made like a dark, fucked up version of a rose crest ring haha. just a glimpse into my dark reality. a full stare into my twisted perspective would make most simply go insane lmao
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@rizzless-trans-guy
made like a dark, fucked up version of a rose crest ring haha. just a glimpse into my dark reality. a full stare into my twisted perspective would make most simply go insane lmao

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recently saw this screenshot in the wild and lost my mind because i knew it wasnt supposed to say girl. its ladykins. its get off the cross ladykins. i know this because ladykins is not something my brain could make up and i remember ladykins. and i was sincerely wondering if someone put in the work to censor ladykins for some inscrutable purposes but then i looked it up and
turns out that actually rupaul made the same tweet twice with 1 word changed 8 months apart. he meditated on this for 8 months and 5 days and the word ladykins came to him. i initially thought he copy pasted the first tweet but i dont think thats true anymore i dont think he was operating with any memory of the first tweet i think these words were always in him and will always be. second tweet did way worse by the way. the people did not respond to ladykins
a world where we can meet
best part of watching the utena movie in theaters was the massive amount of cheers and clapping at the immortal line "It's a big mistake to think you're the only one who can turn into a car. I'm a car now too."

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@solipseismic thank u for the insight 🫡
SILLY GIRLS in YOUR AREA are waiting to GOOF OFF with you
I managed to write that whole thing on RGU and the female body politic without ever really articulating why it matters, so let me take a shot at that now.
the opening words of bell hooks's preface to All About Love have stuck with me since I first read them. she wrote:
When I was a child, it was clear to me that life was not worth living if we did not know love. I wish I could testify that I came to this awareness because of the love I felt in my life. But it was love’s absence that let me know how much love mattered. I was my father’s first daughter. At the moment of my birth, I was looked upon with loving kindness, cherished and made to feel wanted on this earth and in my home. To this day I cannot remember when that feeling of being loved left me. I just know that one day I was no longer precious.
I imagine anyone can relate to this passage, but it especially reminds me of RGU's depiction of girlhood. in commentary, Ikuhara so often talks about the need to be precious and special, the center of attention. in my view, to be a princess means exactly that--to be a girl, a valued, loved, and protected girl, forever.
but the problem is, there's always the threat of that status being taken away, of being cast out of the light of love. RGU grapples with this like no other piece of media. I'd argue that Nanami, Anthy, and Utena are the three most central female characters, and all of them face this dilemma. Nanami sees that Touga is the center of things, a powerful and special person, and the only thing that brings happiness into her world is his attention. her every fiber is bent towards maintaining her position as princess through her relation to him. Anthy has been exiled from princesshood for so long that she now exists as a mere parody of it. unable to believe in love, all that's left for her is to go through the motions. Utena is not seeking to be a princess at all, and yet she is still forced into to contend with the fact that "all girls are like Rose Brides in the end." her girlhood is stolen from her that night with Akio; in the eyes of the world, she has lost her innocence and purity, the things which make her worthy of love.
I claimed in that original piece that RGU has a very feminine sensibility, but afterwards, I wondered if that is entirely true. I think I was right, but I didn't touch on the fact that RGU is a story about "romance," even as it plays on the "romantic," using those terms as Ikuhara does. Utena is a heroic character setting out on a quest to be her true self, and along the way changes the world.
most stories which aim to depict female empowerment do so by putting women into masculine roles. RGU may seem to do the same at first, but its feminine sensibility and narrative trajectory take it in a different direction. ultimately, it is a story about the trials girls face on their path to womanhood. it excludes nothing: neither the girlish and childish nor the dark and uncomfortable. it is cathartic in its invocation of the feeling of loss that comes with adolescence, but it asks that the audience fight through that pain to reach what's on the other side of it.
in the opening sequence, Utena and Anthy ride horses through the air, appearing to storm the Castle Where Eternity Dwells. this never happens in the show. my teenage self was disappointed by this: I felt like it was false advertising. but now I see that this imagery was appropriate. Utena and Anthy are heroes, are empowered, just not in the way I was expecting when I was a child myself. RGU portrays girlhood experiences which are typically seen as either unworthy of exploration or too shameful to be depicted as the stuff of legend. the fact that it puts itself forward as a "girly story" may have kept it from holding the same elevated status as NGE, but I respect it all the more for that.
"Do you want to know the terrible truth? The stars don't interest me at all." These lines are crucial to understanding Akio's character and what makes him so terrifying. a lot of fans express anger at Akio. I definitely do get angry thinking about certain scenes but I think I mostly fear him on like, an existential level. Anthy thought she was a doll without a heart, but it's Akio who's the automaton, a simulation of a person.
After my latest rewatch I've begun to think that Akio, in a way, "stole" Anthy's interests. What got me thinking that was the way he goes on about the history of flowers in that one episode where he is "on a date" with Utena. She seems impressed by this but he acts nonchalant about it, saying he doesn't really know that much about flowers. And it struck me then, that it reminded me of how, because my brother and I talk about our interests often, I happen to know a lot about certain things that don't actually interest me at all that I can still list off by rote despite not really knowing that much about the subject, just enough to make someone who knows nothing about that subject believe that I am very knowledgeable in it.
We know for a fact that flowers are something Anthy does actually like, and probably talked to her brother about. While we don't see Anthy talk much about flowers in a non duel related sense, I can imagine that she would know a lot of weird facts like that. And it made me wonder if Anthy liked the stars too.
Of course it is plausible that Akio learned a bunch of star facts to seem cool whilst not actually caring. But I think it would be more awful if he learned these things from Anthy and then made it into his interest.

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in Adolescence, the prince is dead, not just metaphorically but literally. there are two kinds of deaths, one for the "pure" prince and one for the "corrupt" prince: Akio dies panicking that his crimes are known to his princess, Touga dies saving Juri.
some notes:
in the show, Anthy obeys Akio's will consciously; he knows this and enjoys it. in the film, there is more of a mental split between Akio's public face and his abuse of Anthy--as in, he himself is so good at maintaining separation between these sides of himself that he is in denial. in comparison show Akio is not repressing what he does by night during the day.
perhaps even more disturbing than Anthy coming when Akio calls is Anthy allowing herself to be drugged and abused. she says Akio can do whatever he wants because he's the prince: this is a worldview where power justifies anything. Anthy has understood the rules of the world, but she hasn't realized that Akio is not on board with her deviance; his arrises only from his complete dissociation from himself.
in episode 34 of the show, Utena cries on seeing Anthy's suffering as the Rose Bride, but she does not jump straight to saying she'll save Anthy herself. this is also true in the final episode: in both cases, she first begs Dios to help. in the film, she cries and cries for Touga to come back when she sees that Juri is drowning. but this time, the prince does come and save the day. unfortunately, in the world of RGU, saving someone requires sacrifice. this is how Utena herself killed the prince, by asking him to save someone else. when she remembers this, her feelings of abandonment dissolve and she's able to let go. personally I've always read film Touga as a representation of show Utena's princeliness, which is hinted at in a number of ways.
in contrast, film Shiori is a bitter princess, unable to accept that her prince is gone. she forces Juri to play the prince, be her knight, but not because she sees Juri as a savior: this is a way to torment her and pit her against her other enemy, Utena. I think that the Juri/Shiori plot highlights the shame of being a princess, the one to be rescued at the cost of another--after all, Juri allows herself to be manipulated out of self-hatred--as well as the anger at losing the chance of being saved yourself.
actually I have one more:
in the show, the angry mob demands that Dios fight for their daughters and blames Anthy when she protects him from them. she's specifically protecting Dios as a person: she says he'll die if he fights more. he's weak but beloved. but in the film, Akio tells Touga that the truth was that he was a rotting corpse the whole time, and she hid him just to keep that a secret. it's Anthy's position as bearer of the swords of hate that keeps them trapped in the show, but here it's more like they've enclosed themselves in this other world--or more accurately, Anthy did, to obscure the truth of Akio's corruption (rot). however she ends up becoming the Rose Bride again, this time at Akio's hands.
for further commentary, I feel that the further iterations on the characters and themes in the film aren't meant to overwrite what we see in the show, but they add new complications, creating yet more complexity to dig through and relate to the rest of the text. there's a sense in which the film is a continuation of the show, with character arcs carrying over; there's a sense in which the show casts new light on the show, as if it's a co-existent layer of Ohtori; and there's a sense in which it is its own thing (while still can only making sense in relation to the show).
I have Egg thoughts.
Spoilers for Revolutionary Girl Utena up to episodes 26 and 27.
--
The episode before Nanami's Egg is Miki's Nest Box (The Sunlit Garden - Arranged). Chuchu appears early in the episode when the girls go to Miki and Kozue's house. He floats around in the same balloon state as when Utena first encoutered Mikage in the Black Rose arc. As the girls leave, they have a conversation in the overgrown Sunlit Garden which transitions into a conversation between Anthy and Akio. The editing implies that Anthy withholds information from Akio, which he notices and reacts violently.
Chuchu does not appear again until the end of Nanami's Egg when he arrives in the elevator. The episode ends on Anthy with a forlorn look on her face.
So theres obviously the metaphor about female adolescence and the lack of education about it in Nanami's *reaction* to the Egg, but it is implied that what happened more literally is that Anthy planted the Egg which held Chuchu (hence why he reappears after the egg is broken).
So, if we interpret Chuchu as Anthy's repressed joy/humor/self-expression...
After that violent outburst from Akio, not only does Chuchu disappear for the rest of the episode, but Anthy reverts to a much more withdrawn "puppet-like" state. She doesnt emote at all during the duel with Miki and doesnt react to Kozue's attempt to access her 'power.'
During the Egg episode, theres a strange nighttime convo which begins with Anthy asking Utena what she thinks of reincarnation.
My theory is that she attempted to rebel against Akio by keeping that private moment between her and Utena to herself, and Akio reminded her that disobeying him has violent consequences. This causes her to withdraw and Chuchu to be "killed." Anthy then has to give life to a new Chuchu (to reincarnate him). And thus the events of Nanami's Egg
Its not entirely clear to me why Nanami was chosen as Chuchu's incubator, I'd venture a guess that it has to do with how much Anthy delights in messing with her and how her humor manifests when Nanami is around.
psa - thinking about a random utena recurring character for longer than a few minutes might wound you. so be cautious about starting the black rose arc. it's full of "hey think about this total joke character for the next 21 minutes, it's quick and painless". they won't warn you at all of the dangers.
Utena eps. 19-20: the Wakaba special, aka what if Pyrrhus was a girl gradually sliding into tragedy by her perceptions of what being "special" means in society who was caught and pulled back from her precipice by the last gasping throes of the power of friendship
wakaba: utena I love you utena: you're the most normal girl I know
ahhhh shoot the nostalgic fantasy fuckin Got her too
is it just me or did Wakaba's hair colour change after the episode title? it's like, orange now. to indicate her new importance in this story?
Juri being like wow, "there's only one person that you each truly love? it's a shame you can't simply change who it is you love, you'd both be much happier." and then them giving her this expression LMAO. fake idgafer I saw you yearning. though once again, she's self-aware enough to add that this applies to her too
Utena, please stop talking to Anthy's brother about everything in your personal life, his advice seems reasonable but is not going to be good for you
incredibly significant frame though
not to mention how the camera also flashes to Anthy when Tatsuya talks about how Wakaba is happiest with Utena. you can't trust the things she says when she's addressed but maybe you can trust how she behaves when no one's looking at her
love this arrangement of the music with the Sunlit Garden and opening song motifs
omg he's like the bare minimum to qualify as being well-adjusted and he's STILL too good for the duelist route. though I can't tell whether Mikage is complementing or insulting him when he says he's too good for him, probably the latter lmao.
sees Saionji ah shit not this guy again
ep. 20:
Saionji saying "no friends, no money" -- conspicuous absence of any mention of family
ok I love how Wakaba's belief in herself that she's special because of her secret really extends to highlighting how she's special in mundane ways, how beautifully sunlit an ordinary day can be when you're confident in your own skin. We've heard and seen before that Wakaba's most unique trait is being normal
in DIRECT contrast we have Akio going on about Utena's chosen one special destiny bullshit
*glances at this frame repeated* *glances at Cownami episode* fear of being consumed, used, thrown away and forgotten! fear of losing what (who) makes you special! trying to be the consumer, or the consumed
it seems like being knocked down a peg has made Saionji a little more decent? he genuinely seems grateful for Wakaba's support, doesn't want her to get in trouble on his account (well, also so he won't be discovered too early), and spends the lunch money she gave him on a kit so he can make her a gift. The allure of returning to power and status overcomes him, but for a moment there he wasn't an ass, and he didn't think giving away the clip would hurt Wakaba
oh shit I was right that Wakaba was going to become one of the Black Rose duelists. It's like the entire structure of these duels is to peel apart every character's beliefs from the other end of the first arc, catching Utena in the middle
something something the things holding Wakaba back from true understanding of herself and her situation are 1. the belief, encouraged by every story she's ever read and every example she's seen in society, that she can only improve herself and be "special" if she's attached to an idolized man, and 2. her frustration isn't unjust, but her misdirected anger and blame at Anthy, the designated scapegoat of this society, keeps her fighting among her peers instead of helping them/understanding herself/escaping the standards of her world
but that lunge at Saionji was impressive though
"sun-shower" -> pathetic fallacy, probably; the extremes of happiness and sorrow Wakaba's experienced in such a short time mingling together, inseparable.
also the Black Rose interview elevator scenes are getting shorter and shorter, but the show refuses to cut down on zettai unmei mokushiroku staircase walking -- Utena's refusal to take 'shortcuts', and her commitment to her principles, are her standout strengths
Anthy: tf are you doing you have to get your weapon from me??? -> not even in a 'you have to follow the ritual' way, in a 'you're going to die!' way
LOVE the sheer emotion in everyone's facial expressions in this duel. And Wakaba's fighting is so vicious! She's grabbing at Utena's hair, chopping off her hair, just lunging at her almost to the point of forgetting she's supposed to be killing Anthy
holy shit the dueling song?? Pyrrhus the revenge-taker frozen in time, unable to recognize the sign that he should turn back points I understood that reference!
fuckin love the dance-like choreography of Utena taking Wakaba's sword to cut off the black rose while simultaneously holding on to her (so she won't fall into a death-pose) -- always awesome when the expected circumstances are subverted like that, what a way to win a duel without fighting
and I'm halfway through the show! and I still barely have any inkling what this is all leading to LMAO, but I'm still hooked
also rewatched the first episode of rgu last night and was thrown off by the mention of a regional basketball tournament. can you imagine being a regular school basketball team and having to play against the surreal psychological horror metaphor and allegory school team

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TWs: discussion of abuse (especially COCSA) and incest, plus spoilers for the whole of RGU
I have seen various opinions presented on what happened in Anthy and Akio's childhood, and how this intersects with the story told by A-ko and B-ko, and at some point, I was met with something that really shocked me. In a video analysis of Utena, it was argued that what lay under the metaphor of Anthy stealing Dios away and keeping him "for herself" was that Anthy had sexually abused of Dios. Not only that, but a number of people in the comments supported this idea, and mentioned it being a pretty common interpretation of the scene. Now, I can see why one may form that opinion, considering we know Dios became Akio through some form of corruption, and the main corrupting force in RGU has always been the patriarchy, frequently through the tool of sexual assault. Furthermore, the Shadow Girls' play can be read as hinting at Anthy being jealous of the princesses, a role she could never have because she was the prince's sister, and the flashback scene itself sometimes seems to show Anthy with little to no clothing (to be fair, I think that may just be the angle but ok).
That said, I dont think Anthy "saved" Dios through COCSA.
Firstly, let us look at the flashback scene. Considering we are given the Shadow Girls' play's retelling before it to better interpret it, it is only fair to assume that the flashback is supposed to be a more accurate account of what really went down. We can never be sure, of course, this is RGU we're talking about, but I believe we are supposed to see the flashback as more truthful.
Now, I don't believe Anthy was blameless because she was the younger sibling (also to be fair I don't think she originally was, perhaps her age got stuck earlier because of the dynamic established) or because she was the female sibling, but because intimacy between children, especially siblings, is that hard to define.
Frequently, COCSA happens because of external influence. The child that involves their peer in sexual acts is usually one who has been physically assaulted themselves, or has been repeatedly exposed to other parties having sex, directly or through pornography.
From what we may assume given the living arrangements of the siblings, it is I believe likely that the one who most interacted with the outside world was Dios, and the only way the two could be exposed to the type of trauma that normally leads to children abusing their peers would be Dios' contact with the princesses and the adults surrounding them. We see this often: two children, not related, a boy and a girl, interact, and immediately the adults around them insinuate that they must have some sort of romantic interest in one another. These are the same adults who will go on to denounce child molesters, but they see nothing wrong in what is generally teasing, because they do no see children as capable of sexual relationships, and do not believe abuse within a solely romantic context may be an actual problem. This is not to say that children generally have an understanding of sexuality that may disprove the above thinking pattern, but when a child is repeatedly exposed to that line of thinking, it is not impossible to believe that they may develop a deeper though warped perception of relationships, and be introduced to patriarchy as a natural thing. Also, this leads all parties involved to be completely blind to the possibility of COCSA.
Now, imagine Dios. He is a prince. A prince. Whose role is to save princesses, in a world in which every other story is about a princess who is saved by a prince and, as a result, marries said man. He says it himself, for his services he was promised a kiss. I have no knowledge whatsoever of japanese so I do not know who is implied to have promised said kiss, thought two are the possibilities: the princess herself (probably through mediation because if she's in danger it's more difficult for her to communicate with the prince) promised she would kiss the prince upon being saved, or the adults surrounding the princess promised she would kiss the prince as a reward for her safety. Regardless of which it is, it is a pattern that repeats itself constantly, both because of the nature of the type of storytelling that surrounds fairytales, and because it must have been a common occurrence. It is likely that Dios came into contact with various princesses, and across time some of them, or their parents for them, promised Dios he would get a kiss out of it. He was thus exposed to patriarchy even more than his role as a girl-saver already had.
It is not unlikely that Dios was, at some point, exposed to the concept of sex. He had already been exposed to what kisses were, what is one step more? What then? What if it was made as a passing comment, what if he accidentally caught sight of it, what if people asked him for whatever reason to have sex with the princesses he saved, what if someone else forced sex upon him. What if?
Let us consider pre-witch Anthy. She is powerful as well, but the crowd doesn't seem to recognise her. The crowd specifically asks her "who are you?", showing the people around her really don't know who this girl is, perhaps they don't even realise that she is Dios' sister. Perhaps, Anthy has always lived in the shed, just as she always lives in the rose garden later. Perhaps the people around her did not even know she was also capable of magic. At that point, we may assume she did not have much of a social presence. If that is the case, we may assume she did not have too much contact with the outside world.
At that point, what is most likely? The solitary girl walks into town one day and is exposed to sex, or the people around her seek her out, and that is how it happens? Or the prince who wanders the world, meets people from all paths of life and is the embodiment of patriarchy, is the one being exposed to sex? Both are possible, though considering the type of story that RGU is and how blunt it is with certain elements, I find it difficult to believe that Anthy would have had the conditions around her to lead her to be the one who introduces sex in their dynamic.
That is not however to say that I believe what is implied in that scene is that Dios was the one to assault Anthy. He was laying on a bed half dead, the only thing he managed to do was be in pain, try to get up an fail, call Anthy's name. I don't believe he even had the strength to do something like that.
Then, if no sexual acts were carried out in that shed, what did happen?
As I said before, intimacy between children is hard to define. One of the reasons why early sibling incest is that horrifying to the majority of cultures is exactly because it's is difficult to notice when a line has been crossed, and thus difficult to intervene or prevent it.
When Anthy locked her brother up, saying she would "keep him for herself", I don't think she herself thought it with a sexual connotation. All we see of pre-swords Anthy is someone who cares for her brother's safety, and every time she complains about his role as prince, she says so relating to the threat it is to his life. I don't think Anthy was jealous of the princesses because she wanted to be one, she was irate because to save them, she would have to lose her brother.
That being said, Anthy locks Dios up, and as he lays there half dead, she... sleeps on him? I believe that is one of the main reasons why people think she assaulted Dios. And now is the time to go back to intimacy between children siblings! Now, let us establish some things.
It's true that we can never trust the ages of characters in RGU, because some of them have been that age for hundreds of years, but I believe that while Dios is more nebulous of a figure (as we see for example when Akio "saves" baby Utena, at that point yeah it wasn't totally Dios but he was definitely older that the Dios in the origins flashback) Anthy appears the same in the two flashbacks we see, both in the orgins and in the saving of baby Utena. We know Utena to be seven (?) at that point, and considering that they look fairly similar and that they end up being the same age in the main timeline, I am inclined to believe Anthy was the same age when Dios died, and honestly, I'm starting to think they were twins, originally (Dios in flashbacks alternatively looks the same age as Anthy or Tsuwabuki, so it may be). Current Anthy is younger only because she is stuck, by the swords and by Akio. Considering the above, Dios may have been between seven and ten.
Now that we have established them as both being children, not preteens, not teens, but children, I will make a disclaimer: my knowledge of both japanese and south-asian culture is very limited, so the inferences I will make come from my experience as southern european. I am however convinced I won't be too far off, considering RGU was produced in the 90s, when globalisation had already commenced, and because, though perhaps delusional, Touga and Nanami say it themselves: when they were younger, physical contact between the two of them was never seen as weird. In my experience at least, nudity or affection between siblings (of which at least one is male, let's remember women are generally not seen as a sexual threat in these cases) starts being seen as weird between 10 and 12. Small children bathe together without issue, they share a room and frequently also a bed without issue, hell, when you're that young people don't question you sleeping with your parents, and normally these are adults. At this point, being Anthy seven, we can at least consider the possibility that there truly was nothing sexual about her sleeping close to her brother, especially considering he was dying of exhaustion, and she was the only person present who could notice and do something about it. Before the swords, Anthy's main goal is always to keep Dios safe. Anthy never mentions anything about wanting to be Dios' princess. What she does mentions is why he has to go around and save other when that comes as a detriment to him. In my view that is being weary of his health, not indication of sexual desire.
At this point then, why does she lay on him? From that moment of the scene, Dios seems to be unconscious, probably from exhaustion. We may assume he did not die, because he is later shown regaining his senses, but it may also be that Dios did temporarily die, and the one who woke up right before Anthy was pierced by the swords of humanity was already a small Akio. two roads open up before us, then: the first, Anthy killed "Dios". She lay on him, waiting by his side for him to die, wishing for him not to do so alone. She waits, and the exhaustion we see on her face is the result of her performing some form of magic that, in due time, would bring her brother back. The cost, of course, is that to save her brother from the dangers of being a prince, he must no longer be one, and the only way that can happen is if he becomes someone else, Akio. She revived him, and he, by design, "came back wrong". The other possibility is that she simply waited for him to pass out from exhaustion, not wishing for him to do so alone, and once he was asleep she felt comfortable leaving him behind and facing the crowd outside. The one who woke up before the swords was still Dios, but was to become Akio as soon as he opened the door. Because they essentially killed his sister, and because there is nothing he can do about it. I will come back to this later.
Now, Anthy. When she walks out of the shed, we have the last bit of evidence of what she may have done to Dios. She say she has made it so that he will no longer be the prince the crowd craves, which may imply that she became the twisted version of a princess: as the play says, when there is only one prince, and the prince's sister wishes to become a princess as well, the closer she can get is to become a witch, and that is exactly what the crowd calls her. Yet, the crowd doesn't really seem to acknowledge that she is his sister, so it may be that they name her a witch because of the effect of her actions, not because the witch is a role that can only be occupied by the sister of a prince. However, she never calls herself a witch, differently from what we see in the play. She simply says that she has locked her brother up, and that is in fact enough for him to no longer be a prince, because there is no girl for him to save. Because he cannot be a prince for his own sister.
To me, there is no reason for Anthy to have assaulted Dios. not only that, but it would make much more sense if the dynamic we see today is the product not of Anthy "corrupting" Dios, and then him taking the upper hand on her once he realises what has happened. What I do believe is that the patriarchal mindset that transformed Dios into Akio, this only after Anthy has "saved" him, came from Dios' experiences.
When Akio/Dios wakes up, and finds his sister is trapped in torture forever, he tries. He is a prince, she is a girl, he must be able to save his sister, no?
I believe, the very first time, when they realise that Anthy can exist on different planes, and in one of them she is illusionarily free, Dios/Akio tries to save her. But her realises he can't do that, because she is his sister, and so he must find another method. Akio/Dios assaults Anthy because he wants to save her, though he cant. The only people he can save are princesses, and he has been taught that the other thing connected to being a princess, aside from being saved, is kissing the prince. Because the kiss came as a consequence of the saving of the princess, then perhaps he thinks it may work the other way around. If he makes Anthy his princess though a kiss, then he may be able to save her. Kissing Anthy is something he can do without issue, it is a simple act, much more than opening the Rose Gate, especially if it means saving his sister. So he tries. And he fails. He tries again. The result is the same. At some point Akio must have come to the conclusion that perhaps a kiss was not enough, and sex was the answer. He assaulted Anthy. It didn't work. He tried again. The result is the same. Despair turns to anger, not only at the circumstances, but also at Anthy, for being impossible to save.
Only after some time did Dios fully become the despicable man we know now. If the ghost of Dios still somewhat exists and has compassion for Anthy, it must mean that at some point, his intention was to free Anthy for her own sake. But Akio does not want to take the swords of humanity on himself. He does not want for his sister to be free. Somewhere along the lines, it became less about become the kind of prince that could save her sister, and more about going back to the power he had when he was everyone else's prince.
obscuring roses
episodes 2, 5, 10, 14, 36