#bunraku division

[fukuokanodivision]

The End Of The Beginning — Vol 4 [GEN] —————————————————————————————————————— [H ERA — 3RD YEAR]—————————————————————————————————————— — PulseCo Records, Fukuoka Division —

[Even in the comfort of his record label office, NaYuta was dying for a performance to put on. OverDrive having been established for over a year and Terminus was easily in stride with them. Not only that, GEN also was working well with supporting the upcoming revolution. So many things were happening, it was difficult what to focus on in the future…] [It only felt natural to put on a show for his fellow locals. After all, he was one of the best musicians in Japan. Besides, it’s been almost a year after his last tour celebrating OverDrive’s first anniversary.] NaYuta: Now’s my chance, I can’t let any of us go unnoticed…Not since back then. [He takes a deep breath and picks up his phone, typing a quick message to Eko, Kairi, Yurushi and Itsuki without missing a key on the digital keyboard…] —Show on the road, meet at Gaito Koen ASAP— NaYuta: Now that’s over with, there should be something else. What am I missing…? [The musician furrowed his brow in contemplation as the thought finally dawned on him. Quickly after the 1st text, he added an additional sentence before shutting his phone off.] —Bring your “necessities.” You probably don’t need to use them, but just in case things get a little hectic…— [This was going to be fun, wasn’t it?] [After all he’d been through with Lyte and protecting Eko, it was time to pay it forward.] [Well, with real music on the contrary…] NaYuta: That reminds me, I should pay Hikaru-chan and the rest of them a visit. I saved them too just in time… [Pushing off the harsh memory and uploading his email, NaYuta pulled up an unknown contact on his monitor and smiled at its familiar faces; 1 surrounded by 2 others flanking them in a modelled fashion.] [Hikaru Mumei, the leader of Lyte’s superior group act…] [X-Ray.] NaYuta: Long time no see, Hikaru-chan. Yes, it’s important…Mind dropping into my office? Hikaru: …On our way, NaYuta-dono. We’ll be no later than 60 minutes time. —————————————————————————————————————— [H ERA — 3RD YEAR]—————————————————————————————————————— — NSDS, Fukuoka Division — [For Yurushi, NSDS Studio was a lament. A reminder of his misdeeds rather than a promise of a better future. A single scandal possessed such power to tear his only career out of his shaking hands…] [Pathetic. How could he be that stupid!?] Yurushi: …Why did you do it, Ren-san? [At those words, Renji Bunraku came from behind and stood across from him. The puppeteer hadn’t changed a bit since then; whether it was his physical appearance or mindset…However, his mental state was unconfirmed.] Renji: Love is like Pandora’s box. You are promised a healthy relationship as long as you don’t open up your personal background…To the entertainment world, that is a one way ticket to controversy. Yurushi: But why? Are you just madly infatuated!? Renji: It’s ironic for why you chose that particular name as your moniker. [Instead of taking the chance to press on him, Renji instead sighed and pushed a tuft of hair out of his face, revealing his violet eyes that held dried tears compared to Yurushi’s usual expression nowadays as he took a step forward.] Renji: I know neither of you will accept me as a human anymore. But someday…I’ll reveal the utmost truth to both of you, a promise I intend to fulfill. [With that, he turned his back and walked out of the studio and softly slammed the back door behind him. Yurushi remained alone once more, the echo of the slam resounding in his head for a few lingering moments…]

[Reveal the “utmost truth”? How could he know anything about truth after what he did!?] Yurushi: You imbecile…Traitor! [Punching the linoleum wall in frustration, his hand was only met with the pure oozing of red blood. As if he hadn’t felt pain before, now it was only an everyday occurrence…] [His obituary would have all the answers out like an open book.] [Grabbing his things, the dancer left without a trace and began to dial his phone. He was grateful for NaYuta’s message for another live, it was killing him to exist when he wasn’t present.] Yurushi: I’d like to book an appointment, before I leave this damned world for good. Yurushi: …Help me, please… —————————————————————————————————————— [H ERA — 3RD YEAR]——————————————————————————————————————

— Cell 18, Chuohku Ward —

[A live performance? Now…?] Itsuki: Seems as if NaYuta is up to something rather secretive, hm… [The inmate leaned back on his cell barrack, exhaling, stretching his arms and recalling a few past memories of his imprisonment. His children’s efforts to free him only put their lives in more jeopardy, he was almost regretting forming KryPtos in the first place. GEN on the other hand was a way to discuss his plans openly, though both groups come with immense consequences if he was captured—again.]

[Why did they have to use his son instead of him? Yuno didn’t deserve to become apart of Chuohku’s experiments, so it didn’t make sense why he had to be imprisoned to a political party!] [“Usotsuki”—the name was Kryptonite as long as him and his family was alive, slowly negating both his reputation and children’s lives they should have the choice for freely…] Itsuki: I wish it didn’t have to come to this dilemma. [He pushes himself up to stand and pulls out a “radio” inspired device from the shelf underneath his barrack. Pressing the frontal button, he felt his body jolt at the sensation of fast travel.] [Now —inside the experimental facility—, he stepped in front of one of Chuoku’s victims, heaved a sigh of sympathy and shook it out of slumber.] Figure: …Father Kamora? Figure: I was captured again—wasn’t I? [Itsuki nods ashamed.] Itsuki: Don’t worry, friend…I have a little surprise for our revolutionized government. Figure: Is THEMIS out of their radar? Itsuki: I cannot say for sure if it will stay that way…Wether that means her or any of my family. All I know is anyone I have helped may be in danger. [He pulls out the device once more and flips a switch on the side, emitting an unknown energy that caused the lights to flicker and camera’s to fault. The figure’s expression changing to one of determination as he recognized its content…] [A “Hypnosis Canceller”, one Itsuki had tapped into.]

[ysasdrawings]

"To you my dear Sorceress, I give my eyes"

The death of Humanette lead the others to take part of him, as a last farewell to their old friend.

@corvidazed @flospuer-su

[lidrens]

I BURNED THEM ALIVE THEM ALL

[gion-division]

花の女王｡

Hana no Joō (Flower Queen) is an all-female rap group consisting of Division leader and geisha Koyumi, bunraku puppeteer Honoka Ajisai, and retired actress Moriko Himawari. Together, they represent Gion of Kyoto.

The group’s color is red-orange, colors of the festival lanterns and autumn leaves.

The group’s symbol is a wagasa; however, unlike most other groups, they don’t have it on themselves—instead all three members just own one. They do have the common motif of a flower accessory though. To them, flowers symbolize the beautiful women they have bloomed into…but we all know flowers wilt eventually.

Their Rhyme Anima hand sign is simply holding their fingers and thumbs together, as if they’re holding the stem of a flower.

Their only reason for joining the D.R.B is out of curiosity, as Koyumi wanted to perform in a more modern society in modern ways. Or perhaps there’s a more deeper reason…

Masterlist

all.

team dynamics - first album - wardrobe

koyumi.

bio - schedule, hashtags, other info, and timeline

honoka ajisai.

bio - schedule, hashtags, other info, and timeline

moriko himawari.

bio - schedule, hashtags, other info, and timeline

welcome to the division review!

divsion leaders: koyumi - honoka - moriko

second members: koyumi - honoka - moriko

third members: koyumi - honoka - moriko

solar siren: koyumi - honoka - moriko

Main: @aiallardyce

Other Division: @enoshima-division

[elisabethdenis]

INTRODUCTION

Le théâtre traditionnel du Japon se divise en quatre branches principales : le Kyogen, le Kabuki, le Bunraku ainsi que celle dont j'analyserai de plus près ses bagages effrités par le temps, le théâtre du Nô. Ce dernier n'est pas seulement l'art dramatique le plus ancien du Japon, mais aussi l'art théâtral traditionnel le plus archaïque sur Terre qui est toujours pratiqué dans notre monde contemporain. Son origine puisse être retracée au 14e siècle durant la période du Muromachi, fabriqué par l'esprit et les mains de l'auteur, musicien et acteur Kan'ami. Éventuellement il lèguera le flambeau aux mains de son fils Zeami qui continuera à huiler la chaine de cette merveilleuse pratique. La totalité de ces performances s'intéresse tout d'abord aux costumes traditionnels, au chant, la danse, les rituels, la poésie, la musique, ainsi que l'acte de performance dramatique. Ces aspects sont tous propres à l'héritage culturel du Japon qui à l'origine avaient comme but de communiquer des thèmes bouddhistes à son auditoire. L'étymologie du mot sino-japonais Nō 能 se traduit à l'équivalent de « talent ». La provenance du mot théâtre vient du grec theatron, signifiant « lieu de représentation. »

Pendant plus de 200 ans, le pays des samouraïs étouffait sous la politique rigide du Sakoku 鎖国, se trouvant replié sur lui-même en état d'isolation, dépourvu d'une alliance au reste du monde. Le Nô s'avérait donc à contempler son pays comme on se regarde dans la glace d'un miroir : lui aussi, se trouvait figé de certaines façons au fond d'une coquille inflexible confectionnée par des pratiques orthodoxes structurées au sein d'un régime patriarcal dépouillé d'une brèche de lumière entrevoyant un brin de changement en guise d'un futur plus tangible.

C'est en 1854 qu'un grand soleil se leva avec l'arrivée d'un officier naval américain, Matthew C. Perry et ses vaisseaux stupéfiants noirs à vapeurs. Devant la splendeur de son équipage et la pression ressentie par ce spectacle, l'eldorado a finalement adhéré au traité de Kanagawa, ouvrant ses ports et donc ses portes au reste du monde afin de faciliter le commerce. Évidemment, toute ouverture au monde convoque une métamorphose inévitable.

Ma réflexion portera sur la réverbération provenant de ce catalyseur important qu'a été le commencement du libre-échange, mettant en lumière les changements advenant au niveau du domaine du théâtre japonais. La représentation du Nō restera-t-elle un écho traditionnel ou deviendra-t-elle un bouquet de nouvelles pratiques créatives politisées et innovatrices face à l'adaptation de l'industrialisation ainsi qu'à la modernisation? Cette main tendue vers le reste du monde véhiculera-t-elle certaines réflexions sociologiques et esthétiques par rapport aux principes de bases théâtraux liés très intimement à l'ancien régime?

En premier lieu, je vais ramifier le Nō sous son éventail d'éléments rattachés à la danse, la musique ainsi que l'acte de performance de scène afin de développer une meilleure compréhension de ses multiples fonctions classiques et tenter de prouver qu'il soit une pratique interdisciplinaire. 

Ensuite, je poursuivrai ma méditation en énumérant et en abordant les nouveaux genres émergeant du théâtre contestataire japonais qui font apparition après l'ouverture du pays. J'entreprendrai le tissage de liens entre l'influence que le reste du monde aura eu sur le théâtre japonais. Ces nouvelles scènes dramatiques permettront-elles d'accentuer l'envie urgente de sortir d'une certaine uniformisation enracinée par l'ancien régime du Japon?

Finalement j'élaborerai sur les changements sociologiques, politiques et esthétiques qui sont font maintenant partie du théâtre japonais contemporain d'aujourd'hui.Je crois fortement qu'il me sera possible d'illustrer la puissance que l'influence d'une frontière jaillissante peut avoir sur la transformation du contenu et de la forme d'un art. Dans ce cas-ci, le passage du théâtre traditionnel s'est transformé sous une forme contestataire, politisée et puis finalement, une interdisciplinarité qui débordent d'interculturalité.

[gaikokujin-blog]

Estampes japonaises modernes 1900 - 1960 à la fondation Custodia

Japonismes 2018 bat son plein à Paris, les expositions et les activités les plus diverses se succèdent voire se superposent. 

Il faut prendre le temps d’aller, toutes affaires cessantes, à la fondation Custodia, pour contempler une exposition sublime, consacrée aux estampes modernes.

A la fin du 19è siècle, avec l’ouverture du Japon à l’occident, l’ukiyo-e traverse une période de crise : elle ne fait plus recette, car les sujets qu’elle traitent paraissent désuets, et l’ouverture a apporté de nouveaux moyens de représenter le monde, des procédés de reproduction modernes qui font concurrence à la gravure sur bois. De surcroît, souvent, les graveurs japonais sont partis en Europe ou aux Etats-Unis, et ont découvert d’autres manières de concevoir et leur travail et leur rôle d’artiste.

C’est ainsi que deux nouveaux mouvements d’estampe vont voir le jour au Japon au tournant du siècle.

- Le Shin Hanga (nouvelle estampe) sous l’impulsion de l’éditeur Watanabe Shôzaburô, qui part à la recherche d’artistes capables de donner un nouveau souffle à la gravure sur bois. En même temps, la division traditionnelle du travail est conservée, et une estampe est le fruit du travail de 4 personnes : l’artiste, le graveur, l’imprimeur et l’éditeur.

- Le Sôsaku Hanga (estampe créative) qui considère au contraire que l’artiste doit maîtriser son travail créatif de bout en bout : c’est une rupture avec la tradition, sous l’influence de l’occident ; les artistes dessinent, gravent, impriment et diffusent eux-mêmes leurs estampes.

Cette exposition exceptionnelle est la première du genre en France ; la collection présentée est actuellement conservée au Nihon no Hanga à Amsterdam, et elle sera ultérieurement donnée au Rijksmuseum.

Les photos sont autorisées à l’exposition. Etant présentées sous verre, on a souvent, en plus de la photo, le reflet du photographe... Plutôt que de vous montrer tout, je vous propose un best of d’une dizaine de photos ; l’exposition en présente plus de 200 !! Exceptionnel, vraiment !

Onchi Kôshirô (1890 - 1955) : Le Plongeon, 1932. L’auteur est le chef de file du sôsaku hanga ; le cadrage de l’estampe est littéralement photographique ou cinématographique. L’artiste a été influencé par l’expressionisme allemand. Cette estampe a été montée à Paris en 1934.

Ishii Hakutei (1882 - 1958) : costume de bain, 1932 ; série “12 femmes modernes”. Une femme en maillot de bain, vêtement introduit en 1915 au Japon et devenu symbole immédiat de modernité. Le poème est de Saitô Mokichi : “voluptueuse, une hanche est là près de moi ; mais je ne la vois pas L’objet de mon amour semble loin, de l’autre côté de la mer”

Nakagawa Isaku (1899 - 2000) : Grand massé, 1933. Une femme moderne, vêtue à l’occidentale et aux cheveux courts joue au billard !

Takehisa Yumeji (1884 - 1934) : Jihei, 1916. L’artiste a été actif dans les années 20. Estampes à caractère sentimental ; il représente des personnages consumés par leurs sentiments. Ici, Jihei, personnage d’une pièce de bunraku, “suicides d’amour à Amijima”

Fritz Capelari (1884 - 1950) : Femme avec un chien pékinois. Un auteur autrichien qui a rencontré des étudiants japonais à Vienne et est parti se former au Japon. La première guerre mondiale le contraint à rester au Japon, et il s’établit à Tokyo, dans le quartier d’Akasaka. Sa route croise celle de Watanabe Shôzaburô et il devient partie prenante du mouvement shin hanga. Noter le sceau de l’artiste : la date verticale à la japonaise, et une typographie art nouveau : japonisme total !

Itô Shinsui (1898 - 1972) : Nuit dans la neige, 1923 ; de la série “12 nouvelles belles femmes”. Les flocons sont créés en réserve sur le fond coloré ; cette estampe est considérée comme la plus représentative de cette série vendue sur abonnement.

Yoshida Hiroshi (1876 -1950) : Brume du matin au Taj Mahal, 1932. L’artiste vénérait le Taj MAhal et s’est rendu en Inde pour pouvoir l’étudier et le dessiner.

Azechi Umetarô (1902 - 1999) : Pluie, 1957. Cette gravure est issue d’un calendrier créé pour Nissan. Artiste autodidacte typique du sôsaku hanga, qui voit parfois la collaboration d’artistes  et d’entreprises commerciales.

Ishii Hakutei (1882 - 1958) : Yanagibashi, 1910, de la série “12 vues de Tokyo”. L’une des premières oeuvres du mouvement shin hanga, encore très classique, notamment dans les thèmes abordés. Ici, une femme / une geisha en kimono se repose après un concert de shamisen, son instrument à côté d’elle. Le détail de la cigarette suffit cependant à nous faire entrer de plain-pied dans la modernité.

Kobayakawa Kiyoshi (1889 - 1948) : Danse moderne, 1934. Il y avait 28 dancings à Tokyo dans les années 20 - 30. Des compagnies de danse moderne, notamment la Vienna Dance Company se sont produites au Japon, et ont pu influencer l’artiste.

Torii Kotondo (1900 - 1976) : Femme sortant d’un bain public, 1933. La femme de l’artiste.

Kawase Hasui (1883 - 1957) : Le nouveau grand pont, Shin Ôhashi, 1926. Hasui, mon favori !! Et le plus connu probablement des occidentaux. Ce pont a été bâti en 1912, en acier importé et en style art nouveau. Noter la pluie battante et le pavé humide, qui rendent cette estampe totalement atmosphérique !

Hashiguchi Goyô (1881 - 1921) : Femme peignant ses cheveux, 1920. Une estampe connue chez nous, d’une facture exceptionnelle, notamment dans le traitement réservé à la chevelure. L’artiste conservait une impression de cette gravure dans sa chambre d’hôpital à la fin de sa vie.

Onchi Kôshirô (1890 - 1955) : La gare de Tokyo, 1945 ; série “souvenirs de Tokuo”, issue des “100 vues de Tokyo”. On reconnaît la gare en briques rouges. Cette série a été imprimée peu après l’arrivée des américains à Tokyo. Elle est destinée probablement à une clientèle étrangère.

[corvidazed]

Everything You Need To Know About Puppet Collection

What is Puppet Collection?

Puppet Collection (PC) is an alternate reality game (ARG) based off of the seven trials of HABIT from the YouTube series EverymanHYBRID. You can watch that series here, it has no relation to PC. This ARG is hosted on discord.

Can I join?

As of right now, applications are closed and will continue to be. It’s possible I’ll run another PC in the future, but my personal life comes first.

How do I follow what’s going on if I’m not in the discord server? 

You can follow the puppetcollection tag on tumblr, and subscribe to the YouTube channel here. Very little is posted about what is happening in the server in order to prevent mass chaos between those who are participating and those who are not.

Why do I keep seeing IG and OOG on posts about PC?

OOG means Out Of Game, as in the events that happen in real life.

IG means In Game, which are the events happening in the not real PC universe.

What’s all this stuff about Bunraku and puppets?

Bunraku is the name of one of the four teams (divisions). Bunraku, Marionette, Wayang, and Humanette. The people participating in the game are known as puppets.

How the heck does this whole thing work?

It roughly follows the format of the Seven Trials of HABIT as mentioned above. Every couple days or weeks, all of the divisions are given a task known as a debugging. They’re given a certain amount of time to complete the task, and are then eliminated (debugged) if they did not complete it, or did a poor job. In this, the ARG becomes like a tournament with slowly less and less puppets.

But is there plot?

Sure is! Along with the debugs, there���s additional puzzles scattered throughout as well as cool documents and other things that the puppets are given or find as the ARG progresses. You can see an example of one of these things with Case File 1031, found here.

[prickly-problematic-programmer]

Meanwhile, in the bunraku division...

(I’m so sorry @grandest-relic )

[pepperchoy]

And on this one special day, chaos reigned in all divisions.

All except for Bunraku.

In yo faCE-

[kathie54]

Bunraku division after finding out what was behind the last code..... 

[fukuokanodivision]

Roses & Thorns

“Mai-chan? They’re the kindest person you’ll ever meet, Ren-san. They’re optimistic, considerate…They are an angel sent directly from heaven. You really want to meet them?”

“I have a project in mind that will satisfy what we both want — You will have some expert dancing experience and I will get to meet the kind lady~…”

—————————————————————————————————————— [YEAR XXXX] —————————————————————————————————————— At Next Step Dance Studio, better known as NSDS, anything was considered possible. Mai and Yurushi walked down the veterans hall at a brisk pace, it was hard to tell who was more excited to plunge into whatever was awaiting them. Finally after entering the veterans lounge, a figure rose slowly up from his seat and walked over to greet them. His navy blue hair was long and layered and his violet eyes shone like amethyst, revealing a calm and gentle gaze as he surveyed them and waited for his introduction. “Mai-chan, this is Renji Bunraku. He’s asked to meet you and was wondering about a dance project we could start together…” Yurushi explains as Renji bowed his head in respect. “It is an honour to meet you, Mai…I hope we can become great friends.” Renji smiled and shook their hand, causing Mai to turn a little red and tremble slightly. Yurushi put a hand on their shoulder as the 2 let go. “It’s nice to meet you too~. I-i’m non-binary, if you get what I mean.” Mai stammered as the 3 walked toward the studio office, Renji and Yurushi linking either hand of them. Renji nods, apologizing as they all reach the office door… “So, what’s the project you have in mind?” “A romantic theatre, where we showcase the true beauty of love…” “What should we call it? It sounds interesting already!” “There’s only one name that can amazingly satisfy the ideals of our ultimate pinnacle — ENGEKI…” ——————————————————————————————————————

— Hakataza Theatre, Fukuoka Division — With a crowd of about 1 million fans, ENGEKI stepped onstage amidst the frenzied applause and cheers. The 3 huddled together close and held one another’s hands as their pre performance ritual… “From this day forward, we’ll be immersing ourselves into who we really are tons more…Let this debut be a call to realize that.” Renji explains as Yurushi and Mai nod simultaneously. “I can’t wait for what our future will hold…” “Then let’s get out there!!” The 3 laughed and moved to their respective beginning positions as the lights went down and the curtains revealed their yet to be seen presence. ENGEKI was going to change the dancing universe forever…

Bring The Beat!

[ENGEKI-] ENGEKI This is our love [L’entiche-] Everything was nonexistent Inanimate and deformed back in those days Even so, you both were right beside me I’m at this point because you’re here [Shade-] Lonely acidic rain Permanent shadows Not even a mother to hold [Ningyotsukai-] That day I first lay eyes on you I’d thought I lost my way But I knew you were someone to believe in! [ENGEKI-] We’re still singin’ this is our love It’ll never change, this is our love Don’t want it to ever leave Don’t want it to ever leave We’re still singin’ this is our love It’ll never change, this is our love Don’t want it to ever leave Don’t want it to ever leave [Ningyotsukai-] Someday that discontent of separation Those days make me wish for escape to paradise [L’entiche-] And that desire to love each other Have made us stronger now [Shade-] Streets that we danced on alone It's okay because you're here [ENGEKI-] A bond that doesn't fade easily! DNA connecting us We’re still singin’ this is our love It’ll never change, this is our love Don’t want it to ever leave Don’t want it to ever leave We’re still singin’ this is our love It’ll never change, this is our love Don’t want it to ever leave Don’t want it to ever leave [Shade-] All I need is you 2 and I [Ningyotsukai-] Overcome the pain and change the game [L’entiche-] Aiming to the topmost with my bestest lovers [ENGEKI-] If it's the three of us, we can overcome anything! We will get everything We’re still singin’ this is our love It’ll never change, this is our love Don’t want it to ever leave Don’t want it to ever leave We’re still singin’ this is our love It’ll never change, this is our love Don’t want it to ever leave Don’t want it to ever leave (Yeah)

[ysasdrawings]

The Bunraku Mansion, where the ghosts and the survivors are welcomed after all the pain of Puppet Collection. The crows on the roofs guard the place, and the statues of their division look after them all when they appears in front of the stairs.

[lidrens]

puppetcollection moodboard: lidren

[gion-division]

“We are only puppets, our strings are being pulled by unknown forces.”

Introduction

Honoka Ajisai, also known as Maniakin in rap battles, is the second member of Hana no Joō. A quiet girl who believes herself to be cursed, she finds peace in playing with dolls. Honoka used to be a part of the team Sangyo Stage, but it disbanded which left her incredibly depressed and bitter. Luckily she’s found a new one, will they do better this time?

Biographical Information

Name: Honoka Ajisai / Ajisai Honoka

Honoka (和花) - “Harmony Flower”

Ajisai (紫陽花) - “Hydrangea”

Aliases:

Doll

“That little kid.”

Any insults you can think of, to be honest.

Gender: Female

Age: 18

Birthday: March 21st

Star Sign: Aries

Ethnicity: Japanese

Hair Color: Dark purple with lighter purple streaks

Eye Color: Pink

Height: 153cm / 5’0”

Weight: 88lbs / 39kg

Piercings: N / A

Markings: Injuries on her hands. There are others, but she doesn’t want to talk about it.

Family:

Shin’ya Ajisai (Father)

Tomoe Uchiyama (Mother - Missing)

Fun Facts

MC Name: Maniakin

Occupation: Bunraku puppeteer

Division: Gion

Team: Hana No Joō / Flower Queen

Position: Second Member

Favorite Food: Kushikatsu

Least Favorite Food: When she tries more food she’ll probably tell you what her least favorite is.

Likes: Dolls, psychological horror, urban legends, yokai, fashion, and the color purple.

Dislikes: Horror with a lot of gore, alcohol, lazy people, tight or small spaces, and the cold.

Appearance

Honoka is a small and frail-looking girl, with a deathly pale complexion. Her hair is long and purple, with lighter purple streaks; it’s usually pulled up into loose twin buns, with braids hanging from it. There are two green beads in her hair as well. Her bangs fall over her pink eyes a little at the right.

She’s usually wearing a light purple short-sleeved kimono-like hoodie with longer and even lighter purple oversized sleeves underneath that has frills at the end. Her short waist skirt is dark blue with a green and red cord around it, to give off the image of an obi. Her stockings are black and she wears purple lace shoes. Her hands are wrapped in bandages due to the aforementioned injuries from being reckless with her sewing machine.

Personality

As mentioned before, Honoka believes herself to be cursed. This stemmed from her incredibly low self-esteem, how frequently she gets sick, and the fact that she doesn’t really come from a…loving family. She’s a bit sensitive, you see. This belief about being cursed became worse after her last team disbanded and she fell into an even deeper depression, but she’s doing a lot better after Koyumi took her in.

Due to having lived an extremely sheltered life, she doesn’t know a lot of things and is very naive as a result, having an almost childlike innocence. Honoka is a lover of all things paranormal, and is superstitious because of it; hell she even keeps her dressmaker shears under her pillow to “prevent nightmares”.

When around other people, Honoka becomes extremely shy and quiet. She’s never been allowed to interact with a lot of people, so she gets easily intimidated. Usually it’s out of fear, but there are times where she’s overwhelmed by people that are easily excitable or hyper as well which causes her to hide behind one of her teammates. If you share common interests with her then she can warm up pretty easily, however. As seen with her teammates, she’ll become more energetic around people she’s comfortable with.

Hypnosis Mic

Her long microphone is red and white, resembling a staff. The windscreen is the head of a bunraku puppet; whenever Honoka decides to rap, the puppet head will immediately open it’s mouth to mimic her lip and head movements, as if copying what she’s saying.

Her speakers take the form of a bunraku stage with a bonsai tree in the middle. On the sides are karakuri dolls holding speakers, the one on the left being a boy and the one on the right being a girl, respectively.

Her rap ability is Dummy, which summons a giant bunraku puppet that she can control to defend her team from attacks, and to attack right back. It slowly depraves Honoka of her stamina and makes her weaker the longer it’s out. Moriko calls it a ‘Stand’—She has no idea what that is, do you??

Trivia

Honoka is left-handed.

Her quote is from Georg Buchner.

Her birthday is World Puppetry day.

Her MC name is a play on the word ‘Mannequin’, with the words being ‘maniac’ and ���kin’ instead.

She was originally born in Osaka, where she lived with Tomoe. After Tomoe disappeared, she went back to Kyoto to live with Shin’ya before running away again with Koyumi and Moriko.

Honoka often switches between her Kansai accents, though admittedly her Kyoto-ben is more forced as she’s not used to talking in a polite, feminine way.

She makes her own clothes for her puppets / dolls, whether they’re traditional or not.

She’s never gone to an actual school, usually only staying at home. Her parents “homeschooled” her but they did a really shitty job at it. Her teammates are currently trying to teach her.

In correlation to the above, she can only read and write basic katakana and hiragana. As in kindergarten to first-grade level.

[1mav2-blog]

I’m D.K  and you’ve  entered   The Maverick  Zone!

Do you like Star wars and Adventures in Odyssey?

Do you know Live long and  prosper and Sola Scripture?

Are you glad Christian Scifi has come to the mainstream but wish it had some color?

Like or  Love different types of  art forms, and  styles,   Genres,  writing formats or what ever  category Popup books fit in and  Subgenres  of  especially  from other cultures including subcultures  like Anime, Manga ,  Comic books , Webcomics,   Bunraku,  Pulp fiction ( the fiction magazine not the movie) ,  Cyber punk,  Steampunk, Diesel punk , Steamfunk ,  Digital art, Speculative fiction without the  stereotypes of  Sci fi , fantasy , and other genres within the genres Comic strips ,  etc,.etc. ? 

Like mixing not only Genres together but  subgenres  and even dream of creating your own and/ or  bringing Genres or Subgenres that have died out back from the dead (figuratively of  course) or  saving ones close to it?

feel the burden and  frustration of dealing with both the World and the Church seen as  a  closed  minded  intolerant Bible bashing  Jesus freak  Fundamentalist forcing  their beliefs on others  and producing corny subpar work and  Worldly compromised theologically unsound backslider , divisive,  ignorant, unloving ,intolerant , close minded  demonic,  because of  you refuse to  reject your  Young earth Creationist Jesus  Answers in Genesis  the Bible is  the ultimate  standard of  truth  and most important  Jesus is  the only  way Worldview  and  don’t put your art and  work in a box based on the traditions and doctrine of men instead of  being examined in light of  scripture and  seeing whether the Worldview, artistic expression, messages, and most important spirit  displays Biblical principles  and  glorifies him or not?

Welcome to   The Maverick  zone where you can post, share, and upload stories  compromising  the truth for a  Humanist standard  or standard of truth  whether  said  Humanist  claims religious   affiliation  or putting your  God -given  gifts  in a box to satisfy  legalists , religious, or  holy  inconsistent people determined to have unity without truth and love with out discernment.  Whether its  short stories or   a  Digital Claymation version of  Dogs  playing poker .  You won’t  be  limited  to  stories, books, and any other art  form for either  the World or the Church  or  be expected to avoid writing with evangelism  in mind  or  vice versa, doing either one or even both  because of   how  others may see  it only in accordance with God and his will for your life.  As you join me  on my  journey of  writing and publishing  my first Novel and one of  many  books  I’ve written since a  young age  Beautiful Dreamer:  The Gifted  series.

[corvidazed]

Out of pure curiosity. How would you describe each of the divisions with 1 word (without giving out yknow, IG info of course lmao)

I know this says one word but consider dnd alignmentsBunraku: neutral evilMarionettes: chaotic neutralWayang: chaotic good (with a dash of lawful idiot)Humanette: lawful good