Alternate Universe HS Chuuya Calling Dazai "Osamu" When They Were Young Being So Important To Dazai That

Snusmumrik when restrictions signs:

This background is so lovely (studies it)

Omg omg omg I’ve read your post for the gear 5 luffy charm giveaway and I ABSOLUTELY agree with you. I went insane during this whole scene. I love love love love when Luffy embraces his captain role. He really is The Best. I really wish we had more scenes like that because god damn I still cannot get over it. How he takes command and deals efficiently with the situation while still inspiring hope and confidence in his crew… just wow. And it broke my heart when he forced himself to smile when giving his last reassurances to the crew through the mirrors shards. Such a good captain. Incredible moment.

oooh yeah i went ahead and made that analysis it's own post!!! thank you for the reminder lol. (for reference, that's basically a breakdown of the dialogue in ch. 878)

YEAH!!! god it's literally so, so, so good!!! i didn't talk a lot about the glass thing specifically because i could have gone on for two more hours about it because there's so much there--in addition to like "oh, cool captain moment!" (which it is) the fact that he's willing not only to be injured (re: fighting katakuri) but to injure himself just so he can talk to his crew is just soooo much. like, we talk a lot about sanji and zoro throwing themselves in front of death to protect the crew, but i really think there's room to explore luffy's own lack of self-preservation when it comes to how much he cares about the straw hats--like, in little ways. (aughghghg i have so many feelings.)

ANYWAY!! LUFFY!! IS!! THE!! BEST!!!

In time travel movies, when the time traveler asks 'What year is this?!?' they're always treated like they're being weird for asking.

When in reality, if you go 'What year is this?!?' people will just say '2024. Crazy huh.' and you go 'Wtf where has my youth gone.'

And if you ask 'And what month??' people won't judge you, they'll just go like 'SEPTEMBER!!! Can you believe it?!?!' and you go 'WHAT?!? Last time I checked we were in May?!?'

Okay, I gotta dig out my Society of Tinfoil Hattery credentials from the junk drawer for this one piece business, so strap in and get ready for some flow of conscious yapping.

And just to be clear: ELBAF SPOILERS

Okay. So the triptych(?) mural. I’m gonna be very insufferable about the mural because that feels like THE center point of this arc. Not so much the poems, because as far as I know, the translations are still unofficial and I can give my thoughts on them then.

Okay, so, the first third. The “First World”

We see people- we can assume slaves- coming out of complexes with machinery beneath and steam billowing from above. Is this a refinery? A power plant? A reactor, maybe?

We see these people go down deep, and come back up carrying something starlike that they bring to a crowned figure on top of the hill. Ore? Precious stones and metals? Some sort of fuel source? It looks the same as the stars depicted, so… nuclear energy?

We also see beneath the ground- perhaps hidden?- a winged figure (sky islander?), next to a very large ship with animals trailing towards it (Noah??) pointing skyward (to the moon???).

Above the crowned figure at the top of the hill, we see a ship in the sky sending a lightning bolt to the feet of the crowned figure and towards the roots of the tree centerpiece (Uranus? Something like the Ark Maxim and Enel?)

And the central piece to the first world portion of the mural… this “Serpent of Hell” coming up from beneath the earth where the slaves are going down into getting into a conflict with the bird-like creature at the top of the second world’s tree (Nidhogg and Hraesvelgr imagery? Who would be the Ratatoskr of that?). It seems from the fire the two are spitting at each other, that the whole world has become enveloped in war and- if the bit about the Earth God becoming enraged is translated correctly- rendering it uninhabitable (the reason why the sky islander is taking the animals to Noah? The reason why the sky islanders went to the moon to begin with? Was the land irradiated?)

This one is the most dicey for me, but bear with me.

The Second World is a tree with the Hraesvelgr-esque figure perched at the top, warring with the Nidhogg-esque figure going down into the earth beneath the roots. We might assume, though I’m not exactly certain about it, that this tree could be symbolic of this eight hundred year reign of the world government? Its branches don’t stick out very far from the trunk, so this could just be to keep the image from being cluttered, just something that wasn’t thought about, or because the tree is giving shade to only a select few.

This Hraesvelgr looking beast seems to have won the conflict with the Nidhogg one. So the Nidhogg beast might have been symbolic of a rebellion coming up from where the slaves toiled away? (The x marks on the serpent’s sides do make me think of a certain tattooed someone with a certain ophidic moniker with certain unsavory opinions on the Celestial Dragons…)

And then we see the last portion of the triptych. Nika leading the charge with an army at his back against a winged demon holding the sun.

I see Nika and Imu (or maybe even Teach…) depictions here, obviously. I see a whale with two people on it’s back (Laboon, Crocus, and that one dude who was drinking with him that one cover art (that might be the man marked by flames))? I see a Lunarian (King and/or the Seraphim?). I see Emmet. I see Dogstorm and Catviper. I see Shirahoshi and the Megalodon. I see Leo. I see Loki! We see several ships, too! All of these people fighting against one big demon and one tiny ship with just a handful of people. The world has turned on the powerful few.

In conclusion… I think this is a sort of history-prophecy thing like with Alduin’s Wall in Skyrim. These aren’t “worlds” per se, but Ages. It just gives that illusion because it feels like how humanity speaks of bygone eras as totally different worlds. I think this is the Void Century, Imu’s reign (specifically Imu, because clearly something or someone was calling the shots before them. Perhaps the Nerona were ruling? And Imu formed the alliance of the 20 Kingdoms when the Nerona family was being threatened by this “Serpent of Hell”? Maybe Imu was the only survivor of their line and refused to let go of their power?), and Imu’s downfall respectively.

I… really don’t think Nika brings the end of the world. I think he just brings in a new Age.

I’m going to go on my “Imu is an eternal child” soap box when I say that I think Imu is embodying a sort of foil to Nika (a moon god/dess mythical zoan, maybe?). Both Nika and Imu seem… childish to me. Nika is all the positive things we associate with childhood. Play and laughter and imagination. While Imu… Imu is all the negatives. Selfishness and moodiness and “I’ll break my toy so I don’t have to share it” mentality. You get what I’m saying?

Again, this is by no means a comprehensive thing. This purely just me spitballing things.

Thoughts are absolutely welcome.

These two characters give me as much serotonin as nothing else 🙂

The return of the Moomles (Moomin doodles)

Some are based on season 3 of Moominvalley, some are redraws of panels from the Moomin comics, some are the typical cursed shitposts you've surely come to expect from me

Card Meanings in the new, The Day I Picked Up Dazai art.

Ok so im currently still in shock that were getting new day I picked up dazai content so bare with me, but onece again Asagiri has included playing cards in his art so of course I have to break down what they mean.

Lets start with side A (the right side):

First we see a joker:

While Gogol is the obvious fit for the joker, the card also describes Dazai extremely well. He is almost always acting like the fool in any given situation, even in the mafia he loved to be as weird and funny as he could as well as tease and annoy the people around him, something jesters famously did.

In fact, his dynamic with Mori is very close to how a king and a jester used to work, where the jester was the only person who was allowed to openly mock the king and would usually heckle him. They also played a key part in psychological warfare, which we see Dazai specialises in.

I think the whole; wit, intelligence and unpredictability kind of speaks for itself.

Next card is the four of spades:

This one is also really fitting, it shows how after the day I picked up Dazai side A, Dazai settles into his little routine of going to bar lupin with Oda as well as how he finally has someone who he can trust and be comfortable around. Finally, it is a clear message of optimism, something Dazai never shows before he meets Oda.

Next the two of hearts:

This one is pretty obvious, it's Dazai and Oda spending time at bar lupin. It actually fits so well, there's not much I can say about it other then how it shows the love and care Dazai and Oda had for each other (platonically)

Now for Side B (prepare to cry)

The first card is the three of spades:

Whyyyyyyyyyy... why Asagiri. This one is also fairly obvious but it has multiple meanings. It most clearly represents Dazai suffering in side B as he has to run the mafia without odasaku and live in utter loneliness while destroying all the connections he never got to have for the sake of a friend he never got to meet.

“It was hard,” muttered the young man. “It was really hard fighting Mimic without you in the organization. I had no choice but to take over for Mori and make enemies of everyone around me to expand the business. Everything I did was for this world’s—”

It also represents the moment on the platform where he nearly tells Odasaku the truth and goes with him to bar lupin, the horrible decision to abandon everything for Odas future

The next card is... the ace of spades:

The ace of spade has many meanings, most of which involve change or transition, but by far its most famous meaning it death. I really don't think I have to explain this one, Beast Dazai having the card of death has a pretty clear meaning.

But the ace of spade does have a secondary meaning, and this one is a little more hopeful, as it shows Dazai passing the safety of this world onto Atsushi and Auktagawa.

Finally, (it's a bit hard to see) we have the ten of diamonds:

I want to focus mostly on the highlighted part because it's what really applies to BEAST Dazai, he lived his whole life to create a world where what matters most to him, that Oda gets to be happy and write his books, becomes real. This card doesn't apply to Dazai directly, more to the fact that he made succeeding in his mission his only priority and discarded everything else.

Bonus round Odasku card; the king of clubs

the only card thats seen on Oda's section and one that clearly represents Odasaku as a character.

"King of clubs represents a dark man, who is loyal and kind. He is a good businessman, shrewd with money and investments, but isn’t selfish. In fact, the King of clubs is a very devoted father, husband and citizen. In a broader sense, the King of clubs encompasses idealized qualities of a fatherly figure. This card is universally considered as a very good omen."

I feel like this sums Odasaku up very well, the devoted father and loyal friend parts are just him to a t.

(this is also the card I think best represents Fukuzawa)

Right, I think I got everything, if you disagree with this or find something I missed, please reblog or comment with whatever you want to add, or send me an ask. I love discussing, and hearing other people's views as long as they're respectful.

If you add something, please add it in the post not the tags, so I can reply to it (or in the tags if that makes you more comfortable)

Shanks' Savior Complex

A few months ago, I posted a joke tweet about Shanks’ savior complex and Buggy’s inferiority complex. While Buggy’s feelings of inadequacy are pretty obvious in the source material, Shanks is constantly evading serious analysis because of how little he appears in the manga and how nebulous those few appearances are. So, naturally, I was met with a lot of confusion. (What do you mean by ‘savior complex?’ Why Shanks specifically?) I thought I’d address all that now in one comprehensive, all-inclusive post.

Before I dive in, please note just a few things:

A SAVIOR COMPLEX is a pattern of unconscious behaviors. It is associated most often with self-sacrificial people – those who help others even at the cost of their own personal well-being, mental or physical.

Within the field of psychology, ‘complexes’ are just constructs. My goal is not to diagnose. Rather, this post is a conceptual analysis using the idea of a “savior complex” to better explore Shanks as a character.

Now that all that’s out of the way, let me begin!

For a character who is so significant in the grand scheme, Shanks is remarkably absent for the better part of One Piece. Really. He is so nonexistent, actually, that the first chapter of the manga is probably the most we’ve ever seen from him uninterrupted. This is for good reason, though; Shanks is the catalyst for Luffy’s entire journey. He owes a lot to Shanks: his devil fruit, his life, and even his dream, to an extent. Luffy learned a lot about being a captain from Shanks, and much of his advice – like picking and choosing your battles, for example – Luffy puts to good use later down the line.

So, considering his role as Luffy’s mentor, it’s fitting that Shanks’ character is defined by RESPONSIBILITY. He’s goofy, sure, but don’t let that devil-may-care attitude fool you – Shanks is a knowledgeable pirate, grounded by the weight he carries. His dialogue and actions throughout the first chapter reflect this. When Luffy demands to be taken out to sea, Shanks refuses, claiming he is too young. While the rest of his crew wax poetic about the freedom and joy of being a pirate, Shanks is the one bringing them back down to reality, telling them not to fill Luffy’s head with “crazy ideas.”

Those who know him best seem to agree. “The captain’s just doing what’s best for everyone,” Beckman states. “The safety of the entire crew and ship rests on his shoulders.”

Although Shanks is realistic, he is not a pessimist, and he certainly still values dreams. Let’s not forget: Shanks entrusted Luffy with Roger’s hat. Not only that, he asks Luffy to give it back when Luffy has become a great pirate – not if. Of course Shanks has hope for the future and the new generation. He's just also experienced enough to know the dangers and horrors of the current world, and curbs his own expectations as a result. Yet again, Beckman reinforces this when he talks to Luffy.

The future needs a strong foundation. Anything is possible, including what Luffy wants to achieve, but there are necessary sacrifices to make dreams a reality.

I believe Shanks sees himself as one of those necessary sacrifices.

Oda may not have envisioned Shanks losing an arm in the original draft of the story, but this decision sets a precedent going forward, for both Shanks as a character and the series at large. Sacrifice is at the core of One Piece’s identity; previously, I’ve discussed its emotional significance as an act of love. But sacrifice also serves as the foundation for the new generation. Corazón’s sacrifice, for example, enabled Law to outlive him and change the future. Toki and Oden’s sacrifices enabled their children and the Nine Red Scabbards to change the future. Queen Otohime, Fisher Tiger, Shimotsuki Yasuie… although these characters died without ever seeing the future they hoped for, their sacrifices are the foundation upon which their successors enact change.

And who do we also see facilitating the changing world, ensuring the “new age” succeeds?

Shanks.

Whenever Shanks reappears in the manga, it is usually on the precipice of a dangerous conflict, or at exactly the perfect moment to intervene in said conflict. Take Shanks visiting Whitebeard, for example; here, he attempts to navigate the growing tension between Ace and Blackbeard, which eventually results in the war at Marineford. Although he fails at convincing Whitebeard to stop Ace’s revenge quest, it’s clear that Shanks has a vested interest in balancing the current forces at play, including marines and pirates.

At Marineford, not only does Shanks intervene to stop the war, but he saves Koby, a member of the new generation who will undoubtedly change the future on the marines' side of things. His words also reflect my point about sacrifice as a foundation for change. As he stops Akainu, he praises Koby for putting his life on the line: “The seconds of courage you bet your life on creating, for good or bad, have just now greatly changed the fate of the world!”

This aspect of his character remains consistent in Film Red, too. Even though he has grown to love Uta as a daughter, Shanks still encourages her to stay behind because her singing brings happiness to a world where "peace and equality don't exist." Afterwards, when Uta causes the massacre on Elegia, Shanks shoulders all the blame, effectively hiding the truth to protect her. He sacrifices his own connection with his daughter for what he believes is the greater good. Note that Shanks’ own personal feelings on that decision are never explored or discussed; obviously, Shanks loved his daughter, and it's safe to assume he didn't want to leave her. But he set aside his own happiness and made the hard choice anyway. (Sound familiar? The "savior complex" alarm bells should be ringing in your head.)

Even as an emperor, Shanks sacrifices his own strength, influence, and reputation. His fleet is “notoriously weak.” The pirates within it even admit that they never would have survived this long without Shanks protecting them. This fleet is another responsibility weighing Shanks down, and yet he takes on that burden anyway for their sake. 

We don’t have the full context behind Shanks’ decision at Loguetown either, but it’s likely that his refusal to go Laughtale right away ties back to responsibility, too. We know whatever Roger said to Shanks the day their crew disbanded rendered him to tears. (Did Roger’s answer to his question change his mind?) We also know he regards Luffy as Roger’s successor, and claims Luffy acts just like he did as a kid. (Shanks "crowning" Luffy with Roger's hat also parallels Shanks' moment with Roger visually, placing them in similar roles.)

Given this, it’s possible that Shanks believed he could take on Roger’s legacy, but later realized he would not be the one to change the world. Roger might have even tasked him with finding the “true” successor, who will “turn the world upside down.” (Shanks’ fixation with the “new age” would also make sense in that case.) This is all speculation, but I thought I’d throw it out there anyway, because if this were true, Shanks would have sacrificed his own dream for the sake of the world. (Very fitting!)

But how does Shanks feel about his role in the bigger picture? The short answer: we don’t know, and I think that’s purposeful. Oda consistently draws Shanks looking wistful and resigned when it comes to his choices; although he has severed relationships and damaged his body, not once has he expressed resentment, anger, or sorrow. In fact, he's usually smiling.

Shanks also has his own monologue where he discusses the act of crying.

If you apply his advice to his own character journey, it raises a lot of questions. Does Shanks view his current sacrificial actions as “overcoming” his own tears from back then? Is that why we so rarely see him cry now? Considering how reserved Shanks is in expressing negative emotions, I think it’s possible. His emotional restraint could also be seen as “saving face” for the sake of others – something I’ve discussed before. That is my own interpretation, though, so take it with a grain of salt. 

Speculation aside, Shanks has shown time and time again that he prioritizes the future over his own life. His dedication to/fixation with the "new age," his role as a mentor, how he believes in putting his life on the line and "overcoming" negative emotions... these indicate a pattern of behaviors seen in those with savior complexes. Even if it's at the cost of his own mental/physical well-being, Shanks plans to facilitate the world as Luffy changes it.

Is the "new age" his dream, or did he sacrifice his real dream for the sake of the new age? Does that dream even matter to him, anymore? The reasoning for Shanks' motives is still unknown, but the answer must lie in whatever mysterious question he asked Roger – otherwise, why hide the context for his massive turnabout at Loguetown? Once the curtain is drawn back on that moment, I think we will begin to see Shanks in a new light.

Everything about Takauji in this episode was sooooo unsettling and creepy I was gripped in my seat. Would