The Case Study Of Vanitas - Tumblr Posts - Page 2

IKR WHY DOES BRO MAKE IT SO GLITZ AND GLAMOR WHEN VANITAS HAS NO OTHER INTERACTIOS WITH PPL THAT R COVERED IN SPARKLES

OH AND THEYRE NOT GAY

I’m on like episode 9 of the case study of Vanitas, why is it that everyone in this show.. is gross somehow(?) The world building is definitely interesting as well as the premise but man everyone is low key crazy or blood thirsty (like thirsty Thursday kinda thirsty). Still watching tho, anyone else feel this way?

✦  · V a n i t a s · ✦

☾  Manga: Vanitas no Carte

۰·ᴱˢᵗᵃ ᵖʳᵒʰᶦᵇᶦᵈᵒ, ᶜᵒᵖᶦᵃʳ ᵉᵈᶦᵗᵃʳ ᵒ ʳᵉˢᵘᵇᶦʳ ᵐᶦˢ ᵉᵈᶦᵗˢ/  ᴵᵗ ᶦˢ ᶠᵒʳᵇᶦᵈᵈᵉⁿ ᵗᵒ ᶜᵒᵖʸ, ᵉᵈᶦᵗ ᵒʳ ʳᵉ⁻ᵘᵖˡᵒᵃᵈ ᵐʸ ᵉᵈᶦᵗˢ. ·۰

✦  · V a n i t a s & N o é · ✦

☾  Manga: Vanitas no Carte

۰·ᴱˢᵗᵃ ᵖʳᵒʰᶦᵇᶦᵈᵒ, ᶜᵒᵖᶦᵃʳ ᵉᵈᶦᵗᵃʳ ᵒ ʳᵉˢᵘᵇᶦʳ ᵐᶦˢ ᵉᵈᶦᵗˢ/  ᴵᵗ ᶦˢ ᶠᵒʳᵇᶦᵈᵈᵉⁿ ᵗᵒ ᶜᵒᵖʸ, ᵉᵈᶦᵗ ᵒʳ ʳᵉ⁻ᵘᵖˡᵒᵃᵈ ᵐʸ ᵉᵈᶦᵗˢ. ·۰

✦  · V a n i t a s & N o é · ✦

☾  Manga: Vanitas no Carte

۰·ᴱˢᵗᵃ ᵖʳᵒʰᶦᵇᶦᵈᵒ, ᶜᵒᵖᶦᵃʳ ᵉᵈᶦᵗᵃʳ ᵒ ʳᵉˢᵘᵇᶦʳ ᵐᶦˢ ᵉᵈᶦᵗˢ/  ᴵᵗ ᶦˢ ᶠᵒʳᵇᶦᵈᵈᵉⁿ ᵗᵒ ᶜᵒᵖʸ, ᵉᵈᶦᵗ ᵒʳ ʳᵉ⁻ᵘᵖˡᵒᵃᵈ ᵐʸ ᵉᵈᶦᵗˢ. ·۰

wait now i want a fic of this

Guys but what if Vanitas and Noé did meet when they were kids? People have brought up the possibility that Noe’s kidnappers were part of the travelling circus Vanitas grew up in. I know it’s said Noé was taken to the vampire world. But to be fair, Louis makes that assumption and Noé kinda just nods ahead. So I’m taking that with a grain of salt and narrator Noé ain’t telling or confirming shit.

But you know why I’m starting to believe this?

Remember how Vanitas acted towards Noé in chapter/episode 1. We know Noé is the one who insisted on staying with Vanitas till the end. But we need to remember Vanitas asked Noé to join him first. Why would Vanitas ask him that???

Vanitas the lone wolf, Vanitas “I hate everyone equally”, Vanitas “it’s my way or the highway”?? He hired Dante and while I think their relationship is more complicated. In Gevaudan he was fully ready to cut him off until Johann went sicko mode. It’s not that Vanitas is recruiting vampires for his cause. We never see him ask any other vampire to join him.

And Vanitas, while it’s hard to tell how much was façade, he was getting all close and sort of flirtatious with Noé. Until he found out he’s an Archiviste and was forced to keep some distance. The “are you interested in kisses” line was right after they fought Jeanne. I don’t think he knew yet. And there’s little moments where he is genuinely glad of Noe’s company. It’s starts to be contradictory when he starts refusing Noe’s help bc he wants to protect him.

But he wanted to be around Noé.

And when the Archiviste thing is revealed, obviously we know from his promise and self-hypnosis pact we can’t have Noé sucking his blood. But his reaction to this news felt less like fear and more so disappointment. As if this revelation ruined something. So I’m starting to think Noé doesn’t remember Vanitas at all. But Vanitas remembers meeting a face like Noé, let’s assume 10 years ago. He didn’t know his name or that he’s an Archiviste. Maybe they had a heart to heart moment, before they could exchange names Noe disappeared. And maybe that was the same night his father was killed. Even for Vanitas standards, him asking Noé to lend his strength from day 1 makes no sense otherwise. There’s some connection there has to be.

weirdly specific trope i love is when a doctor or doctor-adjacent character with a ✨dark past✨ and ✨trauma✨ and who ✨believes themselves to be incapable of love✨ falls in love, usually with the sunshine character, and instead of thinking they are in love their first thought is that they have an illness, developed a "sudden and intense allergy" to the person they love, or were poisoned.

Patiently waiting for the next chapter of Vanitas no Carte

I did NOT need to render a meme this hard but I COULD and I DID.

intro post!

hi im lani I use she/they and i want to start writing but I don’t know where to start.

some of my interests are genshin impact, honkai starrail, blue lock, tgswiiwagaa, bungo stray dogs, my hero academia, the case study of vanitas, and more!!

pls comment if u want to be moots!

Vanitas no carte: A case study of the vanitas motif?

In this I want to examine how the vanitas motif is used in the manga “Vanitas no carte”. In other words: Is the main character just called Vanitas because it’s a cool name or is the manga embedded within a certain literary/artistic/cultural tradition? And is the connection to that tradition just the name of the main character (spoiler: it isn’t, at least in my option) or is the vanitas motif deeply interwoven within the narrative and its themes (spoiler: it is, at least in my option)?

Talking about spoilers: I have only read up to chapter 40, so this may be updated as I continue reading. On the other hand, there will be spoilers for the chapters up to chapter 40.

Note: I don’t know if something like this has been done before. If it has, I’m very sorry. This is actually my second step into the actual fandom and I’m lacking an overview. Also English is not my native language and it’s hard for me to articulate myself properly. I’m sorry if the topic of the vanitas motif within the manga has been discussed before and I’m sorry for any mistakes I make.

So what is vanitas as a motif?

“Vanitas” is latin for “vanity”. As a theme in literature it addresses the transience of all being.

These works of art associates with the vanitas motif show the futility of pleasure, and the certainty of death. Symbols of wealth and symbols of death are often arranged in a contrasting matter. Similar to “memento mori” (latin for “remember that you [have to] die”. Memento mori is a vanitas symbol itself and they are overlapping), it accentuates the inevitably of death. But instead of the death itself it emphasizes the vanity and transiency of the human life. Motifs connected to vanitas became especially popular during the baroque period due to religious and social upheavals and the experience of the Thirty Years' War (1618-1648) and several plague pandemics and the steady presence of destruction and death. On the other hand, social injustice rose due to the build of expensive castles by absolutist rulers.

The vanitas-motif not only criticizes the worldly glory and pleasure that is transient in nature. But vanitas also accentuated that the humans are powerlessly confronted with their own fate and have no control over their own life. This mindset originated in the traditional Christian belief that earthly pursuits and goods were believed to be transient and worthless. Furthermore, people would be expected to accept their fate that would be inflicted by God. While everything earthly would be eventually in vain, God would be eternal.

The paintings under the term “vanitas still lifes” are the most well-known incarnation of the vanitas motif, but it has been also incorporated as a motif not only in painting, but in poetry (for example in the works of the German baroque poet Andreas Gryphius. And I kid you not, he wrote an ode called “Vanitas! Vanitatum Vanitas!”) and other forms of literature. Within the vanitas motif developed a whole collection of symbols associated with it. These are also presented in this manga.

Vanitas symbols in Vanitas no Carte

Hourglass

The hourglass that takes form in Vanitas’ earring is a classical symbol of vanitas. The flowing sand symbolizes the passing of lifetime and mortality. A symbol of the passing of time and the eventual death is also expressed in the gearwheel ornaments on the “Book of Vanitas”.

Skull

The cover of the first volume shows Vanitas in front of a picture frame made of golden skulls. Skulls are symbols of vanitas and memento mori. They are reminder of death and human transience. One of the skulls on the cover is wearing with a crown, which alludes to the typical form of presentation of the vanitas motif, to juxtapose symbols of death and symbols of wealth and worldly power. This relates to the role of the vampire Queen Faustina, who is both in reign of the vampires but who also seemingly spreads death over them by spreading the curse as Naenia (a name also connected to death, as Naenia was a funeral deity in ancient Rome. The name Faustina on the other hand…is a whole new topic for another day and is most likely referring to Goethe’s Faust, a play that revolves around a scholar who makes a contract with the devil. Actually the act of vampires exposing their real name includes elements of/refers to the Faustian pact motif).

Book

The book itself also a symbol of vanitas and finds its place in the story in form of the…”Book of Vanitas”. Books (among measurement tools and the like) within the vanitas motif represent the emptiness and vanity of earthly knowledge and striving. Subsequently they symbolize the haughtiness that can arise out of thirst for knowledge. From this perspective this symbolism is also tied to Dr. Moreau, who horribly abused Vanitas and other children in experiments to gain scientific knowledge in order to become a vampire himself...and his eventual failure.

Knife

Another part of Vanitas as a character is also connected to the vanitas motif – his knife. The knife stands for the vulnerability of the human life and also functions as a death symbol. The knife is especially charged symbolically as Vanitas attacks Noé on the rooftop, declaring their cooperation has ended at this point. Vanitas is refusing to let another person in his life, refusing to trust someone else but himself. His attack towards Noé with his knife not only is an attempt to make Noé hate him, but also a symbolic “cut” of their ties. But the symbolism doesn’t end here, as Noé is the one who stops the knife with his hand. Showing that he will refuse their ties to be cut. Showing that he will stay at Vanitas side no matter what and that he accepts him and doesn’t want him to be alone. In a second situation where their relationship is on the verge of breaking is the conflict within the catacombs, as Noé refuses to agree with Vanitas idea of fighting back Laurent. Vanitas lashes out, severly insults Noé and tells him to leave, if he doesn’t agree. But Noé stays at his side (and still shows him that he doesn’t agree). One could conclude that Noé’s relationship with Vanitas has an element of transience in it by Vanitas coping mechanism of avoiding and leaving others in case of conflict. And Noé fights this transience of their relationship by offering Vanitas trust, acceptation and in the end stability. During their next conflict, where Noé spits out that he wants to drink Vanitas’ blood, Vanitas leaves. But this time it is Vanitas himself who initiates remediation, who fights his own transience when it comes to social relationships. He returns (which is unlikely to him, as Dante states), his care for Noé are stronger than his desire to be fleeting, not being able to be “caught” by anyone. And sees Noé waiting for him. Again, offering stability.

Mirror

The vanitas motif is not only imbedded in the accessory of Vanitas himself. It also finds its place in the design of Noé, more precisely in the small mirror attached to his tophat. In the context of the vanitas motif, mirrors symbolize vanity and the evanescence of earthly beauty. It also stands for pride and haughtiness, similar to the Greek myth of Narcissus. This actually contrasts Noé’s humble personality.

Flowers

Within the manga Paris is described as the “City of flowers”. While flowers can be also a symbol of love and even immortality, their blooming and withering can also be a symbol of death and fleetingness of beauty, especially in the context of baroque symbolism.

Musical instruments

Musical instruments are a sign of transiency as well, as the sound vanishes into nothing as soon as it is articulated. Music is seen as something unique and unrepeatable, and also as something that is transient in its nature. This becomes evident in Cloé’s character arc, as music is her way to manipulate the world formula. Her life is also highly influenced by the transience of her surroundings, while she herself is forced to remain static.

Carpe diem

Latin for “seize the day”. It’s the name of Jeanne’s weapon. “Carpe diem” is an idiom that was especially popular in the baroque era, but it dates back to the roman poet Horace. Along with “memento mori” and “vanitas”, it emphasized the fleetingness of all life. “Carpe diem” emphasizes the call to make use of the day and the time left and to act, despite the eventual transient nature of all afford. The own mortality should be remembered and therefore the day should be seized. This reflects the main characters Vanitas, Noé and Jeanne, who carry on and refuse to give up, despite the external and internal struggles they face.

The color blue

The color blue takes a significant role within the narratives (Vampire!Vanitas being born under the blue moon). While it is not traditionally connected with vanitas itself, the color blue, together with the color black (which are the two dominating colors within human!Vanitas’ character design), is connected to death and melancholy.

The role of the vanitas motif within the narrative

The vanitas motif is embedded both in the form and in the content of the narrative.

The vanitas motif is embedded within in form of the manga as it has an analytic plot structure. This means the story’s conclusion is already presented in the beginning and the rest of the story unfolds how the eventual conclusion happened. This is the case in “Vanitas no carte” as it presents the conclusion, that Vanitas dies in the end within the first chapter and we are actually reading Noé’s memoirs. Therefore it is a constant reminder, that Vanitas will die and nothing that will happen in the story will change that outcome. Everything that happens in the story appears basically unable to change the end. Every positive development is overshadowed by the fact that it is made clear by the narrative since the very beginning that there will be no happy ending for the main characters. This is especially notable in the scene on the rooftop in volume 3, where Noé declares, how he will stay on Vanitas’ side. This scene is followed by an overlying narration of Noé, who says that memories of the beginning awake memories of the end and expressing his regret. In this positive, powerful scene where Vanitas and Noé make up and the themes of human bonds, free will, acceptation of oneself and others and trust really shine…also embeds the eventual tragic end. The omnipresence of death and its fatality and the transience of life and the knowledge that nothing lasts is the essence vanitas motif and it is presented in the mere structure of the manga.

But its not only the structure where the vanitas motif is woven in, but also the story. This shows especially in the character Vampire!Vanitas and in the mere name itself. As Cloe’s case shows: Vampires are pretty much immortal, if not directly killed. On the other hand, it is the curse of Vampire!Vanitas that endangers vampires: Because it gives them back their mortality and the transience of their existence. A transience not brought by an outside force as in the church, that hunts the vampires – but transience within themselves and their very nature. Vampires fear becoming cursed as much as humans fear death – it can always happen, to everyone. It’s not fast, but slow, seemingly unstoppable “decay”. So it is fitting for someone called “Vanitas” to bring transience and the constant reminder of death and fear upon their whole species.

Another factor of the vanitas motif is the inevitable passing of time and the changes this brings – a theme that is deeply tied to several characters arcs, where death and loss and how to deal with both is a major theme (especially when it comes to Vanitas, Noé, Jeanne, but how they relate to each other thematically is worth an analysis itself and I would digress too much). This is especially notable in Cloé’s arc, who is the only vampire in her family and becomes more and more isolated and alienated from her family, who eventually forgets about her. Cloé’s wish to stop the passing of time (and the underlying wish to be happy with her family, to be accepted for what she is), to fight the transience or rather to fight the vanitas manifests in the time loop. The time is reset and tied into a loop – symbolizing not only her being stuck in the past, but also her refusal of a future, since a future meant nothing but being forgotten for her, who sees no other purpose in herself but to execute the will of her family that has long forgotten her.

The concept of vanitas also includes fatalism and the belief that humans don’t have control over their own lifes. This makes Lord Ruthven , who uses curses to bind other vampires to his will and eliminating their own (as he did/tried to do with Noé, Jeanne and Cloé) a fitting villain from a thematic viewpoint as he impersonates fatalism. Personal choices or free will don’t matter for him as he erases both. This makes him a foil for Vanitas and an antagonist not only in actions but in world view. To Vanitas the freedom of his will and the consciousness of his own choices are extremely important to him. He could never choose in the past and was more seen as tool used by his surroundings than as a person. This emphasis of choices opposes Vanitas to the traditionally fatalistic viewpoint of the vanitas-motif. Not only that, but he uses the Book of Vanitas to actually reverse the curse and fighting the transience of existence that has befallen the vampires.

So Vanitas fights Vampire!Vanitas not only as a person by preventing the curse from killing vampires – but simultaneously he fights the transience and the fatalism: He fights vanitas as a concept itself.

But the narrative doesn’t deem transience not as internally negative. Quite the opposite, the narrative sees transience as an opportunity for change. The change of fixed structures is also an important theme after all. This change of structures is of both negative (as the curse dissembles the true name of the vampire and therefore their entire nature and Jeanne’s struggle and agony with coming in terms with seeing herself changing) and positive qualities. In one of the early chapters Vanitas complains about how the vampires are stuck in the past and therefore refusing his help – it is not only after Vanitas proofs himself that he is at least tolerated. The message of the positive side of change is also within Vanitas’ and Noé’s improving relationship and understanding. Even though Vanitas has a hard time to accept these changes (as he didn’t tell Noé about the state of the Queen, because he thought he wouldn’t believe him and refers to the several past experiences of vampires almost killing him), the positive relationship of both of them even inspires changes in others. Notably Laurent. Who, inspired by seeing a human and a vampire in a positive relationship begins to question his own beliefs and is even on the road to uncover secrets of the church, breaking up entrenched structures as well.

As a conclusion one could say that the manga makes many, many allusions to the vanitas motif and incorporates them structurally, thematically and plot-wise.

Vanitas no Carte is really a case study of vanitas.

Healing and Identity

One of my favorite aspects of the fight between Noé and Vanitas starting chapter 49 is the fact, that Noé is saving Vanitas in the same way Vanitas saves vampires. 

The influence of "The Book of Vanitas" leaves vampires in a state of abscense of reason and reflection, merely driven by destructive desires. As in: Drink blood. 

Vanitas on the other hand is under the influence of Luna's words/hypnosis(?) and his own autosuggestion. He as well is merely driven by a singular destructive desire. As in: Kill "that Vampire".   

Both, Vanitas and Vampires, are driven by the urge to hurt and kill. Things neither of them wants. This is especially relevant for Vanitas, whose free will is essential for his self image which is now stripped away from him. Furthermore, this loss of free will/control is tied to loss of identity. Both the curse and Vanitas' state of hypnosis are characterized by a dissolvation of identity. The Vampire's curse dissolve their identity and the sense of self. Healing involves self-recognization and reconcelation with ones own identity. This is portrayed especially prominently in Chloé's character arc, where the process of healing is tied to recognizing herself and her true wishes (to be loved for who she is). Chloé's healing involves also the recognition and acceptance of the positive feelings other harbor towards her. Since the curse corrupts the true name of the vampire and therefore their whole being, it can be said that the dissolvation of identity is internal.

In Vanitas' case he is no longer able to recognize Noé for who he is. Noé's identity desolves for him into the undefinded mass of "that vampire". Therefore the dissolvation of identity for Vanitas is external. 

Both Vanitas and the Vampires are shown to be suffering in this state.

The importance of self-reflection and its healing effects are shown within the battle through Noé. He literally reflects himself and his behaivour by looking into a mirror. He is shocked by what he sees, being confronted with a side of himself he neither knew nor wanted ("Have I looked like this all the time?"). He as well is influenced and controlled by outside forces: Mikhail's thoughts and feelings.

Noé's own desperation towards Vanitas unwillingness to help Dominique in itself does not trigger the violence. On the opposite, Noé tries to reach out, wants Vanitas to tell him his past, so he doesn't have to drink his blood and calls his want for Domi to be saved as "selfish". Noé's own desperation grows, as Vanitas declines and lashes out and leaves no hope for agreement. So Noé attacks him - this is how it seems at first.

But Noé's inner monoloque reveals that his mind is mixed with Mikahil's destructive, harmful hatered and desire for vengance towards Vanitas. 

It is Mikahil's feelings that make Noé fight and attack.

He knows this feelings are not his, but is unable to stop himself from acting according to them. Even though not as strongly manipulated as Vanitas and is still able to control his actions (stopping himself from attacks that would kill Vanitas). It is Mikahil's feelings that ultimately trigger Noé's actions, but it is Noé's own desperation to save Domi, snap Vanitas out of the hypnosis and his pure willingness to just survive that keep him fighting. But this means giving in to a violent side that he, who can't bear hurting anyone, comes in touch with more than he his comfortable. But in the heat of the battle, caught in the situation, under Vanitas' constant attacks, he is unable to notice. By looking in the mirror, Noé is finally able to pause and to reflect himself, his actions - and he reflects upon Vanitas. He asks himself "And how did you look?" Due to the reflection Noé is able to see Vanitas' pain, horror, distress and helplessness and sadness behind his cruel selfish facade. He recognizes Vanitas' loneliness, the meaning behind his words (in example: that being alone means "freedom" for Vanitas. Later, Noé reassures Vanitas - who is still hypnotised - that he will never "set you free" aka "never leave you alone".) 

He sees Vanitas true feelings, his true self, his "true name" if you will.

Noé reflects and stops the fight. Breaks the circle of attack and counterattack. Chooses a different path to save Vanitas. The path not of violence, but of empathy.

What follows is that Noé reintroduces himself to Vanitas. Actually the scene reflects their first meeting with them physically fighting over how to deal with extreme life or death situation. An [in Domi's case seemingly] accursed Vampire to be precise. Noé always being the one to openly help and trying to protect those in need, while Vanitas using violence that cover his true intentions and his motivation becoming clearer only later.

The most important aspect of this reintroduction is Noé's wording here:

"My name is Noé Archiviste. I'm not <that vampire>"  

He accentuates his name or rather, he gives his name back to Vanitas. And with his name his identity. Therefore he is able to reach Vanitas on an even deeper level than the hypnosis goes. But similar to Chloé, the acutal healing has to come from within, from Vanitas himself. This process is portrayed as an inner battle between what the hypnosis tells Vanitas and Vanitas will and his true feelings (even though he is not conscious about it in this moment, after all it is still worded as a question "why can't I kill?"). At the beginning, Vanitas still try to kills Noé. But he can't. Still under influence of the hypnosis, desperately asking why. He still can't. And he breaks down.

Both Chloé and Vanitas learned something through Jean-Jaques and Noé respectively: They are not alone. Someone is there for them, no matter what.

Overcoming the hypnosis is also overcoming the past and opening up for something, someone new. Something Mikhail is unable to. The inability of leaving the past behind driving force and central theme of this arc. In the end both Vanitas and Dominique are able to overcome the past. Just as Chloé did.

Both acts, Vanitas saving Vampires and Noé (a Vampire) saving Vanitas, are about the themes of loss of identity and loss of control.  

While Vanitas gives the vampires their true name back (an internal process within the Vampire), Noé doesn't give Vanitas his name. But Noé names himself. Re-establishes his identity to Vanitas. It saves them both.

Both acts give form to the formless. 

Both acts accure due to the reflection and re-recognition of ones own self and identity: the Vampires recognize their true name, Noé reflecting on himself as he sees in the mirror and Vanitas escapes the hypnosis. But it's not an isolated process, to the contrary. The importance of the other and the bonds with other people are essential for self-recognition: Vanitas is able to recognize the true names of Vampries, Noé understands Vanitas' true feelings behind his facade and Vanitas is finally recognizing Noé and espaces his hypnotic state. 

While the process is given supernatural coating when it comes to the use of the Book, within Noé saving Vanitas the process is shown in it's rawest form and that is understanding and empathy. 

Thanks for reading! Please note that english is not my first language and I'm sorry for this being so messy!!  

Joyeux Anniversaire! 🎂🎉