光を求めた反射 / 光を飲み込んだ反射 , ( 𝐫𝐨𝐮𝐠𝐡 𝐭𝐫𝐚𝐧𝐬𝐥., 𝐭𝐡𝐞 𝐫𝐞𝐟𝐥𝐞𝐜𝐭𝐢𝐨𝐧 𝐭𝐡𝐚𝐭 𝐬𝐨𝐮𝐠𝐡𝐭 𝐥𝐢𝐠𝐡𝐭 / 𝐭𝐡𝐞 𝐫𝐞𝐟𝐥𝐞𝐜𝐭𝐢𝐨𝐧 𝐭𝐡𝐚𝐭 𝐬𝐰𝐚𝐥𝐥𝐨𝐰𝐞𝐝 𝐥𝐢𝐠𝐡𝐭 )
𝐈. kami of wind and light, humanity’s desire for understanding and redemption of / for a higher power, protection and to a lesser extent — change through atonement which may lie as synonymous with the chaotic shift known to take place on the yearly occurrences of the blood moon, able to take the form of a dragon.
𝐈𝐈. born from the blood of a god once it spilled into the eye of a dying mortal.
A. was only brought into the world once the body of the deceased mortal had been returned to the earth, and thus belongs in origin to both the heavenly and the earthly. came into being as a fully developed child no younger and no older than 6 to 8 years old, covered in sediment and blood and rainwater during the night.
B. sought completion and true autonomy and allowed themselves while newly born to be governed and swayed by more malignant and apathetic actions. years past their making did they fight and defeat their progenitor god after fourteen days and nights and proceed to devour them to balance their ever further growing omnipotence, and in turn assimilating the previous kami’s responsibilities and domains.
𝐈𝐈𝐈. similar in fashion to other kami, they eventually become known as an ancestor to the mikazuki clan. the accuracy of this truth lies as them having been more of a patron than an actual relative to the lineage, though those born under the title and name lack this truth over the generations and otherwise claim a familial relation.
A. when adopting an identity to co-exist in human society while still a god however, this is the family name and history they will always take.
𝐈𝐕. they are a god with no name yet many titles — they were born alone and with no proper name and thus that is how they shall one day face the end.
A. instead, they generally just allow other divinities and mortals alike to call them as they please as long as there is no outward or hidden disrespect within the chosen name. when named by a mortal they will use that name for as long as that “lifetime” is perceived, often discard it once all who knew them have passed on and proceeds to begin the cycle anew.
B. purely for worship and general mentions, often are they referenced by the people as 智月 chigetsu or 血月 ketsugetsu.
over time the general beliefs and retelling of their origins will diverge into multiple stories, and while everything shall generally remain the same — to some peoples due to their bloody and violent beginning that led into a far more peaceful and caring deity, they are believed to have been born as two kami instead of one. in which both chigetsu and ketsugetsu are used in worship and one name denotes to the malevolent kami and the other the benevolent¹. some retellings further list both of those names and qualities but still view the kami as one being, and instead use the names to refer to which form or personality the deity is hence acting in, or the side of the deity they are seeking to curry favor from.
to other countries does their myth stretch, and as such do they carry further titles: 红色 月亮 Hóngsè Yuèliàng ( transl. bright red moon ) / 红月 Hóng Yuè, 붉은 달 bulg-eun dal ( transl. red moon ), लाल चंद्रमा laal chandrama ( transl. red moon ).
𝐕. shrines dedicated to them were most often found in smaller and some well off villages and towns. the coming of fall — momijigari — is often doubled as a time to enjoy and welcome the season as well as to welcome the kami. noted as their favorite of the seasons, when maple trees displayed foliage of a redder and brighter hue than average, it was said that they must have sat beneath its boughs at some point and conferred to this nature their wishes and knowledge of the coming year.
A. the first statues to be built in their likeness by mortal hands were ones that displayed them in their ‘childhood’ and adolescence. somewhere between how they appeared with their first months on the earth up into the defeat of their better. most of these, if any at all, no longer exist. for in their temperamental states when gazing down would seek harsh winds or other slight misfortunes to tear them down.
B. more tales surface as the years pass, and so too will descriptions of their appearance now fully grown and godhood completed. and it is these creations of their likeness that would be left alone after a short period of sharing the same fate as the first attempts. many artists and worshippers took the destruction of their effigies as judgment from offending their kami. as per their origins would sculpting their god before their fated battle be bringing light to their inadequacy and hierarchy as less than. and to depict them fresh from victory, to lessen the bitterness that comes with having to consume your forebearer most viscously to achieve one’s own balance. or simply, to the lesser overthinkers, that they just did not get the correct appearance the first few times. at the end these works stood often to display a figure dressed beautifully, of long hair and always staring with a look between brightened rage and intense apathetic protection, sometimes with chosen sword in hand.
C. the eventual desecration of said shrines will take place centuries later. with no clear cause known but many rumors and reasons. yet all the same the fate is immovable. as is their fading into obscurity with nearly all of their followers over time. very little of their shrines are left to remain, a pitiful number, barely reaching that of any double digit number.
𝐕𝐈. as their double sided constitution for protection and violence pervaded so too did the associated martial prowess depicted within art and poetry. written works tell of various stories in which they use a range of weaponry to enact fury, to answer the prayers of warriors on the battlefield, or to deliver an unlucky mortal from unjust death — holds favor for swordsmanship for how often it seems to appear in these tales. only sometimes rivaled by the artistic renditions that choose instead when not rendering them with sword to do so with the naginata.
A. the most popular of their works to exist were silk screen paintings or sumi - e. and unlike the fate inflicted upon various statues built for the shrines, these creations weren’t destroyed nearly as much. and aside from maple trees, other plants such as pampas grass and painted ferns can be present within landscapes associated with them.
𝐕𝐈𝐈. the one who bore them had been a moon and wisdom deity who had descended centuries prior from takamagahara to live and wander among the earthly, and eventually found themselves embroiled within a conflict that stretched beyond their handling. while of a gentle demeanor with the choice to avoid conflict if given, the previous kami still held a level of undeniable power.
A. half of the usurped responsibilities and associations came from this being, as well as the capacity to take on and maintain a steady secondary form.
𝐕𝐈𝐈𝐈. their own relationship with takamagahara and the deities that live there remains grey at best. they are not their predecessor, but hold no personal qualms to any of the others there in which to spur insubordination or animosity. rarely does one permit their presence there — and in steady fashion, continues to wander and live within human society. they hold more responsibility to humanity than any other and will not shirk the duty. all decisions or actions are otherwise made with the consequences to be had upon mortal folk in mind, and they do not take kindly to having it threatened within their presence save for certain exceptions.
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okay i’ve got to vent about the nicki minaj situation bc yeah. i used to be a hardcore barb for almost 10 years (2010-2019). and when i say a HARDCORE stan i truly mean it, i had a twitter account dedicated to nicki, she was even following me and often interacted with my tweets when she was online. i was absolutely in love with her and her work. i met my best friend, who’s like family to me, because of her. the pinkprint helped me survive middle school bullying. i followed her through europe when she went on tours. i supported every project, stayed chronically online for her and engaged in petty arguments with people on stan twitter to defend her. i fell out around late 2019 because i felt like most of her lyrics had sounded the same for a while but mostly because she started seeing her current husband, a confirmed rapist. seeing nicki pick up a beef after beef with every young female rapper gives me a huge ick and internalized misogyny vibes. but the beef with megan? it’s been years since i last followed news on nicki, but now i find myself losing my mind every time i see something on here or tiktok. not to mention her twitter omg. it truly feels like i’m witnessing her downfall caused by no one but nicki herself. she’s literally destroying her legacy, a legacy tied to so many memories i made during those 10 years while being her fan, and it just sucksssss. it feels like she no longer has a pr team capable of damage control or persuading her to take a break from social media. she seems to be spiraling with everything she posts. not to mention that ben shapiro tweet, congratulating a white, homophobic supremacist. and the barbz who let her remain in her perfect little bubble, shielding her from any criticism, constructive or otherwise (perhaps out of intimidation – i know, i've been there) and doxing people in the name of what? a millionaire to whom you’re a literal stranger?
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