Mirko 😌

you jeff the killed it out there dude well done

thinking about this underwater kiss scene again from the shape of water and feeling as if my own lungs are drowning in the most beautiful of ways.

amphibian man sees no urgency in reaching eliza as they both sink slowly downward. he recognises now that they are in his place of existence: somewhere he rules and feels alive. he trusts his surroundings and abilities so he just takes a moment to admire eliza as she ends her above-water, human journey.

he swims carefully up to her, inspecting all of her physical being as if he hasn’t seen the details before…he’s seeing her for the first time in a light that enhances his sight. he finally gets to see her purest form clearly as they float in the depths.

I never quite knew what ‘caressing’ really looked like before he reaches out to eliza here. the gentle traces of her features and how he holds her with such a soft approach is the very definition of caressing - the word rolls off the tongue as his webbed hands glide across her skin.

when he eventually grasps her cheeks to kiss her, still no urgency is seen. he takes his time moving towards her, visually marking her closed eyes before he closes his own.

his lips fit against hers as if they were made for each other; he quite literally breathes new life back into his beloved and pulls back to wait for said life to strike her stilling heartbeat.

amphibian man moves down eliza’s body with grace as he waits for her to take her first breath of water; he holds her hands in his but leaves enough space in front of her face so that the sudden shock of the new surroundings doesn’t frighten her. he makes sure he is holding her body close for comfort but watches this spectacle of rebirth happen from an angle below.

everything about the film is heavenly, but this closing scene is unbelievable. it makes me cry every time I watch it and my heart always speeds up until they fade out of frame embracing each other. I wish to find new life in love like them, I wish…

he’s listening to get jinxed

save me

Camie!

Shigaraki/Tenko’s speech characteristics!

Usually, Shigaraki uses ‘ore’ (tough-ish, masculine, almost all action shonen protags and the majority of male characters in shonen manga uses this) and rarely adds honorifics to people’s names unless he’s being sarcastic. 

However, in Chapter 234, as he’s flashbacking, he reverts back to ‘boku’! That’s more polite, used by young boys. Which fits, because he’s in the memories of his 4-year-old self. 

Bottom left panel: [ano toki, boku ga…]

For his family members, for the hands, it seems like Shigaraki still refers to them in the way Tenko does: for his grandparents and Hana, he uses the ‘cutesy’, childish honorific ‘-chan’. “Hana-chan, Obaachan, Ojiichan.” 

Left panel: [Hana-chan no te]

How cute! In his head, if he ever thinks about the hands, Shigaraki has probably been calling them like so all this time. 

He calls his parents: Dad - ‘Otousan’, Mom - ‘Okaasan’. 

*

Interesting thing to note: When All For One introduces Tenko to the hands, he uses the titles little Tenko had for them: 

The concept of transformation and Will as Hannibal's muse, explored through La Primavera

I. Hannibal's Simonetta

So I remembered briefly seeing this reddit post a few years ago (pre-joining the fandom) about Simonetta and Hannibal. I remembered it just now and although I don't remember much of what it actually said, it got me thinking.

--

In the scene above, Hannibala and Will are admiring a painting in the Uffizi Gallery in Italy. Hung up behind Will is a painting of a woman called Simonetta Vespucci, called Portrait of a young woman. It was created by Sandro Botticelli, an Italian painter who lived in Florence during the late 15th century. On the other side, hung up behind Hannibal, is another is a painting done by Botticelli.

The story goes that Botticelli was in love with Simonetta, a noblewoman, who was wed to another noble. Botticelli couldn't be with her, but he was still so infatuated with her that he painted her portrait multiple times (Portrait of a Young Woman, La Bella Simonetta) and incorporated her likeness into many of his famous works (The birth of Venus, La Primavera).

Simonetta had an important place in Botticelli's life. She couldn't be with him, but she still influenced him, and influenced his art - much like Will did with Hannibal, although in a slightly different way. Will is not yet "his", yet right from the beginning Hannibal starts to tailor his tableaus with Will in mind as a clear influence. Marissa Schurr, to show him what he was missing. The copycat kills and the judge from the courthouse, to free him from prison. Anthony Dimmond at the end, displayed as the broken heart Hannibal had torn out of his chest in an offer to Will.

All of them, in some way, were dedicated to Will. Will is incorporated into Hannibal's work - he is the art that which their deaths have been elevated to. Will, as seen through the scene's shot composition, is sitting on the side of Simonetta's portrait. He is the Simonetta to Hannibal's Botticelli.

II. Arriva La Primavera

The actual painting that Will and Hannibal admire in the scene above is called La Primavera, also painted by Botticelli. The rightmost side of the painting depicts Chloris, a nymph, and Zephyrus, the god of the west wind. Zephyrus is seen coming onto Chloris, who has flowers streaming from her mouth. They appear in the writing of Orvid's Metamorphoses, where it's said that Zephyrus, seeing her potential, fell in love with Chloris and won her heart. He then kidnaps and marries her, where he transforms her into Flora, the goddess of flowers. Flowers begin to stream out of her mouth, signifying the coming of spring and her transformation into a god.

Much like Zephyrus, Hannibal sees the potential of Will and comes onto him pretty intensely, starting with his psychoanalysis in Apéritif ("I imagine what you see and learn touches everything else in your mind,") where the script describes the scene as "Hannival has just described Will Graham to a letter..."

As the story progresses, we see Will undergoing transformation by Hannibal's hand, who we know wants to see him Become. Will descends into darkness, where his hands that grasp at the frayed edges of normalcy begin to slip. They start to slip at the very first instances of meeting Hannibal, where he states that he liked killing Hobbs in their first therapy session. Over time, we see him start to grow more comfortable with his darkness to the point where in Shiizakana he admits regret to not taking a life ("I regret what I did in the stables... Allowing you to stop me was a mistake.")

His transformation culminates in the acceptance of his dark nature, first by telling Hannibal "I don't know if I can save myself, and maybe that's fine," and then killing Dolarhyde with him, which he calls beautiful.

Hannibal transformed him into someone beautiful, someone he sees akin to a god. He transforms will into his Flora.

LOSER

"VASH!!!"

rumi based off a pinterest ref