The Council Has Decided He's Getting Mon-chan Back >:)

im sorry but im not

inspired by this post

Marina doodles I didn’t post here

NATSUO TODOROKI SEEN

I respect him as a hero, but not as a father

Episode 4 of weak hero class 1 and everything is going well. Bad man in jail. Sieun smiled. The boys are laughing. It's all looking good. But It's too soon. I'm being lulled into a false sense of security. There's four episodes left and I am scared

it’s the cyclical nature of bumseok believing sooho thinks of him as a gofer/takes advantage of him and doesn’t see him as an equal, so he turns to other people, and then sooho giving up on him in a way, and his actions further enforcing the idea that bumseok was right all along

(through gritted teeth) sometimes what's good for your mental health isn't another do nothing day or a little treat sometimes what's good for you is putting in some of the work. Not all of it at once but sometimes you have to finish that essay or at least take the next step or you have to clean your room or at least dust the shelves or you gotta do the laundry or at least put it all in the hamper and it's not fun and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks but you have to because i read a post on the internet that told me that's what being nice to yourself is sometimes

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.

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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.

holy smokes it’s all coming together

As Tolkien often observed; “names often generate a story” and always nearly contributed or suggested something of the nature or personality of the character, thing or place that has been named. Yet the most intriguing name he has created in my opinion, is the main protagonist of “The Hobbit” Bilbo Baggins who is the hero of the classic tale, and despite being seen as such, his name holds interesting and contradicting connotations. For Baggins suggests harmless, humble and well- contented characters (though with criminal undertones!) Yet the name Bilbo suggests an individual who is sharp, intelligent and even dangerous….

The family name of Bilbo is  “Baggins” which derives from a double source-the English Somerset surname Bagg, which means “moneybag” or “wealthy.” The term “Baggins" itself means “afternoon tea or snack between meals” and at first is appropriate in describing our well off  hobbit. Initially he is presented as a mildly comic, home-loving, upper middle class “gentle hobbit” who seems harmless and composed enough, if given to some annoyance. He is mostly concerned with his mothers dishes, doilies, domestic comforts and food. However, once recruited by Thorin and his Company, we see the respectable gentle hobbit reveal his true colours- he is an excellent and highly skilled burglar.

Tolkien has maintained that his tales are often inspired by names and words from the real world, and indeed, in the jargon of the nineteenth-and early twentieth century criminal underworld there were a cluster of names around the term “bag” and forms of theft. “To bag” means to capture, to acquire, or to steal. “A baggage man” is an outlaw who carries off the loot and a “bagman” is the man who collects and distributes gold on the behalf of others by dishonest means or purposes.

His surname not only characterises himself, but also plots out the narrative for the story. For in the hobbit we discover Baggins is hired by Dwarves to bag the Arkenstone. He then becomes the baggage man who carries off the loot. When he realises Thorin has fallen under the gold sickness, he becomes the bagman and is dishonest to the newly crowned king, distributing the Arkenstone to Thrandruil and Bard. After the Battle Of The Five Armies he hands out the treasure to those who are rightfully in need of it, and thus ends him being the bagman.

Another aspect of Bilbo Baggins character can be revealed by the analysis of his first name. The word “Bilbo” entered the English language in the late sixteenth century as a name for a short and deadly piercing sword of the kind once made in the Spanish port city of Bilbao where the name derives from. This is an excellent description of Bilbo’s elvish sword (often called a letter opener) named “Sting.” Found in the troll hoard, Bilbo’s “bilbo” can pierce through any animal hide that would break any other sword. In The Hobbit however, it is the hero’s sharp wit rather than his sword that gives Bilbo his sharpness. Bilbo’s well-honed wits allow him to survive the journey and to trick monsters, a dragon  and to get himself out of bad situations. 

When we put these two names together as Bilbo Baggins, we fully understand the two aspects of his character, showing someone who is dangerously witty, but ultimately good and humble to a fault. If we want to dig deeper into how these names also affected the events of the Lord Of The Rings, one has to look no further than Frodo Baggins.

 Along with the Baggins family name, further “baggage” is passed on to Bilbo’s nephew and heir, Frodo Baggins who in the context of the one ring is a link to another underworld occupation; the bagger or the bag thief. This bagger or bag thief has nothing to do with baggage, but is derived from the French word bauge, meaning “ring.” A bagger then, is a thief who specialises in stealing rings by seizing a victim’s hand and stripping off its rings. It had common usage in Britain’s criminal underworld between 1890 to 1940. The Baggins name holds the idea and plot for both The Hobbit and Lord Of The Rings. For Bilbo’s skill as a burglar, one might say that in the perspective of outsiders, the Baggins baggers of Bag End, Bilbo and Frodo, are naturally born ring thieves.

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