Church Of Crack

“Basic Instinct”

Episodes 20 and 21’s series of images has been going through my head a lot recently, and I think that it is about time I rant about it.

I’ve written before, how Sara is a symbol of a maternal figure for Mugen. But today, I’m gonna go into something else…

Episode 20’s series of images alludes to Mugen and Fuu not only having feelings for each other, but also the concept of marriage, parentage and the idea of being abandoned. A lot of these details bridge and connect with multiple parts of the episode.

The Sad Bride

The woman upon the boat is dressed in a traditional uchikake wedding kimono. What is happening is “Yomeiri-bune”: a traditional Japanese bridal procession on a robune rowboat.

The robune boat carries the bride’s household possessions at the front of the boat. The bride sits behind the possessions. Behind her, the bride’s two parents sit, wearing black. This boat carries the bride across the canal, to her husband. This traditional procession is still held in one place in Japan: Ibaraki during “Suigo Itako Ayame Matsuri”, or the “Iris Festival”

Here is a video of it: https://www.youtube.com/watch?v=ApIeJ384oDo

There are some key details about the bride in the scene of Samurai Champloo. While I think it could be a tale of Sara’s life…I think this is more related to Fuu’s future.

1.The bride has no household possessions. Fuu also has no household possessions of her own. The two women are incredibly poor.

2. The bride has no parents seated behind her. Fuu also has no parents to send her off and celebrate her marriage someday, as her father abandoned her, and her mother died of illness

3. There is a willow tree to the left of the scene. This one may not be major, but willows are symbols of grief, and in Japanese culture, are thought to attract ghosts. For such a sad symbol to be shown in a composition of a marriage seems intentional.

4. The bride is not smiling. Should a bride not be smiling upon her wedding day? It is supposed to be one of the most joyous moments of a woman’s life. She must be unhappy about the arrangement. This exact composition of Fuu’s unhappy face can be seen later, where Fuu is shown in front of glittering blue water. She must contemplate which of her bodyguards she will give up. But I’ll get more into that later.

Notice also, in the composition of the scene, how Fuu is on the far left, where the bride is. Sara and Jin are standing close together, where the parents ought to be seated. Mugen however, is a far distance from them all.

Sara is clearly a maternal figure in the episode, as her entire story concerns her child. Jin also has some parallels to the Sunflower Samurai, and plays a very fatherly role for Fuu throughout the series. I wonder if this position is intentional.

At the end of the robune procession, the boat delivers the bride to her husband. When a woman is given away to her husband, she is also saying goodbye to her father and mother.

There seems to even be a symbol of this.

But it is not to say Fuu wanted to give up Jin. It is clear that after Jin leaves with Sara, how upsetting it is for Fuu. She breaks down into tears. Though, it is important to note how childish these tears are. It is a comical scene, where Mugen gets frustrated and stomps off. It is nothing like the painful moments that Fuu cries when she thinks Mugen is in danger/dying (In episodes 14, 21, 25 and 26).

This seems to be Fuu clinging childishly to the closest thing she has to a father figure (Jin), similar to how this whole journey is her trying to find her father: the last remnant of her past.

The Mother and Child

While walking, the four travelers pass a mother carrying a child. The father is nowhere in sight. Again, this is an allusion to Sara and her son. But it is noteworthy that the only character to look back at the mother and child is Fuu.

The mother has light brown hair, like Fuu. The son has black, wild and unruly hair and orange clothes. More on the orange later.

The next symbol shows how this is not only about Sara…but about Fuu contemplating a future: the fear of being abandoned by a husband and left with a child alone, the same as her mother was.

The fear of being abandoned by Mugen.

The Pinwheel

The mother and child have a yellow pinwheel.

I’ve talked in other posts how pinwheels seem to be a symbol of childhood innocence, and of rebirth. However, we have seen a pinwheel in only one other scene in the series. And it is almost the exact same color. They could have chosen any color for the pinwheel, but I cannot help but feel this color choice is deliberate. Mugen flicks the pinwheel in Episode 1, just moments before meeting Fuu for the first time. 

Rather than childhood innocence, this pinwheel flick could have another meaning entirely. In Chinese culture, the flicking of a pinwheel means to “turn one’s luck around”. Why this is notable, is, in Episode 1, we find out Mugen is not Japanese at all, but Ryukyuan. The Ryukyu Kingdom was a tributary state of China, before being invaded by the Satsuma Domain. For that reason, there is a blend of both Chinese and Japanese culture in the Ryukyuan Islands.

Perhaps Mugen flicked the pinwheel, as a way to wish himself good luck in getting some food. Little did he know, this meeting would greatly change his life.

Furthermore, the pinwheels start to shift into sunflowers. Fuu’s face pans across the scene, as if a symbol that she has come to a realization, or is pondering something important.

This could be a symbol of Fuu coming to a realization of her feelings for Mugen, her fear of the future, and the fear of being abandoned by him, the same as her father abandoned her mother. 

This fear and realization is reinforced throughout the rest of the episode.

The Boy with the Monkey Mask

During the festival, Sara asks Mugen and Jin to pick out a gift for her son. Mugen proceeds to grab a small child, and asks what he wants.

1. The child responds that he wants Mugen’s sword. He’s a little fighter.

2. The child is wearing a monkey mask. This is important because in the previous scene, Mugen, Fuu and Sara bathe in the hot spring. When Sara asks Fuu what Mugen looks like, she gets extremely flustered and proceeds to say: “Honestly, he’s less than human. He’s more like a monkey or a gorilla.”

However, we know Fuu is lying, because when Sara’s asks, “What?” Fuu sinks into the water and blows bubbles.

The fact that the line and the mask is a scene apart, seems intentional yet again.

3. The boy is wearing orange, similar to the orange of the boy on the woman’s back earlier that only Fuu looked at. Also, Fuu in her childhood, is seen wearing orange…and was abandoned by her father.

This boy is a symbol of Mugen and Fuu having a child together. To reinforce this is the thoughts going through Fuu’s head, Mugen asks Fuu what they should get for a boy. Fuu remembers Sara’s request of taking one of them with her. It is at Mugen’s words and her own thoughts, that Fuu suddenly runs away in tears.

We know that she is pondering the choice Sara gave her: Mugen or Jin. We know that she knows Mugen will willingly leave her. We also know that she chooses Mugen to stay, despite this.

And this is where we see that previously shown picture of Fuu’s sad face, emulating the face of the sad bride. Fuu is afraid Mugen will either abandon her, or will not love her.

Jin is the one to chase after Fuu and appears behind her, not Mugen. He is far more reliable, and would seem to be a better husband. Fuu could very easily marry a man someday that she does not want to be with, because Mugen is not the type to marry. But  despite all of this, Fuu still chooses Mugen to stay and complete her journey.

The two episodes’ composition largely features Mugen and Fuu, while Jin plays a more minor role.

Not only does she give up Jin, but also the entire Episode 21 barely features Jin. It becomes about Mugen facing Sara twice…and it also becomes about how Fuu’s love for Mugen stops Sara from killing him,

Sara’s words to Fuu

She chooses Mugen.

Sara’s Words to Mugen

Sara tells Mugen they are alike, and mentions the closest she came to happiness was having a child. It also zooms in on Mugen’s face here. 

Having a child with Fuu could be his first shot at happiness.

This dialogue completely emulates Mugen’s dialogue with another woman: Koza in Episode 14, in which she asked Mugen if he is happy now. He tells her he hasn’t thought about it. Koza then went on to say “Fuu is happy because she gets to be with you. I want to be with you, like she is.”

A Distance in Episode 20. A Closeness in Episode 21.

Throughout the episode, Mugen and Fuu are barely shown next to, or across from each other. They are always near Sara or Jin instead.

There is is a sense of a distance forming between Mugen and Fuu. But by the end of Episode 20, Fuu still chooses Mugen to stay with her. And Episode 21, they are finally close again, stuck alone together.

She throws herself on top of him to save his life and tends to his wounds which are close, intimate acts.

Other Blatant Hints

Aside from the visual symbolism in the episode, there are other clear indications of the character’s developing feelings for each other during these two Sara episodes, but not expressing them.

Fuu and Mugen see each other naked in the hot spring. This is a painfully common romantic anime trope.

Fuu gets jealous of Mugen’s attention to Sara.

Mugen gets jealous of Fuu crying over Jin and comically stomps away. He agrees to stay with Fuu, even though he clearly could’ve abandoned her, and only claimed to stay to fight Jin. Now with Jin gone, he has no excuse as to why he’s sticking around.

Fuu’s Declaration of Love

Fuu throws herself in the way of Sara’s blade, in order to save Mugen’s life. This action was committed only mere seconds after Sara’s haunting words to Mugen: “It’s as if you’ve never been loved by anyone.”

Fuu throwing herself in the way is proving Sara’s words wrong. Mugen is loved. This is why Sara gasps and stays her blade. Like her previous words, she is unable to read people’s feelings.

Throwing her own life in the way for Mugen’s life to be spared could have easily gotten her killed too. To me, this seems to be an allusion to “Shinju” or “Double Suicide”. Lovers’ suicide was surprisingly common in Japanese history, and there have been famous Tokugawa plays written about the subject such as “Love Suicide at Sonezaki” and “Love Suicide at Amijima”. 

Conclusion

The symbols of a sad bride, a pinwheel, a child with a monkey mask, Fuu’s choice and Fuu’s sacrifice all allude to her feelings for Mugen, and her fear or an uncertain future with him.

The goose

is running loose

to the sound

"You can't just sing in the middle of the night and not expect someone to come after you." —Hans Westergaard, attempting to keep two eyes on Elsa.

—

Okay so I followed this video about foreshortening and…

GUYS

SHIT

It works!!!

ARE YOU FUCKING SERIOUS

IT WORKS AND I SPENT SO MUCH TIME TRYING TO PULL THIS SHIT OFF BEFORE BUT THEN THERS THIS EASY SHIT I COULD HAVE DONE