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Origami Around
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Kiana Khansmith
Jules of Nature

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@zekidork
Yuki loves both Kaname and Zero, each man holds one half of her heart
I think Ren and Ai's names reflect perfectly on Yuki's relationship with Kaname and Zero. Like how Yuki was in love with Kaname first in the series, then fell in love with Zero overtime in VK like friends to lovers.
The fact you put Ren and Ai's names together, the combined name has special meaning. It's obvious as hell that both Kaname and Zero hold each half of Yuki's heart. The fact she gave special name to each of her child she has with them AND they have special meaning when put together.
Yeah.
There is no denying those two hold one half of Yuki's heart. Remember, it's CANON that Yuki's thirst WASN'T quenched by drinking from only one of them? It was only quenched after she drank both of their blood?! We see that in VK.
Now.
Does Yuki love Kaname/Zero more than the other one? Well, that is debatable. For over a decade, this has been debated from both ships. Honestly.... does it even matter?
Yuki loves BOTH Kaname and Zero.
If you say Yuki loves Zero/Kaname more than the other, it doesn't get rid of the fact that she loves the other guy too. Her love for the other man isn't going to go away lol like why are we even having a debate on which guy is more important? It's very clear that these two guys are the loves of Yuki's life, and they're very dear to Yuki.
Like Hino has showed very clearly in BOTH series that Yuki loves both men and they're both extremely important to her.
We also see how both Kaname and Zero comes to terms that Yuki loves AND needs the other man in her life too. Like Kaname with Zero in VK, and Zero with Kaname in VKM.
So yeah, it's very clear that Kaname and Zero each hold a half of Yuki's heart.
btw if Yuki and Zero's plan DID WORK in VKM as I've mention in my other post. There is no denying that Yuki will NOT dump, and leave Zero for Kaname, NOR leave Kaname for Zero after he woke up. She wouldn't do that to either of them. Yuki isn't that type of person we see in VKM. It's very clear that she has come to terms of how she loves both of these men.
With that said, she was going to have both of them live with her, and their children.
Vampire Knight Ending - Kaname, Zero, and Yuki would have all lived together
Rereading the entire series again, I realize that Kaname, Zero, and Yuki would have all lived together.
Obviously that didn't happen, because Zero died AND Kaname didn't wake up when he got his heart back
In VKM CH.50, some fragments of Kaname's heart has melted down severely and remained inside the furnace. So it didn't return back inside Kaname.
Yuki knew this would happen after she learned some fragments had melted down and wouldn't go back to him. And yet, she was still hoping Kaname would wake up when they returned his heart to him.
It was clear she was hoping he would wake up, because she says this in the same CH.50 below of what she'll do to him when Kaname woke up.
I'm pretty sure Yuki was hoping Kaname would wake up like her and Zero had believed, but he didn't. She was left with the only choice of using her life to turn him human, since that human conversion formula, or cure, didn't work on him either.
In CH. 45, both Zero and Yuki say the same thing to Ai and Ren after they tell their daughters of their plan. Clearly implying that they believed Kaname would wake up and react to what they'll do to him.
Also Zero says the same thing to Hanabusa in CH.44.
So yeah, it was implied that Yuki and Zero both thought Kaname would wake up after they return his heart back to him. Yuki wouldn't use her life to turn him human, since it implied that wasn't part of their main plan, AND both Zero and her mention a few times of "punching" Kaname for all the trouble he caused them when he wakes up and they speak to him.
I'm pretty sure Hino was implying that Zero and Yuki planned to wake Kaname up. After they had a good talk with him, Kaname would to live with the two of them and their daughters together.
I mean.
It is clear that Kaname WOULD live with them.
It's not like Yuki was going to dump and leave Zero for Kaname after he woke up, NOR was Yuki going to leave Kaname alone after he woke up either. Nah, I'm pretty sure she was going to have BOTH Kaname and Zero live with her. That woman loves both of them too much lol
Anyways, I thought this was interesting to make post about. A different ending we could have gotten~
BTW.... in CH.46 there is a page of Zero talking about his life, and he says, "Our family grew." Look to the right, there is person there, hidden.
I always wondered who Zero is picturing there as he is dying. Clearly it's not Kaien, because he died before Ren was born. It's not Hanabusa, because he has little to no interactions with Ren. He also only seems very close with both Yuki and Zero. It would be weird to imagine Hanabusa here as Zero is picturing his family.
So the only two people I can think of would be Taro (Aogiri).... or Kaname.
I feel like it's more of Kaname, because if it's Taro, wouldn't there be a picture of his face instead of showing just the feet? Zero already knows Taro from the amount of years he's seen him.
Whereas with Kaname... it's been almost a thousand years since Zero last interacted with him. Zero already believed Kaname would live with him after he and Yuki woke him up. With that in mind, it would be believable that Zero would imagine him there with their daughters and Yuki in his dying moments.
After all, Zero has matured greatly and he seems to be at peace. This person he is now is far different than the traumatized and brooding teenager he once was.
But eh, I could be wrong about who that person is. For all I know, it could be someone else~
Oh yeah, I also want to put this down. I also think this panel from CH.46 is very INTERESTING.
Kaname shown in the background as Zero is saying that it was natural for him to love Yuki, and the one existed inside her. Obviously, Zero was talking about Ai when Yuki was pregnant with her. BUT wouldn't it make more sense to show Ai instead of Kaname while Zero is saying that?
Hmm.
Eh, what do I know~
This could be a bit weird question, but do you think that the story of Vampire Knight would have been better if it was acknowledged that Yuki and Kaname shouldn't be together? Both because they were raised as siblings and Kanames treatment of Yuki.
(This was not made with ChatGPT!) Okay, first of all, that is a great question. Thank you so much for asking (please send more hehe)! Let me preface this by saying, fiction is fiction, and I do not inherently have a problem with incest in fiction. I will be criticising it in the world, but I'm an adult with a fully functioning brain, and at the end of the day, incest is not the main problem I have with Yuki and Kaname. This is probably going to be a long one, so strap in!
(Yuki-critical, Hino-critical, Kaname-critical, Vampire Knight-critical)
Let's address the core problem first: Vampire Knight doesnāt know who Yuki is. Her main character traits are established as kindness and gentleness, but the storyĀ treats her as a symbol first and a person second.
Yuki is supposed to encapsulate peace, innocence and motivation for male characters. Still, she isĀ rarelyĀ allowed to be decisive, curious in dangerous ways, wrong in ways that cost her something or actively choosing between imperfect options. This makes her feel spinelessānot because she lacks conviction, but becauseĀ the narrative removes her agency while insisting sheās central. Okay, now that's established, let's move on to your question.
1. The Sibling Dynamic Is Real
EvenĀ beforeĀ the incest reveal, the story codes Yuki and Kaname asĀ family, as we see with Kaname raising Yuki from early childhood. He is her primary authority figure and, over the course of the story, controls her access to truth, danger, and autonomy (my main problem with them). Kaname decides what she remembers and what she doesnāt, and Kaname is the one to decide when Yuki remembers her past at the end of Volume 7.
Regardless of blood, that is aĀ guardianādependent relationship.
Romance layered on top of that is narratively destabilising unless the storyĀ addresses it, which Vampire Knight doesnātāit asks us, the readers, to quietly accept the shift.
2. Kanameās Treatment of Yuki Undermines the Romance
Kanameās actions toward Yuki are consistently framed as love, but they function asĀ control:
He withholds information āfor her own goodā
He makes irreversible decisions without her consent
He isolates her emotionally from others (especially Zero) and chooses who she may spend time with (Aidou) -> An example of that is how she is not allowed to leave the house without his permission
He positions himself as the only safe authority
Here we can harken back to the core problem with Yuki that I have addressed above: The problem as such isnāt that Kaname is morally complexāthe problem is that the story never lets YukiĀ meaningfully question that complexity, leaving her spineless and without agency.
Kaname is framed as herĀ tragic protector, but it undermines the romance between them because Yuki is never his equal.
3. The Story Confuses āInevitableā with āHealthyā
One of the elements defining Yuki and Kaname's relationship is its innate bond because of their shared blood.
They were always connected
Their bond transcends time
Blood demands togetherness
Hino often frames the concept of inevitability as proof of correctness and love. Going even further, I raise the question:
If you remove their innate bond forged by blood: What remains?
When Yuki is awakened as a pureblood, we find out that Kaname knew all along, and in my opinion, that weakens their bond becauseāIf you remove the foundation, what remains? What are Yuki's reasons to stay with Kaname? That is what I always been bothered by. Just because the author tells us doesn't mean it is a good explanation.
4. Why Their Innate Bond Matters Beyond Morality
Like I said, the incest is not about āshould we ship this or not ship this because incest is wrong in the real world.ā I'm talking specifically about Vampire Knight as a story, and what matters in a story is coherence.
As we know, Kaname manufactured most of Yuki's life out of what he perceived as a necessity to keep her safe.
If you look at it closely, the narrative insists that Kaname and Yuki's romance isĀ pure and destined, while Kaname's actions define their relationship with orchestration, seen by childhood guardianship, manipulation and control.
Kaname forges their relationship, never Yuki, and regardless of his reasons, this clashes with what we are told to believe, making the concept narratively weak and unsteady.
5. The Big Problem: Yuki Functions as Kanameās Moral Buffer
Kanameās actions are consistently framed as:
Necessary
Protective
Motivated by love
Yukiās narrative function becomes:
The one who understands his burden
The one who forgives without demanding justice
The one who reframes violence as tragic sacrifice
Innate bond justifies Kaname's actions
As a result, every revelation about Kaname (including the Kiryu massacre) is filtered through Yukiās emotional response, which causes:
Harm to be reframed as inevitability
Choice to be reframed as necessity
Accountability to be reframed as cruelty
Because Yuki responds with empathy instead of interrogation:
Kanameās decisions are never treated as moral failures
His agency is obscured by mythologized devotion
The story denies Yuki the narrative space to questionĀ whyĀ violence was chosen when alternatives may have existed
This is not neutrality; it's structural insulation.
By positioning Yuki as the emotional justification for Kanameās actions, the story ensures that his atrocities are absorbed into the logic of protection rather than confronted as choices for which he must answer.
This makes Yuki's morals look weak and spineless and clash with what we are narratively led to believe are her character traits: gentle and kind. Instead, she looks cruel and unjust.
6. Zero As The Voice Of Accountability
Zeroās role should have been to reframe Kanameās actions not as fate, but as choice by consistently pointing out that:
Protection still involves decisions
Necessity is something peopleĀ claim, not something that exists on its own
Love does not erase accountability and responsibility
Instead of attacking Kaname, Zero challenges the framework Yuki uses to excuse him by asking questions she has never been allowed to ask, such as:
Who benefited from this decision?
Who paid for it?
Is your moral compass alright with this?
By grounding these questions in his own lived experience, Zero exposes the pattern:
Kaname decides -> Others suffer
Yuki is asked to understand rather than judge
This forces Yuki to recognise that her empathy has been structurally weaponisedāthat her compassion is being used to absorb the moral cost of actions she did not choose and cannot question.
Where Kaname frames inevitability as love, Zero reframes it as power.
By doing so, Zero doesnāt tell Yuki what to thinkāhe gives her language for the unease she already feels, allowing her to see that refusing accountability is not kindness, but silence enforced by gratitude.
7. Zero as the Voice of Contingency (Instead of Fate)
As established, Kaname is supposed to representĀ inevitability -> āI belong to Kanameā. The story frames this as romance and devotion.
Zero should have represented the opposite: Contingency. The idea that not only does choice matter, but that Yuki's choice matters.
Zero Kiryu: A True Foil
Zeroās entire existence in Yuki's life is defined as something thatĀ shouldnātĀ have happened. Yes, he was manufactured to be her protector, and by making him fall in love with her, that protection was guaranteed, but Yuki was never supposed to be this attached to him.
Their connection is not destiny.
That positions him perfectly to challenge Kanameās worldviewānot by argument, but byĀ presence.
How Zero Should Have Challenged Yuki
Instead of being just the ānot related to meā option, Zero should have forced Yuki to confront this question:
If Yuki and Kaname's love is inevitable, why does it require him to erase your choice and agency?
Zero doesnāt promise eternity, as their lifespans vastly differ. He doesnāt promise safety, as he is not as strong as a pureblood like Kaname.
What he offers is:
āYouāre allowed to say noāeven if everything else says yes. You are allowed a choice.ā
Zero lets Yuki choose, lets her leave the academy with Kaname. He doesn't fight, he doesn't beg her to stay. He challenges her (āWhat am I to you?ā) in her way of thinking, but he never removes her agency or tells her what to think. If Zero fought for Yuki the way Kaname does, he would becomeĀ the same kind of forceāanother gravity well pulling her toward him regardless of her will. Zero doesnāt beg Yuki because he would rather lose her than become another person who decides her life for her.
Zero doesnāt fight for Yuki because he respects her autonomy. Yuki struggles to choose because no one has ever taught her that autonomy matters.
This is often interpreted as a lack of interest or passion, but thatās not a lack of passion.
Itās a refusal to replicate harm.
In a story obsessed with control, Zero is the only character who consistently choosesĀ notĀ to exercise it.
8. The Key Dynamic That Was Missing
There should have been a moment where Zero explicitly (or implicitly) tells Yuki she can choose.
This would reframe:
Kanameās devotion becomesĀ conditional on inevitability
Zeroās love becomesĀ conditional on consent
Yuki is no longer choosing between men. Sheās choosing betweenĀ worldviews.
Why This Strengthens Yukiās Character
Yuki questioning inevitability does three things:
Restores her agency She isnāt pulled by destiny; she pushes back against it.
Makes her kindness active Choosing Zero becomes a moral stance, not an emotional reflex.
Exposes Kanameās flaw without vilifying him He believes love justifies control. Yuki realises love requires accountability and choice.
Innate bond doesn't justify injustice
This could be a bit weird question, but do you think that the story of Vampire Knight would have been better if it was acknowledged that Yuki and Kaname shouldn't be together? Both because they were raised as siblings and Kanames treatment of Yuki.
(This was not made with ChatGPT!) Okay, first of all, that is a great question. Thank you so much for asking (please send more hehe)! Let me preface this by saying, fiction is fiction, and I do not inherently have a problem with incest in fiction. I will be criticising it in the world, but I'm an adult with a fully functioning brain, and at the end of the day, incest is not the main problem I have with Yuki and Kaname. This is probably going to be a long one, so strap in!
(Yuki-critical, Hino-critical, Kaname-critical, Vampire Knight-critical)
Let's address the core problem first: Vampire Knight doesnāt know who Yuki is. Her main character traits are established as kindness and gentleness, but the storyĀ treats her as a symbol first and a person second.
Yuki is supposed to encapsulate peace, innocence and motivation for male characters. Still, she isĀ rarelyĀ allowed to be decisive, curious in dangerous ways, wrong in ways that cost her something or actively choosing between imperfect options. This makes her feel spinelessānot because she lacks conviction, but becauseĀ the narrative removes her agency while insisting sheās central. Okay, now that's established, let's move on to your question.
1. The Sibling Dynamic Is Real
EvenĀ beforeĀ the incest reveal, the story codes Yuki and Kaname asĀ family, as we see with Kaname raising Yuki from early childhood. He is her primary authority figure and, over the course of the story, controls her access to truth, danger, and autonomy (my main problem with them). Kaname decides what she remembers and what she doesnāt, and Kaname is the one to decide when Yuki remembers her past at the end of Volume 7.
Regardless of blood, that is aĀ guardianādependent relationship.
Romance layered on top of that is narratively destabilising unless the storyĀ addresses it, which Vampire Knight doesnātāit asks us, the readers, to quietly accept the shift.
2. Kanameās Treatment of Yuki Undermines the Romance
Kanameās actions toward Yuki are consistently framed as love, but they function asĀ control:
He withholds information āfor her own goodā
He makes irreversible decisions without her consent
He isolates her emotionally from others (especially Zero) and chooses who she may spend time with (Aidou) -> An example of that is how she is not allowed to leave the house without his permission
He positions himself as the only safe authority
Here we can harken back to the core problem with Yuki that I have addressed above: The problem as such isnāt that Kaname is morally complexāthe problem is that the story never lets YukiĀ meaningfully question that complexity, leaving her spineless and without agency.
Kaname is framed as herĀ tragic protector, but it undermines the romance between them because Yuki is never his equal.
3. The Story Confuses āInevitableā with āHealthyā
One of the elements defining Yuki and Kaname's relationship is its innate bond because of their shared blood.
They were always connected
Their bond transcends time
Blood demands togetherness
Hino often frames the concept of inevitability as proof of correctness and love. Going even further, I raise the question:
If you remove their innate bond forged by blood: What remains?
When Yuki is awakened as a pureblood, we find out that Kaname knew all along, and in my opinion, that weakens their bond becauseāIf you remove the foundation, what remains? What are Yuki's reasons to stay with Kaname? That is what I always been bothered by. Just because the author tells us doesn't mean it is a good explanation.
6. Why Their Innate Bond Matters Beyond Morality
Like I said, the incest is not about āshould we ship this or not ship this because incest is wrong in the real world.ā I'm talking specifically about Vampire Knight as a story, and what matters in a story is coherence.
As we know, Kaname manufactured most of Yuki's life out of what he perceived as a necessity to keep her safe.
If you look at it closely, the narrative insists that Kaname and Yuki's romance isĀ pure and destined, while Kaname's actions define their relationship with orchestration, seen by childhood guardianship, manipulation and control.
Kaname forges their relationship, never Yuki, and regardless of his reasons, this clashes with what we are told to believe, making the concept narratively weak and unsteady.
7. The Big Problem: Yuki Functions as Kanameās Moral Buffer
Kanameās actions are consistently framed as:
Necessary
Protective
Motivated by love
Yukiās narrative function becomes:
The one who understands his burden
The one who forgives without demanding justice
The one who reframes violence as tragic sacrifice
Innate bond justifies Kaname's actions
As a result, every revelation about Kaname (including the Kiryu massacre) is filtered through Yukiās emotional response, which causes:
Harm to be reframed as inevitability
Choice to be reframed as necessity
Accountability to be reframed as cruelty
Because Yuki responds with empathy instead of interrogation:
Kanameās decisions are never treated as moral failures
His agency is obscured by mythologized devotion
The story denies Yuki the narrative space to questionĀ whyĀ violence was chosen when alternatives may have existed
This is not neutrality; it's structural insulation.
By positioning Yuki as the emotional justification for Kanameās actions, the story ensures that his atrocities are absorbed into the logic of protection rather than confronted as choices for which he must answer.
This makes Yuki's morals look weak and spineless and clash with what we are narratively led to believe are her character traits: gentle and kind. Instead, she looks cruel and unjust.
8. Zero As The Voice Of Accountability
Zeroās role should have been to reframe Kanameās actions not as fate, but as choice by consistently pointing out that:
Protection still involves decisions
Necessity is something peopleĀ claim, not something that exists on its own
Love does not erase accountability and responsibility
Instead of attacking Kaname, Zero challenges the framework Yuki uses to excuse him by asking questions she has never been allowed to ask, such as:
Who benefited from this decision?
Who paid for it?
Is your moral compass alright with this?
By grounding these questions in his own lived experience, Zero exposes the pattern:
Kaname decides -> Others suffer
Yuki is asked to understand rather than judge
This forces Yuki to recognise that her empathy has been structurally weaponisedāthat her compassion is being used to absorb the moral cost of actions she did not choose and cannot question.
Where Kaname frames inevitability as love, Zero reframes it as power.
By doing so, Zero doesnāt tell Yuki what to thinkāhe gives her language for the unease she already feels, allowing her to see that refusing accountability is not kindness, but silence enforced by gratitude.
9. Zero as the Voice of Contingency (Instead of Fate)
As established, Kaname is supposed to representĀ inevitability -> āI belong to Kanameā. The story frames this as romance and devotion.
Zero should have represented the opposite: Contingency. The idea that not only does choice matter, but that Yuki's choice matters.
Zero Kiryu: A True Foil
Zeroās entire existence in Yuki's life is defined as something thatĀ shouldnātĀ have happened. Yes, he was manufactured to be her protector, and by making him fall in love with her, that protection was guaranteed, but Yuki was never supposed to be this attached to him.
Their connection is not destiny.
That positions him perfectly to challenge Kanameās worldviewānot by argument, but byĀ presence.
How Zero Should Have Challenged Yuki
Instead of being just the ānot related to meā option, Zero should have forced Yuki to confront this question:
If Yuki and Kaname's love is inevitable, why does it require him to erase your choice and agency?
Zero doesnāt promise eternity, as their lifespans vastly differ. He doesnāt promise safety, as he is not as strong as a pureblood like Kaname.
What he offers is:
āYouāre allowed to say noāeven if everything else says yes. You are allowed a choice.ā
Zero lets Yuki choose, lets her leave the academy with Kaname. He doesn't fight, he doesn't beg her to stay. He challenges her (āWhat am I to you?ā) in her way of thinking, but he never removes her agency or tells her what to think. If Zero fought for Yuki the way Kaname does, he would becomeĀ the same kind of forceāanother gravity well pulling her toward him regardless of her will. Zero doesnāt beg Yuki because he would rather lose her than become another person who decides her life for her.
Zero doesnāt fight for Yuki because he respects her autonomy. Yuki struggles to choose because no one has ever taught her that autonomy matters.
This is often interpreted as a lack of interest or passion, but thatās not a lack of passion.
Itās a refusal to replicate harm.
In a story obsessed with control, Zero is the only character who consistently choosesĀ notĀ to exercise it.
The Key Dynamic That Was Missing
There should have been a moment where Zero explicitly (or implicitly) tells Yuki she can choose.
This would reframe:
Kanameās devotion becomesĀ conditional on inevitability
Zeroās love becomesĀ conditional on consent
Yuki is no longer choosing between men. Sheās choosing betweenĀ worldviews.
Why This Strengthens Yukiās Character
Yuki questioning inevitability does three things:
Restores her agency She isnāt pulled by destiny; she pushes back against it.
Makes her kindness active Choosing Zero becomes a moral stance, not an emotional reflex.
Exposes Kanameās flaw without vilifying him He believes love justifies control. Yuki realises love requires accountability and choice.
Innate bond doesn't justify injustice
Vampire Knight Original Art Exhibition (2025) and Matsuri Hinoās Statements
I attended the Vampire Knight original art exhibition (2025) and would like to share some information.
In this post, I am including the original art pieces displayed as the finale of each area, the original art pieces selected as bonuses for the final volume, the scenes that use two-page spreads, and the works that were highlighted in the exhibition. (Iām terrible at lotteries, so I didnāt win a rough sketch and canāt post it here.)
Separately from the exhibition, I will also mention some of Matsuri Hinoās past comments.
The following content contains OT3 materials. If you are uncomfortable with this, I do not recommend reading further.
Please proceed at your own discretion.
Hello. :) I'm really learning a lot about how to read characters, plot, themes, etc. from your posts. Thank you! š¤ Can you do a character analysis on Zero, please?
Iām delighted my posts have been of use to you, my friend! =) Itās always a pleasure to hear that my work has been helpful to those who share their own precious time reading it. =)Ā
A character analysis on Zero is a fairly tall order though, given how many facets there are to his character, fufu. But I can give you a ābriefā overview of his character over the course of the original series and the sequel, and Iāll link you to a few other posts Iāve written on him if youāre interested in exploring further. =) Iāll be placing the majority of this post under a cut, since it got a bit lengthy. ;)
Note to readers on mobile:Ā Please switch to a laptop or desktop computer to read the remainder of this post, as tumblrĀ āread moreā functionality doesnāt work for mobile.
The Man, The Myth, The Legend
On the surface, Zero is a challenging character to engage with for a reader. Heās rough around the edges, he pushes people away, heās actively acidic to everyone who tries to come near him, heās not charming, heās brutal, and he has a huge (very justified) chip on his shoulder about vampires and purebloods in particular. But, in a story where vampires are romanticized, the reader is naturally not going to be sympathetic to his viewpoint because the reader is being selectively shown only theĀ āprettyā sides of vampirism.Ā
Since this is how Zero is introduced, in contrast to the charming princely Kaname, itās easy to see why on first impression (and first impressions are the only things that stick with most casual readers, which given most readersā busy lives is what most readers are) Zero seems to be a huge headache and too much of a hassle, not a good candidate for a romantic relationship. Kaname is the dreamy choice, the ideal boyfriend, the sweet/kind/caring/obsessed only with his love interest type of guy. Zero, on the other hand, is dead set on revenge and dripping with anger and pain, not at all interested in wooing the ladies or being charming.Ā
Itās an easy choice for a reader to select who to root for, until it isnāt. Letās explore why. ;)
Keep reading
I am happy too
It took me a week, but Iām satisfied with the result. I love Hinoās style a lot and Iām trying to achieve it every time I do colorings/fanarts. Hope you like it :)
New artwork to celebrate Matsuri Hino's upcoming exhibition.
Zeros eyes are so pretty one of the many things that made mee love his character!
China v.s. West preferences for Vampire Knight ships (I've always wanted to talk about it)
This is my thesis only but I think one of the main reasons why Yume was far more popular in China while Zeki was the most popular ship in the West by a mile is because of the differences in narrative and cultural sensibilities. Chinese hold a general preference for fated love stories, stories centering destiny and the actualization of predestined path. So there is this idea of a destiny so great it finds you no matter the conditions by transcending any obstacles. They generally find the idea of a fate greater than oneself more compelling. (we can see major buddhist and daoists influences in these preferences with the idea of continuing karmic bonds through past and present lives, reincarnation, the red string theory(two people meant to be together will end up together, they are linked by a red string at their ankles, etc.)
This is very much in contrast with Occidental narrative preferences where people in the West prefer love stories (even stories in general actually) about TRANSCENDING destiny and pre-determined circumstances, going beyond a preordained path and CREATING your own destiny. Western viewers tend to find romantic fictions that subvert a greater force above them, favoring self actualization and defining one's own path and meaning through sheer power of will. It's heavily influenced by existentialist philosophies (i.e. ''Existence preceeds essence'')
All this and also Westerners preference for the underdog lol
Now I don't need to mention why Yume and Zeki pretty much fit to a T each narratives respectively cause it's pretty obvious.
This opinion is interesting. I think it is one that captures the essence of the story. Fourteen years ago, a Japanese commentary on this work explained that Yuki is bound and connected to Kaname by ābloodlineā and āfate,ā and to Zero by āfeelingā and ābond.ā Moreover, the different kinds of love Yuki holds toward Zero and Kaname are expressed in the kanji characters given to their daughtersā names.
Regarding Yukiās "feeling" toward Zero, expressed with the wordĀ omoiĀ (ę³ć): in classical Japanese literature, whenĀ omoiĀ was used to mean strong romantic feeling, it was paired with the wordĀ kofuĀ (ęćµ, āto love/long forā). The kanjiĀ koiĀ (ę), paired withĀ omoi, is the oldest expression of romantic love in Japanese, and it is the character used in the name of Yuki and Zeroās daughter. This character represents romantic love, signifying a self-driven feeling and acquired bond. This word is only used for romantic relationship, such as lovers and married spouses. This kanji character "ę" is never used to describe the relationship between relatives, family members, siblings or friends. Because it has had the meaning of romantic love from the 7th century to the present day, this word has core Image of romantic love in Japanese. In the Japanese summaries, Yuki and Zero are repeatedly described asĀ omoi-auĀ (ę³ćåć), which carries the meaning of romantic love.
On the other hand, Kanameās daughterās name uses the characterĀ aiĀ (ę), which has core images of other-centered feeling and love of compassion. The wordĀ aiĀ (ę) is included in a concept imported from India and China, which only later came into use as meaning of love in Japan, afterĀ kofuĀ (ęćµ) andĀ omouĀ (ę³ćµ). Originally,Ā aiĀ did not carry the meaning of love in Japan. The original meaning was "to cherish" and "to be attached to" in Japanese. It began to have the meaning like love when it was used as a translation of Buddhism and Confucianism. The original meaning of "to be attached to" was used to translate the Buddhist concept of attachment and worldly desires. This meaning had a negative connotation and represented a temptation that you must resist. On the other hand, The original meaning of "to cherish" was used as a translation of love between family members in Confucianism concepts. Especially in the early days, it was used to refer to relationship between blood relatives in Japan. Eventually, the word likeĀ aijÅĀ (ęę , āaffectionā) developed, andĀ aiĀ came to be used broadly for kinship, parentāchild, siblings, spouses, and partners. And finally, affection developed into a meaning with compassion. Because of this background, it tends to refer to love in general in a broad sense. Even today, the love expressed in Kanameās daughterās name,Ā Ai, carries the strong foundation of compassion. Nowadays, it is even sometimes used in a sense similar to Buddhist compassion. Because the word includes Buddhist and Confucianism concepts, it also conveys innate bond.
This work contains many contrasts between Zeroās acquired ābondā and āfeelingā, versus Kanameās innate āfateā and ābloodlineā. This suggests that Hino consciously created the story with this framework. Yuki loves both men, but the kinds of love she directs toward each are different. This illustrates the fact that in Japanese culture, there are multiple distinct concepts of love. Both āęā and āęā means love, āęā has a stronger romantic meaning and acquired bond, while āęā has a stronger compassionate meaning and innate bond. Which kind of love one prefers is left to the viewersās personal taste.
Differences in the concept of love in Japan according to linguistic history:
ā¢Ā RenĀ (ęļ¼Zero: passionate, acquired bond born from chance encounter; self-driven desire of willpower; long for; romantic feeling.
ā¢Ā AiĀ (ęļ¼Kaname: innate bond appearing as fate or blood relations; other-centered feeling; to cherish; affection; compassion; to be attached to; attachment and worldly desires.
Thus, Yukiās love for Kaname is included in concepts imported from China and India. Confucianism emphasized blood relations and family ties, and this philosophy deeply influenced Japan. Yukiās love for Kanameārooted in shared bloodline, fate, innate bond and attachmentāis strongly shaped by Confucian and Buddhist thought. Furthermore, Kaname and Yukiās love also embodies Japanās indigenous concept Shinto of ancestor worship. Kaname is Yukiās first ancestor. In Japan, frequently, there is a custom of visiting and greeting graves to thank oneās ancestors. The Shinto ideology is that one exists only because oneās ancestors existed, and therefore descendants must show deep gratitude and love to our ancestors. This love means precious and respect. And we must live in a way that does not bring shame to our ancestors. (This practice and thought is fading among current generations.) Yukiās many lines in this work strongly reflect these idea. Moreover, in Japanese Shinto tradition, ancestors are believed to become guardian spirits, watching from afar to ensure descendants choose a righteous and happy path. And It has long been believed that if a descendant is about to make a wrong choice, an ancestor will appear as spirits and lead the descendant to the right path. There was a scene that expressed this as it was. This is exactly the role Kaname plays in this story. In the final chapter of this story, Yuki turned back into a baby, and Hino ended the story by visually expressing and emphasizing the relationship between ancestor and descendant. This story ended up their accepting fate and dying together. This was exactly the expression of the Japanese Shinto way of thinking. In Shinto, it is believed that life is inherited from ancestor, and the soul returns to the ancestors after death. This idea is reflected in the expression "Let's go home" in the last line. In Japan, relatives including ancestors are called "Surname+Home(å®¶)." In Japanese Shinto, it is said that after death, we return to this home of our ancestors.
On the other hand, Western philosophy and literature often emphasize human will. From ancient times, countless works have described about human will. Discussions of human will appeared in ancient Greek philosophy and became deeply rooted in Western philosophy, religion, literature and values. Human will is one of the longest-standing debates in philosophy and religion. Across Western history, Western people have shared this legacy of concept of human will. For this reason, Western viewers may tend to prefer the acquired bond of human will represented by Yuki and Zero. The fact that Yuki and Zeroās daughter Renās name uses a kanji representing love born of acquired, self-driven bond of human will shows that Hino clearly intended to depict their relationship in this way. It is well known that in Japan, Western concept and discussions of human will have had a huge influence on Japanese literature and philosophy. Since the modern era after Sakoku, when Western culture and technology have been imported, it is said that stories like this one, which depict bonds formed by human will, have become popular in Japan. Some Western contracts of bondāsuch as knightly oathsādo not often place biological kinship as the most important factor. Acquired bond of human will can sometimes be stronger than Innate biological bond. The bracelet worn on Yukiās left wrist symbolized her bond with Zero, a contract she never let go of. Even after Zero disappeared, Yuki turned a fragment of the Bloody Rose into a pendant instead of that bracelet and spoke to Zero through it. Even when she offered her life to Kaname, she spoke to Zero through the pendant. Hino emphasized how precious acquired bond with Zero was for Yuki.
And Hino expressed that when Zero said he wanted to die by having his life devoured by Yuuki, he was expressing his desire to be together with Yuki in the afterlife. The Japanese summary of volume 10 stated that Yuki desired for eternity for Zero, so it seems the author wanted to convey that this was Zero's final decision to grant Yuki's desire. In Japanese belief customs, married couple's graves were built so that married couples who did not have common ancestors could be together in the afterlife. Because it is necessary for the souls of the married couples to be sealed off in the same containment. In Shinto, it is believed that after death, the soul returns to its ancestor, but in this case, married couples are allowed to reunite as husband and wife because two are sealed in the same containment. This means that one spouse is forever separated from their own ancestral group(home) and belongs to the ancestral group of the other spouse. In Japan, cremation is practiced, so it is possible for people to be sealed off together in the same gravestone, and recently it is common for all members of a relative to be buried in the same grave. Hino expresses this married couple will be together in the afterlife because the souls of this married couple is in the same containment(Yukiās body) by Zero being devoured and Yuki absorbing him. This is why Yuki did not build Zeroās grave, did not hold a funeral for him, and only informed others of his death through letters. (The grave where the Bloody Rose fragment was left is Zero's family grave.) Therefore, the illustration on the cover of the last magazine was drawn by Hino to show the three after their deaths. The illustration showed that Yuki's soul returned to her ancestor Kaname and reunited with her husband Zero. In this way, this work reflects the Japanese view of life and death.
Japan has historically absorbed immense influence from China, India, and the West. These imported ideas, combined with Japanās native values, have created a culture where multiple systems of thought are intricately blended. This story embodies both types of bondāZero and Yukiās acquired bond and Kaname and Yukiās innate bond. I think this consideration that differences in preferences are due to differences in cultural sensibilities is very interesting. It's amazing that they exactly pinpoint the cultural elements to which viewers belong.
Moving forward together with you
After 12 hours of work, I finished coloring it! The line art by itself took me about 6 hours because I had to do closeups of their faces in high definition so I just drew hair from scratch (I hope my line work at least is ok, I tried to make it as close as possible to Hinoās style). The composition at the bottom is still quite questionable to me, idk. I just wanted to make a quick little surprise to my fellow zeki fans so I didnāt wanna wait looking for a perfect composition lol
These characters had been with me for more than a decade! Iām not ready to say goodbye so Iām gonna make more fanarts and colorings too.
Credit to ERS, also thank you very much for your translations during all these years!
This story was my first anime/manga and it means a lot to me. Hinoās artwork is phenomenal (contradicting storytelling though), and I really love her artistic style.
Oh my god! This is gorgeous!! Lovely work, great job!
China v.s. West preferences for Vampire Knight ships (I've always wanted to talk about it)
This is my thesis only but I think one of the main reasons why Yume was far more popular in China while Zeki was the most popular ship in the West by a mile is because of the differences in narrative and cultural sensibilities. Chinese hold a general preference for fated love stories, stories centering destiny and the actualization of predestined path. So there is this idea of a destiny so great it finds you no matter the conditions by transcending any obstacles. They generally find the idea of a fate greater than oneself more compelling. (we can see major buddhist and daoists influences in these preferences with the idea of continuing karmic bonds through past and present lives, reincarnation, the red string theory(two people meant to be together will end up together, they are linked by a red string at their ankles, etc.)
This is very much in contrast with Occidental narrative preferences where people in the West prefer love stories (even stories in general actually) about TRANSCENDING destiny and pre-determined circumstances, going beyond a preordained path and CREATING your own destiny. Western viewers tend to find romantic fictions that subvert a greater force above them, favoring self actualization and defining one's own path and meaning through sheer power of will. It's heavily influenced by existentialist philosophies (i.e. ''Existence preceeds essence'')
All this and also Westerners preference for the underdog lol
Now I don't need to mention why Yume and Zeki pretty much fit to a T each narratives respectively cause it's pretty obvious.
This opinion is interesting. I think it is one that captures the essence of the story. Fourteen years ago, a Japanese commentary on this work explained that Yuki is bound and connected to Kaname by ābloodlineā and āfate,ā and to Zero by āfeelingā and ābond.ā Moreover, the different kinds of love Yuki holds toward Zero and Kaname are expressed in the kanji characters given to their daughtersā names.
Regarding Yukiās "feeling" toward Zero, expressed with the wordĀ omoiĀ (ę³ć): in classical Japanese literature, whenĀ omoiĀ was used to mean strong romantic feeling, it was paired with the wordĀ kofuĀ (ęćµ, āto love/long forā). The kanjiĀ koiĀ (ę), paired withĀ omoi, is the oldest expression of romantic love in Japanese, and it is the character used in the name of Yuki and Zeroās daughter. This character represents romantic love, signifying a self-driven feeling and acquired bond. This word is only used for romantic relationship, such as lovers and married spouses. This kanji character "ę" is never used to describe the relationship between relatives, family members, siblings or friends. Because it has had the meaning of romantic love from the 7th century to the present day, this word has core Image of romantic love in Japanese. In the Japanese summaries, Yuki and Zero are repeatedly described asĀ omoi-auĀ (ę³ćåć), which carries the meaning of romantic love.
On the other hand, Kanameās daughterās name uses the characterĀ aiĀ (ę), which has core images of other-centered feeling and love of compassion. The wordĀ aiĀ (ę) is included in a concept imported from India and China, which only later came into use as meaning of love in Japan, afterĀ kofuĀ (ęćµ) andĀ omouĀ (ę³ćµ). Originally,Ā aiĀ did not carry the meaning of love in Japan. The original meaning was "to cherish" and "to be attached to" in Japanese. It began to have the meaning like love when it was used as a translation of Buddhism and Confucianism. The original meaning of "to be attached to" was used to translate the Buddhist concept of attachment and worldly desires. This meaning had a negative connotation and represented a temptation that you must resist. On the other hand, The original meaning of "to cherish" was used as a translation of love between family members in Confucianism concepts. Especially in the early days, it was used to refer to relationship between blood relatives in Japan. Eventually, the word likeĀ aijÅĀ (ęę , āaffectionā) developed, andĀ aiĀ came to be used broadly for kinship, parentāchild, siblings, spouses, and partners. And finally, affection developed into a meaning with compassion. Because of this background, it tends to refer to love in general in a broad sense. Even today, the love expressed in Kanameās daughterās name,Ā Ai, carries the strong foundation of compassion. Nowadays, it is even sometimes used in a sense similar to Buddhist compassion. Because the word includes Buddhist and Confucianism concepts, it also conveys innate bond.
This work contains many contrasts between Zeroās acquired ābondā and āfeelingā, versus Kanameās innate āfateā and ābloodlineā. This suggests that Hino consciously created the story with this framework. Yuki loves both men, but the kinds of love she directs toward each are different. This illustrates the fact that in Japanese culture, there are multiple distinct concepts of love. Both āęā and āęā means love, āęā has a stronger romantic meaning and acquired bond, while āęā has a stronger compassionate meaning and innate bond. Which kind of love one prefers is left to the viewersās personal taste.
Differences in the concept of love in Japan according to linguistic history:
ā¢Ā RenĀ (ęļ¼Zero: passionate, acquired bond born from chance encounter; self-driven desire of willpower; long for; romantic feeling.
ā¢Ā AiĀ (ęļ¼Kaname: innate bond appearing as fate or blood relations; other-centered feeling; to cherish; affection; compassion; to be attached to; attachment and worldly desires.
Thus, Yukiās love for Kaname is included in concepts imported from China and India. Confucianism emphasized blood relations and family ties, and this philosophy deeply influenced Japan. Yukiās love for Kanameārooted in shared bloodline, fate, innate bond and attachmentāis strongly shaped by Confucian and Buddhist thought. Furthermore, Kaname and Yukiās love also embodies Japanās indigenous concept Shinto of ancestor worship. Kaname is Yukiās first ancestor. In Japan, frequently, there is a custom of visiting and greeting graves to thank oneās ancestors. The Shinto ideology is that one exists only because oneās ancestors existed, and therefore descendants must show deep gratitude and love to our ancestors. This love means precious and respect. And we must live in a way that does not bring shame to our ancestors. (This practice and thought is fading among current generations.) Yukiās many lines in this work strongly reflect these idea. Moreover, in Japanese Shinto tradition, ancestors are believed to become guardian spirits, watching from afar to ensure descendants choose a righteous and happy path. And It has long been believed that if a descendant is about to make a wrong choice, an ancestor will appear as spirits and lead the descendant to the right path. There was a scene that expressed this as it was. This is exactly the role Kaname plays in this story. In the final chapter of this story, Yuki turned back into a baby, and Hino ended the story by visually expressing and emphasizing the relationship between ancestor and descendant. This story ended up their accepting fate and dying together. This was exactly the expression of the Japanese Shinto way of thinking. In Shinto, it is believed that life is inherited from ancestor, and the soul returns to the ancestors after death. This idea is reflected in the expression "Let's go home" in the last line. In Japan, relatives including ancestors are called "Surname+Home(å®¶)." In Japanese Shinto, it is said that after death, we return to this home of our ancestors.
On the other hand, Western philosophy and literature often emphasize human will. From ancient times, countless works have described about human will. Discussions of human will appeared in ancient Greek philosophy and became deeply rooted in Western philosophy, religion, literature and values. Human will is one of the longest-standing debates in philosophy and religion. Across Western history, Western people have shared this legacy of concept of human will. For this reason, Western viewers may tend to prefer the acquired bond of human will represented by Yuki and Zero. The fact that Yuki and Zeroās daughter Renās name uses a kanji representing love born of acquired, self-driven bond of human will shows that Hino clearly intended to depict their relationship in this way. It is well known that in Japan, Western concept and discussions of human will have had a huge influence on Japanese literature and philosophy. Since the modern era after Sakoku, when Western culture and technology have been imported, it is said that stories like this one, which depict bonds formed by human will, have become popular in Japan. Some Western contracts of bondāsuch as knightly oathsādo not often place biological kinship as the most important factor. Acquired bond of human will can sometimes be stronger than Innate biological bond. The bracelet worn on Yukiās left wrist symbolized her bond with Zero, a contract she never let go of. Even after Zero disappeared, Yuki turned a fragment of the Bloody Rose into a pendant instead of that bracelet and spoke to Zero through it. Even when she offered her life to Kaname, she spoke to Zero through the pendant. Hino emphasized how precious acquired bond with Zero was for Yuki.
And Hino expressed that when Zero said he wanted to die by having his life devoured by Yuuki, he was expressing his desire to be together with Yuki in the afterlife. The Japanese summary of volume 10 stated that Yuki desired for eternity for Zero, so it seems the author wanted to convey that this was Zero's final decision to grant Yuki's desire. In Japanese belief customs, married couple's graves were built so that married couples who did not have common ancestors could be together in the afterlife. Because it is necessary for the souls of the married couples to be sealed off in the same containment. In Shinto, it is believed that after death, the soul returns to its ancestor, but in this case, married couples are allowed to reunite as husband and wife because two are sealed in the same containment. This means that one spouse is forever separated from their own ancestral group(home) and belongs to the ancestral group of the other spouse. In Japan, cremation is practiced, so it is possible for people to be sealed off together in the same gravestone, and recently it is common for all members of a relative to be buried in the same grave. Hino expresses this married couple will be together in the afterlife because the souls of this married couple is in the same containment(Yukiās body) by Zero being devoured and Yuki absorbing him. This is why Yuki did not build Zeroās grave, did not hold a funeral for him, and only informed others of his death through letters. (The grave where the Bloody Rose fragment was left is Zero's family grave.) Therefore, the illustration on the cover of the last magazine was drawn by Hino to show the three after their deaths. The illustration showed that Yuki's soul returned to her ancestor Kaname and reunited with her husband Zero. In this way, this work reflects the Japanese view of life and death.
Japan has historically absorbed immense influence from China, India, and the West. These imported ideas, combined with Japanās native values, have created a culture where multiple systems of thought are intricately blended. This story embodies both types of bondāZero and Yukiās acquired bond and Kaname and Yukiās innate bond. I think this consideration that differences in preferences are due to differences in cultural sensibilities is very interesting. It's amazing that they exactly pinpoint the cultural elements to which viewers belong.
We at Eternal Rose Scans are proud to present our latest project,Ā Vampire Knight Memories: ChapterĀ 51 (Final Chapter). Thank you for your continued support over the years, and happy reading!
Read online here
Many thanks toĀ @judaluffyĀ for translating,Ā @kaname-v-kuranĀ for typesetting, andĀ @vk-crzyĀ for providing scans, proofreading, cleaning, redrawing, and quality checking.
Thank you so much!
I have always loved how Yuki gave Zero the only handmade chocolate she got right (at least in appearance lol) while giving Kaname store-bought chocolate. To me, this perfectly encapsulates how I see her relationship with each of them: Zero represents comfort, trust, and authenticity but above all vulnerability. Someone Yuki can be real and imperfect with. Giving him her one successful homemade chocolate shows that, even unconsciously, she directs her truest self toward him. In contrast, the store-bought chocolate she gives to Kaname speaks to the distance between them. As much as she admires and reveres him, she chooses something safe and polished over something personal and imperfect, as if afraid that showing her true self might not be enough.
I think that was the moment I made my choice on who I'd ship hahah
Finally done with my short Aidori comic, yipee! Itās inspired by Vampire Knight Guilty Ep 6. My young me would be screaming right now because she wished this actually happened! love drawing Zero teasing Hanabusa, just like how he teased him with Sayori in VK Memories manga!
Anyways, I'm out of juice hahaha. Time to snooze.