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lilyginnyblackv2 · 1 year

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Buddy Daddies - Episode 11 - Thought Post - SPOILERS!!!

I fully expect that the fandom is literally losing it over Rei’s, “Kazuki!” and Kazuki’s little gasp outside of the safe house. (I know I still am!)

That scene is also the most intimate we’ve ever seen them be with each other on a physical level. And I actually think that is something that made Kazuki and Rei stand out/feel different, and why I never got “queerbait” vibes from them. In a way, Kazuki and Rei are kind of a prime example of how a lot of people’s defense against queer readings of MLM relationships in anime isn’t wholly accurate, since it usually boils down to: male friendships in Japan are more intimate, guys are more emotionally open, etc.

As someone who worked at elementary schools and junior high schools and have seen drunk male teachers at nomikai and enkai before - they aren’t. Not really. In junior high school there was a lot of rough housing and drunk male coworkers might sling their arms around each other when they are doing some kind of silly act or something - but usually the kind of queer subtext stuff that we often get in anime and manga is on a totally different level and not comparable.

Sometimes it really is subtext (a great example of this would be Nabari no Ou, the mangaka is X-gender and asexual, so any queer subtext you are getting from that series is likely queer subtext), but other times it’s just straight up queerbait. Usually you can feel and tell the difference between the two after a while.

With Buddy Daddies the promo materials never show them half naked wrapped around each other or anything enticing like that. And in-series we see them keeping a common, especially in Japan, physical distance with each other. As the series has progressed though, as Rei has learned how to communicate his thoughts and feelings more, and as Kazuki has learned to let someone in again, we’ve started seeing them communicating with each other more openly.

And while at the start most of their physical closeness has been in comedic scenes, like Kazuki dragging Rei around:

Or when Kazuki freaked out about Miri getting captured by some creep and took hold of Rei’s shoulders:

Now, in this episode, we have the two discussing a very important topic. Rei is as opened up as can be and communicating properly. He’s made it clear how he feels about taking the life of Miri’s father and through guilt by association, the life of Miri’s mother now too.

He’s laying himself pretty bear in front of Kazuki and his desire to raise Miri in this scene makes me think of Episode 3 in a way. With Rei in similar, though not exactly the same, role as Kazuki and Kazuki in the role of Misaki.

Rei, like Kazuki, wanted to take care of Miri. Kazuki, like Misaki who sent her away and wanted nothing to do with her, wanted to bring her to an orphanage and then exit her life entirely.

They flash back to Misaki’s death for a reason as well, because Kazuki is relating himself to her words.

He’s done this before and the two have been both foils of each other (Ep. 3) and parallels of each other, such as in last episode and even in this week’s episode, with Misaki’s bandaged fingers after she tried properly cooking a meal for the first time:

Looking like Kazuki’s after he tried sewing for the first:

Right, in that moment with Rei, Kazuki was thinking, “I’m being selfish too. I want to keep Miri even though it’s safer not to.” The difference though, is that Kazuki, unlike Misaki, has a partner who is equally in the known as him when it comes to the potential dangers of what they are about to do. He also has a partner that is willing to take equal responsibility and care of Miri.

Misaki never had that. Not the first time and the second time, when she came back for Miri in Episode 10, she likely didn’t even know how to ask for something like that. Rei wasn’t fully ready yet then either.

I have more I could say about Misaki, but I’ll save that for another post. In this one, I want to wrap around to the beginning of this post. The things that make this physical touch so intimate between them:

1. It is Rei reaching out to Kazuki. A first, iirc, outside of stuff like him putting his arm out to stop Kazuki last episode, Ep.10 (outside of the daycare)

2. The scene isn’t comedic. It is heated. The two are very emotionally charged.

3. Kazuki’s hand reaches out because he was angry at the situation. He grabbed Rei’s suit because of that built up fear and angry at the situation.

4. But Rei wraps his hand over Kazuki’s to show connection. He uses it to add emphasis and make Kazuki feel his words: “Think. What can we do to help Miri?” Rei has always been the one to calm Kazuki down. When Kazuki goes over the top, Rei reels him back in, like here. But this was the first time he had to physically reach out to Kazuki and touch him in order to make that point and actually bring Kazuki back down from the clouds and back into the reality of their situation and what they can do.

5. Finally, during this talk, when Rei says, “We’ll make Miri happy!” Kazuki doesn’t just think about Miri, he thinks about Yuzuko too. Rei says we’ll and Kazuki is fully acknowledging that.

This time, unlike in Episode 3, where they both decided to be Miri’s papas separately, they are deciding to be her papas together. There was a shift in their dynamic again, just like there was in Episode 3.

I noticed this last week and was wondering how this would play out in today’s episode, but we are seeing parallel episode structure with Arc 1 (Episodes 1 - 5) and this final arc (Episodes 10 - 13). This final arc is one episode short though, so this week’s episode was like a paralleled combination of Episodes 2 and 3.

Putting the rest under a Read More due to length.

Episode 10 Paralleled Episode 1 - Kazuki and Rei getting Miri due to a hit, Kazuki and Rei losing Miri to a hit (the hit being Miri herself).

Episode 11 Paralleled Episodes 2 & 3 - For the Episode 2 parallels you have:

Kazuki and Rei having Miri at the apartment for the first time and getting taken off the job with the introduction of Ryo killing someone. Versus us seeing Kazuki and Rei in the apartment for the first time without Miri and them deciding to leave their jobs this time along with Ryo killing again (hopefully, for the last time).

And in the case of Kazuki and Rei trying to adjust to the changes both with Miri in the apartment for the first time and without her in the apartment - they are both a mess, one was just a noisy mess vs the silent mess of this episode (11).

For the Episode 3 parallels, I feel like I talked about that quite a bit already. Though we have some other things as well, like Misaki’s “you know they aren’t your real papas” conversation with Miri:

Mirroring Rei’s conversation with Miri about Kazuki not being her real papa:

And, of course, we have Rei thinking about his father, who he was still staying away from at the time, and contemplating what being a papa really means. Now he has confronted his father, he went back to him, but spoke back to him, and he now knows for certain what being a papa means and is 100% ready to commit to that.

If they really are following this parallel structure, then what might that mean for Episodes 12 and 13, which would, on some level, parallel episodes 4 and 5? In Episode 4 we saw them actually stepping into the roles of “Papas” on a societal level with the government office and daycare and kind of jumping into it all without really knowing what they were doing.

Now they do know, they have experience, and we’ve seen Kazuki set down ground rules for Rei that Rei has agreed to follow when it comes to raising Miri. So there will be more involvement on Rei’s part.

There was forged paperwork too...Maybe this time we will see Kazuki fill out that paperwork slightly more legitimately. Someone (sorry, I can’t remember exactly who it was!) mentioned that if Miri’s father never claimed Miri, then Kazuki might be able to claim himself as Miri’s father on her birth certificate. So...maybe we’ll see that. They did make Kazuki look like Miri’s birth father for reasons.

And, if Episode 13 ends up paralleling Episode 5, where Kazuki and Rei got reinstated on the job, Episode 13 would be when they properly leave the job. However that may go down. The interesting thing to think about is what Kyutaro will decide to do. In Episode 5, he told them of the dangers and was tempted to not get attached to Miri, but he did anyway. He acted like a regular café owner with her, watched over her, and told her about her comedian and oil baron papas.

Now that we know Kyutaro has a safe house, will he deflect along with them and stay with her, will he work as a double agent or spy. I don’t know. But Episode 5 ended with Miri making a presentation, so maybe this episode will end with the Christmas Party at the end, which would bring the series full circle, since I bet that Christmas Party is on Christmas Eve.

I know that it’s been stated that there won’t be any more “fluffy” episodes, but I think that is tied to the “pretend family” vs. “real family” dynamic that gets brought up in this episode. Where Kazuki and Rei are both 100% all in, so that means there won’t be any “super happy” facade going up anymore, just sincere emotions (which can range from happy to sad to tragic to comedic, etc.). After all, in that quiote, the director also told them to let go of past restraints and to show the intimate feelings that exist between Kazuki, Rei, and Miri. After this week’s episode, I feel I completely understand what this means now.

I’m going to stop this post for now, because I feel it has kind of gone off in various directions and I do still need to take my daily walk around the neighborhood. But I do have a number of thoughts on this episode (I wrote them all down in my notebook to make sure I don’t forget anything, lol). And I’ll be getting those posts up in a bit.

But yeah, my mind is still going off in like five million different directions. How am I going to make it to next Friday!?

EDIT: SO! Next week’s episode is the last. The parallel aspect can still work though, Episode 12 would just parallel Episodes 4 & 5, which actually does work pretty nicely together. Thanks to everyone who informed me that Episode 12 will be the last!<3

#Buddy Daddies #BD #KazuRei #Kazuki Kurusu #Rei Suwa #Miri Unasaka #Misaki Unasaka #Kyutaro Kugi #BD spoilers #Buddy Daddies spoilers #meta post #thought post #analysis #image heavy post #long post

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that-ari-blogger · 4 months

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Wicked's Existential Crisis

Deception is a big theme in Wicked. I don't think this is news to many people. The wizard is a wizard, truth is truth, happy is what happens when all your dreams come true.

Galinda embodies this pretty heavily, but so does Fiyero, although they do so in similar ways. They both lie to others, and realise that they have been lying to themselves later on.

But, you need a baseline before you get to character development. You need a benchmark for everyone to either move up or down from, depending on the genre.

In my opinion, Dancing Through Life establishes that benchmark, while asking a few more philosophical questions as it does.

Let me explain.

SPOILERS AHEAD

"Dancing through life, Down at the Oz Dust If only because dust Is what we come to. Nothing matters, But knowing nothing matters, It's just life So keep dancing through"

Fiyero, buddy, friend, pal... are you ok?

Dancing Through Life is the introduction of Fiyero, and there is a enormous difference between what he is saying and how he is saying it.

That dust line is actually a biblical allusion, with various Judeo-Christian books and prayers claiming that G-d created humans from dust, and that when someone dies, they return to that dust. Hence the "ashes to ashes, dust to dust" saying (source). So, Fiyero is nihilistic.

"Nothing matters, so why bother trying" is such a morbid idea, and its usually associated with emo music, either lots of drums and raw emotions, or quiet and sad. So, when Fiyero sings it as a musical theatre, bombastic full orchestra song, his message flies under the radar because it is so dissonant with the style.

That's the key here. Most of the time, people are nuanced, and stereotypes do not encompass the human experience at all. The emotionally confused or depressed or spiraling person isn't the one who sits in the moonlight writing sappy poetry, it's the person who manages to hide it the most easily because they've been doing it for the longest.

Fiyero is putting up a mask to hide his insecurities, and he is doing it by... not wearing a mask?

Lampshading is the practice of softening elements in a piece of media, letting the audience know that something is out of order or farcical, and turning it into a joke. Overly Sarcastic Productions (@comicaurora) has a video explaining the trope in detail.

In a weird way, this is what Fiyero is doing. He is turning his own crisis into a joke. He doesn't have to hide it if he can poke fun at it. He becomes self-referential, and tells people to move on past the words he is saying and focus on the fun dancing and music.

I see where Fiyero is coming from, here. Purpose is difficult to find in this world, and it definitely seems like neither good or bad are rewarded, and luck will do what it will. But I would like to present a counter point.

Everything Everywhere All At Once was easily the most emotionally powerful film of 2022, and it also discussed nihilism in detail. I don't want to get into plot spoilers, but this movie asks the question: If nothing matters, then what?

And the answer to this is clear: Everything. In a Cinema Therapy video on the film, Johnothan Decker states this:

"If nothing we do matters, then the only thing that matters is what we do."

Actions have whatever meaning we ascribe to them, and if we ascribe no meaning to anything, then everything has meaning on the same level. If nothing matters, then everything matters.

This segways into another core question of the musical and especially this song. Do intentions matter?

Galinda and Elphaba have a comedy of errors with the gift giving, specifically when Galinda sets up Nessa with Boq, and Elphaba arranges for her to receive a wand in return, contrasted with the infamous hat.

Galinda does things for personal gain, and accidentally makes someone's life slightly better for a moment, and Boq kind of does the same. Neither of the two cares about Nessarose, but they bring her happiness in the short term.

"We deserve each other, and Galinda helped it come true."

I mentioned in my post about The Wizard And I that this theme comes up there first, in association with meeting the wizard, and I think there is something else to it than just deception. Don't get me wrong, this is deception at work, Elphaba with the Wizard and Nessa with everyone around her. But that lie has a positive result here, for the moment.

It also separates the consequences from the intention. Elphaba sees the wizard and wants to improve the world, her hopes are on rocky foundations, but her actions are strong, and I have already mentioned what Galinda's actions do.

However, I would argue that intentions do matter, and that this musical agrees with me, and that is with Boq, a person whom I despise.

As a character, Boq is fascinating. He is a direct satire of the hopeless romantic of stereotypical fairy tales, think Ariel from The Little Mermaid, or Lancelot from the 1963 movie, Lancelot and Guenevere. Boq is trying desperately to court someone who does not care about him and has someone who does care fall from the sky in front of him, but he can't see past himself.

Now, pining is all well and good, you are allowed to pine, and if someone is attracted to you, there is no law that says you must be attracted back. But Boq goes a step further.

"It's because I'm in this chair and you felt sorry for me. Isn't that right?" "No! No! It's because you are so beautiful."

Boq had an opportunity to back out of the romance handed to him on a silver platter. He could have said it was just a dance, or even confessed that Galinda put him up to it, if he so desired. But Boq made a choice to keep stringing Nessarose along. He may have his reasons, but I think his actions are not excusable, and the gut punch at the end of the musical when he tells her that he never cared is a betrayal that could have been so easily avoided.

Boq and Fiyero go on to become key players in the "death" of the Wicked Witch of the West, and they do so for alternative reasons, and it reframes Dorothy's journey.

For a more nuanced explanation of what I mean, consider this: In 2019, youtuber Hbomberguy (Harry Brewis) raised $347000 for a Brittish charity organisation called Mermaids in a livestream of Donkey Kong 64, and he gave a speech in October of that year about why he did such a thing.

"I think secretly, we're always making one of two decisions, and we make that decision even if we don't know we're making it. You're either choosing to make life worse for someone you don't like, or better for people you care about. There is an actual difference, and I didn't realise I made the wrong choice until a lot of people came over and helped change the choice retrospectively."

What you are trying to do matters, because if you keep trying to do good, even if you hit roadblocks, if you are truly committed, you will eventually do some good in the world.

I actually like Brewis' definition of right and wrong here, because it isn't overly philosophical, it pertains to individual actions. You either make someone else's life better or worse.

I have been rambling around my point for a while, so let me make it concise. Dancing Through Life asks philosophical questions about life. What matters? Is it you? Is it your actions? Is it your intentions?

Final Thoughts

There are two other things I need to mention before I finish. First up, the extras are some of the best parts of this musical, and in this song, that is driven home. Everything comes across as so superficial, and not in a "that's bad acting" way, but in a "that's an actor playing a character who is acting" way. This carries over to Galinda's entire style of talking, but the extras knock it out of the park here. It means that the only sincere moments in the song hit with the relevant weight. Those being Elphaba and Nessa's conversation, and the Elphaba dance (something remarkably difficult to find images of).

That dance is the moment I see Glinda x Elphaba (I still refuse to use the Gelphie ship name) actually taking off, rather than in What Is This Feeling, because it's the first moment that the two see eye to eye, and Galinda finally understands Elphaba. She earns her friendship and trust by trying to make up for her mistakes. Galinda talks a lot, but actions speak louder than words, and that dance kicks off a love story.

Next week, I will be diving into Popular, a number that really takes apart the theming to an overt level only matched by one other song, and we will get to that one soon.

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#rants #literary analysis #literature analysis #character analysis #what's so special about...?#wicked #wicked the musical #elphaba thropp #galinda upland #wicked musical #gelphie #wicked is a queer story #fiyero #elphaba #glinda #long post

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drconstellation · 7 months

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All The Colours of the GO Rainbow

Updated 11 Nov 2023

Edit note: I've done quite a big update on Red, Green and Blue, so if you read this before 11 Nov 2023 it might be worth reading it again.

I'm writing this meta about colours in the Good Omens AU in preparation for some future metas I'm planning, where colour will be important. And yes, I'm going to use "colour" as the spelling, as I'm an Australian and I use the UK English as my usual go-to version of English (that is what I was taught at school,) even though I am finding myself flicking between US and UK English here on Tumblr, leaving out u's here and there and putting in z's where I would normally put s's.

I also think its worth having another discussion about it as there are some colours I've have seen discussed here and there, but not at length, and some not at all that I think are important, and I just want to bring them all to one place.

I'm also going to be referring to @cobragardens excellent meta The Colors of Crowley quite a bit in this meta at various points, so you might want to pause and go read that first, then come back.

BLACK

Most people's initial reaction would be to class black as a colour of Hell. Crowley wears a lot of black, and usually a hidden accent of red (aaand something else. I'll discuss that at the end.) But the other demons are actually quite colourful when you get them into the light. They may tend towards the darker shades but there is quite a range of colours seen. Dagon, for example, is a very dark blue, as their avatar is a marine fish. Normally blue is associated with Heaven in GO. But this fits better if we think of black as being the colour of shadow, where the light does not reach, and the place of hidden things, of mystery

And it's worth noting that Aziraphale wears some black when he is trying to perform a magic show. He also wears white and gold at the same time but normally he does not wear these colours, unless he is performing human magic (see S1E1, Warlock's 11th birthday party, and the 1941 minisode S2E4) This should be striking enough for you to sit up and take note. You could say when Aziraphale dons black it is an expression of his act of "mysteriosity."

RED

Again, red is not necessarily a demonic colour, although we tend to associate it with demons, as Lord Beelzebub and Lord Dagon both wear red sashes as a mark of their rank in Hell. Think of it more as the colour of passion and romance in GO. Ooh, got you there! Makes you wonder what Shax is really up to (I know some of you have.) Perhaps they are just passionate about doing their job, or climbing their way to the top of the demonic ranking ladder?

Edit: After writing up a couple of other metas and some more reading maybe a better description is "devotional passion." Shax is devoted to climbing the power ladder in Hell (her red is usually a darker shade of red than Crowley's,) and the Red Team in the paintball fight at Tadfield Manor in S1E2 is devoted to following the rules of Management. Crowley is devoted to Aziraphale, of course.

In Christianity red has an association with the left-hand side, or the sinister side. In GO we tend to call this the "demon side" as there is a lot of shot blocking for shoulder-angels and shoulder-demons. Crowley is typically on Aziraphale's LHS because of this, so when he isn't, we take note. Actually you should take note of all the shot-blocking in GO because who is on the shoulder-right and who is on the shoulder-left of shot tells you so much about their moral stance in that scene! Anyway, in religious iconography it will often be Michael robed in red, with a sword, on the left of Jesus, representing the eccentric, the strange, the excessive, fire - and goats. (Hey, goats are a whole other meta, we are here to talk colour!)

Special mention to the 1941 minisode in S2E4 that is just soaked in red, everywhere you turn: in the sparks flying off the burning buildings as the sparks of love begin to fly, the inside of the book shop where Crowley encourages Aziraphale to think like a professional, the magic shop where danger and chaos lurks in every corner but magic is Aziraphale's personal passion, and the Windmill Theater where he finally gets to perform his magic passion on the stage. Several ops see this as a special memory of Aziraphale's so he colours it with the red of romance. We've got big hopes of seeing a third part to 1941 in S3. Some of this red is also used as a metaphor for flames and fire (there always seems to be something burning after a gun is fired) - we are fanning the flames of passion again!

GOLD

Gold is one the colours of Heaven. Nearly all the angels have some form of gold on them at some point. A gold ring, gold embroidery on their clothes, a golden brooch, gold on their face, Aziraphale's gold watch fob (he has a ring, too). We also see multiple golden lions in various places, which appear to have a connection to Heaven and Jesus. (I'm still planning to write a meta on the lions in the future, but I've got to find them all first! They keep turning up in surprising places...) The lions have a royal connection, one of two royal mentions in this meta, in that they represent the connection Jesus has to the Royal house of Judah, and are a symbol of his return in the Second Coming.

YELLOW

Yellow in GO is probably the hardest colour to interpret. We see a lot of it, because Aziraphale is so fond of it, being the colour of Crowley's eyes. The walls of the book shop are painted yellow, he gives Jimbriel a yellow feather duster to use and he turns the Bentley yellow on the trip up to Edinburgh, much to Crowley's disgust. (To be fair, Crowley's Mayfair flat in S1 was colour-coded to Aziraphale's eyes in return, in greys and subtle blues, but that's another discussion.)

But I think the important thing to emphasis here is that yellow is NOT the same as gold, and we shouldn't blend the two colours together.

While some point out that yellow can be seen as an imperial or royal colour, as it is the colour of the Sun, when you put this colour in context in the GO AU, it more clearly points to being the colour of fear, as Cobragarden's explains in The Colours of Crowley. I would expand on their words, and say that is why Crowley doesn't wear his sunglasses in front of Jimbriel when looking after him in the book shop - its a measure of how afraid he is that the the real Gabriel might reappear at any moment. And back in S1 when Crowley is trying to work out how to escape the burning Odegra sigil he inadvertently created Hastur appears in the front seat of the Bentley in pursuit of him and reaches out to remove his sunglasses. The shock on Crowley's face in the moment is palpable, because he realises he's in the shit unless he thinks quickly - which he bravely does!

GREEN

Green is the colour of chaos.

Originally I wrote that Green was Hell, but on after writing this and going on to write further metas (I think I’ve mentioned this elsewhere, and this is an evolving meta) and a brief discussion in the Notes at the bottom with noneorother, I decided I would re-write this for a better fit.

It still fits Hell, however, as Hell is chaos compared to Heaven. It’s overcrowded, its clogged with bundled paperwork that hasn’t been filed, there is old furniture everywhere. It’s still the overgrown suffocating swamp of decay, with the leaking pipes and the light struggling to find its way down through the mess. It’s still Furfur, with plans to unexpectedly disrupt our hero’s magic act. It’s still the colour of the fog outside the bookshop during the Eldritch Ball, signalling that things are not going to plan. Demons love chaos, its their purpose. It’s the opposite to Heaven, which is rigid and structured.

A recent post from @noneorother highlights that the intense green used for Hell in S2 is influenced by the the Powell & Pressburger movie The Tales of Hoffmann. They say:

Whenever something evil happens in "The automaton ball" sequence, the light changes to this sickly green. Colour is THE important symbolism in Hoffmann, so now we know green is evil.

But they wanted to add that evil is not necessarily Hell. And we would have to agree. Because Aziraphale also has a lot of green associated with him, and he has nothing to do with Hell - he's more an agent of chaos, if anything. He's unpredictable. Let us address this in it's own section below.

Veridian/Teal/Aquamarine

This is a special section to discuss the blue-green hues that Aziraphale wears. Heaven mixed with Hell. Lawful mixed with Chaos. He is one unique angel. The first sight of these colours is in 1601, when we find out that the Arrangement first proposed by Crowley in 537 is now in full swing, where he has some teal strips in his Elizabethan costume.

While I'm told its traditional to have a darker colour on the back panel of waistcoats, it's notable that the back of Aziraphale's waistcoat is a distinctly dark viridian green. Why not dark blue? Or a shade of brown to go with the other shades of brown and beige the angels tend to wear? But what's the meta-writer's motto in GO? There are no accidents...

He also wears a pale aquamarine shirt in the present day. (wearecrowley has posted a nice set of GIFs that highlight it here) No white for him since 1941 at least, although his 1821 shirt also looks green to me, but its hard to tell in the dim candlelight of night time Edinburgh (unless he is performing magic, then he is in white, gold, and mysterious black or being discorporated, then he is colourless white - back to his "native" state, like Muriel in her Earthly Inspector uniform.) The cape he wears in the 1941 minisode is also a fascinating colour. I am having trouble pinning down exactly what it would be called - Teal? A darker aquamarine? Perhaps turquoise. It's certainly part of his colour palette, and still indicating a lawful-chaos mix. A "dark horse" indeed!

[Edit: So i saw someone describe Heaven and Hell as Lawfulness and Chaos, and I thought that was a perfect fit for Aziraphale here with his blue-greens. Remember Crowley described him as "unpredictable" to Nina? Yeah...]

[Edit 2: I've made some changes above because I re-wrote the section on Green. This is an evolving meta!]

BLUE

Blue is a signal of Heaven, the colour of the sky, and a colour traditionally associated with the archangels Gabriel and Michael. We see it in a number of places, in both S1 and S2, where it is used with deliberate care.

Usually a primary shade of blue, this represents the rigid lawfulness and rules of Heaven, as compared to the chaos associated with Hell. In Christian iconography blue is what Gabriel wears as the right-hand-side shoulder angel to Jesus. It represents the Law, mercy, protection, water, sheep(!) and foundation. The "good" shoulder angel is always on the right shoulder in shot-blocking in the show.

Below are some examples of where we see it:

The blue paint on the back of Aziraphale's coat when he gets hit by a paintball at Tadfield Manor in S1E2.

The colour of Newt's car, Dick Turpin (which actually presents an interesting juxtaposition, as Newt is a Crowley parallel.)

The colour of the external walls of the coffee shop in S2, and some of the inside, which is also the same as the take-away cups, such as the one the Metatron offers to Aziraphale.

The colour of the gecko Jemima asks to be turned into in the Job minisode.

The colour of the suit Jimbriel wears at the eldritch ball, and the glorious ostrich feather jacket he dons when he exits the book shop to give himself up to the demons.

PURPLE

Purple has long been the colour of royalty, since ancient days. This was for good reason - there was only one natural source of the rich purple dye. That came from a small marine snail that was found on the coast of modern day Lebanon, near Tyre, and they held the monopoly on this trade for centuries. Only kings and emperor's could afford to have cloth dyed in this colour, known as Tyrian purple. It wasn't until the first synthetic purple dye was created in 1856 that the common man could afford to wear it as well.

In Good Omens we see Gabriel, the Prince of Heaven, wearing this colour in his ties, and also showing it in his irises in both S1 and S2. But only when he is Gabriel, not as Jim.

[Edit: So I only just found out that the colour he wears is lilac and is modeled after Elizabeth Taylor's famous eyes. But hey, she was a queen of the screen - movie royalty! And you still need to explain all the other purple below. Also, she was only born around 100 years ago and Gabriel has theoretically been around for...a lot longer, so I'd say Gabriel came first.]

There are a couple of other places we see it used. One is when angel Crowley starts up his nebula. The plume of miracle energy emanating from the book shop after the 25 lazurii miracle is also this colour.

Archangel Saraqael's chair is purple when she is on Earth. And Saraqael and Muriel both have purple in their tartan when in Heaven.

WHITE

White is the colour of the angels. It is the colour of Aziraphale's wings and the colour of his robes during ancient times from the Beginning up to Rome. Once the Arrangement starts, the white starts to be replaced with other colours, and the shades of teal and other blue-greens start to appear.

By the present day he has virtually lost all trace of white, except for his hair. He then only appears in all white when discorporated.

Muriel turns up in a conspicuously bright white police uniform on Earth, and the other angels all have some form of white on them.

Crowley sometimes has small accents of white as well. They can be easily missed, such as the white shirt cuff protruding from his sleek black Elizabethan costume in 1601. Remember they are discussing the Arrangement here - so they are both showing signs of taking on each other's colours at this point. On the other hand, I know quite a few people have commented on the white in his 1941 garb, on his tie, and his pocket handkerchief (and remember, he wears a grey shirt, not black, because he doesn't want to be mistaken for a black-shirted fascist during the war years.)

SILVER/GRAY

There are two colours I keep seeing that I'm going to group together as one, and that is silver and gray.

The senior archangels are notably dressed in what I've seen described as dove-gray, but an article on the costumes calls it pearl-gray, and it was meant to look a bit shimmery. I sometimes refer to this group of angels as the Archangels with the capital A, or the seraphim, the closest angels to God. This includes Gabriel, our current Prince of Heaven, Michael, Uriel. And I'm going to include Crowley in his trademark Tactical Turtleneck master spy disguise when he infiltrated Heaven with Muriel in S2E6. Hey, he could have worn white!

So where does this colour come from?

I've spent a bit of time banging on in the past about "traditional colours" of the archangels, in particular Gabriel and Michael's being blue, and the missing Raphael's being green. Part of the problem is, though, if you go looking online for who's colour is whose, you get a big variation in answers. Michael nearly always comes out with being associated with blue, and Raphael with green, so no problem there, but all the other traditionally named seraphim seem to get other colours put against them. For Gabriel, though, a commonly associated colour does appear to be white or silver.

Now my guess would be that sparkly silver would be too naff a look for the angels. I mean, look at what Crowley manifests as a blending-in "bees" disguise, a slightly shiny grayish suit, which kind of mocks the other Archangels (and you're overdoing the gold hints there a bit, Crowley) but it is curiously the same style as Saraqael's garb, and they did supposedly work together on the Horsehead Nebula. Hmmm. The Archangel's pearl-gray suits look very corporate and business-like, echoing a large soul-crushing business entity.

But this is not the only time Crowley wears this upper echelon colour; he has quite a habit of wearing it, particularly once the Arrangement kicks in.

The problem is, he nearly always wears near-solid black (unless he is trying not to get killed, like in 1793 Paris - Cobragarden's meta on the context why here - or 1941 London - see above,) so it stands out. I find this a far more interesting than the red accents, and should note that we don't always see it on him; its not there in 1967, for example.

One colour that is noticeably missing in the full GO rainbow is orange. We don't get it handed to us on a plate as much as the other colours do. Perhaps one exception is the sign for The Resurrectionist pub in Edinburgh, where Jesus is wearing an orange robe under a blue cloth. [Edit: It must be my screen colour, its been mentioned to me that the under-robe is actually crimson red.]

So now we have run through all the colours, it can be interesting to look at them in combination.

Bonus points for noticing the white mugs for the S2 coffee shop (six-shots of espresso,) to go with the blue take-away cups. The shop is blue-white-gold themed. Truly meant to be a place where Heaven is obtainable on Earth! It also kind of reminds me of the sky - blue sky overhead, white clouds, and a golden Sun shining down (from the brass lamps.) [Edit: There is a paler green inside the coffee shop - its easy to miss, we are too busy watching the characters!]

The book shop also has a combination of colours - predominately red and yellow. Yellow for fear, and red for passion and romance. Ouch, what a combination!

Aziraphales's white, gold and black combination for performing magic also has me intrigued. It's not just the black, but so much golden colour in the form of a golden vest. And we get it both times in both 1941 and 2019. An angel from Heaven trying to hide what he really is.

I've added an extra section below as part of a reblog on the angel off-whites and shades of brown that also appear, as I realised I missed them, and do a character analysis of the Metatron, so make sure you read that as well.

If you are interested in my analysis on the tartan in GO I've one here at: What the Tartan Tells Us

For further meta reading on colour in GO try the following:

If you haven't read it yet, do go and read Cobragardens The Colours of Crowley, Red and Yellow can hurt a fellow: Colour Symbolism in 1941 Part 1 and Part 2 as it makes the colours more character specific, whereas I've tried to give the colours a more over-arching theme here.

And for the importance of the yellow colour Vavavoom! which is used on the book shop walls, (and matches Crowley's eyes) see Vidavalors post on The Vavoom: Or, when the show's hinting Crowley & Aziraphale first kissed

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riddles-n-games · 4 months

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Why do you think avery and Jameson’s characters/Jameson’s story felt off? It feels off for me, too, but I can't put my finger on it.

Hoo boy, where to start? This feels like peeling wet paper from wet paper. Also, sorry this took so long to make. I was constantly putting it off because I felt like I kept not knowing how to continue this review at times so I really hope this doesn't disappoint.

Spoiler Warning: The Brothers Hawthorne Discussion

Plot-wise, first off, it felt like we spent a lot of time with the set up to get to the Game and usually JLB spends a very minimal amount on that before we jump into the riddles, puzzle-solving, clue finding portion of the story as shown in the last three books. Then when we get to the actual portion of the plot which is dedicated to the Game itself, the running around Vantage feels like it was all so quick and you don't even get to take it in because we're already at another part with a new clue that by the time you feel settled in, the Game is done and Jameson is the winner. So, I think the concern with the story on that front is the fact that she wanted us to have an element from the old books that we're comfortable with so we can continue experiencing that thrill we're used to, just from Jameson's perspective because this suits him to a T. And she's right. This is the Hawthorne brother we've come to associate with all these high risks, high stakes, riddles, puzzles, complex games, etc., etc. It's just her approach didn't feel right; she spent more time on one thing than the other, the set up vs the climax as a result of said set up were disproportionate and this would probably be as a result of the dual pov. We never had a dual pov before in the series so where one story feels completed, the other didn't. Had Jamie's story been one whole book on its own, she likely could have made everything in the plot more evened out, especially the part we're anticipating most: the Game.

Also, from what I can see, Grayson's plotline does serve as the typical storyline we see in TIG, THL, and TFG in terms of set up and execution of actions after the build up. But it also must have been thought out better because there was pressure from the fans to redeem Grayson after the events of the last book. To be fair, JLB may have also planned it out that way in the first place. It's just disappointing to read through a book with the one brother I wanted to see in his best element because he fit this script the most having his storyline cut off seemingly abruptly. I know it's easier for her to come up with stuff for Grayson because he's still underdeveloped but she should have taken more care of Jameson since he is already developed. It causes inconsistency and on her part, looks like lazy writing and that she didn't even want to write his story. Most complex story she's written, my ass. If she wanted to just write Grayson's story then she could have done that, it would be believable enough that she just wanted to leave Jameson untouched because of the work she put into him rather than taking back all the good stuff we've seen come out of him by the end of TFG.

Now, with Jameson's character development, I think that the problem was the dilemma he was facing with his mind being "ordinary" compared to that of his brothers. I don't think I minded that part that much but when I review how he acted in the original trilogy versus how he was in this one, this problem kind of abruptly seems to show up, even with the flashbacks where this was demonstrated to be a topic of interest. Maybe JLB should have created some kind of set up for his character having this problem in the first books like she did with his lack of father figures issue which clearly makes him sensitive and his desperate need to win. These were things that had an origin and were portrayed appropriately in the book with a somewhat satisfying conclusion. This one just felt like it was there and the issue was quite quickly resolved so it kind of just makes itself appear as something that could have been easily ignored. He also falls short on sounding like a human being because she has made his mentality and personality so one dimensional and basic that a robot has more complexity than him. We get it, he's hungry for more almost all the time! But that's not all there is to him. And as a Jameson girlie, I feel like she made it so much harder for us fans of him as a character and the chosen love interest for Avery to give reasons as to why we liked him. I mean, back in 2022 and throughout 2023, I don't know how many little analyses and rants I came across that projected the goodness of his character. Now what am I supposed to justify? I was hoping we'd get that deserved deep dive to see what else drove him besides the obvious and what did we get? Just an endless loop of what we already know and have seen.

On the topic of Avery and Jameson as a couple in this book, uh, I think that JLB could have done a better representation of it from Jamie's perspective than the way she did in TBH. They had some pretty great moments like their problem-solving sequences, the getting ready scene before the opera, the little stuff like their hand symbols to signal to each other, Avery comforting Jameson, and Jameson confiding in her the secret of what happened in Prague. However, I found the way that JLB described Jameson's thoughts towards Avery a little too out of character. I get it, there's nothing wrong with him being physically attracted to his own girlfriend, that's definitely part of it but it felt too lusty and not the way he seemed to view her from what we saw in the last three books. I mean, even Avery wasn't quite so lusty towards him. The flirtatious components weren't what I was hoping to see especially after his many swoon-worthy moments from THL and TFG. Honestly, regarding my opinion on this, there's a recent post by @elif-in-wonderland that summarizes my thoughts for me perfectly.

There, that concludes my current thoughts on the book regarding Jameson's side. If I do end up having more opinions to share, I will be sure to make a continuation to this in a follow up post. Thanks for the ask!

#jameson winchester hawthorne #jameson hawthorne #avery kylie grambs #avery grambs #averyjameson #the brothers hawthorne review #tbh spoilers #the inheritance games rant #the inheritance games #the hawthorne legacy #the final gambit #the brothers hawthorne #tig #thl #tfg #tbh #thank you for coming to my ted talk

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231s-prompts · 2 months

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Wanji's Missing (or as I more affectionately call it, farm)

I was entirely going to just put the idea I had, but then I ended up writing it. It was in my drive for too long for me to not play with it. Find it on ao3 here, otherwise, enjoy!

After the events at Guanyin Temple, Wanji, himself, and the rest of the Lan went back to the Cloud Recesses together. A Discussion Conference would have to be planned earlier than usual, but Xichen wouldn’t be participating in it or the planning as Shufu had agreed that it was best for him currently to go into seclusion. Wanji seemed happy enough to pick up some of the work leading the Sect and Shufu would assist him.

Perhaps in hindsight seclusion really wasn’t the best idea.

Sizhui would send him regular letters about recent happenings, and he would read them with his midday meal, between meditation. It was mostly the same thing, sometimes Wei Wuxian would be mentioned, but not too much. It was mostly offhanded, using two sentences to describe the man, at most. “We bumped into Wei-qianbi on our most recent night hunt. He’s doing well and asked about how you were doing,” or sometimes just a “Wei-qianbi is doing well, we heard about him in a village we passed through.” Xichen didn’t feel hurt by it, Wei Wuxian wasn’t bothering Wanji and was doing his own thing now. Wanji couldn’t be hurt by him.

Wanji also sent him letters, mostly apologies for not making time to talk to him through the door. He wrote much more about Wei Wuxian. “Wei Ying is currently traveling just north of Lotus Pier, he sent a painting of a lake with his most recent letter to Sizhui. It was beautiful. I would like to go there with you,” or “Wei Ying wants to stay somewhere north during the winter because the south isn’t exciting enough. Shufu doesn’t want him to come, so Wei Ying might go to Qinghe instead.” Truthfully, Xichen thought that Wanji could write much longer about Wei Wuxian than he did, but just reading Wanji talk about him hurt. This is a man who hurt Wanji, who he took whip lashes for, who he sealed his core for, and he can just… talk so casually about him? Xichen… Xichen was- is- hurt by a-Yao. He killed a-Yao, but that wasn’t- he didn’t actually do anything. Xichen just… killed him. Like that. Like a-Yao did to da-ge and Jin-zhongzu but Xichen was still a good person?

Xichen could draw parallels between himself and Wanji, Wei Wuxian and a-Yao, even Nie Huaisang and the rest of the Jianghu for days. And he did. And he did. Both Wanji and himself saw the best in the other. A-Yao and Wei Wuxian hurt the other and committed actual, legitimate crimes. A-Yao and Wei Wuxian had the other commit crimes, Wanji attacking the elders, and Xichen killing someone. Nie Huaisang and the Jianghu put them in difficult positions.

Everyday was the same for Xichen. Wake up at Mao Shichen, eat morning meal, meditate on his actions and how to improve himself, eat midday meal, read letters if there are any, meditate on improving himself, eat evening meal, go to sleep at Hai Shichen. It was repetitive, there were no surprises, and no one he trusted that he could hurt again or be hurt by.

He had a lot to meditate on. A-Yao’s actions and exactly how he did them. His relationship with a-Yao and how he trusted him so much. If a-Yao ever trusted him. How he felt about Nie Huaisang.

The last part was hard. He still wanted to call Nie Huaisang a-Sang, but what Nie Huaisang was objectively wrong. He lied and manipulated and waved his fan while doing it. The rules said not to associate with evil, but Xichen wanted to associate with Nie Huaisang. Despite everything, they were technically brothers to some degree and they were likely the last of da-ge for each other. Da-ge would be sad to see them like this.

It was a day he had decided that he needed to understand how he felt about Nie Huaisang when someone knocked on his door. He hadn’t known what the weather was like until a voice reached him-

“I’d apologize for interrupting your seclusion, but it’s raining lakes out here and I’d like to come in first. There’s also a huge problem like- currently happening and we need some help.”

Lan Jingyi’s voice, panting from exhaustion. Xichen had known the boy since Sizhui brought him to have dinner with while Wanji was still in seclusion himself. But why was he knocking now? And what was the problem?

“Come in.”

With those words Lan Jingyi opened the door and quickly came in, closing it behind himself. “Oh man, I feel so happy to see you right now. First of all it’s not raining in here,” he said, taking off his outermost layer, a thicker layer for the rain, “which is great. And you’re not panicking yet,” he exchanged a quick bow, “which is also great because between Sizhui and Grandmaster Lan I think I’ve seen enough stress to go gray.”

“I’ll make some tea then, but please tell me what’s going on.” Xichen quickly got the tea out and ready while Jingyi sat himself down at the table, clearly taking the moment to rest and catch his breath.

It was only once the tea was done and Jingyi had nearly drank half his cup when he spoke next. “Hanguang-jun is like- fully missing. He didn’t show up for morning meal, which is totally normal because Sizhui says he sometimes takes it in his- err, your- office, but then one of the outer disciples who’s in charge of making sure he gets the paperwork said that he wasn’t in there, and some kitchen staff said that he wasn’t in the office so they thought that he was going to take it with everyone else-”

Xichen raised his hand, halting the boy. Hanguang-jun is like- fully missing. “Wanji’s missing?”

Jingyi quickly nodded, “I was gonna get to that. Sizhui was kinda the first one to realize he’s missing, so he told me to tell Grandmaster Lan while he checked the Jingshi, except while I’m in the middle of telling Grandmaster Lan everything, Sizhui comes in and is all ‘A-die’s missing,’ which is weird because Sizhui only calls Hanguang-jun ‘A-die’ when he’s stressed or not in public, and probably once in front of Grandmaster Lan ever. So now they both are worried and have people looking everywhere. Like- literally everywhere. Grandmaster Lan apparently looked in the Forbidden Library, had the storehouses checked- the ones where we keep stuff for safe keeping, like the more dangerous Wen weapons and stuff- Sizhui checked the rabbits with me and we both went to the Cold Ponds, but he’s just gone.

“So then the three of us looked in the Jingshi again because Sizhui realized that there could have been a note left, or signs that he was taken, but nope! Aside from Hanguang-jun, only some trinkets, books, paintings, and personal items are missing. So Grandmaster Lan is saying stuff like that he just left of his own choice and how he couldn’t have gotten far and has a bunch of disciples looking for him outside of Cloud Recesses and then he disappeared towards some of the other houses used for seclusion and I thought he was coming to tell you, but then he came back and just said that he didn’t find him and didn’t mention you, so I said that I was checking the office again for any more signs, but actually just found the house you are supposed to be in seclusion, here, and decided you needed to be told.”

Jingyi took a deep breath.

“I will obviously accept any punishment you feel fit, but that’s as far as we’ve gotten and Hanguang-jun is your brother.”

That… was a lot to take in. It certainly sounded like Wanji had decided to up and leave. But why? Nothing in any of the letters he’d sent seemed to point to anything weird happening to him. Or anything being wrong. Perhaps… perhaps Wei Wuxian had something to do with it.

“Go check the Jingshi for the most recent letter you can find that Wei Wuxian sent him. I need to get properly dressed, and will meet you in the office.”

Jingyi must have just noticed that Xichen was still in his sleep clothes, as he quickly stood, bowed, and rushed out, barely remembering his rain layer.

A year and a half. Efforts to find Wanji hadn’t decreased in that time, but he was very well gone. No one had heard from him, even Nie Huaisang- which was a complicated conversation that included lots of crying on both sides, a reconciliation, and a difficult, though thorough, explanation of Wanji’s disappearance. There was one other piece of news, that was only very worrying, and that was that no one knew exactly where Wei Wuxian was. Jiang Wanyin, Jiang-zhongzu, had seen him a month before Wanji disappeared, but nothing else. He had just been traveling through to get to Qinghe. The Juniors had stopped bumping into him and his donkey, a-Sang said that he never came to visit during the winter, and even Wen Ning said that he hadn’t heard anything from him, not even the slightest pull through resentful energy.

To get a break from the sudden work thrust upon himself, since he had to now do all the work his brother had been doing- really, how he managed so much was unknown to Xichen- and still follow possible leads. Another member of the inner members had been put in charge of running night hunts, as Wanji had still been in charge of them, and the Juniors were put in charge of caring for the rabbits -some of whom had disappeared, likely with Wanji- and even the other tasks Wanji was responsible for as heir were pushed to Sizhui, though Uncle was insistent on helping.

Xichen had his hands full with Sect Leader paperwork and decisions, limiting the amount of power the Elders had- apparently Wanji was insistent on doing this, for no apparent reason- and making sure the Sect didn’t fall to chaos. And this was just the in-Sect business. Making sure the image of the Lan didn’t fall in the eyes of the common people, or the other Sects was paramount. Wanji’s constant nighthunting for the past few years had greatly benefitted them, but it had really just created a standard for the rest of the Sect.

So the sudden stress, from previously being secluded in one of the seclusion houses and meditating to now being the face of the Sect again, culminated in Xichen taking a night hunt himself. He had taken a few short ones since Wanji disappeared and he was put back in his role as Sect Leader and they helped quite a bit, so he didn’t worry about taking a slightly longer one. This one was from one of the outer towns, who lived in a valley between a large lake south of Caiyi, and the great shore. Really, it should be Jiang territory with how far south it is, but Jiang Wanyin had never asked about it and the town itself never asked for much.

They typically didn’t ask for aid that often, since they were mostly just a large community that collectively farmed and lived together. They were large enough that workers would come during the growing season to help out, and when the harvest came around, their tourism would boom, but overall, they only needed a Sect to oversee them to help with their trade to Lotus Pier and Caiyi.

This time however, they had sent word about a particularly strong Gui haunting their docks, making them unable to send any trade across the lake to the small village on the other side, or any of the houses that were nearby. So Xichen went by himself, since it didn’t seem violent or feral, just incredibly protective of the docks.

The trip wasn’t difficult, just long. It was long enough that Xichen’s spiritual energy was running low when he finally landed near the town. Sheathing Shuoyue, it took a quarter incense time to get to the town and for the people to recognize him.

Running towards him and bowing, the man who ran the larger of the two taverns looked apologetic. “Ah, Lan-zhongzu, we really must apologize, but you’ve come for nothing!”

Xichen startled. “Nothing?”

In the letter the town had sent, the problem seemed quite major, since the village was largely dependent on the rich teas and materials from the town.

“Yes, the kind daozhangs helped her out! Why, it just took them an incense’s time to sort it out with her, and the issue was resolved!” The townsperson looked relieved at that, but obviously still felt bad for Xichen.

“And when was this?” Xichen asked, vaguely airily.

The man thought, putting his hand on his chin. “Ah, about a week ago? We had just sent the letter when they came in. They usually come to help around with repairs and to help the old man near the water tend to his lotus flowers every few weeks, but this time they helped everyone! We didn’t even know they could!”

The nearby women that were carrying laundry stopped by them. “Oh yes, those handsome men do help out much more than they need to, Cheng Song (pine tree) didn’t even need to ask, Hei-daozhang just saw them and asked to help! And then Lan-daozhang just followed like he usually does!”

Another one nodded, joining in, “And they’re so talented! They just asked about the house -oh this was about a year and a half ago now-, bought some seeds- Lan-daozhang is truly so rich- and the next time we saw them, they had mentioned that it was all fixed up!”

“Ah, and the kids love them,” the third chimed in, “the two of them spend time teaching the kids how to read and write, and Hei-daozhang shows us how to organize our planting to grow the most produce, and when you’re lucky Lan-daozhang will ask Hei-daozhang to show Fang Xiaofan (little ordinary) how to play the dizi some more- and then when they start to finish up, Hei-daozhang will needle Lan-daozhang to play with him, Lan-daozhang plays the qin, and they play such a pretty duet!” The other two women nod furiously.

“Yes! You would never think that two men would be so in tune with each other, but it really is magical!”

“Song Meili (beautiful and graceful)!” The first woman chided the second woman, “They are two men that live in a house together, farm together, and have traveled all over the place with each other! Of course they’re in tune with each other! And Wan Liu (the willow)! Don’t confuse Lan-zhongzu!” She turned towards Xichen, “They come every few days to take the kids in the afternoon to the great shore to teach them all sorts of things, reading and writing obviously, but also archery and mathematics. They were going to show them how to hunt, but the men wanted to!” The women laughed to each other, and bowed, taking their laundry wherever they were going.

Two men, one in white and one in black, came to town about a year and a half ago, bought a house and occasionally come to help the town and teach the children some of the noble arts, and play duets together. A dizi and a qin. The man in black helps tend lotus flowers.

There’s no way that they’ve been here this whole time. There’s no way that Wanji and Wei Wuxian have been in this little town, that regularly traded with Lotus Pier and Caiyi, unnoticed for a year and a half.

Xichen turned to the tavern owner. “Does Lan-daozhang happen to bear any resemblance to Hanguang-jun?” Xichen knew his face was pale. He was tired from the paperwork, tired from the sword flight here, tired from his worldview from turning. Most importantly, he was tired from missing his brother.

“Hanguang-jun? I suppose so, but doesn’t Hanguang-jun dress… oh, Hanguang-jun is your brother, right? You do look rather similar to Lan-daozhang he’s just… well I suppose that he looks more relaxed than you. And Lan-daozhang wears much rougher clothing than you do, Hei-daozhang manages to get the white much more green and brown than yours could probably handle…” Wanji… gets muddy? Willingly? Wanji, who as a three year old, would refuse to let the bottoms of his hems touch the ground in case they got dirty? Who cried himself to sleep after spilling water on himself?

Xichen could feel himself frowning. “And where is their house?”

“Just south of here, if you walk around the lake you should be able to see the clearing, it’s difficult to see from a boat, and they don’t have a dock, here I’ll show you.” He walked for an incense time, pointing out people the duo had helped, along with main businesses and the best inn. Eventually though, they came to the docks overlooking the lake. “Over there,” he pointed, “you can’t see them, but there’s two docks that the village uses, since they’re a bit more in-land, they don’t do much on the water.” He pointed slightly left, “and between us and them, there are two more docks, both of them are abandoned. Between those two docks, there’s a large patch of lotus flowers growing, and their boat should be tipped over on land nearby. Then you’ll see the clearing with their house. I wouldn’t suggest going to find it now though, it’s easily a quarter day’s walk to their house… though you can fly on your sword… hmm.”

“Thank you, I’ll stay here the night and find them in the morning then.” The man looked delighted, and they bowed, departing from each other.

Getting a room for the night was simple and quick -despite planting season being well underway, the ground had yet to fully thaw and some snow still lingered so the workers who would come to help during the growing season hadn’t yet fully arrived. Also, the town was not particularly warm recently, so there were no tourists.

Brushing his hair out to prepare to go to bed, Xichen took the moment to reflect on the events of the day. They seemed familiar, until Xichen took out the letters Wanji had written him just before he disappeared. The last one, “Wei Ying wants to stay somewhere north during the winter because the south isn’t exciting enough. Shufu doesn’t want him to come, so Wei Ying might go to Qinghe instead.” The one before, “Wei Ying is currently traveling just north of Lotus Pier, he sent a painting of a lake with his most recent letter to Sizhui. It was beautiful. I would like to go there with you.” Wei Wuxian had traveled north of where he had been previously, through Lotus Pier, to get to Qinghe. This lake was north of Lotus Pier, but a bit east. Wei Wuxian wanders, it's not improbable that he got off track. He saw the lake, painted it for Sizhui, and eventually bought a house and started a farm. Well, Wanji bought a house. But Wanji was also happy here. And Wanji didn’t write, to Uncle or to Xichen. Or even to Sizhui.

Wei Wuxian hurt Wanji though. That was unforgivable, as Wanji’s brother. His big brother. Xichen practically raised him, since Uncle was often busy with Sect matters. Why- How could Wanji do that?

But come morning, the answers will be revealed.

Xichen woke up as he usually did, at Mao Shichen, quickly getting ready for the day and eating a brief morning meal. His spiritual reserves had recovered, so he found himself packing up and pulling out Shuoyue. The tavern owner’s instructions were simple, but easy to follow, and he soon found the lotus flowers just halfway past Si Shichen.

He landed on the ground efficiently, dusting himself off before he trekked through some tall grass, soon getting to the clearing. A large house was in the middle, a field of sprouting flowers between him and the house. The house itself was expansive, though the roof was clearly mismatched. Laundry was hanging in the sun, and a small shed sat near a small farm that didn’t yet bear plants. Plant pots were sitting on the stairs leading up to the house, and he could tell that the stone pathway had been recently weeded. A larger shed sat near the far edge of the clearing, much larger than the one that must hold tools. While pieces of wood leaned against the smaller one, scraps of random materials were sloppily piled on top of each other outside the larger shed.

As he walked closer, a small table made itself clear in the middle of the small flowers. A voice soon followed, though it seemed to be on the other side of the house. As he approached, Wei Wuxian’s recognizable laugh made itself clear. Walking faster, and a wide curve around the house, he came across a rather… soft scene.

Wanji was pouring tea on a bench outside their house, while Wei Wuxian had evidently tumbled backwards, holding a rabbit above himself. Wanji was smiling, watching as Wei Wuxian pulled the rabbit to his chest and gently rubbed between its ears.

Their peace didn’t stay, as Wanji noticed Xichen almost immediately, his smile fading as he quickly stood.

Wei Wuxian quickly noticed and followed, “Zhan- oh, Lan-zhongzu.” he instantly looked uncomfortable. Wanji noticed, and signaled for him to go into the house. Wanji himself quickly lead Xichen back to the field of flowers, and they sat themselves down at the table.

The table of which, was poorly constructed, but did have intricate carvings on it.

Wanji… Wanji looked a little disgruntled, but was the first to speak.

“Wei Ying made this table. He wanted to surprise me for my birthday. I was just happy he remembered it. It’s broken five times since he built it, but he will not let me help fix it, because he wants it to be a gift, to me, that’s entirely from him.”

“Wanji…”

“Wei Ying and I spoke when I came. He wasn’t expecting me, but once we had time to settle down, we spoke. It took time, but he told me what you said to him.” Wanji looked up, meeting his eyes for the first time since before Guanyin Temple. “I love him very much, and I have for a very long time. I understand why you said what you did, but it hurt when I found out. And it still does.” He looked away again.

Tears grew from Xichen’s eyes, prickling as his vision blurred. “Wanji… I’m sorry.”

Wanji’s gaze went to his hands. “Then please apologize to Wei Ying. And stop assuming that he will hurt me. He worries about that enough.”

“...I will.”

“Thank you.”

“I’ve missed you, Wanji.”

Wanji froze, before he looked up at Xichen again, drawing his hands closer to Xichen’s. “And I, you.”

“The town’s people told me about what the two of you have been up to. Very enthusiastically.”

“Mn.” Wanji smiled, just the smallest bit.

“You’ve been doing good here. And you seem happier.”

“Mn. …I do not know if I want to return to the Sect. I have not left in any official capacity, but…” Xichen reached for his hands, resting his on top of Wanji’s.

“You do not want to, but you want to be distanced?” Wanji nodded. “The Elders won’t get any say over it, I can help on the official side.”

“Thank you.”

Quickly mapping out a plan, Xichen continued. “And… I’ll have to talk to you both about it, but you can likely still help out, if you want. We can send younger disciples to help during the harvest, so they can gain experience and have time away from the Sect. Jingyi and Sizhui’s group could have benefitted from the experience.”

“We could use the help, we plan to have more growing this year… Wei Ying would be happy for the company.” He glanced at the house. “But we should still ask.”

A comfortable silence rested upon the two, before Xichen broke it.

“Wanji… can I ask why you haven’t sent any letters? Everyone has been looking for the two of you.” His brother looked away again, his hands tensing for a moment before relaxing again.

“Mn, had asked Sizhui about how he would feel if I went to see Wei Ying. Sizhui knew that Wei Ying was getting closer before he passed for Qinghe. Sizhui had mentioned how easy it would be to see Wei Ying.” Wanji had very clearly met his maximum amount of words used for the day now, and seemed uncomfortable with saying more.

Thinking back, Sizhui had seemed to… accept that his… parents had disappeared together. He became complacent with the idea. He no longer looked as fervently for them, but still would spend extra time on his night hunts to look in the nearby area. “So Sizhui knew that the two of you would be together. Knowing him, he probably expected for us adults to catch onto that. Uncle had thought that Wuxian had kidnapped you, but we haven’t spoken on… any of this for a while now.”

Another peaceful silence covered them, but it seemed easier now. Xichen could easily deduce that by not sending a letter, the duo weren’t drawing more attention to themselves, and perhaps dealing with their first planting season and their first winters had taken up more energy than they had expected. During the silence, rabbits started to pop up, coming to take their pets and attention.

Eventually, midday came around, and Wanji silently led him to the house, where the entry room was in disarray. A few silent words in another room, and the two came out, hand in hand.

“Welcome to our humble abode, Lan-zhongzu. Lan Zhan mentioned the idea for disciples to help out during the harvest, and the town could certainly use the help. Old Man Fang’s back has been getting worse, so the lotus flowers will need help getting harvested.” Wanji visibly squeezed his hand, glancing at him meaningfully. “...And… we could use some help, probably.”

“Excellent.”

The lunch that passed was peaceful, Wuxian mostly spending the time gradually gaining more confidence and telling him more about the town as time went on. The brothers stayed quiet, but Wuxian took it in stride. He was collecting the plates and talking about their plans for their farm when they were finished. Xichen then found himself helping plant the first seeds, the plants that will take the longest to grow. Wuxian spoke about how he was working on making talismans that would let them grow year-round, mostly to help the town make more produce and avoid a surprise food shortage during the long winter. He had already developed talismans that help keep food good for longer, and he hoped to make ones that would alter the soil to help grow more variety.

Wuxian clearly didn’t realize how much this would impact the rest of everywhere else, and Wanji also clearly understood this when he shared a look with Xichen.

Apparently Wuxian had a head start on the talismans due to him trying to grow potatoes in the Burial Mounds.

Which, was actually quite depressing.

When they finished, Xichen was invited for dinner, and then invited to stay in a guest room for the night.

When he woke up at Mao Shichen, Wanji was already making tea.

He would leave soon after Wuxian appeared and everything was sorted out, taking Shuoyue and arriving back at Cloud Recesses just after curfew. The first thing he did was wake Sizhui and tell him where his parents were.

When he wakes up the next morning, a whole two incense times late, Sizhui is gone and Jingyi is panicking again.

But come fall, and the younger disciples are leaving to help Wei-gongzi and Hanguang-jun harvest their crops, and help the town harvest theirs, and when they come back, a few days before the first snowfall, they will tell Xichen and the rest of the Sect and the youngest disciples about the tasty lotus seeds and the rabbits that are just like the ones on the back hills and the new talismans that Wuxian has finished. But mostly, they will bring gossip like little children, and they will bring peace to the cultivation world, because Wanji and Wuxian are safe and sound.

Really though, if there’s any real benefit that Xichen will get from this, is the regular letters he gets from his brother, interspersed with bits from Wuxian, and the beautiful pressed lotus flowers.

#231 #mo dao zu shi #mdzs #lan xichen #lan wangji #wei wuxian #lan sizhui #farm #look! I actually wrote stuff!! I even touched this blog!!#fanfic

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ai-the-broccoli · 7 months

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The Resignation and Resistance of Yukika Nanase, an analysis

Last Friday (September 29th, 2023) was the 15th of the Eighth Month in the lunar calendar, which is the date of the Mid-Autumn Festival/Chuseok/Tết Trung Thu/Tsukimi/Uposatha, festivals strongly associated with the autumn moon in Asian countries.

Since I happened to have some ThoughtsTM and writings on Yukika Nanase (whose release event, "Otsukimi is After an Elegant Tea Party" was about, well, [O]tsukimi, and who's got a lot to do with Yukika in general), I thought this might be a really good excuse for me to finally officially begin posting on Tumblr! So...

Here is the first one out of a few (perhaps?): a little something I first wrote earlier this year, though now refined, organized, and extended by... maybe over 5 times its original length, for posting on here.

(official CG of the full moon, as it's depicted in the Yukika-narrated event Otsukimi. why exactly there is a rainbow around it is solely up to interpretation)

You may or may not be aware that Yukika Nanase is one of my favorite characters and main blorbos in Magia Record, and while I'm sure personal preference (and her being Relatable™️ for me) counts for a good part of it as it usually does, I would personally argue that she is also just an exceptionally intriguing character in general.

Typically, the fandom at large seems to view Yukika as a daredevil ojou-sama of sorts and some thrill-seeking gambler (and a character that her designer Masugitsune really likes), etc, etc. Now, it's clear where that image comes from, and by no means is it totally off either, but once you really get around to watching or reading any of her stories, you basically immediately see an entirely different side to her than what you might've assumed from her fandom reputation. almost like... the back side of the moon, so to speak

Now, in the canon story content itself, Yukika is often treated as a somewhat comedic character by the narrative, especially in stories where she's not the main protagonist. By no means is this a complaint or a criticism: Elements of comedy don't make a character any less well-written (unless said comedy is implemented in a way that's ineffective or distracting, but that's another matter entirely), and with Yukika in particular I've found that she often works with comedy excellently.

Besides, the fact she often has a comedic-ish role is largely in line with (and partly because of) Yukika's own extremely effacing perception and framing of herself—however, it also makes it quite easy for one to simply completely overlook her own emotional complexities and problems, both in-universe and among fans in the community. Which is fair, even she herself does it! ...But I do want to draw attention to it here, since it's an aspect of her that's quite interesting to me.

So today I'm going to talk about... Yukika's fatalistic mindset and her mental health.

Long informal analysis under the cut:

[cw: major spoilers for most Yukika-related stories, vague reference to Ashen Revolution's themes and motifs (nothing actually spoilery aside from AR's short very first opening section, which will be directly quoted), clinical discussion of mental health issues, mention of addiction]

A Magical Girl who has lived without ever straying from the rails laid out for her since childhood. Raised as a young lady, she is able to handle everything with ease, but her self-esteem is extremely low because of all the talented ladies who surround her. Though she was fed up with the boring life she was leading, her life has taken a sharp turn since she became a Magical Girl, and now she is constantly caught up in trouble.

Yukika's Extraordinary Everyday Life

If you're already familiar with any of her canon stories (or have read her official character description above), you must know that Yukika's "main thing" is that she's always involved in all kinds of trouble on an extremely frequent basis.

Like almost any other playable character in MR, she has her moments™️ (and, the fact that she is in constant stress and anxiety due to the passive effect of her wish; when nothing is wrong she keeps worrying something is about to go wrong in no time and she apologizes for it in advance, and when something is wrong, she blames herself for no matter what it is and tries to take responsibility at top speed), but overall Yukika seems generally surprisingly "fine" as in, we pretty much never see her get into any particularly negative emotional outbursts over anything, at all. Despite all the troublesome situations that she never stops finding herself in, she seems decently adjusted and stable (that is, "stable" on the grand scale of things, since everyday instability is her stability), at least among the MR girls we know.

But when you look into why that is the case, you'll kind of see that it's because Yukika actually has her own unique sense of a fatalistic mindset—in that, typically speaking, (there are some notable exceptions, such as when she made her wish) she completely accepts the state of herself and the state of her life as they are, even though they are by no means what she genuinely sees as ideal.

For instance:

[Though with all that said, I am, so to speak, in the role of "Villager A". - Yukika]

Yukika: (As I was one of many “Black Feathers”...) Yukika: (I didn't have any desire to advance and become a White Feather someday.) Yukika: (Because those White Feathers who manage the Black Feathers are more suited to shining...) Yukika: Yes, like the pride of Mizuna Girls Academy, Akatsuki Tsukuyo-senpai…! Yukika: Even in Mizuna Ward, where many wealthy families produce polished children, Akatsuki-senpai is a genuine charm... Yukika: ...Just like the full moon. Yukika: (While I get saddled with Student Council Officer duty almost every year because I seem "sort of" ladylike, whatever that means...) Yukika: (Akatsuki-senpai has an aura leagues above mine.)

she looks weirdly happy in the last two (pretty self-deprecatory) lines here and then goes on to talk about how her presence is so faint that Akatsuki-senpai still doesn't know she's a Magical Girl yet, whi— ANYWAY I digress

From this early part of Otsukimi, we see that Yukika has a crush on Tsukuyo (for legal reasons this is completely? a joke) a pretty set idea of what her "role" in this world is supposed to be (i.e. she has a "fixed mindset", as some may call it, as opposed to a "growth" one), and that is the role of a "Villager A"—basically meaning an NPC character, to put it in more common terms.

Yukika: (Looking for a substitute for Akatsuki-senpai and being mistaken for Akatsuki-senpai…) Yukika: (Despite her absence from beginning to end, she's got the sense of presence of a true protagonist!) Yukika: (It's getting more impossible by the second for a minor role like me to pretend to be her...)

And this attitude is very telling of her outlook on life as a whole.

Student Council President: That’s right. Will you accept? Yukika: Please leave it to me. Yukika: Our already-busy President shouldn't have to deal with this kind of hassle. Yukika: As the lowliest Student Council Officer, I think that I'm the right person for the job. Girl A: ...Oh, I’ll help you too! Student Council President: Thank you, it’ll be a huge help. Yukika: By "the lowliest Student Council Officer", I mean the Student Council Chore Officer, of which one is selected from each class. Yukika: My job is to gracefully prepare the tea in the student council room, help pour the tea for the exchange parties, and so on. Yukika: ...That's a tremendously misleading description, of course. Yukika: But in short, since it's hardly comparable to the Student Council President, who's elected by the whole school, and the Class President, who's elected from her class's honor students... Yukika: The job naturally gets foisted on me, the vaguely cultured-ish girl with no aura and hardly any presence!

From her rank in the Wing of the Magius as a "lowly Black Feather", to her duty in the student council as the "Student Council Chore Officer", Yukika views her roles and positions of insignificance as essentially predetermined things that she—as a self-perceived NPC figure—is simply matched for by nature; and she never even considers the idea of breaking out of this status quo, because, to her, it is simply a fact of life.

and you may notice this in the way Yukika presents/frames things—anything—in general, too; she's basically got an attitude of "ah well, of course, things are how they are; now let me deal with it so it doesn't trouble anyone else" toward basically everything, ever.

This brings me to my next point...

A Bunny Caught in the Tracks of Orbit

Yukika: Speaking of the moon, I used to wonder when I was a kid... Yukika: When the moon faces the Earth, it only shows the side with the rabbit and its mochi. Yukika: Why doesn’t it show the “other face” on it’s back? Yukika: According to my physics teacher, this is because the moon’s cycle of “revolution” and “rotation” is the same. Yukika: It’s apparently quite common in space. Yukika: (I don’t know what the standard of “common” is in space, but...) Yukika: Ah... I am Yukika Nanase, a first-year student at Mizuna's Girls Academy and a Magical Girl. Yukika: Yes, I am one of those who reluctantly set foot into the world of Magical Girls— Yukika: the "other side" of common sense, that most people will live their lives without ever knowing.

(excerpt from the start of Otsukimi, slightly condensed for format)

It is very clear from Yukika's Magical Girl attire that she's associated with rabbits/bunnies—partly for the casino aesthetics, partly for the Alice's Adventures in Wonderland reference, and partly because of the Moon, which is heavily associated with rabbits in Japanese culture. Namely, there is the legend of the moon rabbit, a mythical creature said to live on the moon, as Yukika herself references in the excerpt above.

Now, the next part is going to look like a bit of a stretch if taken to be actual speculation of canon, but to be clear that is not my intention; it is merely a connection I made/similarity I noticed, and I figured it would be interesting to bring up.

(...Actually that does remind me, I should probably clarify here that this entire analysis is, in fact, of my own personal interpretations of the content presented in the game itself, rather than what I theorize to be the deliberate intention of the writers.)

With that out of the way, let's look at the opening section of Ashen Revolution:

Rabi: We can never stop the never-ending movement of the starry sky. Urara: However much I practice, I can never defy the gravitational pull drawing the diabolo. Alexandra: No matter how much I raise my voice, without this atmosphere, my melody will never resonate. Asahi: Yes, we are forever under the control of the unseen. Asahi: Like this rabbit, it lost its life at the hands of my unseen self. Asahi: Everything is made by the natural order, and being at the mercy of it is a fate we must resign ourselves to...

I won't go into details about AR here since on a technical level Yukika is entirely unrelated to it, but it is an event about the struggle of Magical Girls, who help people in secret but remain completely unknown, unacknowledged, and not understood. Which...

compare Yukika's previously quoted monologue, in which she compares the world of Magical Girls, which "most people will live their lives without ever knowing", to the backside of the moon.

Coincidentally, Yukika's own character is also all about helping people in the background and never ever being acknowledged (to a higher degree than the average MR girl). Relatedly, she also notably possesses a level of figurative invisibility/unseenness similar to the AR girls, through her entire recurring "faint presence" thing.

So, as seen in the AR excerpt above, the rabbit motif is used to demonstrate their helplessness in the hands of fate—or in their specific case, "fate" as in what they perceive to be the "Will of the Universe".

Well, funnily enough…

[Yes, I believe it's all due to the Great and Terrible Will of the Universe... - Yukika]

Yukika: (Here it is, the new hassle..!) Yukika: (The schedule has returned to a blank slate…) Yukika: (Rather, things have actually gotten worse thanks to the passage of time.) Yukika: (How can I put this? It’s as if...) Yukika: (It's as if some great and terrible will of the universe is at work,) Yukika: (and is specifically targeting me and creating trouble.)

…alright, so this is 99.1% a coincidence, especially because the two terms don’t use the same word for “will of the universe” in the original Japanese text, but it’s pretty crazy nonetheless.

In any case, the themes of fate and fortune are indeed actually heavily featured in Yukika’s own character. There’s her gambling motif as seen in her story, design, and gameplay alike, and her entire “keeps getting caught up in troublesome matters” thing, which is the result of her wish.

And how does she see it?

Girl A: Wouldn’t that mean you’d have more work? Yukika: Please don’t worry. Yukika: Dealing with trouble is my fate. Girl A: …Fate? Yukika: Ah, nothing! Let’s hurry! Girl A: Yeah, got it! Yukika: (Yes, I am involved in trouble on a daily basis.) Yukika: (It’s the “fate” that has been decided for me ever since I became a Magical Girl.)

"Fate". Once again, we see a certain degree of fatalism in Yukika's worldview, especially in regard to herself. Rather than a choice she's made on her own, she sees her behavior/self-imposed duty of helping everyone out as the luck of the draw, something that is "decided for" her.

And this part is extremely significant because it offers us a particularly revealing look into her mindset:

The truth is, in spite of everything she goes out of her way to do daily in order to resolve trouble and help/save other people, without actually being forced to do any of that by anything or anyone, Yukika sees literally all of those actions as passive acts rather than something she's doing out of her own free will (and isn't actually obliged to do, really)—because, no matter what she does she only thinks of it as the predetermined consequences of her own choice, for these issues are always the fault of the wish she personally made (or so she thinks), thus the responsibility to resolve them naturally always falls on her shoulder, which is why there's really never anything to brag about about this, according to Yukika.

As for why and how she made such a wish in the first place, that is explained to us in her MSS:

Yukika: …I do think that I was blessed in many ways during my upbringing. Yukika: But one day, um… In spite of all that luxury, Yukika: when I thought of how from then on, rather than moving forward with my own strength, Yukika: I would instead be riding the train toward the future on the tracks built by my parents, Yukika: I started to feel like I wasn’t really “living” at all…

Not necessarily relevant, but for a bit of a linguistic context, the word for “tracks” (in the sense of “rails; train tracks”) and the word meaning “orbit” (as in the trajectory of a celestial body around another; the curved course of a satellite) is the same word in Japanese (and various other languages. Which makes sense, since even the English term “orbit” was derived from the Latin word “orbita” meaning “tracks; course”); hence my title for this section. anyway this ties into the motif of gravity as seen in Urara's line above

Very interestingly, the original line here too explicitly uses train and train track imagery as a metaphor for the course of life and fate, similar to how it's used to symbolize these things in Kenji Miyazawa's The Night on the Galactic Railroad, and by extension Magia Record, which takes a lot from Miyazawa's works.

Speaking of which, that brings us to our next, largest, and final section...

A Thin Ice Between Life and Death

buckle up guys, it's got three parts

Pt. 1. The Rabbit with a Death Wish

Earlier on, I said Yukika accepts her life as-is, but really, she also fully accepts her death as-is. While her heart does desire to feel "alive", and it is for that, rather than any active desire to actually die, that she longs to be at the brink of death, it is... actually a bit worrying, how little she feels like she has to live for.

Well, let's look at the part in Otsukimi when she thought she was going to die to the powerful Witch:

Yukika: (Ah… There’s blood coming from my mouth. This is called hematemesis, right?) Yukika: (I'm... definitely a goner at this point.) Yukika: (But despite that... No, maybe because of that...?) Yukika: (My head's perfectly clear, and I'm getting tons of adrenaline.) Yukika: (Way more than when I bet all of the coins I have…) Yukika: (I feel like I’m alive!) Yukika: Hehe... Yukika: (...Wow. I must be kind of crazy.) Nanny Witch: …………!! Yukika: Kwaah…!! Yukika: Hehehe... I've got plenty where that came from! Yukika: ...Is what I'd like to boast right now. Yukika: But my battery is dead. [the image of Hotori and Rion flashes before her eyes] Yukika: (I’m going to die without being able to do anything…) Yukika: (I wonder if that unknown White Feather felt the same chagrin…) [the image of Hotori and Rion flashes before her eyes] Yukika: I’m sorry… Yukika: I won’t be seeing you two at the moon viewing party. Yukika: .............

...maybe it's just me, but it strikes me as unusual and almost alarming how little she seems to feel like she has to live for, you know? Like, Rion and Hotori are a pair of girls who she literally just met this afternoon. And they (and her not being able to defeat this threat on other people's lives) are somehow her biggest regrets.

And like, Yukika isn't just like this here. Whether you say it's for thrills or for other people's sake (it's usually initially the latter with the extra bonus of the former sometimes), she never even hesitates to put her life on the line. It's kind of sad, really.

This makes sense, though; this sort of attitude tracks perfectly with the abysmally low value she attributes to herself and her existence (again, in her eyes, she is literally just the most basic NPC ever, and who cares about what happens to a random NPC? well actually several people in this fandom do care, including me, but it's not like Yukika Nanase would know that).

In fact, let's look at the legend about the moon rabbit that I mentioned earlier. A quick online search would tell you that it's a mythical figure in East Asian and indigenous American folklore, based on pareidolic interpretations that identify the dark markings on the near side of the Moon as a hare or rabbit

As a side note, this is (accidentally?) fitting in the context of her own perceived "lowliness" (+ faint presence and all) against Tsukuyo's full moon-like brilliance... but I should probably leave that for another analysis oops (assuming I ever write one)

who (in East Asian folklore) pounds the elixir of life (according to Chinese and Vietnamese interpretations), or rice cakes such as the mochi (Japanese and Korean interpretations).

But how come the Moon Rabbit arrived on the Moon?

There's a story behind it that originates from Tale 316 of the Buddhist Jataka tales, and a derived version of it appears in the Japanese anthology, Konjaku Monogatarishū.

According to the Japanese folklore:

The rabbit, as well as the hare, have long been associated with moon deities, and may signify rebirth or resurrection. According to legend, an old man who lived on the moon decided to visit Earth. A group of animals saw what they thought was an old beggar who was starving. “Poor beggar, he looks hungry and has no food. Let us give him some food”. First, the monkey plucked some fruit from the trees. He brought the fruits and laid them in front of the old beggar. Next, the otter collected some fish and brought it to the old beggar. The jackal was too lazy to find something that the beggar could eat, so he caught the first animal he could - a lizard, and placed it in front of the old beggar, along with some water. The rabbit did not know what to get for the old beggar. He was not good at catching animals or fish, nor could he scale trees and get fruit. He only knew how to gather grass, but humans didn’t eat grass. Having nothing to offer, he sat in a corner unhappy. Suddenly he remembered that humans like to eat meat. So he got up happily, prepared a fire and jumped into it, having decided to cook himself for the unknown old man. The fire did not burn the rabbit! The old man revealed himself to be Sakra, the ruler of Gods. “You have been very kind and selfless.” he said to the rabbit. Touched by the rabbit’s selflessness and virtue, he drew the likeness of the rabbit on the moon. “Henceforth, for all ages, all those who will look at the moon, will see your shape in it and remember your kindness.

(the story of Tsuki no Usagi, from here. lightly adjusted for formatting and such)

Most versions of this myth have roughly the same story, with the identities of the rabbit's companions varying. Interestingly, the legends of Moon Rabbits among some indigenous cultures of North and Central America often tell an extremely similar story as well. For example:

According to an Aztec legend, the god Quetzalcoatl, then living on Earth as a human, started on a journey and, after walking for a long time, became hungry and tired. With no food or water around, he thought he would die. Then a rabbit grazing nearby offered herself as food to save his life. Quetzalcoatl, moved by the rabbit's noble offering, elevated her to the Moon, then lowered her back to Earth and told her, "You may be just a rabbit, but everyone will remember you; there is your image in light, for all people and for all times."

(from Wikipedia)

The Jakata version of the tale relates that this event took place on Uposatha, which is the same night as Tsukimi. And while it’s hard to say for certain that this was 100% a deliberate reference, it’s definitely not farfetched to connect this legend to what Yukika does on Tsukimi in her debut event, and in general.

Deeming herself a thoroughly unnoteworthy person with nothing special to offer, she's extremely willing to throw herself into anything from minor inconveniences to life-threatening dangers, as long as it's to help someone else. Because, as noted by Tsukasa and Mifuyu in her MSS...

Tsukasa: I mean, she says she’s "dragged into it" by the effect of her wish... Tsukasa: But really, isn’t she taking on this lost child of her own volition? Mifuyu: She’s the type of girl who could never leave someone in need alone, no matter what. Mifuyu: So, from her perspective, it’s the same as being dragged into things. Tsukasa: …What a kind girl.

...So, honestly, I have no doubt that she would have no hesitation in doing the same thing as the original Moon Rabbit did in the legend, had she been in his/its situation.

Yet the thing is, as Mifuyu analyzes above and according to Yukika's own words about "fate" prior, Yukika never sees what she does as anything exceptional because, in her eyes, she's only doing what she's naturally supposed to do, and what she probably (incorrectly) assumes to be what anyone in her circumstances would also do. Thus, she never sees any merit in those actions and she refuses to take credit for them, trying to remain in the background because she firmly believes that's just where she belongs by nature. but more on her self-effacement next time.

Now, onto the secondary reason she's eager to throw herself into danger:

Her thrill-seeking instinct.

Though it's a well-known fact about Yukika that she is quite a reckless gambler, have you ever wondered...

Why is she like this in the first place?

Pt. 2. The Psychology of an Ennuyé Bunny

in which I accidentally turned the analysis post into a psych diagnosis of a mostly unspecified mental condition I swear as a distinctly not STEM person I went out of my way to do scientific research this time, please bear with it if you don't mind

Of course, there's a canon explanation for this in Yukika's MSS, where it is discussed.

Tsukasa: …medal games? Yukika: When I abandon myself in an all-or-nothing, do-or-die game, I can forget for a moment about my boring daily life. Yukika: So… going to the arcade after school to play medal games became a hobby of mine. Yukika: I even secretly bought a casino set, and now stare at it at home every night… Mifuyu: …Your escape from reality, I see. Yukika: Exactly. Tsukasa: If that’s the worst you can do, then you really are a true lady.

(Seen in her MSS and personal memoria, this is the casino set she secretly keeps in her closet but only ever stares at, without actually doing anything with it.)

As Mifuyu puts it, Yukika finds in small acts of gambling an escape from her boring reality, and as she said in her wish, what she wanted was "the feeling of being alive".

This is, statedly, due to her boredom* more on this later from following a predetermined life path (hence her wish being an act of defiance against fate, one which she is shown to be deeply ashamed of), but also...

...you know how substance abuse, excessive gambling, and other forms of addictions often co-occur with mental health issues?

Yeah.

In many such cases, said addiction can be the consequence as well as the cause of these issues

because for people with symptoms of depression, anxiety, executive dysfunction (and any other kind of stress or motivation issues, etc.), activities like alcohol and gambling provide them with a temporary source of ease, escape, and/or brain chemicals of the likes of catecholamines* see explanation later, any of which they might lack otherwise.

Besides, executive dysfunction (which is seen in many different mental conditions) can also mean worse inhibition control in both thoughts and behavior, which makes people with executive function issues particularly susceptible to addiction to physiological-rewarding behaviors, in more ways than one.

So... while I'm not going to pin anything particularly specific on her (okay I lied I'll say here she clearly does show symptoms of general anxiety at least, even if that's solely induced by the effects of her wish and not something originally innate to her, but that's mildly beside the point here since I'm more talking about the cause of her wish instead of the consequence), I don't think it's that much of a stretch to speculate that Yukika might have a mental condition or two that contributed to her unbearable "boredom" with her routine everyday life at that time.

Many studies have shown that executive function problems (as seen in various different conditions including neurodevelopmental disorders such as ADHD and ASD, or mood disorders such as depression and bipolar) may be caused by imbalances and deficits in certain key neurotransmitters, such as:

dopamine, and

noradrenaline (a.k.a. norepinephrine)

...both of which are among the 3 catecholamine hormones & neurotransmitters, alongside adrenaline a.k.a epinephrine.

for reference, common ADHD meds like amphetamine (Adderall, etc.) and methylphenidate (Ritalin, Concerta, etc.) are often catecholamine analogs or serve the same function, that is to say, they're used to increase the amount of dopamine and noradrenaline released by the patient's adrenal glands.

You may have realized that this isn’t exactly the first mention of adrenaline in this post. Indeed, Yukika herself brought it up in the earlier excerpt from Otsukimi where she experiences a rush of adrenaline at death’s door.

Adrenaline and noradrenaline both fall under what's considered “stress hormones”. Along with dopamine, they're a big part of what activates the fight-or-flight response (or to put it in more medical terms, the "acute stress response") in a person, as the catecholamines increase heart rate, blood pressure, breathing rate, muscle strength, mental alertness and more.

Between the two, adrenaline is released by your body when you experience acute or chronic stress, in preparation to protect itself against real or perceived danger.

On the other hand, noradrenaline is continuously released into circulation at low levels, but the amount produced also increases in response to stress and fright.

(By the way, adrenaline is made from noradrenaline, and noradrenaline is made from dopamine.)

...Right, well, all this neuroscience stuff and I still haven't made my point yet. But basically, what I mean is that there's enough canon evidence for me to believe the odds are that Yukika Nanase is not precisely a neurotypical individual, no matter what her problem(s) actually is in exact.

This is evident in her...

Chronic boredom (sometimes synonymous with "ennui") prior to making her contract, indicative of a depleted reward system

Attraction toward gambling and other risky behaviors that act as stimuli and generate the release of catecholamines in her brain

Possession of a certain level of impulsivity, and engagement in reckless & risky activities

Novelty-seeking attitude and behavior

As previously discussed, those traits above are primarily observed in Yukika's wish, the circumstances and reasons behind her wish, and her thrill-chasing attitude and behavior, including her fondness for medal games.

Like, if you read what Biser Angelov says about the connection between ADHD and boredom (the article is about ADHD specifically, but you can apply this particular section's info to other conditions with cognitive dysfunction as well):

As you can see, the screenshotted paragraphs discuss similar ideas to what I've been talking about in this subsection, and I'm sure you can see from here how the situation described indeed applies to Yukika, especially with her state before her wish.

In addition, let's examine the psychology of a thrill seeker. Yukika fits the description of what we would call an "adrenaline junkie", being particularly into thrills and dangerous situations. But what exactly makes thrilling sensations so appealing to a so-called "adrenaline junkie"?

You may or may not have heard of the Sensation Seeking Scale (SSS), originally published by psychologist Marvin Zuckerman in 1964 as a measure of sensation seeking that encompasses and evaluates an individual’s personality traits of thrill and adventure seeking, disinhibition, experience seeking, and susceptibility to boredom. A study about the brains of people with high scores on the SSS shows that under chaotic/dangerous/troublesome circumstances, these people tend to excrete less cortisol and more dopamine in response to the situations, compared to those who score low.

Now, cortisol is also a stress hormone, but it generally generates more feelings of what we actually consider "stress" compared to dopamine (and other catecholamines), which is instead more associated with feelings of pleasure and attention. So, during those highly chaotic experiences, those with a thrill-seeking constitution are more likely to feel good and elated instead of feeling burdened by stress, and the experiences thus become exciting to them rather than suffocating.

Considering the factors analyzed above, this might be the case for Yukika as well. If her brain suffered from a deficiency of catecholamines on mundane days but could produce much of those energizing neurotransmitters and hormones under stress and fright, it would explain why she enjoys high-risk/near-death experiences (and gambling) and finds being in chaotic troublesome situations to elevate a good portion of her boredom.

Moreover, the need for higher stimulation in children with executive dysfunction is backed by scientific research, according to this article on the link between ADHD and high-risk behavior.

Other studies (Zentall and Zentall 1983 and Douglas 1983) indicate that children with attention problems need a higher level of stimulation. According to the research, children with ADHD are under-aroused by dull or repetitive tasks and will seek out high-interest or high-risk activities to compensate. Further, (Farley 1981, 1985) children that are under-aroused will search for more intense activities and will be more open to different experiences. They will prefer complex tasks to simple tasks; will seek new and novel experiences that include the need for high energy and high risk. In short, Farley found that children with hyperactivity seek high stimulation. His recommendations for children with hyperactivity included modifications to education to include more interactive and creative experiences to provide the extra stimulation needed.

Many other scientific studies, such as this one conducted in 2021, have also proven that ADHD, a major symptom of which is executive dysfunction, is "uniquely linked to a pervasive pattern of engagement in risky behaviors", spanning across various domains, including gambling.

Moving on, Yukika also has the tendency to:

Ramble a lot (in her head and otherwise) while jumping from one topic to the next, sometimes in ways that would be considered... whimsical?

Accidentally think aloud, or vocalize things that she has no intention of letting the other party hear about, without realizing it until she sees their reaction

Despite her own opinion, Yukika actually stands out to me as quite capable, intelligent, and resilient in various areas (especially when you consider how honestly difficult her everyday life is like).

That said, the way she thinks and talks does sometimes give off the impression of some sort of scatter-mindedness, and when we spend time in her head we see that Yukika kind of zones in and zones out of conversations sometimes because there’s always so much going on in her brain (partly thanks to her full awareness of her own trouble-attracting nature, but I kinda get the feeling she was probably kinda like that even before becoming a Magical Girl), causing her to blurt out to people things she doesn’t mean to tell them about at times.

There are several instances of this in Otsukimi, including the “dealing with trouble is my fate” comment she didn’t mean to let that random girl hear about in the earlier excerpt, and the Great and Terrible Will of the Universe remark (as seen in a previous screenshot) wasn’t meant for the Tea Ceremony Club’s leader’s ears either.

As for her erratic thought patterns in general, you can probably see the way her internal thoughts are always constantly racing throughout the entire event. In fact, one can just look at the very start of Otsukimi for an example. And in a different scene, we see Yukika suddenly wondering to herself, while very sincerely navigating the problems in an attempt to solve them:

Yukika: (This time, I’ll find the cause of the trouble!) Yukika: (I’ll definitely reveal it...) Yukika: (Just what the Great and Terrible Will of the Universe (Tentative Name) actually is!) Yukika: ………… Yukika: (I doubt it'd happen, but just imagine...) Yukika: (The moment I step into the old school building, everyone yells "Happy Birthday!",) Yukika: (and this mob of well-wishers swallows me whole.) Yukika: (If nothing else, please let me be spared the embarrassment of such a turn of events...) Yukika: (Ah, and maybe even Akatsuki-senpai is in the act.) Yukika: ...Yeah, I think not. Yukika: I mean, it's already past my birthday for starters...

...yeah. Doesn't particularly read like the thought process of a neurotypical kid to me, but hey, who knows, maybe that's just me.

Moreover, she also shows signs of:

Anxiety and restlessness (the former of which was either caused by her wish or marginally increased by it)

Low self-esteem, feelings of worthlessness, and (debatably) inappropriate guilt

...etc, etc.

Overall, I believe that more than sufficient evidence is present in canon for one to see Yukika as having one or more mental conditions that come with executive dysfunction, and interpret her behavior and thinking through such an explanation.

Pt. 3. The Girl Who Wants to Live

On a note directly related to my conclusion in Pt. 2, I'm going to take a moment to compare and contrast Yukika to one of her better friends, Yuuna Kaharu.

Now, I personally believe that Yukika is quite a parallel to Yuuna in various ways, and Yuuna in The Flower that Blooms in a Hollow Heart definitely reads to me as having depression. I'd say the parallel is most obvious (to me) in like, Yukika's "I feel like I'm not really alive because all I'm doing is living the boring luxurious life to the future that my parents planned for me" (Yukika MSS, paraphrased) vs Yuuna's "I'm an empty shell blessed by the lucky life handed by me by my parents on a golden plate, only living because I'm not dead yet" (Hollow Heart, also paraphrased).

Yukika and Yuuna are also character foils, however, in that Yuuna has an arc centered on growth and she is able to advance forward because she finds herself a clear and defined goal in Mami, whom she sees as a role model that she aims to become like one day. On the other hand, Yukika establishes right at the very start of Otsukimi that she had never any desire to advance upward, whether in WoM or in school, because it was supposedly people like Tsukuyo who were suited for such better roles, and to Yukika, that's simply how it is.

There is another striking difference between them, and that is that Yuuna is unabashed in taking credit for when she's done something good, whereas Yukika times and times again brushes off any help she's offered with an "oh it's nothing special / it's already over with so let's not talk about it" kind of attitude, because that's really just how she sees it.

As examined earlier, this is largely due to her low self-worth and her perception of everything as her own natural responsibility. The unfortunate thing is that this self-effacing attitude, on top of her already faint presence and all, makes her even more unnoticed and her deeds completely unacknowledged.

And then, by further preventing most people from recognizing Yukika and her efforts, it reinforces her mindset about her lowly faint presence and further contributes to her lack of self-worth, which in turn makes her value her life even less, altogether creating a vicious feedback loop.

Yukika speaks of having friends in class, but with the way she talks about it, they don't seem all that close to her and they're definitely not people she could fully open her heart to.

see the fact that she's very concerned that her classmates and school friends mustn't hear about her visits to the arcades; she is never really seen thinking much about them on-screen, going to them for help, or worrying about any particularly important school friend when the whole school is in trouble, etc.

In canon, there are like only three named characters who consistently notice Yukika and actively try to pay attention to and care about her (Rion & Hotori, later Yuuna), and none of them even go to the same school as her.

And because Yukika has this somewhat fatalistic mindset, no defined aims or goals in life, and effectively actively discourages people from noticing her, she is likely to just... stay this way, unlike Yuuna.

Like, Yukika is just a weirdly really static character in her default state. As someone who's tried to work with her as a major character in a story, it's honestly kind of crazy how I always absolutely have to throw her into some odd situation where another character actively tells Yukika that she (and she specifically) should try to change or grow, as long as I want to make her undergo any dynamic character development. Otherwise, her usual mentality typically completely blocks any possible self-development of the introspective kind from happening.

To me, there's something rather... subtly tragic(?) about this, but...

Yeah, so, I for one do believe that Yukika still has the quality for future growth. Not sure if it could happen in the game or not, but like, I do think that can still happen to her as a person. And more than that...

In spite of everything I've been saying up till this point, Yukika's core desire is "to live".

It's in the wish she made. It's why she chases excitement the way she does. Indeed, Yukika is relatively easily self-sacrificial as a result of the "low self-worth + too kind" combo and she seeks to experience the brink of death for a wholly different reason, but truly, her overall main subconscious drive is to feel alive.

And the most paradoxical thing here is the fact that her longing to experience a brush with death stems from her desire to live, rather than a desire to die; not only thanks to the catecholamines rush, but also because it is through the fact that the chance of death exists for one that their life is so meaningful. (or so goes my personal opinion, in any case)

After all...

Yukika: Wow... Student Council President: What do you think about it? Yukika: Yes... Yukika: I'm so glad to have been born on a planet with a moon! Student Council President: You… you're that moved by it? Yukika: Yes. Yukika: I thought that I wouldn't live to see it again. Student Council President: Okay…?? [...] Yukika: The same old face of the moon as always. The same boring world as always... Yukika: Tonight, they both shine brilliantly to me.

...

Even though her everyday life is tedious, her self-esteem dreadful, her mindset somewhat fatalistic, and something's up with her brain chemicals too...

Deep down in her heart, the thing Yukika Nanase truly wants is to be alive.

And I don't know about you but... man. I find that very moving, you know?

And...

That's all, folks!

This concludes my essay. Basically, my big main point is that Yukika is certainly one of the most characters of all time and should be cherished at all costs.

Thanks for reading this (very long) propaganda analysis post to the end, and I’ll see you next time o7

#magireco #yukika #yukika nanase #nanase yukika #magia record #analysis #character analysis #essay #i (ai)#own writing #(can you see I have no idea how to tag yet?)

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burningvelvet · 6 months

Note

You have mentioned that you read a lot of academic writing, so I was wondering how you annotate your reading? Or any tips on reading academic writing. Thank you!

Tips on Reading Academic Writing, & My Explanations & Experiences (pure tips are highlighted in bold)

Thank you for the ask! I'm not a professional, but I will share what I've found useful as a student/soon-to-be grad. Besides the few times that my professors have required us submit formally annotated bibliographies, I usually do not take them in any neat, organized way. When I read an academic text, I often underline/highlight if possible (if I have an ebook version or paper version to do so) while focusing on key words/key concepts and inserting any associated words/concepts that come to mind. I also copy/paste (or use iPhone's text scanner in the photo app) specific terms or phrases that I want to remember or that stick out to me. I primarily use my Notes app bc it syncs from my laptop to my phone. If I'm doing a close-reading and wish to take my time, I read over each paragraph (or in rare cases when I really wish to do an even closer reading, each sentence) and I attempt to then summarize it to myself in as few words as possible. This last part appeals to my own personal learning style though, which I'll discuss further on below.*

I scan every text for the most important parts, keeping in mind that each paragraph contains its own sub-topic. A paragraph is like a scene in a film or a play, and each one has its own beginning, middle, and ending. By reading the first or last sentence of a paragraph, you can usually glean what the whole paragraph is about. The first and last sentences of a paragraph are the most important. Likewise, the opening and closing paragraphs of an essay exist to summarize the most important parts of the entire essay. The thesis statement (the main idea of an essay, or the "TLDR summary" to put it into Reddit terms) is usually located at the end of the first paragraph of an essay. Also, this all applies to formal academic writing; not so with casual or creative writing. If I am desperately trying to absorb information and don't have the time/energy to fully study something, what I do is allocate the work's thesis statement, and try to summarize in my own terms the "main point(s)" of the work.

Another invaluable piece of advice is to build your vocabulary and keep vocabulary lists for heavy reading (a list of terms and their definitions). Some academic papers or textbooks will include these in their works. For years, I have kept a sacred list called "Words" which is simply a list of terms that I either struggle to remember or that I've had to look up the definition of. But specific topics get their own vocabulary list, especially if it's something niche or a list of terms only used by a specifer writer or in a specific theory or sub-field. A lot of academics/writers/philosophers invent terms to more easily explain or describe their concepts. Heideigger, considered one of the most interesting but difficult philosophers to understand, is especially difficult with this. It feels like learning a new language sometimes to read his work. But academic reading is often a matter of the writer putting forth new ideas and/or explaining complex things, and so it is often slow, heavy reading, which requires patience.

My biggest piece of advice is to look up lists of learning styles and try to experiment with each of them until you find which one(s) work best for you. Maybe review your earliest memories from school or past memories where you felt like you were excited to learn. Try to implement these while reading information to see what method is most beneficial & comfortable. Everyone learns differently and no two people are exactly the same. Don't feel bad if methods working for others aren't working for you; this is an opportunity for further exploration.

*My individual learning style is "learning by teaching," which means that in order to retain information, I recapitulate it to myself, or make up imaginary scenarios where I have to teach or explain the information to others, or occasionally I do so in real life by info-dumping the information to interested people (or here on my blog). By explaining a subject, it deepens my own understanding of the subject, because you have to understand something well in order to be able to regurgitate it in your own words. If I get stuck and find myself unable to explain something, then this allows me to see where I'm lacking knowledge, and what I need to review. I recall implementing this learning style in some of my earliest memories. Around ages 3/4, I would pretend to be a teacher in an imaginary classroom while practicing my letters and numbers.

#ask #asks #education #academic reading #academic writing #annotations #notes #literature #english literature #academia #dark academia #tips #academic tips #academic advice #uni life #university #me #my writing #my essays

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cleolinda · 1 year

Text

Mitsouko (Guerlain, 1919)

Guerlain, 1919, Jacques Guerlain. Post-2014 formulation; eau de parfum concentration; 2002 decant from the Perfumed Court.

(To discuss: what it smells like, why it smells like that, and the struggle to describe this legendary heritage throwback.)

Trust me, these specifications make a difference. A year ago, I read reviews of different versions and took notes on what I wanted:

Do not get samples from 2007 - 2013, pre-2007 will have real oakmoss. Every concentration has different focus. EdP is mellower than EdT. Extrait is "truest."

You see, the International Fragrance Association (IFRA) restricted oakmoss in 2001, and then more tightly in 2009, from what I can tell. Mitsouko is considered a "reference chypre," a textbook example of the genre, and chypres are, by definition, citrus (usually bergamot), labdanum, and oakmoss. (The Perfume Society adds patchouli to this trio.) Like, you gotta have those for it to be a chypre. But Mitsouko is not THE chypre:

Bois de Jasmin: Guerlain Mitsouko : Fragrance Review (New and Vintage):

Created by Jacques Guerlain in 1919, Mitsouko was a variation on the avant-garde fragrance of the period��Coty Chypre. Chypre was based on the startling contrast among the bergamot top notes, the jasmine heart and the richness of oakmoss. Though undoubtedly beautiful, Chypre was brutal in its impact. […] Mitsouko is a kiss to Coty Chypre’s slap in the face, and for this reason, its popularity endures to this day.

So when oakmoss was restricted as an allergen in the 2000s, perfumers industry-wide scrambled to come up with a facsimile; for Guerlain, with a fragrance this storied, failure was not an option. Reformulations everybody hated were, though. Edouard Fléchier took a crack at it somewhere around 2007, and in 2013, Thierry Wasser reformulated the whole thing to recapture the scent everyone remembered. People seem to have been satisfied with that version since.

So I've worn that new Mitsouko on and off, when I feel fancy, for about a year now. I put a little on a card for my sister to smell the other week, and she said, "It smells old." (She'll be the first to tell you that she’s learning what individual notes smell like.) Being crushingly literal, I don't understand what "smells old" or "smells like old ladies" means. Powdery, she said, struggling to explain. "Old." Maybe I haven't smelled enough old ladies.

Mitsouko does smell… weird, by modern standards. Generally, people either love it or hate it, and Results May Vary in a big way; it's worth getting a sample just to take it for a spin (kind of like Not A Perfume or Glossier's You, in that one regard), and to see what a piece of history smells like. Expert-of-experts Luca Turin says it's the one perfume he'd take to that proverbial desert island, but I am but a gentle woodland creature, a basic vanilla bitch; I would be more likely to take something that cost $10 instead of $145. But I still kind of love Mitsouko. Users who review it positively often speak of not liking it at first, then going back to it again and again. They also speak of a "pissy" stage in the middle that might be civet or oakmoss (or whatever represents those notes now); I know what they're talking about, but it doesn't read as anything so unpleasant to me. It's not easy to wear like the simple scents I usually go for, but the drydown is absolutely gorgeous. That's one of the things that makes Mitsouko so interesting to me: it's like two completely separate perfumes were mingled, and the first gradually recedes to let the Guerlinade take center stage.

But what’s in it? “La Guerlinade,” for starters, is a complex foundation that the historical Guerlains have—a house accord. (You could buy it unto itself for a while.) The exact formula is super secret, of course, but it's said to (possibly) include bergamot, jasmine, rose, orange blossom, orris, vetiver, tonka bean, vanilla, and lilac. The lilac—a note I didn't even know I would like—is what shows up on me with both Mitsouko and Guerlain's L'Heure Bleue (1912); it's a soft light purple note that peeks through from the very beginning, and gradually becomes the glass slipper that Cinderella leaves behind.

Over on the official Guerlain site, they tell us a bit more about the reformulation:

A masterpiece in balance and originality, Mitsouko combines a fruity peach note with jasmine and rose centifolia (May rose) flowers. Its mysterious base combines spicy notes with notes of undergrowth and vetiver.

Warm spices such as black pepper mingle with cold spices like cardamom and pink [pink pepper?] berries.

Patchouli essence features many vegetal, woody and earthy olfactory facets. Combined with rose, moss, and bergamot, patchouli forms the base of the chypre accord.

Hilariously, Guerlain also straight up tells you what Thierry Wasser actually put in New Mitsouko:

ALCOHOL

PARFUM (FRAGRANCE)

AQUA (WATER)

LIMONENE

LINALOOL

EUGENOL

HYDROXYCITRONELLAL

EVERNIA FURFURACEA (TREEMOSS) EXTRACT

CITRAL

BENZYL BENZOATE

ALPHA-ISOMETHYL IONONE

CITRONELLOL

GERANIOL

BHT

HEXYL CINNAMAL

CINNAMYL ALCOHOL

ISOEUGENOL

BENZYL ALCOHOL

BENZYL SALICYLATE

TOCOPHEROL

CI 14700 (RED 4)

CI 19140 (YELLOW 5)

CI 60730 (EXT. VIOLET 2)

FARNESOL

Yeah. There's the famous Guerlinade… in there somewhere. They gave that secret away, hidden under a tiny link, because it means fuck-all without proportions or a way to separate it from the composition as a whole. Well played.

A Basenotes user posted a suggested Mitsouko formula that's somewhat more indicative of what those chemicals would smell like (deep breath): sweet orange, lemon, bergamot, elemi, celery seed, tarragon (a component of oakmoss reconstitution), coriander, chamomile, lavender, geranium, ylang, jasmine, clove, anise, castoreum, civet, labdanum, tonka, patchouli, cinnamon, peru balsam, benzoin, vanilla, violet, rose, costus, vetiver, musk, and the famous "aldehyde" C-14: a peach-scented lactone from 1908.

Logically, Mitsouko (1919) must not have been the first fragrance to use gamma-undecalactone, but I'm not sure any other has survived the ages like this one. Carter Burr (another top expert) writes that Jacques Guerlain most likely got it from the supplier Firmenich, via their Persicol peach base:

C-14 was a marvel, a fruity, aromatic, delicious scent that gave ripe peach skin. Guerlain plugged C-14 into the equation perfectly (the rumor is, actually, similar to Chanel 5, that he in fact accidentally overdosed the stuff; who knows), and Mitsouko became a thing of subtle opulence, strength and balance and silken twilight.

Sidebar: peach is one of my favorite fragrance notes. It's in Tamora, one of the first BPALs I ever tried twenty years ago; I don't know what the actual peach accord in that oil is, but it's still probably my favorite Black Phoenix. No matter how weird people said Mitsouko was, I was GOING to try it for that landmark peach lactone. And that's what shows up at first for me. I do get that Guerlinade lilac peeking through, but the opening as a whole is a spicy autumnal peach lying on the dead-leafed forest floor, more velvet than flesh, Octoberish and unseelie. That first sequence is intriguing, and then it warms up into that unpleasant stage; then that uneasy note fades and the Guerlinade comes fully out, a soft pale purple-blue siren song floating by on a powdery cloud. Those are the two perfumes that seem to be twined: bewitchingly different, each one blended so smoothly that I can't distinguish all the notes within them, yet not quite blended together.

And that's just my own reaction. Watching Fragrantica reviewers describe Mitsouko is a pastime unto itself. It smells like power, sex, domination, old money, "strangely nutty," depressing, elegant, fascinating, bitter, ripe, like oil paint, "an old medicine cabinet," pungent, tangy, moldy, intoxicating, alienating, feminine, masculine, unisex—to quote frugally:

User Aerides: "Mitsouko is gloomy Sundays, walks in the woods after it rains, and empty auction rooms. […] It's incense and burning candles, and waxy floor polish. It's cinnamon peach jam. It's a bouquet of lilacs on the dining room table. It lasts so long it's like a ghost in the room."

User Amararata: "There is something vampire-like about this fragrance. It's the sort of scent a woman leaves behind after she's conquered a man, or a kind of lascivious tryst in the middle of the day."

User querty988: "For some reason, those stinky little [camphor-clove] whiffs endeared it to me. It was like the baby from Eraserhead whispering in my ear, 'yes, I am the most revolting thing you've ever smelled, but I'm here with you in public today, and it's our little secret that I belong to you.'"

User KingRidesBy96: "Can't explain it. Don't want to. She's a witch, it's magic."

Mitsouko is weird as hell, and yet, thanks to the “waxy floor polish” review, and (I swear) a review someone wrote that I can't find now that mentioned linseed oil, furniture, paint, and his wife, I knew exactly what Mitsouko was going to smell like. And I was right. And I think that the mental preparation is incredibly important here. Not to be snooty about what it takes to "appreciate" a perfume like this, but to frame for you where this being of times past is, at least, coming from. Mitsouko is Aslan, present when the Deep Magic was written in 1919, whether the Deep Magic smells good on you or not.