The Kids in the Room
The Fullbringer Arc is tighter and more coherent than anything in the manga so far, telling a very straightforward story about a young person’s alienation from the world he lives in. It has very specific things to say about the role of parents, mentors, and friends in the process of a kid becoming an adult and does a pretty decent job of looking at how different organizations (the state, gangs) can play into that young person’s life. And then, at the climax of the story, it very intentionally takes all that hard work, and for what I must assume were business reasons, tosses it all away.
The Arrancar Arc was a glorious, grandiose mess. It featured no fewer than three separate worlds, four distinct factions, and probably around twenty characters with active character arcs. Although it started off with the truly breathtaking ambition of weaving all of this together, by the end Kubo had cut a considerable amount of the subplots in favor of actually getting to the end of the story he was telling. And it still mostly worked! Ichigo’s character arc, at least, ended where I think it was always going to: sacrificing his nigh-unlimited power after understanding the price of that power.
But of course, giving up all of your powers isn’t really a long-term solution for Ichigo, just like it isn’t for any of us in life. Ruling over three worlds might tend to corrupt a person, but we all want—and need—to feel like we have some power over our own lives. Ichigo, in his final year of high school, living on the precipice of adulthood, feels this in more than one way. He had this power. He sacrificed it. And yet now, he’d do anything to get it back. Anything except ask for help.
You see, asking for help is hard, but especially in the context of “seeking power”, which in this story is an even less veiled metaphor for “growing up” than it usually is in shonen manga. Asking for help means admitting both weakness (you don’t have the power to get what you want right now) and discontentment (there is something you want that you don’t have). For Ichigo, whose primary method of coping with his mother’s death was asserting a premature independence, this would be difficult even if the thing he was seeking wasn’t something he had very publicly given up in front of his friends and family. Yes, there are times when he doesn’t want to involve them to protect them, but a big part of his self-imposed isolation is his own ego, his unwillingness to reveal to people who love him just how miserable he is, out of fear that it will reveal him to be somebody they won’t love anymore.
And that’s where the Fullbringers come in. Ginjo puts in a tremendous amount of work into getting close to Ichigo—lying to him, giving him little bits of information piecemeal without telling him the whole thing, and of course, offering him power that Ichigo desperately wants. But none of it would be possible if Ichigo didn’t have this preexisting desire to do it all himself, or at least to appear to his friends and family like he’s doing it himself. Ginjo does what nobody else in Ichigo’s life does—offers him assistance without making him ask for it. Hook, line, sinker.
The body of the arc covers this masterclass in manipulation from Ginjo, and it’s a huge change from what has, up until this point, been a very standard shonen battle manga in terms of content, where the fights happen on a more or less weekly basis. Here, it takes over half the arc for Ichigo to fight anybody! It’s all character development, even for the side characters like Orihime and Chad, who don’t get fights of their own but do get to express themselves and show initiative in ways they were largely denied in the previous arc. It’s all a long, slow burn to the climax, where Tsukishima suddenly strips away the support system that Ichigo had so undervalued, leaving him defenseless against Ginjo’s theft of his power.
And that’s my big frustration with the climax. It’s not that I like the Karakura kids more than I like the Soul Reapers, although I very well might. It’s that so much work has been put into drawing out and developing these relationships, so much effort put into showing how this is affecting all of them. And it’s not just metatextual effort either—yes, we spend a lot of pagetime with Chad and Orihime and Uryu, but Xcution also targets them all because of their importance to Ichigo! The very story itself recognizes that they’re the support system that Ichigo needs to be an emotionally healthy adult! Any logical resolution must therefore involve them!
But it doesn’t. Instead, it’s the Soul Reapers, who have not been physically or even narratively present at all for four volumes, who come in and repower Ichigo. They’re the ones who pair up for the fights against Xcution, fights that are very light on the sort of character work that is so characteristic of Bleach fights because there just isn’t the grounding for it! Even the fights that show character are mostly showing development that seemingly occurred off-panel, leaving you wondering when exactly Toshiro and Ikkaku achieved their newfound maturity. But the supporting characters from the bulk of the arc are written out, and even the personal feelings of Shigekuni Genryusai Yamamoto wind up being more important to the narrative.
This isn’t just unsatisfactory on the level of the supporting characters, it also fatally undercuts Ichigo’s own development. We expect the story to end with him overcoming the challenge set in front of him, which at the beginning is clearly his alienation from the people he loves. But he doesn’t really do that—instead, the Soul Reapers showing up is what solves his problems, which suggests that the actual problem in his life is just “they weren’t around”. I don’t think that’s actually what we’re meant to take away here, and the narrative doesn’t seem to think so either, which is why we end with the character development being passed on to Soul Society instead. They learn something in this arc, which is to trust Ichigo. But he doesn’t seem to have learned a damn thing.
And that’s what frustrates me so much about this arc: the lost potential, the fact that there was a very obvious story being told that was abruptly discarded, right at the moment it mattered most. There was probably no way Kubo could have fulfilled all the potential of the Arrancar Arc: there were just to many characters, too many storylines. But here, he condensed his writing, narrowed his scope, and still told a compelling story up until he suddenly threw it all away. Whatever the reason for it-- and I have no insight into the editing or business pressures that might have motivated a climax so different from that the story was obviously building to-- it’s disappointing.
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What is Crucible?
Crucible is one of the most important part of the Elden Ring lore, but the game never explains the exact nature or the form of it. Or does it?
From description of Siluria’s Tree (the primordial form of the Erdtree is close in nature to life itself, and this spear, modeled on its crucible, is imbued with ancient holy essence) we can learn that it is supposed to portray Crucible. I’ve been bothered why the spear is called a tree and turns out translators missed “spear��� 槍 in シルリアの樹槍, so it’s Siluria’s tree spear or Siluria’s wooden spear if I go with 樹 archaic form. Interesting that 樹 originated from Old Chinese 尌 which means “a hand planting a tree”.
Knowing that Siluria’s spear isn’t exactly a tree, I decided to rotate it and you can see the result on the picture above.
Here comes my theory - Crucible isn’t a tree, a literal crucible or something else, the last known form of the Crucible is a root system, currently known as Great Roots.
Why do I call it the last known form?
Description of Siluria's tree spear says that Crucible is a part of the Erdtree, but usually game refers Crucible as the primordial form of the Erdtree:
Holds the power of the crucible of life, the primordial form of the Erdtree (Crucible Axe Set)
Description of the Guilded Shield also provides some interesting info:
The red tinge in the gold coat mirrors the primordial matter that became the Erdtree.
As I speculate in my Color Theory post, the life on the Lands Between most likely originated from the golden star, which was sent by the Greater Will (it's also supported by Hyetta's dialogue about births and souls).
My interpretation is that the golden star is basically is a seed of life is this Evangelion reference? Notably, there is a theme of organic and inorganic matter being not so different (for example: Marika/Radagon's stone flesh), which can be interpreted in a way that golden star primordial matter contained golden ore and fantasy DNA.
In general, my main idea about golden star-the Erdtree evolution looks like this:
Golden star (golden seed) - primordial matter/rudiments of the root system - fully formed Crucible root system/Erdtree's sprout (primordial form) - the Erdtree and remnants of the Crucible (Great Roots)
A quite common motif in architecture from pre-Erdtree period is an imagery of various animals coming from a plant. Divine Tower murals are showing birds, ancient beasts and reptiles intertwined with something floral, similar scenes are depicted in Farum Azula too.
More over, the lead motif is also present in Farum Azula and Nox architecture. I believe Nox and ancient dragons coexisted together for some time, as we know from description of dragonkins items Nox tried to imitate the immortality of the ancient dragons, but failed.
I'd like to thing that this leaf represents Erdtree's sprout.
The roots imagery is a popular theme in Elden Ring too. The tail of the Elden Beast resembles roots, Elden Ring itself used to have root-like rune before Marika's age, roots are shown on the ancient Erdtree's sigil and the giant mural on the Erdtree's entrance.
Roots being assotiated both with life, the Crucible - a place where all life blended together and originated from, but also a death, a place where a souls of dead are supposed to return, follows the theme of duality of life and death. It mirrors the same theme of the red color, a symbol of primordial life and Rune of Death.
Ashes to ashes, what was born from the Great Roots must return to them.
However, both root imagery and red color aren't favored in the modern times, the Erdtree lost its root both on th sigil, but also disconnected from the Great Roots system for the reason unknown (I speculate that it was result of aging of Godwyn's infection). And the red color is commonly viewed as something undesirable and shameful.
[there is a theory of mine that Golden Order not only lacked death, but a life, fertility too, but it's a theme for another post]
And the last, but not the least, cut content:
花の坩堝の乙女、ミランダが この花の最初の一輪であったという
Miranda, the maiden of floral Crucible, is said to be the first of those flowers.
Description of Miranda's Prayer outright says that the Crucible was something floral or plant/flower-alike. For the better or worse, I can't use cut content as a real avidence for my theories, but I wonder if Miranda's flowers used to have a more important role in the story.
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