the best battery in edo

あんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱん 0000,“̞�ͩ�あんぱん 0000,“̞�ͩ�あんぱん 0000,“̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"h��h��<あんぱん 0000,"h��h��<あんぱん 0000,"h��h��<あんぱん 0000,"h��h��<あんぱん 0000,"h��h��<あんぱん 0000,"h��h��<あんぱん 0000,"h��h��<あんぱん 0000,"h��h��<あんぱん 0000,"h��h��<あんぱん 0000,"h��h��<あんぱん 0000,"h��h��<あんぱん 0000,"h��h��<あんぱん 0000,"h��h��<あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"h��h��<あんぱん 0000,"h��h��<あんぱん 0000,"h��h��<あんぱん 0000,"h��h��<あんぱん 0000,"h��h��<あんぱん 0000,"h��h��<あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱんあんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�あんぱん 0000,"̞�ͩ�

this gets to me so much though because you can just see the aftermaths of the war in each photo. we can look at them and pinpoint where each member of the joui 4 is at, emotionally and mentally 

gintoki and takasugi seem the most despondent, and knowing what we do of the paths they end up taking, there’s so much that can be read from their pictures. gintoki, locked up and truly isolated, after fighting a war he didn’t believe in and then failing to save the person for whom he’d stepped over the corpses of so many, from this picture alone we cannot know that one kind stranger saves him from corruption and another saves him from starvation. we do know that he picks himself back up, moment by moment, day by day, building, with nothing but what is left of his tattered samurai soul, the yorozuya from the ashes of his past. and he moves on, burdened once more with people he cares for, would enter another pointless war for. his creation is one of family and friends, who get through each day with such joy and ridiculous antics, because they have each other, and they are alive, and gintoki has found the light to his darkness 

i just noticed, takasugi’s picture is the only one flipped upside down, his descent from the war being so divergent from his friends. moving on (but does he ever truly move on, when every time he closes his eyes all he can see is death and please stop and that moment the one moment that stirs the embers of his soul and fans them into the wildfire of his rage) for him consists of setting down a path so drastically, irreconcilably different from the others, where he too builds with his own battered hands a group of people he surrounds himself with, only their purpose is one of destruction and is fueled by takasugi’s immeasurable rage and sadness

like many have observed before, somewhere along the road zura takes up the mantle of the joui war itself; his reasons for fighting in the war have always been noble, from saving sensei to fighting for the ideals of the joui patriots and becoming one of the torchbearers of their message and purpose. he stands, surrounded by daylight, unlike his two childhood friends who have yet moved on from the darkness before the dawn the sins wrought by their bloodied hands the guilt the pain the unending sadness. and he creates his own group of people who will fight and usher in a new dawn of edo

finally we have sakamoto, peace-loving, clever, bright sakamoto, who may not have lost a beloved teacher and father figure but has survived a war and undoubtedly bears scars of his own (and this is before we learn that he lost the use of his sword hand, the very bearer of a samurai’s physical spirit). each joui member takes away from the war their own message, their own lessons, and are inspired by their unspeakable losses to take on their new paths. sakamoto, however, i think would’ve done the same things no matter what he’d been through. his ideals do not seem to have changed from day one; he remains a negotiator, a merchant, a source of levity and lightness in the midst of such darkness. he will save those slaves and he will create his own family from, yes, the ashes of the people he just defeated with nothing but his beliefs and words and cleverness

and i am definitely reading too much into this but gintama is one of those stories that shares glimpses into the hearts of characters you just can’t stop thinking and talking about, where you might pick up one theme and then realize just how many other aspects of the story seem to be connected. i don’t think i’ve noticed until now how each joui boy is the founder of his respective group, which differs in the source of its members and its overall purpose (to live on, for revenge, for revolution, to bridge and connect), but there is the overall theme of surviving and building and moving on, even if some paths are ones that are forward-looking and others are forever chained to events from the past