the view between villages || storyboard by @meltesh28
Misplaced Lens Cap
Sade Olutola

Origami Around

Love Begins
TMBGareOK. The Official They Might Be Giants tumblr

tannertan36
𓃗
noise dept.
No title available
Fai_Ryy

Kiana Khansmith
I'd rather be in outer space 🛸
d e v o n
Mike Driver
Cosimo Galluzzi

Discoholic 🪩
2025 on Tumblr: Trends That Defined the Year
macklin celebrini has autism

shark vs the universe
One Nice Bug Per Day

seen from Germany
seen from Chile
seen from United States
seen from Venezuela
seen from Germany

seen from T1
seen from Indonesia

seen from Bulgaria

seen from United States
seen from Türkiye
seen from United States
seen from Germany
seen from United States

seen from Australia
seen from United States
seen from United States

seen from United States
seen from Türkiye

seen from Chile
seen from Germany
@svnnysolar
the view between villages || storyboard by @meltesh28
"Gojo should've gotten to live as a person-" THAT’S THE POINT. That is the ENTIRE point of JJK. Every single character who died was someone who "should've gotten to" do a lot of things. Riko should've gotten to live for herself, Geto should've had the chance to be a teenage boy given support and safety, Junpei should've gotten to live without fear, Nobara should've had the chance to let people in without fear, Nanami, Yuki, Mai, Higurama, EVERYONE.
Here's the thing, Gojo is on this list. Gojo isn't the exception because JJK at its core is a story about how overarching systems destroy people; bullying, capitalism, sexism, etc. And this system does not need people to run it. Which is why killing Kenjaku didn't stop shit because yeah he started this mess but its grown beyond him. Fuck, it was there before him.
This is also why despite Sukuna & Uraume being the only ones who are actual threats, nothing is better. The cast got rid of the higher-ups, jujutsu tech as it is, is no more. The major families are dismantled. This should be a victory. This is what the Sashisu gen pointed out as the problem but things have never looked more bleak.
Why? Because the problem isn't Kenjaku, Sukuna, curses, sorcerers or curse users. It's the existence of Cursed Energy itself. This has been pointed out multiple times by Yuki. Its the system and Gojo has been complicit to the system for a long, long time. He's also it's victim. Gojo says he's the exception a lot, but as everyone has rightfully pointed out, he was nothing more than a weapon to jujutsu society.
JJK has followed a very clear pattern to every character right from Geto to Junpei to Riko; characters are representatives of systems of suppression, and they will not escape it. I can't recall a single character that's escaped unscathed, much less alive.
Is it disrespectful? Yes. Is it demeaning? YES. There has not been a single character death that's been dignified in JJK. It's all on a scale of bearable to absolutely horrifying. It is genuinely wild seeing people resort to threatening the author AGAIN. Calm the fuck down. You are entitled to feeling upset about how Gojo has been treated but Yuta stans are being calm despite Yuta arguably suffering the "he is a weapon" thing WORSE. It's still a fictional character and JJK's narratives never treated Gojo with any exceptions despite the character saying otherwise.
the most interesting thing about gojo satoru's character is his irony.
his abilities, while making him the Strongest, are simultaneously his folly. everything "strong" him is at odds with who he is, what he wants, who he wants. this is why geto's question during the breakup was so debilitating— who is he without power? is power all he is?
the answer is ironic. he has the six-eyes, but he couldn't see geto deteriorating right in front of him. he was honing his power, which was ironically enough a key piece in fuelling geto's defection. his power, which is all he understands himself to be, causes him to lose the person he wants most, which has nothing to do with his power at all.
he has the limitless, but he's limited by love. as a literary device, kenjaku is a physical manifestation of gojo's weakness, of his love— shibuya only happened because he couldn't bring himself to destroy his beloved's body, an unmistakable act of overwhelming sentiment and intimacy. gojo's strength is not unidirectional; it bifurcates and goes in one direction while his overpowering love goes in another, leaving him in some liminal place in between. his love imprisons him in his youth (shown by how he always returns to it) and it also literally imprisons him in a box (the prison realm).
he has infinity, which doesn't let anyone or anything close to him, yet he aches for companionship. gojo forms allies so "no one will ever have to be alone again", because even though he has the world in his hand, it's on the condition that it's his alone. gojo craves closeness (from one person in particular) and his powers literally prevent him from attaining it. his desires are not only in direct opposition with his abilities, his abilities prevent him from fulfilling his desires.
he repeatedly tells megumi that sorcerers are alone when they die, but he stays by geto's side til the very end. after geto appears to "come back", gojo's first instinct is to smile, which goes against any and all logic, six-eyes or not. his barest self betrays him despite the fact that he knows he killed geto with his own hands a year ago. when he confronts kenjaku, he does the inverse of what happened with geto— he defies his six-eyes and looks with his soul, something that should've happened when he asked geto if he was okay all those years ago.
the things that make gojo satoru strong are the same things that make him weak. he is supposedly a god amongst humans, but his folly is that he's the most human of them all. he yearns, he loves, he aches, he craves— gojo satoru knows firsthand that love is the most twisted curse of all because he nakedly bears its cross.
jjk’s been making me feel quite philosophical lately
I promise, I’ll do better
Countdown to Love
from now on
food as a symbol of suho and sieun’s relationship in weak hero class 1
this is inspired by @dearmyloveleys’ analysis of the symbolism of food in whc1. please go read their post first, or at least after—it’s beautiful, insightful and will make what i’m about to say make much more sense.
food is involved in a lot of suho and sieun's pivotal moments of connection. the first is when sieun apologises to suho for trying to hit him when he prevented him from crossing the line.
this interaction lays the ground for the relationship the two of them will build over the rest of the first season. it's the moment suho refutes sieun's assumption that he is just another one of the boys at school out to get him. unknowingly, he creates the first crack in sieun's walls.
the food sieun goes on to buy him is a lunch at the school cafeteria (comedy king). although it's not at all what suho meant or expected, he has no problem eating it. over this meal they share, they get to know each other, and we get to hear the first little joke sieun makes in the show:
through food, they make their way into a conversation, through conversation they make their way into humour, and through humour into connection.
suho loves and enjoys food so much, it’s genuinely one of his biggest joys in life. and what he does immediately as he gets closer with sieun is feed him and share with him this joy of eating good food.
when he feeds him that ssam wrap, he says “hands make the food taste better”, but what isn’t explicitly said is that being fed by hands that love you is something different and something more.
suho makes it intensely obvious that the way to his heart is food, and food is what he ends up using to bulldoze his way through sieun's walls. and this loud and eager manner of suho's works on sieun instantly. as op pointed out, the smile in his eyes says everything: no one has ever shown him care so unrelentingly, no one has ever refused to give up on sieun so adamantly. and it means everything.
sieun takes notice of suho's intense love for food very quickly, which is made clear when he brings suho the ox knee soup he so craved to the hospital—and he doesn’t just bring food to suho, but yeongi as well.
that’s how this whole situation gains another dimension: it’s not just about sieun being attentive to suho and showing him care through food, it’s also about how suho affects sieun and begins to bring out of him the warm-heartedness that has always been there, but never had anywhere to go.
he notices and says as much: “you’re so warm-hearted. your eyes. the way you act, talk. and your face.” but what he doesn’t know is that this is his effect. he is not the one who made sieun loving and warm, but he is the one that gave him a place to finally express it, albeit in his rough, yet quiet and subtle way.
and the smile this earns him from sieun is a smile of relief, of being seen, of joy and freedom, it's sieun revealing his heart to suho for the very first time—and the way there was utterly interwoven with food.
when they feed each other, they not only sustain each other, they connect, they tell each other something more than what can be expressed in words, and through food, they both slowly carve themselves a home inside the other's heart.
while we’re here, i need everyone to take a second and look at sieun watching suho eat:
(no need to analyse this. that's sieun's first love. i feel crazy.)
moving on:
if we are to look at suho as someone who spreads joy and light through food, a big part of this being him delivering it to people, then the instance in which he brings sieun along to help him at his job is just another, more active way of him showing sieun how to express the care he feels for other people and spread joy himself; by making him do it the exact way suho himself does it.
it’s a subtle bonding moment like no other—doing something positive for the people around you together (even if they paid for it, lol.)
an instance that might go unnoticed the first time you watch (i know it did for me) is when for suho's birthday, sieun cooks him seaweed soup.
really, it symbolises a crucial moment in their relationship. the first time we see sieun give food to suho is the cheap school lunch, the second time is ox knee soup and the third is the seaweed soup.
lined up this way, these three instances can be viewed as symbolic of the stages of sieun and suho's relationship.
when sieun buys suho that school lunch, it's nothing special—it's cheap, likely not that good, and bought out of a sense of obligation.
the ox knee soup is a meal sieun orders, picks up and delivers himself—and it's the exact thing suho craved. it's thoughtfulness, gratitude, friendship and fondness, all expressed through a meal delivered to suho's hospital bed.
the seaweed soup is food sieun cooks himself for suho. it's the final stage, a most intimate act a person performs for the people close to them. made with his own hands, it one of the most subtle ways to show care and love. bearing in mind that only hours after this, sieun goes into a fight completely alone against an entire group in suho's place, this meal serves to symbolise the fact that their bond has become unbreakable, that they would risk it all for each other.
and the most shattering part of this: the same way we never see suho eat the soup, sieun never gets to express all the tenderness, love and care he feels for suho directly to him. he's taken away from him too quickly for that. all of that unexpressed warmth, devotion and affection stays brimming inside sieun, until we see it spill out of him in the form of violence, pure rage and then life-altering grief.
to end off, i want to discus one more instance in which food comes into play as a symbol in whc1, in arguably one of its most devastating scenes:
first, it’s suho who declines, and we see sieun’s face drop—
—and it’s not just in temporary disappointment that he can’t make plans with a friend. it’s in a sense of unease that signals that this is the moment after which nothing will ever be the same: suho blatantly refusing to go get food, when from the beginning he has been the one always loudly and enthusiastically suggesting it and without fail agreeing to it.
then, beomseok declines as well. we could look at this as just another instance where no matter how there sieun is and how much understanding and friendship he offers beomseok, all beomseok ever saw and wanted was suho, so if he’s not going, he has no interest in going either.
both of the boys leave the classroom and sieun is left alone once again, dread blatant on his face, audible in the piano tune in the background that turns slow and quiet, until it fades out completely—and that’s when we know: this was the last good moment the boys will ever have together. it was the beginning of the end.
whc1 has managed something i haven’t seen in a while—to quietly and implicitly tell a story of such depth, to pour such symbolism into every line, every shot and camera angle, every expression on the actors’ faces and through this make the blatantly violent and loud scenes that much more impactful in a new and different way.
especially when it comes to the characters’ inner feelings and their relationships to each other, barely anything is ever told explicitly, and still nothing goes unnoticed if you’re willing to pay attention, even as a casual viewer.
i’m so grateful to every person who worked on this show and i hope they know we see with just how much love and care it was created.
thank you op for inspiring this <3
analysing less spoken about whc1 ep2 scenes that symbolise Suho & Sieun's relationship + how food is a symbolism of integral sustenance, to which what Suho’s existence means to Sieun:
ah yes, ep2, wherein suho famously asks if they're (him & Sieun) were "a married couple in a previous life".
But more than that scene, I want to bring attention to the following scenes afterwards, where the camera brings us through Suho and Sieun's separate lives. These scenes juxtapose how Sieun returns to a lifeless home while Suho goes about his livelier delivery job. They too, shed light on the symbolism of food in Sieun and Suho's relationship.
At home, Sieun sits and eats pre-packed convenience store food that he heats up in the microwave. The way the sequence is filmed, it indicates that he’s been doing this and eating cold, lifeless food for a while now. Food in many cultures across the world is supposed to reflect genuine warmth and human touch, but him eating these manufactured, quick solutions to hunger further reflects how empty and emotionless his life is. It’s almost like he’s part of the robotic system his parents and society have made him apart of.
I'd also like to draw attention to how the microwave's design is shaped like an egg, to which I then draw a link to the line that defines Sieun's story in whc1:
The bird fights its way out of the egg. - Demian
This quote is flashed in the beginning of Ep1, and it foretells Sieun's eventual coming of age story and breaking out of his shell. It is poetic that he heats up the aforementioned soulless, cold food in that microwave. This foreshadows that through food which is very much a character trait associated with Suho, Sieun will experience the pain of youth as much as it brings him light, both of which Suho gives him.
Next, as for Suho, we see him going on food delivery jobs. He loves eating and even works as a food delivery driver, which cements his character association with food. He sends these more sincerely (more or less), but definitely warmly cooked food to people who wants them. This act of delivering warm food is very much a representation of what he is to Sieun. He delivers warmth and company to Sieun, which is what food should do when done and prepared the right way. And Suho is a warm person — he gives a sweet in secret to a child at one of his delivery addresses.
His food delivery scenes allude to a later part of Ep2, where we see this symbolism of Suho being the person to deliver warmth to Sieun, finally materialise into a physical act and therefore breathes a tactile/physical manifestation into their relationship dynamics.
He feeds Sieun the ssam wrap, gently pushing through Sieun's resistance as he always does. Metaphorically, and recalling Demian's quote, he breaks through Sieun's shell. In return, Sieun smiles with his eyes — his eyes are so soft and fond after Suho feeds him. Because for the first time in a while, Sieun is eating warm food and it’s given to him by Suho. From a more retrospective angle, Suho has given Sieun the life, attention and warmth that he wishes for.
Suho is Sieun’s sustenance.
Regardless if you view them platonically or romantically, this entire sequence revolving around food and how it symbolises Suho’s role as a giver of warmth and substance, exemplifies just why Sieun is so attached to Suho. After all, Sieun’s always been cold and lifeless. He just needs someone to show him that he can be loved. He needs someone who is willing to put in the effort, break his shell, to show him that he can be loved.
And then Sieun was the one to bring the life and warmth back to Suho when it was him who needed it.
It’s all wrong, it’s alright
Nanashima and Shinomiya (7x4/4x7): The Real BL Couple of Kiss Him, Not Me
Since the manga ended a couple of months ago and there has yet to be a 2nd season, I was exhilarated by the news of Junko penning another special chapter dedicated to Nanashima and Shinomiya’s reunion mid-timeskip. Now that the chapter is out and they have officially become canon, I’ve taken the liberty of re-reading the manga to take note of the goodies Junko provided for us.
NOTE: This is not meant to invalidate the other relationships in the series! We all have our preferences when it comes to pairings, and it’s fun to pick apart and identify what we love about them! So if this ship is not your thing and you are more inclined toward other ships, feel free to ignore and scroll past, simple as that! <3 But in case you’re interested, hell yeah :)
Keep in mind though that this is only my personal opinion and in no way am I stating that what I say is canon or completely accurate so if you disagree, that’s totally fine! Everyone has different interpretations of a series and its characters. But any aggressive comments against my POV will be promptly blocked.
WARNING: Contains manga spoilers past Chapter 29! And blatant signs that I am just reading too much into shit. Also use of TV Tropes logic.
Nanashino may not be the deepest relationship in the series as most of their scenes together are for comedic effect but they have some cute behind-the-scenes interactions worth looking into a second time.
Keep in mind that this will not be 100% objective as it is Nanashino-centric for the most part but I do hope the points as to why Nana and Shino work for me as a couple come across.
Keep reading
@zorua-adorable Thanks for the correction ^_^
Hi! Hope you're doing well!
How would the Kurtas killing Sheila fit into Kurapika's and Chrollo's arcs? This whole side B thing is a bit confusing for me and though I trust Togashi, I'm scared it will come off as excusing the Troupe for their violence
@aspoonofsugar wrote a whole meta about this. The main idea is that there is a cycle of revenge and violence and more innocent victims leading to revenge which leads to violence which leads to move innocent victims who the want revenge and pursue violence and create even more innocent victims.
This isn't new. It's been clear that this is the point of Kurapika's arc for decades now, and with Chrollo as his shadow, well, it only makes sense that Chrollo has similar motivations to Kurapika, much like Hisoka does with Gon and Illumi with Killua.
As for excusing the Troupe... I don't think we run this risk. Literally nothing you can do excuses torturing kids. But someone, way back in 2018, wrote to me to point out all the inconsistencies between the Phantom Troupe's characterization and their supposed treatment of the Kurtas.
I'll say what I said to them years ago: seeking to understand is not the same as excusing.
This blogger also was clear that they didn't want to excuse the Troupe, but noted moments that hinted something else was going on. In other words, Togashi's been dropping hints about this pretty much from the start:
The PT's requiem for Uvogin, which was extremely violent, was stated by one of the most violent troupe members (Feitan) to be out of the ordinary for them. But the Kurta massacre was even more violent and disturbing so... there's hint here in Yorknew that there's a gap that needs to be filled in.
Members like Paku and Machi show a kind of empathy in Yorknew and beyond that makes torturing little kids seem exceedingly unusual for them. Furthermore, Paku in particular notes that she can understand Kurapika because he was on the verge of killing Chrollo to make himself feel better for his losses. Paku then sacrifices herself to save Chrollo, so this wasn't out of a coldness towards Chrollo, but instead clearly just, empathy. Empathy and cold-blooded child torture don't usually go hand in hand.
The strange note left behind after the Kurtas died seems to cement that something was "taken" from the Phantom Troupe by the Kurta Clan:
The "child murder" motif seems to, well, be a Thing with the Phantom Troupe if we consider Sarasa's manner of death. Sheila wasn't a child by the time she met Kurapika and Pairo, but a childhood friend still.
It fits really, really well with the characterizations we have, too. To quote Sugar's essay again:
Knowing Chrollo's coping mechanism I wouldn't be surprised if he decided to avenge Sheila hiding his grief behind an utilitarian objective, like... let's take the Kurtas' eyes and sell them at the black market.
And with the thematic points (again, read Sugar's essay!):
Sheila being necessarily malicious towards the Kurta to the point she would help the Spiders to kill them would mean 1) that the Elders were right and the outside world is bad... hence Kurapika's childhood dream (which btw it is Gon and Killua's childhood dream) is worthless and 2) that Kurapika is indirectly responsible for his people's death, which really doesn't work for his arc and his survivor's guilt.
Sheila being an unknown catalyst to violence and tragedy instead works better on multiple levels. First of all, it would make Kurapika's idealism the right thematic choice over the Elders' cynicism and fear of the other. Secondly, it would fit with the exploration of the cycle of revenge as fundamentally wrong and damaging to all sides. Thirdly, it would be sweet tragedy for both Chrollo and Kurapika... after all, Kurapika's dream comes from a person close to Chrollo, while Chrollo's act of violence hurt 2 friends of Sheila, who had helped her.
The cycle of violence and innocent victims are both major themes this arc. We have Morena, an innocent child rejected cruelly by her father, now wreaking havoc. We have Hisoka targeting the Spiders, knowing Chrollo's refusal to be a human being who loves is all subterfuge. But, the Spiders are willing participants rather than helpless victims of Hisoka--they literally chose to enter the Whale knowing that they were being hunted. It's kill or be killed, so they're perpetuating the cycle.
And of course, we have Woble, Oito, and Kurapika, and the whole Succession War. Only one can be left standing to win the war. Except... the innocents are dying. Kachou. Momoza. As a baby, Woble has no chance except escaping (which I do believe will happen). Like, the Black Whale is pretty much an entire society of warfare at different levels.
Lastly, and this is something Sugar and I spoke about, the idea of breaking the cycle of vengeance is what the entire theme of the Succession War Arc is about. Kurapika literally states from the start that they have to escape.
Now, I know for the princes, leaving=death (as seen in Kacho and Fugetsu's story) but... I wouldn't be surprised if one of Chrollo's nen abilities can bypass the parasitic nen being used to magically trap the princes in this violence.
Someone needs to step out and say "no more" and the violence stops. YouTuber Aleczandxr noted that Woble is in some ways a symbol of innocence lost for Kurapika. Woble surviving is key to Kurapika surviving as well.
I don't doubt Kurapika will do this in multiple ways: helping Woble escape and ending his quest for vengeance against Chrollo by, probably, working together to get the hell off the Whale with what they have left.
The ally theory is because, well, you integrate with your Jungian shadow and Kurapika kind of says it here, again at the start of the arc. The way to get out of this war will involve allies:
Hi!
Just some additional thoughts about this and the latest chapter :D
First of all, about escaping the Succession War, there is this:
It is too soon to say what it means for the plot, but thematically it is clear. The whole Succession War system works because the Princes are choosing to participate in it. Their repressed feelings of fear and their wish for power are making this war possible. The whole system is built on this. As Nasubi said, the princes can choose the rules of the succession war and which kind of kings they will become. This also means that if one prince manages to leave, then the whole system crumble and the war ends.
The problem is how to do it? Kacho and Fugetsu's attempt failed because leaving the cycle of hatred is not that easy. Then this arc explores this question. How can one do it? The answer will be given by the outcome of the succession war and of Kurapika and the Spiders' conflict.
Secondly, Kurapika and Chrollo's foiling is absolutely zero subtle and has just gotten stronger this chapter:
Yeah, maybe choosing to be a villain to pass on justice on others is not the greatest idea... especially if you end up becoming just like the people you want to punish...
Sarasa's murder has many points in common with the massacre of the Kurtas... both times there are children being tortured and dismembered and a note is left behind... both times a message to the world is given. Then it is clear the Spiders have clearly lost themselves in their roles:
They are a theatre troupe after all and the role they embrace is that of villains. This role has made them worldwide celebrities to the point the idol motif is following them everywhere this arc. They are famous! They are idols! They are rockstars and celebrities!.... And they are absolutely no-one (phantoms) because they have lost themselves... In order to "clean up" the baddies they have turned into the bad guys instead... From Clean Up Rangers to Spiders...
Speaking to a person who stays loyal to herself:
Sheila apparently (emphasis on apparently, the flashback is still not over) leaves the Troupe and keeps pursuing her dream to become a Hunter. This is important because "becoming a hunter" is a motif in the series (I mean... obviously). Becoming a true Hunter means becoming yourself and growing. It means pursuing your dreams and enjoying life. So, even if obviously there are bad or utilitarian hunter, the title keeps holding a positive meaning for the protagonists:
For Gon it means adventure. but also roots ironically
For Killua it means freedom (see the juxtaposition between hunter and assassin in his arc)
For Leorio it means being able to make a difference in the world
For Kurapika is means discovery, knowledge and wonder
However, Kurapika has turned his profession into a mean instead than a way of living, which is exactly what he shouldn't do:
HXH main theme is "enjoy the journey" aka enjoy life, which is something Kurapika isn't doing. He needs to if he really wants to honor Pairo and I think he will realize it before the end of this arc.
Recent hxh batch ask: Do you think there's a purpose behind Nobunaga's lack of focus in the PT flashback, despite getting a lot of screentime throughout this batch/Mafia War plot? He is the one who starts the flashback but doesn't appear until the second chapter.
Hi!
Mmmm, to be honest, I don't really think there is any hidden meaning. The flashback in general focuses on Chrollo more than the others simply because he is the most important Spider. If you take notice, it is really an origin story of Chrollo himself as much as it is of the Spider as a group. None of the others' origin is so well defined.
I would say the 3 other spiders the get the most focus in the flashback are Machi, Paku and Uvo.
Machi is the only one still alive and whose focus serves her character, rather than the group's origin story. It is revealed the origin of her nen, but whatever this means for her character is still to be seen. I would also highlight I think Machi has a good shot at surviving. In general, she is also the first Spider we are introduced to, so it fits she is gonna have an arc of her own.
Uvo and Paku are already dead, but their focus really serves the group dynamic. Specifically, it gives even more meaning to their respective deaths because it shows just how key they were to the whole group. I would actually say they embody the 2 different sides of the organization and of Chrollo himself.
Paku is the Troupe, while Uvo is the Spider. By this, I mean Chrollo makes the Theatrical Troupe with Paku, while he creates the Spider with Uvo. As a result, Paku embodies empathy and is Chrollo and the Spiders' connection to their past selves. Uvo instead represents the violence and the strength they developed to survive. This is shown well even when it comes to their respective powers.
Paku can steal memories and connect with others, after all. Even as a child, she is said to be good at reading people's feelings. Uvo is instead the strongest physically and is said to be a self-sacrificial fighter, who grows in power when he has someone else to protect.
This dychotomy is found even in their deaths and how they affect the whole group. Uvo's death sends the Spiders on a rampage. Paku's sacrifice steals the thunder from the Troupe's quest of revenge against Kurapika.
Uvo goes missing, while pursuing a fight with Kurapika out of anger and stays loyal to the Spider until the end. Paku empathizes with Kurapika, grows to like Gon and Killua and betrays the Spider for its members' sake. Uvo appears to be all Kurapika thinks the Spiders are, while Pakunoda confuses Kurapika because she is so different from the stereotype he has in his head.
That is because Uvo is the Spider aka the mask the Troupe is wearing. Pakunoda instead reveals who the Spiders really are behind that mask and brings back the Troup, even if just for a moment.
All of this to say, I don't really think there is anythin suspicious in Nobunaga not getting that much focus in the flashback. Phynks, Feitan and Frankling did not get focus either, after all. If anything, I think Nobu starting the flashback plus his recent focus might be a death flag for him. However, it is too soon to say for sure.
Thank you for the ask!
Trail cam catching a deer fawn with the zoomies
[description: a forty second trail cam video of a baby deer bounding around the forest with its mother calmly watching and sitting down in the background. the fawn pauses every so often, tongue out panting and tail wagging before leaping off again, running and jumping in and out of frame. end description.]