#VERSES. [ LOSS AND GROWING UP / MAIN III. ] | Explore Tumblr Posts and Blogs

ratcarney · 5 years

Text

doubt comes in: a complete analysis

first of all, for all intents and purposes, london!orpheus has no rights, and here’s why:

london!orpheus has a self-assured confidence to him. he does not pause before dialogue—he does not need to. “come home with me” is driven solely by confidence that eurydice will definitely, 100% fall for him. hermes mentions that “eurydice knew how to survive,” but “orpheus knew how to live.” orpheus’s drop-to-his-knees, spur-of-the-moment, pseudo-proposal has lively arrogance behind it.

broadway!orpheus, however, is the exact opposite. he is constantly driven by dreaminess and a perpetual, underlying anxiety. there is absolutely no arrogance whatsoever behind his characterization.

while confident london!orpheus is, admittedly, VERY sexy, he is unable to bring the same emotion to songs such as “wait for me,” “if it’s true,” and “doubt comes in” (the latter especially!!). he starts the show very sure of himself and stays that way through act i and most of act ii. while one may think that this makes his total breakdown in doubt comes in more meaningful, it does not. it’s like orpheus has backed himself into a corner emotion- and confidence-wise and it would be uncharacteristic to fall straight to rock bottom after being strong and self-assured for the whole show thus far.

the best part of broadway’s dreamy, distracted orpheus is that the audience gets a chance to watch his belief in himself grow gradually until his turning point songs (“wait for me,” “if it’s true”) cement his newfound confident characterization in their minds. they have come to root for the underdog and are attached to his character. but then, starting at “wait for me ii,” as hermes is warning orpheus about the dangers of his journey with eurydice to the surface world, the audience recognizes a note or two of panic within orpheus akin to those they saw in songs such as “chant” and “a gathering storm.”

without witnessing how far orpheus has come, the audience wouldn’t be as broken up about his eventual failure to get the love of his life back. one could even argue that eurydice was the one that salvaged his confidence (probably during that super sweet part in “all i’ve ever known”) and cultivated it to be what the audience sees in “wait for me,” aka the ultimate declaration of his love. this argument would make it even more painful when she dies and, consequently, all of orpheus’s belief in himself dies with her.

at its core, it’s playing with the audience’s favor. london!orpheus already has the audience’s attraction, but the ever-anxious broadway!orpheus gained the audience’s sympathy throughout his story. london!orpheus’s loss isn’t as great because we know he can function on his own. we’ve seen it in songs like the london version of “livin’ it up on top.”

broadway!orpheus has demonstrated that eurydice is the only thing keeping him together. he literally gets torn nearly to shreds once he enters the underworld and she is separated from him during “papers.” the driving point behind all of his actions is to right his wrongs and get eurydice back. so his loss is MONUMENTAL compared to assertive, flashy, london!orpheus’s because the audience knows that he genuinely cannot handle himself without her.

keeping that in mind, let’s continue into “doubt comes in.”

“doubt comes in,” the penultimate song in the musical, is an illustration of orpheus’s complete mental collapse. it is symbolic of the destruction of all the love and hope for the world that he previously held. let’s get into the details.

the evolution of the beginning of the song is as follows:

a. in the concept album, after a VERY lengthy (but necessary for setting the scene) two-minute intro, orpheus himself starts the song. the opening lyrics are “doubt comes in and strips the paint/ doubt comes in and turns the wine/ doubt comes in and leaves a trace of vinegar and turpentine.” these lyrics are sung with the same otherworldly disconnectedness in which justin vernon’s orpheus sings everything. he continues with “where are you?/ where are you, now?” which is self-explanatory.

b. in the 2016 cast album, the fates start off with the same lyrics. this is attributed to their characterization from early on in the musical: “they [are] always singin’ in the back of your mind.” they function as orpheus’s anxieties and (self-)doubts personified. damon comes in a little later with his trademark wavering tenor singing “doubt comes in and all falls silent/ it’s as though you weren’t there.” this is fleshing orpheus out a little more, voicing his main fear—that eurydice isn’t behind him, that this is all a trick.

c. reeve’s “doubt comes in” is the most dramatically changed. they changed it so that it would fit his character more, and they did so EXPERTLY. reeve’s broadway!orpheus very clearly suffers from severe anxiety. he’s sensitive and jumps at the slightest sound. the way he neglects his relationship with eurydice in favor of working on the song is not malicious, but charged with fear. it’s not intentional, he just has a habit of shutting everything out when working on something important. he’s never been in a relationship before, so he doesn’t consider that maybe, eurydice needs him as much as he needs her. but i digress. reeve’s “doubt comes in” starts with the repetition of his lalala melody—the exact same one that the audience has come to associate with him. he sings this to himself both for comfort and in the feeble hope that eurydice will hear it and know where to follow him (akin to theseus making a trail of ariadne’s thread to help him escape the minotaur’s labyrinth). in the beginning of the show (“come home with me”), orpheus describes the melody as something that “takes what’s broken and makes it whole,” and he’s using his lalalas as just that. while that is heartbreaking enough to begin with, reeve’s trembling, almost-faltering falsetto (reevesetto, if you will) adds a layer of suspense and desperation that damon and justin can only dream of.

the instrumental:

- every version of doubt comes in has a variation of the same instrumental. the haunting strings fill the theatre with a palpable fear, leaving even the people who don’t know the myth filled with a sense of dread.

- the truly striking part about the instrumental, though, is the drumbeat. it’s meant to symbolize orpheus’s heartbeat pounding in his ears, and has the same effect on the audience.

eurydice’s verses:

- eurydice’s first line in both the concept album’s “doubt comes in” and the 2016 one is “orpheus, you’re shivering/ is it cold or fear?” one could argue that these are the most tender lyrics exchanged between the lovers throughout the whole musical. it demonstrates eurydice’s intimate knowledge of her lover whether it’s justin’s determined orpheus, damon’s confident orpheus, or reeve’s fearful orpheus (that is, if they had included it in the broadway version). in some ways, it is a response to the orpheus’s line prior to it: “where are you now?”

justin and anaïs: these two have the energy of a couple that has faced the trials, come out victorious, and will do so again. anaïs’s steady, haunting voice does not serve as an accessory to justin’s layered vocals, her eurydice is as determined as justin’s orpheus. they know that they will be fine as long as everything goes according to plan (spoilers: it doesn’t). when anaïs sings “orpheus, you’re shivering/ is it cold or fear?” it’s like she’s checking up on him, just to be safe. it’s not so much fear in her voice as it is a simple question, as if her next words would be “just checking in. keep going, baby, we’re almost there.”

damon and nabiyah: their relationship is more tentative. it was fractured when eurydice sold her soul, and it’s just starting to be repaired. when nabiyah sings “orpheus, you’re shivering/ is it cold or fear?” there is more lingering anger in it than what anaïs offered. it’s seen in the way she hisses his name, remaining on the last consonant for longer than she used to. however, after a beat, once she realizes that he’s shaking, (implying that either 1. she’s following close enough to see him tremble, or 2. she recognizes the wavering in his voice as a red flag, which is adorable because that means she was intentionally looking for anything that would indicate that orpheus wasn’t feeling as confident as he usually did as a precaution because she knew how fast things could spiral from there) her tone softens. she melts and offers him words of reassurance “just keep singing/ the coldest night/ of the coldest year/ comes right before the spring.”

reeve and eva: i will always (always!) be mad that they omitted that line from the broadway production. it had so much potential considering that eva follows so far behind reeve throughout the song. in her bold, protective voice, the mere singing of orpheus’s name would have 100% knocked me to the ground. and reeve’s orpheus would be most likely to display such symptoms. even the audience member in the farthest seat from the stage could tell that reeve was shaking as he walked forward on the turntable, he just gave off that aura (it’s free real estate good acting). of course eurydice would notice that he was afraid.

lyric changes (in no particular order):

a. in the broadway version, the “where are you now” was changed to “where is she now,” reiterating the fact that eurydice is orpheus’s number one priority (and source of fear)

b. in place of the “you’re shivering” line, broadway!eurydice’s words are more encouraging. had this been earlier in the show, she wouldn’t have been so optimistic. orpheus replenished her hope in the world with “epic iii” and that’s what carried her through “promises,” “wait for me ii,” and, of course, “doubt comes in.” she says “orpheus, are you listening?/ i’m right here/ and i will be ‘til the end” for the first verse and “orpheus, you’re not alone/ i’m right behind you/ and i have been all along” for the second, right before he looks back.

c. orpheus’s inner (sung) monologue fleshes him out more than the concept album and the 2016 recording ever did with their respective orphei. one of the most prominent examples of this is the lyric “who am i to think that she would follow me into the cold and dark again?”

d. this is one of the many callbacks in “doubt comes in.” orpheus means that eurydice took a chance in following him into the “cold and dark,” i.e. poverty. the fact that she does it AGAIN exemplifies great character development. from the first time eurydice was introduced, she was characterized as self-sufficient and unwilling to rely on others. but now, after all she’s been through, she willingly puts her life in someone else’s hands—something she would have never, ever done had she not met orpheus. the fact that orpheus says “again” demonstrates his awareness (something else he has gained since the beginning of the show) that he already let eurydice down once and he does not want to again.

callbacks:

a. “the wind is changing...” this is sung by the fates in the chorus and is reminiscent of “a gathering storm.”

b. “la lala la lala la la...” this is orpheus’s musical motif. it symbolizes togetherness and hope. however, while all other times he is eventually joined by the ensemble, this is different. he is singing his melody into the dark and hoping against hope that someone will answer. no one does.

c. “i used to see the way the world could be/ but now the way it is is all i see...” orpheus is hope personified. he symbolizes all that is good, he never sees the bad in anyone and on the off chance that he does, he doesn’t fixated on it. but here, he’s rethinking his worldview. the darkness has seeped into his soul, rendering him terrified and doubtful.

d. “it’s you/ it’s me/ orpheus/ eurydice” this is a callback to “come home with me ii,” which sucks because it’s uhhhh painful.

conclusion: jo found dead in miami.

505 notes · View notes

ryanmeft · 5 years

Text

Spider-Man: Into the Spider-Verse Movie Review

Spider-Man 2 set the standard for the wall-crawler’s celluloid escapes, and the movies have been trying to catch up to that ever since. Thanks in large part to poor decisions by Sony, it never came close until Marvel got a hand on the property again. The last thing I ever expected from Sony’s own spin-off movies was that they’d be any good, especially after surviving Venom. As it turns out, the soul of the character just needed animation to set it free. Spider-Man: Into the Spider-Verse is not only a great entry in the webslinger’s mostly forgettable filmography, it’s in the top tier of superhero films, period.

Miles Morales (Shamiek Moore) is a black teen being sent to a private school after winning a scholarship; his father (Brian Tyree Henry) is a by-the-books cop who struggles to understand his growing son but loves him anyway, which sounds cliche but works because the character is so well-written. His mother (Luna Lauren Velez) is unfortunately sidelined, and spending more time on her in the sequel would be welcome. He looks up to his uncle Aaron (Mahershala Ali), who shares Miles’s love of graffiti art but who is also some sort of a criminal. I mention Miles’s race because it’s important: the movie elects for a happily stable family and a smart kid with a bright future, a rare focus for African American characters in cinema. The movie is not political in the slightest, and treats this as if it’s not uncommon, because it isn’t. It’s a deliberate contrast to Peter Parker, whose life is a constant mess. Miles gets his powers with a similar spider bite and without much fanfare.

Speaking of Peter Parker, he shows up, voiced by Chris Pine, and gets in a big fight involving the Green Goblin (Jorma Taccone) and the Kingpin (Liev Schreiber), classic Spider-Man villains somewhat re-imagined for the setting. When things go wrong trying to stop a dimension-combining device, Miles lands the gig of stopping the machine from firing again, but can barely use his own powers. Another Parker (Jake Johnson), an older and out-of-shape one who has given up on life, shows up and doesn’t make a very adequate mentor. He’s eventually joined by numerous other versions. Spider-Gwen (Hailee Steinfeld), who is clearly here to launch her own spin-off, is cynical and calculating. Peni Parker (Kimiko Glenn) is an anime take on the character whose powers are actually invested in a machine that I think is piloted by a spider itself. I’ll be honest, I lost the details in the rush, but she works because she’s more homage to the form than parody. Spider-Ham/Peter Porker (John Mulaney) is sadly underutilized and didn’t really add as much as he could; there’s too many other Spider-guys for him to stand out. By far my favorite was Spider-Man Noir, a version who is almost all shadow, wears a fedora and trench-coat, and is voiced brilliantly by Nicolas Cage, who channels Humphrey Bogart and James Cagney. Indeed, the voice cast is so stuffed that Lily Tomlin and Zoe Kravitz end up in tertiary roles. Each of these alternate heroes got sucked into Miles’s universe and will see their molecules fracture like a bad radio signal if they don’t get back. For this, they seek the help of a batty-but-brilliant scientist (Kathryn Hahn), who provokes one of Parker’s best lines. Each is accompanied by a quick and humorous rundown of their respective origins, which both serves as a nice send-up of the now-tedious origin story and fills in whatever small amount of info the audience might need.

A disclaimer for those who are understandably confused about Spidey’s cinematic history: none of these Spider-People are the same one from the Marvel Cinematic Universe, that interconnected place of Guardians and Avengers. The Parker here appears to be some version of the one from Sam Raimi’s first trilogy, and considering the divided reception of that line, it’s an interesting choice (it still contains the best Spider-Man movie, and a couple lackluster ones). It matters far less than it does in the MCU, because this movie feeds more on energy, humor and heart than on continuity. To my recollection (it’s been a while), all of these characters exist in some way in the comics, but you don’t have to care. On screen, they play off each other wonderfully. The jaded Parker is like those wizened mentors from every movie ever made about a plucky kid finding his way, except this guy, while having the skills, doesn’t care. That’s a decidedly different look for Spider-Man, one that only an animated film, specifically only an animated film this unique, could pull off; an apathetic hero is just not something audiences would accept if he were the main character. The Noir version has the most potential for his own movie, as his universe is the most different from what we’ve seen before. Like Rey in Star Wars, Spider-Gwen is unfortunately given the least interesting character, but there’s room for development later. For some reason, the same people that decided we need more female heroes (which we do) also decided they always have to be---pardon the expression---the straight man. Will we maybe have a female take on Tony Stark at some point? I won’t hold my breath; the culture just isn’t there yet.

The heroes are of course opposed by the afore-mentioned villains, joined by many others: Prowler, a Batman-esque fighter, Scorpion (Joaquin Cosio), Tombstone (Marvin “Krondon” Jones III) and a surprise bonus pick who I will not mention because you should discover it for yourself, except to say this person really works while, in a way, bringing back a long-absent, long in demand foe. When machines are activated and villains are fighting, the movie does occasionally veer somewhat close to confusion, but it always recovers, with the exception of some of the villains being rather generic. Animation has unshackled the agility, speed and wit Spider-Man has always evoked in the minds of people flipping through comic panels. There’s a litheness to the movements of the characters that no amount of CG could ever replicate, and a boundless energy that the unique animation style---designed to look like comic panels in motion and, to my eternal shock, actually successful in this---works perfectly with.

Still, the most surprising thing is how the emotions carry through. Each Spider-Dude-or-Dudette has their own tragedy and loss, and the sense that no matter what universe he exists in, he’ll always have to deal with that is sadly poignant, especially for anyone who grew up on the Spider-Man mythos. There are actual stakes here; even the motivations of the Kingpin have real heft. The movie has been handled by Lego Movie producers Phil Lord and Christopher Miller, with a small army of co-writers joining along the way, and the surprise is that for once, so many cooks have managed to concoct something that feels so sincere.

If you aren’t a comic person, don’t worry. There’s enough heart here to sweep you up even if you don’t know your spiders from your bats. Stan Lee’s posthumous cameo feels fitting, in a movie that does right by his (and Steve Ditko’s) best creation. Nerds tend to declare amazing absolutely every comic movie that comes out. And every once in a while, they’re right.

Verdict: Highly Recommended (3 1/2 out of 4 stars)

Note: I don’t use stars, but here are my possible verdicts.

Must-See

Highly Recommended

Recommended

Average

Not Recommended

Avoid like the Plague

You can follow Ryan's reviews on Facebook here:

https://www.facebook.com/ryanmeftmovies/

Or his tweets here:

https://twitter.com/RyanmEft

All images are property of the people what own the movie.

#spider-man #marvel #Nicolas Cage #the lego movie #mahershala ali #hailee steinfeld #movies #shamiek moore #brian tyree henry #luna lauren velez #chris pine #jake johnson #zoe kravitz #lily tomlin #kimiko glenn #john mulaney #joaquin cosio #superheroes #comics

8 notes · View notes

jurassicparkpodcast · 6 years

Text

'The Evolution of Claire' Review | By: Tom Fishenden

BE ADVISED: The following article contains spoilers for The Evolution of Claire.

Several years after Michael Crichton’s iconic Jurassic Park and The Lost World laid the foundations for the sprawling Jurassic movie verse that Universal Pictures have built, we finally get to build even more Jurassic lore in a novel format. This time, through Tess Sharpe’s The Evolution of Claire.

The Evolution of Claire falls nicely within the gap between Jurassic Park III and Jurassic World – exploring the story of a young Claire Dearing, and how she is an intern on Isla Nublar during the construction of the Jurassic World resort. The book is a fantastic deep dive into Claire’s character – explaining beautifully how the traumas and effects of a dangerous Nublar shape Claire into the cold, calculating and clinical character we meet in Jurassic World before Owen can break through her layers and reveal more of the slightly vulnerable, more sensitive character who we first meet in the beginning chapters of this novel. The Evolution of Claire does a fantastic job of really exploring Claire’s character – delving into how she behaves, and why she behaves the way we she does. Tess has done a fantastic job in working in conjunction with both Universal and Bryce Dallas Howard herself to really align the Claire in the novel with the Claire we see on screen. The novel helps add context and explanation to Claire’s actions, and helps to provide a fulfilling backstory which really compliments the Claire we see fighting sharply for animal’s rights in Jurassic World: Fallen Kingdom.

However, The Evolution of Claire doesn’t just focus solely on Claire Dearing – as much as the name may suggest otherwise. We have a whole cast of rich and diverse characters – some new, some returning – who really help to carry the story and build real, strong emotional connections with the story as it unfolds. We have Claire’s fellow interns – from the snobby, brat-like Wyatt (Whom I’m sure we can all compare to someone during our time at school), to the more desperate characters like Tanya and her twin brother Eric, who are on Isla Nublar for far more nefarious reasons. Like the Biosyn plot of the original Jurassic Park – where Lewis Dodgson paid Nedry to obtain embryos from the original site, in The Evolution of Claire, Tanya and Eric are being forced to steal specifications and technology from the new Masrani Global facility on Nublar – all for a rival medical science company who have technology which will save their sister’s life, for a price. This kind of ethical question comes into play towards the end of the novel, but really makes the reader think about technology and all its relevant applications – both good and bad. It also leads to the most traumatizing area of the book – an area focused around the character of Justin.

Justin is introduced as a cute, slightly-geeky character around Claire’s age with similar interests and a passion for business. He instantly hits off with Claire, and the two form quite the small romance which we gradually see grow as we explore the book further. It’s your typical teenage romance – all nerves and bumbling along, but it is well written and really serves to build and elevate both characters and their investments in the park further. It is this sparking romance that impacts us most when reading the novel – as it all goes horrifically wrong. Whilst trying to re-route the power to collect paddock information for the rival technology firm, Eric and Tanya accidentally unlock a Velociraptor which has just been transported to Isla Nublar from Isla Sorna – which is explained to be a hatching ground much like in the days of John Hammond. However, whilst attempting to escape the paddock to relative safety, Justin ultimately sacrifices himself – dying at the claws of the Velociraptor so that Claire may escape. It is this act of sacrifice that shocks readers – and helps to form the traumatized and clinical Claire we met in Jurassic World so well. Seeing an intern die was a shock – and it is a shock which was pleasantly surprising as I did not expect such chaos from a Jurassic World prequel novel.

It is here that it feels appropriate to move onto Simon Masrani’s character – as we learn a lot about his character within this novel. One of the driving components of Claire is finding a previous intern’s journal – despite being told they were the first group. This leads to the discovery of an algae which is harming the Brachiosaurs – but also to the discovery of a cover up, which we ultimately learn, lead to the death of a previous intern and the covering up of their first intern group. It is through these actions, and the dialogue with Masrani towards the end of the novel, that we learn a lot more about this kind and caring man – and the burden of sacrifice and loss upon him. He feels deeply whenever something goes wrong and whenever somebody dies – but he also feels that it is important to not let death ruin somebody’s legacy. In the case of the missing intern, Isobel – Masrani decided that it was better to cover up her death because she truly cared for the dinosaurs – and wanted them to bring happiness to people across the world. Masrani makes the hard decision to cover her death up because, in doing so, he allows her legacy to live on and grow throughout the park. The Evolution of Claire does a fantastic job of building upon Masrani – developing his ethics whilst also showing how the world of business is sometimes murky and blurred. His character in the Novel really adds to the Masrani we meet in Jurassic World, and to Tess’s credit, I feel as though Masrani is arguably one of the most beautifully written characters within the whole book.

We also get to revisit Henry Wu within the novel – and the novel adds a little bit more humanity to Wu’s character, exploring how the events of the first park perhaps effected Wu a little bit more than he lets on. His persistence to create more of these creatures to honour his colleague’s deaths adds a lot more to his persistent cause – and helps to make more sense of his character’s lapses of judgement within Jurassic World and Jurassic World: Fallen Kingdom. Wu is, fundamentally, continuing mad science to honour his fallen comrades. The story also introduces a couple of fun park workers – the most memorable being Bertie, an animal trainer who works with the T-Rex, Brachiosaurs and Triceratops, and Oscar – who is a dark, security-focussed individual not too dis-similar from Lambert within Jurassic World Evolution. Adding these additional characters does a fantastic job in adding personality to the Jurassic World we see within the films – reminding us that everyone from the security staff on main street to the paddock workers at the Raptor Pen had a story – and had something which they would have done within the run up to Jurassic World’s opening. It’s interesting as in some areas, I feel as if Tess has opened the flood gates – showing exactly how much scope for additional and meaningful story telling there is within this universe.

The story also feels fulfilling – exploring how different areas of the park have been worked on and why certain features and functions exist. We gain insight into different components – from the construction of the Monorail and how the Mosasaur was a late addition to Jurassic World, to the development of certain paddocks and enclosures, and how the processes to transfer animals were created. Nothing here ever feels forced for the sake of fan appreciation. Everything Tess includes within the story feels logical and conclusive – and really speaks volumes of the kind of faults, errors and corrections that a real theme park may encounter before launch day. You can tell that Tess worked hard to research existing source material in addition to real-life attractions, and the result is a story which feels logical and crucially – makes sense when grounded within the Jurassic Lore. We gain a lot of insight in a short amount of time – and you walk away from this book really longing for more. I want to see more of how Jurassic World was constructed. The roundup of dinosaurs. The capture and sedation of them. This book answers so many questions and adds so much context, whilst at the same time – opening so many more questions. These are questions which I can only hope Universal are willing to invest in – allowing us to get more novels and canonical materials in the future

The book isn’t perfect. Towards the end, the developments perhaps feel a little bit rushed – with a lot happening in a short span of time. And, some characters – such as Vic Hoskins, for example, do not make appearances. But – this could be because there is ample room to tell more stories including these characters soon. What Tess Sharpe has done is produce a fantastic and insightful prequel to Jurassic World. The novel builds upon many characters we already know whilst adding new ones – and everything feels organic and appropriate to the universe. The Evolution of Claire is a fantastic novel – and I hope that it is the start of many more to come under the Jurassic banner.

Don't miss our podcast review below!

Article written by: Tom Fishenden

#article #the evolution of claire tess sharpe #the evolution of claire #the evolution of claire review #tess sharpe jurassic #tess sharpe the evolution of claire #tess sharpe #tom fishenden #book review

3 notes · View notes

madewithonerib · 3 years

Text

Psalm 29:11 | ¹¹ The LORD gives HIS people strength; the LORD blesses HIS people with peace.

Cambridge: John JS Perowne, Anglican Bishop [1882] | Psalm 29:11

Compare Psalm 28:8-9; Psalm 46:1-3; & the blessing in Numbers 6.

● Psalm 28:8-9 | ⁸ The LORD is the strength of HIS people, a stronghold of salvation for HIS anointed.

⁹ Save YOUR people & bless YOUR inheritance; shepherd them & carry them forever.

● Psalm 46:1-3 | ¹ Of the sons of Korah. According to Alamoth. A song. GOD is our refuge & strength, an ever-present help in times of trouble.

² Therefore we will not fear, though the earth is transformed & the mountains are toppled into the depths of the seas, ³ though their waters roar & foam & the mountains quake in the surge. Selah

● Numbers 6:1-27 | ¹ Again the LORD said to Moses,

² “Speak to the Israelites & tell them:

If a man or woman makes a special vow, the vow of a Nazirite, to separate himself to the LORD,

³ he is to abstain from wine & strong drink.

He must not drink vinegar made from wine or strong drink, & he must not drink any grape juice or eat fresh grapes or raisins.

⁴ All the days of his separation, he is not to eat anything that comes from the grapevine, not even the seeds or skins.

⁵ For the entire period of his vow of separation, no razor shall pass over his head. He must be holy until the time of his separation to the LORD is complete;

he must let the hair of his head grow long.

⁶ Throughout the days of his separation to the LORD, he must not go near a dead body.

⁷ Even if his father or mother or brother or sister should die, he is not to defile himself, because the crown of consecration to his GOD is upon his head. ⁸ Throughout the time of his separation, he is holy to the LORD.

⁹ If someone suddenly dies in his presence & defiles his consecrated head of hair, he must shave his head on the day of his cleansing—the 7th day.

¹⁰ On the 8th day he must bring 2 turtledoves or 2 young pigeons to the priest at the entrance to the Tent of Meeting.

¹¹ And the priest is to offer one as a sin offering & the other as a burnt offering to make atonement for him, because he has sinned by being in the presence of the dead body.

On that day he must consecrate his head again.

¹² He must rededicate his time of separation to the LORD & bring a year-old male lamb as a guilt offering.

But the preceding days shall not be counted, because his separation was defiled. ¹³ Now this is the law of the Nazirite when his time of separation is complete:

He must be brought to the entrance to the Tent of Meeting, ¹⁴ & he is to present an offering to the LORD of an unblemished year-old male lamb as a burnt offering, an unblemished year-old female lamb as a sin offering,

& an unblemished ram as a peace offering—

¹⁵ together with their grain offerings & drink offerings—and a basket of unleavened cakes made from fine flour mixed with oil & unleavened wafers coated with oil.

¹⁶ The priest is to present all these before the LORD & make the sin offering & the burnt offering.

¹⁷ He shall also offer the ram as a peace offering to the LORD, along with the basket of unleavened bread.

And the priest is to offer the accompanying grain offering & drink offering.

¹⁸ Then at the entrance to the Tent of Meeting, the Nazirite is to shave his consecrated head, take the hair, & put it on the fire under the peace offering.

¹⁹ And the priest is to take the boiled shoulder from the ram, one unleavened cake from the basket, & one unleavened wafer, & put them into the hands of the Nazirite who has just shaved the hair of his consecration.

²⁰ The priest shall then wave them as a wave offering before the LORD. This is a holy portion for the priest, in addition to the breast of the wave offering & the thigh that was presented.

After that, the Nazirite may drink wine.

²¹ This is the law of the Nazirite who vows his offering to the LORD for his separation, in addition to whatever else he can afford; he must fulfill whatever vow he makes, according to the law of his separation.”

²² Then the LORD said to Moses,

²³ “Tell Aaron & his sons:

This is how you are to bless the Israelites. Say to them:

²⁴ ‘May the LORD bless you & keep you; ²⁵ may the LORD cause HIS face to shine upon you & be gracious to you; ²⁶ may the LORD lift up HIS countenance toward you & give you peace.’

²⁷ So they shall put MY name on the Israelites, & I will bless them.”

Albert Barnes, American Theologian [1798-1870] | Psalm 29:11

The LORD will give strength unto HIS people—This is a practical application of the sentiments of the psalm, or a conclusion which is fairly to be derived from the main thought in the psalm.

The idea is, that the GOD who presides over the tempest & the storm, the GOD who has such power, & can produce such effects, is abundantly able to uphold HIS people, & to defend them.

In other words, the application of such amazing power will be to protect HIS people, & to save them from danger.

When we look on the rolling clouds in the tempest, when we hear the roaring of the thunder, & see the flashing of the lightning, when we hear the oak crash on the hills, & see the waves piled mountains high,

if we feel that GOD presides over all, & that HE controls all this with infinite ease, assuredly we have no occasion to doubt that HE can protect us;

no reason to fear that HIS strength cannot support us.

Johann Albrecht Bengel, Lutheran [1734] | Psalm 29:11

Php 1:21 — to me, at the beginning of a section, means, so far as I am concerned; for he treated in the preceding verse of what regarded CHRIST.— to live is CHRIST

The article denotes the subject, as again in the next clause.

Whatever may be the life I live [in the natural life], its principle & end is CHRIST.

[While I live in the world I consider the cause of CHRIST to be my own—to die is gain. Although in dying I seem to suffer the loss of all things.

Literally, I live CHRIST. “CHRISTum vivo.”

Charles John Ellicott, Theologian [1749–1905] | Psalm 29:11

[11] The LORD will give—This verse appears to have been a liturgic addition, to give the poem a religious tone.

[See Introduction]

Joseph S. Exell & Henry Spence-Jones, Anglican [1897] | Psalm 29:11

v. 11.—The LORD will give strength unto HIS people.

The LORD, who shows HIS strength in the thunderstorm, will be able, & assuredly will be willing, to "give strength to HIS people"—to impart to them some of that power & might which HE so abundantly possesses.

Then they, partaking in HIS strength, need not fear the attacks of any adversaries.

Struggle & contention will, by HIS good providence, be one day brought to an end; & ultimately the LORD will bless HIS people with peace—will give them the "rest which remains to the people of GOD" [Hebrews 3:9],

the perfect peace which "passes all understanding" [Philippians 4:7].

● Hebrews 3:6-10 | ⁶ But CHRIST is faithful as the SON over GOD’s house. And we are HIS house, if we hold firmly to our confidence & the hope of which we boast.

⁷ Therefore, as the HOLY SPIRIT says:

“Today, if you hear HIS voice, ⁸ do not harden your hearts, as you did in the rebellion, in the day of testing in the wilderness, ⁹ where your fathers tested & tried ME, & for forty years saw MY works.

¹⁰ Therefore I was angry with that generation, & I said, ‘Their hearts are always going astray, & they have not known MY ways.’

● Philippians 4:7 | ⁷ And the peace of GOD, which surpasses all understanding, will guard your hearts & your minds in CHRIST JESUS.

Keil & Delitzsch Biblical Commentary on the OT

Luther renders it: "The LORD sitteth to prepare a Flood," thus putting meaning into the unintelligible rendering of the Vulgate & lxx; & in fact a meaning that accords with the language—for ???? ? is most certainly intended to be understood after the analogy of ???? ??????, Psalm 122:5, cf. Psalm 9:8—just as much as with the context; for the poet has not thus far expressly referred to the torrents of rain, in which the storm empties itself. Engelhardt also [Lutherische Zeitschrift, 1861, 216f.], Kurtz [Bibel und Astronomie, S. 568, Aufl. 4], Riehm [Liter.—Blatt of the Allgem. Kirchen-Zeit., 1864, S. 110], & others understand by ???? the quasi-flood of the torrent of rain accompanying the lightning & thunder. But the word is not ?????, but ??????, & ???????? [Syr. momu^l] occurs exclusively in Genesis 6-11 as the name of the great Flood. Every tempest, however, calls to mind this judgment & its merciful issue, for it comes before us in sacred history as the 1st appearance of rain with lightning & thunder, & of the bow in the clouds speaking its message of peace [Genesis, S. 276]. The retrospective reference to this event is also still further confirmed by the aorist ?????? which follows the perfect ???? [Hofmann, Schriftbeweis i. 208]. Jahve—says the poet—sat [upon HIS throne] at the Flood [to execute it], & sits [enthroned] in consequence thereof, or since that time, as this present revelation of HIM in the tempest shows, as King for ever, inasmuch as HE rules down here upon earth from HIS throne in the heavens [Psalm 115:16] in wrath & in mercy, judging & dispensing blessing. Here upon earth HE has a people, whom from above HE endows with a share of HIS own might & blesses with peace, while the tempests of HIS wrath burst over their foes. How expressive is ???????? as the closing word of this particular Psalm! It spans the Psalm like a rain-bow. The opening of the Psalm shows us the heavens opened & the throne of GOD in the midst of the angelic songs of praise, & the close of the Psalm shows us, on earth, HIS people victorious & blessed with peace [?? as in Genesis 24:1 [Note: The Holy One, blessed be HE-says the Mishna, Uksin iii. 12, with reference to this passage in the Psalms-has not found any other vessel [???] to hold the blessing specially allotted to Israel but peace.]]

in the midst of Jahve's voice of anger, which shakes all things. Gloria in excelsis is its beginning, & pax in terris its conclusion. The Apostle thinks little of dying because he thinks so much of what comes after. Who is afraid of a brief journey if a meeting with dear friends long lost is at the end of it? The narrow avenue seems short, & its roughness & darkness are nothing, because JESUS CHRIST stands with outstretched arms at the other end, beckoning us to HIMSELF, as mothers teach their children to walk. Whosoever is sure that he will be with CHRIST can afford to smile at death, & call it but a shifting of place. And whosoever feels the desire to be with CHRIST will not shrink from the means by which that desire is fulfilled, with the agony of revulsion that it excites in many an imagination. It will always be solemn, & its physical accompaniments of pain & struggle will always be more or less of a terror, & the parting, even for a time, from our dear ones, will always be loss, but nevertheless if we see CHRIST across the gulf, & know that one struggle more & we shall clasp HIM with ‘inseparable hands with joy & bliss in over measure for ever,’ we shall not dread the leap.

One thought about the future should fill our minds, as it did Paul’s, that it is to be with CHRIST. How different that nobly simple expectation, resolving all bliss into the one element, is from the morbid curiosity as to details, which vulgarises & weakens so much of even devout anticipation of the future. To us as to him Heaven should be CHRIST, & CHRIST should be Heaven. All the rest is but accident. Golden harps & crowns, & hidden manna & white robes & thrones, & all the other representations, are but symbols of the blessedness of union with HIM, or consequences of it. Immortal life & growth in perfection, both of mind & heart, & the cessation of all that disturbs, & our investiture with glory & honour, flung around our poor natures like a royal robe over a naked body, are all but the many-sided brightnesses that pour out from HIM, & bathe in their rainbowed light those who are with HIM.

To be with CHRIST is all we need. For the loving heart to be near HIM is enough.

‘I shall clasp thee again, O soul of my soul, And with GOD be the rest.’

Let us not fritter away our imaginations & our hopes on the subordinate & non-essential accompaniments, but concentrate all their energy on the one central thought. Let us not lose this gracious image in a maze of symbols, that, though precious, are 2ndary. Let us not inquire, with curiosity that will find no answer, about the unrevealed wonders & staggering mysteries of that transcendent thought, life everlasting. Let us not acquire the habit of thinking of the future as the perfecting of our humanity, without connecting all our speculations with HIM, whose presence will be all of heaven to us all. But let us keep HIS serene figure ever clear before our imaginations in all the blaze of the light, & try to feed our hopes & stay our hearts on this aspect of heavenly blessedness as the all-embracing one, that all, each for himself, shall be for ever conscious of CHRIST’s loving presence, & of the closest union with HIM, a union in comparison with which the dearest & sacredest blendings of heart with heart & life with life are cold & distant. For the clearness of our hope the fewer the details the better: for the willingness with which we turn from life & face the inevitable end, it is very important that we should have that one thought disengaged from all others. The one full moon, which dims all the stars, draws the tides after it. These lesser lights may gem the darkness, & dart down white shafts of brilliance in quivering reflections on the waves, but they have no power to move their mass. It is CHRIST & CHRIST only who draws us across the gulf to be with HIM, & reduces death to a mere shifting of our encampment.

This is a noble & worthy reason for wishing to die; not because Paul is disappointed & sick of life, not because he is weighed down with sorrow, or pain, or loss, or toil, but because he would like to be with his Master. HE is no morbid sentimentalist, he is cherishing no unwholesome longing, he is not weary of work, he indulges in no hysterical raptures of desire. What an eloquent simplicity is in that quiet ‘very far better!’ It goes straight to one’s heart, & says more than paragraphs of falsetto yearnings. There is nothing in such a wish to die, based on such a reason, that the most manly & wholesome piety need be ashamed of. It is a pattern for us all.

The attraction of life contends with the attraction of heaven in these verses. That is a conflict which many good men know something of, but which does not take the shape with many of us which it assumed with Paul. Drawn, as he is, by the supreme desire of close union with his Master, for the sake of which he is ready to depart, he is tugged back even more strongly by the thought that, if he stays here, he can go on working & gaining results from his labour. It does not follow that he did not expect service if he were with CHRIST. We may be very sure that Paul’s heaven was no idle heaven, but one of happy activity & larger service. But he will not be able to help these dear friends at Philippi & elsewhere who need him, as he knows. So love to them drags at his skirts, & ties him here.

One can scarcely miss the remarkable contrast between Paul’s ‘To abide in the flesh is more needful for you,’ & the saying of Paul’s Master to people who assuredly needed HIS presence more than Philippi needed Paul’s, ‘It is expedient for you that I go away.’ This is not the place to work out the profound significance of the contrast, & the questions which it raises as to whether CHRIST expected HIS work to be finished & HIS helpfulness ended by HIS death, as Paul did by his. It must suffice to have suggested the comparison.

Returning to our text, such a reason for wishing to die, held in check & overcome by such a reason for wishing to live, is great & noble. There are few of us who would not own to the mightier attraction of life; but how few of us who feel that, for ourselves personally, if we were free to think only of ourselves, we should be glad to go, because we should be closer to CHRIST, but that we hesitate for the sake of others whom we think we can help! Many of us cling to life with a desperate clutch, like some poor wretch pushed over a precipice & trying to dig his nails into the rock as he falls. Some of us cling to it because we dread what is beyond, & our longing to live is the measure of our dread to die. But Paul did not look forward to a thick darkness of judgment, or to nothingness. HE saw in the darkness a great light, the light in the windows of his FATHER’s house, & yet he turned willingly away to his toil in the field, & was more than content to drudge on as long as he could do anything by his work. Blessed are they who share his desire to depart, & his victorious willingness to stay here & labour! THEY shall find that such a life in the flesh, too, is being with CHRIST.

III. Thus the stream of thought passes the rapids & flows on smoothly to its final phase of peaceful acquiescence.

That is expressed very beautifully in the closing verse, ‘Having this confidence, I know that I shall abide & continue with you all, for your furtherance & joy in faith.’ Self is so entirely overcome that he puts away his own desire to enter into their joy, & rejoices with them. HE cannot yet have for himself the blessedness which HIS SPIRIT seeks. Well, be it so; he will stop here & find a blessedness in seeing them growing in confidence & knowledge of CHRIST & in the gladness that comes from it. HE gives up the hope of that higher companionship with JESUS which drew him so mightily. Well, be it so; he will have companionship with his brethren, & ‘abiding with you all’ may haply find, even before the day of final account, that to ‘visit’ CHRIST’s little ones is to visit CHRIST. Therefore he fuses his opposing wishes into one. HE is no more in a strait betwixt 2, or unwitting what he shall choose. HE chooses nothing, but accepts the appointment of a higher wisdom. There is rest for him, as for us, in ceasing from our own wishes, & laying our wills silent & passive at HIS feet.

The true attitude for us in which to face the unknown future, with its dim possibilities, & especially the supreme alternative of life or death, is neither desire nor reluctance, nor a hesitation compounded of both, but trustful acquiescence. Such a temper is far from indifference, & as far from agitation. In all things, & most of all in regard to these matters, it is best to hold desire in equilibrium till GOD shall speak. Torture not yourself with hopes or fears. THEY make us their slaves. Put your hand in GOD’s hand, & let HIM guide you as HE will. Wishes are bad steersmen. We are only at peace when desires & dreads are, if not extinct, at all events held tightly in. Rest, & wisdom, & strength come with acquiescence. Let us say with Richard Baxter, in his simple, noble words:

‘Lord, it belongs not to my care Whether I die or live; To love & serve Thee is my share, And that Thy grace must give.’

We may learn, too, that we may be quite sure that we shall be left here as long as we are needed. Paul knew that his stay was needful, so he could say, ‘I know that I shall abide with you.’ We do not, but we may be sure that if our stay is needful we shall abide. We are always tempted to think ourselves indispensable, but, thank GOD, nobody is necessary. There are no irreparable losses, hard as it is to believe it. We look at our work, at our families, our business, our congregations, our subjects of study, & we say to ourselves, ‘What will become of them when I am gone? Everything would fall to pieces if I were withdrawn.’ Do not be afraid. Depend on it, you will be left here as long as you are wanted. There are no incomplete lives & no premature removals. To the eye of faith the broken column in our cemeteries is a sentimental falsehood. No Christian life is broken short off so, but rises in a symmetrical shaft, & its capital is garlanded with amaranthine flowers in heaven. In one sense all our lives are incomplete, for they & their issues are above, out of our sight here. In another none are, for we are ‘immortal till our work is done.’

The true attitude, then, for us is patient service till HE withdraws us from the field. We do not count him a diligent servant who is always wearying for the hour of leaving off to strike. Be it ours to labour where HE puts us, patiently waiting till ‘death’s mild curfew’ sets us free from the long day’s work, & sends us home.

Brethren! there are but 2 theories of life; 2 corresponding aspects of death. The one says, ‘To me to live is CHRIST, & to die gain’; the other, ‘To me to live is self, & to die is loss & despair.’ ONE or other must be your choice. Which?

Benson Commentary

Php 1:21-23. For to me to live is CHRIST—As my life, both natural & spiritual, is from CHRIST, so to serve & enjoy him is the supreme end of my life, & I value it only as it is capable of being employed in glorifying him, to know, love, & follow whom, is my glory & my joy. But if I live in the flesh, &c.—Here he begins to treat of the former clause of the preceding verse: of the latter he treats Php 2:17. This is the fruit of my labour—This is the fruit of my living longer, that I can labour more. Glorious labour, desirable fruit! In this view long life is indeed a blessing. Yet what I shall choose I know not—That is, if it were left to my own choice. For I am in a strait betwixt 2—The 2 things mentioned immediately. The original expression, s??e??µa? e? t?? d??, is translated by Doddridge, I am borne 2 different ways, it being, he thinks, an allusion to a ship stationed at a particular place, & riding at anchor, & at the same time likely to be forced to sea by the violence of the winds; presenting us with a lively representation of the apostle’s attachment to his situation in the Christian Church, & the vehemence of his desire to be unbound, as a?a??sa? may be rendered, that is, to weigh anchor, & set sail for the heavenly country. Having a desire—?p???µ?a?, a coveting, or strong desire, as Macknight renders the word; see on 2 Corinthians 5:4; 2 Corinthians 5:8 : to depart—To have my soul separated from my body, & to escape from bonds, the flesh, & the world; & to be with CHRIST—In paradise, Luke 23:43; admitted to the immediate, full, & constant enjoyment of him, in comparison whereof the nearest access to him, & fullest enjoyment of him in this world, are but absence. Which is far better—Greek, p???? µa???? ??e?ss??, by much far better. Or, as Dr. Doddridge renders the clause, is better beyond all expression. Indeed, as the doctor observes, the apostle seems to labour for expression, using the highest superlative which it is perhaps possible to form in any language. It is justly observed by the last-mentioned writer, that this text plainly proves the separate spirits of good men are with CHRIST immediately after the death of their bodies, in such a manner that their state is far better than while they continue in this world; which certainly a state of insensibility, or the sleep of the soul, which some maintain, cannot possibly be. Some indeed think the apostle might speak thus though the soul sinks into insenbility at death; because, say they, in that case, the time between death & judgment must be reckoned as nothing. But, as Dr. Whitby justly observes, “could Paul think a state of insensibility much better than a life tending so much as his did to the glory of GOD, to the propagation of the GOSPEL, & the furtherance of the joy of Christians? Could he call such an insensate state a being with CHRIST, & a walking by sight, in opposition to the life of faith?” 2 Corinthians 5:7-8. Certainly it is at least evident from what the apostle here says, if there be any such middle state of insensibility between death & the resurrection, he had no knowledge or expectation of it; for if he had known of any such state, he undoubtedly would have thought it a thousand times better to live, & promote the cause of CHRIST & religion on earth, than by dying to fall into it. Besides, how could he say that he had a desire to be with CHRIST, if he knew he was not to be with him till after the resurrection? This, however, will not at all disprove the doctrine which maintains that pious men will receive a large accession of happiness after the resurrection: a truth declared in many other passages of SCRIPTURE. “The use of philosophy, it hath been said, is to teach men to die. But, as Fielding has observed, one page of the GOSPEL is more effectual for that purpose than volumes of philosophy. The assurance which the GOSPEL gives us of another life is, to a good mind, a support much stronger than the stoical consolation drawn from the necessity of nature, the order of things, the emptiness of our enjoyments, the satiety which they occasion, & many other such topics, which, though they may arm the mind with stubborn patience in bearing the thought of death, can never raise it to a fixed contempt thereof, much less can they make us consider it as a real good, & inspire us with the desire of dying, such as the apostle on this occasion strongly expressed.”—Macknight.

https://biblehub.com/commentaries/psalms/29-11.htm

#peace #Psalm 29 #Psalm 29:11 #Numbers 6:23-27 #blessing

0 notes

kyoukokiwigiri · 7 years

Text

Everything was stolen from you, & yet you still had to carry all that pain & suffering

Headcanon Dreams, Mother, Emotions Verse - General

Kirigiri remembers her dreams about her past. While these dreams seldom bother her, on occasion they do HAUNT her solely due to the fact she BOTTLES her grief & negativity. Being trained to be a Kirigiri detective at an early age, she has learned from Fuhito that emotions are best to be kept within the inner self & to be forgotten. Stated many a time how “preconceptions” shroud the mind from logical explanations, the training she endured as a child forced her to have UNHEALTHY coping mechanisms. Such dreams she thinks about or relapses & recaps of the specific event. It is a way for her MIND to clear itself & to vent since consciously she doesn’t do this at all. After all, she RARELY trusts, & sometimes even if she does ( to a certain extent ), it’s not enough for her to TRULY open up.

While she does sometimes have dreams in a chain that reflect her life, there are days where she will wake up tearing up due to how overwhelming her losses, grief & stress is. Kirigiri crying is rare & when she does, she often cries for approximately 10 minutes before shrugging it off & continuing with her routine for the day. Kirigiri only knows about the truth of her own situations. Not even the closest of friends are able to tell that she had cried on that day, or that she is shaken up by her dreams.

Kirigiri’s mother is CANONICALLY dead when Kirigiri is of the age of 7 ( This is in DRK Vol IV ). Because Kirigiri states that the only memory of her deceased mother is a “white face floating on top of a hospital bed”, it doesn’t mean that she DOESN’T remember how she was when she is DREAMING. It’s stated that the brain stores information & doesn’t have the ability to create faces without a “reference”. Since it is likely that her mother raised & nursed her to a certain age, Kirigiri remembers how her mother was. Due to how negative her life is, often enough there are dreams where her mother appears as a “spirit guide” for her. While Kirigiri DOES acknowledge that these are dreams, there are times where she heeds to her mother’s wisdom. Canonically again, it is stated by Jin ( in DRK Vol IV ) that the family was held together due to because of her MOTHER.

Vivid details of her mother are seen in her dreams. Since in the first DR game, Kirigiri’s hair color is described as “silver.” Since Jin bears a dark eggplant type of purple color for his hair, Kirigiri is genetically inherited with a haircolor that is COMBINED by BOTH BIOLOGICAL PARENTS. This means that Kirigiri’s mother had a hair color of SILVER while Jin has his DARK PURPLE. Combining both developed a light lavender/lilac shade for her hair. Kirigiri’s mother had a light shade of purple for her eye color as well. Jin’s eye color has a darker purple hue to them. Kirigiri has a gene for 100% purple eye color, 50% light hair color & 50% dark hair color. If she were to have children, the child leans on either or for hair color depending who the other parent is ( If she matches up with someone with dark hair, it’s possible the child bears the eggplant hair color & if she is paired with someone with light hair, then the child may possibly have a lilac/lavender tint to their hair ).

Kirigiri’s mother is VERY therapeutic in her dreams. Often Uzuchi ( Her mother’s family name; source is again from DRK IV ), will speak to her logically but also emotionally. There are times where Kirigiri questions if her mother is talking to her in her dreams as a SPIRIT. There are times where she asks her mother for answers about her father & her family overall, but often Uzuchi refrains from speaking as such & tells her daughter that she will learn the truth on her own. Said action is to hone her ability to search for the one singular truth. Since dreams are the only “place” where Kirigiri can let her emotions be free, there are times where Uzuchi comforts her daughter with a therapeutic touch to the shoulder or a touch to the hand. Never a full blown hug. Due to the strained relationship with her family, Uzuchi is aware her daughter doesn’t thrive off of physical contact & RESPECTS this.

Samidare speaks about how Kirigiri is a 13 year old girl bearing the burden of a 30 year old woman ( Stated somewhere in DRK Vol. II or III ). Due to this, it is very heavily implied that Kirigiri bears all her burdens privately. Since she is an ONLY child ( there is no mention of her having siblings of any kind ), Kirigiri often shoves her emotions aside when duty calls. Her family pride is vital & often she knows that because if she were to DEFY & BETRAY the life as a Kirigiri detective that she too will be exiled just like her father. In DRK Vol, I or II, it is stated she begins QUESTIONING her family’s way of life & pesters Yui about it asking if it is “normal” to live like this. Kirigiri states that she would feel “empty” if she thought it wasn’t normal. Hinting that she is forced to comply to every law in the Kirigiri detective doctrine, she often begins to “doubt” her family’s ways. Another plate to chew off with burdens.

Jealousy, pride, agitation, grief. The main emotions she bears since of the day she was “born.” Kirigiri seldom knows the meaning of true love or happiness. When Yui is given a lot of attention, Kirigiri portrayed jealousy. When agitated or wanting to avoid certain behaviors, she often portrays that as well in a subtle way ( In DRK IV, she wanted to avoid shopping by walking down on an up escalator---yes this is canon ). True love is a concept that she desires to experience, hinting how the in-vitro rose is her most FAVORITE gift. Such a gift symbolizes TRUE LOVE; ultimate love. When something goes wrong on the job, Kirigiri often feels conflicted & upset. She will mildly “beat” herself up over the fact that she should have SEEN this earlier ( hinted in DRK IV ). While she stops portraying this in her later years, old habits don’t change & she often does this in silence & in private where she WON’T burden anyone else. She doesn’t want to be seen as “weak” or “wronged.” Often because she is the HEIR to the Kirigiri detective bloodline, perfectionism is something she STRIVES to achieve. A strike to her pride is where she FALTERS & may be PASSIVE AGGRESSIVE depending how severe it is.

Kirigiri states in the first game that she too has emotions like anyone else. However, due to the neglect she experienced in her childhood, she often portrays her emotions awkwardly since she isn’t truly aware that it may come off aggressive or rude. Eventually she learns to be honest & modest to which during her years in HPA, she grows to become a lot softer. It is because she is surrounded by her classmates & often analyzes them on how they behave so that she can incorporate this in her own experiences. While she has Yui involved in her life years ago, she builds up on everything. However, she is notoriously known to bear grudges for a long time---such as her passive aggressive anger to Naegi in Chapter 4-5, but also on how she received her burn scars. Emotions in general are a foreign concept, & she is only an expert in critical thinking & solving problems. Socializing MAY be awkward to her since she ALWAYS keeps a formal appearance & tone to her.

#[ This is 6 paragraphs long. I wanted to write more but I'll end it here and go into depth later ]#▌┊⊰ ᴘᴇᴀᴄᴇ ɪɴ sɪᴍᴘʟᴇ ᴘʟᴇᴀsᴜʀᴇ | Gᴇɴᴇʀᴀʟ #█ ▌❤ ᴡʜᴀᴛ ɪs ᴜɴᴅᴇʀ ᴛʜᴀᴛ ғʀɪɢɪᴅ ʙᴀʀʀɪᴇʀ?;ʜᴇᴀᴅᴄᴀɴᴏɴ #▒▓▬COLD CASES };;ooc #long post /

11 notes · View notes