that.

“Crap. It’s getting messy out here, let’s go.” he gave one last glance to the blond girl, leaving any discussion for later. The priority was to get her to a safe place. The building wasn’t too far away so the run wasn’t too long, it wasn’t too difficult to enter either as the ground floor doors had been destroyed by a car that had crashed into them.

As every place in that world hit by the Apocalypse’s judgement, there was no sound inside but the glass cracking underneath their boots as they made their way into what it used to be the main hall.

“I wonder if we can find some food here too, maybe some left over cans that are still good. That’d be an extra point for us.” they were surrounded by darkness, it was an area that electricity had not been restored yet but his eyes were starting to adjust to his surroundings.

“I think Yoichi should be on the 15th or 20th floor by the trajectory of his arrows.” his lips pressed together as he hummed in thought.

“I guess we should meet up with him and rethink of our strategy as you said. And we should get some rest too, I’m kinda running out of energies myself y’know?” he snickered apologetically, moving towards what he believed to be the way to the stairs. 

The Namanari was corroding his blood and bones, Yu could feel it whispering ominous words into his head, ready to overtake his mind and body at the first opportunity when he’d be too weak to fight it anymore. It was already a miracle he had not given in to it despite the exhaustion that was weighing on his shoulders.

“We are family so we promised to look after each other, right Mitsuba? If we cannot make it all together there’s no point to continue the mission. The priority is to keep each other safe, so I guess if you think about it you are a priority too. I’m not going to just leave you behind if you can’t make it with me.”

[keeperofthebox]

my very silly first attempt at a mikayuu fic

[ofsavior]

I... I hold Guren dearly.

realizing that Guren isn’t actually jealous of Kureto here, but instead... is terrified that Kureto might actually reveal that Guren is a namanari at any point now that he’s been compromised by his demon.

and guren is fully aware kureto is suppressing shikamadoji, who could kill shinya at any point.

and like... those first panels make me really sad. because mahiru isn’t even there. now that kureto’s been compromised, guren is carrying the weight of his burdens all on his own.

but it’s fine... we can pretend this isn’t tragic and that it is just gure.shin lkrf;lerkf

[butane-muses]

[ // ] Did a bit of browsing around on Wikipedia today, and it turns out that the form of sushi we're more familiar with today was actually created during the Edo Period! This was apparently known as hayazushi, where vinegar would be mixed into boiled rice and prepped with fish. During the previous Muromachi Period, there was namanare, or namanari; this style had steamed rice be left to ferment alongside fish before both were eaten.

[ // ] I'd imagine Musashi would probably be familiar with both of these styles of sushi prep. Of course, there's still no outright denying her love for udon, but with how persistent hayazushi has become, perhaps she has a soft spot for it, too.