#Advent: Shadow of the Night (Remake) | Explore Tumblr Posts and Blogs

pigtailedgirl · 7 months

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There's no getting off of this train...The problem is hype, fannishness, and non-sense is your story rails.

So they did that. FF7 Rebirth spoilers. Once again, I'm a bastion of fannish negative nancy.

I don't like new things. Cause they ain't new or those things.

To know about me in regards to fannishness and specifics to FF7; I love angst. I love nostalgia. I came into this fandom, as well as others, thanks to compilations *Hi Advent Children. I am a wiener for plot call backs and symmetry. I'd say I ship Clerith.

All of this, and none, are behind the reasons I really am laughing myself sick over the mess that is made of FF7. The reason FF7 Remake and now Rebirth are so bad, in not a bad to good way.

I mean it's not new to have ruined the OG, but oh boy, have they doubled down in proof that all they know to do is use the former original story, not tell or engage in a quality new one or re-context it to more depth, or one and one as close can to give it a sparkle of modern, but to take without understanding or reason and add foolishness.

Isn't this seeming like a universal issue with media? That it's pale form shadow place lately, but we devour it and seek it or meaning in, just like the creators, making and chasing a hope of an already made idea of creativity, instead of truly being so and having ideas of our own that we'll gladly put out.

There is comfort in same. There is the truism maybe that new ideas aren't really; are inspired or old and universal. And yet, maybe newness or sameness is also choice. But in intent and ownership. You have to always make a choice in either to really make your story or to accurately recreate a thing. I do a paint night for example, and 20 people can follow the same instruction, same painting, but we end up same but different works. Interesting and beautiful in the fine details we've imparted to make each unique. Sometime unconsciously or by choice, but we know and acknowledge the differences in an original and our own now originals. And that's what makes each a piece of creativity.

Or what would make us hacks when you refuse to own yours or that it's not the same but is based on something.

It's details. Plot details and character motives changed that make everyone worse. It's not just well, Zack's back, or multi-verse, or Aerith died again or the death scene was POV'ed wrong, though it is...it's why do the re-do creatives do this? Why or what do we as fans expect if all we theorize or bitch about is shipper non-sense and alternatives...we got exactly the stupidity we respond to and put out ourselves. After all, do we make art like the beauty of OG Aerith's death, the musical choices, the structure of the scene, the characterization in the small and big picture narrative and person, the choice and how of the boss fight after, and the way it was purposefully worked to direct it to icon status? Do we even follow along to try? No. We just want remake or fix. We never seem to consider the work. Our details.

What is remake? Fix? That guy are sick lol.

Fannish nostalgia and love and remakes and wild speculations never stop to ask what really comes out of it. Why the differences, not just the can we.

Oh Advent Children got a new fan out of me you say with it's additions and new story in that world, so what is the harm in taking a story to make more story? Well...actually all it did was made me go what is this story? What is good here? And then I sought the OG to say actually no, there is even better. There might be slight beauty in the extra details, but the why answer for them being there, was a giant proof of unneeded fail. And as more and more topple on top of each other...

The proof continues, in that Remake and Rebirth lacks it's own reason. To enjoy on it's own details or refer you back to a beautiful original. That's the rub of real artistic merit. That's why these games or medias are fails. Pretty picture, fun or mechanics, bait to wants aside, if you a sloppy painter just cause, it shows too.

So yeah, Cloud and Tifa kiss. Great. I'm not mad actually. I'm confused as fuck on why. On what that does to deepen their narrative in comparison to OG versus get shipper happy. On what it will mean for this story. Of how it fits to make Cloud look very strange to be mistrusting to that forward and open to confused to that romantically sure. And this is only for the optional bs.

All the characters act, don't feel like their real story. Or their own story. It's fake and shallow like. Even their expressions seem deader.

Again, Aerith's death or her and Cloud's connection. Cheap. Fake. Shallow. Because it's bogged down in what-ifs and changes, and why would a spirit Aerith taunt or let Cloud be that fucked up? Or why would Cloud's party let him operate in delusion and lead? They all look bad this way. Why mystery or fate or prevent death? When OG message's power was life and death's transcendence and power above all this BS and just is part of.

Hello inserting Zack and glorifying him. At expense of Cloud's journey developing, because he is not the focus now it's this what-if or why BS. Not because it's awful to care about Zack or his "story" (cause the point is he didn't have one, he was adjacent to Cloud and Aerith and Tifa, that he was detail in their story not reverse) or love him or him and Aerith or whatever... do we ever stop to realize that why not Zack but Cloud was a part of what made OG's story powerful. The beauty of main protag or heroes are just the survivors or POV. Just like ship nonsense and Aerith and Tifa. Living on versus afterlife. Both exist as romantic concepts and destinations. Make your choice and details personally, end your story choosing one, but catering to both endlessly let's either side own nothing.

But anyways, if you throw Zack back in, you should have an answer why. And it's clear they don't beyond we like him, which is not a story.

Also this applies to Sephorith's role and everything. To the Jenova and timeline plot versus a finite end, even if OG is guy corrupted, defeated, and everyone dies to the beauty of understanding and fulfilling the survival of the planet and life-cycle is the promised land not glitz or mako energy industry and corruption.

You can be playable Cid. You can smoke and swear a storm and live and die a hero. But not in this new takes remakes and nostalgia worlds. You can't be the Cid's or Cloud's of imperfection and purposes and endings. Your details are only for someone else to repaint.

I just am so disappointed. But not surprised with this.

And I suppose like the copium of a fan, I will find beauty in the ugly they've taken from OG or try to make beautiful spots out of ideas or shots. I don't want to though.

That's the biggest difference between a happy or angry fannish person. And a creator or creators like Nomura madness and co, versus new or retired.

We all on the train after-all.

#ff7 rebirth spoilers #will add more tags in coming weeks

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ask-ultimate-personas · 3 years

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Shadow of the Night (Remake ) Halloween 🎃 Advent

Mod Makoto Yuki is speaking

Before We start this is a Remake of a story called the shadow of the night which is a Danganronpa x persona crossover Roleplay Where some Students were trapped in a haunted mansion filled with Despair and shadows. Makoto yuki and Aigis and ( Your muse) is investigating the advents that are happening in there.

Some characters have roles in this one which I will explain so here they are.

Shuichi, Kaede, Nagito, Chiaki, Yosuke, or Your oc (if you want to) are trapped in the mansion.

Some of them got experimented on.

Shuichi is one of them that got experimented on and you can have your oc experimented on as well.

( These are characters that are relevant to the story and that doesn't mean they are my muses all tho I do have some of them but we can discuss more in messages before you reblog this.)

The shadows / Despair

Nyx

Kokichi

Togami

Junko

Jataro ( the one that injured Aigis )

Kotoko

Masaru

Nagisa

Monaca

Dead ☠️

Junpei

Mitsuru

Naoto

Aoi

Kyoko

This does have a sequel called Shadow of despair which you don’t know is the first-ever

Advent I had on here and made Makoto Yuki a part-time member of the future foundation after what happened to his team and Joker and the rest of the persona characters.

Here's the main plotline

17 students was in adbanded school that was covered in sorrow and sadness of the people who used to be there. Some of people was corrupted and turned into shadows that shows their desorted desires what either that is for them and all the 17 students have to do is to stop the shadows before they get them. By either turning them into shadows or killing them.

When a character becomes a shadow and consumed by despair with an urge to kill for something selfish.

Weapons of choice

They each have their own ekoker guns that they can use to either just shoot at the shadows or shoot at them selves to summon their persona (they don't die from this ) and they can use a katana or a bow depends on really.

Magic is allowed in

This is an Alternate Universe, or AU, much like the phantom thief au or non of those surviving kind / Avent.

If your a shadow your job is to casue death and what ever you want your character desired to have . Basicly act like if they are in despair. )

Ask me if you have any ships and we can discuss it more in messages.

———————————-———————————-

Outside of the Mansion:

Makoto Yuki: “ Guys We need to Find out what happened to Junpei and the Rest of our friends Right Aigis and (your muse) ?”

Aigis:” Yeah We needed to help them all what do you say ( your muse ) ?”

----------------------------------------------------------

Tags ( Fill free to interact)

@ask-timid-makoto-naegi @class-105 @a-bouquet-of-shadows @thepersonaking56 @creepy-siblings @danganronpa-v3-demo-au @human-monokuma @asktheroh @unknown-ultimates @the-trickster-joker @classofjoy @littlehopeboi @roses-in-the-garden @an-escaped-hider @sweetdrugs-and-introverted @the-medical-corner @restoringhopeau @ask-shsl-scribe @laylayeh @thecafeleblanc @electric-mysteries @electricea-a Anyone else

#Advent: Shadow of the Night (Remake)#roleplay starter #casual roleplay #mod makoto yuki is speaking #Halloween Advent

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threnodians · 2 years

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KAYLEIGH・31・SHE ⌇ THEY・ESFP-T・4W5

NEURODIVERGENT・CHRONICALLY ILL・DISABLED

AQUARIUS SUN & RISING・CAPRICORN MOON

NON-BINARY・GENDERFLUID・GENDERQUEER

ACEFLUX ⌇ AEGO-SEXUAL・DEMIROMANTIC

SELFSHIPS — ⟮there’s a lot because i have absolutely zero chill and way, way too much love in my heart⟯

MAIN — kaeya alberich ⟮genshin impact⟯・jing yuan ⟮honkai: star rail⟯・aventurine ⟮honkai: star rail⟯・atsumu miya ⟮haikyuu!!⟯・satoru gojō ⟮jujutsu kaisen⟯・jiaoqiu ⟮honkai: star rail⟯・baizhi ⟮wuthering waves⟯・xiangli yao ⟮wuthering waves⟯

POLYAMOROUS ⌇ POLYCULE SELFSHIPS — kaeya alberich﹠albedo ⟮genshin impact⟯・kaveh﹠alhaitham ⟮genshin impact⟯・navia﹠clorinde ⟮genshin impact⟯・jiaoqiu﹠moze ⟮honkai: star rail⟯

PLATONIC ⟮ARO ⌇ ACE CODED⟯ SELFSHIPS — neuvillette ⟮genshin impact⟯・baizhu ⟮genshin impact⟯・robin ⟮honkai: star rail⟯・jinhsi ⟮wuthering waves⟯

HONORABLE MENTIONS — ayato kamisato ⟮genshin impact⟯・kuki shinobu ⟮genshin impact⟯・argenti ⟮honkai: star rail⟯・sunday ⟮honkai: star rail⟯・luocha ⟮honkai: star rail⟯・topaz ⟮honkai: star rail⟯・changli ⟮wuthering waves⟯・jiyan ⟮wuthering waves⟯・kyōjurō rengoku ⟮demon slayer⟯・sephiroth ⟮final fantasy⟯・leon kennedy ⟮resident evil⟯

INTERESTS — ⟮in no particular order⟯

MOVIES — studio ghibli films・the lord of the rings・the hobbit・jurassic park films・stardust・moulin rouge・alien films・five nights at freddy’s・the last unicorn・coraline・pride and prejudice・final fantasy vii: advent children・demon slayer: mugen train・jujutsu kaisen volume 0

BOOKS﹠INTERACTIVE NOVELS — the silmarillion・the lord of the rings・the hobbit・the fall of gondolin・the hunger games series・scout・blood moon・fields of asphodel・shepherds of haven・the wayhaven chronicles・the night market

TV SHOWS — fallout・the last of us・what we do in the shadows・the x–files・midnight mass・the dragon prince・castlevania・avatar: the last airbender・the legend of korra・parks and recreation・stranger things・the witcher・the good place・a series of unfortunate events・the great british baking show・adventure time・resident evil: infinite darkness

ANIME﹠MANGA — haikyuu!!・demon slayer ⌇ kimetsu no yaiba・jujutsu kaisen・fruits basket ⟮2019⟯・tokyo revengers・sk8 the infinity・attack on titan ⌇ shingeki no kyojin・bleach・bleach: thousand year blood war・naruto shippuden・inuyasha・inuyasha: the final act・fullmetal alchemist: brotherhood

VIDEO GAMES﹠MOBILE GAMES — genshin impact・honkai: star rail・mass effect 1・mass effect 2・mass effect 3・mass effect: andromeda・dragon age: origins・dragon age ii・dragon age: inquisition・the elder scrolls online・the elder scrolls v: skyrim・baldur’s gate 3・final fantasy vii remake・final fantasy vii: crisis core reunion・final fantasy vii rebirth・kingdom hearts i・kingdom hearts ii・fallout 4・the outer worlds・cyberpunk 2077・resident evil 2 remake・resident evil 4 remake・resident evil 6・five nights at freddy’s・horizon: zero dawn・horizon: forbidden west・spyro: reignited・the sims 4・love﹠deepspace・wuthering waves・neko atsume

PETS — ⟮animal care is my passion⟯

nagini ⟮female ball python⟯・cole ⟮male blue-eyed leucistic ball python⟯・smaug ⟮male tarahumara mountain dwarf boa⟯・wilbur ⟮male albino western hognose⟯・poe ⟮male kenyan sand boa⟯・lorelei ⟮female mexican black kingsnake⟯・coraline ⟮female harlequin crested gecko⟯・jinora ⟮female harlequin crested gecko⟯・pip ⟮female aptor leopard gecko⟯・luke ⟮male albino rabbit⟯ ・luna ⟮female black long–hair cat⟯・ruby ⟮female classic tabby cat⟯・sir reginald of bookshelf ⟮male orange cat⟯・oliver ⟮male grey cat⟯・sprinkles ⟮female chaco golden knee tarantula⟯

UPDATED — september 16th, 2024

#⟡ — kayleigh.info

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itsjustascarecrow · 2 years

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just an extra list of all the horror and horror-adjacent movies i’ve seen and am planning on watching (not including shows/limited series or documentaries). mainly for my own reference and in case i accidentally lose the list on my phone, but also to share b/c why not??

i’m sure there’s plenty i’m forgetting b/c they’re so obvious i don’t even think about them; others i’ve forgotten due to the fog of time, and some i’m still on the fence about/not sure if i want them on the list yet (either b/c i’m not sure if they count or i just may not have any interest in the first place).

[strike-throughs for ones i’ve seen, all listed in alphabetical order and w/ the year of release (some have remakes where i’ve only seen either the original or remake, so just the relevant year is stricken through). ^ this symbol for ones i thoroughly enjoyed, two ^^ for all-time faves. * this symbol for ones i also enjoyed, just not as much comparatively. ` this symbol for ones i actively dislike.]

total: 411; seen: 360, remaining: 51

(8-1922)

the 8th night (2021) // 10 cloverfield lane (2016) // 12 hour shift (2020)^ // 28 days later (2002) // 30 days of night (2007) // 1922 (2017)

(a-au)

a bay of blood (1971)* // a bucket of blood (1959)* // a classic horror story (2021) // a field in england (2014) // abigail (2024)^ // the addams family (1991)^ // addams family values (1993)^ // the advent calendar (2021) // alien (1979)* // alien: romulus (2024)* // alison’s birthday (1981)^ // all the moons (2020)^ // allegoria (2022) // american psycho (2000) // american werewolf in london (1981)* // the angry black girl and her monster (2023)* // annihilation (2018) // apostle (2018) // arcadian (2024)* // army of darkness (1992) // army of the dead (2021)^ // as above, so below (2014)^ // the autopsy of jane doe (2016)^

(ba-bu)

the babadook (2014)^ // baghead (2024) // before i wake (2016) // beetlejuice (1988)^^ // beetlejuice beetlejuice (2024)^ // behind the mask: the rise of leslie vernon (2006)^ // berberian sound studio (2012)^ // better watch out (2016)* // bird box (2018) // the bird with the crystal plumage (1970) // the birds (1963)^ // birth/rebirth (2023)^ // black christmas (1974)^ // the black phone (2022)^ // black sabbath (1963) // black sunday (1960) // black swan (2010)* // the blackening (2022) // blade (1998)* // the blair witch project (1999)* // blood on satan’s claw (1971)* // blood quantum (2020)* // the blue rose (2024) // blue sunshine (1977) // bodies bodies bodies (2022)^ // bone tomahawk (2015)^ // the boogeyman (2023) // the boy behind the door (2021) // butcher, baker, nightmare maker (1982) // the burning (1981)

(ca-cu)

the cabinet of dr. caligari (1920)^ // cam (2018) // candyman (1992 & 2021)^ // carnival of souls (1962) // carrie (1976)^^ // casper (1995)^ // castle freak (1995) // the cat o’nine tails (1971) // caveat (2020) // cemetery man (1994)^ // censor (2021) // the changeling (1980)^ // children of the corn (1984)^ // chopping mall (1986)* // christmas evil (1980) // the city of the dead (1961) // clearcut (1991) // color out of space (2020) // coming home in the dark (2021) // the conjuring (2013) // the conjuring 2 (2016) // the conjuring: the devil made me do it (2021) // consecration (2023) // coraline (2009)* // corpse bride (2005)^ // the craft (1996) // creep (2014) // creepshow (1982) // crimson peak (2015)* // crumb catcher (2024) // cuckoo (2024)*

(da-do)

damien: omen ii (1978)* // dancing village: the curse begins (2024) // the dark and the wicked (2020) // dark august (1976) // dark night of the scarecrow (1981)^ // dark shadows (2012) // day of the dead (1985)^ // day shift (2022)^ // deadstream (2023)^^ // the dead zone (1983) // deep red (1976) // def by temptation (1990) // the deliverance (2024)* // destroy all neighbors (2024)^^ // the devils (1971) // the devil’s bath (2024)^ // doctor sleep (2019)^ // don’t worry darling (2022)* // drag me to hell (2009)

(ed-ey)

edge of the knife (2018) // el conde (2023) // the evil dead (1981)^ // evil dead 2 (1987)^ // evil dead rise (2023) // the exorcist (1973)* // the exorcist iii (1990)* // extraordinary tales (2015) // eyes of fire (1983) // the eyes of laura mars (1978)

(fa-fu)

fade to black (1980) // the fall of the house of usher (1960) // fear street trilogy (2021)^ // the feast (2021)^ // the first omen (2024)* // the fool-killer (1965) // the fourth kind (2009) // frank (2021) // frankenweenie (2012) // fresh (2022) // the front room (2024) // the fury (1978)

(ga-gi)

gaia (2021) // gerald’s game (2017) // get out (2017)* // ghostbusters (1984)^ // ghostbusters 2 (1989)* // ghostwatch (1992) // the gift (2000) // ginger snaps (2000) // the girl in room 2a (1974) // godzilla (2014)^ // godzilla: king of the monsters (2019)* // godzilla minus one (2023)^^ // godzilla vs. kong (2021)

(ha-hu)

halloween (1978^ & 2018) // halloweentown (1998) // handling the undead (2024)* // happy death day (2017) // hatchet (2006)` // the haunting (1963)^ // the haunting in connecticut (2009) // the haunting in connecticut 2: ghosts of georgia (2013) // the haunted mansion (2003) // heathers (1989) // hellbender (2022) // hell house llc (2015)* // hell house llc ii: the abbadon hotel (2018) // hell house llc iii: lake of fire (2019) // hell house llc origins: the carmichael manor (2023) // hell night (1981) // hellraiser (1987 & 2022) // hereditary (2018) // heretic (2024) // the hills have eyes (1977) // his house (2020)^ // hocus pocus (1993) // house (1977) // house on haunted hill (1959) // hubie halloween (2020) // hush (2016)

(i-it)

i am legend (2007) // i am the pretty thing that lives in the house (2016)` // i saw the tv glow (2024)^^ // ice cream man (1995) // identikit (1974) // il demonio (1963) // immaculate (2024)` // impetigore (2019)* // in a violent nature (2024)^^ // in the earth (2021) // in the mouth of madness (1995)* // in the tall grass (2019) // incident in a ghostland (2018) // infinity pool (2023)^ // influencer (2022)* // insidious (2010) // insidious: chapter 2 (2013) // insidious: the red door (2023) // interview with the vampire (1994) // invasion of the bodysnatchers (1956 & 1978) // the invitation (2022) // it chapter 1 (2017) // it chapter 2 (2019) // it follows (2014)^ // it lives inside (2023)* // it’s alive (1974) // it’s a wonderful knife (2023)*

(ja-je)

jacob’s ladder (2019) // jakob’s wife (2021) // jaws (1975)^ // jennifer’s body (2009)^

(ka-kr)

kakashi (2001) // killer klowns from outer space (1988)* // knife + heart (2019)* // krampus (2015)

(la-lu)

la llorona (2019)^ // lake mungo (2008)* // lake of the dead (1958) // the last broadcast (1998) // the last man on earth (1964) // last night in soho (2021)^ // the last voyage of the demeter (2023)* // late night with the devil (2024)^^ // leave (2022) // let the right one in (2008)* // the lighthouse (2019) // little shop of horrors (1960* & 1986)^ // lisa frankenstein (2024)^ // the living dead at manchester morgue (1974) // longlegs (2024)^ // lokis: a manuscript of professor wittembach (1970) // the lost boys (1987) // lucky (2020)`

(ma-my)

ma (2019) // malevolent (2018) // malignant (2021)* // maniac cop (1988) // marnie (1964)* // maxxxine (2024)* // mayhem (2017) // m3gan (2023)* // men (2022) // messiah of evil (1973) // midsommar (2019) // mohawk (2017) // monster house (2006) // mortal kombat (1995 & 2021^) // the mortuary collection (2020)* // mother’s day (2010) // ms. 45 (1981) // the menu (2022)* // the murder mansion (1972) // murder on the orient express (1974)^ // the mutilator (1984) // my bloody valentine (1981)

(ne-no)

near dark (1987) // never let go (2024) // nightbooks (2021)^ // nightbreed (1990)^ // nightmare (2023) // nightmare alley (2021)^ // the nightmare before christmas (1993)* // nightmare on elm street (1984) // nightmare on elm street part 2: freddy’s revenge (1985)* // the night house (2020) // night of the living dead (1968^ & 1990) // night teeth (2021) // no one gets out alive (2021) // no one heard the scream (1973) // no one will save you (2023)^^ // nope (2022)^^ // noroi: the curse (2005)^ // nosferatu (1922* & 2024)

(oc-ou)

oculus (2013) // oddity (2024) // the omega man (1971) // the omen (1976)* // orion and the dark (2024)* // ouija (2014) // ouija: origin of evil (2016)

(pa-pu)

paranormal activity (2007) // paranormal investigation (2018) // paranorman (2012)* // pearl (2022)* // penda’s fen {from play for today} (1974) // peninsula (2020) // the people under the stairs (1991)^ // perfect blue (1997)* // the perfection (2019)^ // phantasm (1979) // the phantom of the opera (2004)* // pieces (1983)* // planet of the apes (1968) // the platform (2019)* // the platform 2 (2024) // poltergeist (1982)^ // the pope’s exorcist (2023) // the power (2021)^ // prey (2022)^^ // prom night (1980) // the prowler (1981)` // psycho (1960)^ // psycho goreman (2020) // pumpkinhead (1988)*

(q)

the queen of black magic (2019)

(ra-ro)

raven’s hollow (2022) // raw (2016) // ready or not (2019)* // re-animator (1985)* // rear window (1954)^ // [rec] (2007) // red eye (2005) // renfield (2023)^ // rift (2017) // the ritual (2018)^ // rosemary’s baby (1968)

(sa-sw)

saint maud (2019) // salem’s lot (1979) // satan’s slaves (2017)* // satan’s slaves: communion (2022)^ // sator (2019) // saw (2004) // scanners (1981) // scare me (2020)^ // scary godmother: halloween spooktacular (2003) // scary stories to tell in the dark (2019) // scooby-doo on zombie island (1998)* // scream (1996* & 2022)^ // scream 4 (2011)* // scream 6 (2023)^ // season of the witch (1973) // the sentinel (1977) // shaun of the dead (2004)^ // the shining (1980)* // shutter island (2010)* // the silence of the lambs (1991)^ // silent hill (2006) // silent night, deadly night part 2 (1987) // sissy (2022)^ // sister death (2023)* // the sixth sense (1999) // skinamarink (2023)^^ // slash/back (2022)* // smile (2022) // smile 2 (2024) // son (2021) // soylent green (1973) // the spine of night (2021)* // starve acre (2024) // the stone tape (1972) // stopmotion (2024)^ // stream (2024) // studio 666 (2022)* // the substance (2024) // super dark times (2017)^ // suspiria (1977 & 2018) // sweeney todd: the demon barber of fleet street (2007)^

(ta-tr)

the taking of deborah logan (2014)^ // talk to me (2023)* // tammy and the t-rex (1994)^ // tenebrae (1982) // terrified (2018) // terror train (1980) // texas chainsaw massacre (2022) // the texas chainsaw massacre (2003) // the texas chain saw massacre (1974)* // there’s someone inside your house (2021) // the thing (1982)^^ // things heard and seen (2021) // they live in the grey (2022) // tigers are not afraid (2019)^ // tilbury (1987) // titane (2021) // train to busan (2019)^ // trick ‘r treat (2007)^

(um-us)

umma (2022) // upgrade (2018)^ // us (2019)*

(ve-vo)

the vanishing (2018) // verónica (2017) // vertigo (1958)^ // v/h/s (2012)* // v/h/s/85 (2023)* // v/h/s/94 (2021) // v/h/s/99 (2022) // v/h/s/beyond (2024) vicious fun (2020)^ // videodrome (1983)* // the vigil (2019)* // viy (1967)^ // the vourdalak (2024)

(wa-wr)

watcher (2022) // the watchers (2024) // welcome to raccoon city (2021) // wendell & wild (2022)^ // werewolves within (2021) // we are still here (2015)^ // we have always lived in the castle (2018) // when a stranger calls (1979) // when evil lurks (2023)^ // the white reindeer (1952) // the wicker man (1973)^ // the wind (2018) // the witchfinder general (1968) // the wrath (2018)*

(x)

x (2022)^

(yo)

your monster (2024)

(zo)

zombie (1979) // zombieland (2009)

#just updated/rearranged a bunch of things but ye #i guess i'll take recommendations if y'all got any?? the easier it is to access the better (and by easy i mean netflix or shudder)#or anything that's upcoming in theaters (i already forget the names of the two previews from when i saw tbp earlier this week rip)#reference!#random bullshit

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mod-makoto-yuki · 3 years

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Self ship week day 1 introduction

#selfshipweekChallenge

(22/10/2021)

Hello everyone My name is Makoto yuki and Welcome to my Introduction for Selfshipweek created by @clover-edits .

Here’s a few things I do and about me

1:I do Challenges by anyone or even my self .

2: I give out Mod promos for any kind whenever it’s Danganronpa or persona or any game or anime Roleplay blog or edits.

3: I also do Art requests for me but be there in mind to Credit me or both art and edits please.

4: I am a Shuichi saihara simp and Makoto yuki simp (as you can tell).

5: I am a music lover and I can’t live without my headphones 🎧.

6: My favourite crossover ship is Keade x Makoto yuki because they are both music lovers and get along really well and probably not one sided compared to Junko x Makoto yuki . (Yes these are actual couple ships fans created .)

7: My favourite ship is Oumasai becasue they are funny and remind me of Joker x Akechi (which makes sense if you seen their love hotel advent.)

8: Here’s a edit example

9: My art style/ Example

10: What I am currently doing a Roleplay on Tumblr called Shadow of the night the remake and it’s a anniversary special advent for shadow of despair on ask ultimate personas .

That’s all see ya 👋

#selfshipweekChallenge #introduction #ice breaker #mod Makoto yuki challenge #mod Makoto yuki

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mamcollection · 4 years

Photo

Artist Gina Beavers Satirizes Our Insatiable Appetite for Personal Beauty in Her New Show at Marianne Boesky

Makeup as Muse: Gina Beavers

November 28, 2020

Despite my art history background and general love of art, I am less than eloquent when writing about it. Nevertheless I will continue soldiering forward with the Museum's Makeup as Muse series, the latest installment of which focuses on the work of Gina Beavers in honor of her recent show at Marianne Boesky Gallery. Beavers' practice encompasses a variety of themes, but it's her paintings of makeup tutorials that I'll be exploring. Since I'm both tired and lazy this will be more of a summary of her work rather than offering any fresh insight and I'll be quoting the artist extensively along with some writers who have covered her art, so most of this will not be my own words.

Born in Athens and raised in Europe, Beavers is fascinated by the excess and consumerism of both American culture and social media. "I don't know how to talk about this existence without talking about consumption, and so I think that's the element in consuming other people's images. That's where that's embedded. We have to start with consumption if we're going to talk about who we are. That's the bedrock—especially as an American," she says. The purchase of a smart phone in 2010 is when Beavers' work began focusing on social media. "[Pre-smart phone] I would see things in the world and paint them! Post-smartphone my attention and observation seemed to go into my phone, into looking at and participating in social media apps, and all of the things that would arise there...Historically, painters have drawn inspiration from their world, for me it's just that a lot of my world is virtual [now]."

But why makeup, and specifically, makeup tutorials? There seem to be two main themes running through the artist's focus on these online instructions, the first being the relationship between painting and makeup. Beavers explains: "When I started with these paintings I was really thinking that this painting is looking at you while it is painting itself. It’s drawing and painting: it has pencils, it has brushes, and it’s trying to make itself appealing to the viewer. It’s about that parallel between a painting and what you expect from it as well as desire and attraction. It’s also interesting because the terms that makeup artists use on social media are painting terms. The way they talk about brushes or pigments sounds like painters talking shop." Makeup application as traditional painting is a theme that goes back centuries, but Beavers's work represents a fresh take on it. As Ellen Blumenstein wrote in an essay for Wall Street International: "Elements such as brushes, lipsticks or fingers, which are intended to reassure the viewers of the videos of the imitability of the make-up procedures, here allude to the active role of the painting – which does not just stare or make eyes at the viewer, but rather seems to paint itself with the accessories depicted – literally building a bridge extending out from the image...Beavers divests [the image] of its natural quality and uses painting as an analytical tool. The viewer is no longer looking at photographic tableaus composed of freeze-frames taken from make-up tutorials, but rather paintings about make-up tutorials, which present the aesthetic and formal parameters of this particular class of images, which exist exclusively on the net." The conflation of makeup and painting can also be perceived as a rumination on authorship and original sources. Beavers is remaking tutorials, but the tutorials themselves originated with individual bloggers and YouTubers. And given the viral, democratic nature of the Internet, it's nearly impossible to tell who did a particular tutorial first and whether tutorials covering the same material - say, lip art depicting Van Gogh's "Starry Night" - are direct copies of one artist's work or merely the phenomenon of many people having the same idea and sharing it online. Sometimes the online audience cannot distinguish between authentic content and advertising; Beavers's "Burger Eye" (2015), for example, is actually not recreated from a tutorial at all but an Instagram ad for Burger King (and the makeup artist who was hired to create it remains, as far as I know, uncredited).

Another theme is fashioning one's self through makeup, and how that self is projected online in multiple ways. Beavers explains: "I am interested in the ways existing online is performative, and the tremendous lengths people go to in constructing their online selves. Meme-makers, face-painters, people who make their hair into sculptures, are really a frontier of a new creative world...It’s interesting, as make-up has gotten bigger and bigger, I’ve realized what an important role it plays in helping people construct a self, particularly in trans and drag communities. I don’t normally wear a lot of make-up myself, but I like the idea of the process of applying make-up standing in for the process of self-determination, the idea of ‘making yourself’."

As for the artist's process, it's a laborious one. Beavers regularly combs Instagram, YouTube and other online sources and saves thousands of images on her phone. She then narrows down to a few based on both composition and the story they're trying to tell. "I'm arrested by images that have interesting formal qualities, color, composition but also a compelling narrative. I really like when an image is saying something that leaves me unsure of how it will translate to painting, like whether the meaning will change in the context of the history of painting," she says. "I always felt drawn to photos that had an interesting composition, whether for its color or depth or organization. But in order for me to want to paint it, it also had to have interesting content, like the image was communicating some reality beyond its composition that I related to in my life or that I thought spoke in some interesting way about culture." The act of painting for Beavers is physically demanding as well: she needs to start several series at the same time and go back and forth between paintings to allow the layers to dry. They have to lay flat to dry so she often ends up painting on the floor, and her recent switch to an even heavier acrylic caused a bout of carpal tunnel syndrome.

But it's precisely the thick quality of the paint that return some of the tactile nature of makeup application. This is not accidental; Beavers intentionally uses this technique as way to remind us of makeup's various textures and to ensure her paintings resemble paintings rather than a photorealistic recreation of the digital screen. "The depth of certain elements in the background of images has taught me a lot about seeing. I think I have learned that I enjoy setting up problems to solve, that it isn't enough for me to simply render a photo realistically, that I have to build up the acrylic deeply in order to interfere with the rendering of something too realistically," she explains. Sharon Mizota, writing for the LA Times, says it best: "Skin, lashes and lips are textured with rough, caked-on brushstrokes that mimic and exaggerate wrinkles and gloppy mascara. This treatment gives the subjects back some of the clunky physicality that the camera and the digital screen strip away. Beavers’ paintings, in some measure, undo the gloss of the photographic image."

Beavers also uses foam to further build up certain sections so that they bulge out towards the viewer, representing the desire to connect to others online. "Much of what people do online is to try to create connection, to reach out and meet people or talk to people. That is what the surfaces of my painting do in a really literal way, they are reaching off the linen into the viewer’s space," she says. This sculptural quality also points to the reality of the online world - it's not quite "real life" but it's not imaginary either, occupying a space in between. Beavers expands on her painting style representing the online space: "It’s interesting because flatness often comes up with screens, and I think historically the screen might have been read like that, reflecting a more passive relationship. That has changed with the advent of engagement and social media. What’s behind our screen is a whole living, breathing world, one that gives as much as it takes. I mean it is certainly as 'real' as anything else. I see the dimension as a way to reflect that world and the ways that world is reaching out to make a connection. Another aspect is that once these works are finished, they end up circulating back in the same online world and now have this heightened dimensionality – they cast their own shadow. They’re not a real person, or burger, or whatever, but they’re not a photo of it either, they’re something in between."

Let's dig a little more into what all this means in terms of makeup, the beauty industry and social media. Beavers' work can be viewed as a simultaneous critique and celebration of all three. Sharon Mizota again: "[The tutorial paintings] also pointedly mimic the act of putting on makeup, reminding us that it is something like sedimentation, built up layer by layer. There is no effortless glamour here, only sticky accretion. That quality itself feels like an indictment — of the beauty industry, of restrictive gender roles. But an element of playfulness and admiration lives in Beavers’ work. They speak of makeup as a site of creativity and self-transformation, and Instagram and other social media sites as democratizing forces in the spread of culture. To be sure, social media may be the spur for increasingly outré acts, which are often a form of bragging, but why shouldn’t a hamburger eye be as popular as a smoky eye? In translating these photographs into something more physical, Beavers asks us to consider these questions and exposes the duality of the makeup industry: The same business that strives to make us insecure also enables us to reinvent ourselves, not just in the image of the beautiful as it’s already defined, but in images of our own devising."

This ambiguity is particularly apparent in Beavers's 2015 exhibition, entitled Ambitchous, which incorporated beauty Instagrammers and YouTubers' makeup renditions of Disney villains alongside "good" characters. Blumenstein explains: "So it isn’t protagonists with positive connotations which are favoured by the artist, but unmistakably ambivalent characters who could undoubtedly lay claim to the neologism ambitchous, which is the name given to the exhibition. Like the original image material, this portmanteau of ‘ambitious’ and ‘bitchy’ is taken from social media and its creative vernacular, and is used, depending on the context, either in a derogatory fashion – for example for women who will do absolutely anything to get what they want – or positively re-interpreted as an expression of female self-affirmation. Beavers also applies this playful and strategic complication of seemingly unambiguous contexts of meaning to the statements contained in her paintings. It remains utterly impossible to determine whether they are critically exaggerating the conformist and consumerist beauty ideals of neo-capitalism, or ascribing emancipatory potential to the conscious and confident use of make-up."

More recently, Beavers has been using her own face as a canvas and making her own photos of them her source material, furthering her exploration of the self. "Staring at yourself or your lips for hours is pretty jarring. But I like it, because it creates this whole other level of self,” she says.

This shift also points to another dichotomy in Beavers's work: in recreating famous works of art on her face, she is both critiquing art history's traditional canon and appreciating it, referring to them as a sort of fan art. "I think a lot of the works that I have made that reference art history—like whether it's Van Gogh or whoever it is—have a duality where I really respect the artist and I'm influenced by them, and at the same time I'm making it my own and poking a little fun. And so, a lot of these pieces originated with the idea of fan art. You'll find all sorts of Starry Night images online that people have painted or sculpted or painted on their body. It comes out of that. And I just started to reach a point where I was searching things like 'Franz Kline body art,' and I wasn’t finding that, so I had to make my own. Then it started to get a little bit geekier. I have a piece in the show where I am painting a Lee Bontecou on my cheek, that's a kind of art world geeky thing—you have to really love art to get it."

Ultimately, Beavers perceives the intersection of makeup and social media as a force for good. While the specter of misinformation is always lurking, YouTube tutorials and the like allow anyone with internet access to learn how to do a smoky eye or a flawlessly lined lip. "I think for a lot of people social media is kind of like the weather. We don't have a lot of control of it, it just is. It gives and it takes away. There's no doubt that it has connected people in ways that are great and productive, allowing people to find communities and organize activism, it can also be a huge distraction...I approach looking at images there pretty distantly, more as a neutral documentarian, and I come down on the side of seeing social media as an incredibly useful, democratic tool in a lot of ways," she concludes.

On the other side of social media, Beavers is interested on how content creators help disseminate the idea of makeup as representing something larger and more meaningful than traditional notions of beauty. "I was super fascinated with makeup and all of the kinds of costume makeup and things you can find online that go away from a traditional beauty makeup and go towards something really wild and cool...I also had certain paintings in [a 2016] show that were much more about costume makeup, that were going away from beauty. That’s the thing that gives me hope. When I go through makeup hashtags on Instagram, there will be ten or twenty beauty eye makeup images and then one that’s painted with horror makeup. There are women out there doing completely weird things, right next to alluring ones." In the pandemic age, as people's relationships with makeup are changing, "weird" makeup is actually becoming less strange. Beavers' emphasis on experimental makeup is more timely than ever. I also think she's documenting the gradual way makeup is breaking free of the gender binary. She says: "I mean with makeup, and the whole conversation around femininity and makeup—I think for a long time when I was making makeup images, there were people that just thought, 'Oh, that's not for me,' because it's about makeup, it's feminine. But it’s interesting, the culture is shifting. I just saw the other day that Alexandria Ocasio-Cortez did a whole Instagram live where she was putting on her makeup and talking about how empowering makeup is for trans communities...some people see make-up as restrictive or frivolous, but drag performers show how it can be liberating and life-saving." Another point to consider in terms of gender is the close-up aspect of Beavers's paintings. With individual features (eyes, lips, nails) separated from the rest of the face and body and removed from their original context, they're neither masculine nor feminine, thereby reiterating that makeup is for any (or no) gender.

All I can say is, I love these paintings. Stylistically, they're right up my alley - big, colorful and mimicking makeup's tactile nature so much that I have a similar reaction to them as I do when seeing makeup testers in a store: I just want to dip my hands in them and smear them everywhere! I also enjoy the multiple themes and levels in her work. Beavers isn't commenting just on makeup in the digital age, but also self-representation online, shifting attitudes towards makeup's meaning, the relationship between painting and makeup, and Western art history.

What do you think of Beavers's paintings?

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writingsitcom · 7 years

Text

Horror questionnaire

I was sent a questionnaire by a fan in NZ, for his doctorate or something. So, in conjunction with the fact that WRITING THE HORROR MOVIE (Bloomsbury) is now to be reprinted- I publish my answers.

What is the greatest difference between a horror movie made in the 20th century as opposed to one made in the 21st century?

Combining this with your final question, the difference is in the ubiquity of Technology. Pre-1999, when we had a glut of ‘pre-millennial angst’ movies, there were no smart phones, less CCTV and/or continual surveillance, and of course less CG. What there was back then was rarely convincing. ‘The Mummy’ was the first to attempt frightening scarab beetles, but they just looked plastic. Even in Cabin in the Woods, once the monsters get loose, they are frightening because of their power to destroy, but because we know that they are computer enhanced drawn images, we are not actually scared.

The best Movies (Cloverfield, The Mist, The Void) use CG so well and sparingly that we are terrified. Thus, the Horror Movie of the 21st C, has so much at its disposal, but conversely, so much to hold it back. Every Teen Slasher has the issue of ‘no reception’ and lack of Internet (which would enable them to escape). You have to show so much less now, make a virtue of hand held shaky-cam and the growth - since Blair Witch- of found footage.

There is a desire, moving away from the Universal Monsters (Dracula, Frankenstein, Wolfman, etc.) to make horror real, suburban, in your face, and thus we have had amazing franchises such as Saw, Final Destination and Hostel (Torture porn or gorno) and ghosts with Paranormal Activity, as well as Slashers with Wrong Turn, to name but a few.

To summarise there is a demand for actuality (as in the Conjuring/Sinister/Exorcism franchises). The teens in Get Out or It Follows must, as with Halloween (Carpenter 1976), strike at the heart of a middle-America teen audience and the Asian market. I could make more points about Asian horror but we’ll leave it at that for now.

What subgenre of horror do you believe has been the most consistent throughout the years?

I’m not sure if you mean consistently successful or continuously made and remade? It’s easiest to start with Zombies, as, since the remake of Dawn of the Dead (Zack Snyder 2004) and 28 Days later, (Boyle, 2003) plus the long running The Walking Dead, there has been a glut. Sean of the Dead pastiched the genre, which usually sounds the death knell. There are so many zombie movies out there now: Pride and Prejudice and Zombies, Zombeavers, Zombie strippers and World War Z plus Train to Buzan. There seems to be no end (certainly with low budget filmmakers) to these genre pieces. The symbolism is overt: we have become blind to our crass commercialism and it will eat us. We are destroying this planet and the End is nigh. This is a common trope of turn of the century angst, but it was very much around in the post-war era as seen in all the 1950s Sci -Fi monster horrors.

Tech, in particular digital cameras (rendering film stock redundant) has been a transforming miracle. You can correct your mistakes in the edit. You can shoot and shoot until you are happy. This has opened up every subgenre. Nothing is impossible anymore. I would say that “found footage horror” and “the undead” have thus far been the predominant modes, but also that their time will soon pass.

In your opinion what makes a good horror remake?

Some movie remakes The Hills have Eyes, Dawn of the Dead, Evil Dead even, are better than the originals: slicker, quicker, gorier, more effective. A remake works best when the tech is much improved but so has the characterisation and plotting. Halloween (Rob Zombie) didn't work because he focussed far too much on the asylum years – on how a monster was made. We no longer care about that (because we have been told the narrative so many times) but we want to see the plot developing. A good horror remake pays tribute to the narrative of its progenitor but is not encumbered by it. Thus, you might lose a weak story strand or cut out a character if they were thinly written in the first place. There are some movies that are so unique (Hellraiser) that I think you cannot remake them effectively.

Finally, almost without exception, the prequel and sequel are just a cash in (be it the Exorcist or Hannibal Lector) and should not trouble us.

In your opinion, who was the most iconic horror character of the 20th century?

Hannibal Lector, an update of the evil genius that goes all the way back to Charlie Chan films. He is utterly charming and completely ruthless. Although Henry: Portrait of a Serial Killer, got there first, Hopkins portrayal is more attractive and deeper. It has influenced all subsequent attempts at portraying serial killers, who in real life are dull lone gun nuts (e.g. The Las Vegas shooter) Hannibal and Buffalo Bill are far more compelling.

How has the increase in studio produced blockbusters impacted the horror genre?

That’s also a hard one to define because it’s more the distributors, such as Lionsgate, plus Sony and Warner’s. Studios wants franchises – Final Destination, Saw, etc. but they also want stars in them. Tom Cruise’s Mummy remake in 2017 was a total flop. They are better at Super heroes and fantasy and we ought to leave them to it. Horror is best left to the Indies. Having said that, in the UK, Hammer is producing great work, as are Irish funded films such as In Fear and The Hallow.

What horror movies are most notably a product of the political climate?

Horror is more social than political. We have had plenty of right wing governments and leaders but there has been no overt demonization of Thatcher or Gorbachev or Berlusconi or Trump in movies. Maybe they are demons enough already? There are issues that are addressed in horror, such as global warming/overcrowding, poisoning of us and the oceans, and most have been addressed as Zombie/Undead movies. I would suggest that we are moving backwards and failing to learn from history. Horror tends to accept that we are ruled by the vile and the greedy and puts that aside in order to find and deal with the horror that is inside all of us.

What must a horror movie do to be considered “good” in your opinion?

For me it must certainly scare, subvert, violate and chill. I want it to be open-ended and ideally make me look over my shoulder in the night. Few movies do this. I have been through gore and disgust and you reach a point where you are sated. This is in evidence today in obesity and reality TV but sadly, we are so greedy now that it's just going to go on until it bursts. I prefer my horror to be of the mind, of dark corners, of unease and dread. I prefer the build-up to the climax, which usually disappoints. For me, the greatest horror movies are Martyrs, and Raw, no coincidence both European (France. Belgium). The French really know how to do horror.

What decade was most prolific for horror films?

That is hard to say but I’m going to say a dead heat between the 1980s with the advent of video and Pay TV plus cable, which meant that there was a massive flood of poor quality crappy horror movies. That and the last decade (2000s) with the proliferation of the found footage movies- likewise, easy and cheap to do. The first thing, it seems with new technology, is create porn. Perhaps the second is the low budget horror flick.

What was your favourite horror movie of the last decade?

Martyrs is the best. I am also a big fan of in no particular order. Sinister. Raw. Eden Lake. Kill List. The Awakening. The Babadook. American Mary. Banshee Chapter, 10 Cloverfield Lane. Don't Breathe. The Orphanage. Old Boy The Witch and What We Do in the Shadows.

The best TV horror is American Horror story volumes 1, 2 and 3.

Where do you see the horror genre going in the near future?

Impossible to say. CG has provided us with all manner of monsters and there seems nowhere to go now with all those Cthulhu types. Frankenstein and Dracula are sleeping lightly right now, but they are bound to return – they always do. It’s all in a very healthy place right now, after all there is so much horror out in the real world that it can easily be realised in film.

Long form TV streaming services are also beginning to catch on with American Horror story. Stranger Things and The TV adaptation of the Mist. It is hard to sustain the threat for ten episodes but these are superb. There will be more there and I think horror will decamp to Netflix (because that is where its world-wide audience is (95 million and counting). One caveat. With the exception of AHS, you don’t really re-watch the box sets so they have a limited streaming life, but that won’t stop Netflix, Amazon, Hulu, Sky and others from buying them in bulk. I hope.

Axman – my psychological thriller (now in postproduction) will hopefully be out in 2019.

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ask-ultimate-personas · 3 years

Text

I posted 627 times in 2021

127 posts created (20%)

500 posts reblogged (80%)

For every post I created, I reblogged 3.9 posts.

I added 1,232 tags in 2021

#makoto yuki (wild card) - 292 posts

#roleplay idea / ask - 192 posts

#roleplay starter - 149 posts

#roleplay crossover - 149 posts

#casual roleplay - 120 posts

#promo rp - 81 posts

#{advent: wild maid sleepover (roleplay)} - 71 posts

#promo help - 63 posts

#crossover roleplay - 61 posts

#futaba sakura (ultimate programmer) - 54 posts

Longest Tag: 128 characters

#(ooc) i managed to get the notifications for your reblog so i think tumblr is having some troubles but ok then - mod makoto yuki

My Top Posts in 2021

*One day, Joker, Yu, Maya, and Minato were just enjoying their day until Joker got a strange noticification on the metaverse app. The app itself looked like a red demon eye on a black and white background.* @human-monokuma

minato (Makoto yuki):"Woah that was interesting working together at that strange Labyrinth" minato walked around with Ren and yu and Maya.

Yu narukami:"Yeah honestly minato I never really expect the challenges we have to face during the hotel lobby." yu smiled at minato while walking with him.

See the full post

23 notes • Posted 2021-06-10 03:02:42 GMT

Advent :What Shadowing Xmas Fusion ?

Plotline

The phantom thieves (Ren / Akira aka Joker’s team ) was having a great time celebrating Christmas with S.E.E.S //Specialised excurrlur execution squad // (Makoto yuki’s team ) and The truth seekers (Yu narukami’s team) and ?????? (Staria’s team ) and Future foundation and many more .

Yusuke and Sumire and futaba was setting the decorations up until Ryuji came running in looking bit afraid 😟.

Joker (Either Ren or Akira ) Unfused into two parts one is his confident Self and the other is his weak self. Who is not great at expressing his feelings.

His confident self doesn't want to be fused with weak self and wants to ruin the others reputation.

Would you help Phantom thieves and others get Joker back to his original self?

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Sumire:” Ah that's the last of the decoration to put up here what do you think Yusuke?” Sumire asked nicely while looking at Yusuke.

See the full post

24 notes • Posted 2021-12-06 00:29:23 GMT

RP - starter

A Roleplay starter for - @laylayeh

Futaba was minding her own business around the area in till she accidently bumped into you and shocked to see what's going on in front of her eyes.

Futaba sakura :"I am so sorry I didn't see where I was going ..." futaba had a quick look at you and said " Um I don't mind me asking but are you one of those inklings that I was compared a lot to ?"

27 notes • Posted 2021-06-09 21:52:27 GMT

Shadow of the Night (Remake ) Halloween 🎃 Advent

Mod Makoto Yuki is speaking

Some characters have roles in this one which I will explain so here they are.

Shuichi, Kaede, Nagito, Chiaki, Yosuke, or Your oc (if you want to) are trapped in the mansion.

Some of them got experimented on.

Shuichi is one of them that got experimented on and you can have your oc experimented on as well.

( These are characters that are relevant to the story and that doesn't mean they are my muses all tho I do have some of them but we can discuss more in messages before you reblog this.)

The shadows / Despair

Nyx

Kokichi

Togami

Junko

Jataro ( the one that injured Aigis )

Kotoko

Masaru

Nagisa

Monaca

Dead ☠️

Junpei

Mitsuru

Naoto

Aoi

See the full post

79 notes • Posted 2021-10-06 02:34:48 GMT

Advent wild Maid card sleepover (Rp)

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Futaba invited everyone to a sleepover party at Ultimate persona household and It was Truth and dare time. It was Jokers turn to ask Makoto yuki truth or dare and Makoto yuki said Dare Joker smirked and dare him to act like a maid for four weeks.

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{Conmand Option starter}

Makoto yuki was walking around the academy and said "Argh I Regret Doing that dare when this is over I am gonna get my revenge on Joker for this" Makoto didn't realise he bumbled into you and said, "Oh my I am very sorry are you ok?"

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{Revenge option starter}

See the full post

194 notes • Posted 2021-07-01 22:15:03 GMT

Get your Tumblr 2021 Year in Review →

Mod makoto yuki: "I can't believe this, to be honest here just roleplaying with a lot of muses is much better.

2019 = Amv's and first name change to Joker persona 5

2020= Name change @ask-ultimate-personas and added the rest of the muses and created all the other blogs and mod name change to @mod-makoto-yuki and reactions which you can still do.

2021= full-time roleplay blogs and trying to set up muses bio on google docs and mod challenges and tag challenges.

#my 2021 tumblr year in review #your tumblr year in review #mod reacts #mod makoto yuki is speaking

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