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@whenwherewhowitch
puella in somnio
potato's blog for analysis
main: @uteanthys

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please don’t cry i am not your brother i am not your lover and there is nothing wrong
nanami and touga sit on opposite sides at the head and foot of the table
the way a couple would usually sit, like husband and wife
but, with how long the table is, it actually pushes them farther apart. these roles they play are what creates the distance between them
and their enmeshment is exactly why they can’t have a genuine loving relationship as siblings, the way nanami longs for
this is all a result of the dynamic touga manipulates them into
and it’s intentional on his part because he does it precisely to maintain distance from nanami
he doesn’t want to embrace their relationship as siblings because he’s become disillusioned to the idea of family at all
the only love touga knows is sexual and the only idea of a household he has is of the power dynamic between parent and child, which is, in his experience, also sexual—i like to interpret his backstory in the movie as a part of the show canon because it explains a lot of his behavior and relationship with nanami and sexuality in general—and that’s why he mirrors akio’s relationship with anthy in the apocalypse arc, which also takes on that father/child dynamic
what he doesn’t realize is that nanami does genuinely love him as her older brother. she doesn’t want to be his lover, she never did. but he can’t allow her that, because he no longer believes in that kind of love
still, i think its significant he didn’t make advances towards her or really reciprocate her feelings until then. he just instilled a one-sided enmeshment in her
i think in a way he may have wanted to protect her from their parents and from maturity in general, the way he did when they were younger
or at least he wanted to monopolize her innocence and refuse her the opportunity to lose it, by making him the only man she’d ever aspire to knowing he’d never fulfill those feelings
please don’t cry i am not your brother i am not your lover and there is nothing wrong
nanami and touga sit on opposite sides at the head and foot of the table
the way a couple would usually sit, like husband and wife
but, with how long the table is, it actually pushes them farther apart. these roles they play are what creates the distance between them
and their enmeshment is exactly why they can’t have a genuine loving relationship as siblings, the way nanami longs for
You must understand that everything i say is first filtered through several layers of irony I alone am aware of
i just now noticed that hanekawa has a tendency to overexplain and focus on the tiny details and gather all the pieces of knowledge
it didn't occur to me before either how that isn't normal but also probably because that's normal to me... she resembles me a lot personality wise

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hanekawa, do you like bananas?
after that entire encounter, his only reaction is to chastise hanekawa about eating bananas on campus. he has a weird sense of humor
its kinda like hes saying, ahhh, this all would've been avoidable if she hadn't slipped on a banana peel (really: if i hadn't messed up and caught her that day) so he's rambling nonsensically to her when she's entirely uninvolved.
and hanekawa's the perfect target for that because she takes him seriously whatever he says -> well, i don't really dislike them, and they're high in nutritional value, so if it's a matter of liking or disliking them... yeah, i guess i do like them.
it makes her fun to mess with / nice to confide in because he doesn't have to provide any context, but she'll listen to anything he'll say
but also it shows how his first instinct isn't to feel vindicated towards senjougahara or even really feel much irritation at all because he's still fixated on solving her problem. he really is overly concerned with other people.
besides that, knowing kanbaru's associated creature is a monkey, i wonder if it had anything to do with her
i've had a bit of a bad couple of days thats why i haven't been posting but opening this file calms me down and fills me with serenity and happiness
do you think she does pavlovs dog / learned helplessness experiments on him with the stapler click
To be honest i dont think it would hurt that bad if you got stapled in the mouth he's kind of just being a pussy
When your girl lowkey insane
she does actually "seal" his mouth with the staple. she's ensuring he stay quiet by legitimizing her threats, like a warning shot. but then she's also just a sadist. but then i can't judge
saying things like, "an action of hostility," and, "i'll switch to battle mode." i didn't notice at first because i was caught up in how surreal absolutely everything in monogatari is, but she really is an eccentric girl.
the way she speaks sometimes really clues that in. she's the cold archetype, but its kind of offset by her occasional otaku tendencies and references. she's intentionally set apart as kind of strange and unsocialized but she personally sees it as normal and dismisses it all as common knowledge: anyone would know that much, obviously, araragi.

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hitagi crab, part one
i think one of the things i hear people joke about with monogatari all the time is the gratuitous fanservice but i've started to wonder about what this lens of sexuality means to koyomi
especially when we open with it for this arc
just after he focuses on hanakawa's panties, he starts his recollection (in the fastest frames i feel i've seen so far, but it may just be for sheer volume) of spring break:
"it was also a crushing one."
its almost entirely framed around that initial encounter with "kiss-shot." at this point i want to assume she's the one who'd turned koyomi into a vampire, and i'm wondering if it had been something like sexual assault that had affected his relationship with women and sexuality in general:
the sentiment of being "unlucky" in the course of events, but also considering himself irresponsible not to admit he was to blame, that overall, someone else probably wouldn't have had the same fate: it all reads to me like the resignation of a victim of abuse. he'd fallen prey to some misfortune, but it was also partially his fault because its something no one else would've suffered, because he'd involved himself. araragi is overly considerate: no matter who it is, he would attempt to save them.
so, why would it be that it was because he was who he was? that's the explanation that comes to mind for me at the moment. when "kiss-shot" appears, she's a "beautiful demon" as he describes her later: an older woman, a monster. i just find it interesting that bakemonogatari opens this way, and with this arc, with its themes of bodily autonomy and reclamation: that a seemingly mundane interaction, that seeing a glimpse of something erotic, calls his mind back to this place so immediately, or that these two situations are juxtaposed
the non-linear structure and how quickly the sequence passes by also make it feel as though these are things koyomi doesn't currently wish to address, things that he may be unwilling to confront, or to confront only so quickly as to be insignificant
side-note: all my theorization and stuff is the result of this being in retrospect. as i write this, i've seen up to the end of the mayoi snail arc. when i first watched, i was moreso thinking about how i had no idea what was going on and i even briefly searched whether i had started in the wrong place, lol
i also think its significant he calls senjougahara a demon here
when we remember what, or rather who, he associates with the word "demon"
i think he does associate women with his past abuse. senjougahara is only like a demon because she isn't a mature woman, she's just a girl. and while she's exerting power over him, denying his autonomy by removing his ability to protest or resist (she's reenacting the conditions of her assault onto him), she isn't sexually exploiting him. but, still, he could associate older girls in general, in that transitionary phase towards womanhood, with the same corruption. the same way senjougahara likely associates him with her older male abuser.
i was thinking that maybe that's why "araragi only hangs out with little girls."
curiosity like cockroaches: encountering senjougahara
araragi's profile as he turns is seriously too pretty. such an innocent expression for a lecher. its satisfying when it gets ruined the next frame
senjougahara's aura here is seriously unmatched
as soon as i heard her voice i had to pause the episode cause like i'm particularly weak to chiwa saito but especially this archetype of sharp seemingly apathetic and sadistic self-contradicting girl so its only fair i would fall in love with her at first sight
but i feel like she's a character thats deeply rewarding to love because even without that unique appeal to me she's very convincing
i wondered at the significance of an injury to the mouth in this scene
she gives him no room to protest or retaliate to give herself the grounds of total negotiation. when she'd been assaulted, her protests had been ignored, and she only escaped through violence. she was forced to become a violent person to protect herself
from the moment her eyes fall on him you can see the genuine terror in them. it isn't the gratitude of a girl who had just been saved from a fall, but the certainty of someone who realizes they have been vulnerable when they cannot afford to be. as an abuse victim, she has to defend herself against any intrusion into her sphere to survive.
the loss of her weight made her physically vulnerable, light, almost "not of this world." she's so light and inconsequential, she could disappear. but i think this is as she'd intended it
senjougahara had been terminally ill. she'd already had little experience of the outside world. when she was ill, before the miracle of her recovery, she wouldn't have suffered at the hands of the stranger that came into her home. it was because she'd gained the bodily autonomy of health that it had been taken away from her. of course she would embrace being "ill" again, to return to that state of near nonexistence that had protected her from the danger of being perceived. senjougahara, even though she'd been in his class for three years, had been "just a sickly girl" to araragi, and that was exactly the indifference she'd wanted from everyone. it is that much easier to discard the weight of what had happened to her
also, her mentioning cockroaches may be more personal when she's experienced severe poverty. senjougahara sleeps on the floor. when you sleep on the floor, in a futon, it isn't uncommon for cockroaches to crawl on you in your sleep. they're like so many persistent hands, roaming over your body, too many to get rid of them. it's a painful comparison
her self-preservation is violent
she feels the need to threaten him, even if she doesn't actually incite it against him once, to protect herself, for her sake
i also find it interesting because the word for stapler ホチキス (hotchkiss) has "kiss" in it. maybe thats why she staples him in the mouth? she seals his mouth shut with a kiss thats actually a weapon thats actually a stapler. its kind of exactly like the way she hides her feelings for him beneath her sadism, and maybe why staple stable and hitagi in general have such a strong association with staplers. i was trying to piece together an answer to the "why stationary?" question i have but this might answer this at least
i encountered a single crab
similarly to araragi, even though we end up discovering that she hadn't simply encountered but actively chose to interact with it, she frames it as something that had happened to her to undermine her emotional investment
i originally thought, when she said "stripped me of all of my weight," that there was a double entendre here referencing her assault, but i don't think 根刮ぎ carries the same connotation
araragi, listening, connects the dots between the event and her weightlessness and confirms to himself she too experienced an abnormality: i think that, when he's going over what she'd said in his mind, he's weighing whether or not to involve himself
i thought her sideways posing here was endearingly strange when i first saw it, but i realize now its because she's embodying a crab
when she first strikes at him with the nail file, its in a single pincer motion, similar to the way crabs strike defensively with one arm
the nail file is the smaller pincer, and the stapler is the larger claw. when crabs latch onto their prey to tear it apart, they use both. she switches from a defensive move to an offensive one, once she's neutralized him as a threat
thinking of senjougahara herself as a crab, "hitagi crab"
crabs form a defensive outer shell, similar to her personality
senjougahara says that crab is delicious. she isn't wrong. crab is a delicacy in many places. it's sometimes said that the process, the effort that goes into disassembling the crab, taking it apart piece by piece to access the soft, succulent meat of the inside, is more enjoyable than the meat itself. after all, we don't usually eat it pre-prepared, without the shell. this serves as a metaphor, again, for assault
i wonder at the significance of the number 5

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this is where i fall in love
curiosity like cockroaches: encountering senjougahara
araragi's profile as he turns is seriously too pretty. such an innocent expression for a lecher. its satisfying when it gets ruined the next frame
senjougahara's aura here is seriously unmatched
as soon as i heard her voice i had to pause the episode cause like i'm particularly weak to chiwa saito but especially this archetype of sharp seemingly apathetic and sadistic self-contradicting girl so its only fair i would fall in love with her at first sight
but i feel like she's a character thats deeply rewarding to love because even without that unique appeal to me she's very convincing
i wondered at the significance of an injury to the mouth in this scene
she gives him no room to protest or retaliate to give herself the grounds of total negotiation. when she'd been assaulted, her protests had been ignored, and she only escaped through violence. she was forced to become a violent person to protect herself
from the moment her eyes fall on him you can see the genuine terror in them. it isn't the gratitude of a girl who had just been saved from a fall, but the certainty of someone who realizes they have been vulnerable when they cannot afford to be. as an abuse victim, she has to defend herself against any intrusion into her sphere to survive.
the loss of her weight made her physically vulnerable, light, almost "not of this world." she's so light and inconsequential, she could disappear. but i think this is as she'd intended it
senjougahara had been terminally ill. she'd already had little experience of the outside world. when she was ill, before the miracle of her recovery, she wouldn't have suffered at the hands of the stranger that came into her home. it was because she'd gained the bodily autonomy of health that it had been taken away from her. of course she would embrace being "ill" again, to return to that state of near nonexistence that had protected her from the danger of being perceived. senjougahara, even though she'd been in his class for three years, had been "just a sickly girl" to araragi, and that was exactly the indifference she'd wanted from everyone. it is that much easier to discard the weight of what had happened to her
also, her mentioning cockroaches may be more personal when she's experienced severe poverty. senjougahara sleeps on the floor. when you sleep on the floor, in a futon, it isn't uncommon for cockroaches to crawl on you in your sleep. they're like so many persistent hands, roaming over your body, too many to get rid of them. it's a painful comparison