#its the origins that are different and the duality and the the the the the

[kakusboyfriend]

Sits you down. Ok so orchard and citrus are also mirrors in the sense that they both have a hidden violent side fueled by intense anger. But Citrus' is the result of a violent life simmering down until there's barely any trace left of it save for some specific situations, and Orchard's is the result of a man whose kindness was and still is what he's most known for but his life was shifted so rapidly it's no wonder he's become volatile as a result.

Do you get it. Im fucking crazy about them. I never drew orchard digitally and it makes me INSANE

[louthestarspeaker]

you know i just strongly believe that darius bowman should have had some dinosaur trading cards. you cannot tell me jurassic park wasn't selling those things like hotcakes and you definitely cannot tell me that 12 year old dino nerd darius bowman would not think they are the COOLEST THING EVER and spend all his allowance collecting all his favorites where are his dinosaur trading cards? where are they i know he has them i demand to see them

[minhosimthings]

Both || 18+

Synopsis: it's literally just porn I have no explanation

Pairings: bf!Heeseung × fem!reader × bf!Jake

Warnings: Smut MINORS DNI, oral ( f recieving), poly relationship, dom!Heeseung, dom!Jake, sub!reader, fingering, double penetration, p in v sex, rough sex, dirty talk, mean dom Heeseung, edging, orgasm denial, overstimulation, anal sex eyy, dacryphillia

A/N: so if any of you remember the symphony smut series, then you'll remember how the Skz threesome fic I had with MinChan was originally meant for HeeJake, but I didn't write it due to certain issues. BUT ITS HERE NOW. And no I didn't write a completely different fic, I just replaced the names from the original fix and rewrote some of the dialogue.

Original SKZ Version

Living with two boyfriends had been a much livelier experience than you would had initially thought. Or perhaps it was because they were Heeseung and Jake was what made it lively.

They were completely opposite to each other in all aspects. Which especially showed in the bedworks.

Heeseung was your drug for slavery while Jake was your poison for salvation.

Their duality was what turned you on, they could call you their little princess and give you as much pleasure as you wanted or they could tell you that you're their slut, with a pussy made only for them.

So it was no surprise that when you got mad with one, you went to another.

And on one fine Tuesday evening that's exactly what happened.

•••••••••••••••

"Princess are you alright?" Jake peeked his head around the door, his eyes taking time to adjust to the dim light. His ears were working though, and your sobs broke his heart. He didn't like it when you argued with Heeseung. He knew both of you were competitive, and competition never lead to much success, it usually led to tears and ignoring one another.

"If he sent you here-" you hiccuped, looking up at Jake, "Tell him I'm never going to talk to him again."

"You're so adorable." He chuckled, leaning in to kiss you, his hands on your hips, "How about a little session hmm? To get your mind off things?"

"What if he hears?"

“Hyung has his headphones in” he breathes out, slowly leaning in to kiss you. you meet him halfway, lips colliding against one another as his hand starts to trail down the curve of your waist. He pulls apart for a second, placing a quick peck before he speaks again. “He won't hear what he's missing.”

Jake makes quick work of the pants you had on, tearing them down your thighs as his primal instincts starts to kick in. In seconds, his head is buried in between your thighs, nose pressed against your clit.

“darling-“ he breathes out, absolutely in awe of how delicious you’re going to taste for him right now. “this is…” he trails off, unsure if words could describe how much this means to him.

“Never seen you so speechless before.” You tease, trying not to squirm under his gaze, his eyes locked onto the wet slick pooling at your entrance.

“What can I say?” he presses a kiss just above your clit, eyes darting up to yours. “I like having you all to myself.”

You open your mouth to retort but his tongue catches your throbbing nub first, sending a jolt throughout your body. After that first taste, he’s gone. completely lost in you and the frenzy begins. He tosses your leg over his shoulder, angling himself to get deeper.

His tongue delves back into you and you feel him everywhere. It’s enough to arch your back, your fingers clawing in his hair. He grunts approvingly into your messy cunt, licking up every little speck of drink he can get his mouth on.

Each precise stroke of Jake's tongue has you unraveling in his hold, undoubtedly gushing more of your essence on his eagerly awaiting mouth. He was practically moaning now, the vibrations shooting throughout your body. He breaks for air for a moment, licking his lips and looking up to you.

It’s all too much and you’d be lying if you said his enthusiasm wasn’t the driving force towards your release. you’d never been with a man so desperate for your taste, especially when you were in this state.

Your back starts to arch off the bedroll, reeling in the pleasure that’s about to snap. The coil shatters into a thousand pieces as you dig your fingers into his curls once again. You don’t know if you were loud or not, you don’t know anything as a white veil had taken up your vision, pleasure coursing through your veins as your blood pounds within your ears.

It takes a few moments for you to come back down to reality, your head swimming in the pleasure Jake hurtled you in. You watch as he places one last kiss against your cunt, slowly backing up on his haunches.

"Having fun there aren't you?"

Oh fucking no

You snapped your head up to look at the doorway, where your eyes fell on the image of Heeseung, casually leaning against the door, shit eating smirk on his face.

"Want a taste? I'm done." Jake got off the bed and plopped onto the nearby armchair.

"So the plan did work." Heeseung chuckled, taking off his jacket, and striding across the room, looking at your confused figure with bedroom eyes.

"What fucking plan?" You spat with venom in your tone, making Heeseung click his tongue together.

"Jaeyun here offered to help me after our little 'argument'." Heeseung dipped the bed down with his weight, "And let's just say, now that you're all riled like our pretty princess-" he took off his belt, "You won't refuse my fingers will you?"

"Fuck you Lee Heeseung, and you too." You directed the last part at Jake who merely shrugged his shoulders, and lounged on the armchair.

You gasped as Heeseung cupped your pussy, involuntarily clenching around nothing and feeling a gush of wetness spilling as your body reacted in anticipation.

"Aww did you miss me that much?"

“Use your fingers properly and find out.”

Your taunt didn’t go amiss. “Not even a sorry?” he said, arrogance dripping from each word.

Much to your frustration, your hips rolled into his touch, silently wishing he would stop avoiding your swell. Heeseung's hands worked quickly to unbutton your shirt. You knew all too well that you’d feel his cock hard enough if he was already this eager to expose your breasts. Your nipples quickly hardened and you rolled your hips once more, causing one of his fingers to slide inside.

It was the vicious clenches around his finger that snapped him out of it and his lustful eyes met yours. “Give me one reason not to slide out of you.”

"Jake's cock is getting hard and you don't want to disappoint him do you? He is the favourite in this relationship right?" You grumbled, feeling Heeseung's finger slide across your pussy. You tried your hardest not to moan.

Heeseung threw a glance at Jake who was chuckling behind his fingers, his cock almost bursting through his trousers. A second finger slithered past your tightness and he brought his lips to your ear.

“You're right. He is my favourite, but he doesn't have a pussy like yours does he?”

Your whimpers increased in intensity and you looped your arms around his neck for added support, lifting one leg to wrap around his waist. The new angle allowed him to go knuckle-deep and you shuddered as his strained erection pressed against his hand nudged him even deeper.

He groaned first, clearly enjoying the newfound friction, and you clenched hard at how his face twisted in pleasure. His lips brushed against yours this time, dragging his fingers back as you clenched desperately around him.

“What happened darling?” Heeseung taunted as you tried to have him back inside, your hips following his retreating hand. “That desperate for my fingers?”

"Selfish little princess” He continued, sliding one finger back inside, but not quite deep enough to fully satisfy you. “You know, I can be quite greedy when I want to. But..."

You whined in response, frustrated that you were now faced with an agonising emptiness.

“But what?” you groaned, trying to have him sink deeper to no avail. He placed a kiss to the corner of your mouth before pulling back.

“But I am willing to share you with Jake for a bit.”

The moans and whimpers and gasps that slipped from you were being effectively muffled, the third finger nudged at your entrance and you could only roll your eyes shut as your bit hard around your tongue to not give Heeseung the satisfaction.

“Surely you can take one more,” he teased, his voice low. It slid inside painfully slowly and the stretch had you gasping.

The combination of being so full of him and how he allowed you to rub your clit on his palm was too much. The lewd sounds were almost too obscene and you gripped both hands together, holding onto the remainder of the sanity you had left.

For a brief moment, Heeseung allowed you to ride three of his fingers, giving you the illusion that you’d reach your peak easily and rather quickly. His generosity came to an abrupt halt just as you felt the familiar coil down below becoming more and more overwhelming, your body quickly reaching the point of no return.

And then you felt a painful emptiness as he pulled out from you at once.

He chuckled when you groaned in sheer frustration, looking over at Jake and giving him a smirk too.

Of course. He was a sadist.

“Now, now,” Heeseung tutted, caressing your flushed cheek with his thumb, a single tear streaming down your face. “You didn’t think I would be that generous, did you?” 

"Fuck you both so much."

"Well if you say so doll." Jake shrugged his shoulders again and got up, getting onto the bed as well.

"Only if she stays silent though." Heeseung chuckles like a madman. Fuck you, you thought, but you couldn't get the words out. Jake removes his underwear, and you suddenly don’t feel so sure that you can take anymore.

“i-I” you can’t get the words out as a moan slips from your lips, when he enters you in one thrust. Your head falls back and your eyes close at the feeling of his thick length inside you. Had he always been this big?

“Fuck you're tight” Jake groans.

“Oh fuck.” You breath, feeling too full and overwhelmed already, and he hasn’t even moved yet.

“How does she feel?" Heeseung asks Jake. “So. Fucking. Tight” he groans as he slowly starts moving.

“oh fuuuck” you moan, unable to stay silent. Your hands search for something to hold on to, and they reach Jake's dark curls

“Does it feel good darling?” Heeseung whispers in your ear as he stretches your ass with his fingers.

“f-fuck y-yes” you breath out as Jake picks up speed.

"You like Jake fucking you while I stretch your ass?”

“Yes” you moan again.

“Good girl, look how well you’re taking us." Heeseung's hot breath tickles your skin pink.

Jake groans as he picks up speed, hitting that one spot inside you that makes you scream. Heeseung's hand clamps over your mouth again “what did I say about keeping silent darling?” he says mockingly.

“Fuck you're ready to cum again aren’t you? I feel you fucking clamping on my fingers” Heeseung groans.

“please” you beg them, but the sound is muffles by Heeseung's hand.

“what was that darling….you want it harder and…deeper?” Jake says mockingly. “I think she said she wants it harder hyung.” he says.

You try to shake your head, it’s already to much but Jake picks up speed even faster and Heeseung pushes a third finger in your ass. You come so hard you see stars. But both men don’t stop. No, they continue their ungodly rhythm.

You close your eyes enjoying the feeling. Your eyes shoot open when you feel Jake’s cock move through your folds. "Jaeyun..” you gasps as he puts himself against your entrance.

“you wanted us both, so you get us both” Jake says darkly before he slowly thrusts inside you. Your vision blurs at the overwhelming fullness you feel. “fuck I can fucking feel you” Heeseung mutters to Jake.

“fuck” Jake groans in response. You already feeling another orgasm rise.

“please…please” you have no idea what you’re begging for, the stimulation overwhelming you.

“cum for us” Jake orders as he starts moving in and out of you again.

Heeseung lifts you up and you wrap your legs around him, kissing him deeply. “No, I can’t. please” you beg. “You can do one more darling”

“hmmhhmmm f-ffuuuckk” you have no idea where the sounds are coming from that leave you, and who might hear. But you’re too far gone to care. You only feel them. Jake and Heeseung as they thrust in and out of your holes in a brutal pace.

“oh fuck…FUCK!” you scream out as yet another orgasm breaks you. you feel the both of them come inside you almost at the same time. You have no idea if you're still cuming or if it’s another orgasm.

Their thrusts turned slow but remained powerful as they bottomed out, hitting you as far back as they could. You gasped with every rut of Jake's hips hitting yours, and Heeseung's little moans cornering your ears.

Jake's hand aimlessly stroked your hair. he pulled back to look at you, smiling at the sight of your flushed face and disheveled hair.

“see. knew you could take it.” Jake kissed the tip of your nose, regretfully pulling out of you, you felt Heeseung do the same from behind. You whined at the loss—you had got so used to the feeling of them inside you, it was almost painful for them to leave.

"Princess?" Heeseung asks uncertainly, "you alright?"

"I'll forgive you if both of you do that everyday." You breathe out, being wrapped safely into Jake's arms.

"Well if you say so." Heeseung chuckles and smirks at Jake, who smiles back and wraps both of you tighter into a cocoon of comfort.

[tsunosagun]

false prophet

closeup and wolfwood Thoughts™ under the cut

i have many thoughts on wolfwood and duality.. the caption was inspired by the bible verse that originated the idea of "wolf in sheep's clothing", and this is one side to him- the judas character. but when he joins vash's side he becomes a different kind of false prophet by betraying the eye of michael

as for the wolf/sheep part, i think the idea of ww as a wolf is a valid one in Some ways, but mostly in that i think its how he sees himself/how he thinks he should be- the hunter, the lone wolf- with the irony ofc being that wolves are pack animals. and so are sheep! the lamb as innocence, the lost lamb, the lamb brought back by the shepherd, the lamb led to slaughter- all his life, he is the lamb. all this to say i feel like wolfwood is the complete opposite of the verse, which is what inspired this drawing- sheep in wolf's clothing

[bamsara]

Have you seen cannon Eclipse yet?? Will Ruin be effecting how you portray them in SL?

(Ruin spoilers) Long post!!! Sorry I rambled klsdhglksd plus I pulled out some of my older art so it's a bit of a ramble post about Eclipse and how I write/draw them / the duality of man (robot) / and SL's AU universe

Most likely not since a fully-booted-up Eclipse in SL wouldn't be too terribly different from what I could work with coming from Ruin. I've already made several art pieces and writing drafts about the 'scary looking but sweet' Eclipse type more than the murder murder murder scary kill kind having to do with the virus's invovlement, so I think this developement is actaully pretty steller for me

Not to say my Eclipse won't be a bit more intense than what was shown in the DLC, but I think it still works out

I mean Look at my doodles and writings of Post-Solar Lunacy Eclipse and how they act: you've got your spooky behavior that comes from Five Nights At Freddy's being a horror game + based off of the DCA's behavior + general alternate universe junk :

and then your silly goofy:

I've always adored the Duelity of Man (Robot)

So basically: Ruin DLC will probably not affect how I write Eclipse at all because from the short few lines we got from them kinda already alligns with how I see Eclipse behaving, at least Post - Solar Lunacy. Sweet boy.

Eclipse's dialect is a bit different in the ruin dlc then how I've had it planned but I think that's okay too, considering how I had their dialect/manner of speaking pretty down similar to how Sun & Moon were speaking in the DLC at least (the short sentences, phrases, occasionally long ones) although this is kinda just a writing flow choice / au character interpretation thing that's a personal preference, since I personally have Moon less verbal than Sun and Sun a lot more talkative in my fics than even the og Sun in Security breach.

Appearance wise? Nothing really changes! The hat and sunrays combo can switch inbetween having a hat or just having sunrays (like how arcade game Eclipse just has sunrays, but character model Eclipse has Moon's hat) and it really just depends on the scene and/or if the DCA was already wearing the nightcap as Eclipse makes an appearance.

I'm keeping the four-arms deal. Best thing the fandom came up with and love it when they do that for characters. Insert 'i just think its neat' image here.

Solar Lunacy has been and still is a AU universe so like said before, some aspects of canon are choosy to whatever I think makes a good entertainment story and all, so not too worried about sticking to canon all that much. Yippie for transformative and creative expression!

THAT BEING SAID, I absolutely fucking adore the glimpse of personality we got from the few scenes of canon Eclipse in the Ruin DLC and it fits an idea of character in my head for them, so I won't really need to divert from the original draft too much for Eclipse!

I'm really happy ahh!!!!

[cleopheanne]

Bharani : the birth of Venus.

Part 1

Let's talk about ancient godesses of love and Bharani nakshatra.

I will base my research on the legend of the dead and resurrected god present in many religious myths coming from the middle east (ps : i'm sorry in advance for the grammar, syntax or spelling mistakes that you may find in this post, english is not my first language)

Bharani, situated in the heart of the rashi of aries is governed by Shukr: Venus but also by Yami and Yama in vedic mythology who are twins and gods respectfully of life and death.

Yama, the main deity of Bharani is said to be one of "8 celestial gatekeepers, who guards eight directional doorways or exits through which souls travel from an earthly plane to other planes of existence" making him the lord of Dharma since at one's death, he decides basing on his actions in what plane should one reincarnate.

Since Yama is responsible for directing the flow of life on Earth the association between bharani and the yoni becomes evident: the female reproducting system serves as a portal for souls to take on a physical form. So bharani as Claire Nakti perfectly described it relates to the feminine ability to receive, hold, nurture and ultimately transform through the womb.

Because Bharani aligns itself with all the feminine qualities by excellence it makes sense as to why Venus is it's ruler.

Venus is the roman name for the goddess Aphrodite: in greek mythology. She is said to be the goddess of love and beauty at large but also the goddess of war and sexuality. First because the ancient greeks saw the duality that links love to war and how they seem to come together through sex.

Also, Aphrodite is said to be born from the sperm of Ouranos when his testicules got cut by his son Saturn as he was always feconding Gaia, the Earth and causing her distress: he was acting cruel regarding their children. The sperm of Ouranus got mixed up with the foam of the Ocean creating Aphrodite which means "risen from the foam". So it was interesting to see that as Shukr also means sperm in sanskrit and it shows the origin of Venus as a fertility goddess too.

This conception of Aphrodite directly links her to ancient goddesses of love such as Ishtar or Inana in Mesopotamian/summerian mythology or Isis in egyptian mythology. Most of the time, these goddesses are the female counterpart of a god that was once mortal, got cursed, died and then came back to life for them to form an immortal couple.

In the case of Ishtar, her consort is Dumuzi or Tammuz and Osiris is the consort of Isis.

In Mesopotamian mythology :

Ishtar or Inana in sumerian is the goddess of love and sexuality, beauty, fertility as well as war because of her status as a " bloody goddess" mostly refering to her character in plenty of myths.

For example: in one story, she became infatuated with the king Gilgamesh, but the latter knowing her fierce reputation, refused her advances. As a result she got furious and unleashed the celestial Bull on Earth which resulted in 7 years of plagues. This celestial bull was later defeated by Gilgamesh and Endiku, and its corpse was throwed in front of Inana. Blinded by rage, she decided that as a punition Enkidu must die and sad at the death of his bestfriend Gilgamesh began his journey to find a cure to Death.

Bharani is a fierce or Ugra nakshatra meaning that its nature is agressive, bold and assertive in pursuing their goals. They are ruthless in the process of accompling what they desire the most and are inclined to extreme mood swings that can result in them to be "blinded" by their extreme emotions perfectly expressing the passionate character of Venus and her other equivalents in differents pantheons of antiquity.

Inana/ Ishtar's story with Dumuzi/Tammur begins as she was convinced to chose him by her brother Utu. Then she got married with the shepphard Dumuzi instead of whom she prefered the farmer: Enkinmdou. During the courtship, Inana prefered the fine textile of the farmer and his beer rather than the thick wool and milk of Dumuzi. The preference for the shepphard illustrates that at the time the Mesopotamian civilisation was known for their proliferent agriculture with the egyptians in the region, so this myth encapsulate the opposition between nomads and sendatary people at this specifific time period.

By the way, another symbol of Bharani is the cave and traditionnaly, the cave was used as a storage room for food. Also Bharani's purpose is Artha so these individuals are motivated to accumalate resources and provide safety and security, so Bharani can be linked to the exploitation of natural ressources like the soil illustrating the preference of Ishtar for the farmer. This is reinforced also by its Earth element.

So coming back to the myth, in a mesopotamian text called Inana's Descent to the Underworld, the goddess goes to Kur (hell) with the intent of conquering it, and her sister Ereshkigal who rules the Underworld, kills her. She learns that she can escape if she finds a sacrifice to replace her, in her search, she encounters servants who were mourning her death however she finds Dumuzi relaxing on a throne being entertained by enslaved girls. Enraged by his disloyalty she selects him as a sacrifice and he is dragged to the Underworld by demons.

He is eventually resurrected by Inana and they become an "immortal couple" as he may only come back to life for half of the year, being replaced by his son (?) who is also his reincarnation for the other half of the same years, so describing the cycle of regeneration of life.

Other mythologycal stories of goddesses in the near east describe a similar patterns:

The goddess Asherah is described as being the mother and the lover of her son Adonis.

The goddess Cybele in the phrygian pantheon takes the form of an old woman as she described as the mother of everything and of all. And at the same time she is the consort of Attis who his her own son (wtf ?)

Also, Yama and Yami are implicated in a incestuous entanglement where his sister Yama wanted to lay with him however he refused establishing himself as a god with an infaillible moral campus.

All of these representations illustrate the relation between the masculine and the feminine, life and regenration which are all topics related to Bharani nakshatra. Women by their capacity to give life are seen as the source of life and therefore are eternal as they are able to regenarate themselves through daughters which are identical to them whereas man who is unable to reproduce by himself, is therefore mortal feels the need to associate with her to resurrect through a son who is identical to him. Bharani exiting as the embodiment of the link between "the father and the offspring" which is the feminine vessel.

So this is certainly part 1, I think that these ancient myths are where Claire Nakti found her inspiration for her series on Bharani.

[the-nosy-neighbor]

Sally's Pedrolino (part 3 of pedrolino theory)

First of all, Sally is dressed as Pierrot, not Pedrolino. (See the other pedrolino posts for the reasons and a history of the character)

Cone hat, ruff, big fluffy button detail. Her hat and the makeup and ruff are all traditional Pierrot costuming. It’s interesting that she chose the costume of a character that is closely associated with the moon, when she is supposed to be either a star, descended from a star, or a fallen star.

It appears that I’m not the first to wonder about Sally’s link to Pedrolino:

https://thecolourfulkingdom.tumblr.com/post/731153175684546560/importance-of-pedrolino

I really like that detail about there being “9 visible neighbors.” That might shoot a hole in my tower as a character theory. However, Colorful Kingdom does mention that same moon imagery that you find with Sally, something I have discussed before:

There is plenty here to be making a case that Something about Sally’s character is related more specifically to the moon. The images of Sally with one eye closed really makes me think that there is a duality to Sally during day/night. Part of the reason is the sun/moon on the door, but is also because of the clock concept art, dividing the clock into day and night involving open and shut eyes and different colored eyelids.

In the HH book/record, Sally introduces the concept of what happens at night in the neighborhood.

“It is looking for neighbors who are outside out past the daytime to gobble them up whole. That is why so few live here.

It moves through the streets at night, but it doesn't break into homes. However, on rare instances, it will find itself with an appetite, but unsatisfied by its aimless wandering. Even the occasional, unfortunate insect that has crossed its path is not enough.

Those who have lived through the night say it isn't quiet about it either. They always say you can hear when it gets closer to you. Do you know what sound it makes? I hear it every night. You can hear it too, if you listen. Especially if you wait next to your window.

First, there's rustling in the bushes. Then, the scratching on the pavement, on the walls as it crawls up. Finally, if you're quiet, you can hear its guttural sound.”

So, an actual creepy story where we learn that Sally has created this scary story for the neighbors, or an actual creepy thing that happens at night. It could potentially be a story meant to keep the neighbors inside, but for what reason? This could also be an attempt to explain missing neighbors or why the neighborhood is so small.

In my post about clocks, I go into this in more detail, but there is a definite dichotomy between the ideas of sun/star and moon, and the only timepiece to survive, Eddie’s watch, is clearly delineated between day and night.

This makes me think that there is something out there at night. I’ve also discussed in that post hints that we have gotten that there are people missing from the neighborhood:

• Where is Mama Beagle? (I know we saw her for Homewarming, but I’m not sure if that is current)

• Where are Julie’s siblings? They were important enough to have their own art in a book.

• “Nine visible neighbors” So are they invisible or no longer with us?

• Sunny was an original character and is no longer in the group. Perhaps we lost Sunny in an in-universe way, as opposed to written out.• Sally’s home and early buttons reference a sun and a moon

• This image has those buttons I was talking about.

This feels so much like Sally pointing directly at it and telling us that we are missing what happens at night. She really identifies the night beast’s actions and feelings too.

Have we seen anything that brings attention to the time and going home?

New idea, in terms of Eddie. “9 visible neighbors” could also lead to the idea that some are buried.

This picture is something I’ve shared before:

And this image has both Eddie and Sally. Hmm. Anyway, this is the item that is labeled what looks like “D” but with other letters mashed on top of it. There was obviously something missing here, so playing around, I was able to find this image. At first, I was convinced that this was some kind of Moonheaded man, the waxing gibbous type.

Now, though, I’m more of the mind that this is Sunny. Sally replaced Sunny, and Sunny is blue/teal. She is called a star, but I think her look is much more like how children draw the sun (which is a star).

He feels too bright to be the moon, and also, too green to be considered blue.

Also, the moon does not produce light. It is reflected sunlight. https://science.nasa.gov/moon/moonlight/ That makes it even more interesting to think that Sally is both, because she is producing the light, but it is also reflecting in another character that is connected with the moon?

What we know:

• Sally chose Pedrolino as a costume, despite Harlequinn (Arleccino) being the much more recognizeable character

(and I think you could argue the more fun, as Harlequin usually comes out on top and doesn't have the seriousness that Pedrolino does.)

Sally chose to wear a costume that belongs to a later iteration of the character. Either Sally is not as knowledgeable as she seems, or there is another reason for this. (Though Eddie recognizes it as Pedrolino, not Pierrot, from his book.)

I think when considering this difference, the author's/team's possible motivations have/has to be important.

• Pierrot is associated with the moon, specifically responding to the changes to the moon with changes in behavior

• Pierrot is focused on love, and the expression of the moon’s influence can be mental illness, but could also be a lovey dovey dopey experience (the word lunacy/lunatic comes from the belief that changes in the moon could make someone act insane)

• Sally has definite associations with the moon, with repeated symbols telling us that she is associated with the sun and the moon.

• The moon’s light is reflected from the sun

• Not discussed, but in pre-website lore, Poppy and Sally are an item.

• Sally is a singer, so are later versions of Pierrot

There is a female version of Pierrot, Pierrette. As little as most people know about this thing, Pierrette would be as good a character to choose as anyone.

• Pierrot is commonly known from the operatic (style?) performance, Pierrot Lunaire, which is a kind of anthology of music from the 1900’s. There may also be a separate opera, as you do see Pierrot as a role that a character plays in the Marx Brothers’ film, A Night at the Opera.

I think it is telling that Sally chose Pedrolino as opposed to Pierrot. She is dressed in a more classic Pierrot costume, but doesn’t have the lute and is not doing any kind of mime. You would expect Sally to get those details right, as a show offy theatre person (takes one to know one).

And why is Eddie the only other person to know what this is? He said he was reading about it in the post office. The only person we have seen with books (I think) is Frank. So does Eddie have book, did he get it from Frank. If so, where does Frank get his books? I think all of Franks books we have seen are about bugs. Is it a magical thinking kind of thing, or does Eddie bring books from our reality? Eddie delivers shipments to Howdy that we have seen, and Barnaby gets mail from outside the neighborhood, so are those from here or is it from some fictional location there?

All this to say, I do think that we can establish that this is giving us a strong hint about Sally's association with the moon and a potential importance of the day/night split and the nature of the neighborhood.

I am great at writing history, but less great at making the connections. I think there is still too much missing for me to make a reasonable guess as to what Sally's true nature is, but I definitely think that Sally's moon will make an appearance at some point and help us to understand what is happening in the neighborhood. I am confident that the moon will appear.

Since it has been useful to this point, a few notes from tv tropes.

God of the Moon--

Thus, fiction and mythology alike often personify it or associate it with a patron deity. Mirroring the moon's nature as a luminous body in a time of darkness, lunar deities can have complex relationships with the night and dark forces. On one hand, they may themselves be associated with darkness, the nighttime hours, and the things that dwell within them. On the other, they may instead be portrayed as standing against these things, providing safety and illumination during an otherwise dark and terrifying time and warding away the terrible things that lurk during the dark hours.

(required by law)

In personality, lunar deities are often portrayed as mercurial, changeable, and shifting, mirroring the constantly changing face of the moon itself. They also tend to be associated with cycles, such as the lunar phases and the tides. They may also have ties to madness, illusions, and mystery.

Under "Lunacy"

The Moon does things to people. Makes women crazy, drives the lunatics wild, or maybe is the external power source for some supernatural powers. The full Moon might bring out the monster in someone, or a new Moon may bring the human out of a monster. It may be tied to illusions, metamorphoses and inconstancy, mirroring the Moon's constantly cycling phases. In general, the Moon is often a catalyst in magical things.

"Night and Day Duo"

The elemental forces of day and night have always been considered polar opposites. The day, ruled by the sun, is bright and inviting. The night, ruled by the moon, is dark and often considered mysterious. It's no surprise that when two characters have abilities or traits based on these forces, they form a duo of Foils.

Despite their inherent differences, these characters usually form a team rather than fight in opposition. After all, keeping the balance is necessary in works that believe in The Sacred Darkness and Dark Is Not Evil. As such, this duo typically works together, even if it's just an Enemy Mine.

Share ideas about Sally and Pedrolino with me, and I'll update as ideas come in. I say Sally is Pierrot and Pedrolino is just a red herring to delay her association with the moon.

I might look at some other interactions between Sally and Eddie, as they seem to have a bit more to dig through.

[thewertsearch]

Ask Comp 01/07

Anonymous asked:i think youre the first liveblogger ive seen to actually remember that orphaner dualscar was eridan’s flarping name?

Mindfang clearly describes the Serkets, so I wonder if Dualscar says anything about the Amporas?

Eridan's greatest enemy does have a duality theme, after all - and he was certainly scarred when the guy stole his crush >:)

@captorations asked:i have terrible news regarding homestuck and the good place: https://x.com/nbcthegoodplace/status/1039908767763259392?lang=en not to mention that. well. the two share more than you've encountered yet. it's very likely not a coincidence. have fun! oh and. re: my ongoing campaign of pointing out the homestuck ancestry of tlt characters. please compare aradia's "i am very much alive and i intend to stay that way" with dulcinea's "i'm not in the river and i won't ever be again"

...oh my god.

On reflection, this makes a lot of sense. Homestuck's fandom is pretty large, and some of its members were bound to be involved in the production of mainstream media. Still, it's wild to see a Homestuck reference - or, technically, a Sweet Bro and Hella Jeff reference - on the official Twitter for a show this big.

And Aradia does have a lot in common with Dulcinea, doesn't she? For one thing, they didn't really start influencing the plot until after they died.

Anonymous asked: Not really important anymore, but looking at what Gamzee has in his Strife Deck, it doesn’t look like he has any ranged options: he’s got the bowling pins, what appear to be a discarded sickle and lance from Karkat and Tavros respectively, what I’m PRETTY SURE is a whip of some sort, and the Zillyhoo hammer. The closest to a ranged weapon in that stack is the whip, or maybe the pins if he’s willing to throw them, but neither seem like they’d work very well against Vriska. Barring some secret power or other plot twist, I think Gamzee would genuinely be the underdog in that matchup. (Which feels weird, because Gamzee’s been mutating into a slasher villain while Vriska’s still very much an antihero protagonist. Usually the power balance is the other way around with those archetypes!)

On the face of it, Gamzee didn't seem to have great odds in that fight - but it's hard to know for sure with this pesky Bard. His Strife Deck contains plenty of cards we haven't seen, and whatever he did to the Black King is still shrouded in mystery. Everything's just so uncertain with him.

@mimescantscream asked: I've really been holding back all this time, but now that we've met the Grand-highblood, it really is extra painful to see a Gamzee who was once incredibly loving of his friends (despite their constant ridicule) end up falling down the path that fate seems to have pre-ordained for him. Was he truly always meant to repeat echoes of the past? Could things ever have gone differently for him?

Yeah, I've been having similar thoughts. His PoV seemed completely sincere, so I don't think his original personality was a fabrication, or anything. I think there is a part of Gamzee that cares about his friends - and maybe even he wants it back.

@jade-harley-real asked: […] I want a rant on the bad doctor from you pls pls pls

Scratch is straight up the scariest character in Homestuck.

What's he up to now? Hard to say since we're not telling him what to do. Guardians can never be told what to do.

The aura of menace he's cultivated is incredible, especially considering he barely even moves. He's playing the entire cast like a fiddle, armed with nothing but a typewriter and his own supercharged brain - and there's no doubt in my mind that his confidence isn't a mask. He knows he's going to win in the end.

English is coming. He's basically already here.

@elkian asked: I'll probably never be a Vriska FAN, but I gotta admit, she really never had a chance, what with the only adults in her life being: a trollvorous spider 1 missed meal away from eating her, Marquise "I do what I want" Mindfang, and Doc Scratch. Some role models! @manorinthewoods asked: So, now that Mindfang has been revealed, here's a question for you: how much of Vriska's Vriskyness is because she's Vriska, how much is because of Mindfang, how much is because of her lusus, and how much is because of Alternia in general? ~LOSS (20/6/24)

This is why I don't think she'd be like this on Earth. At this point, it's obvious that none of her Incidents were the result of her personality as it naturally arose.

I mean, look how anti-Aradiacide she was! They weren't even really friends!

Anonymous asked: ‘AA: there are all sorts of friends to meet AA: ones you already know and ones you dont’ I mean…couldn’t she just be referring to various doomed selves? I don’t see why the dream bubbles would just be confined to the alpha timeline seeing as the furthest ring is weird in terms of time and space

I was assuming that only Alpha Timeline deaths would be preserved by the Bubbles, but you're right - I'm not sure that was a reasonable assumption.

The Horrorterrors seem to eschew the concept of the Alpha Timeline. and, they've coordinated with both Doomed and Alpha versions of Rose and Dave. Plus, yeah, there is no time in the Ring, so timelines are probably meaningless there. Why would it only interface with the Alpha?

If the Bubbles do preserve doomed souls, then we might also run into the John who died to Typheus, and the Jade he couldn't save. That's a pair of ghosts I'd be very interested to meet.

Anonymous asked: If every Aradia comes back from every doomed timeline, the number would double each time, so you could get over a thousand of her with only ten doomed timelines.

Fair point- although, if an already doomed Aradia went back in time again, she'd be double doomed. Is that even possible? Would she die twice as quickly?

@mhafanlol2000 asked: Your issues with quirks and speech-to-text are pretty simple to explain. If a troll were to speak into a non-modified speech-to-text program, it would output text with their quirk. Because they, quite literally, speak in their quirk. Terezi probably isnt actually saying “YOU H4V3 LOST TH3 G4M3”, each number at a time, but the vibes are definitely there. I don’t know, this is hard to describe if you don’t inherently get it.

I think, jokes aside, it is indeed about the vibes.

In the troll intro pages, you get told a little about how each troll talks, and I think that's how we're supposed to translate their quirks to an audible medium.

Anonymous asked: i think ppl in the fandom have over time kinda built up a like, generally separate understanding of quadrants from how theyre described in the "official" explanation. which is like, not representative of how these terms are used in homestuck, but probably more useful for describing Good relationships that Do Not Suck. like basically making moirails equivalent to being queer platonic partners, making blackrom more about having a healthy fun rivalry, that kinda stuff.

It's funny, actually - I don't think I've encountered a single asker who accepts the quadrants as they're originally described.

The main issue is that, with the possible exception of matespritship, we haven't seen a single troll relationship with reflects the infodump's explanation of the quadrants. I think Hussie might just have jumped the gun a little when dropping it.

Anonymous asked: Shoutout to Karkat poking his friends in the background! Terezi (crying over Dave) and now Soloux (talking to Terezi). Karkat isn’t sure what the right response is but wants to be included! Reminds me of actual cats, just putting a paw on you for no discernible reason. @manorinthewoods asked: I'd like to note that Karkat poking Terezi's tears is the same sprite (and same 'poooke'!) as Karkat poking Sollux's burnt-out eyesockets. ~LOSS (12/6/24)

My man just likes poking.

@alicesoinions asked: not much to say just wanted to say I really enjoy your liveblog!!

Glad you're enjoying!

I've actually got a few new followers recently. Maybe I'm showing up in people's recommendations?

@heliotropopause asked: Dream bubbles are pretty neat, eh? Neat enough to inspire half of HtN, I'd bet.

…wait.

Oh my god, you're right. It's literally a River Bubble. They're both located in afterlives, for crying out loud!

Anonymous asked: Wanted to thank your liveblog for reminding me of a lot that I had flat out missed in canon, due to not putting it together or just reading too quickly. Most recently and notably on my mind right now, is that Feferi is the one who set up the dreambubbles!!! I had always thought that they were just a part of the world that readers didn’t know about yet, like how we weren’t yet introduced to Alternia and it’s moons until act 5. This went right over my head and it has me absolutely REELING (fishing pun included just for fef!!)

Feferi truly is the MVP.

I wonder what happened to dead Players before the Bubbles?

They're certainly not the only type of afterlife in the multiverse. Alternia has at least two types of undead, which implies that the Players are very, very lucky to have retained their personhood postmortem. Imagine this was what Feferi looked like in Jade's dream.

Anonymous asked: Knowing sollux, he probably already had coded his tech to recognize if his speech ever changed, and gave himself a different typing quirk for it, long ago. Not because he knew or thought it would happen, but because he thought it would be a fun coding project ((I know nothing about coding))

And yet, you somehow know exactly how we think.

Anonymous asked: Something I hadn’t really thought about, until I started reading this liveblog, is how much VRISKA ((autocorrect decided to caps that and I’m leaving it in lol)) was manipul8ted into a lot of her violence. Scratch pushed her towards vengeance against Aradia, and she didn’t want to go through with it. Did VRISKA ever tell anyone how much of her live she spent resisting these forces, or even really acknowledge it? She didn’t hide Spidermom, and arguably her need to kill other trolls was to prevent herself from being killed. BUT on the other hand, VRISKA voice would make it sound like a compliment “I almost didn’t kill you why don’t you appreciate me!!!!!!!!”

The thing is, VRISKA probably felt a lot of social pressure not to tell people she was coerced into her crimes. That would reveal that she was reluctant to kill, which is the opposite of what the Empire wants.

@manorinthewoods asked: You could have written a great Homestuck if you'd been Hussie. I think your style, if translated from reacting-to-comic to making-comic, would work great with what Homestuck is, and could have made a better product. I think you'd make a cerebral Homestuck, which would have been cool to read, except I would have botched reading it like I botched reading Homestuck in our Alpha Timeline. ~LOSS (11/6/24)

Thank you! I've tried to write before, actually, but whenever I reread my stories, they come off as esoteric, stilted and a little hard to follow. It's not an insurmountable problem, of course, and I really need to take a writing workshop at some point.

I'd love to make a webcomic, too, but my art also leaves a lot to be desired. I can adapt sprites just fine, but original drawings are hard, guys. Did anyone else know about this?

Anonymous asked: i counted just now, and only like 24 out of all 54 paradox space comics have zero spoilers. some of them are certainly more substantial than others (e.g. i counted ones that include jade’s consorts that you havent seen yet as spoilers) but a lot of them have Very Big Spoilers

It would have been awfully messy. I'm probably just going to read it once I've reached the Gigapause of 2013, and no longer need to worry about spoilers.

@bladekindeyewear asked: “Nepeta wasn't trying to pacify Equius, nor did she seem to be fulfilling any rigidly defined 'role' in his life. They just came off as very good friends, and their relationship was much better for it.” Well, maybe we ought to look at it through the lens of real relationships between friends? Once a healthy dynamic and boundaries are established, perhaps Moirails stabilize as long as they’re together.

That's a good way to interpret moirallegence - although, it does raise an issue with the quadrant that I'll be discussing on its own post, once I've finished the comp. There's no point in prehashing what I'm about to say, so I'll see you there!

Anonymous asked: karkats message didn't go through because of trollians narrative awareness feature, where it'll display something different in service of one of the several "all"-seeing entities, of which the reader is one <3 watsonian and doylist explanations are kissing with tongue

Since the fourth wall is an actual, physical piece of technology in this world, this isn't even that far-fetched!

@sashonya asked: So, as the session's timers continues to count down, what do you think will happen after The Scratch?

Beyond 'the session ends', it's difficult to say for sure. I think the two most likely possibilities are that the kids start exploring other sessions, or travel to a location completely outside the current scope of the comic. I am, of course, hoping for both.

@ericvilas asked: "I still believe that out of all the trolls, Karkat’s traits were featured the most prominently in humanity" yeah, I guess even humans aren't free from the effects of carcinization

CG: THERE IS ONLY ONE STEP. CG: AND IT IS ME.

[aspoonofsugar]

Blake Belladonna's Design

This is a quick appreciation of our Cat Girl's design. Its objective is to offer a short analysis by incorporating elements of other metas. Ideally, the end result will be something similar to Yang's post. Finally, this is the final piece of my mid-summer Blake meta spree :) So, enjoy!

JUST ANOTHER CAT GIRL?

Blake's design plays with the idea of "cat girl". Cat girls are common in anime and mangas, but are often overly sexualized. In particular, cat ears are usually presented as an overly cute trait and sometimes a fetish.

RWBY takes this idea and subverts it in 2 ways.

Blake's ears are initially hidden, so that her affinity with cats gets highlighted through other aesthetical elements:

Gambol Shroud's ribbon resembles a cat's tail and it being a whip may reference the infamous cat o' nine tails

She decorates her eyes with cat eye makeup

She is able to make copies of herself, which get jokingly referred to as copycats

In Mistral she wears leg boots, which bring to mind Puss in Boots

In Atlas she wears a catsuit

Blake's cat trait becomes a core part of her identity, which is explored on a double level:

It represents her faunus heritage, which makes her different from humans and discriminated

It is a symbol of Blake's troubled past and of her involvement with the White Fang

So, Blake covers her cat ears to run from both society and herself. Just like a scaredy cat ;)

As you see, with some limitations and worldbuilding, Blake manages to be a cat girl with much depth to her. Still, there is more to her cat design.

FROM CALICO TO TUXEDO

Let's juxtapose Blake's initial concept art with her final design:

What changes is the cat used as the main inspiration.

In the initial concept art it is the calico cat (tricolor cat):

In the final character design it is the tuxedo cat (bicolor cat):

Why the change? Let's explain it by highlighting one similarity (1) and one difference (2) between the two kitties.

1- Both cats are called after a type of cloth:

Calico is a fabric, which originates in India (the set of the Jungle Book - Blake's secondary allusion) and is famous for its colorful printed patterns. I wouldn't be surprised if Blake's clothes in the concept art were meant to be calico made.

Tuxedo is a formal wear, which consists of a black suit over a white shirt and a bow tie. Well, Blake's final design is a revisitation of the traditional tuxedo with a shorter jacket and a bow worn in the hair, instead than as a tie.

The idea of "cloth" is heavily used in Blake's design, which may be one of the reasons why the tuxedo is eventually chosen. This kitty, thus, offers a pretty poignant metaphor.

It all starts with Gambol Shroud, where shroud means a piece of cloth that conceals or protects:

Here come two thoughts:

Blake's bow is her shroud which is why it resembles her weapon’s ribbon (same color and similar material). The bow is the ears, while the ribbon is the tail. Together they complement Blake’s cat design.

Some tuxedo cats are called tuxedo masks because it is as if a black mask covers their whole faces. It is easy to see how this concept fits Blake, who conceals herself thanks to a little piece of fabric.

Basically, Blakes's bow is her tuxedo tie, which is worn as a mask.

2- The two cats differ when it comes to their color:

The calico is a tricolor cat, which is mostly known as having a white coat with some orange and black patches

The tuxedo is a bicolor cat, which has white and black fur

These two color patterns are another reason why Blake has been characterized as a tuxedo instead than a calico. As a matter of fact the black and white dychotomy fits our beautiful faunus girl more.

WHITE AND BLACK = BEAUTY AND BEAST

In old English, Blake's name means both black and white. As a result, she is linked to both colors, which tie with her light and shadow motif:

Blake is associated to the twilight because it is where light and shadow meet. What's more, her musical theme is built on this duality. She starts in the shadows and climbs her way up towards the light.

Well, Light and Shadow are linked to two Jungian Archetypes:

The Light is the persona, so what is shown to others

The Shadow is what is repressed, so the hidden parts

And these two archetypes are explored in The Beauty and The Beast:

The Beauty is the light - she is beautiful, lovable and accepted

The Beast is the shadow - he is ferocious, scary and misunderstood

So, Blake's own allusion can be read as the integration of beauty and beast, light and shadow, so that a new unit (a new individual) is born. This is also Blake's arc in a nutshell. She starts as a shadow because she hides herself, but with time she steps into the light and shows the world who she is.

In other words, Blake's Beauty and Beast allusion is referenced in her appearence not only in her nature as a faunus, but in her color scheme too. She is both beauty and beast, light and shadow, white and black.

This is also why these two colors are incorporated in respectively Sun and Ilia.

Sun is white, as he leads Blake towards the light:

Ilia is black, as she forces Blake to face her own shadows:

Through them Blake integrates her shadows and stops hiding:

This is why her design changes in Mistral in two notables ways:

She gives up her bow once and for all

She wears a white jacket over a black top

These two details mirror Blake's inner journey. She learns to show herself more, so her ears get to be out in the open and the light (white) surfaces. In Beacon, instead, the ears are concealed and Blake is wrapped in shadows (black).

Ironically, this means Blake's design loses the core traits of her tuxedo cat inspiration. As a matter of fact she has no bow tie anymore and the color pattern is inverted, which doesn't work. Why this choice? It is because Blake is going from Beast (black + cat) to Beauty (white + individual). Symbolically, this happens as she shows her faunus trait more openly:

She grows more beautiful (human) as she openly embraces her beast side (cat).

GOLD, BLUE AND PURPLE = HOT, COLD AND JUST RIGHT

The shift from calico to tuxedo brings some consequences to Blake and Yang's complementary designs.

Let's compare the bees exploratory ideas:

As people have noticed, Blake and Yang are aesthetically and symbolically linked since early on.

Here, we have:

Blake with one gold eye and one blue eye

Yang with a blue bandana

This chromatic choice ties into Yang's allusion and design. As a matter of fact our Goldilocks uses colors to represent the too hot, too cold and just right. Specifically:

red/orange is the too hot

blue/green is the too cold

purple (blue + red) is the just right

So, in the picture above Yang's looks play with the dychotomy between too hot and too cold. This same duality is mirrored in Blake:

She is both too hot (gold eye) and too cold (blue eye)

She wears much gold in general (Yang's main color)

The idea is clear. Blake is Yang's hot and cold. In particular, she brings some needed blue in Yang's life. She helps Goldilocks cool down and become more balanced. Similarly, Blake proudly wears Yang's golden tones, as she has to grow more like her Golden Beauty.

So, how have these ideas evolved in Blake’s final design?

Blake has gained a strong association with purple, which makes her Yang's just right

Blake's color scheme has ditched gold in favor of silver, which makes her and Yang complementary

Blake's link to purple is interesting because this color calls back to her family and to the surname Belladonna (beautiful woman in Italian). In other words, it is connected to both Ghira's legacy and her Beauty side. So, it is not a surprise that Blake grows more purple in each arc:

She is slowly blooming into Yang's just right by reconciling with her legacy and by becoming a person worthy of our golden girl.

This transformation is highlighted also by Blake integrating some gold into her:

In both her Vale and Atlas's designs Blake is linked to silver, so that she can complete Yang's gold. Still, in Mistral she has some gold details because this is the arc where she integrates her missing parts. This integration ends with Adam's death and Blake's rebirth:

So, Blake's design tells a story of inner growth, which leads her to stand beside Yang as an equal:

Blake: She's not protecting me, Adam. And I'm not protecting her. We're protecting each other.

This theme is important for Blake's Cat Girl archetype. Cat Girls, thus, are often reduced to love interests, but Blake's arc is a deconstruction of this idea. What would happen if the male partner of a Cat Girl is abusive? Blake explores this concept and tells a story of liberation and development, which ends with a reconstruction of the trope. Our Cat Girl ends up in a happy relationship, but not as a shallow prize. Rather as a winner.

BEASTS, LIONS AND WOLVES

In conclusion, Blake's design alludes to the Beauty and Beast on three levels:

Society= Blake is both human (beauty) and animal (beast)

Couple = Blake and Yang are drawn as complementary

Individual = Blake is both white (light) and black (shadow)

Still, this is not the only fairy tale our Cat Girl ties into thanks to her animal features. Here come three examples.

Blake is Bagheera's daughter and a small panther (a cat) in the Jungle Book

Blake is a Scaredy Cat to Lioneheart's Cowardly Lion. Except that of course the cat is braver than the lion

Blake is Ruby's black beast in team RWBY's LRRH team allusion

This last reference is foreshadowed since Red Like Roses:

Black the beast descends from shadows.

After all, the Beowolves appear when Blake's line comes up.

Moreover, Blake's secondary allusions all come together to strongly link our Black Shadow to wolves. In the Jungle Book, Mowgli is raised by wolves, just like Blake grows up in the White Fang. The name of the group itself calls back to wolves, as it references the title of Jack London's book about a half-dog half-wolf, who fights to be accepted by humans.

Finally, it turns out Blake is not the only Cat, who turns out to be a Wolf:

In short, Blake's design lets her freely move between allusions and references. Not only that, but it is crafted to add depth and thematic resonance to her character and her arc. Not bad for just another Cat Girl, uh?

[the-broken-spear]

Aequorin has made a post addressing the thing:

Transcript below the cut

[Text reads: We want to apologize for the execution and editing decisions we made as a team on the Auraboa story, Ancient Arboriculture Observations. Your critique of the story and that parallels can be drawn to the struggles faced by native nations and the forced assimilation of their children into a western world have been heard. Looking at the story now, we can absolutely see how such parallels were drawn, and are committed to correcting this. We thank you for both reaching out to us, and for your patience while we worked to address these concerns. The Auraboa were and are intended to be dragons with a scifi-alien mindset with an innate mental link and a different perception of time, not a native nation. The original draft for the story had many ideas, context, and characterization that were explicitly stated and then cut out for the sake of word count. The expectation was for the breed article to do the heavy lifting required, but it also wound up insufficient to support the needs of the story and as a standalone article. The fact that the hatchlings were changed but still able to freely move between the Loop and a linear time perception was left implied instead of explicitly stated. Regarding the concerns shared on Auraboan speech, the mental link and the non-linear perception of time meant that speech was an inefficient and alien form of communication for the Auraboa, resulting in stilted speech patterns that we will be evaluating with a critical eye to avoid harmful stereotypes. We appreciate the critique and feedback. We will use this as an opportunity to better our lore and restore much of this original context to make sure we are telling the story and building the world we want and intend to tell. We are also re-evaluating our length limits based on the individual stories we want to tell and the world building we hope for these entries to do. We've been restricting the story lengths to prevent writing ourselves into corners like the Tidelord and the long, long break between Bounty of the Elements and its planned conclusion in Adventure Mode. And like with the Undertide story, the Auraboa story suffered under this artificial limit. This time, this combination lead to us publishing a story that could be read in multiple and harmful ways. We also need to note that in the United States we are entering a holiday weekend and many of our employees will be taking or are already on paid time off. We apologize that a change cannot be effected as immediately as we would like, but will work to improve the story as swiftly as possible (November, ideally.) For today: The Auraboa breed article has been expanded to more fully cover the connection that the Auraboa have in the Loop, duality of the nature of Auraboa hatchlings, and to make clear that the Auraboa born now are not and have not been severed from their connections and family. We will update Site Status again when the short story is updated with the additional context, direction, and ending. We want to thank the community again for your feedback and commitment to bettering the world of Flight Rising. As always, we ask that feedback on topics that touch on real world matters of significance are submitted directly to us through Contact Us.

/end text]

[talonabraxas]

Brahman Sat-Chit-Ananda (Truth-Consciousness-Bliss) Talon Abraxas

At the core of yogic philosophy lies the concept of Brahman—the ultimate reality and the source of all existence. The transcendent goal of yoga is to experience the oneness of Brahman—the ultimate reality, the absolute and eternal truth that underlies the universe and all of existence. Exploring the multifaceted meaning of Brahman provides an opportunity to delve into the deep philosophical and spiritual aspects of yoga, contemplate the mysteries of the universe, deepen your spiritual practice, and connect with something greater than yourself.

Disclosure: This post may contain affiliate links. If a purchase is made through these links, we may earn a commission at no extra cost to you. Your kind support helps us create more mindful articles!

What is Brahman?

In Indian philosophy, Brahman is the ultimate reality, the supreme, unchanging, and eternal essence of the universe. The term “Brahman” is derived from Sanskrit, meaning “to swell, expand, grow, enlarge.” Brahman is beyond human comprehension as it is beyond the limitations of time, space, and individual identity. It is considered to be the absolute, formless, and all-pervading cosmic power that is the source and sustainer of all existence. It is described as the essence of truth, consciousness, and bliss that remains unchanged, yet serves as the cause of all changes in existence.

As the supreme reality, it is recognized as the source of all existence in the entire universe. The unchanging, infinite, immanent, and transcendent reality forms the divine ground of all matter, energy, time, space, being, and everything beyond your experience. It is the origin and the end of all things, the very fabric of reality, and the fundamental principle that sustains the cosmos. Every entity and phenomenon in the universe, whether material or spiritual, emanates from this Brahman, exists within it, and ultimately merges into it.

In the Chandogya Upanishad, one of the oldest yogic texts, uses the metaphor of a clay pot to explain the concept of Brahman. Just as clay is used to make many different types, forms and shapes of pots, Brahman is the substrate that manifests in various forms and shapes in the universe. The clay (Brahman) remains constant and unchanging, while the pots (the various forms in the universe) are impermanent and transient.

Nirguna Brahman and Saguna Brahman

Brahman can be conceptualized in two different ways. Nirguna Brahman refers to the formless, attribute less aspect of Brahman, while Saguna Brahman refers to the aspect of Brahman that is imbued with qualities and attributes.

Nirguna Brahman is often associated with the concept of Advaita Vedanta, a philosophical school that emphasizes the non-dual nature of reality, asserting that Brahman is the only true reality and that all distinctions are ultimately illusory. It is pure consciousness, beyond the realm of dualities such as good and bad, right and wrong.

Saguna Brahman is the personal aspect of the supreme cosmic principle that manifests in the world with attributes and qualities. It is often associated with the concept of Bhakti Yoga, a spiritual path that emphasizes devotion to a personal deity or form of the divine. In this aspect, Brahman is seen as taking on various forms and qualities in order to interact with devotees on a more personal level. While Saguna Brahman includes attributes and is perceivable by human senses, it should not be mistaken for a deity in the traditional sense. Instead, it represents a human conception of the Infinite, a way for the human mind to comprehend the incomprehensible.

Both Nirguna and Saguna Brahman are considered valid conceptualizations of the supreme cosmic principle within Indian philosophy, with different schools of thought emphasizing one aspect over the other. The ultimate goal of understanding Brahman is to realize its true nature, which transcends all dualities and distinctions. By contemplating both the formless, attribute less nature of Nirguna Brahman and the personal, manifest aspect of Saguna Brahman, individuals can deepen their understanding of the divine and its role in the universe.

The Connection Between Atman and Brahman

The Atman-Brahman relationship is one of the fundamental tenets of yogic philosophy. Atman, interpreted as the individual soul or self, is seen as the microcosmic reflection of Brahman. According to Vedanta philosophy, Atman is not separate from Brahman, but an extension or manifestation of it. The individual self, or Atman, is often described using the analogy of a drop of water from the ocean – distinct in its individuality yet inherently connected to the vast expanse of the ocean itself.

Advaita Vedanta posits that Atman and Brahman are identical – the personal and universal selves are the same. This non-dualistic perspective, encapsulated in the Mahavakya (great saying) “Tat Tvam Asi” (That Thou Art), suggests that the individual soul is not separate from the Absolute Reality. Instead, it is Brahman itself, cloaked by ignorance or Maya. Realizing this profound oneness, transcending the illusion of duality, leads to Moksha or liberation, an essential goal in the path of yoga.

This non-dualistic concept is eloquently captured in the profound Vedic statement “Aham Brahmasmi,” meaning “I am Brahman.” The individual soul is seen as a microcosmic reflection of the macrocosmic absolute, suggesting that your true identity is not the transient physical form but the eternal, unchanging Brahman. This realization paves the way to liberation and union with the divine.

Brahman as Sat-cit-ananda (truth-consciousness-bliss)

While Nirguna Brahman is attribute less, it is often described using the attributes Sat (Truth), Chit (Consciousness), and Ananda (Bliss). Sat represents the aspect of Brahman that underlies all existence, the eternal and unchanging reality that transcends the temporal and illusory nature of the world. Cit signifies the pure consciousness that pervades all beings and is the source of all awareness and intelligence. Ananda points to the intrinsic joy and bliss that is inherent in the realization of Brahman, the ultimate goal of spiritual seekers.

These are not attributes in the conventional sense, but pointers to the indescribable nature of the Absolute Reality. Understanding these three attributes helps seekers comprehend the essence of Brahman and its implications for individual spiritual growth and enlightenment. By meditating on these attributes, practitioners aim to transcend the illusion of the material world and experience the ultimate reality of Brahman.

Brahman hidden by Maya (Illusion)

Maya is the cosmic illusion or veil that obscures the true nature of Brahman, causing individuals to become attached to the material world and ignorant of their true spiritual nature. This illusion fosters the misconception of duality, making you believe that you are separate entities existing independently in the physical universe. This false perception, akin to confusing a rope for a snake, results from spiritual ignorance (Avidya).

To overcome Maya and Avidya and realize the true nature of Brahman, one must cultivate self-awareness, spiritual knowledge, and detachment from the transient aspects of existence. By transcending the limitations of the ego and recognizing the unity of all creation, one can experience the divine essence of Brahman within themselves and in all beings. This realization brings liberation (moksha) from the cycle of samsara and leads to ultimate enlightenment and union with Brahman.

Moksha: Liberation from Samsara

Moksha signifies the Atman’s liberation from the cycle of Samsara and the realization of its oneness with Brahman. It is the ultimate goal of yoga, the state of absolute bliss and peace. Moksha is attained when the individual soul sheds its illusion of separateness, incited by Maya, and realizes its true nature, Brahman. This realization is not intellectual but experiential, a state of being where one experiences the truth of the Mahavakya, “Aham Brahmasmi,” meaning “I am Brahman.” Upon achieving Moksha, the individual soul merges with the supreme reality, Brahman, marking the end of the cycle of birth and rebirth. The soul, free from all limitations, resides in eternal bliss and peace.

Yoga practices to experience the oneness of Brahman

To experience the oneness of Brahman, one can engage in various yoga practices that help in transcending the limitations of the individual self and connecting with the universal consciousness. Through these practices, one can quiet the mind, purify the body, and cultivate a deeper awareness of the true nature of reality. Through dedicated practice and devotion, one can awaken the divine spark within and realize their true nature as a manifestation of Brahman. Choose a path that resonates with your inner being and commit yourself fully to the journey of self-discovery and spiritual growth.

[deer-with-a-stick]

I've rewatched the cinematic like 6 times now in a row and here some of the things I've noticed:

Kindred (Lamb specifically for the first two) is vaguely hinted at three times before the big Tryndamere scene. Once when Tryndamere looks up and sees her silhouette before his eyes close, once when Kayle's fire flares and consumes Aatrox, and once when Yasuo looks up, sees Wolf's eyes looking at him, and Lamb's arrow flies out in front of the storm of regular arrows.

Morgana's helmet does not match her at ALL, but it mirrors Kayle. Kind of like saying Morgana's forcing herself to be a warrior like Kayle at first, with the identical helmets and sword.

She then later casts the helmet off, leaving her sword in the ground. Kayle is the one who picks it up.

Kayle looks completely at home with the whiteness of the clouds but Morgana stands out a lot with the purple. But she doesn't match Aatrox's red either.

Morgana gets up immediately. Kayle does not.

The first thing Morgana does is look back for her sister.

The difference in Kayle's eyes when she first sees Morgana stand up in front of Aatrox compared to the almost disinterest or contempt in them when Morgana is visibly straining to keep her corrupted chains intact.

Kayle's transformation/embrace of her power seems far less taxing/painful than Morgana's (eyes simply start glowing golden with no hint of pupils or the iris while Morgana still retains a distinction between the pupils, iris, and scelera. Darkness also starts creeping down out of her eyes, like cracking through her skin.)

When Morgana collapses, Kayle does not look back.

Aatrox's body burns away but the sword doesn't (I still can't get over the brief flash of kindred's silhouette in the fire. It's there for like a quick second and you get the impression of something humanoid and with a bow).

Yasuo no longer has his original sword (no sheath on him when he appears either) and wraps wind around the blade he picks up every time he attacks. Doesn't necessarily look like he's actually killing anyone (except for maybe the first two people. or maybe they do die but they don't animate the gore).

It's almost like the wrapping on his arm is keeping the wind inside of him and/or keeping him together as he uses his power. Underneath the cloth, the pattern of wind or magic seems to mirror his spirit blossom skin's arm.

And again, Wolf's eyes shining out of the darkness and using the faint shape of the trees in the distance to hint at his head. Yasuo sees it, closes his eyes and accepts his death, so Lamb's arrow soars out in front of the mortal arrows, all the while Wolf still watches.

The fade in so it looks like the bare branches of the trees against the pale sky are like tendrils of darkness encroaching on the light, converging on a snowflake that almost bursts into existence. The snowflake is also unnaturally large and when it sinks into Tryndamere's blade, it almost melts and reforms, sending a bit of ice crawling across the blade as though following grooves carved into it.

Tryndamere has visible scars across his body. He sees no enemies but Kindred in the space around him.

Wolf alternates between looking like a shadow wolf and just a bunch of shadows in a vaguely wolf-like shape, blinking out of existence as he fights, which helps emphasize the whole "Lamb is the corporeal one out of the two" aspect of Kindred's duality while also making him scarier than just a floating head in space during the fight in my opinion (since he feels heavier and that helps with the "yes he's a THREAT" feeling)

Wolf is significantly more dynamic than Lamb is, and she doesn't really seem to move unless its necessary.

Slow head tilts, once when Tryndamere swings his blade at her, and again when she backflips out of the way, but this one is more noticeable. Wolf attacks immediately, but Lamb observes. Adds to spooky factor. Despite the fact that she literally had a big sword pass under her chin, she still moves slowly and deliberately.

The light of Ashe's arrows clears up the darkness in the background when they fly past Lamb, and the light switches from cool lighting to warm lighting.

The arrows don't move like real arrows as well (no wobble while flying), so if you misses the blue glowy thing then here's more confirmation they're magic! Also makes them seem unnaturally stiff, which works with the "they're made of magic ice" thing.

Tryndamere's eyes immediately shift towards the camera (to where Ashe/Lamb is standing and away from Wolf) and his expression also immediately loses that rage that has been keeping him alive (the expressions were REALLY good holy shit).

Ashe appears and Lamb melts away, taking the unnatural darkness that covered everything beyond the immediate battlefield away.

She's not wearing a god damn bikini and instead some actual leather armor, which has nice gold designs on it. Her bow is also steaming despite the cold air, which makes sense because True Ice is like 5 degrees Kelvin or something

Tryndamere's shoulder pad still has a set of claw marks slashed through it (was originally whole), and Ashe notices, immediately turning around as if to see if she missed an enemy.

There's also another dude or two still there, and idk what happens to them.

[subterlyfitumtale]

Deep analysis done by Daniel and me/Adley of Chara from our Undertale AU: Subtertale:

Chara is one of the most complex and fascinating characters within Subtertale, and in our version of the story, her role is significantly expanded. Subtertale takes key elements from Undertale and inserts them into a context where the relationship between humans and monsters is much more intricate and painful, with deep wounds that have yet to heal, which directly influences Chara's development.

Chara's origin and context in Subtertale: In our AU, Chara lived in Jasuttisuville, a human city characterized by its connection to magical culture and ancient tales about monsters. While the humans of Ketteiville, like Lyra, lived with a certain neutrality and distance from the past events of the war, those of Jasuttisuville maintained a closer and more emotional relationship with these tales. Chara is a direct product of this environment, which gives her a unique perspective on the war between humans and monsters and its tragic outcome.

Chara, having fallen into the Underground long before Lyra, becomes a bridge between both worlds. However, her fall was no accident: Chara, deeply influenced by the conflicts and hatred unleashed by the radical group in Shymattiville, chose to throw herself into Mount Ebott as an act of desperation, rage, and resignation. Upon discovering the existence of the monsters, Chara developed a much darker plan: to use her connection to them to take revenge on humanity.

Chara as a symbol of hatred and redemption: Chara is a deeply tragic figure. She represents the collective pain of the monsters and the corruption of human hatred. Rather than simply being the “first human,” Chara in Subtertale is a victim of conflict, a person caught between two worlds who never managed to reconcile her place in either. Chara is scarred by the devastation of war, and her desire to destroy or save is constantly in conflict.

The war that devastated the surface and exiled the monsters underground left scars not only physical, but emotional and psychological as well. The humans who survived, especially in Shymattiville, saw the monsters as an existential threat. In Jasuttisuville, where Chara grew up, the echoes of fear and hatred were even more pronounced. It is here that Chara’s personality begins to be forged, absorbing the hostility of the adults towards the monsters.

However, upon falling underground and living among the monsters, Chara discovers a world far more complex and nuanced than what he had been told. The monsters were not simply dangerous beings; they were beings with feelings, hopes, and desires, just like humans. This contrast between human propaganda and the reality of the monsters begins to create cognitive dissonance in Chara.

Duality in Chara’s Personality: One of the most important aspects of Chara is the duality of his personality. Chara is, in many ways, a reflection of the decisions Lyra will make later in the story. Depending on the choices Lyra makes, Chara can be a key ally or a destructive force. This duality is the heart of the character.

Chara as an agent of chaos:

If Lyra chooses violence and hatred, Chara becomes a figure who encourages and fosters that darkness. The hatred accumulated since the war, the despair and the suffering of having fallen into the underground manifest in a nihilistic vision. Chara, under this interpretation, sees humanity as a plague that must be eradicated, and monsters as tools to achieve that goal. It is here that Chara connects with Kamydxiel, the entity that seeks to destroy the balance of creation, representing chaos and hopelessness.

Chara as a redeemer:

If Lyra chooses the path of empathy and understanding, Chara can find a way to redemption. In this case, the hopelessness that initially marked Chara's life slowly dissipates, and the character finds in Lyra a mirror of what could have been had she made different choices. Here, Chara is a symbol of forgiveness, both towards monsters and towards herself. This route shows Chara as a tragic character but with a ray of hope.

The connection between Chara and monsters: Chara's relationship with monsters is a key point of analysis in Subtertale. Chara not only lived among them, but joined in their suffering and, in many ways, became one of them, although she was never fully accepted. Toriel, who serves as a motherly figure to both Lyra and Chara, is one of the most important characters in Chara's life. Despite her efforts to protect Chara, she could not prevent hatred and resentment from taking root deep in her soul.

The influence of Asriel, Toriel's son, is also fundamental. Asriel and Chara share a deep and symbolic connection. Asriel represents hope, innocence and kindness, while Chara embodies hatred, pain, and despair. This relationship reflects Chara's internal struggles, as she is constantly torn between her affection for Asriel and her desire for revenge.

Chara and the Barrier: Finally, the barrier that separates monsters from the outside world is a key symbol in Chara's life. For Chara, the barrier is not only a physical prison, but also a manifestation of the mental and emotional divisions between humans and monsters. The existence of the barrier keeps the ghosts of war and hatred alive, reinforcing Chara's beliefs about the irreconcilable nature of both species.

Chara, in many ways, sees the barrier as an instrument of power. Her initial plan, as Lyra discovers, is to use human souls to break it. However, the purpose behind breaking the barrier is what sets Chara apart from the others: while some monsters want to destroy it to be free, Chara desires it to enact her revenge and destroy both the human and monster worlds.

Conclusion: The analysis of Chara in Subtertale reveals a deep and multifaceted character, whose life and decisions are shaped by conflict, hatred, and tragedy. Chara represents both the potential for redemption and utter chaos, and ultimately, her fate is in the hands of Lyra and the choices she makes over the course of her journey.

[meimi-haneoka]

Cardcaptor Sakura Clear Card Chapter 77: Comments + JP-ENG translation differences

Welcome back, once again, for my (endless) analysis post about the most recent chapter of Cardcaptor Sakura Clear Card! This month we're here a tiny bit earlier due to Nakayoshi coming out on September 1st instead of the 3rd like every month, thus bringing forward the release of the chapter on Comic Days and CLAMP's Youtube channel of a couple of days! And boooooy, did I cry with this chapter! I think it's no surprise for anyone, right? 😂 after all, my preferences are very transparent and finally CLAMP-sensei gave me a crumble (more like an entire piece) of happiness in this chapter (immediately flooded with a surge of frustration, hahaha! When I say that they have fun torturing us, Kaito/Akiho fans....) Another puzzle piece in the enigma of Sakura's foretelling dreams also went to its right place, and we got more references of events and feelings that were expressed many, many chapters ago.

Let's not waste time and see what wrecked me this month and, most importantly, if we had any translation mistakes! (Spoilers, there are! Do you think we'd be safe from them, when there's a huge Kaito/Akiho scene?) But, wait, hold on! We're missing my usual silly "gif of the month" corner!! 😂

(don't be fooled by the appearances, this is Kaito 😂)

Aaaaand we proceed under the cut with the analysis of the color page and further!

The Color Page

Hahahahah, my god, sensei really is messing with my sanity starting from the color page, here... I've been asking forever for a Kaito/Akiho color page where they could finally be featured together and have all the attention on them, but no! They decided to troll me even further by featuring Akiho in chapter 76 and Kaito in chapter 77! 😂 YES, back-to-back, but STILL separated! 😂😂😂 I guess I'll have to live with this torture till the end.... Aaaaah, and what a color page we have for Kaito, here.... First of all, I have to say I'm mesmerized by the beautiful blue color spanning from the starry night sky to the clear waters below. Huge crystals are surrounding the main scene, emerging from the waters, but the real protagonists of this color page are undoubtedly two: the giant silver Moon on the background, and.....him, our great absentee for 7 chapters now - Yuna D. Kaito. Whoever knows me can well imagine what effect this color page had on me, especially after I had enough time to pause and consider his portrayal here, especially in relation to the content of the chapter. First of all, the JP text over it is the infamous threat the Association made to him and the words Sakura has been partially hearing in her dreams since long time ago: "If the Seal of D activates, you won't be able to come back". Standing outside the water, we see him dressed in his Association robes, giving his back to us. But reflected in the water, we can see him wearing his typical butler outfit, the one he always wore ever since he arrived in Japan with Akiho. And here, he's fully facing us. If I can dare giving an interpretation of this portrayal of Kaito (which is clearly meant to be interpreted figuratively, since the reflection doesn't correspond not only for the outfit, but also for the mismatch between back/front of Kaito), I'd daresay this is a clear representation of the duality living inside of Kaito right now, and the endless contrast originating from it. Inside Kaito there are two parts of him, constantly in conflict, and this conflict is mainly the reason why we got to this point in the story. Kaito really does have a hard time letting go of the past in the Association, which for better or for worse shaped him and gave him all the hidden traumas that contributed to his distorted, immature view of certain life matters. And he's got a hard time not because he enjoyed being one of them, not at all. We could see it clearly, he never enjoyed being a part of the Association, let alone felt like he belonged to it. But it's all he's ever known from a very young age till he decided to save Akiho, and the way he grew up in that den of criminals influenced him, making him feel like he really is a delinquent like the rest of them, undeserving of love and compassion. I can think immediately of one comment he made in chapter 67, that reveals clearly this mindset: in Clockland, when Momo told him "it's useless, even if you disguise yourself as the next head of the Li clan, it (your true nature) shows anyway" his sarcastic reply was "what, my wickedness?". Now that we know that he never really intended to cause intentionally any harm to anyone with his plan, but actually took care in ensuring that everyone would be safe, happy and minimally inconvenienced, his comment shows even more in what a distorted way he sees himself. This is the part of him that still thinks he's better off alone, undeserving of the bond with Akiho, especially for what he inadvertedly caused to her. Now that I think about it, those crystals emerging from the water really do remind me of the crystals storing the memories of the "characters" in Clockland, again from chapter 67.

But, inside Kaito there's also the "new him" (or should we say the real him?), how he changed after making that fateful decision, after interacting with Akiho and creating a bond with her along the years (even if he tried to fight it and ignore it, uselessly, for so long). It's the part of him that learned what's good in interacting with others, and what it means to have someone you love dearly and would do anything for. That part of him is represented here by the reflection in the water. And it's really no surprise that the two parts of him are facing opposite directions, a very nice representation of how they're in contrast with eachother, pulling him in different "directions". I take the "butler" part of Kaito facing us as a symbol of that being the part of himself he really wants to be, the true self, but is currently submerged under the traumas and skewed convictions about himself that his past self (represented by the Kaito in the Association robe) experienced. If Kaito wants to take another chance at life, a happy, worth living one, he needs to let go of the past and help the part of him that's underwater emerging and claiming it fully. That's what Momo has been praying he would realize all along. That he would notice, and accept, the part of him that learned what love means through his bond with Akiho. Of course, this color page affected me emotionally in a strong way, and I also missed seeing Kaito's face, so I really really love it.

The Aura of a Gentle Moon

Soooo, we left our kids in a pretty problematic situation last time, right? An attack, in the guise of a shower of arrows, was coming down on them, and the chapter starts exactly with something I imagined could've happened: the connection with the group waiting at Yukito's home is re-established, and they see the attack in live streaming! 😱

Sakura uses swiftly her Shield Card, and oh-la-la, what do we have here? A new design??? Must be because she used it with the Dream wand! 😀.....wait, then should we assume that maybe even the "wrong" design of the Sword Card was....intentional?? 😮

...Unfortunately for Sakura, the incoming attack effortlessly bypasses Shield, aiming at them once again! ...Thank god the group at Yukito's home is watching, since this allows Touya to....stop time!! Yesssss, it seems Kaito's re-writing of their reality didn't remove Touya's new ability, which shows it's truly innate in him! Touya's magic is effective in stopping the incoming attack, and exactly as it happened when the Squids+Association tried to attack Kaito back in chapter 33, we have someone who takes the chance of the stopped time to destroy the "arrows": Eriol, working remotely from the comfort of his home in England! Kero and Suppy are hilariously shocked, and Touya affirms he "just started being able to (stop time) all of the sudden" (JP), this pushes Nakuru to frantically ask Eriol if he knew (he says he had no idea) and then to Yukito (and he says "Yes! He told me it's just for a short while, though" and not "for a minute" like the ENG translation said, why do they have to make stuff up all the time????). Touya explains that it's just for 2 seconds, and he uses a word (体感で, taikan de) that expresses a feeling on the body: he's basically saying that what the human perceives of his time-freezing powers corresponds to 2 seconds. This is basically the same power he developed anew at the beginning of the Clear Card Arc, therefore I'm inclined to believe that this ability never left him, even with the re-writing of their world: as the general idea that I always had (judging by the words the character used), Momo's forbidden magic only changes the memories and some limited physical elements (the so-called "discrepancies"), but doesn't remove things that are rooted in people, like magic and, you guessed it, feelings. Now this leaves me wondering what happened to Yukito's pact with the Tsukimine Shrine, and his acquired Moon powers: judging from what we see afterwards, he doesn't seem to have them anymore, probably because that isn't an innate characteristic, but was something acquired with a contract.

In fact, since Touya's time-freezing powers last too short to be able to do anything concretely, Kaho steps in with a beautiful new Moon Bell!!! She explains that her Moon magic gets stronger when the moon is out, so she's going to support Touya's time-freezing magic, but she warns everyone that it's not going to last long. I really appreciated that CLAMP gave a more active role to Kaho, since she's been pretty much in a passive-listening role for the whole manga, so this is really nice to see! Especially cause sensei gave her a new, shiny Moon Bell! ✨ Talking to my friends, we also mentioned that it's nice to see this collaboration "between ex-partners", without any jealousy, any cold shoulder, it's really in tune with the rest of the story!

But it's time to go back to explanations, because Eriol continues saying that the volley that was fired at Sakura and Syaoran was designed to hit automatically the one who would've broken the spell that was hidden behind the fake moon: as I expected (and hoped), this is not a direct attack from the Squids+Association at Sakura, but something that was left in place before, and activated automatically. I still don't think a direct confrontation would be fitting for the thematics of this story, especially now that they made clear that Sakura's power is not enough to beat them (Shield couldn't fend off the attack). Tomoyo correctly guesses that once the time starts moving again, the attacks will resume. Nakuru just says "well, you can just break them with a bit of effort like you did just now, right?" but Eriol warns her that things aren't as easy as they seem: of course that's his intention, but those arrows don't have any will of their own, because they were designed to keep incessantly attacking the person who broke the spell inside the fake moon (not general "invaders" like the ENG translation said). Basically this jutsu is already out of the original casters' (plural, Eriol knows they're many) will. The plushie guardians reflect on the fact that if they don't do anything about the source of this spell while time is still frozen, the arrows will keep attacking the kids out there. Akiho's anxiety, hearing that, understandably increases, but I can also see a desire to intervene in some way, from her.

In front of the fake moon, Syaoran and Sakura recognize Eriol's magic circle and understand that he came to their rescue, and seeing how everything is frozen in time around them, Syaoran wonders if Sakura did this. Of course she answers she didn't, but that's when she surprises us saying that she can feel her brother's "vibe" in there, so she believes this is all his doing. You can really see how Sakura's abilities keep growing and get refined more and more, since now she's also capable of recognizing Touya's magic (something she didn't seem to be feeling, before). And that's not all, she's able to feel Kaho's aura too, defining it a "gentle moon presence" (Kaho's powers have been defined "gentle moon powers" by Momo, before). Syaoran (or Sakura, here it's really hard to understand who talked) says that some other spell might activate soon, so they need to take the dragon out while they can (how rude, ENG translation!! "That thing"??? These kids aren't crude like you guys).

Sakura dispels the Shield Card and turns to talk to the dragon again, for this task that will reveal to be harder than she thought. Sakura's やっぱり gets translated in ENG as "Of course", but that's not what it means: she's saying that just as she thought, she's sure she knows him.

This panel kinda made me smile because, while I was talking to a friend last night, we joked about Sakura putting Kaito to trial 😂 She looks very serious here, and let me tell you, the vibe she gives off in this entire scene makes me think she starts to be a bit annoyed with him too 😂

And then, sensei decided to give a good squeeze to my heart, featuring some memories of Akiho back in chapter 49 😭that chapter is one of my favorite ones because it featured a rare Kaito, smiling genuinely and happily. What we saw back then, while Akiho was telling Sakura of her walk in the garden with Kaito, were panels with the flashbacks of that walk, while here we can see how Akiho looked like while she was recounting those events to her friend (understandably, since this is something the Record Card recorded, while what we saw back then was the memories in Akiho's heart). Akiho looks really really in love, in these panels.

Unfortunately, this beautiful moment is stained by an imprecise and incomplete translation in English, which of course irritated me greatly because damn, you can really see how, as soon as things turn about Akiho and Kaito, the quality of the translation suddenly drops, almost as if there were a bias. This is so unfair. Particularly because this scene had already been translated, and paradoxically it sounded better how they did it in chapter 49. Why changing it, why not using those same words? Anyway, I'm going to put both versions here so you can see the difference.

ENG: "We went for a walk last night. Out in the garden. Although I'm afraid I did most of the talking. Still...ever since our travels brought us to Japan...he's remembered everything. I treasure every moment I've spent with -san. I only hope he feels the same about the time he's spent with me."

JP: "We had a walk in the garden of our house. I did most of the talking, but... -san remembered it all. About the many countries we visited together, and our days here in Japan too. I treasure every single moment I've spent with -san, none excluded, so I hope it's the same for him. It doesn't need to be every moment, as long as he holds one dear"

Can you see how many concepts are missing from the ENG translation, how much has been skipped and summarized? The absurd thing is that a lot of what I've put in the JP paragraph comes from the original translation in ENG they did for chapter 49. Miraculously, they had done a very good job with that scene. So why? Why changing it now when she's saying exactly the same words, in this flashback (minus Kaito's name, of course)? It's completely missing the dualism between Akiho's "I cherish every single moment with him" (that 一つ残らず, "not even one left out", left a big impression on me ever since ch. 49) and "it's not necessary he treasures every single moment with me, even just one is fine" which had moved me so much back in ch. 49 because it revealed how Akiho is not loving Kaito out of an egoistic and greedy love, exactly like all the other characters in CCS. She doesn't demand to be reciprocated. She's content with knowing that she's got a tiny place in his heart. You might argue "why are you so hung up on this, especially since it's a repetition of an old scene", but here I tell you, the fans' memory is short and if we don't focus on the representation of the feelings of the characters in a shoujo manga, then what are we supposed to do? And those feelings should be portrayed and represented at best by the translations too.

The Hikikomori Dragon

Anyway. Moving on. Sakura affirms that despite his name and appearance had been erased from the records of the Record Card, the fact that Akiho had a very important person to her wasn't erased. While she passionately affirms so, we can see more flashbacks of Akiho (like the night-time talk she had with Kaito in chapter 61, and the double date).

Well, I tried to move on, but the fact is that once again I have to facepalm at the ENG translation, because apparently they really don't want to let Sakura say that Kaito looked at Akiho with lots of care and affectionate feelings. Yeah, remember the missed とても大切に that I complained about in last chapter? Sakura said it again, but they were capable of messing it up even this time.

ENG: "She was so happy when she spoke of you...and you took such good care of her. You are the one thing Akiho-chan never wanted to lose"

JP: "Akiho-chan was so happy when she spoke of you. And you, who looked at her with such care/affection, are the one she didn't want to lose."

I get quite peeved at how they managed again to not let Sakura say clearly that she could read in Kaito's affectionate stare towards Akiho how much she was important to him (I won't repeat the explanation of what 大切に means, please check the post of chapter 76). They steered it towards "you took good care of her" but this is not what Sakura was talking about. His job as her butler, or the fact that he took care of her isn't absolutely the topic, here. This is about how your feelings towards someone shine through your eyes. And it's a very important part because what Sakura is trying to tell Kaito here is "Even if you tried to erase it all, the fact that you were important for Akiho stayed, and I know you also considered her important by the way you looked at her and the impression it left on me. So get your sh*t together" What Sakura said here was so straightforward and powerful that I can't help but feel she backed Kaito into a corner (and I have to admit, I also thought "Stop right there Sakura, you're talking too much, these are things that Akiho is supposed to say to Kaito, not you"). However, I don't really like how the phrasing of the ENG translation reeks of "let's steer this towards the parental role he had towards her" because omg this is really not it. Kaito was never a parental figure for Akiho, let alone her legal guardian (what happened in chapter 40 should have cleared that enough already). And even if they were referring to his job as a butler, again, this is really not what Sakura is talking about, here. Aside from the fact that she shouldn't even remember about how he took care of her (she doesn't remember anything about him, only what she recovered from Record and those are still fragmented memories). I'm afraid they're digging their own grave, if they insist in going in this direction and sabotaging their lines in this way. Aside from the fact that it looks more and more deliberate.

But let's move on because the most emotional moment is yet to come. Sakura then asks the fatidic question (JP because I don't like how they phrased it in ENG): JP: "The reason why you won't move even though I have dispelled the magic that kept you trapped....is because you don't want to come out?"

The dragon closes his eyes and slightly bends his head forward, as if nodding. How wonderful, Mokona-sensei, and her ability to make a dragon that can't talk, got limited movement and almost no expression look so expressive. And this is not even the peak of his expressivity. Sakura understands his "reply", but while holding the precious pocket watch, she answers that she made a promise to Akiho, which is to try to bring him back. So she knows what she needs to do. There's only one person who can turn things around.

Sakura, through her earcuff, calls Kero and Yue and asks them to come at the "moon", bringing Akiho along with them. I really loved how self-confident Sakura looks here, how she's got the situation under control. The guardians change into their full forms at once and Nakuru eagerly asks Eriol what she and Suppy should do in the meantime. He tells them to protect Touya, the "performer of the time magic". I loved how every single person of Sakura's entourage is involved in this, by now. Everyone wants to do their part, out of their own will. I think it's simply beautiful. They do it because they support Sakura, but also because they sincerely want to help Akiho, who's currently the one who's got the world crumbling under her feet the most, out of this situation. You don't need to be tightly involved with someone to want to help them. And so Kero tells Akiho to go, and she's absolutely not scared or unsure, but actually is oozing determination from every pore.

Back at the fake moon, the kids start realizing the environment around them is getting unstable: Syaoran explains that this is because magicians who are capable of manipulating time magic are just a handful to begin with, and then it's also necessary a huge amount of power to make it work. Touya and Kaho are doing their best, but the spell is already starting to crack. In this tense situation where there's need for time magic, Syaoran apologizes to Sakura because he isn't capable of using time magic yet. I've seen this specific line creating surprise and confusion in lots of the fans I've seen on my TL on Twitter, but things make sense: Syaoran using time magic is a thing of the anime only, as he only ever used the Time Clow Card (and Sakura Card, in ep. 14 of the Clear Card anime), while this card doesn't exist in the manga. We'll see how this line will be treated in the anime adaptation, especially considering the presence of the Time Card. Sakura, always being the loving girlfriend she is, reassures him that the mere fact he's there with her allows her to do her very best in this situation (there, they managed to sneak in a SyaoSaku moment too!). This is something she said in the old arcs too, especially at the end of the battle with Eriol, how the mere presence of Syaoran reassures her and gives her courage....it's so lovely to see it reiterated here!

And now my readers we enter the "core" of this chapter, the one that really wrecked me over (both in a happy and sad way), with the arrival of Akiho flying on Kero's back!! How cute!! This is one of those depictions you thought you'd never see, and yet!! Akiho immediately asks the two friends if they're hurt anywhere, but Sakura reassures her and thanks her for coming here (her good manners and kindness make me smile everytime...they're doing all of this for Akiho, and yet, she thanks her for coming, because she feels involved in this almost as much as her!) With the help of the Mirror Sakura Card, Sakura makes a third copy of Flight, and gives it to Akiho.

You're My Most Important Person

And here, the pages of the chapter leave to Mokona-sensei's skills the task to tell us, wordlessly, about the first reunion in forever in several months between Kaito and Akiho.

Sakura gently leads Akiho at the entrance of the fake moon, and the girl makes eye-contact with him. The dragon. The one we know actually being Kaito.

The dragon looks at her almost longingly, and the expected tears in Akiho's eyes pour out copiously, like a river in flood. The emotions are too powerful to be able to contain them. Especially because, when Sakura checks on her to make sure she's ok (seeing her crying like that all of the sudden alarmed her), Akiho answers that she doesn't even know why the tears are flowing from her eyes like that. This is all instinctive and on impulse, those tears come from something that's deep, deep inside. The mind doesn't remember, but the heart (and body) does. This concept that we've come to know especially in works like Tsubasa, and that became so iconic for CLAMP, is reiterated even in this arc of Cardcaptor Sakura.

Akiho might not remember anything, she might not know why those tears keep coming out, and yet....

JP, lit.: "This pain is telling me that...my most important person is right in front of me"

She knows. She recognized him by the pain that's crushing her heart. An insufferable pain she's been feeling all along, ever since he activated that damn forbidden magic and gave her that perfect, lovely life. A pain left by his absence, which only gets amplified now that he's in front of her. And what to say about the words she chose? As if her heart started leading her on its own, and couldn't wait any longer. We all know this is the CCS code for "The person I love the most is right in front of me". And, contrarily to the ENG translation that kept on the "safe side" translating it literally (couldn't have expected any different), the Spanish translation made her say almost precisely "the person I love the most". Basically, we could say Akiho confessed her feelings there and then, without filters, earnestly. So typical of her.

And Kaito's reaction, omg...I have to say that in my shrieking session while I was "reading" (more like trying to make out the pages among the tears), the part that wrecked me the most was seeing his eyes glistening at hearing that he's Akiho's most important person. God. How long he's wished to hear that, with such a powerful reaction? Kaito, the stoic Kaito, the one who always wore a smiling mask, the one who used to stop his hand to prevent any contact, any connection with her, is now on the verge of letting his emotion take a hold of him, moving him to tears. Because the person he's given all of himself for, just said that she loves him. As I also exposed in my analysis of the color page, Kaito thought all this time that he was undeserving of all of this, for many many reasons. Therefore, hearing her baring her heart to him and telling him with clear words what he means to her is something incredibly powerful to him. Remember when Sakura was talking to him before? She almost spilled the entire thing there, saying that "Akiho had someone very important", but he only looked at her, seemingly not having any reaction. It almost seems to me as if he wasn't believing her. Because, as soon as he heard those words from Akiho herself, his reaction was VERY different.

Sakura takes the watch out of her pocket, giving it back to Akiho. She seems to know that this item is extremely important and can give strength to Akiho for her mission. Especially because, as she informs her friend, the dragon doesn't want to come out of there. Akiho takes the pocket watch and clutches it tightly, while resolutely affirming that she's going inside, because there's something she needs to ask him, no matter what. Again, the ENG translation treated this part superficially and left behind that "no matter what" that indicated how hellbent Akiho is on this. And in my opinion it was very important to keep it, not only because it contributes to shake off that "passive" unjustified reputation she's got, but also because only someone assertive like her can hope to turn Kaito around. And, poor Akiho, I can only imagine what my girl wants to ask him. "Why? Why did you do this?" Imagine if she manages to make him that question, later on. He wasn't able to answer when Momo made that question in chapter 51, but now he'll be forced to realize it. But, in my opinion, this isn't the only thing she'll ask. Because yes, seeing all of them joining forces to bring him back is wonderful and all, but all of this got no meaning if Kaito himself doesn't want to come back. And I'm sure he wants to, but he has to realize it, first. And I absolutely cannot envision Akiho imposing on him her desire to have him back. Leaving aside the fact that there are still a couple of problematics to fix (shortened lifespan? Artifact?), the most important thing in this moment is that everyone knows where their heart is and what they want. Because they need to learn to do things correctly. And no one will decide someone else's happiness on their behalf in this manga, ever again.

Alas, as soon as Akiho moves to enter the fake moon, the dragon violently takes off and exits, soaring in the skies of Tomoeda.

(the chapter is special, so forgive me for the use of a second gif 😂) My reaction was way more......violent than the one above when I've seen the last page of this chapter, but one thing is for sure: Kaito/the Dragon literally ran away 😂 I mean, to see a hilarious side to the situation, Sakura and Syaoran have spent god knows how long to try to convince him to get out of there, and Akiho just had to move a step forward to prompt him to get out 😂😂😂😂 I've been saying it forever, the power this girl got over him...! 😂😂😂 Now, I've seen many people trying to give their interpretation of the reason why he had such a reaction, and I've seen many interpreting it as him not wanting for her to get inside such a dangerous place. Well, my interpretation is a bit different, and it's based on 3 aspects. First, Sakura successfully broke the spell inside the fake moon, the cage and clock parts completely disappeared, and the environment inside doesn't seem warped anymore (Sakura and Syaoran found the exit immediately), so I'm inclined to believe there isn't any more danger inside that space. The "jagged" parts we see near the entrance are just because the space surrounding them is becoming unstable, due to the time magic starting to wear off. So I don't see an immediate danger inside the fake moon for Akiho that would prompt Kaito to get out. Second, if it were only to protect her, he would've exited and stopped right outside the fake moon. Alas, we saw very well that he's heading far from them, and doesn't have intention to stop. Or to hear her out. So this leads me to point n. 3..... He's just heard Akiho baring her feelings like that, and he heard her saying she wants to ask him something, no matter what. God, that must've been terrifying for him. Especially cause I expect his guilt increased exponentially, if he's starting to realize that he royally f*cked up, with his activation of the forbidden magic. This is....simply too much for him to bear. Do you have a hard time seeing him like that, so fragile, so emotional? Then I should probably remind you that this is almost a precise re-enactment of the dynamic that occurred in that infamous scene of chapter 52 (the pudding one. Yea. You know, that one.). Akiho opens up, speaks her feelings for him out, he interrupts her and runs away with an excuse. He's just like that. It is very hard for him to deal with feelings. Doesn't he remind you of Syaoran? Get ready, because I feel like we're about to witness a game of tag in the skies of Tomoeda. 😂

Also, I can't forget mentioning an important thing: the circle is closing more and more, cause we finally see happening a scene that Sakura saw in her dreams in chapter 2, the very beginning of this journey! As usual, what we see in the beginning of a CLAMP manga defines its ending (as the end of a CLAMP story is always decided right at the beginning).

That goes without saying, I literally cannot wait for next chapter, especially to see how many seconds Akiho will let pass before bolting after Kaito, helped by Flight (we know that Card can be very very speedy! 😂)

This chapter was a storm of feelings for me, so I'll go resting now and make a list of all the songs I had imagined for this finale, and that indeed turned out to be so fitting! I'll dump them on my twitter account in the next days 😂 Chapter 78 is expected for October 1st on CLAMP's YT channel (CLAMP haven't taken a break ever since chapter 65, they really are holding out till the end).

Well, we've reached the end of this post, so as usual, I await for your comments and asks in my inbox! See you!!

[idleglowingpixels]

I kinda realised that Mr Komos' song, True Monster Heart follows the same beat as the Monster High Fright song, but the lyrics are like the corrupted version of the original.

Monster High Fright is about accepting

True Monster Heart is about rejecting

Kinda interesting when you think about it

AHHHHHH WHEN I SAW I GOT AN ASK RELATED TO THIS I FREAKED OUT DFGHNBGVFDSF TY FOR GIVING ME SOMETHING TO RAMBLE SOME MORE ABOUT ANON FOR REAL! (Also sorry for the late response, this post has been developing in my drafts for like at least a week now dfgfhng)

I absolutely agree with the conflicting messages between the two songs! I know the song focuses on the story of this universe's Dr. Jekyll and Mr. Hyde in the main verses, but the main focus of the song is that message of rejection of anything and everything human.

Also, because of the Jekyll/Hyde bits, it could represent the duality of where the story starts and ends in its interpretation of a "true monster heart." Instead of Mr. Hyde's human-ness making his heart "untrue," it was his utter rejection of & research into ridding himself of his Jekyll, as well as his hiding of the truth in the first place that caused him to be found out and exiled.

His heart being "untrue" had nothing to do with the fact he was half-human, because if it were, then Clawdeen and Komos's presence in and of itself within the school would've triggered its self-destruction. That was proven as a false interpretation by the story in the movie, so it's self-explanatory. A true monster heart is one of self-acceptance, despite one's flaws or differences. That's what Mr. Hyde, and Mr. Komos thereafter, had neglected to realize before Clawdeen proved the point.

Though, I've listened to both True Monster Heart and Fright Song a few times back-to-back, to try and get where you're thinking as far as the beat, but I don't hear it unfortunately (unless you meant the tempo of the song, then yes they do follow the same 120 beats per minute!).

The closest thing I can think of as far as melodic parallels between the songs is the chanting sections. The Fright Song chant is much quicker in the way it's sung compared to the chant in True Monster Heart, however. The whole of Fright Song's chant goes in 16 beats/4 measures, whereas True Monster Heart's chant takes twice as long at 32 beats/8 measures (I was a band/choir kid lol). It's mainly due to how the song kinda drags out the point, and it definitely feels like a nod to Fright Song for sure. Fright Song's chant is only there because 4/5 of the main ghouls were fearleaders, so it was sort of characterizing the cast before actually showing their characters in the webisodes.

---

Fun little headcanon/ramble that I forget if I ever mentioned about Fright Song, but with Holt Hyde being released in the 1st Signature wave with the rest of the the main ghouls and all, I think it was because he's intended to be the singer of the rap section before any subsequent content with the character was released (No offense but I don't think Holt DJs because he's a good singer sdfgbfds). This would line up with his current crush in canon with Frankie, as well as his former crush on Draculaura from either the diaries or books, maybe both? I forget. :'D Also I feel like Holt wouldn't hesitate to call Cleo vile immediately after saying she's charming either, he's very direct with his words. (I also interpret Jackson/Holt as bisexual because Deuce is included in the rap I DON'T CARE Y'ALL IT MAKES SENSE!)

Also I always interpreted the howl-like sound at the end of the rap as "Holt ran outta time/battery power for his music and transforms back to Jackson as it transitions to the rest of the song." It kinda works with how the beat kinda drops down with the howl, like a TV being shut off or something idk.

Ghoulia also debuted with Signature Wave 1 but she's only in like a second of the music video in the background, I figure it could've been budgetary reasons for the animation, to save on animating an extra character. Also I imagine flame-y hair wouldn't be very fun to animate in 2D, and Deuce's snakes moving on their own were bad enough I imagine to animate, so it begrudgingly checks out as to why Holt isn't in the animated bits with everyone else.

BUT I JUST WATCHED THE MUSIC VIDEO BECAUSE I WANTED TO FOR THE SAKE OF THIS POST AND THE GUY SINGING THE RAPPING BIT HAS, YOU GUESSED IT, A BRIGHT FRICKIN NEON RED LEATHER JACKET. He doesn't have the dual-toned shirt BUT IT'S WHITE AND THIS IS CLOSE ENOUGH FOR ME Y'ALL! XD

If any straws for these dumbasses can be found I SHALL GRASP THEM fr they're my blorbos :'D