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Masters Part Dissertation Writing Services | MBA Part Thesis Writing Help UK

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[hauntingofhouses]

We all already know Mizu and Akemi are narrative foils. But you know what? Lemme just say it, here's what I think:

Taigen and Mikio are foils.

Not necessarily to each other as individuals in the way that Mizu and Akemi juxtapose each other, but mostly in the contrast between their relationships with Mizu.

I've covered specific parallels between Taigen and Mikio in other posts I wrote; but as the number of parallels I'm noticing between them keeps piling up, I'm compelled to just compile them all in one post. So! This is, thus, the post in question.

First of all, let's look at their similarities.

1. Their status in society is the same. They are both samurai who lost their honour and have dreams of reclaiming it.

2. They are also both diligent as they strive to achieve this goal, they both care deeply about their work, but here as they begin to contrast, as the work in question and way they go about their goals is different:

For Mikio, his work is in taming and rearing horses; in order to prove himself, he must tame Kai—a willful and strong horse—and present it to his lord. For Taigen, his work is in sword fighting and martial arts; in order to prove himself, he must kill Mizu—a willful and strong swordsman—and present her dead body to his lord.

In the parallel above, not only are Taigen and Mikio contrasting each other, but Mizu and Kai are placed in comparison as well. And of course, Kai is Mizu's horse, and represents her. Which is why, when later, Mikio sells Kai off, it represents the way he is tossing Mizu (and their relationship) aside.

From there, the rest of the details of their character begin to contrast and juxtapose each other more clearly. So let's look at those differences, shall we?

Their backstory:

Mikio was a great samurai who was banished. A somebody to a nobody. Taigen was a fisherman’s son who rose to the top. A nobody to a somebody.

2. The first time we meet them on-screen:

Mikio is an adult. An older man. Mizu's superior in age. He is Mizu's to-be husband. A love interest. Taigen is a child. A young boy. Mizu's peer in age. He is Mizu's bully. An antagonist.

3. Their maturity and growth:

Mikio is mature, but stuck in his ways. Taigen is immature, but capable of changing and learning.

4. Their overall attitude:

Mikio is generally relaxed, easy-going and unfussy. Taigen is uptight, irritable and severe.

5. How they talk to and conduct themselves around Mizu:

Mikio is aloof, soft-spoken, and serious. Taigen is obnoxious, brash, and sarcastic. Mikio is quiet, speaking only when spoken to, even when Mizu turns to smile at him and shows openness to be near him. Taigen is loud, talking while others are silent, even when Mizu turns from him and shows no interest in conversing with him.

Mikio doesn't show much of who he is to Mizu throughout their marriage, despite their growing affection. Taigen openly shares his traumas and life story to Mizu during their brief alliance, despite their mutual antagonism.

6. Their external vs internal selves:

Mikio is calm, gentle, and considerate on the outside. Taigen is hot-headed, rude, and selfish on the outside. Mikio is cowardly and deceitful on the inside. Taigen is brave and loyal to a fault on the inside. Mikio tells Mizu that he wants to know and see all of her. But he scorns and betrays her, the woman he loves. Taigen tells Mizu that he wants to duel and kill him. But he endures torture to not betray him, the man he hates.

9. Their hair, a symbol of their honour:

Mikio's topknot is untied by Mizu during their spar. This humiliation occurs in private, the two of them alone in a rural location where no one can see them. Taigen's topknot is cut off by Mizu during their duel. This humiliation occurs in public, the two of them being watched by many others in the Shindo Dojo.

10. Their power dynamic with Mizu:

Mikio believes he is Mizu's mentor. He teaches her to throw knives, how to ride and care for horses, and about the tactical benefits of using a naginata. Taigen believes he is Mizu's equal. He views Mizu as a samurai like himself who received all the same teachings he did, and who possesses the same values.

11. Their perceptions of Mizu:

Mikio sees Mizu's feminine side first. He sees her as sweet and gentle, but also clumsy and incompetent. Taigen sees Mizu's masculine side first. He sees her as terrifying and deadly, but also strong and skilled.

12. The way they approach sparring with Mizu:

Mikio only spars with Mizu once. As the fight progresses and she is beating him, he tries to put a stop to it. When she teases/provokes him, he starts taking the fight personally and seriously, finding no enjoyment in it. Taigen spars and brawls with Mizu all the time. No matter how many times Mizu beats him, he doesn't back down. When Mizu challenges him with a chopstick, he is eager to compete with her and gladly rises up to the challenge.

Mikio and Mizu's one and only spar is a friendly match; Mizu is smiling and having fun while he grows increasingly frustrated. Taigen and Mizu's last-seen spar is a playful wrestling match; both him and Mizu are having fun and laughing.

Mikio cannot deal with Mizu being better than him, so he scorns her and walks off, avoiding her thereafter. When Taigen cannot deal with Mizu being better than him, he follows her to observe her moves and continues training in hopes to eventually beat her. After being bested by Mizu once, Mikio leaves her and sells the horse he'd previously gifted to her. After many times losing to Mizu and fighting alongside her, Taigen commends her and admits she is better than him.

13. When Mizu pins them down in a friendly spar:

Mikio sees Mizu's whole face objectively. Taigen stares at Mizu's mouth and eyes.

Mikio gets angry when she kisses him, throwing her off of him and snapping at her, calling her a monster. Taigen gets aroused, apologising, so she pulls herself off of him.

14. Mizu's blue meteorite sword is a reflection of her soul. She believes most are undeserving to face it, let alone hold it. And on that note:

Mikio is the first person (chronologically) that Mizu fights against using her sword. Taigen is the first person (we see on-screen) that Mizu fights against with her sword. Mikio is the first person (chronologically) to ever hold her sword, as she passes it to him, letting him wield it. Taigen is the first person (we see on-screen) to ever hold her sword, as she passes out, and he picks it up and carries it for her.

15. Then, last but not least, in Fowler's fortress, when she is drugged and in pain, she hears Ringo's voice in the dungeon. She then follows it to an open cell:

Mizu first sees Mikio as a hallucination, the sight of him haunting her and causing her to lose her grip on reality. Her eyes glow a surreal blue to represent this. Her Mama appears then and says Mizu's name accusingly.

Mizu then sees Taigen, but he is real, the sight of him a relief and grounding her back to reality. Her eyes return to their normal blue colour to represent this. Taigen looks at Mizu weakly and says her name softly.

Then, later, when facing Fowler, her revenge awaiting her, she instead chooses to follow her conscience (represented by Ringo's voice in her mind), putting aside her vengeance for a time, in order to save Taigen.

So that's basically all the ones I've noticed so far, but even then, I feel there's already so much that forms a contrast between these two.

What makes it especially incredible about these juxtapositions is that Mikio was Mizu's husband, the man she had fallen in love with, the one person she had ever been intimate with, the man who made her begin to accept herself, to put down her desire for vengeance and instead live a life of peace and happiness.

So for Taigen to have so many parallels with him... Do you see what I'm saying here!

Not to mention that Mizu clearly already has some burgeoning attraction to him, as indicated by how she thinks of him when asked about her desires. And Taigen clearly has shown interest as well (see: him getting a boner after their spar, him holding her hand and telling her, "We're not done yet.").

And on the topic of speculating future possibilities of this relationship, this post by @stromblessed has pointed out yet another parallel between Taigen and Mikio:

Mizu promises Taigen to meet him for their duel in autumn. Mizu fell in love with Mikio and duelled him during autumn.

With all that said, I do believe Mizu and Taigen's relationship is definitely hurtling towards something. But whether they will actually end up together in a sustainable relationship and have a happily ever after? Well, that is a whole other story; we'll just have to wait and see.

[pegasusdrawnchariots]

Odysseus' reintegration into the world bound by mortal limitations foregrounds both his age and the distance he has traveled. The shipwrecked sailor who manages to crawl ashore naked on Scheria, bereft of companions, possessions, any token of identity — of all but the bare ember of vitality (cf. 5.488-90 — a lonely spark in a pile of ashes) — meets the young Nausikaa, whose life (like that of Telemachus) is just opening to the possibilities before her. The scene in which Odysseus, awakened by sounds that evoke in him fears of hostile men, faces instead a group of teenage girls playing ball, is both comic and poignant as it measures the difference between their expectations and stages of experience. Later, as he is challenged to compete in an athletic contest, Odysseus acknowledges the toll that age and journeying inevitably take. This is not, then, the epic of the beautiful death (one way to read the Iliad (e.g., see Vernant 1991: 50-74)) but the epic of timeworn, embraceable life.

John Miles Foley, A Companion to Ancient Epic, 2005.

[danothan]

Just reading some comics and saw a panel I thought you might like. :)

ah fuck, characters reminiscing always get to me ;__;

but i will never ever get over that fond way these two talk to and abt each other. especially when they’re poking fun, you can just hear the love in their voice it’s SICK.

the halbarry love language is annoying each other, but even more than that, it’s being each other’s exceptions

[foreststarflaime]

Something something Sephiroth is like Hector of Troy, a man whose identity is tied to being a hero, whose duty it is to go out and protect his city every day, who has the weight of the hopes and dreams of all secured inescapably to his shoulders, who is doomed to be dragged down by this burden until he does not have the strength to rise again, who will be destroyed by the necessity of this his own identity. Forced into the role of the villain, yet still so painfully human—Hector takes off his helmet to hold his child and greet his wife, Sephiroth gets a few moments’ peace in the training room with the only two people who call him friend. Both end in fire and the destruction of a city.

[qoldenskies]

Oh my fucking god the Raph and Don parallels are so much fucking worse. They sound like each other when they think and speak. Insisting “I love you” against a locked door. The last part of Raph’s chapter feels like the scene where Donnie reminisces on the time after Shredder. His monologue at the beginning literally sounds like Donnie begging for forgiveness from his brother in CL. “I wanna be worth it” you’re both SICK in the head.

HHHHHHhhhHHHHHHHHHHHHHHH

leo and donnie may be twinning hard right now but raph and donnie are doing some fuckinnnn!!! PARALLELS!!!!!! CL being so long and having so much to take from for things like this really helps pound in the way that the roles have been reversed after the curse breaks; how they cant do much but work, how they can only love from afar, how they can give and give and give but it wont get through to the person they want to love them the most, how desperate they are for normalcy and simplicity and the donnie they used to have .......

what a terrible way to finally be able to empathize with your emotionally unavailable brother.

that scene where they talk about the stuff they miss is also kind of intended to be a parallel to the family meeting,,,, but donnie's missing from it. they're not saying this to him. because he opened himself up and took their punishment but he wont so easily do the same with their love. haha painful! :D

[isbergillustration]

Some character doodles from three of the different stories I'm writing as procrastination from actually writing much.

[communistkenobi]

another very silly writing rule I remember from high school english class was the idea that you should not repeat yourself in essays. books and essays that restate their main argument each time they present new evidence has always been very effective for my own learning, especially when the topic is complicated. the “no repeats” rule makes sense when it’s used to discourage students from trying to beef up word count and encourage students to properly synthesise their own arguments, but it was never explained to me in those terms, it was all just these writing axioms you had to follow to produce a “good” piece of writing

[inklessletter]

I read last night the first chapter of Prism by @thorniest-rose and @azrielgreen and I am in absolute need of a tumblr group chat because I need to talk to both of them about it so bad asdfasdf

[thingsseenandheard]

New Cazador meta that I've been cooking for a few days now: Cazador and poetry!

This is once again going to relate to my apparent thesis of Cazador's identity problems but I'm coming at it from a slightly different angle this time. My prior mad ravings have been about Cazador's concept of who he is as a person, this is going to be about anonymity.

I think it's fair to assume that someone with no concrete concept of who they are as a person might struggle to identify and come to terms with their more difficult emotions. And I've talked before about Cazador's response to this sort of thing being to separate it from himself as much as possible - separating his past self from his current self, for example, is a big one. So it follows that to handle difficult emotions (i.e. anything that makes him feel weak or inadequate in some way. Fear, frustration, despair, that sort of thing) he would try to separate them from himself. It's easier to get perspective, and to walk himself through them that way.

I think poetry is how he does that. It offers him anonymity - I mean to say, he is not required to identify himself with the emotions he's writing about. It allows him to express these things in a way that still keeps them at arm's length. It's also helpful because in order to write, Cazador doesn't need to identify himself either. I don't mean as an author by signing the poem, I mean he doesn't need to try to figure out who he is before he can go to the next step of handling difficult emotions.

And it's because of the anonymity of it - he doesn't have to be Lord Szarr in a little poem - I think this is one of the few, and perhaps the only way that he can identify himself to himself in any meaningful way. He can write all of it down, get it out of his system, and then look back at it and it's like looking in a mirror. Obviously, because he wrote it. But I think he's not used to that sensation. He's not used to recognizing himself in general, so when he does, it catches him off guard. I think it forces him to recognize that he doesn't really know who he is.

Basically I think it allows him to both express himself without the requirement of personal identity, and to sort of lay out his personal identity while still keeping it separate from his cultivated persona. The parts of himself he thought long dead and buried rise from their graves long enough for him to write about them, and I think poetry is maybe the one thing that really unites all of the different versions of Cazador that he's split himself in to.

[identitty-dickruption]

ahh just solved a puzzle I've been rotating around in my mind for a while now.... the North American social model of disability is a different beast from the British model.... and Australia appears to use a blended form.... cool cool cool

[mummer]

hundreds..... HUNDREDS...... why did i only just now notice the Hundreds of it all... grrm release the abelon tapes NOW. this is so painful to just sprinkle in there bc you know gyladyn is hiding some bullshit because how does the chad abelon have in depth material about the lives of hundreds of different minor female nobles and the virgin gyldayn is like “lemme go on a ten page tangent about the hungness of the guy who impregnated 14 year old coryanne wylde instead of saying something interesting ever” shut UUUUPPPPP

[kevinsdsy]

so i've been working all day on my thesis and one thing about me is i can't do uni related work unless i'm listening to music (or watching a film/series) but anyways not allowed by tv girl just came on shuffle and i lowkey wanna write an au where kevin and jeremy are make out buddies, but kevin is closeted and jeremy is out and they both struggle with this but it'd be an alternative universe with exy involved, maybe even them being rivals idk ?? but maybe less canon-based because i have absolutely no idea how i could ever write it when i keep canon events in mind :(

[plutorine]

how i look like writing my thesis:

[sintanic]

Number #1 thing you should do when working on a (new) story is to create a Pinterest board!!!

[innocet]

what's up with "human nature"?

Houghohoughih

I mean the first thing you need to understand is that interpretation is generative, right

So by watching doctor who you are inherently Creating doctor who because you are creating an idea of it in your head and stringing together continuity in a way that is slightly different to everyone else who has done it. Your dr who is not my dr who, okay.

The doctor who that Paul Cornell was a fan of as a teenager and young adult was a doctor who in which the doctor Cannot fall in love due to the fact that he’s not human. Human Nature (the 1994 novel) was his answer to the question “what would need to happen in order for the doctor to fall in love?” In Paul Cornell’s mid-90’s reading of the show thus far, the only circumstance under which the doctor could be a sexual or romantic being was if he were to become human.

The thing is that this reading conflicts with the reading that Russell T. Davies canonized in the first two seasons of nuwho. RTD’s doctor IS a romantic entity; he can and does fall in love as a time lord. So the 2007 episodes “Human Nature” and “Family of Blood” are responding to a version of the doctor who no longer exists. To a viewer of the modern show, the question these episodes is asking is “what would it mean for the doctor to be human?” Which has a very different answer, but the plot isn’t portrayed all that differently from how it is in the book, which creates an implication that being human means being racist. The episode’s commentary becomes about MARTHA, not the doctor, because it seems to imply that this deeply romantic man can fall in love with many people as long as they aren’t Martha (as long as they aren’t a black woman). It’s weird as fuck.

Also, I’m just generally more fond of the book - I think a romance between two middle aged people who haven’t been in love in a long time is far more interesting than a love triangle between the 10th doctor, another ambiguously young blonde woman, and Martha. We’ve been here before!!! We’ve seen 10 be a dashing young man falling in love!!! There’s a version of these episodes that focuses much more on themes of War as a central aspect of human nature and I think with what nuwho had been doing to that point leaning more into the fact that this takes place on the eve of WWI would have been much stronger thematically. There’s a whole section in the book where John Smith lectures his students on the horrors of war and it’s so BAFFLING to me that it isn’t in the episode. Sir you are The Time War Man.