When I See These Gamer Bros Talking About Getting The Best Stats And Fastest Horses Best Guns Etc I Get

When I see these gamer bros talking about getting the best stats and fastest horses best guns etc I get so confused. I play dress up with Arthur and I only buy the pretty horses. I like to talk to everyone in camp. I also shoot people sometimes. Just how life goes.

Shingeki No Kyojin + Cinematography

i know this only happened twice but it happened like 600 times in my heart

Senbonzakura Kageyoshi and its references to Noh, and the connection between Byakuya and Minamoto no Yoshitsune

It's a known fact that Byakuya's design is thematically based on the idea of noble samurais, and if there's one that perfectly fits the bill, it's Minamoto no Yoshitsune. The camellia, Noble Reason, the symbolism of Senbonzakura, and his poem, the Out of Bloom... But as I went down this rabbit hole, Senbonzakura Kageyoshi seems to refer to something more. And so the concept of Senbonzakura Kageyoshi and its many forms, the "scenes", being based on Noh, particularly the plays of Minamoto no Yoshitsune, was born.

The scenes of Senbonzakura Kageyoshi

What we do know about SK is that each form is a "scene". We've seen three so far in canon, excluding the base form which I consider as the "stage": Senkei 殲景, Gokei 吭景 and Shukei 終景.

If you translate each scene: Senkei is the Annihilation scene, Gokei literally means Throat scene, and Shukei is the End/Final scene.

(Older translations for Senkei was Slaughterscape, which frankly sounds way cooler than Annihilate lol)

What about Boukei?

For those who are not aware of BBs, Boukei 望景 is Byakuya's special form that was created in celebration of the game's 5th anniversary. It is Byakuya infused with Shukei, a form that transcends Bankai. He is the first to start this whole series of Bankai fusion characters.

Interestingly, Boukei was fantranslated to be "Hopescape". The thing is, 望 is a verb used to describe the act of looking far away or desiring for something unreachable. That's where the "hope" definition comes from. Both have the future and distant connotation; something far away that is yet to come. But if you add 景, that 望 becomes an adjective, and so the definition also transforms into a distant view, or panorama.

What about Ikka Senjinka?

Is Ikka Senjinka another "scene"? No, it was clearly released from Senkei. I figure as a secret technique of Senkei, it functions as a desperado mode.

Noh 101

Noh stories have two kinds: Genzai noh, those that are set in present times and follows a linear timeline; and Mugen noh, those that are more focused on dream states or hell, usually involving ghosts, but can also occur in present times but timeline is more murky.

As it is heavily protagonist-centric, a Noh program is based on the protagonist's character type: Waki noh (God), Ashura noh or Shura mono (Man/Warrior), Onna noh or Katsura mono (Woman), Kyouran mono (Madwoman/Crazed), and Demon/Ending (Kiri noh). I'll be interchanging between these terms, but it's basically it.

Gobandate is a full noh program that consists of all five stories, which would last an entire day: god and warrior in the morning, woman in the afternoon, crazed at dusk and then demon at night. Modern noh usually only show two though, as holding a gobandate is too exhausting for both performers and audience.

God noh are typically stories that celebrates life, blessings, and carries a noble atmosphere. You'd have a character who starts off as a man and then revealed to be a god.

Man/Warrior noh feature the protagonist with a goal to be accomplished, whether it's to right some wrongs or overcome some personal demons. In Mugen noh, which is my original basis for this meta, the Warrior is usually a ghost seeking redemption in his journey to hell.

Woman noh uses the beauty of a woman to tell the story of love and suffering. In contrast, the crazed noh, often times a madwoman, is what happens when the woman is driven to madness by whatever she had suffered through. In Mugen noh, they can be vengeful spirits.

Finally, we have the demon noh. Kiri noh literally means the End play. Afaik they mark the end because most protagonists are fated to reach hell, and demon noh commonly feature yokai and such characters. Compared to the others, it's the most intense, energetic and flashy one out of the five.

Almost all of these apply to Mugen noh. Genzai noh, not so much. I've seen it slotted as a Fourth Category. In a gobandate, that's where the Madwoman is.

There is another secret character, the Okina (Old man) but we won't touch on that anymore.

So which is which?

First off, I don't believe shikai 2.0 and Ikka Senjinka are the only techniques Byakuya took home with him from his training in the Royal Palace. He must have unlocked a new form of Bankai in his training, we just didn't see it because (1) Kubo had to fulfill the earlier foreshadowing of Ikka Senjinka first (from the first Senkei appearance, vs. Ichigo battle); (2) the whole point of his training in the Royal Palace is to elevate the degree of his power to a point that he doesn't need to use his Bankai in 1v1 battles.

Second, to be honest, I wanted to include Boukei because thematically it fits the God category. But it's non-canon so I have to exclude it. Who knows, maybe there truly is a mystery new Bankai form, and as the last one to be seen, it'll turn out to be the first scene in the gobandate.

I should note it's also completely unintentional that the scenes would lay out in reverse to the gobandate. So here we go~!

With the missing God scene, we'll jump straight to Shura.

Senkei is the warrior who could be telling his story of fighting some conflicts, both external (vs Renji) and internal (vs Ichigo). It is the vibrant display of a battle, a possible reference to two Yoshitsune noh, Yoshima and Shōzōn.

I like to think that the base form, Senbonzakura Kageyoshi, is actually the Woman. It is simple and beautiful in its form, but as the connecting node of all of the forms, it can transition to anything. However, it's not necessarily a "scene", so this can be a placeholder.

Obviously Gokei as the throat that connects the head to the stomach, in its violence of churning its enemies into minced meat is the madwoman that connects the daylight programs of Man and Woman, to the evening program that is the Demon. The implosion of Gokei is the implosion of the crazed who finally lost her grip with reality and became a vengeful ghost.

Kiri noh being the literal end play that is bombastic, loud and fantastical, is perfect fit to Shukei, the Endscape, and its majestic wings and halo creates either an illusion of a white phoenix or a tengu, both symbolic representations of Byakuya.

In BBS, Byakuya's Spirit Society version is a tengu lord, that perhaps a nod to tengu being considered as reincarnated spirits of proud swordsmen. What is most interesting here is that there's one particular legend that says tengus taught Yoshitsune military arts, and that brings us to something that has been sitting in my mind for a long, long time.

Yoshitsune and Byakuya

Okay, quick history wiki rehash time.

Minamoto no Yoshitsune is a very popular samurai and commander, half-brother to the shogun Yoritomo. He's usually depicted in literature as a noble warrior, handsome, honorable and overall an astute leader. Sounds familiar? But wait, there's more!

His story is a bit tragic. Yoshitsune gained the emperor's favor, earning him his title of Kurō Hōgan, and this put him in a period typical power struggle with Yoritomo. Eventually, he sided against Yoritomo, and thus the assassination attempts begin. In the end, he sought refuge in an ally but was betrayed. Yoshitsune was forced to commit seppuku after his men, particularly his right-hand man, the giant warrior-monk Benkei was slaughtered by a rain of arrows.

(Benkei's story is also very interesting. Some Noh about Yoshitsune's story actually has him as the protagonist. See Ataka.)

There are a handful of Noh revolving around him, but among all of those, there are two that stand out: Yashima, a Mugen Shura noh about the ghost of Yoshitsune visiting a monk in his dreams to retell about his battle.

Shōzōn, a Genzai kirimono - about Shōzōn, an assassin sent by Yoritomo, and Yoshitsune's supposed nobility and purity in his treatment of Shōzōn after suspecting him to be an assassin.

Both plays are about the vibrant displays (sorry not sorry) of Yoshitsune's battles, and this leads us back to Senbonzakura Kageyoshi, the link between Yoshitsune and Byakuya.

Senbonzakura Kageyoshi initially drew me to Yoshitsune's story. The two scenes of Senkei and Shukei reference Yoshitsune as a historical figures and Yoshitsune as a legend, respectively. (You could say some stories about him is almost mythical because of his popularity.)

Senkei, the Shura that is the slaughter of Yoshitsune and his men, the pride of Benkei in his final stand against Yoritomo's assassin to protect Yoshitsune the tragedy that made him famous, and Shukei, the kirimono that depicts the rebirth of Yoshitsune in folklores and legends, what with the stories about tengus and ghosts.

Byakuya is not just connected superficially to Yoshitsune. There is a Japanese term, "sympathy for a tragic hero" that was derived from Yoshitsune's Kurō Hōgan title, and ultimately, that is what the culmination of Byakuya's story in Soul Society arc evoked from readers.

It's been over a year, and I'm still never not thinking about the fact that that Hihiou Zabimaru was one man's unsuccessful forty-year project to beat Kuchiki Byakuya in particular. And, like, that sounds so pathetic and depressing, but it's really not! For one, the fact that Hihiou Zabimaru is designed to fight against Senbonzakura means that they also fight really well together, in the sense that they are both useful in the same conditions, and they cover for each other's weaknesses (Senbonzakura is faster, Zabimaru is more durable). Both of them can do offense or defense, but have trouble doing both at once. That's not a problem if Byakuya and Renji work together, and gives them a lot of flexibility.

Sometimes the way to defeat a sword is to create its opposite, but in this case, they're actually pretty similar, and if you think about the skills needed to wield them, they're very similar. For all that Byakuya and Renji butted heads in the Soul Society Arc, they get their shit sorted out pretty well, and by the TYBW, I think they have one of the best captain-lieutenant fighting partnerships, in terms of communication, trust, and sweet combo moves (Hitsugaya-Matsumoto is the other one that comes close, imo).

My thesis of this Tumblr post is that I think Byakuya spent a lot of time mentoring Renji, and the development of his bankai, specifically. From the first moment he sees it, Byakuya comments that Hihiou Zabimaru is Good, Actually.

He then immediately identifies how to defeat it:

I simply love whenever one slightly older Bleach character who is fighting a younger one cannot stop themself from giving battle tips and general life advice to their opponents (Ikkaku and Renji both do this to Ichigo and then Byakuya does this to Renji). I'm sure you could chalk it up to shounen manga using its characters as mouthpieces to explain what's going on, but in my mind and in my heart, it's because these dudes just love teaching!!! And you know why Byakuya was able to pinpoint Renji's weakness, just, immediately? Because that was him. You think Ginrei didn't do exactly this same thing to him a thousand times when he was learning to use Senbonzakura Kageyoshi?? (oh shit oh FUCK it's literally The Dodge all over again).

Anyway, you will never convince me that Byakuya doesn't love the fact that Renji picked him as his Favored Enemy and then went ahead and developed the Most Fun Bankai Possible for Senbonzakura Kageyoshi to Fight.

Just today, I realized that, while So-oh Zabimaru might represent Renji moving on from his rivalry with Byakuya, they also contain a very visible aspect of Byakuya's influence: the hand movement.

I'm not gonna lie, mostly I wanted to make this post because the idea of post-Blood War Byakuya and Renji sparring in bankai and waving their arms around like they're casting wizard spells is extremely hilarious to me. Do you think Byakuya could shape his petals into a giant hand so they can magically arm-wrestle? (RIP Komamura, this could have been you)

All jokes aside, though, the idea that it took Byakuya's help for Renji to learn to use The Grabby Arm--the thing that allows him to close distance, the thing that allows him to hold on to the things that matter to him--is honestly kinda poignant.

as soon as i learnt i could add drop-shadows using css something devilish triggered in me