#the yin and yang symbolism??? two halves of a whole?????

[snail-noodle]

Just kiss already 🙄

[justrustandstardust]

i saw an incredible post on tiktok and i wanted to expand on it, because it's genuinely amazing. all the credit to @noesbf on tt for the idea that inspired these thoughts.

geto's character is threaded through with motifs of consumption. he takes things in, whether they be curses or daughters, and is spurred by intense empathy that ends up going in the "wrong" direction once he takes the entire jujutsu world under his wing.

when we're introduced to him in hidden inventory, our first glimpse is of him consuming a curse. he's also alone, in a dark alleyway, a symbolic image that parallels his journey throughout the story. he's a consumptive force, a facet of his being that ultimately leads to his undoing because he consumes the responsibility of "saving" the strong, who are burdened by the weak.

gojo, on the other hand, repels. he's an outward force, extending out a physical barrier that creates distance between his body and the world. where geto invites, gojo rejects. their abilities are constructed as diametrically opposed to one another's.

through the motif of gojo's abilities, this image captures their consume/repel dynamic in a singular shot. after riko's death, gojo leans into red, which repels. he focuses on growing stronger and in doing so, isolates himself from the world (and subsequently, geto). on the other hand, geto leans into blue, which aligns with the consumptive nature of his character. he harbours riko's death inside of himself and it festers, like a curse.

black holes are all-consuming vacuums. they subsume everything around them and create an inescapable vortex— once you're pulled in, you're never getting out. it will literally eat you and in doing so, makes you an everlasting part of it.

white holes, on the other hand, function in opposition to black ones along the same axis. where black holes pull, white holes push. nothing can enter them; they're doomed to a lonely eternity because of the force that holds the universe at a distance. nothing outside of it can affect what goes on within, yet it affects everything around it.

however, white holes can be subsumed by black holes. while nothing can enter them, if a white hole were to cross paths with a black hole, its consumptive force is so powerful that it would eat them too.

after geto and gojo experience a rapture in their relationship, gojo withdraws from the world, holding everyone at a literal and figurative distance. yet, even while he's alone, he's endlessly drawn towards geto. his eyes are bound but his soul isn't— it's tied to the piece of him inside of someone else, and gojo visibly feels the pull.

white/black holes also correspond to the colours associated with gojo and geto's characters (they align with their yin/yang dynamic, where yin (black) symbolizes darkness & the moon and yang (white) symbolizes light & the sun).

yin/yang are more than two halves; they form an indivisible whole. they become one another: light turns to dark, the moon replaces the sun in the sky, life transitions into death only to be born as life again.

if two celestial bodies exert oppositional forces upon each other, they function in equilibrium. geto's consumption was growing alongside gojo's repelling, reaching an event horizon when he took the lives of 112 villagers and forcing the two of them out of equilibrium. he continued to consume (curses, money, vulnerable people through his cult) until he died and took gojo's soul with him.

consumption can only exist if there's a repellant force pushing back. geto and gojo are not opposites, instead, they each contain the other— every yin has yang within it and vice versa.

they are borne of each other, they are unknowable without the other. they are more than matching; together, they are complete.

[huiyi07]

hey so do you guys ever think about how often Diluc is referred to as the ‘uncrowned king of Mondstadt’ since he’s like the only male heir to the noble families and like it or not, where Jean is the authority of the nation, he’s pretty much the symbolic face of Mondstadt and the values the nation projects— and despite his temperament, Diluc has learned to embrace it wholeheartedly. He’s charismatic, extremely righteous, and he blazes bright and gives the people of Mondstadt a fire that guides them in the dark, quite literally. Like he’s literally Bruce Wayne lmao

But he doesn’t want this, no, and here’s the proof- maybe he did, once upon a time, before everything happened— but he doesn’t really care about wine, he only cares about the winery because of the people in it and his father. He’s righteous but doesn’t give a damn about the rules and the knights of favonius. After what happened to him, he’s clearly a rebel at heart now, not some charming superhero who does everything expected of him, unlike before. In summary, Diluc was someone who was quite literally ready to become an (uncrowned) prince, pretty much royalty in every way except title- and on surface level, he still is, but he throws that mantle away in secret whenever he can.

And then look at Kaeya, his brother who’s always lived in his shadow. It’s easy to see that now, people don’t really project Mondstadt’s values onto Kaeya the same way they do onto Diluc, since lots of people hardly even remember that they’re brothers. And yeah people still think kaeya is reliable and nice, but also because of how Kaeya built his image after Diluc left— an excessively over the top personality that pretends to be sadistic, mean, and at the same time dripping with false charm. So despite that people still find him approachable and nice as expected of a knight, hardly anyone would call him befitting of a prince.

But Kaeya is actually so painfully and authentically ‘princely’ and kind, deep down— the way he deals with children, his fierce loyalty and willingness to protect people at all costs, his self sacrificial tendencies that most often appear for Diluc’s sake. Even the tidbits of lore we get about him scream aristocracy- his ‘ceremonial’ bladework, Alberich family secrets that reveal just how central they are to the kingdom of khaenriah. This is kinda obvious to any player who’s bothered to learn anything about kaeya, but to the characters in game, there are very few that know that side of him.

And whereas Diluc is forcibly projected the title of royalty and secretly rejects it, Kaeya was actually born into it- his family is very important to Khaenriah, and much like how he does with anything related to his past and heritage, he loudly and outwardly rejects anything to do with ‘royalty’. Diluc outwardly rejects what Kaeya shows (a darker, more ‘means justify the end’ nature), and Kaeya tries to hide what Diluc projects (a sophisticated and aristocratic upbringing).

Honestly? It’s as if they were swapped at birth. Kaeya’s real hidden nature, even after everything that happened to him, remains to be so unwavering and people-oriented, while Diluc’s true personality changed drastically over time. Not that Diluc isn’t unwavering or whatever, but Diluc mostly actively rejects relationships and prefers to do everything alone, obsessed with the idea that he doesn’t want anyone to get hurt, whereas Kaeya always, always yearns for companionship and for people to be by his side- solidarity.

Diluc is the poster image of royalty, but his brother who hides in the shadows is a real king. They complete each other, balance each other out, represent the parts that the other hides. I don’t know if hoyoverse always meant them to be that way, but damn they basically represent each other’s parts of themselves that they lost. Yin and Yang, two halves of the same whole.

[literaryvein-reblogs]

Writing Notes: Symbols

To describe a physical symbol, it might be easier if we first focus on its individual elements, then perhaps integrating all of these elements to create a more coherent whole. Below is an overview of elements or basic shapes that we typically find in symbols.

The Basic Shapes of Symbols

There are elemental structures that occur repeatedly, not only as component parts of more elaborate symbols, but also with rich meanings of their own.

It’s probably true to say that the simpler the symbol, the more scope there is for interpretation; ergo, the more meaningful it is and, paradoxically, the more complex it becomes.

These primary shapes transcend barriers of time, geography, and cultural context, part of a universal language that goes before, and beyond, words.

SPACE

The elements of a symbol are defined only by the space that is a part of its construction.

Like the wind, the effect of space is gauged by its effect on the things within it or surrounding it.

The concept of space, the void, is a profound part of our experience.

To reach a state of “emptiness” is, for many, the ultimate spiritual experience and a way of connecting to the Absolute.

To be aware of the possibility of space within a flat, two-dimensional representation is to give that shape substance and a new kind of reality that lifts it off the page and makes it real.

The realization that “nothing” can be “something” marked a profound leap forward in man’s development.

All creation myths begin with a Void, symbolic of potential.

Although attempts to explain the concept of space are inevitably faulty, it might help to think of a blank page.

Before a mark is made upon the paper, the potential for what might appear there is so vast as to be unimaginable, a consideration which causes consternation for some artists and writers.

Without this space, there is no arena for anything else to exist.

This absence of any thing means that no thing is the most important symbol in the World.

DOT

A dot might seem to be an unassuming little thing, the first mark on the pristine sheet of paper.

In this case, the dot is a beginning.

But see what just happened there? The dot, an essential component in the structure of the sentence, closed it, making it a symbol of ending.

Therefore, the dot is both an origination and a conclusion, encompassing all the possibilities of the Universe within it, a seed full of potential and a symbol of the Supreme Being.

The dot is the point of creation, for example the place where the arms of the cross intersect.

The dot is also called the bindhu, which means “drop.”

The bindhu is a symbol of the Absolute, marked on the forehead at the position of the third eye in the place believed to be the seat of the soul.

The presence of dots within a symbol can signify the presence of something else.

A dot in the center of the Star of David marks the quintessence, or Fifth Element.

It also acts as reminder of the concept of space.

The decorated dots that surround the doorways of Eastern temples are not merely ornamental devices but have significance relevant to the worshippers.

Dots frequently appear in this way, acting as a sort of shorthand for the tenets of a faith. Examples:

In the Jain symbol, the dots stand for the Three Jewels of Jainism.

The dots in each half of the yin-yang symbol unify the two halves: one dot is “yin,” the other “yang.” Together they demonstrate the interdependence of opposing forces.

CIRCLE

Effectively an expansion of the dot, the circle represents the spirit and the cosmos.

Further, the circle itself is constructed from “some thing” (the unbroken line) and “no thing” (the space inside and outside this line).

Therefore, the circle unifies spirit and matter.

The structure itself has great strength—think of the cylindrical shape of a lighthouse, built that way in order to withstand the fiercest attack by a stormy sea.

The physical and spiritual strength of this symbol are there because the perfect circle has no beginning and no end; it is unassailable.

This power is the reason why the circle is used in magical practices such as spell-casting.

The magic circle creates a fortress of psychic protection, a physical and spiritual safe haven where unwanted or uninvited entities cannot enter.

Hermes Trismegistus said of the circle: "God is a circle whose center is everywhere and circumference is nowhere."

Where would ancient man have seen the most important circles? Obviously, in the Sun and the Moon.

As the Sun, the circle is masculine, but when it is the Moon, it is feminine.

Because the passage of time is marked by the journey of the Sun, Moon and stars in orbit around our Earth, the circle is a symbol of the passage of time.

In this form, it commonly appears as the wheel.

Because the circle has no divisions and no sides, it is also a symbol of equality.

Example:

King Arthur’s Round Table was the perfect piece of furniture for the fellowship of Knights who were each as important as each other.

ARC

Perhaps the most prominent arc of the natural world appears in the elusive form of the rainbow, which primitive man saw as a bridge between the Heavens and the Earth.

As a part of a circle, the arc symbolizes potential spirit.

The position of the arc is important:

Upright, shaped like a cup or chalice, it implies the feminine principle, something that can contain the spirit.

If the arc is inverted, then the opposite is true and it becomes a triumphal, victorious, masculine symbol.

As such, the arc can take the form of an archway.

The vaulted or arched shape of many holy buildings, from a great variety of different faiths, represents the vault of the Heavens.

The arc shape often appears in planetary symbols.

VERTICAL LINE

Man stands upright, so the vertical line may represent the physical symbol of the number One, man striving toward spirit.

This simple line is the basic shape of the World Tree or Axis Mundi that connects the Heavens, the Earth and the lower regions.

It is not only a basic phallic symbol but also signifies the soul that strives for union with the Divine.

The upright line tells us where we are at a precise moment; think of the big hand of the clock, vertically oriented at 12 o’clock.

HORIZONTAL LINE

Represents: matter, and

the forward and backward movement of time.

This line also signifies

the skyline or horizon and man’s place on the Earth.

CROSS

Here, the vertical and horizontal lines come together to create a new symbol—the cross.

There are countless different types of cross. Despite any embellishments or devices, however, the basic meaning of the cross stays the same.

The earliest example of the cross comes from Crete and dates back to the fifteenth century BC although the sign is much older than this, ancient beyond proper reckoning.

It is an incredibly versatile and useful sign with many interpretations.

As the convergence of the vertical and horizontal lines, it symbolizes the union of the material and the spiritual (think of the sign of the cross given by Catholic priests).

As a geometric tool, it has no equal; if you put the cross inside the circle, then you are able to divide the circle equally.

Similarly, the cross is said to “give birth to” the square.

Because of its four cardinal points, the cross represents the elements and the directions.

Examples:

In the West the cross equates with the number 4,

but in China, it is associated with the number 5 since the “dot” in the middle of the cross, where the two arms intersect, is also included.

The cross is sometimes disguised as another symbol, such as a fourpetaled flower.

All over the world, the cross is a symbol of protection.

SQUARE

Said to be the first shape invented by Man, the square represents the created Universe as opposed to the spiritual dimensions depicted by the circle.

The square represents the Earth and the four elements.

Plato described the square, like the circle, as being “absolutely beautiful in itself.”

Like the cross, the square is associated with the number 4.

A square has four corners; to speak of the “four corners of the Earth” is something of an anomaly since the Earth is round, without corners.

All the symbolism of the number 4 is encompassed within the square, and it is interesting to note that, just as the square represents the created Universe, in the Hebrew faith the Holy Name of the Creator is comprised of four letters.

The square gives man a safe, static reference point, and a stable, unmoving shape as opposed to the continual motion of the circle.

Temples and holy buildings are often built in the form of a square, solidly designed to align with the four points of the compass.

Examples: The Ka’aba at Mecca; the base of the Buddhist Stupa; altars.

Square shapes define limits and create boundaries.

To speak of someone as being “square” means that they are fixed and unchangeable.

LOZENGE

A diamond shape often with rounded (rather than pointed) ends, the lozenge is often overlooked, but is actually a representation of the female genitalia.

As such, its most popular appearance is probably as the vesica piscis, the sacred doorway through which spirit enters the world of matter.

In heraldry, for example, the lozenge is used in place of the masculine shield, to denote a coat of arms belonging to a woman or a noncombative male, such as a member of the clergy.

TRIANGLE

The triangle shares all the symbolic significance of the number 3, as a shape, and therefore represents the many things that come in groups of three, from the Holy Trinity to the triple aspect of the Goddess.

Triangles appear in lots of different signs and symbols.

In ancient times, the triangle was considered synonymous with light, and the meanings of the triangle vary according to which way up it is:

When it sits firmly on its base, then it is a masculine, virile symbol, representing fire.

The other way up it becomes the water element, a chalice shape, emblematic of the feminine powers.

Balanced on its point in this way the triangle also represents the yoni, further underpinning the Goddess aspect.

The equilateral triangle is a harmonious form, used to indicate the Higher Powers, providing a framework, for example, for the All Seeing Eye of God.

As a symbol of strength, the triangle reinforces the corners of the square, both physically and meta-physically.

The solid shape of the triangle also makes its appearance in yogic positions, for example in the Trikona Asana or Triangle Posture.

DIAGONAL

The square can be divided into two diagonal triangles.

Because the length of these shapes has no simple relationship to its sides, the Greeks concluded that the diagonal must be a symbol of the irrational.

Therefore, the diagonal, or oblique, has come to be associated with the incomprehensible, occult world.

ZIG-ZAG

However it is interpreted, the jagged shape of the zig-zag carries with it the idea of heat, energy, vitality, and movement, the archetypal sign for lightning or electricity.

The double zig-zag that makes the astrological glyph for Aquarius could be water or it could be the life-force itself.

The serpent that spirals up the Caduceus is a softened zig-zag shape.

There is an inherent danger in the zig-zag, and the deities that carry it in their hands do so as a sign of their own authority and power.

Source ⚜ Writing Notes: Symbolism ⚜ Writing Notes & References

Hope this helps. Do share with me your writing if it does. I'd love to read your work!

[talonabraxas]

Yin-Yang Mantra Mandala

The yin-yang symbol (also known as the Tai Chi symbol) consists of a circle divided into two halves by a curved line. One half of the circle is black, typically representing the yin side; the other is white, for the yang side. A dot of each color is situated near the center of the other’s half. The two halves are thus intertwining across a spiral-like curve that splits the whole into semicircles, and the small dots represent the idea that both sides carry the seed of the other.

The white dot in the black area and the black dot in the white area connote coexistence and unity of opposites to form a whole. The curvy line signifies that there are no absolute separations between the two opposites. The yin-yang symbol, then, embodies both sides: duality, paradox, unity in diversity, change, and harmony. The Tai chi symbol represents the interaction of two complete opposites: Light and Darkness, White and Black, Male and Female, etc… the list could go forever.

“om mani padme hum” the six syllables, om mani pad me hum, mean that in dependence on the practice of a path which is an indivisible union of method and wisdom, you can transform your impure body, speech, and mind into the pure exalted body, speech, and mind of a Buddha.

[maybe-im-dark]

Okay, so let’s talk about something that’s been on my mind since forever: how Victor Creed (Sabretooth) and Logan (Wolverine) are dressed throughout X-Men Origins: Wolverine and how it symbolizes so much more than just “good vs. evil.” Strap in, fam, because we're about to go DEEP. 💥

1. The Color Contrast: Black vs. White 🖤🤍

Have you noticed that Victor ALWAYS wears black in the movie, while Logan almost always rocks white or lighter colors? I mean, it’s not exactly subtle, but it’s not JUST about the whole “black = evil, white = good” trope. It’s so much more nuanced than that. Let’s break it down:

Victor in Black: Black is often associated with darkness, mystery, and destruction. It makes total sense for Victor because he represents Logan's feral, animalistic, and destructive side—the side that doesn’t hold back, that doesn’t care about morality or right and wrong. Victor embraces that darkness. He doesn’t hide from it, he OWNS it. He’s comfortable in it, and he doesn’t pretend to be anything other than what he is: ruthless, violent, and dangerous. But it’s also important to note that black is a color that absorbs everything, just like Victor absorbs all that negativity, that rage, and that darkness that Logan tries to suppress. 🖤

Logan in White: Now, Logan in white is interesting because, yeah, white represents purity, goodness, and heroism. But Logan? We KNOW he’s not some squeaky-clean hero. He’s been through war, trauma, and all the shades of gray in between. So, why white? It’s because he’s TRYING to be better. He’s striving to be more than just an animal, more than the weapon others see him as. He wears white as a form of defiance against his darker nature. It’s not about being good—it’s about aspiring to be good, to be more than just his instincts. It’s him holding onto that tiny flicker of humanity in the midst of all the blood and violence. 🤍

2. Victor as Logan’s Dark Reflection 🪞

Here’s where it gets even juicier. Victor isn’t just a villain. He’s not just Logan’s enemy. He’s literally the embodiment of everything dark that Logan could be if he stopped caring. Victor is the feral rage, the unrestrained violence, and the part of Logan that LOVES the fight. And that’s why Victor haunts Logan so much—because he represents what Logan is terrified of becoming. 🐺

When you see them fighting, it’s not just hero vs. villain. It’s Logan fighting himself. It’s him battling against that part of his soul that wants to give in to the rage, the bloodlust, and the sense of power that comes with being untamed and unrestrained. Victor is basically holding up a mirror and saying, “This is who you are, and you can’t run from it.” And that’s why it’s so important that they wear opposite colors because they’re two halves of the same whole. They are literally the darkness and light within Logan at war. 🌑🌕

3. The Yin and Yang Connection ☯️

I mean, let’s be real here—Victor and Logan are the literal embodiment of Yin and Yang. They balance each other out. You can’t have one without the other. And here’s the kicker: Logan NEEDS Victor. He needs that darkness to remind himself of what he’s fighting against, of why he’s trying to be good, why he’s trying to hold on to his humanity. Victor, on the other hand, needs Logan to have that contrast, to have a reason to keep pushing, to keep proving that embracing the darkness is the only way to survive.

4. The White Turning to Red 🔴

And here’s the most heartbreaking part: Logan’s white clothes are always getting covered in blood. It’s like the movie is screaming at us that no matter how hard he tries to be good, to be “pure,” the violence and bloodshed always find him. And isn’t that the ultimate struggle? You can fight your darkness all you want, but it’s always there, lurking just beneath the surface, waiting for you to slip up.

Victor doesn’t have that struggle. He’s at peace with his darkness, which, in a twisted way, gives him power over Logan. And that’s why Victor ALWAYS looks so calm, so confident, because he’s not fighting himself. He’s already made peace with who he is.

---

TL;DR: The black and white clothing in X-Men Origins: Wolverine isn’t just a lazy good vs. evil thing. It’s a visual representation of Logan’s internal struggle between light and darkness. Victor isn’t just Logan’s enemy; he’s the living embodiment of Logan’s darkest impulses, the side of him that craves violence and power. And Logan’s journey is about trying to find balance between that feral side and the part of him that still wants to be a good man.

So yeah, next time you watch the movie, pay attention to the colors, the symbolism, and what it really means about who Logan is, what he’s fighting against, and why Victor will always be a part of him. 🖤🤍

[tongues-and-teeth-and-reblogs]

Silly sketches I did like a week ago.

Idk but the way they’re framing Dark Cacao rn with the whole “a bunch of people broke in tried to my steal my (fake) treasure and called me a fake immortal” backstory for Mystic Flour combined with the whole yin/yang symbolism in that one frame from the trailer and the fact that she still seems to want what’s best for cookiekind added onto the fact that Dark Choco (a character about second chances and forgiveness) is showing up in BY book 4…. Idk makes me think that maybe she’s getting redeemed or something.

Not a serious theory or anything, I’m totally wrong but it’s fun to think about. The beast updates actually being about the 5 heroes Friendship is Magic-ing their way into helping the beasts like come to terms with their situation and learn to coexist with the two halves of their soul jam.

Maybe that could be what the “Awakened” states are- becoming the whole soul jam light thingy. Or maybe just accepting their place as a half. Like I said, not a serious prediction it’s just fun to think about.

[sthaboutlove]

I've never understood the whole Naruto - yang=active, Sasuke - yin=passive thing. Because if you think about it Naruto was never more active in their relationship than Sasuke was. Sure, he chased Sasuke because he was trying to save him, but if the positions were reversed, Sasuke would have been trying to save Naruto just as hard.

Their friendship started because of Sasuke and his actions, Sasuke was the first one to call Naruto his closest friend and even the vote2 confession happened because Sasuke kept demanding answers from Naruto. And he was also the initiator of almost all of their fights. I don't see how Naruto is more active in their relationship other than the "I'll save Sasuke" thing.

In addition, the yin yang symbolism was used by kishimoto multiple times before sns:

Kishimoto used it with Hinata and neji, and, as you can see, Hinata is yang.

With danzo and hiruzen

With two halves of kurama

In all of these cases yin-yang is used to emphasize the darkness-light symbolism. So why should it mean anything else with Sasuke and Naruto? Not all traits associated with yin and yang apply to sns. If you look at their normal interactions Sasuke isn't as passive as some of you describe him.

[dreamingsnowflake2013]

I find it interesting that, before he fell to evil, Li Lun's energy used to be originally blue, just like Zhuo Yi Chen's is. They keep deliberately showing the colours of their energies, it doesn't seem like a coincidence. It almost feels like ZYC could become to ZYZ what LL failed to be. It's the YIN (blue, negative, female) and YANG (red, positive, male) symbolism!!! They are two halves of the same whole that complete each other. The show is literally telling the audience to ship them.

Even ZYC's eyes shine eerily blue, just like his sword, while Zhao Yuan Zhou's are red. Interestingly, while ZYZ only shows them when he lets out his inner demon, ZYC can't hide them, it's permanent. It seems to be a Bingyi family trait, though, I'm not yet certain whether all members possess it.

Rang Yi mentions that the sword is much more powerful when ZYC wields it than when his brother did, so there must be something really special about him

[completeoveranalysis]

[1]

And here we are at xxxHolic Chapter 91!

As usual it’s completely gorgeous. I particularly enjoy the sakura blossoms in the cage that Himawari is holding as her and Watanuki both smile politely at the camera. Because that’s fascinating. 

Like, is that a stand in for memories of Yuuko, since those blossoms were falling when she disappeared? Are Himawari and Watanuki carefully guarding their memories of her existence as they wait for her return? 

Are they indicative of the fate of the Sakuras, who seem to constantly be trapped into circumstances beyond their control? Perhaps it’s a sign of the NEW Sakura who replaced Yuuko - the new person now residing in the cage that Yuuko once lived in? Trapped in a gap in reality and not able to exist in the same way as before?

Or is it a symbol of Watanuki? He’s the offspring of a Sakura - and the branch in the cage is an offshoot of a sakura tree - but cut off, and kept separate from the tree. He too is trapped in an inbetween place, not really able to leave the adjacent-to-reality places he exists in, but like the flowers on the tree branch he is thriving now all the same. 

And if you really want to dive a bit deeper than necessary you could say that the little loop on the top of the cage perfectly aligns with the overlapping fabric behind it, in a way that might be a slight callback to the yin-yang that is the shape of Watanuki's/Syaoran's soul? And having that adorn the cage that keeps sakura trapped within is a very fun idea to play with.

Shall we go DEEPER?

The darker fabric of Himawari's kimono has a pattern of repeated circles, and then one in he middle splits into two.

And the idea of "one becoming two" is at the heart of xxxHolic as a whole, both with Watanuki himself and also the Egg. And here, where the circle seems to split and the two separate halves go in different directions matches what happened with Lava Lamp and Watanuki.

At a stretch you could also apply that idea to the tassle that hangs off the bottom of the cage. Which has it's own meaning, but visually here it ALSO begins with a circle at the top before splitting into two identical but separate tassels below. Which is fun! Possibly reading too much into it? Absolutely! But I'm keeping it.

Either way, it’s interesting that none of the flower patterns here overlap with any real flowers, which has been the theme for quite a lot of the other chapter covers lately. The visible space of real and unreal overlapping is no longer present. I guess we’ll just have to wait and see if it comes back.

[celestialastronmy]

Max and Chloe are two halves of a whole, completing and complementing each other like yin and yang, their personalities acting as both a mirror and a counterbalance. In their relationship, we see their differences and similarities, creating a fascinating dynamic, contributing significantly to the depth of their bond.

Max, the quieter of the two, is thoughtful, cautious, and introverted. She has a contemplative nature, preferring to observe and analyze situations before acting. Max is a keen observer, capturing the world in photographs - a symbolism of her tendency to view life from the sidelines. Her introversion leads her to internalize her feelings, often creating a wall between her and the rest of the world.

In contrast, Chloe is loud, impulsive, and extroverted. She is a whirlwind of emotions, expressing her feelings without filter, a trait that sometimes leads her into trouble. She is the action to Max's contemplation, the spoken word to Max's silent thought. Her rebellious streak and her constant need for adventure often push Max out of her shell, forcing her to live in the moment rather than observing it from a distance.

Though these differences are stark, they are also the fulcrum of their relationship. Chloe's impulsivity often drags Max into situations she would never voluntarily walk into, forcing Max to face her fears, grow, and evolve. Max, on the other hand, acts as Chloe's anchor, grounding her when her emotions threaten to spiral out of control. She is the voice of reason in Chloe's chaotic world, providing stability and a reminder of consequences.

While their differences balance them, their similarities draw them closer. Both Max and Chloe are dealing with their share of grief and loss - Max with her guilt over abandoning Chloe and Chloe with the grief of losing her father and Max's sudden departure. This shared pain becomes a silent bond between them, a thread that ties them together. They understand each other's sorrow, providing a safe space for each other to grieve and heal.

Furthermore, their shared history and mutual understanding allow them to accept each other's flaws. Max doesn't judge Chloe's rebellious streak, knowing it's a result of the pain she's been through. Similarly, Chloe understands Max's introversion and fear of confrontation, always pushing her to break boundaries but also being there to catch her when she falls.

In essence, Max and Chloe's relationship is a beautiful interplay of contrasts and similarities. Their differences act as a balance, keeping each other from going too far off their respective edges. Their similarities, on the other hand, act as a magnet, drawing them closer and creating a profound understanding.

This dynamic contributes significantly to the depth of their relationship. It is in their differences that they find growth, in their similarities that they find comfort, and in their acceptance of each other that they find love. Max and Chloe's relationship is a testament to the power of understanding, acceptance, and balance.

[tsams-and-co-memes]

(Going off of what you said in this post: https://www.tumblr.com/tsams-and-co-memes/755831074110767104/so-what-are-your-thoughts-on-the-monty-gator-and?source=share)

———

You know how pieces is symbolized by two fish?

Well, what if Frank is one fish, and Francis is the other one?

What if it’s like gemini?

Castor and Pollux fuse to make gemini, so what if Frank and Francis fuse to make Pieces? Like a yin yang kinda thing. Positive and negative becoming one to create a balance. Frank deals with negative things, Francis deals with positive things, and Pieces deals with both.

This could be supported by how both of them are. They both work with fantasy and reality in a sense. Though we don’t know too much about Francis yet.

Frank works with fantasy, aka the mind, from his use of causing nightmares to give warnings. But he also works with reality by wanting his friends to conquer their fears and do better in the world around them.

Francis works with fantasy, aka the mind, due to him trying to encourage positive thinking and being happy. Also trying to get Puppet and Eclipse to imagine the daycare in a team building exercise. We don’t have much for how he works with reality, except maybe encouraging others to smile.

With all of this in mind, imagine if they get introduced to each other, and have to act like they don’t know each other, like they’re not two halves of a whole, since them somehow knowing each other might not make sense to the others.

I was thinking about that too, actually

Just. Pisces and Gemini are the only two signs that have two parts. With Gemini, is a set of twins (Castor and Pollux), and with Pisces, it's two fish that are swimming in opposite directions. In a sense, those fish are opposites to each other, just like Frank and Francis are

While it'd be really cool if they were a pair and meant to work together (I seriously love the idea of them being the stereotypical mischievous twins we see in media sometimes. If you've seen OHSHC, you know what kind of mischievous twins I'm thinking of), I also. Can't help but think Undertale AU stuff. Namely Dreamtale, because that has Dream and Nightmare, with Dream being the guardian of positivity and Nightmare being his twin who works with negativity

Above everything, I'm hoping Frank and Francis don't have a Dream and Nightmare kinda relationship (constantly fighting, with the negative twin always hunting down and trying to kill the positive one). They're just two Silly Weird Guys, and they should at least be able to bond a little over that

It'll be interesting if we get to see Francis more in the future, since we might get to see more of his abilities and things and draw some more comparisons between him and Frank. Beyond that, it'd be really cool to see if they could merge or not. If they can, maybe it's only their merged form that looks more like an astral body and less like something that belongs on earth

[uptoolateart]

Plagg to Tikki: ‘We’ll see each other again. You know that you and I are one.’

I loved this line so much, for so many reasons - too many, really, to sum up in a simple Tumblr post, but I’m gonna try!

Let’s start with the ‘you know that you and I are one’ part. This is clearly a yin-yang thing. Creation and destruction are not separate; they are parts of a whole and cannot exist without each other. They define each other.

The two halves of the yin-yang symbol are often defined as masculine and feminine aspects or energies. Keep in mind this is not the same as male and female bodies; it is something much deeper and more subtle, particularly as both energies are said to be contained and expressed within each and every one of us. ‘Male’ and ‘female’ are merely words commonly used to express such concepts as the active and passive, day and night, the conscious and unconscious, and so forth.

Each half of the yin-yang contains a dot of the 'opposite' colour, to signify that the masculine contains aspects of the feminine, and vice versa. They are not opposites; they complement, contain and need each other to form a whole. The goal in life, according to so many eastern belief systems, not to mention western magical systems including alchemy, is to tap into the yin and yang within the self and achieve a perfect harmonious balance between the two sides. If you’re following my Miraculous tart card paintings, you’ll notice this is a feature of just about every card meaning.

Plagg and Tikki represent these ideas. One cannot exist without the other. How can you create if there is no prior destruction? And what is there to destroy without creation? Therefore, Plagg has this faith that he and Tikki will be reunited because he understands the nature of the universe.

As the embodiment of the power of destruction, Plagg is usually seen as a selfish, apathetic, giant stomach. This makes sense to me, because destruction is a kind of devouring process.

However, in this scene in ‘Deflagration’, he had one of his rare moments of sensitivity, highlighting that yin-yang concept once again. Remember in ‘Dearest Family’ when he said there’s a reason there’s also a kwami of destruction, after Tikki caused so much damage with unchecked creation? Creation is not good and destruction is not bad. It’s all about balance and context.

What was really interesting was that when Monarch got both miraculous in ‘Deflagration’, Plagg was the one with the instant plan. He knew the solution was self-sacrifice - again, you would go there, if you were destruction. And he’s not technically alive, so he can’t truly be annihilated. As long as there is creation, there is destruction. When he cataclysmed the ring, he must have simply returned to his energetic non-personified state.

However, his unhesitating self-sacrifice paralleled all the times Adrien has sacrificed himself. Usually, this has been as Cat Noir, although in ‘Gorizilla’ he made a major leap of faith as Adrien. Plagg’s words to Tikki could have been spoken as Adrien / Cat Noir, expressing that unwavering conviction that  Ladybug will bring him back. Tikki’s worries could have been Ladybug’s.

We are often told Plagg is rubbing off on Adrien, e.g. in ‘Rocketear’. So, it’s tempting to say this is why Cat has these suicidal moments. But as already noted, he made that jump in ‘Gorizilla’ as Adrien. He was clearly chosen for his particular miraculous because he already embodies these qualities in some way. In this world or another, he will gladly go down firmly believing that he and Ladybug will be reunited in some way.

In other words...when Plagg immediately leapt to the self-sacrifice solution...was this an instance of Adrien rubbing off on him, rather than the other way round?

Also - it implies that Adrien and Marinette, or at least their souls or however you want to view this, are truly destined to be together, because they are two halves of a whole, just as their powers are. The red string of fate binds them together.

Not gonna lie - there is so much more I want to say about this, but it all feels like it’s there on the tip of my mind and I’m struggling to find the words for it because it’s so subtle. But there’s my stab in the dark at trying to pin down what I have been thinking of that scene ever since it first aired. It was a beautiful moment amid the chaos.

[honey-doc]

I noticed there’s a lot of discussion about Christianity in Trigun, but I don’t really see anyone talking about Taoism (I don’t know if I just haven’t seen it but I’m gonna say something anyways lol)

I noticed that in the final fight between Vash and Knives in the og anime, their energy blasts made a yin yang symbol twice so I had to go look up the beliefs of Taoism to be sure if it was on purpose

Taoism philosophy is based on three pillars: simplicity, patience, and compassion. I’d say these traits suit Vash extremely well. And even Knives if you switch the compassion part to plants instead of humans.

Along with these pillars, the teachings of Taoism are: Going with the flow, Letting go, and Harmony. Throughout the series Vash’s very being reflects these teachings.

-He usually tries not to stay in one place for too long and is really good at accepting whatever situation he finds himself in as long as no one is killed

-His whole thing is wanting humans to live in harmony with each other (LOVE & PEACE ✌️)

-And he even manages to let go of Rem at the end of the series to a certain degree so that he can deal with Knives in their final confrontation

Then there’s the yin yang symbol.

I’m just going to paste what I got from a site I researched from:

-The yin yang is a symbolic representation of the world's polarities, dualisms, and fundamental dichotomies: light and dark, male and female, life and death. Although the light and dark sides of the yin yang represent duality, the two halves are not entirely opposed.

-Taoism recognizes that distinction and dichotomy exist, but emphasizes the ultimate relativity of everything. What seems good at a particular time, from a particular perspective, can seem evil from a different perspective.

I think this part plays into how sometimes Vash saving a life can cause trouble later on if it’s a violent person he’s saving like in Badlands Rumble even though, ultimately, his desire to save every life comes from a good place.

Vash is the Yin and Knives is the Yang. They both play into their respective parts of the symbol so straightforwardly. Vash’s energy is feminine, softhearted, and intuitive. Knives is clearly played as his direct opposite as the masculine, hard hearted, and logical side (especially in tristamp, I feel).

Knives’ body suit is even white while Vash’s body suit is black, and their energy blasts here also correlate with what each side is supposed to mean for each of them.

(Best picture I could use of the two of them in their body suits together sorry) It’s really amazing how much symbolism went into the making of Trigun, man. Masterpiece.

[talonabraxas]

Yin-Yang Mantra Mandala The yin-yang symbol (also known as the Tai Chi symbol) consists of a circle divided into two halves by a curved line. One half of the circle is black, typically representing the yin side; the other is white, for the yang side. A dot of each color is situated near the center of the other’s half. The two halves are thus intertwining across a spiral-like curve that splits the whole into semicircles, and the small dots represent the idea that both sides carry the seed of the other.The white dot in the black area and the black dot in the white area connote coexistence and unity of opposites to form a whole. The curvy line signifies that there are no absolute separations between the two opposites. The yin-yang symbol, then, embodies both sides: duality, paradox, unity in diversity, change, and harmony. The Tai chi symbol represents the interaction of two complete opposites: Light and Darkness, White and Black, Male and Female, etc… the list could go forever. “om mani padme hum” the six syllables, om mani pad me hum, mean that in dependence on the practice of a path which is an indivisible union of method and wisdom, you can transform your impure body, speech, and mind into the pure exalted body, speech, and mind of a Buddha.

[burnmyloveaway]

Johan's "Kimi" to Nina's "Anata"

WARNING: LONG-ISH POST

The following post is an acid trip down Monster Lane following some observations, permanent weeb-ness and massive brainrot.

I watched Monster subbed, and when the twins talk about what happened back at the RRM in episodes 66 and 67, they use two different forms of "you" for each other.

Johan addresses Nina with "Kimi."

Nina addresses Johan with "Anata."

I can't speak Japanese, but I've watched enough anime to understand that there are different pronouns people use to refer to others in Japanese (depending on the context, on the degree of formality/informality, etc...) and, in this case, I got curious about the difference between "Kimi" and "Anata" specifically, so I looked it up.

Firstly, "Kimi" is more informal, familiar, intimate, and affectionate (even translatable as "honey" or "sweetie": source). It implies closeness on the speaker's part and is used only for people the speaker knows well.

In particular, men use "Kimi" towards those lower on the social hierarchy (source) and between members of the same family, romantic partners (men use it when talking to their girlfriends or wives), or with kids (source). Also, [Kimi] "is for talking to friends who may be younger than you" (source). Or, again, it can be used condescendingly, as if looking down on the other person (source; can there be just a bit of resentment on Johan's part for Nina?).

I'm not sure whether or not Johan truly believes he's somewhat above Nina (i.e.: does he believe he's "chosen" in a way Nina isn't? Doesn't he also believe they're one and the same? If he truly believes he's chosen, wouldn't that make Nina chosen as well?).

Perhaps it's more likely he uses "Kimi" when talking to her simply because he's the elder twin. In the original script and dub this is emphasized many times as the vocabulary - on the part of both Johan and Nina - is rather insistent in underlining it throughout the series, even if they're twins.

Also, the pronoun "Kimi" is used to display having "the upper position" in a situation (source) in the sense (to my understanding at least) of being the one in control.

This last point reminded me of something. On having the upper hand, below is the scene of the aforementioned episodes where the twins meet in the ruins. Johan (having decided to have Nina escorted there) is standing literally on the upper floor when she finds him:

[manga vs anime]

In nonverbal communication proxemics is the branch of knowledge that deals with the amount of space that people feel necessary to set between themselves and others (Oxford Dictionary).

As adults, Johan and Nina never get close. She seemingly wants to kill him after the murder of the Fortners. Instead, he openly invites her to kill him again and again and remains distant from her as events unfold (it's also interesting to note that the one time he effectively saves her life - back in the Nazis' mansion - he decides not to meet her directly, as if taking it upon himself to looking after her from the shadows).

Another interesting detail about the frame(s) above is how Johan's silhouette is obscured in the light background of the open sky in contrast to Nina's. The latter's is illuminated by the sun in the midst of the darkened ruins, resembling the inverted dots of the Yin and Yang symbol.

Johan's mind is clear. He has recovered all his memories. He stands above the ruins because there's a memory only he can recall. Nina's still missing something as she can't reach the sky above her, she's framed by the ruins of her own dark and fractured memory.

However, at this point, they can't reunite. The heavy baggage each carries, doesn't allow the two halves of the same whole to reconcile yet. This is possibly represented by the wooden column in the middle dividing the frame between Johan's light half and Nina's dark half.

As a further contrast between the two, while Johan uses "Kimi" for Nina, Nina uses "Anata" for Johan.

The latter is more polite, neutral, and formal (source) but it also denotes more humbleness on the speakers' part (source).

In correspondence to how "Kimi" is used by someone in a higher position, "Anata" also implies respect (source) for the other person (are there mixed feelings on Nina's part in this particular moment, or is it simple politeness?).

As for "Kimi," "Anata" is gendered and used mostly by women. While it's a formal "you" more often than not, it's also used as a term of endearment by wives for their husbands and can be translated as "darling" (source; this case is similar to the possible translations of "Kimi" as "honey" or "sweetie" for couples).

Interestingly, "Anata" can be used by a speaker to put a certain degree of emotional distance from the other person (source) or when the speaker doesn't know who the other person is (source). It can often express exasperation as well (source).

Moreover, Nina has always identified her brother as "Johan."

To Nina, even if she doesn't really know him as a person in the present (since they didn't grow up together), her brother is "Johan" and Johan is her brother.

It's the first name he received and the one he used more often. He keeps going by it in the canon timeline (at least until the end?), as everyone associated with him refers to him by it. Still, he tells Dr. Tenma that it's not his real name as he doesn't have one (never completely identifying with it: Wolf argued it may have awakened something in him, though.)

As such, while Nina knows her estranged elder twin brother as "Johan," "Anata" can also be used for someone whose name you don't know (source). Usually, it's used to politely ask someone's name, which is not what Nina's doing in this scene.

However, she's dealing with what happened in the past after she has refused to face it for a long time: she's still processing it.

She's taking her memories back from Johan, who made them his. Figuratively, she gave a name to the girl who said: "I'm back," and a name to the girl who said: "Welcome home." For the longest time, she had believed the latter was herself ("I was greeting myself?").

That girl wasn't real. That was her brother. That was the brother whose existence she forgot and then confused for her own. It can be as if through that "Anata" she's asking him who he is, in a sense.

Or in Nina's words just earlier: "So you know what we are?" (As the results of a particular experiment, their parents met in unusual circumstances: it's safe to assume they'd have never existed otherwise).

Although this last use of "Anata" isn't literal, considering the problems on identity posed by this work, it can be thematically coherent and relevant.