#genji ito

[prettywitchiusaka]

Oh yeah, forgot to show off my little haul from Monday.

So long story short, I got a few gift cards from the Writers Guild as a thank you for all the work I put into creating and launching our very first, national short story contest.

Both gift cards were for McNally and, since I wanted to get out of the house, I ran over there and bought myself these beauties!

Except for Issue 4 of I Am Iron Man, that I bought at my local comic book store.

Sadly, no Epic Collection trade for She-Hulk, but there is a copy at said local comic store, so I'll pick that up later this summer.

[redsamuraiii]

Junihitoe wo Kita Akuma / The Devil Wears Junihitoe Kimono (2020)

Rai (Kentaro Ito) struggles to get a job and got dumped by his girlfriend who thinks she can't grow if she stays with him. The fact that his younger brother is better looking, smarter and good in everything that he is not, further adds to his insecurities.

Rai works part time at an exhibition for the "Tale of Genji", where he learns the history. He realises everyone knows about Hikaru Genji, the handsome and intelligent man, who charms the ladies of the court but no one knows about his older brother, Ninomiya.

Ninomiya is the son of the Emperor's first wife, but he is less appealing and less intelligent than Hikaru. And the Emperor loves Ninomiya and his mother, the concubine, more than his own wife, Nyogo Kokiden (Ayaka Miyoshi) which made her cold and bitter.

Unlike Hikaru, Ninomiya is not good with words and is not a womanizer. He is too honest and good natured for his own good, which frustrates his mother, Kokiden, who knows her son can't survive the harsh world, which resonates with Rai.

One night, on his way home, Rai learns about his younger brother's achievement and a celebration was in order. Rai decides to wander around to avoid returning home, when he encounters a mysterious light which transports him back in time and meet Kokiden.

It's meant to be light-hearted which started off as a comedy but along the way the story gets serious as Rai got entrenched into the political intricacies of the court which changes Rai, who finds a sense of belonging here and doesn't want to return to the present.

Kentaro Ito and Ayaka Miyoshi are so good in their roles. I've never seen Kentaro Ito expressing all forms of emotions in one movie, that I got teary eyed watching, relating to his life struggles that you could feel his pain. He just wants to be loved for who he is.

Ayaka Miyoshi plays a complex character who seems cold and ruthless on the outside that people called her the devil, when she is just protective and ambitious. She knows that being too honest will get you killed and has to be the devil to defeat another devil.

Kentaro Ito's character learns to be more forgiving and accepting of himself while Ayaka Miyoshi's character learns to be more human, learning that others have feelings too, and how powerful the right words can be that they can turn rivals into allies without a fight.

When I first read Japanese history, I am attracted to Sengoku Jidai, the warring times between Samurai but over time, I grew interested in Heian Period, long before the Samurai reign supreme over Japan. I find the culture and music of the time to be quite intriguing.

[satureja13]

Even though he looks so different from the last time they saw him, Saiwa, Vlad and Ji Ho recognized him immediately - it's Genji! The vampire that had bitten Ji Ho months ago.

(Through this they became each others first bonded!) Jack was too excited to notice anything but his ingredients omg ^^' They tried to stay calm - for the time being, like requested on the note - and Genji awkwardly introduced himself and gave instructions...

And while the others were baking their Love Day cakes, Genji called Ji Ho over to the giant cup cake machine. They talked quietly... (Even though Ji Ho's memories of his time with Genji are blurry, he was sad when he had to leave Genji after Vlad claimed him back. And like Leander told Vlad in his first vision, even when there is a new bonded, a bond can't fade completely. It's the strongest connection between two individuals

And finally the cakes are finished.

Kiyoshi made a Hamburger cake for Jack ^^' Vlad a Dark Chocolate cake and Jack Churros (because it's the only thing Noxee can cook and he still has a crush on her... he learned from the best, lol)

Poor Vlad had a hard time holding himself back. But his meditation lessons with Elsa helped him to stay - relatively - calm o.o'

Jeb is shy (he is often shy on photos ^^), he made Heart Shaped Cookies for his Giigs, Ji Ho Macarons and Saiwa, of course, a Strawberry Cake :3

(I can't wait what Genji has to tell them and why he is here! If you want to read all about how Ji Ho got bitten by Genji and Vlad claimed him back, it's in Chapter 5 -> here)

'I will forget and stop loving you as I look to the sky above me I told myself I must keep my heart cold towards you But when I walked towards you I saw that we were standing under the same sky'

Candy - H.O.T (I love this song so much. It was a phenomenon in South Korea back in the 90s. There is even a drama around it -> Reply 1997 from 2012 (a few of the actors are idols themselves and even Tony from H.O.T plays himself! It's so much fun ^^').

Jack and Kiyoshi met in the cold storage room and shared a H.O.T kiss <3

From the Beginning  ~  Underwater Love ~  Latest

[fistfuloflightning]

He sees fading memories of his wife everywhere—in the garden with flowers in her arms and a smile tipped to the sun, her small hands warming themselves over a brazier in winter, her junihitoe gathered to bend and pet the cat. This last is what once drove him to try pet it himself, if only to feel it’s fur warmed by Rinshi’s hand.

That had been the second and last time he’d tried touching the cat.

[delulu--lulu]

Henry runs into the room. “Guys, we need your help!” The two girls sigh before getting up and following him. Henry takes one look back at Azusa’s state before whispering, “I still will love you even like that.” 

The door closes and Mara stares wide-eyed and red at his words before smiling. 

“Oh, my moon what the-” Kya pauses before staring at her six friends in front of her. All of them have injuries and either ice packs, bandaids, tissues up their noses, or just straight up beaten up. Those six idiots are Genji, Ito, Juniper, the twins, and Ron. 

“What happened?!” Hayami demands. 

“Some idiots jumped us,” Haru grumbles. Hayami just scoffs, before going over to sit next to Kotoko. 

“This hotel is literally the entire hood in a building.” 

Genji nods in agreement. “Sure they jumped us, but this idiot over here started it.” He moves out of the way to jab his finger in Juniper’s way. She looks with a sheepish smile. 

“In her defense… They were troubling this little boy.” Haruki says. “But then they switched up and ganged up on us instead.” 

Juniper puts her finger up. “But, but, but, but, but! We did stop one of the biggest drug dealers.” She looks proud of herself. 

“That was only one of 50 of them,” Kotoko says. She sighs before looking up at the night sky. It’s currently 1 in the morning. Nobody has been able to get back to their regular sleep schedule since the stuff with Azusa getting possessed and all the housekeeping supplies being gone and people disappearing at night. 

It doesn’t help anymore knowing that Kotoko already has insomnia. Everyone only just wishes that Ms. Sky was here. Mr. Richie isn’t exactly on their good side after what happened with Juniper. 

“Come on, is this mission really necessary? I mean, The Sun and Moon hotel probably won’t ever change even if we do something. It’s just always been like that.” She says. “Ms. Sky is just stressing us out.” 

Everyone stares at her shocked. “Come on, Koko, you’re not giving up are you?” Hayami questions. 

“Maybe I am.” She replies and Hayami scoffs at the answer. “So what?! I’m tired, I really am.” She sits down before leaning against the wall as if her speaking just exhausted her. Henry walks toward her with a frowning expression before feeling her forehead. 

“Are you okay? Guys, I don’t think she’s doing too hot.” Genji comes towards her before carrying her to the infirmary while Henry leads the way. 

“Great.” Ron starts. “Now everything and everyone is screwed up.” Henry comes back holding Kotoko steady by the arms as she drinks from a water bottle. He sits her down gently before turning his attention back to everyone. 

“Um.. how about we just sit here and talk, y’know… about what changed in the past two years?” He softly suggests. “Like a bonding type of thing.” 

They need to talk. They really do… but… where to start? 

There are so many unanswered questions, bottled-up feelings, hidden pasts, and questionable actions. 

“Um, since I suggested it. I’ll go first.” Henry says as he rubs his neck and tries to smile. Though it comes out more as a grimace. “I… I'm sorry.” 

He takes a deep breath and everyone patiently waits for him to continue. 

“Uhm, I’m pretty sure you all know this but… I have Tourette's and ADHD.” Henry squeezes his eyes shut for a moment as he finally spills out the truth. 

It’s silent and all Henry can hear is his thundering heart. He squeezes shut, suddenly terrified of everyone's reactions. He’s never been so openly confessing about his condition to people like this-it’s so blunt for him and it honestly feels like he’s holding out his heart and trusting it with everyone to not break it. 

Henry is trusting them to not shatter the trust he has in them. 

“Okay,” he opens his dark eyes to meet everyone’s soft gazes that shine with care for him. He stares in shock at the person who says it; Genji. “Is there anything we need to know? Any triggers we need to know in case we need to help you?” 

“Well, it’s mild Tourette's but when I’m in a stressful situation my tics get noticeably worse.” He stutters over and feels his cheeks heat up when his head jerks painfully at the nerves that are coursing through him. “Or when I’m angry or really happy it can trigger them.” 

He takes a deep breath before explaining everything to them. 

“You wanna know what I think, Cat boy?” Hayami says, placing her hands behind her head as she relaxes back on the wall. 

“Not really, but go ahead,” Henry says dryly but his smirk is still there and it brings out a few chuckles from the others. 

“I think you’re the bravest one of us all here.” 

Henry immediately opens his mouth to deflect or agree; he doesn’t know but Hayami continues. 

“Why? You were the first of us to speak up-open up and that was hard. I don’t know how you did it, but you managed to and you should be proud of yourself, idiot.” The girl ruffles up his already messy hair and Henry huffs but can’t hide the smile on his face. 

Hayami’s lips pull up sideways as she grins sharply at the shocked brunette. Everyone else nods along with and adds their own words of encouragement.

They all care for him. 

At that moment he looks across the room and locks eyes with Juniper. The wide smile on her face makes his lips twitch upwards automatically. Her brown eyes are alight with happiness and the brunette can’t believe that this girl liked him.  

A bubbling warmth builds up in him and he swallows it down immediately. Reminding himself that he can’t. He can’t like her or love her because he knows he really truly doesn’t.

“Whoever cries first buys lunch the next time we all hang out.” Henry grins as everyone rolls their eyes at him and starts immediately firing off insults. 

Is it insensitive? Probably, but none of them care-not anymore. Kotoko hands Kya her water in exchange. 

All of them calm down and look at each other, silently urging someone to go next. And someone takes the bait, albeit, rather bluntly. 

Kotoko spurs out her words as if she were drunk. “My grandmother forced my mother into a marriage with my father so that they would have children with her genes.” Kotoko drunkenly explains, unaware of the damage she’d done. 

Kya spits out her water, Juniper slaps a hand over her mouth, the twins look like they’re about to have a mental breakdown, Hayami’s eyebrow is twitching, Sunflower looks like she’s about to cry, Ito just sits there already aware of her past, Genji stares blankly at her and Ron stares wide-eyed. 

“Do you know the definition of blunt?” Kya nudges Kotoko who doesn’t look bothered at all. “Koko, what the moon?”

“But… wasn’t Queen Roshanee a leader?” Haruki says questionably before he lowers his voice to almost a whisper. “Isn’t she supposed to-?” 

Kotoko cuts him off with a scoff. “Protect people? Well, she destroyed my family, she's no leader to me.” 

No one says anything, all of them being able to sense she’s not done talking with the way she bites her inner cheek almost painfully-as if suppressing some words she wants to say. 

“My grandmother basically kidnapped my mother, not letting her leave for 20 years. Because her purple hair and gray eyes were considered an angel gene to them.” 

No one interrupts her. They can sense this is years of bottled-up information and trauma, stored away in her brain which brews and keeps reminding her of the dark memories she’s forced to live with every day. 

“I hated my grandmother so much-she was a part of so much of our culture and was labeled as a goddess because her grandchildren had the purple hair and gray eyes of angels. But some people believe that she had something to do with Princess Yasmina’s murder.” 

Naomi vaguely remembers the notebooks Kotoko used to read so much, the ones about princess Yasmina and how she was so engulfed with them and also filled with so much emotion just from reading them. 

“One day I went to go get a snack from the kitchen,” Kotoko sucks in a deep breath, and no one comments on the way her hands shake slightly in her lap. “I was walking towards the fridge to get water when I saw her. My mother was holding a knife in her hand that hovered above her wrists.” 

The purple-haired girl closes her eyes as she whispers the next words. 

“She grabbed her left arm and although she couldn’t see me she still did it. She cut her lines. I accidentally gasped out loud and she saw me. She looked so hurt when she saw me standing there.” 

With gritted teeth, she continues. “I’ll never forget that look. It was an expression of regret. Her look still haunts me to this day.” 

Kotoko has told his story to her teammates but not this in detail. She didn’t want to seem like she was a monster out of control of her own life. After all, why would someone believe the most world-known queen of Wind would do something so horrible just to have ‘angel’ grandchildren? 

No one would-so Kotoko kept quiet; until now.

“Then she did something else that surprised me… she turned back around and without a second thought, she cut her other wrist. Then she fell unconscious and died.”

She remembers that day so clearly. 

Kadejah was a baby, she was so oddly quiet and rarely cried. Roshanee said that was because she was an angel baby and would grow up to be calm and collected.

If only she could see Kadejah now. 

Klyna was only three years old and Kotoko was five. 

That evening it was so quiet you could hear a pin drop, obviously, that seemed like the time to do it. Sreeja cried in the kitchen repeating herself over and over, “I can’t do this anymore.” Kotoko knew that if Sreeja didn’t die that night because of Roshanee she probably would’ve had a lot more siblings. 

“Did she,” Ron bites her lip when the purple-haired girl raises her head a bit backward to look at her and she doesn’t miss the way she shuffles towards her slightly. “Did she say anything to you?” 

Kotoko doesn’t say anything.

“Koto-” 

“It’s fine, she’s just talking.” She cuts Kya off with a sigh, ducking her head slightly so no one can see her face.

“That’s not the point.” Genji hisses through clenched teeth. “It doesn’t matter if she’s just ‘talking’ to you or not. It doesn’t matter if she isn’t as ‘bad’ as she was in the past.” 

Genji runs a hand through his hair and lets out a long breath, shoulders visibly shaking as he tries to calm himself from breaking out into an animal.

“What matters is that she shouldn’t be putting those thoughts through your head. That’s the point, Kotoko, no one is going to let her do that to you.”

Kotoko bites her bottom lip as she stares at the carpeted floor. She nibbles along it before soothing the slight sting with her tongue as she thinks about every experience she’s had with her grandmother.

“No one will believe me anyway, what’s the point in coming forward? Even if I do, nothing will happen-they needed her as a queen.” She explains mundanely. She stretches her leg out from underneath the blanket and looks up with her usual expression.

“Nothing will stop my grandmother anyways. I’ve given up trying to fight back against her.” 

No one knows what to say and Ron hasn’t taken her eyes off Kotoko the whole time. She looks deep in thought, lost in her own world but nobody pays attention to her. 

“Hey Koko,” said girl immediately looks at Ron and her breath nearly gets caught in her throat when she sees her gray eyes stare at her with a fond warmth she doesn’t dare think about. “You can always come to the Yao estate if you ever need a break, y’know.” 

Kotoko smiles with her beautiful pearly white smile that makes Ron almost blush instantly. She doesn’t get a chance to compliment her when Haru meekly pipes up beside her. 

“Ito and I are always going to be by your side when you need us to.” 

“Thank you.” She smiles again. 

Out of curiosity, or an attempt at lighting up the mood slightly, Henry adjusts his position on the floor slightly. “How many of you have daddy issues?”

His hands go up along with Kotoko, Tadashi, and Genji who playfully shoves the brunette beside him to unbalance him. 

Genji glances at Kya with a small smirk. “What about you, Kya? You got any dad issues?”

Hayami snorts at the question and grins sharply. “Her dad is so nonexistent in her life it’s physically impossible for her to have daddy issues.” 

“You have grandmommy issues, Hayami!” Kya immediately points out that sets off another fight between them. 

“So do you, nitwit!” 

“And? At least I don’t make it obvious!” 

“What the moon is that supposed to mean?”

“It means someone takes one look at you and already knows all your problems. You scream of ‘I lacked attention as a child!’” 

“You lacked attention from both of them. Sorry, just your mom-you don’t have a dad.” 

“Shut up! You go to sleep at 8:30.” 

“So? You got a problem with that?!” 

“It’s freaking weird.”

Ron bends over by the floor and picks up two random shoes that are lying aimlessly on the ground. Then she throws them with perfect accuracy and all of them watch with amusement as they whack off the two girls' heads-effectively shutting them up and breaking up their argument.

They both fall to the side groaning dramatically. Kotoko is laughing into Genji’s shoulder and he and the twins are snickering to themselves as they watch the girls curse aimlessly at Ron as she rolls her eyes. 

“Next up in trauma sharing?” She looks at everyone who contemplates if they want to go next or not.

Kya and Hayami sit up again and Kya throws a leg over Kotoko’s lap who looks unbothered at the action. 

“Guess I’ll go next,” she says while relaxing against Hayami who writhes and scowls trying to push her off. “I’m fatherless-” 

“Oh shoot, the dad jokes were real?” Ron and Henry snicker to themselves while Kotoko and Genji choke on a sputtered laugh. 

“That’s what I said!” Haruki cries out while Ito looks at Kya with a raised eyebrow. For once, an emotion other than anger and pure deadpan were present on his face. 

“That’s sad.”

Kya rolls her eyes and throws her head back, her head brushing against Haruki’s calf as she stares at the ceiling. “Yup.” 

Henry meekly speaks up. “Azusa was telling me she found your dad’s files. Kairon Green, right? Presumably, he’s dead, right?” 

“See?” Kya says. “Emphasize on the ‘presumably’. That man isn’t dead.” She softly goes with an ‘I would know’ that only Hayami hears. 

Hayami sucks in her cheeks and looks away for a split second, clearly remembering it. The two girls were playing one day when they overheard Alize and Temiri talking about him. 

“So… about Kairon?” Temiri started leaning toward a fuming Alize. “You said he messaged you today?” 

Alize nodded. “That’s right. Talking about how he wants to see the kids. I’m not going to take them to him, he should’ve been there from the start to see them.”

“My mother got pregnant with Kai when she was 15 and my father left her but came back begging for forgiveness and she took him back, that most stupid mistake of her life because then she got pregnant with me and he left again.” 

“That dirtbag!” Henry cries out in disgust. All of them have faces of disgust after listening to Kya who sighs with a smile on her face. 

“He is. Thankfully I don’t have to live with him in my life.” The girl explains and Haruki can’t help the way his heart cracks at the sight of her arms slightly shaking. 

“I’m okay.” She says gently when she takes in Haruki’s worried expression and it looks so genuine that he nods solemnly. 

Though, Hayami doesn’t believe it. 

She directs her gaze to Naomi who’s been quiet for nearly the entire time, quietly listening to everyone else while curled up against Ron’s side. 

“How long have you guys known each other?” She nods between her and Kya and immediately everyone sits up a bit straighter to listen to how they became friends. 

Both Hayami and Kya scowl at each other and grumpily mutter under their breath at the same time. 

“Since we were born. We weren’t really friends then.” 

“Yeah, but how?” She questions staring at the girls with a face. 

Kya hums to herself. “Our moms took us out for a walk the first week of summer and her dumbass decided to climb on a log near a small river. She fell in and I went to help her-”

“I didn’t need your help!” Hayami hisses between clenched teeth. 

“But she got really offended at that and tried to set me on fire.” Kya finishes off with a bright smile. 

Everyone blinks, slightly startled. 

“Is that,” Ito stops looking completely confused and done. “Is that it?”

“Yeah.” They both say. 

Naomi chuckles to herself which has everyone turning to her. “Now that I think of it, that sounds like how Hayami introduces herself. I mean, she tried to set me on fire when I first met her.” 

Henry thinks thoughtfully to himself. “She was trying to set someone on fire when I met her.” 

“Same with me,” Kotoko murmurs and smiles nervously when Hayami glares at the two. 

“She tried to set me on fire as well,” Tadashi mutters and the twins say the same as him. 

Even Sunflower agrees. “She was trying to set fire to someone else as well tonight. You have pretty bad anger issues, Hayami.” 

“Shut up.” She says with not much bark or bite in it because she doesn’t want to accidentally upset Sunflower after the night she’s had. 

“What dysfunctional family caused those issues?” Haru jokes and Hayami doesn’t have that much effort other than to offer him the middle finger. 

“My family is pretty functional in all honesty.” The Hira mutters and everyone but Kya and Henry seems surprised by her answer. 

Nearly everyone was expecting her to have one of the worst pasts with the way she acts. Her temper is sky high and nearly anything can set her off-a sign of someone who could come from a dysfunctional family home. 

“My mom’s treated me right my entire life. But I’m the only child they have. They’re also the only child in their family meaning I have no aunts or uncles.” 

Juniper purses her lips, trying to understand where she’s getting at. 

“Meaning everyone expected me to be amazing-the best at everything; to make them proud and it’s all I’ve known since I was born practically.” 

And suddenly everything clicks. 

Hayami’s pride and ego stem from being the best at everything when she was younger. Sure, she was treated nice and had one of the best upbringings someone could ask for-but the way her parents praised her, how all of her family would have their eyes on her when she did something good or came first was addicting and she liked being acknowledged for being the best at everything. 

This developed her ego and she strives to do everything. 

She was the first person in her class to master a side power, finish a test, complete a puzzle, and read a book-she was the first and best at everything. 

Which was the complete composite of her best friend; Kya Hirasawa.

No one liked them being friends. Teachers, kids in their class, and especially her grandparents. They all felt like she was being held back by being friends with Kya; the ‘charity case’. 

But she was the only one who didn’t force expectations on her. She treated her like a normal kid and wasn't afraid to rough play with her even though she was weaker. Kya was the only one who was able to keep up with her, with her attitude and ever-changing temper and that’s why she stuck to her side. 

Unfortunately, it caused a lot of arguments with her ‘other’ friends. 

Hayami would be dragged into fights to protect Kya from getting beaten up, and would sneak out of her house to meet up with her friend at the park. 

Hayami would often skip school with Kya to mess around in Kalama which had her end up in the bad books of her middle school even though she was an amazing student. 

They had a counselor come in for her to ‘help her’ with her ‘mental health’ because her anger issues had become a problem for everyone. In reality, it was just a way for Temiri’s mother to try and convince Hayami that Kya was bad for her. 

Of course that never happened. 

Soon enough she and Temiri’s visits to Fire Island slowly became less and less often to see her grandmother. 

“And she said she didn’t have a dysfunctional family,” Tadashi mutters to himself with a snort. 

Hayami stands up with a scowl, athletic arms stretching upwards which expose a sliver of her slightly toned stomach before she drops them again. 

She rubs her shoulder as she walks away. “Your family is probably more messed up than mine, Weasel.” Hayami grunts as she walks away. 

Kya frowns at her retreating figure, noting the way Hayami brushed over her past like it was nothing. It’s obvious she still finds it tough at her home and from the way she talked about it she made it seem like it wasn’t that bad in comparison to others she’s in a good position. 

This isn’t the case, no matter what type of home you have-the pain you feel is just as valid as the person next to you. 

And that is something a lot of them will need to start to understand. 

“My family is a lot more messed up,” Tadashi smirks before looking at Naomi, Juniper, and the twins with narrowed eyes. “You guys look ready to drop. You wanna talk about it or say it in the morning?” 

“Morning,” Juniper’s quiet voice rings out. “I need more time.” 

Haru nervously scratches his neck. “Yeah, we’ll wait till morning if that’s fine.” 

“We won’t force you guys, it’s fine Haru,” Kya says through a yawn before sitting up a lot straighter on the floor. 

“Let’s guess Tadashi’s trauma. I say… deadbeat dad as one.” Henry clicks his tongue with a cocky grin. 

“Correct, bonus points for those who can say what he did,” Tadashi says dryly which has them all laughing quietly to themselves. 

A moment of quietness comes over them and they all take the time to realize that they all know more about each other now. They’re finally communicating with each other and talking about their problems, not just being in a classroom pretending everything’s okay when it’s really not. 

Hayami steps back into view with a frown on her face. She turns to Naomi and points a thumb out into the hall. 

“Why are there a bunch of people climbing the stairs towards us? Any idea why that is?” She questions before throwing herself against Henry who evidently whacks into Juniper before all three of them fall down. 

Naomi frowns and looks out into the hall with furrowed eyebrows. “No. No one should be here-”

[peryodismo2324]

Guro at Mag-aaral ng UPIS, nagturo sa ACLE 2024

Justice Aguinaldo at Maya Ozo Mayo 30, 2024

Idinaraos noong Mayo 7 ang online Alternative Classroom Learning Experience (ACLE) ng University of the Philippines Integrated School (UPIS), kung saan naging tagapagsalita ang ilang guro at mag-aaral ng paaralan. Isa ang ACLE sa mga aktibidad na bumubuo sa UPIS Fair 2024, ang pagdiriwang na ginanap noong Mayo 7 at 22, sa pangunguna ng UPIS Pamunuan ng Kamag-Aral. Layunin nitong hasain ang kakayahan ng mga mag-aaral sa iba’t ibang paksa, na kadalasang hindi tinatalakay sa loob ng silid-aralan.

Gaming and Streaming

Screenshot ng presentasyon ni G. Sionil sa kaniyang sesyon (Kuha ni Maya Ozo)

Dito, tinalakay ni G. Sionil sa mga mag-aaral ng Grado 7 hanggang 10 ang kasaysayan ng paglalaro at ang industriya nito. Binigyang-diin din niya  ang koneksyon ng kathang-isip na mundo ng paglalaro sa tema ng UPIS Fair, pati na sa tunay na buhay.     Ayon kay Matthew Guades, isang kalahok ng sesyon, nagkaroon ng papel ang pagiging guro ni G. Sionil sa Araling Panlipunan sa kaniyang pagturo sa ACLE. Para kay Guades, naging mas kawili-wili ang pakikinig sa sesyon dahil kilala na niya ang tagapagsalita. 

Reels Making

Screenshot ng demonstrasyon ni Orbon sa paggawa ng reels (Kuha ni Justice Aguinaldo)

Nagbahagi naman ng kaalaman ang isang mag-aaral ng Grado 10 sa UPIS, na si Nathan Genji Orbon, sa paksang “Reels Making,” na nilahukan ng mga estudyante mula Grado 7 at 8.  Kilala si Orbon bilang editor ng video output ng kaniyang batch para sa “Gunita﹕ UPIS Comeback Music Showcase,” isang kompetisyon sa paggawa ng music video noong UPIS Fair 2022. Sa kaniyang diskusyon, ginamit ni Orbon ang CapCut, isang libreng video editing app, upang ituro ang mga pangunahing kasanayan sa paggawa ng reel, tulad ng pag-remix ng audio, pagbago ng pormat at sukat ng video, at paglagay ng effect o filter dito.

Nagpapasalamat din siya sa mga mag-aaral na sumali, at nagpahayag na nakadama pa siya ng “sense of accomplishment” matapos ang kaniyang pagtuturo sa ACLE.  “Kahit sila’y nahirapan makasunod dahil sa teknalidad ng topic, sinubukan pa rin nila... Nakakangiti malaman na mayroon kang tao (na) naturuan at napasahan ng iyong mga skills,” sabi niya.

Screenshot ng presentasyon ni Orbon sa kaniyang sesyon (Kuha ni Justice Aguinaldo)

Bagaman nasiyahan ang mga mag-aaral ng UPIS–kalahok man o tagapagsalita–sa online ACLE, hangarin naman nilang maisagawa ang aktibidad nang face-to-face sa susunod na taon.  Sabi nga ni Orbon, “Para sa akin, mas madali talaga magturo kapag face to face. Feel ko rin na mas magagamit nila (mga estudyante) ang kanilang creativity kapag naisagawa ito (nang) face to face.”

[sana6085]

Sukiyaki Western Jango by Takeshi Miike

Overall, I felt this movie is made as a comic movie. In terms of Mise-en-scène in this film, almost everything is opposite from Japanese traditions, which makes the atmosphere of this film comical. For example, though the theme or the baseline of this fim is really Japanese history, like Genji and Heike, this movie is conveyed all in English. In addition, characters’ way of fighting is mainly guns . If the movie is authentically dipicting Japanese history, it should be Katana. Thier clothes as well are western style with hats, pants, not using Kimono. Cemetery style is Chrischan. Throughout the movie, I often see cross. Moreover, music used in this film are really like cowboy. Sometimes, even the mysterious and hilarious effective sound that is not suitable for Japanese traditional war movies is used, which makes me laugh.  

In terms of edition, in some scenes, animation-like edition is used, so it made me confused like what kind of movie I am watching right now. I have two scenes that I remember the most. First one is the scene where the gunman (Hideaki Ito) jumped from the second floor and got ride on his horse. By editing the description of the jump to look like it's connected with a series of photoes, it seems to be like a hiro action movie for kids. The last edition is depicting Ruriko is really goot at shooting. In this scene, animation (the pictures that really tend to appear in cartoon) is used, which is so hilarious. 

Although this movie is funny in almost every scene, what I got impressed is the last scene where Heihachi, who got traumatized by watching his father and mother’s death by his own eyes and could not talk at all, eventually spoke “love” as a proof of making a decision of his way of living from now by his own. 

He even showed his smile to the gunman, which gave me the impression that the little boy is no longer dependent, but becomes an independent person. 

Lastly, I will write what I could not get it about this movie. Although this movie title is named as Sukiyaki Western Jango, I could not find any reasons for the essence or the necessity of naming Sukiyaki as a title. It is true that Sukiyaki was depicted in the very beginning of the movie, but after that, it has no effect on this movie content. That makes me think why the title is Sukiyaki.

[docrotten]

THE MANSTER (1959) – Episode 159 – Decades Of Horror: The Classic Era

“Hey, Doc. Tell her it’s an old American custom called smooch. And tell her she smooches good, huh? And tell her I’d like to give her some advanced lessons, huh?” Don’t you just love those old American customs? Join this episode’s Grue-Crew – Chad Hunt, Daphne Monary-Ernsdorff, Doc Rotten, and Jeff Mohr – as they travel to a mountaintop in Japan; a mountaintop that provides the inconvenient lab location for the creation of . . . The Manster (1959)!

Decades of Horror: The Classic Era Episode 159 – The Manster (1959)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

ANNOUNCEMENT Decades of Horror The Classic Era is partnering with THE CLASSIC SCI-FI MOVIE CHANNEL, THE CLASSIC HORROR MOVIE CHANNEL, and WICKED HORROR TV CHANNEL Which all now include video episodes of The Classic Era! Available on Roku, AppleTV, Amazon FireTV, AndroidTV, Online Website. Across All OTT platforms, as well as mobile, tablet, and desktop. https://classicscifichannel.com/; https://classichorrorchannel.com/; https://wickedhorrortv.com/

An American journalist stationed in Japan is given a mysterious injection by a mad scientist, turning him into a murderous, two-headed monster.

  Directors: George P. Breakston (as George Breakston); Kenneth G. Crane 

Writers: William J. Sheldon (screenplay by) (as Walt Sheldon); George P. Breakston (from an original story by) (as George Breakston)

Music by: Hirooki Ogawa

Cinematography by: David Mason (director of photography)

Makeup Department: Fumiko Yamamoto (makeup artist)

Special Effects: Shinpei Takagi

Selected Cast:

Peter Dyneley as Larry Stanford

Jane Hylton as Linda Stanford

Tetsu Nakamura as Dr. Robert Suzuki (as Satoshi Nakamura)

Terri Zimmern as Tara

Norman Van Hawley as Ian Matthews (as Van Hawley)

Jerry Itô as Police Superintendent Aida (as Jerry Ito)

Toyoko Takechi as Emiko Suzuki

Kenzo Kuroki as Genji Suzuki

Alan Tarlton as Dr. H.B. Jennsen

Shinpei Takagi as Temple Priest

George Wyman as Monster

Fujie Satsuki as Cleaning Woman (uncredited)

“SEE THE TWO-HEADED KILLER CREATURE!” screams the tagline from The Manster, half man-half monster. The Grue-Crew follows the cast and crew to Japan for this delightfully silly, yet oddly effective, late 50’s creature feature. The results are part Jekyll and Hyde, part pre-Cronenberg body horror (RE: an eye growing out of the hero’s – or is it the villain’s – shoulder). Don’t let the title fool you, this one deserves a Saturday afternoon Monster-kid viewing. Check out what the Grue-Crew think with episode 159.

At the time of this writing, The Manster is available to stream from Amazon Prime in B&W and colorized versions, and from Tubi. 

Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Up next in their very flexible schedule, as chosen by Daphne, is Dr. Jekyll and Mr. Hyde (1920) starring John Barrymore! This will be the Classic Era Grue Crew’s ninth journey to Silent Screamland. Yup, Chad’s going to have to read intertitles again. 

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the Gruesome Magazine YouTube channel, the site, or email the Decades of Horror: The Classic Era podcast hosts at feedback@gruesomemagazine.com

To each of you from each of them, “Thank you so much for watching and listening!”

Check out this episode!

[uchiuchi-universe]

[wizardgeniebard]

“You’re not in hell alone; don’t forget me.”

[redsamuraiii]

Junihitoe ko Kita Akuma (2020)

[emikorin]

Who Is Higuchi Ichiyou? (Spoilers if you haven’t fully watched/read Bungou Stray Dogs)

Higuchi Ichiyou, a port mafia member and the one who commands the Black Lizards. She isn’t respected by the mafia, she isn’t useful to the mafia ability wise but why is she here?

Let us begin from the beginning.

Who is the real life Higuchi Ichiyou?

She was born on May 2, 1872 in a nagaya (row house) on the premises of the Tokyo prefectural office (present Chiyoda Ward, Tokyo Prefecture) in Uchisaiwaicho, Ichi shoku, Daini daiku, Tokyo-fu (Tokyo Prefecture). Her real name was Natsu HIGUCHI. Her father was Tamenosuke (Noriyoshi) HIGUCHI and her mother was Ayame, the fifth daughter of the Furuya family; Ichiyo was their second daughter. She had an older sister (Fuji) and two older brothers (Sentaro and Toranosuke), and was followed by a younger sister (Kuni). Making Higuchi Ichiyou the fourth child.

Her father, Noriyoshi, was a peasant in Nakahagiwara Village, Yamanashi County, Kai Province (present Koshu City, formerly Enzan City). Her grandfather seems to have been familiar with creative writings such as haikai (seventeen-syllable verse) and keisho (the most important documents in Confucianism); it is said that Noriyoshi preferred academics to farming and, as his marriage with Ayame was not permitted, they practically eloped to Edo. Noriyoshi began as a servant in the Bansho shirabesho (a government-run Western studies education and research institute) and, by good fortune, became a jikisan (immediate retainer) of the bakufu (Japanese feudal government headed by a shogun) by buying a kabu (a right to become doshin) of doshin (a low-ranked official) in 1867. After the Meiji Restoration, he became a low-level official and acquired the status of shizoku (a family or person of samurai ancestry), but was dismissed in 1876. After that, he made a living by working as a real estate broker and similar things.

As a young child, Ichiyo was raised in a family of moderate means, and she enjoyed reading from the time she was small; she read kusazoshi (illustrated story books) and it is said that she read through "Nanso Hakkenden" (a story of eight samurai and a princess of the Satomi family in the Nanso region) by Bakin KYOKUTEI when she was seven years old. In 1877, she entered Hongo Shogakko (Hongo Elementary School), but could not continue because she was too young, so she enrolled in Yoshikawa Gakko (Yoshikawa School), which had been established privately by Tomikichi YOSHIKAWA. In 1881, Toranosuke, her second older brother, set up a branch family and apprenticed himself to an earthenware painter. The family moved to Okachimachi, Shitaya Ward in the same year, so in November, she transferred to Seikai Gakko, a private school, in Ueno Motokuromoncho. She graduated from the fourth grade of the advanced course at the top of her class, but left the school without advancing to the upper grades. It is said that this was because her mother, Ayame, believed that studies were unnecessary for women.

On the other hand, it is said that her father, Noriyoshi, recognized his daughter's literary talent and let her learn waka from his acquaintance, Shigeo WADA. In 1886, she entered the waka school 'Haginoya,' run by Utako NAKAJIMA, through an introduction by Choan TODA, an acquaintance of her father from the days of the Tokugawa shogunate. In this school, besides waka, she studied classic literature and Japanese calligraphy of the Chikage school; dynastic style literature, such as The Tale of Genji, was the motif of Ichiyo's early works. During her time at Haginoya, Ichiyo met her close friends Natsuko ITO and Tatsuko TANABE and gave lectures as an assistant teacher. At that time, Haginoya was a waka school attended by the wives and daughters of the former regime's privileged classes - such as court nobles, former roju (senior councilor of the Tokugawa shogunate), and former domain lords - and of the Meiji government statesmen and military personnel. Although Ichiyo was shizoku, since her family had been farmers, she was treated as a commoner; she became introverted, and senior pupils from the upper social class called her 'monotsutsumi no kimi' (literally, close-natured person). When the first annual New Year's opening ceremony since Ichiyo had entered the school drew near, the topic of conversation among the well-bred young ladies turned to clothing and festive dress, well beyond the range in which the daughter of a low-class government official could compete. However, she quashed her feelings of inferiority and attended the ceremony wearing old clothes that her parents had borrowed.

Ichiyo's family moved frequently; Ichiyo moved twelve times in her life. In 1888, Sentaro, the first son and head of the family, died; Ichiyo inherited the family and became its head, with her father as guardian. In 1889, Noriyoshi's attempt to establish an association of draying contractors failed, and he died in July of the same year.

Ichiyo's engagement to her fiance, Saburo SHIBUYA, was cancelled. It is said this was due to the fact that, although the Higuchi family was left with a large amount of debt after Noriyoshi's death, Saburo HIGUCHI required a large amount of yuinokin (betrothal [gift] money). At the age of 17, Ichiyo was forced to support her family as its head and, in 1890, she lived in the house of the Nakajima family as a Haginoya apprentice. In September of the same year, she moved to Kikuzaka, Hongo (Bunkyo Ward, Tokyo Prefecture) and, along with her mother and younger sister, was obliged to live a hard life doing needlework and araihari (washing, stretching and drying various parts of kimono). It is said, however, that Ichiyo herself tended to disdain labor, and that the needlework and araihari were conducted by her mother and younger sister.

As Ichiyo's nearsightedness made her bad at detail work, she searched for other ways to earn income. When she learned that Kaho TANABE, a pupil in the grades ahead of her, had obtained a large manuscript fee for her novel "Yabu no Uguisu" (literally, Bush Warbler in a Thicket), Ichiyo made up her mind to write novels. At the age of 20, she wrote 'Kareobana Hitomoto' (Withered Grass). She used her pen name 'Ichiyo' for the first time in an essay written that same year. In order to make a living as a novelist, she also studied under Tosui NAKARAI, who reported on novels for the Asahi Shimbun, frequented a library, and published her first novel 'Yamizakura' (literally, Cherry Blossom in the Dark) in the first issue of the magazine 'Musashino,' presided over by Tosui. Afterwards, Tosui continued to take care of Ichiyo, who lived in dire poverty. Gradually, Ichiyo began to have amorous feelings for Tosui. However, a scandal about their relationship spread (although both were single, the customs of the time did not approve of such associations between a man and a woman without the intent to marry), and so she severed relations with Tosui. As if to emphasize the end of her relationship with Tosui, she published "Umoregi" (literally, Buried Wood), an idealistic novel in the style of Rohan KODA; it was completely different from her previous works, and it became the one that made her career.

Ichiyo became acquainted with Toson SHIMAZAKI and Tokuboku HIRATA, both of whom were well-versed in European literature; having come into contact with naturalistic literature, Ichiyo published multiple works including 'Yuki no Hi' (literally, Snowy Day) in 'Bungakukai.'

Her former fiance, Saburo SAKAMOTO (the Saburo SHIBUYA mentioned above) had become a prosecutor; around this time, he proposed to her, but she refused him. In order to relieve her straightened circumstances, she opened a variety shop which sold cleaning implements and penny candy in Shitaya Ryusenji-cho (present Ryusen 1-chome, Taito Ward), but closed the shop in May 1894 and moved to Maruyama Fukuyama-cho, Hongo Ward (present Nishikata 1-chome). Her experience on this occasion later became the subject of 'Takekurabe,' her representative work. She continued writing. In December, she published 'Otsugomori' (literally, New Year's Eve) in 'Bungakukai' and the next year, in 1895, 'Takekurabe' was published in seven installments, beginning in January.

Between the two works, she published 'Yuku Kumo' (literally, Going Cloud), 'Nigorie,' 'Jusanya' and others; the period from 'Otsugomori' to 'Uramurasaki' (literally, Purple on the Verso) is called her 'miraculous 14 months.'

In 1896, when 'Takekurabe' was published in its entirety in 'Bungei Kurabu,' it won great acclaim from Ogai MORI, Rohan KODA and others; Ogai MORI praised Ichiyo very highly in 'Mezamashigusa,' and many members of 'Bungakukai' began to visit her. In May, she published 'Warekara' (literally, From Myself), and 'Tsuzoku Shokanbun' (literally, Popular Epistle) in "Nichiyo Hyakka Zensho" (literally, The Daily Encyclopedia). Ichiyo had advanced tuberculosis and, when she was diagnosed in August, it was judged hopeless. On November 23, she died at the age of 24 years and 8 months. Ichiyo's life as a novelist lasted only a little over 14 months and in 1897, the year following her death, "Ichiyo Zenshu" (literally, The Complete Collection of Ichiyo's Works), and "Kotei Ichiyo Zenshu" (literally, The Revised Complete Collection of Ichiyo's Works) were published.

Her grave was in the annex temple of Tsukiji Hongan-ji Temple, the Higuchi family's ancestral temple, and was later moved to the Wadabori byosho (mausoleum) of Nishihongan-ji Temple in Izumi, Suginami Ward. Her homyo (posthumous Buddhist name) in Jodo Shinshu sect (the True Pure Land Sect of Buddhism) is Choshoin Shaku Myoyo. Literary materials including handwritten manuscripts and other related materials are kept by the Museum of Modern Japanese Literature and Yamanashi Kenritsu Bungakukan (literally, Yamanashi Prefectural Museum of Literature). Since November 2004, her portrait has been used on the Bank of Japan's five thousand yen note.

Now that we know her real life counterpart lets review her anime/manga self.

As a mafioso, Higuchi proves ruthless and fearsome, not shying away from killing her targets. When confronted by the enemy, she has a distant atmosphere to herself, often strictly no-nonsense and showing little sympathy for them. Quick to act, she seldom tolerates disrespect and detests those who underestimate Port Mafia.

However, Higuchi's personality, as her boss and she herself notes, is rather unfit in the Port Mafia. Beneath her tough exterior, she is easy to upset, hesitant, and quick to question herself. She even contemplated leaving several times, despite the inevitable hardships defection foretold. As a result, her subordinates seldom show her respect, many following her orders out of fear of Akutagawa's wrath. An impulsive spirit also leads her to tend toward drastic measures, consequently going against orders.

Her biggest weakness is her intense, bordering obsessive loyalty to Ryunosuke Akutagawa, whom she obeys almost unconditionally. She often insists on filling in for Akutagawa, worried about his poor health. Unfortunately, her loyalty is met with a frustrated Akutagawa's abusive and harsh treatment, often being called "unnecessary" to him. Nonetheless, Higuchi remains loyal to him. Her instinct to tell Akutagawa everything she knows ends up a key component to luring Akutagawa to the Guild's Moby Dick. However, Higuchi makes up her weaknesses for having a strong resolve, and she refuses to turn away when allies, especially Akutagawa, are in danger.

Thankfully, her determined and honest nature earns her Black Lizard's respect. She proves reliable and incredibly brave, even if her judgment is easily clouded under pressure. Even if questioning her position in the mafia, Higuchi shoulders its burdens and responsibilities to this day, understanding its vital role in Yokohama's safety. She also makes it a point to not be unnecessarily cruel to her opponents, acting strictly professional in Akutagawa and Port Mafia's names.

Her composure can often waver. Sometimes she is cool-headed and intimidating, other times easily unsettled and stressed out. Ultimately, she seems to excel more in covert operations than the frontlines, as a tendency to panic leaves her wide open in battle.

Higuchi however has some...strange relationship with the boss however. And this is mostly with what was already established above that the real life Mori Ougai had praised her work which made her very popular. So far in the anime there are three people who Mori Ougai seems close with;

Fukuzawa Yukichi, Yosano Akiko and Natsume Soseki.

Ogai MORI (February 17, 1862 - July 9, 1922) was a novelist, critic, translator, playwright, surgeon of the Imperial Army and Bureaucrat (Senior Official First Class). He was also Army Surgeon General (equivalent to Lieutenant General), Shoshii (Senior Fourth Rank), Order of Merit Second Class, Ko Third Grade, Doctor of Medical Science and had a doctorate in Literature. He is considered one of the great writers of the post-First World War Period ranked alongside Soseki NATSUME. His real name was Rintaro. He was born in Tsuwano Domain, Iwami Province (present Tsuwano-cho, Shimane Prefecture). He graduated from the University of Tokyo, Faculty of Medicine.

Shiyo Ho was born as the third daughter of Soshichi HO (father) and Tsune (mother) who ran a long-established Japanese confectionery shop 'Surugaya' in Kaino-cho, Sakai City (present-day Kaino-cho, Sakai Ward), Osaka Prefecture. One of her real brothers was Hidetaro HO who later became an electrical engineer. Shiyo entered a school of Sinology (the study of the Chinese classics) at the age of nine and also learned koto (a long Japanese zither with thirteen strings) and shamisen (a three-stringed Japanese banjo). After entering Sakai Girl's School (present-day Osaka Prefectural Senyo Senior High School), she devoured the Japanese classics such as "The Tale of Genji." In addition, she said, under her elder brother's influence, 'by the time I was twelve or thirteen, my greatest pleasure was reading literary magazines "Shigaramisoshi" (and later its successor "Mezamashigusa") and "Bungakukai" as well as novels by Koyo OZAKI, Rohan KODA, and Ichiyo HIGUCHI' ("Myojo" May 1906).

Around the age of twenty she started contributing her poems to magazines while she helped her family business. After participated in the Kansai Young Men's Literary Society, in 1900, she became acquainted with a waka poet Tekkan YOSANO at a poetry reading held at a Japanese-style hotel in Hamaderakoen and contributed her poem to "Myojo," an in-house magazine of Shinshisha (New Poetry Society) founded by Tekkan. In the following year she left her home and moved to Tokyo, and published her first poetry anthology "Midaregami" (Tangled hair) that expressed female sensuality in open fashion with which she established her style as a romantic poet. Later she married Tekkan.

In September 1904, she published a poem "Kimi Shinitamou koto nakare" (Thou Shalt Not Die) in "Myojo." In 1911, she contributed a poem that started with 'Yama no ugoku hi kitaru' (The day comes when a mountain moves) to the first issue of "Seito," the first female literary magazine in Japan. In 1912, Akiko followed Tekkan and moved to Paris, France. Ogai MORI helped her to raise money for going abroad with his wide range of literary works and large circle of contacts, and he also proofread "Shinyaku Genji Monogatari (New Translation of The Tale of Genji)" on behalf of Akiko to which he wrote the preface. On May 5, 1912, the Yomiuri Shimbun started a series of articles entitled 'Atarashii Onna' (New Women) with an article on Akiko's voyage to Paris, and on the following day the newspaper reported her departure (some 500 people including Raicho HIRATSUKA saw her off). The following June issue of the "Chuo koron" magazine ran a feature story on Akiko. On May 19, Akiko arrived in Paris via the Trans-Siberian Railway; during four months up to her leaving to Japan from Marseille, France on September 21, she visited England, Belgium, Germany, Austria, and the Netherlands and so on.

The same like Higuchi Ichiyou, Fukuzawa was praised for his work and put on the Japanese bill. Fukuzawa is respected and is still friends with Mori as evident in season 3 episode 9 where he said after leaving Lucy “I’m going to visit an old friend”.

Despite the many things Fukuzawa witnessed Mori do (which includes mentally abusing Yosano to have her ability of usage for the mafia) Fukuzawa still sees Mori as a friend and that is seen back with how Mori and Fukuzawa fought.

They both went for the more vital points of their body. Making their death quick and painless so that one cannot suffer compared to the other. Even when Pushkin was caught, the two had one brain cell in that moment and both punched the virus ability user.

Why are Fukuzawa, Yosano and Natsume relevant you might ask? Well, let’s address the elephant in the room.

Let’s dissect season 1 episode 11 first (chapter 14 in the manga.)

We begin with how Mori Ougai is introduced, which is through Higuchi. After the failure that is capturing Atsushi and selling them for 4 billion yen/dollars Higuchi reports to Mori about their failure. This scene made me, a fan of the irl Mori Ougai’s work, open my eyes and ears to see how the two interact:

Higuchi: “I’m truly sorry for this.”

Mori: “Maybe he’ll never regain consciousness.”

Higuchi: “No way!”

Mori: “Don’t worry. You two have done you’re best. It’s true that you failed in the assault of the armed detective agency, erred during the capture of the man-tiger and sank the freighter along with our cargo. But you’ve done your best, and that’s all that mattered. Making effort is the most important. Results only come second, isn’t that right?”

Higuchi: “....”

Mori: “Oh, yeah. The trafficking company Akutagawa destroyed during the mission...the Remnants of Karma Transit seems to be recruiting. They’re probably planning to take revenge on Akutagawa.”

Higuchi: “what?”

Mori: “Listen, Higuchi-kun. The mafia is essentially an economic body that uses violence as its currency. It doesn’t matter at what got sunk or who got killed but if that violence is returned to us, all our expenses will become liabilities.”

Higuchi: “How could you call those liabilities? They were the fruits of of Akutagawa-senpai’s efforts up until now!”

Mori: “Indeed. Akutagawa-kun is highly capable. His violence is outstanding even in the mafia. **But what about you?** “

Higuchi: “....”

Mori: “Higuchi-kun. Have you ever wondered whether this job is really suited for you?”

From what we have seen so far, Mori doesn’t seem angry at her actions. In fact, he seems more disappointed but with a hint of worry. Knowing real life mafia bosses, Higuchi would either get fired or tortured for her failures, yet she is here standing without any injuries. This is the most seen in the anime where Higuchi clearly is talking back to Mori, talking back to the king of the underworld.

The next scene is with the Black Lizards.

Tachihara: “This bastard Gin is always put onto sneaky jobs like infiltration and assassinations. Slitting the throats of families and friends on the higher ups order is quite a usual task. If he had meant it, you wouldn’t even have the time to gape.”

Higuchi: “Did the boss say he wanted me dead?”

Hirotsu: “Not yet, but who knows what will happen in the future.”

Higuchi: *cold face* “So you have come here to mock me?”

Hirotsu: “We’re only here to warn you to stay alert. If I were you I would come up with an insurance plan before the hitman starts closing in. The higher ups aren’t the only ones who are after your head. You and Akutagawa are the Guerrilla Squad directly under the boss’ command, giving you the authority to mobilize us in the combat squad, so your technically our superiors. However we don’t obey you out of your authority, but out of fear and respect for Akutagawa’s ability. Higuchi-kun, now that Akutagawa is out of action what power do you posses to make us obey you?”

Throughout the whole entire scene they say that Higuchi, despite her position as their superior, has not much authority over them. The only reason why they follow her is because she is under Mori’s direct order, so she and Akutagawa are second closes to Mori next to the executives.

Yet why is she here if she isn’t that important to the mafia according to the Black Lizards?

In the next page we see that she is against Mori’s order. Higuchi is going against Mori’s orders. This is a giant red flag because she is directly not following Mori’s order; this is enough to get executed under mafia rules yet she isn’t. How? How is she allowed to go through with this?

Let’s look further:

“But the only reason I never actually did it...”

“It’s not easy to break away from the mafia, but it’s not impossible.”

Let’s take the first sentence. She never finished it. She never said the reason why she never left. All we see is her remembering Akutagawa. This could mean one of two things; 1, she is in love with Akutagawa and wants to protect him or 2. She admires him for him using his ability more efficiently compared to her.

You might be asking, how did we go from Akutagawa to Higuchi’s ability? That’s simple.

Let’s remember Tachihara for example. At first we thought he wasn’t an ability user like Gin but it was later on revealed that his ability, Midwinter Memento, allows him to manipulate metal. While it has nothing in common, the name and the ability itself, this can be the same for Hirotsu.

Which means that authors have abilities, and Higuchi Ichiyou isn’t just some author. She is the first ever female author that got so high as being on a yen bill. So her not having an ability is rather suspicious.

Not only that but let’s look at how the novel 55 minutes describes her:

The novel described Akutagawa as an ability user, how would Higuchi not be described as a non-ability user? Because she is an ability user.

⁠Which brings us back to the first take. Many mafioso’s would get in trouble for going against Mori’s word. With Higuchi  it is differently; in season 1 episode 11 you see that Higuchi was talking to Mori on a rather even note, her eyes shined a few times which means that she appreciates the praises but she still went against his word by saying “Akutagawa has done so much to be considered a liability.” She talked back against the boss, that would be considered a punishment in the underground yet Mori kept her. This is also shown in the manga where in the mall, Higuchi talked once again back against him but Mori warned her as if she was a child that wants to know more about her birthday present.

Compare this to how he talks to Hirotsu; a mafioso who is longer in the mafia compared to Mori.

He talked back to him and he got a glare and was questioned “what do you want to say?” In a threatening type of way. Knowing Mori, it isn’t because of the former boss because Mori doesn’t care about him anymore nor is it about Dazai taking his place, that is his main goal.

My theory is that Higuchi’s ability is that big of a liability that she is Mori’s secret weapon.

In season 1 episode 11 she keeps saying “it is difficult to leave the mafia but the reason I stayed is because...”

She never finished her sentence. She never told the full reason why she stayed. In the manga we are shown that she isn’t respected, that subordinates walk over her. Yet even with these facts, Higuchi isn’t fired.

She also says “it is difficult to leave the mafia but it isn’t impossible”

That is a lie because as we have seen with Kyōuka it is impossible. How does Higuchi have such privilege? Because Mori knows she will come back. The reason why in her monologue it showed Akutagawa is because she admires him for being able to control Rashoumon, the same way how Atsushi finds Akutagawa amazing for being able to control Rashoumon.

Mori favors her, and this is shown in a panel in Wan where Higuchi does an impression of Mori when he is with Elise yet instead of being angry at Higuchi, Mori directs his glare to Chuuya and Tachihara. There is also a chapter where Tachihara, Higuchi, Akutagawa and Gin destroyed the Black Lizard hideout but instead of punishing Higuchi (who was the source of the accident) he punished them all.

Let’s look at another thing; how close is Higuchi with Mori?

Season 2 episode 8 where Mori was stabbed by Fyodor. It was brief but we see Higuchi together with the boss. Out of everyone in the mafia; Kouyou, Chuuya, Kajii hell even Akutagawa could  (but he was busy looking for Nathanial) it was the least respected mafioso. Not only that but Higuchi back in season 2 gave information that the boss gave personally to Higuchi to send to Dazai.

This could have also been done by Hirotsu or Gin who know Dazai the longest. But something caught my attention. Higuchi said “I researched your history.” This wouldn’t seem bad was it not that Mori keeps Dazai’s executive position open for him to return, so Dazai is still technically an executive. ONLY EXECUTIVES are allowed to learn the history of the other executives. Gin, Hirotsu, Akutagawa, Kajii, Chuuya and Kouyou know about Dazai because they have an actual history with him but Higuchi is an outsider of this. She is like the other mafioso who aren’t related to Dazai yet she did research on him, which isn’t allowed.

Now this might sound as if Higuchi is special but let’s look at something or more someone who also didn’t look special but actually is special; Tachihara Michizo.

On the surface, Tachihara is an arrogant, impulsive, rash individual, more than willing to solve problems through sheer brute force and his dual guns. A violent temper leads to frequent conflict between him and other mafiosi, namely Gin, whom Tachihara views as creepy and frequently insults, leading to arguments, and Hirotsu, who often shuts Tachihara's temper down by threatening him. Tachihara's self-preservation prompts him to obey Hirotsu in the end, albeit reluctantly. An apparent thirst for battle and arrogance fuels Tachihara's temper. He's often seen with a rather feral smile on his face whenever fighting. He seldom considers the weight of a mission over the rush of eliminating his targets. He shows no hesitation nor remorse in murder, in fact sometimes urging to just eliminate a troublesome person if he finds their baggage more than they're worth.

A prideful man, Tachihara despises being underestimated and belittled. This is a surefire way to get oneself shot.

His rebellious side doesn't negate how he values orders, seeing them as an utmost system. Due to this, he attempts to dissuade Higuchi from saving Akutagawa against Mori's orders, even suggesting an alternate plan that wouldn't disobey these orders. Furthermore, he maintains his composure when dragged into shopping with Elise, and tolerates her putting bows in his hair. Despite guards laughing at him, Tachihara doesn't snap. Despite his rough exterior, Tachihara is capable of thinking rationally, just not in the heat of the moment in the Port Mafia. He can recognize danger quickly and finds himself on edge over how nonchalant Mori, Kōyō, and Chūya's meeting went. Tachihara has a proficient understanding of how to deal with the enemy, alluding to a much more cunning side of his true nature.

Much of Tachihara's details of joining the Port Mafia are unknown, however, it is a ruse. His identity as the fifth Hunting Dog reveals a much more clever, driven man. Unlike Ango Sakaguchi, Tachihara always intended to infiltrate the Port Mafia, using his position in the Hunting Dogs to operate as a spy. His confrontation with Yosano is devoid of any rage, depicting a cold, blunt side as he explains his grudge against her for "killing" his brother. Regardless of who he is working for, Tachihara cares deeply for his comrades. He was first to try to stop Higuchi when she tried to save Akutagawa on her own and has been seen visibly harboring guilt for when he cut down Hirotsu and Gin for the sake of his mission as a spy. He has also been seen caring for Teruko when she showed she was heavily injured from going against a plane head-on. He's also notably patient with those who are spoiled, including letting Teruko sit on her shoulders with little protests of being her "slave" and letting Elise put a bow on his head.

Beneath a lot of Tachihara's rough and punk-like exterior is a strong sense of incompetency and inferiority compared to his elder brother who was praised as being "perfect" while he was deemed by his family as being inferior, even being questioned as to why he didn't die instead of him. These things have driven Tachihara to act out and live a life of delinquency and ruthlessness by affiliating with gang activity, but despite these things, he still couldn't shake off these negative feelings. His insecurity and desperation to escape his brother's shadow was so strong, that Tachihara took on the first "order" that allowed him to become someone "not like his brother or his opposite" and joined the Hunting Dogs and infiltrate the Mafia to get revenge on Yosano for "killing" his brother, even when he knew and acknowledged that all of it was an excuse to appease his own negative feelings.

Many didn’t think much of Tachihara next that he was a commander of the Black Lizards and just someone who is close with Chuuya in Wan, however in the current arc we learn that he is a member of the Hunting Dogs with his ability Midwinter Memento being perfect for to lure Yosano to him, and in his fight with Fukuchi we learn that Mori giving him the order to kill Fukuchi was perfect for him.

Tachihara’s ability is named after his famous poem;

*Neither pursuing nor being pursued,

I stand under a barren tree. I'm watching

my silhouette, now marooned on a spotless snow....

(My pale shadow somberly takes shape.)

I'm listening. Yes! I certainly

am listening to what my shadow sings....

In a plaintively nasal voice it sings tunes of long-gone

summer flowers never to return.

Without responding, "That's a bunting, that's a siskin,

that's a white fir

—that's me...I a siskin, I a fir...," my shadow and I

eye each other as though these statements once were true.

My shadow listens to my heart at song.

Like the hubbub of that old arrowing brook,

it listens to tears at song...on the snow.*

This poem is seen mostly how Tachihara lives in the shadow of his brother, how much he listens to what others have to say because he himself can’t find a reason to do something.

As we already had established, Higuchi Ichiyou is a famous female writer. And the characters based on the authors and their books have an ability.

However there are two (three) categories: Name based abilities and non-name based abilities.

(Three being a non-abilities)

Non-abilities: The Great Old Ones and Ultra-Deduction.

Name based: Beast Beneath The Moonlight, Doppo Poet, All Men Are Equal, Lemon Bomb, The Great Fitzgerald, Thou Shalt Not Die, Gone With The Wind, I Am A Cat, A Feast in Time of Plague, Anne of Abyssal Red, Moby Dick, Time Machine, Yesterday’s Shadow Tag, The Grapes of Wrath etc.

Non-name based abilities: Vita Sexualis, Midwinter Memento, Another, An Inherent Drop, Black Cat in the Rue Morgue, Little Woman, Demon Snow/Golden Demon, Flawless, Futon, Plum Blossom in Snow, Priceless Tears, Undefeated By the Rain, No Longer Human, For The Tainted Sorrow etc.

Higuchi Ichiyou’s famous short story Takekurabe (Growing Pains) could be her ability based on that Mori Ougai had praised her for it, which eventually became they key to her success;

“ * [Higuchi Ichiyō’s] ‘Growing Pains’ was acclaimed as a masterpiece, especially when the entire work was republished in a single issue of the popular magazine Bungei Kurabu in April 1896, Mori Ōgai… lavishly praised its every feature: … (Ōgai): It is not especially remarkable that this author, a member of a literary circle in which the Naturalist school is said to be enjoying a vogue should have chosen to set her story in this place [the Yoshiwara district]. What is remarkable is that the characters who haunt this area are not the brute beasts in human form - the copies of Zola, Ibsen, and the rest - presented by the assiduous imitators of the so-called Naturalist school, but human beings with whom we can laugh and cry together… . At the risk of being mocked as an Ichiyō-idolater, I do not hesitate to accord to her the name of ‘poet.’ It is more difficult to depict a person with individual characteristics than a stereotype, and far more difficult to depict and individual in a milieu than a special person all by himself. This author, who has painted the ‘local coloring’ of Daionji-mae so effectively that one might say it has ceased to exist apart from ‘Growing Pains,’ without leaving any trace of the efforts such portraiture must have cost her, must truly be called a woman of rare ability.* “

(Credit to Donald Keene, Dawn to the West.)

But what could Growing Pains do if it was actually an ability? For most we need to understand what an actual ability needs to have in common.

For this we will take For The Tainted Sorrow and see how this ability is related to gravity?

With literal names based abilities we look at Atsushu. Atsushi has the ability to transform into a white tiger. At first, he doesn't seem to have much control over the transformation, likely due to the fact, or caused by, his unawareness of his state as an Ability user. After becoming an official member of the Agency and under the influence of All Men Are Equal, he gains more control over his transformations - as shown during his second fight with Akutagawa, when he breaks the transformation on his arms to escape.

My theory is that Higuchi’s ability allows her to paralyze her enemies.

Let’s look as too why I think this and use the summary of Takekurabe as an example; The main characters are children living on the edge of Yoshiwara, the only district of Edo that was licensed for prostitution. As they grow up, they find themselves assuming their family professions and losing the freedom they enjoyed as children. Next we have Nigorie translated into English as Troubled Waters and Muddy Water, is a Japanese short story written by Higuchi Ichiyō in 1895. It depicts the fate of a courtesan in the red light district of a nameless town during the Meiji era. Nigorie centers around Oriki, the most popular courtesan at the Kikunoi, a brothel in the red light district of an unspecified town, and a group of people connected to her, during the summer Obon festival. Through her conversations with other prostitutes, and Oriki's accounts in the presence of new customer Yūki Tomonosuke, the reader learns that a previous customer, Genshichi, a futon salesman of moderate affluence, was addicted to Oriki and spent all his money at the brothel. Now that Genshichi has been reduced to the hard labor of a construction worker, forced to move with his wife Ohatsu and his young son Takichi into a smaller flat in a run-down section of town, Oriki rejects seeing him despite his pleas. Tomonosuke repeatedly questions Oriki during his visits. She reminisces about her poor upbringing, which she cites, together with her profession, as the reason for not wanting to marry, although she had contemplated the possibility. She recounts a childhood incident when she was seven years old, sent by her mother to buy rice for supper. On her way back, she slipped on the frozen ground, spilling the rice into the gutter, leaving the family starving for this day. Meanwhile, Ohatsu scolds Genshichi for his ongoing obsession with Oriki and the family's poverty, which she tries to mitigate by doing piecework. When Takichi comes home with a piece of cake, which he received as a gift from Oriki (whom he refers to as "the demon-lady"), Ohatsu angrily throws it away. Genshichi, furious about her ongoing accusations and behaviour, demands that she leaves him. Ohatsu begs him to let her stay, as she has no relatives she can return to, but finally leaves, taking their son with her. At the end of the festivities, the dead bodies of Oriki and Genshichi are found. While it seems obvious that Genshichi committed suicide by seppuku, the cause of Oriki's death stays unclear. The passerbys speculate about her fate; while one assumes a shinjū (double love suicide), another one reasons that the wounds on Oriki's body make a murder after her attempted escape more plausible. It is left to the reader to determine the true circumstance of her death.

From these famous stories we can already determine that Higuchi’s stories are centered around the concept of one-sided attraction. This is something she and Akutagawa have, a one-sided attraction. This is the most in season 3 episode 5 where Higuchi doesn’t seem to find her way of trying to confess that she loves Akutagawa or that she thinks she admires him. And what is there not to admire about Akutagawa? He has an amazing ability, he is reliable in many ways but is just stubborn. So with this in mind, Higuchi’s (if this theory is correct) ability comes in this form; Higuchi’s ability is a mix of a non-name based ability and a name-based ability. The ability of paralyzation has the meaning of that she is paralyzed by fear with job as a mafioso but also her fear of being rejected by Akutagawa and that it is the greatest liability Mori has in order to protect Yokohama-This idea comes more in mind in the manga, Chapter 41, where we briefly see Higuchi’s little sister. This may not mean much to you but Higuchi is the only confirmed character with a little sister who isn’t based on a book (Gin=Ogin and Naomi=Naomi). Which leads me to the reason why she doesn’t use her ability anymore or is restricting herself- and the second is the meaning of Growing Pains ; Growing pains are often described as an ache or throb in the legs — often in the front of the thighs, the calves or behind the knees. Growing pains tend to affect both legs and occur at night, and may even wake a child from sleep. Although these pains are called growing pains, there's no evidence that growth hurts.

There could have been an incident in which Higuchi accidentally used her ability on her little sister which resulted in her little sister being paralyzed. She could have met Mori and knowing Mori he manipulated in keeping her ability a secret and for repayment let her join the mafia. This idea is further proven with how he was with Yosano; after the death of Tachihara’s brother Mori manipulated Yosano into thinking that this is her fault, almost making her join the mafia out of guilt was it not for Ranpo.

6. Maybe Higuchi wasn’t as lucky and thought that what Morti  said was true and joined the mafia out of guilt, which leads me as to why she fell in love with him. The nightingale effect; The Florence Nightingale effect is a trope where a caregiver falls in love with their patient, even if very little communication or contact takes place outside of basic care. Feelings may fade once the patient is no longer in need of care. Higuchi fell in love with Akutagawa not out of admiration but out of care for him. That guilt of not being able to take care of him could be because of her little sister and the fear that Higuchi one day paralyzes Akutagawa, as to why she isn’t using her ability. After all, this isn’t the first time there was a character who hid their ability to do things without it; Fyodor and Tachihara.

And the last thing that might confirm Higuchi’s importance is the way she acted in Wan and the Onsen drama CD. While Wan is merely a comedy it does call out the characters for their flaws and unique personalities, meanwhile the Onsen drama CD is like a filler but adds information about certain characters and their relationship; Higuchi included.

1. ⁠She stalks Akutagawa at first out of fear that other organizations might attack him, but at this point she stalks him with a mix of worry and not being capable of walking up to him.

2. ⁠She is rather open to nudity as shown that she said to Chuuya “it is my job to help Akutagawa even it means being naked” (or something along those lines).

In a certain chapter however where the Port Mafia had to disguise themselves as Mori, Higuchi was up and while she failed to look like Mori because she is very feminine she then used another tactic which is acting like Mori when he is with Elise. For most, Mori would have either glared at them and give them punishment, he glared at Chuuya and Tachihara (who were the closest next to him) instead at Higuchi. Higuchi broke many Port Mafia rules, many times she failed and has unintentionally mocked him yet she is still here.

so what do you guys think? Is this theory plausible?

[saving-for-a-rainey-day]

Books by Japanese Authors

Literary Fiction: The Tale of Genji by Murasaki Shikibu

Graphic Novel: Shiver by Junji Ito

Mystery: The Decagon House Murders by Yukito Ayatsuji

Fantasy: Lonely Castle in the Mirror by Mizuki Tsujimura

Historical Fiction: An Artist of the Floating World by Kazuo Ishiguro

Horror: Another by Yukito Ayatsuji

Romance: At the End of the Matinee by Keiichiro Hirano

Science Fiction: The Memory Police by Yoko Ogawa

Short Stories: Death in Midsummer and Other Stories by Yukio Mishima

Thriller: Out by Natsuo Kirino

Auto/Biographies: An I-Novel by Minae Mizumura

History: Japan Rising by Kume Kunitake

Poetry: The Narrow Road to the Deep North and Other Travel Sketches by Matsuo Bashō

[pinkmonsimblr]

I finally got around to the last baby daddy wall. Decided to make a mini room dedicated to the mothers of the challenge with all their urns. That’s not creepy at all... Lol. Let’s do one final roll call for all 74 official sperm donors and 2 honorable mentions for the bonus babies. 🤣

Generation 1, Sunny: Bjorn Bjergsen, Caleb Vatore, Arun Bheeda, Marcus Flex, Akira Flex (Kibo), Dominic Fyres, Luciano Garcia, Connor Pearce, Don Lothario, Reggie Steinberg, Finley Frost, and Colten Munch.

Generation 2, Holly: Billy Capricciosa, Jamal Shipman, Roland Salcedo, Warren Felton,Talon Linares, Rodney Delta, Daniel Reyes, and Elias Gallegos.

Generation 3, Pearl: Nioe Lin, Franklin Romeo, Devon Fraser, Jacoby Huntington, Adrian Holley, Mathias Ewing, Dennis Pancakes, Makoa Kealoha, Alika Kahananui, and Iker Villareal.

Generation 4, Zoey: Allen Rosa, Eduardo Pearce, Jose Barfield, Shingo Yamaguchi, Alton Voss, Genji Sakamoto, Markus Abraham, Elliott Farris, and Flint Walnut.

Generation 5, Journey: Ayden Hecking, Darrel Charm, Tomax Collette, Shea Bjergsen, Cameron Fletcher, James Adachi, Harrison Rosa, Noel McCain, Oliver Smith, Dan Clemons, and Zachary Vatore.

Generation 6, Scarlett: Brock Burroughs, Dion Shockley, Raymond Longoria, Arthur Simmons, Herman New, Fred Thurman, Jet Rider, Salem Maplewood, Eric Dawson, Alexander Perez, Finneas Pumpkin, and Charlie Hunt.

Generation 7, Elsa: Knox Greenberg, Jules Rico, Cletus Harris, Mack Johnston, Connor O’Malley, Tyrone Johnson, Kay Jeong, and Luke Nelson.

Generation 8, Poppy: Jason Ortega, Kado Akiyama, and Naoki Ito. Honorable mentions not pictured: Brandon Kumar and Kai Uchida.

[shinsengumi-archives]

Asahigata Kametaro who was captured by the Shinsengumi

tl;dr: This sumo wrestler fought for Choshu, was rewarded by the Emperor, got captured by the Shinsengumi, then helped the Shinsengumi, then fought for Satsuma against the Shinsengumi, carried the imperial banner, helped set up the Red Cross Society, founded a shrine, and may have been the namesake of a beer brand... What a life 😅

----

I first learned of the existence of Tamahoko Shrine when I read the book "史談 土俵のうちそと" (author: 武者 成一).

It’s dedicated to Emperor Komei, and the location is Rokuganzan, Taketoyo-cho, Chita-gun, Aichi Prefecture.

It’s close to our lodgings in Nagoya (Higashiura-cho, Chita-gun).

The shrine was founded by Asahigata Kametaro, a Kyoto sumo wrestler.

Tamahoko-jinja Shrine. The style is similar to that of Ise Jingu Shrine.

Asahigata was born in 1842 in Osaka.

It is said that he was originally a follower of Minato or Asahiyama of Osaka sumo, and that he briefly served in the Choshu Sumo Corps (headed by Ito Hirobumi), and later became a follower of Shikorogata of Kyoto sumo, but this is not entirely clear.

In Kyoto, where the political situation was unstable at the time, Kyoto wrestlers, who were favored by the Imperial Court, formed a corps of wrestlers to protect the inner court in case of emergency, and Asahikata (as he was then) was nominated as its representative.

Incidentally, the Kyoto ranking list for the final days of the Tokugawa shogunate is missing, so Asahigata's position and other details are unknown.

And then—

In July of the first year of the Genji Era (1864), the Choshu clan, which had once been in power, turned to counterattack and the Kinmon Incident (the Hamaguri Gate Incident) took place.

Asahigata, who led the force, was awarded a great prize by Emperor Komei.

“Asahigata, who took the shining shadow in his hand, brilliant for a thousand generations” (照る影をひら手に受けし旭形   千代にかがやくいさをなりけり)

He was given the Emperor's poem, a flag, a cup, and other articles, and changed his name from "Asahigata" (朝日形) to "Asahigata" (旭形) (meaning "rising sun" in Japanese).

It was not long after this, in November, that he was captured by the Shinsengumi.

It seems that he was captured by the Shinsengumi a little later, in November, for his role as a liaison between the lords and the samurai trying to overthrow the Shogunate.

After that, however, he helped raise funds for the Shinsengumi in Osaka.

Kondo Isami and Hijikata Toshizo, both members of the Shinsengumi, were deeply devoted to the ideals of the Sonno Joui and did not conflict with Asahikata’s ideology.

However, both subsequently diverged when it came to overthrowing vs. assisting the Shogunate.

When Satsuma and Choshu seized the leadership in the Imperial Court, the Kyoto sumo wrestlers who were close to the Imperial Court followed them, while the Aizu Clan and the Shinsengumi, who became the anti-mainstream faction, were labeled as "Imperial Enemies”.

In the battle of Toba-Fushimi (Keio 4, 1868), Asahigata was a member of the Satsuma clan's artillery, and fought hard despite being shot at.

When the Emperor Meiji went to Osaka, he carried the imperial banner, and the new government offered him the 6th rank, but he declined it.

He served until August of 1875, and the highest rank he could be confirmed in the ranking chart was the first rank under the makushita (juryo rank).

After his retirement, he contributed to the development of the Red Cross Society and was involved in various public service projects.

In 1900, he built his long desired Tamahoko Shrine dedicated to Emperor Komei, and passed away on March 11, 1934 (at the age of 61).

He is rumored to be the namesake of "Asahi Beer", but the origin of "Asahi" is unknown.

The Asahi Inari, located in the precincts of Tamahoko-jinja Shrine.

[thanatophobia-thoughts]

Some of my wind has returned to me, so to speak, for working on this blog. Not that I’ve stopped, as all of those following can tell, nor will I soon be returning to 4 original posts each day – 3 is enough, with one reblog to bring up old information. In fact, that is part of the discussion for today, in a way.

Returning to work has allowed me to return to my love of reading, and while today I will be going to get the new Junji Ito manga (Sensor – I write this on 8/17/21), I have been working my way through the Masters of Rome series by Colleen McCullough.  

I’ve suggested reading autobiographies and diaries, and that suggestion doesn’t change.

What I’d now like to suggest are reading stories – fictional or historical, or that strange mix of both – that carry over the lives of multiple people.

The only way I can think to explain that, is to use my current example. The series begins with telling the stories of Gaius Marius and Sulla, two men who set in motion dramatic changes for historical Rome. It goes through to their deaths (along with a host of other side characters), into the life of Julius Caesar, Mark Antony, and Gaius Octavius – the future Augustus. I’m only on the 4th book right now, but I have already observed an entire generation die off.

My beloved Sulla, the ever-graceful Julia wife of Marius, and of course, Marius himself, are all gone. Their impact continues to be mentioned, to be remembered, but with every book it fades. Even that of Servilia (mother of Brutus), who as a child was terribly impacted by her mother’s adultery, seems to recognize that influence less and less. She has more influences, more nuances, to her life.

And these, too, will fade. Octavius is not yet born, but hinted at in Caesar noting he should find a husband for Atia, mother of Octavius. This will circle back. Another generation will fall, and another rise.

I do not believe this is a common occurrence in series; they tend to focus on one set of characters, and do not show the progression to the rise of others. A Song of Ice and Fire may get close to that, one day, but as of yet I cannot say if it will; nor can I suggest it for such reading as the series is not yet complete.

Masters of Rome is the only series I am familiar with that does this, though I have never sought it out as a thing before. I imagine it may be more common in historical fiction than it is in other genres.

The only other I can think of that may do this (I have not read it so I cannot confirm) is Romance of the Three Kingdoms.

So my suggestion is, if you like history, find a period you enjoy that spans around 100 years, and see if there are any historical fiction written about it. Or, if you’re not into history, I’m certain there are sci-fi and fantasy stories that span generations.

Why do I make this suggestion?

Simply because I do not believe we are ever truly exposed to this. We know it occurs, as we know death occurs, but we are rarely involved in stories that go through multiple perspectives of changing generations and times. We certainly see it around us – my grandparents, my parents, and gradually, the children of friends (maybe my brother – who knows!), and perhaps even their children! We experience it, but I believe we are so close to it, that it often blinds us.  

This is a way to remove oneself from the narrative, and look at it through other eyes. Experience it, in a way we live. I feel Masters of Rome captures that. I know the names Nixon and Reagan, the way many in Rome may have known the names Sulla and Marius after a few decades went by – where to the people left who lived with them, they remain huge, notable! To someone like me? Not so much. In my time, I suppose it’ll be figures like Barack and Trump who stand high in my memory, as far as politics go.

Innovations in my mom’s time seem simply normal, or even outdated, like the VHS. Now we have Blu-ray and digital!

I do not think we truly experience multiple generations in the way a novel or even a show, can allow us to – all at once, quickly, and to thus be more keenly aware of the shifts because by our time our reckoning with it – a few hours, a few days, weeks, depending on how fast we read – is far shorter than the time changes occur through generations, which is years. It’s fresh. We wonder at how things are forgotten, so easily cast aside, when it happens all the time.

In a way, it brings us to confront that true horror of thanatophobia that many like to hide behind: that we are not truly dead until we are forgotten. Here we see forgetting even within the same, and next, generations.

Here, we see death. As normal. And here we see moving on, as normal. Here we see lives untouched by the tragedies of these earlier losses. Would my brother’s children, ever be impacted by the loss of great-grandparents they never knew? No. No more than I am, and of those, there is only my father’s grandfather I think I would have liked to know, because he saw something in my dad that my dad should have seen earlier.

Exposure to generational stories and the death inherent in them, the change inherent in them, I think is important. In some ways it is as comforting as it is terrible, because for those with loved ones they’ll leave behind, it shows how families can grow and flourish and be happy after losses. It shows that “moving on”.

I browsed a Reddit thread for ideas (https://www.reddit.com/r/booksuggestions/comments/wdy5f/can_anyone_suggest_fiction_novels_that_span_over/), and so I am including these thoughts as well:

One Hundred Years of Solitude by Gabriel Garcia

East of Eden by John Steinbeck

Roots by Alex Haley

House of the Spirits by Isabel Allende

Kane and Abel by Jeffrey Archer (a part of a series followed by The Prodigal Daughter)

The Mists of Avalon by Marion Bradley

The Sackett series by Louis L’amour

The Tale of Genji by Murasaki Shikibu

Some of these look quite promising, so hopefully some will appeal. If there are other ideas, I certainly welcome reblogs with contributions!