KBTBB - Forever a Family with the Baddest Bidder
Cheers to the 10th anniversary of KBTBB and Eisukes upcoming birthday!
It's been a decade, and he's been one of the faces of Voltage for a long time, so it's like the end of an era now that every bidders story finally reached his conclusion. They are happily married and their children got to see the light of day. In the new story of Eisuke, Eito himself is almost old enough to be a LI himself. (Is this a sign Voltage?)
Even if not everyone was a fan of the series, it does make you a bit emotional if not nostalgic if you think that the title finally reached it's end. In the japanese version at least. It will take a few more months before we'll get the last stories translated as well.
I personally love how Otas, Babas and Mamorus pictures feature the MC as well as she always seems to brighten the images. Especially Otas looks magical with all the flower petals. But it's also hilarious how Eisuke carries his child like a sack of potatoes.
Here's a small compilation of everyones kids:
Eisuke: Eito, Kaito, Yuu (possibly a 4th child in the making?)
Soryu: Ryusei
Ota: Hinata
Baba: Moa
Mamoru: Nodoka
Not in the pictures but Luke, Hikaru, Shuichi and Mad Hatter got kids as well:
Luke: Yuri
Hikaru: Akari
Shuichi: Kikyo
Mad Hatter: Rui & Kai
Anyways happy new year and here's for an exciting journey ahead of us!
256 notes
·
View notes
Margaret of Anjou’s visit to Coventry [in 1456], which was part of her dower and that of her son, Edward of Lancaster, was much more elaborate. It essentially reasserted Lancastrian power. The presence of Henry and the infant Edward was recognised in the pageantry. The ceremonial route between the Bablake gate and the commercial centre was short, skirting the area controlled by the cathedral priory, but it made up for its brevity with no fewer than fourteen pageants. Since Coventry had an established cycle of mystery plays, there were presumably enough local resources and experience to mount an impressive display; but one John Wetherby was summoned from Leicester to compose verses and stage the scenes. As at Margaret’s coronation the iconography was elaborate, though it built upon earlier developments.
Starting at Bablake gate, next to the Trinity Guild church of St. Michael, Bablake, the party was welcomed with a Tree of Jesse, set up on the gate itself, with the prophets Isaiah and Jeremiah explaining the symbolism. Outside St. Michael’s church the party was greeted by Edward the Confessor and St. John the Evangelist; and proceeding to Smithford Street, they found on the conduit the four Cardinal Virtues—Righteousness (Justice?), Prudence, Temperance, and Fortitude. In Cross Cheaping wine flowed freely, as in London, and angels stood on the cross, censing Margaret as she passed. Beyond the cross was pitched a series of pageants, each displaying one of the Nine Worthies, who offered to serve Margaret. Finally, the queen was shown a pageant of her patron saint, Margaret, slaying the dragon [which 'turned out to be strictly an intercessor on the queen's behalf', as Helen Maurer points out].
The meanings here are complex and have been variously interpreted. An initial reading of the programme found a message of messianic kingship: the Jesse tree equating royal genealogy with that of Christ had been used at the welcome for Henry VI on his return from Paris in 1432. A more recent, feminist view is that the symbolism is essentially Marian, and to be associated with Margaret both as queen and mother of the heir rather than Henry himself. The theme is shared sovereignty, with Margaret equal to her husband and son. Ideal kingship was symbolised by the presence of Edward the Confessor, but Margaret was the person to whom the speeches were specifically addressed and she, not Henry, was seen as the saviour of the house of Lancaster. This reading tips the balance too far the other way: the tableau of Edward the Confessor and St. John was a direct reference to the legend of the Ring and the Pilgrim, one of Henry III’s favourite stories, which was illustrated in Westminster Abbey, several of his houses, and in manuscript. It symbolised royal largesse, and its message at Coventry would certainly have encompassed the reigning king. Again, the presence of allegorical figures, first used for Henry, seems to acknowledge his presence. Yet, while the message of the Coventry pageants was directed at contemporary events it emphasised Margaret’s motherhood and duties as queen; and it was expressed as a traditional spiritual journey from the Old Testament, via the incarnation represented by the cross, to the final triumph over evil, with the help of the Virgin, allegory, and the Worthies. The only true thematic innovation was the commentary by the prophets.
[...] The messages of the pageants firmly reminded the royal women of their place as mothers and mediators, honoured but subordinate. Yet, if passive, these young women were not without significance. It is clear from the pageantry of 1392 and 1426 in London and 1456 in Coventry that when a crisis needed to be resolved, the queen (or regent’s wife) was accorded extra recognition. Her duty as mediator—or the good aspect of a misdirected man—suddenly became more than a pious wish. At Coventry, Margaret of Anjou was even presented as the rock upon which the monarchy rested. [However,] a crisis had to be sensed in order to provoke such emphasis [...]."
-Nicola Coldstream, "Roles of Women in Late Medieval Civic Pageantry," "Reassessing the Roles of Women as 'Makers' of Medieval Art and Culture"
10 notes
·
View notes
the side missing from the circle (pt 2)
pt 1
Leo gets the whole fortune cookie thing a little more now.
Sitting on the porch of Cabin Nine, he has a good view of the Nemesis cabin and the broken wheel hanging over the door.
The circle that shouldn’t roll, the shape of that answer, a piece cut from the whole.
He prods lightly at his bruises, wonders if it’s worth taking the nectar Will had offered him when his discussion with Percy and Apollo had wrapped up. He might need it more later on, because apparently he’s got more danger in his future.
Enemies with weak spots that might not be so easy to find.
"Lemme let you in on a secret: on my quest, your mother appeared to me and chose me as her champion, and I can tell you exactly what she is like," Leo had quietly told Damien.
The price of being championed by the gods is one Leo wouldn't wish on most, and he doesn't wish it on Damien. But heroes like him, the ones that want action, that thirst for a chance to prove themselves never really get what it is until they're drowning in their opportunities for so called glory.
Leo won't pretend like he had any altruistic motives, but there is something grimly satisfying in making another half-blood less eager to throw themself into danger for rewards that won't be what they hoped.
"Consider this repayment, so you know what to expect. Maybe one day you'll make her proud and she'll appear to you too. And when you finally look at her face, you know what will actually be there?" Leo had asked him. "The face of the person you hate most in the world."
Granted, Leo doesn't actually know if this is the case for Nemesis's own children, but given that Piper isn't immune to Aphrodite's shifting appearance, he thinks he's right.
It's probably the lowest blow he could have taken, because Leo knows how fucked up the gods can leave their children. Leo’s living- sort of- proof of that. If Damien only showed up after the quest group left, that means that he wasn't claimed for years when he should have been. Leo took a calculated risk that he'd never met his mother.
Nemesis chose Leo as her champion for a reason, and it's not because he's the forgiving type.
Not for the things that matter.
"Feel free to ask, if you want to know more," is the last thing he'd whispered.
And like with everything in his life, he'd done it with a smile on his face.
It was selfish, but even without the goddess's aura of vengeance, Leo had still wanted to make the score even.
"You know," a voice says above him, and he glances up to see Percy leaning against the side of the porch. "As someone who the rest of the campers have fled from more than once, I gotta say, that was probably the most efficient mass exodus I've ever seen."
A mostly ironic smile pulls at Leo's face, and he says, "Thanks."
Percy looks at him then, more seriously and says, "I'm not really one for gossip-"
He stops when Leo lifts an eyebrow and tilts his head so it looks even higher, because there were only so many people keeping the gossip mill on the Argo going, and Percy was definitely one of them.
"At the best of times, I'm not," Percy amends, and Leo lets it slide. "And after everything, I want to leave this camp knowing this is the best of its times, so… whatever is going on, is it going to lead to problems?"
"None that weren't already here," Leo says, looking down at his hands.
Percy sighs, sounding more worn out than upset. "That is a millennia's worth of problems by itself."
"Yeah," Leo agrees.
"You're not going to stay, though, are you?" Percy says, not asks.
"You already know I can't," Leo says. "Sorry you've only ever known me as a hit and run."
"You're not a hit and run, man," Percy says. "You're just saying that because you're feeling sorry for yourself."
"Well, no one else is," Leo points out, miming a boxer's stance, pulling a couple of quick jabs at the air.
"Yeah," Percy says, and doesn't defend it because there's not much to say. "Yeah, that was messed up."
Leo's answering smile is still mostly ironic.
Percy straightens up from the porch railing. "You're not a hit and run, Leo," he repeats. "So, you don't have to act like one."
"Bleh bleh bleh," Leo mimics half-heartedly.
Percy rolls his eyes but he's smiling. "I don't know you as well as some of the others, but I do know you aren't the kind of person to leave things unfinished."
Leo looks back to the broken wheel, the circle that will never be complete. True success requires sacrifice. You can't get something without giving up something else. Nothing lasts forever, even the best of things.
He doesn't regret what he did, but maybe it isn't complete yet.
9 notes
·
View notes