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horse-girl-anthy · 5 months

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Ikuhara Collaborators

as fans, it's easy to attribute any given aspect of an Ikuhara work to its flashy director. he is indeed a showrunner, the one who provides the uniting vision for a project. however, that doesn't mean that he is "the creator." anime production requires a lot of teamwork, which ultimately determines the quality of a work. rather than being a lone auteur, Ikuhara's strength as a director stems from his ability to draw in talent and create synergy between members. this post will highlight the individuals who worked with Ikuhara to bring his shows to life.

a quick note before we start: there are countless workers involved in a single anime production. for my sanity and yours, I focused on the ones I could find detailed information about. if you know of any additional contributors, or have detail to add about any of those I've included, feel free to leave a comment!

Sato Junichi

the first person who should be mentioned in regards to Ikuhara's career is Sato Junichi, his mentor at Toei. Ikuhara worked under Sato for his first animation projects, including a children's series called Maple Town Stories. Sato was the lead director for the first two seasons of Sailor Moon, but over time, he allowed Ikuhara more and more space to flex his own creative muscles. Ikuhara eventually directed the Sailor Moon R movie and became lead director on the season Sailor Moon S.

Sato is known as a great mentor--he also helped Kōnosuke Uda, Igarashi Takuya and Hosoda Mamoru early in their careers. it's safe to say that Ikuhara learned a lot from him. his respect for his mentor is shown by the fact that he asked Sato to provide storyboards for the vital episode 34 of Utena, "The Rose Crest." although Toei animators often used pseudonyms when working on outside projects, Sato declined to do so, wanting to celebrate his work on Utena.

other notable work: Goldfish Warning (Series Director); Sailor Moon and Sailor Moon R (Series Director); Sailor Moon S (Episode Director); Neon Genesis Evangelion (Storyboard); Vision of Escaflowne (Storyboard); Yume no Crayon Oukoku (Episode Director, Storyboard); Cowboy Bebop (Storyboard); Princess Tutu (Series Director, Storyboard, Manga); Sgt. Frog (Series Director, Storyboard); Aria the Animation (Series Director, Head Writer, Storyboard)

Enokido Yoji

a member of Be-Papas, Enokido was heavily involved in the writing and composition of Utena. he and Ikuhara attended the same high school, in the same year, but it is unclear how well they knew each other; but they were friends by the time Ikuhara was a film student. Enokido previously worked alongside Ikuhara on Sailor Moon, while also contributing to scripts to Evangelion. on Utena, he wrote roughly half the episodes: 1-5, 7, 9, 13-15, 22-23, 25-26, 30, 33-34, and 37-39, all crucial to the story. he handled every Miki episode and frequently focused on that character in interviews. while he did not handle animation composition on the film, he did write its screenplay.

if I had to say what Enokido brought to Utena, it would be articulation. he was able to understand Ikuhara's ideas and express them both in writing and in animation. my impression is that Ikuhara and Enokido got along very well and shared a vision, but Enokido balanced him out by injecting a bit of skepticism and realism into the work. it's hard to say how his visual style influenced Utena, but given that he was in charge of composition, he must have had a good eye and an ability to lead a team.

other notable work: Sailor Moon S (Series Composition, Script); Sailor Moon S: The Movie (Script); Redline (Composition, Script); Ouran High School Host Club (Series Composition, Script); Neon Genesis Evangelion (Script); Bungo Stray Dogs (Script, Series Composition); FLCL (Novelization)

Saito Chiho

a mangaka, her expressive and sensual art touched Ikuhara so much that he became determined to work with her. The Flower Crown Madonna, Saito's manga focused on the Borgias, served as an inspiration for Akio and Anthy's relationship.

along with the rest of Be-Papas, Saito created the Utena manga, starting it about a year before the anime aired. she later wrote and drew a manga companion for Adolescence of Utena, and in 2017, she honored the series's 20th anniversary by releasing the tribute After the Revolution. over the years, she's contributed a great deal to the Utena fandom. she also drew a ReoMabu piece for the Sarazanmai anthology.

of Saito, Ikuhara once said, "she's the most important woman to me, and truly understands me." it seems that they developed a strong relationship while working on Utena, which has lasted for decades. the two have collaborated on other projects, such as World of S&M, and done interviews together as recently as 2020.

other notable work (all as mangaka): Tenshi no Tattoo; Waltz in a White Dress; The Flower Crown Madonna; Kanon; First Girl; VS Lupin

Hasegawa Shinya

also a part of Be-Papas, Hasegawa was the principle character designer and art director for Utena, as well as a storyboard artist. he brought a sense of humor and eroticism to the project which suited it well, working closely with Chiho Saito to create Utena's artistic landscape. he was behind many little flourishes, such as Saionji crying in the opening credits. in addition to working on Utena, he also provided key animation for Penguindrum's first OP and final episode.

other notable work: Sailor Moon, Sailor Moon S, Sailor Moon R (Animation Director, Key Animator); Neon Genesis Evangelion (Key Animation); A Certain Magical Index (Chief Animation Director); The Girl Who Lept Through Time (Key Animation)

Oguro Yuichiro

Be-Papas member Oguro is credited as series planner. Empty Movement note that he was likely the one who handled publicity and marketing for the series, but may have also helped out in other ways. it was important for Utena's success to have someone with connections involved, and what's just what Oguro brought to the table.

he is the editor-in-chief of the magazine Anime Style and has interviewed other individuals on this list.

other notable work: Gekigangar 3 (Script); Kemonozume (Research and Planning Assistant); Goku and Zoku Sayonara Zetsubou-sensei (Series Composition)

J.A. Seazer

though not a member of Be-Papas, J.A. Seazer, the composer for the duel chorus songs, left a huge mark on Utena. in fact, the series's very conception was influenced by him. Seazer worked with one of Ikuhara's greatest inspirations, the experimental theater/film director Tereyama Shuji. a few of the duel songs actually predate Utena, including "Absolute Destiny Apocalpyse," which was written for a theater production. most of the duel songs were written explicity for Utena, and Be-Papas have said that they matched each song to its respective duelist. without the esoteric and powerful music that Seazer provided, Utena wouldn't be the same.

in the years since show's release, Seazer has gone on to write three whole new Utena albums, as well as many remixes of the original duel songs. you can learn more about them on Empty Movement's audiology page; I highly recommend checking them out if you haven't already.

other notable work (all as composer): Throw Away Your Books, Rally in the Streets; Moc; The Woman with Two Heads; Shintokumaru; Grass Labyrinth; Farewell to the Ark

Ohtsuki Toshimichi

speaking of J.A. Seazer, producer Ohtsuki Toshimichi is, according to Ikuhara, the only reason that he was able to get the composer on board for the project. producers often go unmentioned, but when considering a production, they are, naturally, essential. luckily for us, Ohtsuki was willing to take a chance on Utena (series and film), allowing the creative team total freedom. that willingness to go out on a limb taught Ikuhara the importance of taking risks.

other notable work (all as producer or exective producer): Metropolis; FLCL; Shaman King; Lorelei; Evangelion Rebuild Films

Kobayashi Shichirou

Utena's art director, Kobayashi, was and is a legend in the world of anime. known for his extensive work with director Dezaki Osamu, he was known for his beautiful backgrounds. known his hand-drawn paintings, Kobayashi helped to shape the look of many beautiful anime, including Utena.

it could be said that he was the one to help bring Ohtori to life. he was responsible for many of the backgrounds from both the show and the movie. his studio, Kobayashi Productions, was also instrumental in bringing the franchise to the screen.

other notable work: Moomins (Background Artist); The Gutsy Frog (Art Director); Lupin the Third: Castle of Cagliostro (Art Director); Ashita no Joe 2 (Art Director), Golgo 13 (Art Director), Urusei Yatsura 2 and 3 (Art Director); Angel’s Egg (Art Director, Layout Supervisor); Venus Wars (Art Director); Berserk 1997 (Art Director); Legend of Basara (Art Director); Simoun (Art Director)

Yamaguchi Ryōta

under the penname Noboru Higa, Yamaguchi wrote all Nanami episodes of Utena. he was not a member of Be-Papas and was asked to write her episodes in such a way that they would feel out of place. I think we can all agree that this had a positive effect on Utena. there isn't much information available about his work on the show, but it seems that his brand of comedy had a great influence.

other notable work: Sailor Moon S (Script); Sailor Moon Sailor Stars (Series Composition, Script); Ranma ½ Season 7 (Script); Vision of Escaflowne and Escaflowne: The Movie (Script); Medabots (Series Composition, Script); Kanon (Script)

Igarashi Takuya

Igarashi wrote Utena episode 19, directed episodes 9 and 19, and storyboarded many others, all under the pseudonym Kazayama Juugo. as he discusses in this interview, the staff members often had their own special character that they felt closest to and worked on the most, and for him, it was Saionji. he storyboarded Part A of Adolescence, meaning that he handled the Saionji duel.

Igarashi was another hire from Toei, having also worked on Sailor Moon. given that he storyboarded the crucial episodes 25, 30, and 37, he must have quite the artistic talent. however, if you read his interview, you'll see that he also has lots of great insights into Utena's themes as well. he talks a lot about the mood and tone, which often go undiscussed.

other notable work: Sailor Moon R and S (Director, Storyboard); Sailor Moon R: The Movie (Assistant Director); Cutie Honey F (Director, Storyboard); Mushishi (Director, Storyboard); Ouran High School Host Club (Director, Storyboard); Soul Eater (Director, Storyboard); Bungou Stray Dogs (Director, Storyboard)

Hosoda Mamoru

believe it or not, Hosoda worked on Utena before he ever directed a film of his own! having also been mentored by Sato, he met Ikuhara at Toei and came to work under him on Utena under the pseudonym Hashimoto Katsuyo. while Igarashi felt a kinship with Saionji, Hosoda's focus character was Juri. while he mostly handled storyboards and key animation, he wrote one script: the one for episode 29, the final Juri episode. he gave an interview about her two-episode concluding arc here. in addition, he storyboarded Part C of the Utena movie, which includes Juri's duel.

other notable work (all as film director): Digimon: The Movie; One Piece Movie 6; The Girl Who Leapt Through Time; Summer Wars; Wolf Children; The Boy and the Beast (also wrote); Mirai (also wrote); Belle (also wrote)

Mitsumune Shinkichi

Mitsumune composed Utena's beautiful background music, for both the series and film. I can't find much information about him, but I had to include him on this list because I adore every single track he penned.

other notable work (all as composer): FLCL; Yu-Gi-Oh (it looks like he more or less scored the entire franchise); Dragon Dive; Rocket Girls

Aizawa Masahiro

at last, we come to an entry that isn't confined to Utena! Aizawa worked on Utena, Penguindrum, and Yurikuma, all in the area of animation. credits include storyboards, chief animation director, key animation, and more. he seems to have taken on the most responsiblity with Penguindrum, being heavily involved in episodes 17 and 23.

it appears that he's another animator that Ikuhara met at Toei. he's still active in the anime industry and works under the pseudonym Aizawa Kagetsu. his notable work section might look short, but that's because he's made small contributions on a large number of projects.

other notable work: Lupin the Third: The Woman Called Mine Fujiko (Animator Director for OPs and EDs); One Piece Film: Z (Key Animation); Tanaka-kun wa Itsumo Kedaruge (Storyboard, Director, Key Animation)

Nakamura Shouko

Nakamura got her start at Production I.G and Gainax and is known for a feminine, sensual animation style. she codirected Penguindrum with Ikuhara, along with storyboarding many episodes, providing key animation, designing the settings, and working on the OPs/EDs. at least as far as visuals go, she may have been the most influential person to work on Penguindrum, and Ikuhara handed the crucial task of directing the final two episodes over to her.

Nakamura has had a long and successful career working on many projects. I'm not able to find any interviews with her on Penguindrum, but given how much she invested into it, she must have been just as determined as Ikuhara to see it made.

other notable work: Ghost in the Shell 2: Innocence (Key Animation); Mushishi (Key Animation, Animation Director); Kimi ni Todoke (Key Animation, Animation Director, Storyboard); Kill la Kill (Key Animation, Director, Storyboard); Evangelion: 3.0 You Can (Not) Redo (Key Animation); Doukyuusei (Chief Director, Storyboard, Key Animation)

Nishii Terumi

now a veteran of the anime industry, Nishii's first ever job was working behind the scenes on Adolescence of Utena. she later served as animation director and character designer on Penguindrum. when asked about working with Ikuhara, she said it was "very hard," because, despite the freedom he afforded his staff, "he changed his mind every week." in fact, she said that Penguindrum was the hardest project she ever worked on.

Nishii is a major critic of the anime industry's treatment of workers and is a member of NAFCA, an organization lobbying for better conditions for animators.

other notable work: InuYasha (Key Animation); Saint Seiya Franchise (Character Design); Mushishi (Animation Director, Key Animation); Death Note (Key Animation, Animation Director); Heartcatch Precure! (Key Animation); JoJo's Bizarre Adventure: Diamond Is Unbreakable (Character Design, Chief Animation Director); Jujutsu Kaisen (Chief Animation Director)

Hoshino Lily

a manga artist, she worked on Penguindrum as a character designer and also drew all the end cards. she's known for BL, including Naruto doujinshi and fan art. in 2013, she contributed to a Utena tribute book on Pixiv.

like Nishii, she mentions Ikuhara frequently changing his mind while developing Penguindrum. though multiple character designers worked on the project, it seems that Hoshino was the one primarily responsible for the looks of the main characters. apparently, Sanetoshi is meant to look like one of her "long-haired ukes."

other notable work (all as mangaka): Harem de Hitori; Boku dake no Ō-sama; Rabu Kue; Otome Yōkai Zakuro; Yumemiru Koto

Nakamura Chieko

like Nishii, Nakamura worked on Utena very early in her career and went on to be an animator for Penguindrum. she worked on the backgrounds and was the art director for many episodes, including the first and last; she also contributed to the "Crystal World" of episode 9. later, she would collaborate with Ikuhara again on Yurikuma as a background artist and art director.

other notable work: Eyeshield 21 (Background Art); Kids on the Slope (ED); Sengoku Collection (Art Director, Background Art); Doukyuusei (Art Director, Background Art); Saint Cecilia and Pastor Lawrence (Art Director, Art Setting, Background Art)

Hayashi Akemi

a pattern is emerging: Hayashi also worked on Utena relatively early in her career as key animator (6 episodes and film) and animation director (8 episodes and film). later, she contributed to Penguindrum as a key animator--specifically, she is the one who animated the Princess of the Crystal transformation sequence!

Ikuhara said in an interview that she is "good at drawing small details" and thus asked her to handle Himari and Shoma's backstory. she storyboarded, directed, and provided key animations for episode 20, a major series turning point.

other notable work: Slam Dunk (Key Animation); Fruits Basket (Character Design, Key Animation, Chief Animation Director, Animation Director); Gurren Lagann (Animation Director, Key Animation); Banana Fish (Character Design, Chief Animation Director, Key Animation); Doukyuusei (Storyboard, Character Design, Animation Director, Key Animation)

Hashimoto Yukari

Hashimoto deserves to have her praises sung to the heavens for composing the OST for every post-Utena Ikuhara work--not only the BGM, but also the Triple-H songs and musical numbers from Sarazanmai. according to this staff article, "she's able to respond to any out-there requests Ikuhara makes." that's readily apparent on the Yurikuma OST, where she seemlessly blends a wide variety of musical styles to create a unique sound.

other notable work (all as composer/arranger): Sayonara Zetsubou-sensei (OP and ED); Toradora!; Poco's Udon World; March Comes in Like a Lion; Osomatsu-san (2020); Komi Can't Communicate

Ikami Takayo

Ikami "is a Japanese novelist, detective fiction writer and screenwriter born in Tokyo in 1975." she is credited as cowriter for all Penguindrum and Yurikuma episodes, as well as the Yurikuma novelizations. it seems that she may have been the one to come up with the phrases "Yuri approved" and "Is your love the real thing?" outside of writing, she has also dabbled in series composition.

other notable work: Thirteen Eyes in a Dark Sky (Short Story); Isolde's Garden (Novel); Watamote (Script); Beautiful Bones: Sakurako’s Investigation (Series Composition, Script); Otherside Picnic (Script)

Yamada Haru

Yamada is a big name sound director and the cofounder of Sound Team Don Juan. he's worked on many projects over time, including some blockbuster hits, but still found time to be the sound director of Penguindrum, Yurikuma, and Sarazanmai.

other notable work: Your Name (Sound Department); Shin Godzilla (Sound Department); Made in Abyss (Sound Director); Banana Fish (Sound Director); Suzume (Sound Director); Shin Ultraman (Sound Department); Skip to Loafer (Sound Director)

Shibata Katsunori

Shibata was relatively inexperienced as a director when Ikuhara took him under his wing, giving him a lot of responsibility on Penguindrum. he provided storyboards, directed episodes, created special effects, and drew concept designs. he was credited for the "bear dance" ED of Yurikuma and did storyboards/key animation for episode 4. on Sarazanmai, he directed episode 6, codirected the OP along with Ikuhara, and did storyboards for episodes 1, 6, and 10.

other notable work: Xam'd: Lost Memories (Key Animation); Sword of the Stranger (Key Animation); A Certain Magical Index (Key Animation) Fullmetal Alchemist: Brotherhood (Key Animation); Sengoku Collection (Storyboard, Character Design, Animation Director, Key Animation)

Kaneko Shingo

the more you look into it, the more it seems like Penguindrum, Yurikuma, and Sarazanmai were staffed by the exact same people. that's not true, of course, but there is a lot of overlap.

in this case, there's overlap with Utena too. a former Toei employee, Kaneko is the only person on this list who worked on all four Ikuhara works. he provided storyboards for Utena episodes 2, 11, 32, and 38, and was also assistant director on a couple others. on Adolescence, he served as a unit director and storyboarder for Part B. he provided the script for episode 16 of Penguindrum, one of my favorites. he directed the episode as well, along with 4 and 23 under Nakamura Shouko.

Kaneko additionally storyboarded and directed episode 8 of Yurikuma, but took on a bigger role with Sarazanmai, where he storyboarded the Kawauso Dance and directed episodes 2, 8, and 10. apparently, he's "earned a reputation as Ikuhara’s comedy chief." thanks, Kaneko!

other notable work: Slam Dunk (Assistant Director); Parappa the Rapper (Storyboard, Unit Director); Fullmetal Alchemist (Storyboard, Director); Soul Eater (Storyboard, Director); Sengoku Collection (Storyboard, Director, Key Animation)

Furukawa Tomohiro

after doing some key animation on Penguindrum, Furukawa went on to be a major figure in the production of Yurikuma. he did storyboards/key animation, acted as Ikuhara's assistant director, and took on the final, crucial episode 12 as lead director.

Furukawa is now a showrunner in his own right and still acknowledges Ikuhara as his mentor, though he doesn't want to be pigeonholed as his "follower." this article suggests that, based on comments Ikuhara has made, Furukawa's knack for euphony left its mark on his mentor's work. in return, Furukawa has joked about Ikuhara's "insincere grumpiness" and praised both his management style and gift at mentorship.

other notable work: Death Note (Key Animation); One Piece Film: Z (Key Animation, Assistant Animation Director); Kakegurui Twin (Director); Revue Starlight Franchise (Showrunner)

Morishima Akiko

a yuri artist, Morishima was inspired to become a mangaka at age 19 after she read an Ikuhara interview. she was afraid to accept his offer to work on Yurikuma out of fear that she would "ruin everything," but ultimately came onto the project to create the manga.

in the linked starting guide, Morishima and Ikuhara go into detail about the planning process for Yurikuma. it's revealed why Ikuhara likes to work with mangaka; he has them draw the characters first and creates their personalities based on their art. he specifically wanted to work with Morishima to give him some yuri cred. when asked, Morishima discusses her likes and dislikes when it comes to yuri. she apparently prefers writing about older women and doesn't care about how sexy a yuri is, but only about the strength of the romance.

Morishima has drawn tributes to Ikuhara's other works, including Penguindrum and Sarazanmai. she also wrote the Yurizanmai section of the Sarazanmai anthology.

other notable work (all as mangaka): The Conditions of Paradise; Hanjuku-Joshi; Renai Joshika; Onna no ko Awase; Motto Hanjuku Joshi

Kurosawa Masayuki

Kurosawa is a digital artist, editor, director, and storyboarder. I don't have a lot of information on him, but I decided to include him because he storyboarded Yurikuma episode 11 AND Sarazanmai episode 8 (along with 10). what does this mean? well, he handled both Lulu and Enta getting shot, of course! funny how these things work out.

in addition to storyboarding, he is also credited as Sarazanmai's editor.

other notable work: Wolf's Rain (Director); El Cazador de la Bruja (Editor); Revue Starlight (Editor); My Happy Marriage (Editor)

Takeuchi Nobuyuki

Takeuchi was working at Shaft when the studio picked up some outsourced animation for Utena. his work was striking enough to catch Ikuhara's attention, and so he was brought on to Adolescence as an animation director. as the 2000s began, Takeuchi saw success working at Shaft with director Shinbo Akiyuki. this article describes him as particularly talented at externalizing characters' inner struggles.

Takeuchi, though presumably quite busy, contributed to Penguindrum, specifically episode 9, acting as the sole director, key animator, and storyboard artist. he got a chance to shine with that episode, which is now a fan favorite.

the reason that Takeuchi is so far down this list is that he played a larger role in the production of Sarazanmai. he's credited as the codirector along with Ikuhara, as well as a storyboard artist and key animator. Takeuchi is noted for his focus on the Kuji brothers, having directed episodes 4 and 9. he gave an interview about his work on Sarazanmai, which can be read here.

other notable work: Spirited Away (Key Animation); The Cat Returns (Key Animation); Howl's Moving Castle (Key Animation); Ponyo on the Cliff by the Sea (Key Animation); Bakemonogatari (Storyboard, Animation Director); Weathering With You (Key Animation)

Migi

a mangaka, she provided Sarazanmai's character designs, contributed to the anthology, and is still drawing the Sarazanmai manga. she's said that Tooi was the hardest character to design, and she argued with Ikuhara over Sara's look, since they apparently have different definitions of bishoujo.

Migi has an active Pixiv account where she still posts Sarazanmai art. she also did this lovely tribute for an Ikuhara exhibition.

other notable work (all as mangaka): Robot; Gelatin

Utsumi Teruko

Utsumi got her start "working as a production assistant at Brains Base and slowly inching towards writing via literature management duties." she's credited as the cowriter of all Sarazanmai episodes, working closely alongside Ikuhara. she also coauthored the light novels, wrote song lyrics, handled series composition, and acted as a manager. on top of all that, she is the one who created the model bridge which transports the Golden Trio to the Field of Desires.

other notable work (all as script writer): A Good Librarian Like a Good Shepherd; Enride; Cheer Boys!!; Kakegurui Season 2

#kunihiko ikuhara #ikuhara #revolutionary girl utena #mawaru penguindrum #yurikuma arashi #sarazanmai #commentary #theres tons of others i didnt include bc i just couldnt find anything about them.

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grecoromanyaoi · 5 months

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helloo since we're on the topic: top historical fiction (or adjacent) ? can be any time period I just really love your taste in shows/games/etc and am always on the lookout for history inspired media !

thank you!!! im rly glad im like. inspiring other ppl to engage w things im insane abt hudofajsdfdassfsad. anyways. i will probably expand that list bc i literally forgot every single thing i ever read. also i havent watched that many movies so far

ancient times: i havent really watched a lot of movies/series set in ancient times so far :(

rome HBO (2005-2007) (tv series) - OF COURSE. i personally think its one of the best series ever made. they combine political, miliatry history with the lives of every day people in an incredible way. they never let you once engage with the series through modern lenses. according to my teacher (a historian, archeologist & self described 'romaphile') its incredibly historically accurate, mostly the clothing, set designs, characterization, military practices, etc. except for the things they straight up made up, of course.

i really enjoyed gladiator (2000), i think its a masterpiece.

prince of egypt (1998) i guess?

all the asterix movies of course, all the animated ones and most of the live actions. but i wouldnt really call it historical fiction

ok i havent actually finished watching it for now but sebastiane (1976) - an erotic, x rated, gay interpretation of the martyrdom of st sebastian. its in latin also.

wait i cant believe i forgor about assassin's creed odyssey - so far the only one ive played. its so fun and incredibly immersive visually. especially pour moi who cries into the pillow about how ill never experience the ancient world. also you can b a faggot which is always fun. i have things to say about their portrayal of same-sex sexuality and slavery in classical greece but i get why they did that considering its supposed to like. appeal to a lot of people, and a more "historically accurate" portrayal (for example of pederasty or how common slavery was etc.) would b v difficult for a lot of their target audience. alas.

medieval and early modern era:

the name of the rose (1986) - my medieval history teacher literally showed us bits of this movie to teach us about monasteries and monks fhdosiasdjasd.

the borgias (2011-2013) - incredibly messy, lots of political intrigue, and so so fun to watch. about the history of the borgia family. filled to the brim with drama.

the three musketeers (1993) - my favorite adaptation, also coincidentally the one i grew up on. casting tim curry as richelieu was genius. he slays so hard.

i also like bbc's the musketeers (2014-2016) - a neat little series. very fun and entertaining to watch.

outlaw king (2018) - like i dont think most ppl heard of this movie. its about robert the bruce's fight to reclaim the throne of scotland. starring chris pine

vikings (2013-2020) - its fun. i havent watched the entire series tho. dont expect anything resembling historical accuracy

the northman (2022) - you will see something resembling historical accuracy

mihai viteazul (michael the brave) (1971) - a fun movie. very much romanian propaganda tho.

1670 (2023-) - such a fun series!!! incredible cast, shows respect to the actual history and the lives of historical people. really cute and funny.

caravaggio (1986) - a biopic about caravaggio.

wait i also forgor about pentiment - an intriguing, immersive, and incredibly beautiful video game! it has a lot of 'the name of the rose' vibes, with it being a medieval murder mystery taking place in a monastery. its incredibly touching and made me cry, and in the last few years i very rarely cry. also im 99% sure its an indie game? go support the creators!

vaguely-medieval/early modern fantasy:

mirror mirror (2012) - a retelling of snow white. a very fun movie imo, with incredible costume design. julia roberts plays the evil queen and she SLAYS. armie hammer is unfortunately in that movie.

stardust (2007) - one of my fave movies growing up. more modern-inspired but still.

the green knight (2021) - controversial i know but i actually loved this movie! i liked it both as a standalone movie but moreso as a 21st century adaptation to sir gawain and the green knight.

galavant (2015-2016) - !!!!!!! one of the most series ever! they manage to tackle such difficult concepts and conversations with a hilarious wit. so fun to watch. i listen to a lot of the songs still, and rewatch every once in a while.

disenchantment (2018-2023) - very fun to watch, especially the first season.

i also really liked the novel uprooted by naomi novik. its a polish-inspired fantasy.

modern era:

killers of the flower moon (2023) - of course. a masterpiece

aferim! (2015) - a romanian movie set in 19th century wallachia, about two officers, a father and son, who were sent by a nobleman to retrieve an escaped enslaved romani man. a lot of the people in the comments were calling the movie humorous and funny, maybe im missing smth (as im watching with subtitles n dont understand the original language) but it was a very difficult watch for me??

the handmaiden (2016) - need i say more

black sails (2014-2017) - a prequel to the famous novel 'treasure island'. not an easy series to watch. incredibly good.

the favourite (2018) - need i say more pt 2

the rabbi's cat (le chat du rabbin) (2011) - animated movie set in early 20th century algeria. a rabbi's cat learns to talk overnight.

the nice guys (2016) - a fun murder mystery set in the 1970s

o brother, where art thou (2000) - a retelling of the odyssey set in the southern us in the 1930s

victor/victoria (1982) - set in early 20th century paris. julie andrews pretends to be a man and takes on a job as a drag queen. extremely fun, extremely gay movie.

lady chatterley's lover (2022) - very much porn for moms but it was a nice watch imo

amulet (2020) - set in like. idk. sometime in the 20th century. this is a horror movie, deals a lot with misogyny, sa, and so on. i really like it, personally. a lot of people, mostly weird men, dont tho.

the great (2020-2023) - i have mixed feelings about this show. on the one hand, its really fun to watch. on the other hand, its basically ofmd for girls who have public mental breakdowns whenever someone claims corsets were oppressive. and theyre so weird about russians, jesus christ.

disses:

domina (2021-) - i just couldnt get into it, esp since i tried right after finishing rome hbo. it was kind of silly, and not in a good way. takes itself wayyyy to seriously.

i didnt like spartacus (2010-2013) - the dialogue was almost grotesque and the editing, especially the transitions, straight up killed me

damsel (2024) - holy fuck what a trainwreck of a movie. absolute waste of angela basset and robin wright. the only good thing were the costumes.

lancelot du lac (1974) - i just didnt like it at all. couldnt get into it. i guess it was way too french and artsy fartsy for me. a movie that was trying to say both too little and too much at the same time.

i didnt rly like bram stoker's dracula (1992) - i mean. it was a fine movie. it was definitely not the godfather. the movie itself was meh. the visuals tho? absolutely stunning

#asks #anon #mine*#slavery ment #sa ment

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cynic-spirit · 3 days

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The Partner

Steve and Bucky were meeting with a new partner, another mobster named Ivanov. They had just finished negotiations, and the atmosphere had shifted from tense business discussions to more relaxed, casual conversation. Ivanov leaned back in his chair, a satisfied smirk on his face as he sipped his drink.

Just then, Yn entered the room. As always, she walked straight to Bucky, her presence commanding immediate attention. Without hesitation, she greeted him with a kiss, her lips brushing his with a tenderness that momentarily softened his usual stern expression.

Ivanov, watching the exchange with a curious gleam in his eye, leaned forward and made a comment, his tone dripping with amusement. "You know, she doesn't realize how powerful I am. A woman like that should know her place."

The room went silent, the casual conversation halting abruptly. The easy-going atmosphere evaporated, replaced by a palpable tension. Bucky's jaw tightened, and his eyes flashed with anger, but before he could respond, Yn's demeanor changed.

Bucky recognized the shift immediately. Her posture straightened, and her gaze sharpened. What he referred to as her "formidable" side had emerged.

Yn took a seat comfortably, her movements measured and deliberate. She crossed her legs, her calm and composed exterior belying the intensity that lay beneath. The room seemed to hold its breath, waiting for her to speak.

"Mr. Ivanov, I might not know much about power in the way you understand it, but I can tell a good story. Something from history that I find fascinating."

The room, already tense, grew even quieter. Everyone listened intently as Yn spoke.

"Let me tell you about Cesare Borgia, a man consumed by his quest for power. In the early 1500s, Cesare used his father, Pope Alexander VI’s influence to dominate Italy through cunning and brutality. He manipulated and eliminated rivals, consolidating his power without restraint."

Ivanov 's smirk faltered, his eyes narrowing as he listened.

"However," Yn continued, "his obsession with power led to his downfall. When his father died, Cesare lost his key ally. The new pope opposed him, and his enemies rose against him. Stripped of his power, he was captured and died in obscurity."

Bucky watched Yn with a mix of admiration and awe. Her calm, measured tone and the intensity in her eyes made it clear she was not to be underestimated.

"Cesare's relentless pursuit of dominance blinded him to the need for stability and alliances," Yn said, her gaze unwavering. "In our own lives, we must use power responsibly, understanding that true strength lies in restraint and respect for others. By treating those around us with kindness and empathy, we can avoid the pitfalls of unchecked ambition."

Ivanov was speechless, his earlier bravado completely gone. The rest of the room was equally silent, everyone taken aback by Yn's unexpected but poignant lesson.

Bucky felt a surge of pride and a touch of amusement. He knew she had left a significant impression. He glanced around the room, seeing the stunned expressions on his associates' faces.

Yn removed her glasses with a measured, deliberate motion, placing them on the table. This simple act made the others exchange knowing glances, recognizing the shift in her demeanor.

"Power does not corrupt men," she added, her voice firm. "But only fools who keep displaying it, thus reducing the command it has."

The room seemed to shrink around Ivanov, who shifted uncomfortably in his seat, suddenly unable to maintain eye contact with Yn. Her words had cut through his bravado, leaving him exposed.

The silence was thick with tension, the weight of her words hanging in the air. Yn's gaze never wavered, her presence commanding and authoritative.

Bucky could see the discomfort in Ivanov 's eyes, a stark contrast to the confidence he had shown earlier. It was clear that Yn had not only made her point but had done so in a way that left no room for argument.

The others, still processing what had just happened, felt a mixture of admiration and respect for Yn. Bucky's heart swelled with pride, knowing that she had, once again, shown her formidable intellect and strength.

Finally, Ivanov mumbled, "I see your point," though his voice lacked its earlier conviction. Yn simply nodded, her message delivered with precision and impact.

Yn's gaze remained steady, her voice smooth yet sharp. "I know you do. You seem like an intelligent man, not falling into the same trenches as Cesare Borgia did."

She took a moment to let her words sink in before continuing, "It was, however, nice to meet you."

With that, Yn walked calmly to the bar, where she poured herself a glass of water. Her demeanor was poised and composed, a stark contrast to the charged atmosphere in the room. The others remained silent, clearly taken aback by the gravity of her words and the ease with which she had dismantled Ivanov ’s bravado.

As she sipped her water, the room was filled with a palpable respect for Yn’s ability to handle the situation with such grace and authority. Bucky watched her with a mixture of admiration and deep affection, knowing that her strength and intellect were unmatched.

"Well said, doll," he thought to himself. "You certainly know how to make an impact."

Ivanov glanced at Bucky with a smirk and asked, “So she’s your girl?”

Bucky’s chest swelled with pride as he replied, “No, Ivanov , actually I am her man.”

The room erupted in light-hearted chuckles, the tension from earlier melting away. Bucky’s statement, delivered with genuine affection, softened the atmosphere and highlighted the deep respect he had for Yn. The others, amused and supportive, shared knowing smiles, appreciating the bond between Bucky and Yn

As Ivanov exited the room, the door closing behind him, Bucky could no longer contain the swell of pride and admiration he felt for Yn. Without a second thought, he pulled her close and sealed his feelings with a passionate kiss.

#james buchanan barnes #bucky barnes fic #bucky x ofc #bucky barnes x reader #bucky barnes #mafia!bucky #mafia #mafia bucky #bucky barnes mafia #mafia au #mob!bucky #mobster au #mob au #mob #bucky barnes x yn #bucky barnes x y/n

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talonabraxas · 4 months

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Quetzalcoatl 🐉 Talon Abraxas

Creation Myths

Quetzalcoatl-Ehécatl and his crafty brother Tezcatlipoca were in the business of creation. In some incredible escapades, they created the earth, sea and night sky and were regents of the first two ‘suns’, or world eras of the existing five. When the brothers separated the sky from the earth, they even turned into the trees that held the two apart, earnings the names of Quetzalhuéxotl and Tezcacahuitl.

Quetzalcoatl’s life-giving ability gave rise to many of the things around us. On a lone voyage, he went to find the bones of the dead in the underworld, known as Mictlan. After many trials and tribulations he was able to escape Mictlan and carry the bones to Tamoanchan, home of the gods. He ground the bones and mixed them with his blood, creating the first humans of the 5th (and current) sun.

In another act as creator, Quetzalcoatl threw his semen at a rock and from it grew a bat that approached the fertility goddess Xochiquetzal (Quetzal Flower), biting her between the legs. From her wound burst beautiful flowers that the bat took to the lord of the underworld, Mictlantecuhtli, who bathed them in the water of his subterranean rivers and perfumed the blossoms.

Many other creation myths revolve around Quetzalcoatl, some including the creation of the maguey plant, and the discovery of corn

Quetzalcoatl was often represented as the life-giving wind, with a beak or mask protruding from his face. With this appendage he was able to sweep the roads clean before the arrival of the rain gods (pic 5). Under the guise of wind, he was called Quetzalcoatl-Ehécatl and was considered a great cultural hero. This image from the sixteenth century Codex Borbonicus (pic 8, right) shows his conical hat made from the fur of an Ocelot. A recurring feature in Quetzalcoatl-Ehécatl’s iconography is a conch chest ornament. Called ehecacózcatl (wind jewel), the shell has been interpreted as an association with the womb and the generation of life. The conch shell is symbolic of the ancestral bones from which Quetzalcoatl created humankind as we know it.

Quetzalcoatl-Tlahuizcalpantecuhtli, the Morning Star

The legend of Ce Acatl Topiltzin Quetzalcoatl goes on to tell us that after a long pilgrimage towards the east, our hero found himself so thoroughly defeated by his brother Tezcatlipoca that he threw himself on a burning pyre in an act of self-sacrifice. From the smoking remains rose the morning star, Venus, who is represented by Quetzalcoatl in his guise of Tlahuizcalpantecuhtli. He accompanies the sun across the sky during the day. This image from the Codex Borgia (pic 9) shows Tlahuizcalpantecuhtli displaying the quincunx: five circles associated with Venus. His hair is red and his body painted with red and white stripes. He is featured on the left in the upper and lower panels of the page. On the right hand side is Quetzalcoatl-Ehécatl.

Tlahuizcalpantecuhtli served as patron deity of astrological knowledge and was of profound importance in religious books in the Central Highlands and Oaxaca. Used for divination, these documents were called Tonalamame (sing. Tonalamatl), and displayed the portents of the 260 day lunar calendar known as the Tonalpoualli (Counting of the Days). Tlahuizcalpantecuhtli was considered patron of this calendar (Yólotl González-Torres,1991).

Xolotl, the Evening Star

Tlahuizcalpentecuhtli could only guard the sun as it crossed the daytime sky. However, Quetzalcoatl had another invocation that would help Venus through the underworld as the Evening Star: Xolotl, the dog (pic 10). Considered by some to be Quetzalcoatl’s double, assistant or twin, Xolotl aided Quetzalcoatl when he descended to the Mictlan to recover the bones of humankind. In Náhuatl, the word Xolotl was often associated with the concept of twins and physical deformity, so statues of the deity often portray a dog with twin heads, or ragged ears and running sores.

Interests: Saving the world (or making it), preserving life, cultivating knowledge and recognising beauty.

Day Sign: Wind

Trecena (13 day week): 1 Jaguar. According to sixteenth century friar Bernadino de Sahagún and his native informants, he also presided over 1 Reed. This last period was considered to bring bad luck because it was represented by Quetzalcoatl in his forceful guise of Wind. The trecena was marked by the Aztec nobility who made offerings in Calmecacs, learning institutions for noble children. Children born during 1 Reed were thought to be ill-fortuned, and the calendar foretold that all they gained in life would be “taken by the wind” (Sahagún, book III, chapter VIII). To save children born during the worst phase of 1 Reed, the Aztecs held childrens’ naming ceremonies on or after the 7th day of the week (7 Rain) as the following days were more auspicious.

Powers: As we know from stories of old, Quetzalcoatl’s physical powers and intelligence knew no bounds. But what were his monster-killing, sky-lifting and star-forming capacities in the face of his sneaky brother Tezcatlipoca? Quetzalcoatl and Tezcatlipoca were brothers in divine myths, where they worked together as creators, and against each other in acts of destruction. In the Legend of the Suns, their battles saw them topple each other as regents of individual worlds. As humans, Tezcatlipoca’s trickery thwarted the priest Quetzalcoatl (myth of Ce Acatl Topiltzin Quetzalcoatl). The cosmic battle between the two brothers has been interpreted as a dualistic opposition between creative and destructive forces (Taube, 1993, p82).

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elysabeththequeene · 6 months

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(previous url: boleynecklace)

my gifs/edits

my moulin rouge sideblog

historical related stuff:

tudor history

medieval history

medieval manuscripts

general history tag

anne boleyn tag

elizabeth of york tag

elizabeth i tag

tv shows:

the tudors

outlander

bridgerton

the borgias

interview with the vampire

the white queen

the white princess

becoming elizabeth

the spanish princess

films:

henry viii and his six wives

anne of the thousand days

little women (1994)

pride and prejudice (2005)

emma (2020)

moulin rouge!

the princess bride

fav ships:

elizabeth i / robert dudley

jamie / claire

christian / satine

mulder / scully

the doctor / rose tyler

lestat/louis

emma / mr knightley

henry vii / elizabeth of york

kate / anthony

other:

personal and uncategorised thoughts

ao3

twitter

#blog navigation

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rayspookyhistory · 3 months

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ᡣ𐭩 Poisons in novels ᡣ𐭩

sorry for the late post, ive been busy sorting my room and figured id get a simple post before a social event this weekend :3

Poison has been a pervasive element in historical novels, captivating readers with its dual nature of subtlety and lethality. Its allure in literature can be attributed to its rich symbolism, its capacity to shape plotlines with intrigue and suspense, and its reflection of historical realities and human psychology.

In historical novels, poison often symbolizes betrayal, corruption, and the dark underbelly of human dynamics. Unlike other forms of violence, poison operates in the shadows, representing the covert machinations that often underlie historical events. It embodies the insidious nature of treachery, as it can be administered by those closest to the victim, highlighting themes of distrust and paranoia. This symbolism is potent, offering readers a lens through which to explore the darker aspects of human nature and societal structures.

For instance, in Alexandre Dumas' "The Count of Monte Cristo," poison symbolizes the ultimate betrayal. The character Madame de Villefort uses poison to eliminate those who stand in her way, demonstrating how poison can be a tool for personal ambition and revenge. This act of poisoning underscores the theme of treachery and the moral decay that accompanies the pursuit of power.

Plot Device for Intrigue and Suspense

Poison serves as a powerful plot device in historical novels, driving narratives with its inherent mystery. Its delayed effect allows for complex story arcs where suspicion, investigation, and dramatic revelations unfold. The use of poison can create tension and suspense, as characters seek to uncover the perpetrator before it is too late. This gradual build-up keeps readers engaged, as they are drawn into the puzzle of who, how, and why, mirroring the investigative processes in real historical events.

For example, in Umberto Eco's "The Name of the Rose," poison plays a crucial role in the plot, creating a series of mysterious deaths that propel the story forward. The slow unraveling of the truth behind the poisonings adds layers of depth to the narrative, intertwining historical, philosophical, and theological themes. The intricate details of how the poison is administered and the subsequent deaths create a labyrinthine mystery that engrosses readers.

Historical Accuracy and Realism

The use of poison in historical novels often mirrors actual historical events, lending authenticity and realism to the narratives. Throughout history, poison has been a tool of assassination and political maneuvering. Historical figures such as Lucrezia Borgia and Catherine de Medici have been famously associated with the use of poison, cementing its place in the annals of history as a weapon of choice in power struggles.

In Robert Graves' "I, Claudius," the depiction of the Roman Empire is rife with poisoning plots, reflecting the historical accounts of Roman emperors and their courts. This realism not only grounds the novel in a believable past but also educates readers about the intricate and often brutal realities of historical power dynamics. Poison, in this context, becomes a symbol of the precariousness of life and power in ancient Rome, where a drink or a meal could be a harbinger of death.

Reflection of Human Psychology

Poison in historical novels also delves into the psychological aspects of fear, control, and vulnerability. The threat of poison taps into primal fears of being harmed in unsuspecting moments, making it a tool of psychological as well as physical domination. Characters who wield poison often do so to assert control, manipulate outcomes, and instill fear, reflecting real-world psychological tactics used by those in power.

In Shakespeare's "Hamlet," the use of poison is not just a physical act but a psychological weapon that drives the protagonist to madness and despair. The poisoned cup and the poisoned sword symbolize the pervasive corruption and moral decay within the Danish court, illustrating how poison can metaphorically represent the degradation of the soul. The psychological torment that Hamlet endures due to the poisoned state of Denmark mirrors the physical effects of actual poison, creating a profound interplay between the mental and physical realms.

Case Studies of Poison in Historical Novels

In "The Count of Monte Cristo," poison is used as a weapon of vengeance and ambition. Madame de Villefort, driven by greed and a desire for power, uses poison to remove obstacles in her path. Her actions not only drive plot forward but also highlight the themes of corruption and moral degradation. The meticulous planning and execution of her poisonings add layers of suspense and intrigue to the story, engaging readers in a complex narrative of revenge and justice.

Robert Graves’ "I, Claudius" presents a vivid portrayal of the Roman Empire, where poison is a common tool for political maneuvering. The novel depicts numerous historical instances of poisoning, reflecting the cutthroat nature of Roman politics. The use of poison in the narrative serves to underscore the precariousness of power and the constant threat of betrayal. This historical accuracy enriches the novel, providing readers with an authentic glimpse into the brutal realities of ancient Rome.

Shakespeare’s "Hamlet" uses poison both literally and metaphorically to explore themes of corruption and moral decay. The poison that kills King Hamlet sets off a chain of events leading to the unraveling of the Danish court. The climactic scene, where multiple characters are poisoned, symbolizes the culmination of the court’s corruption and the ultimate destruction it brings. The psychological impact of the poisonings on Hamlet reflects the broader existential questions of life, death, and morality that pervade the play.

The prevalence of poison in historical novels is a testament to its multifaceted role as a symbol, plot device, and reflection of historical and psychological realities. Its ability to evoke themes of betrayal, suspense, and the dark aspects of human nature makes it an enduring element in literature. Through the lens of poison, historical novels explore the complexities of power, fear, and morality, offering readers a gripping and thought-provoking experience. The subtlety and lethality of poison make it a uniquely powerful tool in the hands of novelists, allowing them to craft stories that resonate with the enduring themes of human history and psychology.

please dont go poisoning people :)

#history #dark aesthetic #dark academia #goth aesthetic #goth #shakespeare #hamlet #i claudius #robert graves #the count of monte cristo #literature #novels #poisons

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mintswithwater · 1 year

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Was bored today so continued drawing my take on asoiaf girlies :). My thing I love doing is putting them in somewhat time period and region accurate clothing. So here’s the little queen, Margaery Tyrell in 15th/14th century (renaissance ish) Italian clothing. Second pic is the details of her face and jewellery.

Highgarden and the Tyrells def have Italian renaissance vibes. The dress I put Margaery in is inspired by one of the costumes Holliday Grainger wears in The Borgias. In the Italian renaissance you start having ladies show off their fancy underdresses where before they covered them up. You see them puffed through where the sleeves attach to the dress. I gave her a black and yellow pattern for the Baratheons because at this point she’s married to Tommen. As a married lady, she’d be expected to cover her hair in public, but once you start getting towards the renaissance, Italian ladies start showing more and more hair, so it’s fine to have her front hair out. Her headdress is inspired by a 14th cent Italian one, then on top she gets her crown. There’s some Tyrell details in her outfit like the green, the vines, and the roses.

#asoiaf fanart #asoiaf #margaery tyrell #margaery tyrell art #highgarden #asoiaf fashion #asoiafwomensource #my art #I just realized I forgot to shade the ribbons in her headdress but it’s 1am I’m not doing it

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mokushiyami · 2 years

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I’ve seen so many people say that the cantarella scene is their favorite but other than their promise to have tea in 10 years, i kind of get that it’s a love confession but that’s it. As the resident blog i go to for questions about utena i guess i’ve trying to ask if you can give an analysis about that?

I’m getting rgu asks again and im so happy tbh. i love the Cantarella scene so much, but i can understand how it can be missed because honestly i did take me finishing the series and rewatching it to fully grasp it, so here it goes.

The cantarella scene is a love confession but it is not only that. It comes after everything is laid out in the open, utena knows about anthy and akio, anthy knows about akio and utena. Utena asks anthy what does she want to do in the future and she says she’ll be happy as long as she gets to grow roses, but we know roses are restrictive to her, utena still suggest she becomes a florist. Then anthy talks to utena about cantarella. It’s a nice nod to the borgias who are very closely associated with anthy and akio. Utena is happily eating cookies but when anthy finishes her story about cantarella and asks her how the cookies are, utena flinches, but still finishes the cookie. Anthy does not outright say the cookies are poised, but utena does so about the tea, and anthy happily drinks it, saying its delicious. They are not acknowledging they love each other, they’re acknowledging that even though they love each other, they hurt each other.

Anthy says this by hiding behind a story, akin to what actually happened, the hurt didn’t come from anthy doing something in front of utena, but from what was untold. Utena says it outright, anthy knew about her and akio all along and she doesnt need a story to convey the hurt. They continue to eat the cookies and drink the tea, knowing that the hurt will continue, but still deciding to partake in it because they care about each other more.

They have finally realized their feelings about each other, they always knew but i don’t think they knew what name to put to it until that point. Then we see them talking about their little tea date in 10 years. I will always say that ikuhara is a genius director. While they are discussing the tea date, they are outside of the frame and a red rose appears on the top of the screen. The camera pans back to the table and window and they are not there, even though you can hear them talking. It’s a realization that this, them acknowledging each other, is the start of their journey of getting out of ohtori. Red roses symbolize love, and it shows up when they are not in frame. There are a lot of scenes that show that their relationship was build outside of the frames, it’s the only real thing in ohtori, it has been there even when we could not see it. It’s a love so pure that the mere existence of it is unfathomable within the confines of the school.

And then ofc the next scene we get is utena stopping anthy from jumping which is a whole emotional roller coaster on its own but it just adds to the importance the cantarella scene has for the show and for the audience.

I hope this isn’t too long and explained some things. There are plenty of essays and video essays on this topic that explain everything even with more details and i would suggest looking some up. If you have any other questions just ask me.

#rgu #revolutionary girl utena #shojou kakumei utena #rgu meta #anthy himemiya #utena tenjou #utenanthy #cantarella scene

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rea-grimm · 1 month

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Weapon Ezio

You hated the way the Borgias ruled Rome, and you openly protested against it. It put you in their crosshairs, and you regularly crossed swords with the soldiers.

You were one of the masters, but you kept your sword plain because your friends didn't want to get into trouble with the government because of you.

Most of the time you could handle the soldiers on your own, but today you were not so lucky. You ran into some larger patrol that already knew who you were and wanted to take you before you caused them any more trouble.

You were surrounded and you didn't know how to get out. The soldiers knocked the sword out of your hand and now you could only defend yourself with a small dagger, which they were prepared for. You already thought you were finished when rescue appeared.

Like a bolt from the blue, a man in a white cape, who was very well known to the resistance, appeared among you. With skilled moves, he defeated the soldiers and saved your life.

It was Ezio. A handsome Florinthian who decided to fight the Borgias and restore order in Rome.

After he defeated them, he offered you to join him if you wanted. He liked your defiance and there were few masters like you. Besides, you thought it was a chance to find your true weapon when the tattoo said it was a sword, but there were plenty of those.

You accepted and were welcomed into the brotherhood. You were a beginner, but very soon, under Ezio's tutelage, you rose almost to the rank of a full-fledged Assassin.

Ezio saw talent in you and wanted to help you however he could. He even asked you about your weapon and wanted to see your tattoos.

You had no problem with that and showed him your mark. He took your hand lightly and ran his finger over the tattoo. You didn't know why, but his touch was so gentle and pleasant that you wished he was your weapon.

Ezio promised to look for someone and kissed you on the sword mark on your wrist. Now you wished it was him all the more. Plus, you were completely at a loss for words when he called you tesoro mio. And it definitely wasn't a throwaway nickname. He called you that whenever he saw you and it didn't matter whether you were alone.

The Italian Grandmaster also started giving you private sword lessons. He'd review the basics with you before teaching you more advanced techniques that only he knew. But you never fought with him as a weapon, but against him.

"You did well today, Tesora Mia," he said after practice, kissing you on the fingers of your hand. He then stood up and as he held your hand lightly he pulled you closer to him. He stroked your cheek before taking you gently by the chin.

It already looked like he would kiss you when the Assassin novice brushed you off. Ezio looked like he wouldn't be disturbed and leaned towards you again, but the novice was undaunted.

"Excuse me, tesora mia. We'll finish this some other time," he said before he had to follow the novice and attend to the duties that called to him.

You were finally about to become a full-fledged assassin. You had come through the ceremony where Ezio had promoted you to assassin, you had gotten the scar on your finger, and now you were about to leap of fate.

You walked to the edge of the tower and looked down to where the cart with the hay was located. You took a deep breath and jumped. Ezio followed you down, where he gave you one more task. You had to catch him.

You immediately ran after him and followed him to the rooftops. You jumped from rooftop to rooftop after him until you lost him behind the church tower.

You were looking around, trying to determine which way he was running, when there was a flash in the distance. You thought you saw him like a sword, so you ran to check it out.

You ran up to where you found a sword lying on the roof, specifically a yatagan. The sword had a long matte black blade with silver trim and red gems.

It was familiar, but you weren't sure. Ezio usually only changed part of his hand to the blade in battle, so you didn't see it as a sword completely. Something inside you told you that this was your sword. Your true weapon.

You bent down and picked it up. The sword fits you perfectly as if it had been made especially for you.

"I knew it was you, Tesora Mia," Eziu's voice echoed in your head. But at first, you thought he was standing behind you, so you instinctively turned around. Only then did you realize it was the sword.

Ezio had changed back to human and now he was holding your hand. He confessed to you that as soon as he saw you fighting the Templars, you captivated him. You had no words for it, as you liked him too and had had a crush on him for quite some time.

Ezio took off your wrist guard and rolled up your sleeve, revealing your changed mark. You now had the same black and silver sword with the eagle head on your wrist that Ezio had.

"I knew it," the assassin smiled before kissing you on the sword tattoo. It was as if he had sent an electrical pulse through your body. Then he pulled you close to him and finally kissed you on the lips like he had been planning for a while.

Assassin's Creed Masterlist

#assassin's creed #assassin's creed x reader #ezio auditore #ezio x reader #weapo ezio #weapon au

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