#the third one is rebirth

[wingedblooms]

Language of creation

This post synthesizes the potential forms Elain’s magic might take in her story because of her connection to Wyrd’s original power, creation.

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Farseeing and Benevolent Wyrd

Farseeing and benevolent Wyrd is the higher force in the Maasverse. She is described as a mother to all, and a cauldron of life, brimming with the language of creation. Over time, she became known as the goddess of fate but is actually a force that governs worlds. Very few depictions of her exist because she, like fate, often shifts form. The one consistent depiction we see of her is a bowl held by female hands. Sometimes the full female figure is shown. This depiction appears in the Spring Court (acotar), Night Court (acosf), and the Bone Quarter (hofas). She is referenced across worlds in different terms (Wyrd; Urd; Mother, Cauldron, Fate/Forces That Be; and I suspect we’ll discover Chaos is yet another one of her names. I use them interchangeably for this reason).

There is still debate in the fandom on whether Wyrd (the Cauldron) is separate from the Mother. The Cauldron (Wyrd) is described as a mother to all and a dark womb, and we know life blossoms from her in female hands, so I lean more toward these terms describing different parts of one consciousness. And the female form in her depictions represent female vessels, or bearers, of her creative powers (and I know others, including @offtorivendell, suspect the same) rather than a goddess.

In acowar, we learn that three stones represent the three faces of the Mother (Wyrd) in scrying. It would make sense for these three faces to describe the three parts of her identity: Cauldron and Mother and Fate/Forces. She is a literal Stone Mother (Cauldron) that breaks into three pieces like a blossom unfurling. Her power birthed the world (Mother), and she moves like a force through the universe to maintain order (Fate) in a grand tapestry.

Mountains, objects, and females can bear her power. There are three sacred sister peaks and the one in the heart of the Night Court (Ramiel) was depicted as bearing Wyrd. The priestesses’ invoking stones are said to bear her healing power. And the three Archeron sisters, two of which were reforged in her dark womb, represent her three faces in the flesh. Like the peaks and stones, the Archeron sisters function as vessels and can channel Wyrd’s power. Feyre puts her hands directly on the Cauldron and calls to mind the image of life flowing from Wyrd in Spring. Nesta calls upon the Mother, the Cauldron to help her master death and save her family. To follow the pattern, we’ll probably see Elain use Wyrd’s power for rebirth. Life and death and rebirth.

Among her sisters, Elain is especially connected to Wyrd. It gave her such powers and her Wyrdcrown (my word, not Sarah’s) reflects Wyrd’s blossoming imagery and power: sleeping buds among leaves and thorns. I’ve wondered before if she has direct access to Wyrd’s secret language (creation), which could manifest in different ways.

Elain senses the threads of creation around her

When she was first Made, it seemed as though Elain experienced sensory overload and didn’t know how to control it. She struggled to distinguish dream from reality and sensed life (earthworms, heartbeats, etc.) around her. Like @silverlinedeyes and @offtorivendell, it made me wonder if she could sense creation differently. Does creation sound like a song, every creature possessing their own unique melody that she can hear and respond to, as @silverlinedeyes and @offtorivendell suggested long ago? What might she see when her doe eyes land on them - vibrant threads of life that flow across time and space? Can she influence those threads and weave new possibilities in Wyrd’s grand tapestry? Is that why she needed to be present to learn about the living thread of Hope within the Void?

Elain as a weaver of the threads of creation

Blossoming with life—@willowmeres, @offtorivendell, and I have wondered if Elain has a deep connection to the land like those with earth magic, allowing her to sense channels of energy (threads of life) and feel discomfort when those channels are warped, like they might be in thin places (e.g., Hewn City). As a gardener, it would make sense for her to play a key role in freeing the magic of the land in those places and weaving new life—blossoms, vines, trees—into the earth’s tapestry.

Farseeing—We know that Elain is farseeing like Wyrd, but how far, exactly? If trained, can she pluck a thread and unravel a creature’s past, present, and future? Understand their secrets on sight like Baba Yellowlegs? Influence their fate, as she seems to do from the shadows? Feyre suggests Elain might hear the whisperings of Wyrd in her murky realm, which I’ve theorized is a direct pathway to Wyrd’s dark womb, the Cauldron. She seems to be able to use this connection to locate living creatures (like the Suriel) who travel as swiftly as the wind, without any formal training. As she wanders with Wyrd, will she need something, say a grounding ritual at dawn, to keep her tethered to the earth?

Traveling like a force—Elain repeatedly appears suddenly and surprises her family. Has she just learned how to use light and shadow to her advantage from her friends, or does she possess the power to winnow? Winnow derives from the Old English word for wind and can be used to describe the movement of the wind (or bird wings in flight 👀). It makes sense that the ability to winnow in acotar allows characters to travel like an unseen force, like the wind, like…Wyrd. It’s no coincidence Elain’s first question to Azriel yielded information on Illyrians hearing the song of the wind, and characters connected to Elain—Azriel, Nuala, Cerridwen, and Lucien—possess the ability to travel fluidly. Three of them also have fluid forms.

Shifting form—Wyrd is notoriously hard to depict because she continually shifts form. Even before we learn this in CC, it is demonstrated in the acotar series. Wyrd slithers like a snake when she steals Elain from camp and shifts into different creatures during the final battle when Feyre is connected to her through a direct, living bond. She soars through the battlefield like a bird, skims the ground like an insect above a pond, and creeps along like a hound at Nesta’s side. (As an aside, I think the bones in scrying might represent different animal forms of creation; another nod to Wyrd.) The most interesting part about this scene, though, is that when Feyre begs Wyrd for help, it is Elain—not Wyrd—who appears out of nowhere and answers her call, reinforcing the link between Wyrd and Elain. Elain is also associated with an animal form, one that is linked to rebirth: the lovely fawn. The Suriel saw her doe eyes peering at it from across the world. Like Wyrd, does she travel in animal form in her sight? Is it possible Elain can learn how to weave different forms in reality, like Dorian, with her powers? That might explain why she asked Amren so pointedly about changing forms over dinner in acofas.

Healing—Wyrd’s power is connected to healing (rebirth). In tod, we learned that raw healing magic is pure life and most associated with the dawn. The Dawn Court in acotar is also known for powerful healing. And while we witnessed a dusk service in Lady Death’s story, we have yet to see what the priestesses in the Night Court do at dawn (groundings 🤞). Elain is consistently compared to the loveliness of dawn and glows like it in the dead of night. Will this association remain figurative? Or will we see Elain, like her sisters, channel Wyrd’s healing magic? Perhaps we will see her use healing magic to unbind Wyrd and the land since those with raw healing magic can unbind the very fabric of life, of worlds.

Wyrd’s creative magic appears to be fluid and interconnected, so if our gardener is as connected to her mighty power as we’ve been led to believe, it would make sense for her to be able to use it fluidly in her story as well.

[mamawasatesttube]

every time i remember how bendis completely destroyed the kon & clark bond i want to start biting and maiming. literally what is the point of it all!!!! just kill kon again im begging!! it'll be funny when the second time around comparatively nobody gives a shit fdklsjdjkd

[throwawayasoiafaccount]

some people in this fandom are going to be really disappointed when winds of winter comes out.

you guys. you cannot treat the POV characters as stepping stones for other characters/other POV characters.

the POV characters must have a fitting end according to their character arcs, themes, foreshadowing, etc.

to clarify, the POV characters chapters are about THEM. their storylines are about THEIR journey. you cannot use their hundreds of pages of character development as a brick to build the castle your fav will live in.

this is especially true for the key 5 and for the other younger POV characters. their endings have everything to do with them, they do not revolve around your fav.

us readers out-of-universe reasons for wanting x or y characters deaths does not matter. what actually matters is if you can support your theories with textual evidence from the chapters of the POV character that you want dead.

[disastersteps]

pov: you are anita, watching the one person who you work with, turns out to be a good friend... and more.

[mysteriousmoss]

Working on ch4 and Grian’s last name comes up. Can’t decide between these. Next chapter is not almost don’t but close to finish

[anakinh]

sephiroth is so beautiful i would die for him 😭

[lecliss]

Absolutely painful knowing Vincent had to sit there and listen to Scotch and Kotch's rap after thirty years of sleeping in a basement like "so this is what the youths are up to nowadays?"

[just-another-wren]

me, thinking: I should be writing/thinking of Kadeen more realistically, she should be more affected by being trapped in what was literally her personal hell and DYING

me, the person she's based off of, who's been in two car accidents: do dodo dodooo... oh, car time? okay! I won't be able to talk but yay! :>

[aerithisms]

okay i just did the gongaga protorelic quest and i had assumed cissnei left the turks after what shinra did to zack and she was hiding out in gongaga to keep her promise to him but she's STILL a turk??? this creates so many questions

[1864reruns]

ㅤㅤㅤㅤ౨ৎ monster trio & kissing

ㅤㅤㅤㅤㅤㅤㅤ2024 ©1864RERUNS

includingㅤ━ㅤmonkey d. luffy, roronoa zoro, sanji vinsmoke

tag(s)&warning(s). drabbles, gn! reader, sfw, fluff?, what constitutes as fluff idk girl, established relationship w/ zoro and sanji, luffy is a secret third thing i guess?, stray 'kms' threat in sanji's part

from vyon. big up to alex turner and no. 1 party anthem; luffy's is marginally longer because he's my most specialiest boy and he deserves special treatment and i struggled way too hard with characterising sanji in a relationship aside from all the embarrassing simping stuff, he's just amazingly pathetic, i don't wna talk about it, the main star here is luffy

like a lot of other things, kissing comes easy to luffy. though he's never had any couples around him as he grew up, he's been on enough adventures to catch a number of couples share a few quick pecks here and there. sabo's once mentioned kissing as well— a sort of distant memory that comes back when your lips first land on his cheek on your supposed first date. it might be sabo's fault, or his parents, that luffy believes kissing to be bleugh before he's tried it. though in sabo's defence, there wasn't a child in the world that would want to see their parents kissing. still, it isn't as bad as sabo made it out to be, luffy thinks as his wide–eyed gaze follows you back onto the sunny. there's something in the shape of your lips sunburnt onto his cheek, crisp just underneath the scar he'd gotten as a child.

the old scar is a smudge between a burning hypersensitivity and a cold unfeeling stretch of skin; your lips brush against the scar and it tingles itself into simultaneous death and rebirth. burning, melting— luffy presses a hand against his cheek and feels full. then his lips pull into a grin and the burn of your lips spreads out, pushing through every fold of skin as his hand reaches out for the sunny and he flings himself into the air, allowing the feeling to crawl through sinew.

luffy is no stranger to touching— he does it in painstaking excess, but there's a childhood teaching in him that kissing is not the same as touching. he stares at nami for a while, wondering if the instinct to feel her is the same as it is for you; she gets annoyed by his unwavering stare and swats at his head. he decides it's a no.

kissing is meant to be con... consumption? conservative— constellation? no, it's one of those 'c' words that he doesn't really remember, but he knows that he's supposed to ask you if you want him to kiss you. he doesn't understand the idea of waiting for permission but he'd really hate it if you were grossed out, like ace once told him would happen if kissing happened unconventionally(?) (that's not right he thinks), so he asks you one day.

as simple as he gets, luffy comes up to you and asks. "do you want me to kiss you?"

you splutter in shock and you hear movements on the deck still. luffy thinks he'd maybe forgotten something that the people in foosa village taught him but he waits for you to answer anyways. it doesn't come because sanji is aiming a kick at his head and shouting at him about the delicate intricacies of romance and courting. through all the dizzying flips of colour as he jumped away from sanji's attack, a kaleidoscope of the things he loves the most (the sea, his ship, his crew) in his eyes, he sees the hesitant embarrassment that colours your cheeks in. the burn that you've placed in him sparking up a fuse between the two of you at the slip of his tongue against gums and he laughs, swinging away and crash landing on whatever usopp was building out of sticks.

you return to him at a more private time, slip up next to him wordlessly— he doesn't say anything so you fear that he'd forgotten.

"do you still mean it?" your shoulder knocks against his.

"mean what?"

you turn to look at him, your eyes flickering down. "when you asked if i wanted you to kiss me."

that gets his attention, his head turns to you with a flexibility only he has— his eyes blinking at you carefully. "i did, did you make up your mind?" his lips pulled up into a grin, "you want me to kiss you now?"

you wish he had a less abrasive way of asking, but the answer is the same regardless. you nod and luffy takes.

you're not sure what you're expecting at this point. you know how luffy is about psychical touch, he's no stranger to it— everything he's ever known, he's ran his hands over. the amount of times you've been knocked down to his reckless habit of flinging himself into your back, you expect the same thing here.

luffy inspects you for a moment, the corners of his lips pulling down before twitching into a pout, "it's not gonna hurt, silly, why'd you look like that?" he shifts his body to face yours, his knees knocking against yours as he pushes his face closer.

then, his lips stretch outwards— his damn devil fruit— and it's so comical how his puckered lips pulled towards you to press gently against your cheek that you're laughing when it snaps back into place. luffy laughs along with you for a moment. a gooey comfort strained inside of you, your hands pressed against his cheeks— you find a simple joy in pulling his face, and then you find a better joy in leaning yourself closer to press your lips against his.

you're giving so luffy takes. he shifts onto his knees for better leverage to lean into you— the movements are stiff and careless. he's less kissing you and more just pushing his face into yours but you can feel the strain of his smile against your lips so no matter. being luffy, he pushes and he pushes greedily until your hands move from his face to the deck to keep yourself from falling.

it's so stupid how, even though this sucks, you want to make an occupation of kissing him.

it becomes a habit for him to kiss you no matter how far away you are by taking advantage of his devil fruit. eventually, he does get better; you realise why after a pointed comment from robin that hints to the fact that he'd asked her for kissing tips.

zoro is all lingering touch, heated spaces, and fizzling affection. it's not often that he gives you the pleasure of being skin close with him— not that you mind. he's eye candy enough, grunting and sweating in a handstand with barbells methodically placed on his feet and boxes of miscellaneous supplies for added weight. he's never been the type to need the world in his life; everything he's done has always been to prove a sick something to himself, to his strength.

his devotion is similar. there's no place for prying eyes in your relationship when there's you, the fulfilling adoration, and zoro. sometimes, there is also his swords and other times, there is an overwhelming luffy (who knows no boundaries).

he's always more forgiving with you, but he draws the line at excessive pda and you respect that boundary. fleeting contact has never been zoro's strong suit, he's an all or nothing soldier so when it comes to kissing, he likes the ready privacy that allows him to indulge. so he ignores the pointed staring, how you've made yourself comfortable on the benches in the crow's nest; your body sprawled out following the curve of the seats as your face turns red from how you have your head hanging off the cushioned planks.

he grunted, turning his head back down to the floor before he loses his balance.

you start counting, "one, two, three." he's well past those measly numbers but he lets you do as you please. "four, five, one, three, sixty–five, twelve, two, negative five, twenty, fourteen, nine—"

he folds his legs down against his chest, letting the weights fall to the floor with a thud. "alright," he straightened up, "you've made your point." an unimpressed look crosses his face.

your lips curled up into a grin and then you pull yourself up, throwing his towel at him. he takes the hit to the face and presses his hand over the fabric to wipe away the sweat and falls next to you, sliding his body down for his head to lay on your thigh.

"ewwww," your face scrunched up, "you're sticking to me." his hair is clinging to his forehead, interrupted strokes of green paint against his temple.

"shut it."

a laugh is quiet on your lips as zoro falls into the comfort of the moment, his eye closing. you trace over his face and then you crane yourself down, ignoring the ache in your spine and neck, your lips fall onto his forehead, "one." you counted. then onto the space between his furrowed brows, "two," his nose, "three". over his eye, "four." you pull back just in time to feel his lashes scratch over your lips.

a heavy judgement in his eye, stern and serious— he curls an arm up to press against your nape and pulls you down. there's a weight that's tethering you to the moment in the curves of his arm and a light–headedness that makes the stillness burst at the seams as zoro ignites everything alive. it's a slow and careful thing, how his head rises to meets yours and then how it tilts so he can slide his lips onto yours.

his arm drags across your neck until you feel moisture in the contour of his calloused hand, fingers pushes into your hair as zoro leans back from your lips, humming. "five." he says, a whisper of a smirk on his lips. a flicker of tender violence in how he fists your hair at its base and pulls your head back to give himself access to your neck. all or nothing, you're reminded, he drags this kind of simple affection into long, several moments.

he continues counting, picking up where you left off until you both hear luffy calling for zoro to help him fish and your relationship mellows back down, protected in loud secrecy.

there's always a strange line to tread when it comes to sharing intimacy with sanji. he's the quickest to melt when it's passing pecks, a second touch of your chapped lips against his cheek.

it depends on the atmosphere of the moment. just as quick as you can puppeteer him to pliant stuttering, sanji is more than capable of wearing you down to your barest core with his appreciative methodical gestures.

what everyone else is most familiar with are the fast moments of sanji softening when you offhandedly touch him. a simple smile on your lips as he gracefully sets your plate down in front of you, ease in the way your head turns to face him and you give his cheek a grateful peck, a quick kiss against his lips when you're splitting ways upon docking on a new island. it's enough of a spectacle that luffy makes the same laughing racket when you kiss sanji casually to see him twirl with new founded energy and hearts in his eyes; that zoro has a trademarked insult ready on his lips whenever it happens; that nami owns a jar that sanji has to put money into whenever he starts his weird dance.

it's almost easy to forget how sanji reciprocates. love has always been a second language to him— it's burrowed in his every unhurried moment when cooking, it's a burn that drove an abscess in him when he was younger, it's straightened postures and the clean lines of his stature for every perverted thought that plagues him. his every move carries an echo, a drumming confession that rings i love you, i love you, i love you until the words are bleeding raw into each other and you feel undeserving in his passion that stinks of cigarette smoke.

the disturbance of the lit end against a clear canvas of blue skies, his arms folded over the handrails of the sunny, the strokes of grey smoke that taints the pristine clouds that rest languidly; a rigid lock on his features until you're brought to his attention with your shoes clicking against the deck. his face shifts into something more delicate— full of feeling that's different from his usual excitable manner.

"bad for you," you begin with a light–hearted scold, plucking the cigarette away from his lips. he turns to you, his back against the handrails.

his restless hands search for touch and find an answering comfort on your skin, turning up and down over the shape of your hips until his thumbs dig into the waistband of your bottoms. "don't," he pleads, "you know it kills me when you're disappointed."

your lips turn upwards, "should i cry?"

"please." his voice wavers between a weak warning and aching desperation as his head falls onto your shoulder, pulling you closer.

the smell of smoke is cauterised into his skin— you don't mind it and you don't mind him smoking, but you think it's funny to act like you do if it has sanji like this. his hair scratches against your skin, tickling an itch he'd placed in you long ago and you thread your straying hand into the strands as his fingers press demandingly into your hips. following your motion, sanji turns his head to look up at you.

a furrow in his brows and a plea in his eyes.

"you know i'm teasing," you lean down, pressing a kiss against his lips as an attempt to appease him, "but you know i'll have to kill myself if chopper comes and redirects his disappointment at me again." you sigh, weary at just the topic. "i mean seriously, he looks at me like i'm the one shoving cigarettes into your mouth and forcing you to inhale."

sanji tries to focus on your words but your lips have left him cold when you pull away; suddenly, being skin to skin isn't enough and he's trying to placate the greed that is curdling inside of him. it works for the better half of a second, his thumbs pull out of your waistband and his arms wrapped around you, one around your waist and the other dressed against your back.

he ducks his head down and settles his craving.

sanji is gentle all around, careful to make even his affections palatable. he starts slow, testing waters that he's skinny dipped in previously and when he finds no rejection, he moves in deeper. he's a lifelong hunger that can never hope to be satiated when close to you, unwavering in a promise that has wedding bells ringing deep in your bones.

there's a new memory of a life he wishes for you, brought to life and fed by the taste of you. for now, he has to pull away as the ship rocks into a tempestuous sea and panicked feet disrupt the echo of the bells. nami starts to shout orders. he pulls away. his heart stutters in time with the unpredictable storm. sanji trips over his feet on his way to pull up the sails and he starts twirling when it makes you laugh.

[marsprincess889]

VEDIC ASTRO OBSERVATIONS

Part 3

More random and messy but still true

DISCLAIMER: if you consider some of these positive and others negative, then I want you guys to know that they come from my personal observations of real life. None of the nakshatras are better or worse, or positive or negative, these are just aspects of them, but nevertheless, true.

Magha people can have such an ego omg like I've said that before with rat yonis but P.Phalguni I think is nowhere near Magha in that department. Ashwini can also come off as egotistical, but it's moreso that they're unintentionally(or sometimes, intentionally) ignorant. Mula can also have egotistical tendencies, esp cause the galactic center(the black hole) is in Mula nakshatra, so they can have this "I'm the center of the world" attitude, but in my experience it manifests as just them mainly trusting themselves. All Ketu nakshatras have this theme of going inwards and shutting the world out, but since Magha is in the Sun ruled Leo (sun=ourselves, confidence) it can come off as undeservedely egotistical, different from Ashwinis aggressively(Aries/Mars) ignorant and Mula's relentlessly preachy(Sagittarius/Jupiter).

The Ashlesha to Jyeshta pipeline is actually very obvious, they're more connected than people realize. Obviously they're both Mercury nakshatras, but Ashlesha is often seen in a very sensual, feminine light and Jyeshta in a no-nonsense, cut to the chase light. The difference is that all that bottled up energy of Ashlesha, that was either healing or poisoning the native is ready to fight and be more direct in Jyeshta. They're both laser focused on survival and protecting themselves, desperately trying to realize themselves in the proccess, so it's a struggle. Both are trying to preserve their energy, but Ashlesha was trapped in the confines of the 4th house(family, roots,mother) and the sign of Cancer/Moon(emotions, fliudity, sensitivity), either for its safety or to its detriment, and was trying to get their energy out in a correct way. Jyeshta is out in the open, thrown in the sign of Scorpio/the 8th house/ passive Mars (transformation, rebirth, purging, sex, death, warfare, survival, defence. You and the other are one and the same in the 8th house). For Jyeshta, the only way to survive, is to win over everyone else, and when they eventually win, they gain dominion over others. So Jyeshta is kind of about revisiting that Ashlesha state and having the revenge, so to speak, because after gaining strength on your own, you eventually have to face the ones who you were so desperately trying to get away from(ashlesha).

Mulas can be so gentle and honestly at first I did not know where that came from, but since the last third of nakshatras are about transcending and mastering their ruling planet in a sense(btw, that does not mean that they embody the energy of the planet more, or that they're better) and Ketu is about primal instincts, then Mula is the place where the individual centers themselves in their truth and is unmoved by others, thus, avoiding unnecessary energy drainage. Of course, they can also be the most untamed of all, but in our civilized(mostly🙁) society, their natural demeanor is extremely calm.

Chitra natives are soooooo chaotic like calm down jesus. It makes sense when your consider that its gunas are TTT(tamas, tamas, tamas). Among the planets, Ketu is the most tamasic one(Chitra's ruler_Mars is also tamasic), but each nakshatra has their own guna(Ashwini is Rajas x3, Bharani is Rajas-Rajas-Tamas, Revati is Sattva x3, you get it). So Chitra people are the most chaotic, if I may say so. (Gotta credit The Hidden Octave's Chitra video for the observation). There are a lot of indicators that explain this but I've already written a lot in the previous ones😭 if you know basic vedic, this observation is of no surprise to you. They can also be prone to anxiety, but often they're unaware of it, so that has a detrimental effect on people around them.

Uttara Bhadrapadas are VERY hard to order around. Impossible even. Idk why someone would want to order someone else around but nevertheless, these natives can deal with any kind of unfairness with such grace, self-mastery and quiet strength that eventually nothing gets to them anymore. So if you see an U. Bhadra child disobey their superiors calmly and in a controlled but determined manner, you know why.

I really have a lot of respect for Uttara Ashadas(not all, lmao), because they just deal with stuff alone. And it's natural for them, and they don't do it for a goal(like in Jyeshta, which is not bad, it's just different) or for attention, it's just a way of life for them. Simplicity and stoicism 🤌

Okay, now a fun one: Moon girls (Rohini, Hasta and Shravana) are the blueprints of Y/N. If you guys don't know what Y/N please look it up. Not just Y/N, but characters like Bella Swan(hasta moon, rohini asc actress) and Elena Gilbert(shravana moon anctress) come to mind. Even popular instagram users who parody those movies/fanfics/characters have moon placements(@laframbuesaa_ rohini moon if i remember correctly and @yasmine_sahid_ shravana moon(?) on insta). Even Harry fcking styles, who is probably the most common love interest in those fanfics has hasta moon. If you know a little about nakshatras, this makes sooo much sense. Moon is something that masses can understand and digest easily, so it's not complicated and sometimes, it can verge on delusions(or an insane sensitivity and receptivity and the ability to read between the lines, but that's just for a number of their natives). Other nakshatras that can fall into the Y/N trope are venus and ketu nakshatras, but moon is the most classic example of it.

I want confirmation in the comments/reblogs for this one: Bharani natives love high fantasy, history(esp medieval), fantasy in general and/or just everything/anything with that vibe. Cause I'm bharani moon and I do, and I've seen some other examples. If not, then the Bharani natives themselves seem like they're out of those times/stories. I can't explain it in any other way. (This might be true for Bharani Ketu too.)

Alright, this is all. Reblog, comment, like. Interact please

Take care

[renecdote]

rebirth

Bi Buck cured my writers block, please have this short little episode coda for 7x04. [Read on AO3]

It’s after one a.m. when the light, bubbly excitement in his stomach sours, fear creeping in. Buck’s next breath sticks in his chest, his heart races, his fingers start tingling, and it’s so much like what kissing Tommy did to him, but for all the wrong reasons this time. His phone screen is suddenly too bright in the darkness, his search history a towering mess of questions, and Reddit threads, and quizzes he clicked into then out of before he could finish taking them.

The problem, he thinks, is that it felt so right. Tommy tilted his chin up and pressed their lips together and it felt like—himself, for the first time in… forever, maybe. Buck doesn’t know what he’s meant to do with that. Go out on Saturday night, maybe (hopefully) kiss Tommy again (and again and again and again), but then… But then?

He wants to call Eddie because he always wants to call Eddie. He wants to blurt out all the things he kept under his tongue when he apologised earlier. He wants to hear Eddie say his name, soft and warm and knowing, because if anyone can make him feel seen and heard and at home in his own skin, it’s Eddie. He wants so hard it’s almost painful.

But it’s the middle of the night, he can’t call Eddie.

He can’t call Maddie either. She would answer, he knows, and she’d have just the right words for the spiralling anxiety that’s sucking him in, but he’s not going to scare her with the phone ringing in the middle of the night. There have been too many calls like that that have only been bad news.

He won’t worry Hen or Bobby with a call like that either.

And as much as Buck wants to confide in them, wants to crack his chest open and show his family what has been inside the whole time, there’s another part of him that doesn’t want to share. Not yet. He feels like the newborn calves he saw at the ranch in Montana, young and fragile and unsteady as he tries to find his feet. The world suddenly feels bigger. Brighter. And it’s exciting, it’s freeing, but he can’t help feeling daunted, like he might get lost if he’s not careful.

“Bisexual,” he says aloud, just to hear himself say it, to taste the way it feels on his tongue not just as a word but as an identity. It feels like an exhalation, trembling at the edges but not just with fear, or excitement, but with relief. He thinks of that first breath of air when his head came above water in the tsunami, he thinks of being struck by lightning, he thinks of stepping into Station 118 for the first time, he thinks of catching the Jeep keys Maddie tossed him in the dark of a Hershey street all those years ago. Buck knows what it is like to be reborn, but he has never had a kiss make him feel like this before.

Did the first time you kissed a girl feel like this? he wants to ask Hen. Does it feel like this every time?

Is this the magic you were talking about when you first met Shannon? he wants to ask Eddie.

I figured it out, he wants to tell Bobby. I figured out what being at ease with myself feels like.

He has a shift in six and a half hours, but sleep feels as impossible as it did when he first climbed into bed. Buck lifts a hand to trace his lips in his dark, reliving the memory of Tommy there. He imagines Tommy everywhere else too, trailing his hand down his body, fitting Tommy into all the places a few dozen women have touched before. He feels like a teenager, giddy at just the thought of sex—of everything—and he exhales a laugh in the dark.

Buck opens his phone again and sends a text to the one person he knows is on shift and might already be awake: when you said you’d pick me up on Saturday, you meant in the chopper right?

Tommy replies instantly: those things are a bitch to park

And a second later: maybe on the third date

There it is again: breath stuttering, heart racing, fingers tingling. Buck wonders if this is what it feels like to get behind the controls and fly. He grins at his phone. He can’t wait to find out.

[lovifie]

Newdad!Ghost and Newmom! Reader having their child’s first fever…

I did ramble a bit about this before having the baby, I hope you don't mind ❤️ Also, I have no experience with babies so I hope I didn't write anything completely nonsense

Fluff | 1076 words | Back to Masterlist

Simon Riley thought that he was no longer a coward.

That the years spent in the military were enough to make him a brave man.

That there was nothing left to make him stutter on his words or feel his knees wobble.

That's what he thought though.

Because ever since the second you came out of the bathroom, positive pregnancy test on hand; he's been terrified, elated but terrified.

Terrified of something bad happening, to you, to the baby, to him... The thought of leaving you alone terrified him the worst.

But nothing happened.

You were already in the last trimester, almost past your due date and everything was perfect.

Whenever you saw the nerves getting the best of Simon you jumped to console him, reassuring him everything would be fine.

He felt horrible, he should be the one taking care of you, not the other way around. So plush and round with his offspring, the baby already sucking your energy.

"Big fucking bairn." As Soap once called it before getting smacked on the back of the head.

It was true, nonetheless, but still.

It was one day, when he saw you wobbling your way to the kitchen that it finally set on his mind.

He was about to be a father.

And fuck if he wasn't going to be the best one out there.

Now that it was the third trimester he could finally put in his parental leave, going home to you and helping with everything.

He finally got to building the crib, fixing the leaky faucet, changing the clothes in the closet for the winter one.

Everything was ready.

He wasn't, of course; when the contractions finally started. And he panicked when you said it was too early to go to the hospital.

5:40. That was the rule you keep repeating.

40 seconds contraction, every 5 minutes.

But he still struggled to stay strong whenever you would groan, holding onto the sink to steady yourself to breathe.

Once he finally managed to get you to the hospital, everything became a blur. He barely managed to send your family a message about the baby coming, and when he went to notify his family, he simply sent Price a message that said: "Baby now. Hospital."

Everything went smoothly, pride overflowing from his heart whenever he would look at you. He was hypnotized by the baby; looking so much like you but his features still looking back at him.

He kissed your forehead, thanking you for reviving Simon Riley. The man he buried so long ago, now rebirth as your daughter's dad.

He could feel people coming in and out of the room but completely ignored them, too busy staring at you and the baby.

Gaz even made you laugh, talking about how he thought pregnancy brain only happened to moms and that he thought Simon must have hit his head on the way in.

The look of unfiltered fear on the four men when the newborn started fussing around from the crib made you laugh. They quickly turned to see what the threat was, only for the baby to start crying at the top of her tiny lungs making the four men jump.

"She must be hungry." You say, leaning forward and looking at Simon. "Can you hand her to me, Si?"

He immediately did, holding the tiny baby with all the care the mountain of a man could muster. Passing her to you, and turning to the men talking about decency and giving you privacy.

They walked out, Price dropping a kiss on your head congratulating you once more on the job well done, leaving you, Simon and the baby.

The three of you.

His tiny family.

That he would kill and die in order to protect.

So he found himself useless, looking at you trying to calm the baby down when she wouldn't stop crying and her fever would keep rising.

He was at the door frame, seeing you pace the room, cleaning the baby's face with a damp cloth. He could see it on your face, the worry, the exhaustion, the fear... How have you hidden it so well? How has he not seen it before?

"She's over 39°, Si." You say, voice trembling with the knot in your throat.

"Let's go to the hospital." He said, grabbing the baby bag and your coat, and opening the door. He could see your doubt, the fear of what taking the baby back to the hospital meant for you. "C'mon, mama. The sooner we get there, the sooner we'll be back."

He needed to be strong right now, he has laid back for long enough. He saw the little cracks on you and he was going to fill them before you noticed them.

Simon Riley thought he was brave.

But he has never been as afraid as when he was driving, baby in the car seat and you sitting beside him in the back. Silent tears sliding down your face as you apologised to the crying baby.

It made him want to skip every red light, get there as soon as possible, so the doctors could tell you that you made the right choice, that you did a good job.

But he would rather relive his nightmare of a life a thousand times before doing such a stupid thing of putting you both at risk.

He sees the way you hug yourself when the nurse takes the baby away, and he quickly engulfs you in a hug. Protecting you from the cold of the night, protecting you from every danger outside and protecting you from every thought inside your brain.

"Everything is going to be alright, mama." He says, kissing your head. Heart sinking when he hears you sob and hug him back. "Everything will be alright, this happens, babies get sick sometimes. It doesn't mean you aren't doing a hell of a job, alright?"

You sob on his chest, tugging his shirt on your hands.

"You are an amazing mother, love. You are doing an amazing job. Our little tadpole has the best mom in the world." He says, swinging softly side to side, rocking you, petting your head. "She'll be fine. She's brave just like you, love. She'll be fine. We'll be fine."

Because Simon Riley always thought he was brave, but as long as you two were alive; he was a coward and losing you both was his biggest fear.

[perfectlysanexd]

I haven't done one of these kind of posts in a while, but the expressions in Rebirth were top notch, and I wanted to talk a bit about and analyze Sephiroth's different smiles, both pre and post Nibelheim.

Nibelheim itself is difficult to gauge, because SOLDIER Cloud is actually Zack, and furthermore, some of it is definitely his own wishful thinking. But one thing you can say for sure, is that they portray that Sephiroth, despite being so emotionally weary, still summons up the energy to smile at his friend.

As soon as he turns away from Zack, his smile falls, and he doesn't give one to the Mayor at all.

However, when he turns back to inform the men that they're free until sundown, he summons up another smile for them. I don't think that he's just attempting to keep their morale up, he genuinely has affection for Zack, and cares for the others. He respects them for their service, putting their lives on the line for what they think is a good cause, and Sephiroth—as we saw in Ever Crisis—learned to be a compassionate person, who cares about the lives of others, even enemies.

Of course, he's deeply distressed during this time, the despair is eating him alive. Even Cloud acknowledges(despite having not known Sephiroth on a personal level) that he just wasn't himself once they arrived. But I'm not going to talk about my theories on all the Jenova stuff right now, that's not the focus here. Even at the window, you can tell he's feeling off, but when he turns to Zack, he attempts to smile again.

Sephiroth has never enjoyed his fame, and as we learned in Ever Crisis, he didn't choose it; Shinra made up bogus achievements and declared him to be a hero before even his first field assignment, as part of their recruitment campaign. Can't argue with results, I guess—it certainly got Cloud to join up out of hero worship, right? In EC, Sephiroth admits that all he ever wanted was to be normal, something that he knows he can never have. How sad...

So when this man wants to take his picture, it's no wonder that he's over it by then, and tells him no. And rather politely, too, all things considered. But even before that, he smiles and tells Zack that as long as he does his job, their young tourguide will be safe.

But as soon as he turns his back and walks away? Yeah, that smile immediately fades.

Which certainly doesn't change when the guy takes his picture. But of course, when Zack asks Sephiroth to pose for one, he just can't say no, even though he's not super happy about it. Anyway, he continues to smile at Zack for the duration of their journey up Mt. Nibel, making an effort to talk and even cracking a couple jokes, just trying to be a good leader and keep them in good spirits.

And of course, there's the very sad bridge part, where you can tell that he's genuinely upset that he failed to save the other infantryman that got washed away. He searches for him, but comes up empty-handed. Still, he smiles for Zack and teases him about a performance assessment, since their morale is quite low now, but they need to keep going.

Honestly, the Nibelheim part of Rebirth really did an excellent job of portraying Sephiroth's inner struggle. For reference, there are only 3 points in Remake, I think, when Sephiroth drops his ever-present, sometimes affectionate(towards Cloud) and often unhinged, smile: First, it's replaced with sheer rage as he kills President Shinra.

Second time, is when Aerith has a Cetra moment and suggests that his entire existence is "wrong".

And the third time is when he holds out his hand to Cloud at the Edge of Creation, and is rejected by him.

Anyway, back to Rebirth. Ignoring the bizarre smiles he showed us as Nibelheim was burning, as if he was in a trance and just not all there(that's a subject for a different chat), post-Nibelheim Sephiroth's smiles are interesting, too, if we consider what kind they are, depending on who he's dealing with.

For people he hates, like Tseng, it's much more unhinged looking, and very cold. You can tell there's a certain measure of satisfaction from shanking him, haha...

For someone like Aerith, who...I wouldn't exactly say that he hates her, but she's definitely in the way. I would almost say that he considers her to be actively preventing Cloud from recovering his true memories, leading him to remain as merely Sephiroth's "puppet", but that's a theory for another day. He looks at her coldly, as well, but it's a bit different. There's a bit more respect there than there was for Tseng.

And then there's Zack. Actual Zack. I feel like, deep down, he still cares about him, and has no intention of killing him. I almost sense a little...regret? Maybe? Hm. It's definitely a bit warmer of a smile. And of course, although he had many opportunities to get rid of Zack, he doesn't. Instead, he sends him off into the space between worlds safely.

And of course, last but certainly not least, is the way he smiles at Cloud. I know, I know. "But Sane, you like sefikura, so you're biased!" Look, I won't deny that. However, when you really look at it and compare his smiles, which is what this is all about, his truest smiles are always saved for Cloud. He has 2 different "flavors": pure affection and cruel affection. (There are also a few pity smiles, I think.) The former is used most of the time, whenever Cloud is in his sight, and the latter is used during moments when he's trying to control/influence him. I would almost say that he's...satisfied, yet regretful at the same time?? Like these:

And now, let's contrast that with his more genuine, affectionate smiles for Cloud... (The first shot here ⬇ can be contrasted with the shot 2 up from the bottom there ⬆, as the one above is when he's calling Cloud his puppet, and the one below is when Cloud goes to attack him and he opens his arms wider for the incoming uh...embrace.)

Remake had many interesting smiles from him, too, but that will have to be a different post, as this already has 30 screenshots. Anywho, you're free to draw your own conclusions, and not everyone reads faces in the same way, so maybe I'm nuts. Who knows? Either way, I hope you enjoyed this random, indulgent, very long post, haha. If you made it to the end, you're awesome. 💕

All screenshots were taken by me on my PS5. I won't ask for credit on them, since literally anyone can take an identical shot if they pause at the right second. (The exception are the 3 Remake shots, which were taken on PC with mods and the freecam. For those, I would appreciate credit if you use them anywhere, since I don't watermark them.)

[mimir-anoshe]

I love that ARCANE is using the MAJOR ARCANA for symbolism.

Chefs kiss.

These are Sevika's tarot cards from season 1.

The Magician (upright) overlapping Death (upright).

Foreshadowing? Oh hell yeah. But its only now after S2 Episode 6 do I understand what they might actually be foreshadowing. People may have talked about this before, so I apologise if this is similar to anyone else's meta. These are all my own thoughts, I usually just watch arcane and don't dabble into the meta but this season has me feral and I just rewatched season 1.

SPOILERS for Arcane S1/S2 below.

I just want to prologue this post with a note about how I've noticed even from season 1 there are thematic parallels and linear symbolism being afforded between Jinx and Viktor. Others in the community have too I'm sure. Its strange. I thought it was interesting in S1 but didn't deep dive into it, but S2 has driven headfirst into it and its making me go "oh... oh ok." Even Viktor in S1 noted Jinx's genius, and in another timeline perhaps Powder would've been a student of Viktors had fate not set them on parallel paths. Two children of Zaun, both mechanical/scientific geniuses. One physically disabled whilst the other mentally disabled. One who "escaped" and was given a chance, rising to the top only to create something that would be used for harm. Fighting that fate at every step. Whilst the other trapped at the bottom of the barrel, forced to use her gifts to become a weapon herself. Such GOOD story writing.

So now let's think about the art of the cards, because in tarot, even the symbolism of the specific art is important. Its why an artists interpretation of a major/minor can be so crucial to a reading.

Here's a figure map I made earlier.

Lets begin with Death.

Thirteenth of the Major Arcana, a "significant transformation and the end of a phase in life." There is death and rebirth symbolism all over arcane, but let's take a closer look at the symbolism mirroring the art.

Figure 7&8 - The one who has "died" a skeleton/skull laid down and being "imbued" with something as something else is taken away.

See that the imbuing focuses on the "chest" area.

It's quick, but it flashes briefly when Viktor is being imbued with the Hexcore. He canonically dies "the skull" and is reborn with the Hexcore on an "altar"/table.

Same with Jinx. Canonically "dies" and is reborn laying on an "altar"/table using shimmer. Purple being used as the visual thread between shimmer and the arcane of the hex; a colour imagery representation of "magical" alchemical/arcane power turning them into something beyond human.

Singed and Jayce. Two hands of death, giving and taking life as if they were a God. One using shimmer, the other Hextech thats imbued with shimmer. Messing with the balance of life and death.

With Viktor, the energy is transferred straight into his chest, just like on the card.

So now we've established the parallels to the death tarot, lets look at The Magician.

The First of the Major Arcana, "the connection between the physical and spiritual worlds, and the ability to manifest one's desires."

Viktor is the Magician. No doubt. He connects the physical and spiritual world of the arcane, he brings people back from the brink of death, as he was. He manifests his desires through the use of the hex, the arcane. And the dude just looks like a mecha wizard.

Though if you want it to be even more obvious.

Figure 3 - The Third Arm/Third Hand.

The image below is "The Machine Herald" Hero from League of Legends. This is the hero Viktor is based upon.

He canonically has three arms, same as the Magician in the card. The Magician is Viktor, Viktor is the Magician. The Magician is the Machine Herald.

The Magician overtakes/overlaps death. But Viktor by episode 6 still doesn't quite resemble the machine herald from the games. There's no third arm... Yet. So the Magician in the card isn't Viktor from episodes 1-6, this is the machine herald who comes after the one killed in episode 6. Another Rebirth is set to happen for Viktor.

Figures 1 &2 - White mask. Red/pinkish eyes.

Hmmm... Red/pinkish eyes are associated with shimmer. And a white mask, of the machine herald? The mask of a messiah. That the hextech Viktor will most likely also be imbued with shimmer like Jinx, to become the true "machine herald." Messiahs of the hex, monsters of the shimmer.

Its also worth noting that both Jinx and Viktor are framed as messianic figures of Zaun in this season. One the fighter who will rally together the undercity and free Zaun from its oppression. The other a healer and a saint like figure who will free the Zaunites of their suffering and lead them into a better future.

Jinx wanting peace - represented by Isha - and Viktor's dream of peace and healing for Zaun - represented by a lot of things including healing Vander - are metaphorically and literally killed in episode 6. Funnily enough, one symbol of peace killing the other (Isha and Vander - Child and Father). After all, peace and violence are two sides of the same coin, as are Viktor and Jinx. Or should I say, two sides of the same cog...

Figure 4&6 - The Cog shaped Hole in the Magicians chest/The Cog Coin and Jinx's cog.

"I understand now. The message hidden within the pattern. The reason for our failures in the commune. The doctor was right. Its inescapable. Humanity. Our very essence. Our emotions... Rage. Compassion. Hate. Two sides of the same coin. Inextricably bound."

In episode 6, whilst Viktor is explaining to Vi about what it will take to heal Vander, Jinx is sceptical. She doesn't even believe in herself as a messiah, so this "hero"? This "saviour" coming along to solve their problems? To fix things? When all she can do is break everything around her, jinx her own family, destroy? She's scoffing at Viktor sure, but she's also scoffing at herself. Mirroring. People treat her like they treat him, so to believe in him as a saviour means she would have to look into the water of that well and face her own reflection. And Viktor sees right through it, the pretence, and he sees her potential.

Knowledge is a paradox. Jinx wants to stick with what she knows, to destroy instead of to build, to "Watch it all burn." Or ignore the plight of Zaun, so she can live peacefully with Isha. Jinx - Powder - is choosing to remain ignorant to what's right in front of her. Right up until the moment Isha dies.

In the scene earlier in the episode, Jinx accidently destroys a bit of the well, releasing a cog that falls into water. Cogs have been symbolic of Viktor healing people throughout this season, using cogs to "Build."

Powder was thrown into water just like that cog by Silco, and reborn as Jinx. But its not Silco that picks up this cog. Its Viktor. He holds the potential of his creation in his hand, and in paradox, holds Jinx's destruction. Viktor holds Jinx's potential. He's literally holding the two sides of Jinx/Powder in his hand, her - their - fate. Just like Jinx, Viktor has the equal capacity to destroy, and if he is reborn as a weapon later on, perhaps that cog represents Jinx being reborn too. As a creator. A builder.

He holds onto Jinx's cog all the way through the rest of the episode, balancing that potential, that fate, of creation and destruction in his hand. Right up until the moment he dies, and the coin/the cog falls, sealing their fate. His death causing the deaths of Isha and Vander too.

So we've established that the story is viewing cogs/coins in a similar light. We've also established the show is linking Viktor and Jinx through the symbology of the cog.

This is reiterated in the symbolism surrounding the Tarot cards. Around the cards are coins that take the shape of cogs, the currency of Zaun. Fate - coin flips - and cogs, gods and machines. Deus Ex Machina, that is what Viktor is to become, and Jinx creates destruction using machines. She's an inventor, just like Viktor and Jayce. A creator and a destroyer. A god of the machine.

So how does Figure 6 - the coin cogs - relate to Figure 4? The hole in the Magician's chest.

On the Tarot Card, the Magician has a circle in the middle of his chest. A hole. Just like the hole Jayce puts through Viktors chest at the end of Episode 6. The one that kills him.

But if you look closely at the image above, it might be a stretch, but to me, the striations on the inner ring look very similar to those of a cog. The hole is what kills Viktor. Cogs have been given visual symbolism for healing, and are also associated with Jinx's potential for creation. Its a stretch, but it could potentially be foreshadowing Jinx using her abilities to heal Viktor; to build instead of destroy. We've already seen Jinx do it once with Sevika, by "building" her a new arm.

I also find it interesting that we're shown Jinx using her talents to build someone a new arm, and Viktor - the machine herald - still has yet to acquire his third arm. Perhaps he doesn't make it. Perhaps Jinx does?

Maybe, just maybe, Jinx - Powder - is the one to fix Viktor, and flip the cog of fate once again.

Now in Episode 6 we already get foreshadowing that it'll be singe - not Jinx - who saves Viktor by imbuing him with the ultimate shimmer from Warwick/Vander - stabilising him. He says it in the episode, but Viktor refuses to sacrifice Vander in the name of creating the ultimate weapon of destruction.

"It would destroy him."

Viktor's potential for destruction goes hand in hand with Jinx's.

Its even foreshadowed in both the cards. The red/pink eyes of the machine herald foreshadowing shimmer. And the shadow being imbued into the chest of the dead skeleton (Viktor) looks an awful lot like Warwick; the beast that traps Vander.

So why am I talking about Jinx saving Viktor if I'm so certain its Singe? Well I'm certain Singe will bring Viktor back to life, to be used as a weapon. That seems like the most likely outcome.

But like Viktor was saying about Vander "He's not a specimen, he's a man." Viktor was doing everything in his power to save Vander's humanity. So yes Singe will bring the machine herald back most likely - even if I think it'd be thematically cool for it to be Jinx - but I think Jinx will save Viktor. Save the man, the humanity. Be the big fat hero.

Jinx was a girl imbued with Shimmer, and despite having monstrous abilities and doing monstrous things, her humanity has still survived.

I could be wrong, I most likely am, but the the thing that's getting to me is this...

Figure 5 - The Broken Infinity.

At the centre of Viktor's chest, in the middle of Jayce's death blow and Jinx's cog of creation & destruction, is a symbol.

Now a diagonal infinity symbol is associated with the Firelights. Ekko. The boy who shattered time.

Broken Infinity? Shattered time? Seems to go hand in hand.

Though Ekko's symbol is a whole infinity, more akin to a Z than an ongoing X.

There are plenty of theories Ekko will play a role in Viktor's fate and the fate of everyone by rewinding time somehow. And the multiple shots of the coin rolling support that to an extend. Rewind time, change fate, change the flip of the cog. And I agree, I think Ekko is going to have a role to play. But there's also another character who fits with this symbol, who uses shimmer to move faster than humanly possible and defy fate time and time again. Who is the fulcrum of fate in the eyes of the story, the catalyst of everything. And only one character who has solely been associated with a broken infinity symbol before.

Jinx. That's Jinx's symbol. Her champion tag.

Jinx's symbol, right at the centre of Viktors chest. And this line to Jinx from Viktor...

"You have much to offer this commune, Powder. Your talents could be used to build instead of destroy."

And the line from Singe, about Viktor's fate being tied to the commune. Viktor IS the commune, he's the centre of it all. The one who can make the dream of Zaun - Vander's dream - a reality. And that line foreshadowed Jinx using her talents to help the commune. To help Viktor.

Hell, she was technically the reason he "died" in the first place. She fired the rocket that nearly killed him. Wouldn't it be poetic story telling if she was the one who saved him in the end?

I can't wait for Saturday.

I believe whatever happens, Viktor and Jinx's fates are inextricably bound.

[bnhaobservation]

Did Enji atone to Touya (and his family) and stepped up on his role as a father?

Boku no Hero Academia has a grave 'flaw'. The fact that's strongly tied to Japanese culture and Buddhism makes it a very interesting work but also makes it a hardly international work because way too many cultural things are left unexplained because they're assumed to be a given. Only they're not when the work is read by foreign readers. And this lead to confusion.

The Todoroki plotline is an example of this.

In the west many feel Enji did nothing for Touya or did too little because the little he did is a given in the west. The point is... it's not a given in Japan. In Japan is a BIG DEAL. So let's go though it.

First, the fact that he doesn't want to kill Touya even though he's a criminal

Todoroki Enji ‘Ore wa ikinobite mo... ENDEAVOR wa shinda. Tairyō satsujinsha (read: musuko) to tatakaenai.’ 轟炎司「俺は生き延びても...エンデヴァーは死んだ。大量殺人者（むすこ）と戦えない。」 Todoroki Enji “Even if I survived... Endeavor is dead. I can't fight against a mass murderer (read: my son).”

Let's compare it to these two scenes of "Death Note" and see how Yagami Soichiro, a policeman, is taking the idea his son might be a killer and how, although Misa protests, the story doesn't present it as him being crazy but as it being his duty.

That's why Hawks doesn't want to send Enji, who's on an atonement path, to face Dabi, because Enji might end up in a situation in which he would have to kill his son and he would refuse... which is more or less what happens.

Second, Enji acknowledges that what Touya said is true, Touya is his son and Enji did what he did. In such a situation many would lie. Dabi's video proves nothing. He is a Villain, they had a doctor in the team who could create Nomu, the paternity test could be fake, even if Dabi were to provide a sample of his blood or skin they could insist that's fake.

Society didn't want the truth, they don't want Enji to confess, they wanted him to reassure them, they even commented he should have lied because yes, that's what's done often.

Basically he put his honor on the chopping block. A public apology like this one is a BIG DEAL in Japan. It's much more serious than in western countries and he does it when he could have spared himself and say Dabi lied but that would have meant to deny his son.

Third, it connects to the first in a way. While Enji is unwilling to kill Touya, he's willing to die with him. It's ‘shinjū’ (心中 Lit. “Mind/heart center/inside” but more likely means “oneness of hearts”, probably reflecting a psychological link between the participants) and it’s a word used in common parlance to refer to any group suicide of two or more individuals bound by love, typically lovers, parents and children, and even whole families. People who commit shinjū believe that they would be united again in heaven, a view supported by feudal teaching in Edo period Japan, which taught that the bond between loved ones would continue into the next world, and by the teaching of Pure Land Buddhism wherein it is believed that through shinjū, one can approach rebirth in the Pure Land. By volunteering to die with him, Enji is basically agreeing to remain with him in their next reincarnation.

For us it's crazy, it's Enji giving up on saving him. In Japan it sounds like 'I love you and I want to be with you'.

Forth, he'll apologize to Touya. As said before it's a BIG DEAL, especially since Enji is the family head and, although for us most of what he did is wrong, in Japan most of what he did is well within what he can do. Marrying a woman you don't love in a combined marriage to expect the child who'll be born from it will fulfill your ambitions and not really bothering to raise it because that's a mother job, well, things are changing in Japan but none of the above is a crime. In a not so distant past it was actually the norm. Yet Enji apologizes even though normally a family head wouldn't.

Fifth it's a bit in the first point and in the second but it'll drag on through all the story, Enji won't reject Touya. He's the only one (except Fuyumi who however doesn't get to say much) who never calls him Dabi after the reveal, and he won't strike him out of the family register but will keep on considering him his son.

Look at the Tobitas instead and at how they kick their son out.

Don't think Hawks is cutting strings with his parents solely because they were abusive, the Tobitas show us how you should just cut strings with a criminal. Same as the Togas.

Have "Theseus no fune" in which a man accused to be a murderer, send a birthday gift to his son and watch the reaction of his wife.

They don't want to keep contact with a criminal. It's scary because they'll be mistreated if they are discovered to be related to him.

And, in this vein, the fact he wants to go see him, that he'll keep on seeing him till the end instead than turning his back on him, is seen as important. It's seen as him being his father.

To many of us it seems as if he's forcing his presence upon Touya. Actually, from a Japanese perspective he's instead not abandoning him like many others would.

And since Touya is dying, very likely the talking will be the talking that's done in a Buddhist culture when someone is dying. Death should occur in a calm and peaceful environment, with close friends and family in attendance. Together they should reflect on the good deeds the dying person has done throughout their life, in the hopes it will help them in their next reincarnation. Additionally, family and friends can perform good deeds on behalf of them, which they believe will be of merit to the deceased.

So, since Touya is dying he won't get a scolding like Chisaki, they'll all only tell him nice and soothing things so he'll die peacefully.

Now... in the west all this is absolutely way too little, and in some points even feels wrong. Dying together instead than insisting in trying to save him? Deciding unilaterally to show up every day? Not our thing...

We can totally say 'thanks, I hate it' because we grew up with Darth Vader who instead gave his life to SAVE his son. All this accepting that Touya instead is going to die so Enji can at best die with him or keep him company until he does... well, it's mostly not our cup of cultural tea.

In in Japan though, all Enji does is important. Enji is doing something for Touya as a father, something important many fathers wouln't do for their sons.

Does it would satisfy a Japanese audience? They'll get the message better than us... but things are changing and anyway it can still feel too little. "Death Note" is dated 2005/2006 and back in it Misa was already questioning the idea of a father killing his son and then killing himself. BNHA is more innovative as Enji doesn't think to kill Touya but he still goes for the 'let's die together' route... and Horikoshi subtly criticizes it by having the rest of the family decising they'll try to stop the fire before just giving up. They're willing to die, but not before trying.

Enji represents plenty of old theories after all, which Horikoshi acknowledges were moved out of wrong beliefs, not moved by mean intents... which, is possible, would still not be enough for Japanese readers either because among teenagers, the target audience, there's an increasing number of teen who, in Japan, are forced to leave home (the Toyoko Kids) and often ends up committing crimes to survive and the league seems to be based on all the kind of homeless people Japan has.

While for a kid at home with a loving family being told that your father will die with him if he messes up instead than just dumping him might be comforting... for a kid that was abused and forced to leave home this might feel not enough.

People want to be saved, being told it's too late to save them, might be a lesson for those who hadn't done anything wrong yet so that they won't do it, but it's surely not a hopeful message for who instead got himself into troubles.

But well, that's something for the Japanese audience to ponder.

There's also to point out that, even though the message is not hopeful, Horikoshi is seeing the homeless people and acknowledging they should be helped.

Japan in regard to the Toyoko kids is mostly like the old woman who pretended not to see Tenko but that, in the end, helps that new boy.

I think Horikoshi's message desperately wants to be hopeful even for them, that he wants BNHA be like Midoriya's final stand, something that will push people to acknowledge they exist and reach out to help them.

It just that... it gets lost in what I'll call the 'litteral translation'.

No one explains us how we should jusge the scenes and, since we lack the cultural background, to us they are perceived differently because to us things work differently.

And, personally, even when I think I figured out the author's intent and can see the positivity of it, the cultural filter is still too tick and the picture gets blurried.

It's like being beginner at speaking a foreign language and having to constantly translate it in your head. The message loses its natural beauty, get simplified and not fully grasped.

I think I understand how Enji's atonement work in regard to Touya... it still doesn't feel fulfilling to me. But enough about Touya.

'Now,' you might rightfully say, 'fine, I'll bite, let's assume what Enji has is an atonement arc for Touya. It doesn't work at all in the west but let's give it a pass. What about his other kids?'

Natsuo and Fuyumi's wishes are in conflict.

Fuyumi wants the five of them to be a family (at the time she doesn't know Touya is alive), Natsuo doesn't want to be part of a family with Enji.

Enji's solution is giving Fuyumi a house in which she can welcome her mother and live with Natsuo (and Shouto when he comes home), while he removes himself from the equation. The solution fulfills Natsuo's wish of not seeing Enji because it makes him feel bad. It only partly fulfil Fuyumi's wish because it'll allow her to have her mother back (Rei couldn't bear meeting Enji either) and to stay with her siblings... but Enji takes responsibility for it, he doesn't tell her it's due to Natsuo that he can't live with them, so, in theory, it won't be Natsuo the one who's stressed to be at home when Enji is there and the one who has to leave home because he can't stand the sight of Enji.

There are many things I can say on how this is not a good solution (it doesn't make Natsuo feel better, it just stops him from feeling worse), but there are two points to consider. The first is that Enji is getting old and it would be his children's duty, due to filial pity, to take care of him, instead he's basically giving them the means to leave and take his wife with them.

Actually, since Natsuo is now the oldest MALE, it should fall on him specifically. Yes, Enji always intended to have Shouto inherit his mantle but this doesn't free Natsuo from his duties. Instead Enji is letting all his children free.

Even with Shouto, he doesn't insist anymore for Shouto to learn Flashfire Fist as his heir but just as an intern.

I take this is big in Japan.

Here again, not so much, especially in the countries in the west that think kids should leave their parents' home as soon as possible and we don't think our children are obliged to inherit our mantles.

Note how the story implies that this was meant to be the end for the Natsuo/Enji arc.

Natsuo made clear he didn't want to meet Enji again, he does it solely because they've to stop Touya and, once they've stopped Touya, he makes clear he doesn't want to see him again.

If we want though, the fact he's leaving the family can be seen as a concession in a way.

Since apparently Rei wants to stay with Enji (and likely their old house was devasted because that's what happens to relative of criminals) Enji can now move with Fuyumi and Rei and Natsuo won't have to see him because he'll leave home... to make his own home.

As for Shouto... Horikoshi answered his request by basically showing him Enji being a father for Touya and then promising he would protect them from the fiery fallout, which Horikoshi doesn't show at all because it's another thing that's a given in Japanese culture, it'll be hell for Enji to protect them, but not for us.

Just to get an idea of the fiery fallout here are some images from "Theseus no fune" again showing you how bad is this sort of thing.

Back to Enji, Horikoshi gives us verbal confirmation that Enji is now being a father by being willing to do this, by having Natsuo, who never called him as such, calling him father for the first time.

For Horikoshi that's Enji being a father.

Again, we've no idea of which hell Enji will suffer because that's not part of our culture. I've posted above screencaps of "Theseus no fune", that's how the fallout should be so not pretty at all.

So the fact that Enji will try to protect them from it is, again, BIG.

So yeah, Enji did do BIG things to atone and keeps on doing them and if he'll ultimately get forgiven by Natsuo (the rest of his family wanted to forgive him way before he were to do something), that's up to Natsuo... Horikoshi likely left this as open ending because he wanted to let it up to readers so as not to make them feel they were forced to forgive Enji.

In the general hopeful theme of the manga and with Natsuo acknowledging him as a cool father I guess his idea is that Natsuo too will eventually forgive him because he's kind.

I don't want to say that Natsuo forgiving Enji would be a culture clash because there's people even here that forgive their horrible parents and that's valid. Forgiving is a personal choice and one has the right to make it even if said horrible parent did nothing to deserve it.

It's up to you.

But sure is, if again we take the story at face value and not in its cultural contest, we can't see what Enji does to atone, because for us is nothing big.

It's even made worse by how Horikoshi doesn't show at all the hell Enji will go through (as for him is a given) so for us IT DOESN'T EXIST. We see Enji as having it easy, talking big but not having to face anything at all.

Honestly though... I think this is a bit of a flaw of the manga as a whole.

Way too often it prefers to focus on the good than on the bad so that the bad gets sidelined to much to the point people forget it.

There were horrible Heroes who committed crimes and had no intention to repent or stop... and we never met them. Nagant killed them off but we never met them.

Mountain Lady, who became a Hero for money and fame, then sticks to the job even when it's bad. Desugoro, who left the job when it turned bad, then came back to help. Enji is on an atonement path and, anyway, on work he was always a good Hero.

In the same way Horikoshi prefers not to show Enji's hardship but focus on how he'll have the support of his sidekicks, driver and Hawks... partly also because it ties in so well with the general message of everyone reaching out.

The result is that the Midoriya plotline of everyone reaching out becomes more important of the Enji atonement arc and overshadows it.

Enji's atonement arc ends in 426, chap 430 doesn't feel the need to tell us if Enji is keeping up with it despite the hardship, nor how his family is doing. It feels the need to reassure us that people will reach out for him even if he's in hell, that even if he had to give up on his family, he now as a new found family.

It's thematically consistent with the theme of reaching out but... the fact it overwrites the atonement arc honestly FOR ME doesn't work so great.

I think it's an overall problem of the 'reaching out message'.

While in itself is beautiful... it saves nothing I was lead to care about.

In Enji's case I was interested in his atonement arc, in how he could help his kids. I wanted more of that, partly because his atonement arc is so far from my culture, partly because it touched characters I cared about, I wanted to be reassured he would keep on working on it and that his family would be well.

Yes, he should be in hell, but the story didn't really work hard on trying to make me worry for him as it established already a support network for him. The story made me worry for the kids, for Touya, who was dying, for Fuyumi, who wanted back her family and won't have it, for Natsuo, who's marrying an unknown character so young, for Shouto, who has to cope with the loss of the brother with whom he wanted to connect.

I don't really care Burnin, Onima, Kido and Hawks are willing to continue to protect Enji, to reach out to help him, I knew they would, I wanted to be reassured Enji's kids are safe, well and protected. I wanted to see ENJI reach out and help them.

In this vein I don't really care the old grandmother saved a nameless abused kid, or, at least, not as much as I cared for Tomura to be saved. It's nice she saved him, it's nice he gets to live the life Tomura was denied but honestly, he's a mob character with a super tragic backstory created deliberately to force us to emotionally connect to him.

The message he now will be saved is good, but my emotional investment to him is too little.

The same applies to Uraraka's Quirk counsueling program, we knew next to nothing about the Quirk consueling previous program beyond that it didn't work (a real problem in Japan as they have a school consueling program that didn't work... and changes are in progress) and that now it supposedly does.

To how Shouji now solves peacefully plenty of conflicts caused by Heteromorph discrimination, which Horikoshi tossed in later and never really showed how to solve (and, don't take me wrong, it's not solved even by Shouji, he just solves peacefully the conflicts, how is up to everyone's speculation).

Long story short, I think Horikoshi worked really hard for BNHA to have an optimist, hopeful message... but part of it goes lost in cultural differences and part of it goes lost in how the story didn't try to get me invested in the things it's now saving.

So yeah, I'm still sad for this little panel in chap 430

I guess I'll eventually get over it. Today though, it's not that day.

On a positive note... if we count the pages of all the chapters that should go in vol 42 they're only 132. The chapters that were meant to go into Vol 39 had 165 (which yes, Horikoshi further expanded once the volume was released).

So yeah, unless Vol 42 will be slimmer than usual or that he'll add to it some sidestory or extra story, it's possible we'll get more plot in terms of epilogue. We'll see.

(also yes, I'm not touching Rei in this post. Rei is another can of worm entirely and one, I fear, Horikoshi doesn't care about. The poor woman doesn't even get a profile while Ikoma Komari does. And really, I do think Rei is much more important than Ikoma Komari)

Last, but not least, since someone seems to get the wrong idea, in case it wasn't clear enough, I'm not Japanese. I research on this. Through books, through the net and yeah, since I like to read manga and anime also through them which I often use as a source of comparison because they're easy, accessible to many and represent the same kind of media BNHA is so they more or less move according to the same or similar rules. I might have messed up somewhere. I encourage you to also research on the topic and take everything with a grain or two of salt.