#Yasu's gender unknown

[dumbass-deru]

CW : top surgery scars, blood

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Shkanon doodles.....

And a gruesome corpse.

^

(Which is also a small redraw of one screencap from the anime)

[randomikemendegen]

PROFILES AND INFOS

“Welcome to the land of the unknown! Each door contains a destined encounter written in the stars. Now then, open a door, and meet your fated one.”

Mun Yasu

Age: 18yrs+

Gender: Female

Pronouns: She/Her/They

Obsessions Fandoms: Punishing Gray Raven, Twisted Wonderland, Genshin Impact, Shiwuyu/Tale of Food, Lord of Heroes, Obey Me!

PGR sideblog: https://dawn-of-tomorrow.tumblr.com/

Like my work? Please support me on ko-fi! (haha i’m desperate for money plz give me): https://ko-fi.com/yasu_utsuro

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TWST OCs

Heartslabyul:

🐰 Quintin Blanpine 

🐇 Seisear Marchare 

Savanaclaw:

🐯 Lala-Phula Tigris 

Octavinelle:

🐬 Viviane Genov

🐋 Leviotan Genov

Pomefiore:

❄️ Fuyume Yukitosu

Ignihyde:

🐍 Ophiou Chos Gorgos 

🕸️ Raneus Salpho

Diasomnia:

🌟 Cirnu Alva Valirgethen 

💤 Berebis R. L’Ephegor 

Staff and Etc.:

🦊 Hokusai Nasu

🐅 Shir-Kani Tigris

👻 Orchis Hortengea

🔥Cinis Dawn

⭐️Yuuya

MISCELLANEOUS TWST OC STUFF

TWST

Battle Quotes: https://randomikemendegen.tumblr.com/post/611278750855856128/note-this-is-entirely-based-off

Idol AU: https://randomikemendegen.tumblr.com/post/613309008911237120/what-if-your-ocs-were-idols-what-would-their

Everyone’s S/O Type: https://randomikemendegen.tumblr.com/post/611350171508506624/do-your-ocs-have-a-type-when-it-comes-to-a-so

Height List: https://randomikemendegen.tumblr.com/post/648852329433645056/i-was-on-the-height-comparison-calculator-with

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Genshin OCs

🦊 Yijun

👹 Ren

📚 Nailah

🐬 Diana

⚔️ Althea

💭 Verrill

🎭 Audric

💃 Soleil

🎨 (🏵️) Gil (& Vinea)

⚗️ Mikhael

🛡️ Enkidu

🌟 Sirius

🕸️ Kuraori

🌑 Yinlong

⭐️ Shiki

(note: will update this post every time i make a new entry for my OCs)

[umicatto]

Erikatrice (pt.1) - Interpreting Counting, Rules & Perspective

Continuing my introducing Erikatrice post I'll start with my exegesis in (A) how Erika is included in the people/human counting, (B) how I can explain certain things like culprit Erika and (C) what do we or the characters see: truth or illusions? This post discusses (A)

(A) Counting - personas, impersonation, true number of people

Thesis: Erika is a persona of Yasu.

I'd say in End's and Dawn's world Erika's role is more pragmatic than a emotionally one. Following the hint of the reveal of an unknown man Yasu's ability -having different roles- is more flexible. At the end of EP4 she showed Shannon, Kanon and Beatrice but I think it's ok that 1 or 2 more can be added or changed. I know people thinks that the (evil) man from 19 years ago IS the true Sayo/Yasu but I couldn't find a good reason why it should be true (other than the true gender hint). By that argument Sayo can be whoever she likes if she changes the voice. I want to have a more reasonable approach by looking on Erika's traits and Yasu's motives and goals whose I want to inspect more closely in a later part. If we believe Dawn's and Requiem's depiction of Yasu's and Battler's common hobbies -reading mystery books- I can see why Erika is snarky like Beatrice and why she is a self-proclaimed detective. While Erika didn't get womanly attributes she got intelligence and mystery knowledge. On the other hand Beatrice's appearance was Battler's supposed ideal woman. But the mystery hobby is the main reason why Beatrice challenged Battler to murder mystery "games". That's why I believe in a connection of Erika and Yasu since she can appear in front of Battler to test him. Showing why Erika and Yasu are the same human is talked in a later chapter where I show my solution to the logic error.

Thesis: Yasu is impersonating another human

Genji claimed he called the police and the Coast Guard which is pretty much a lie because it would break the closed circle. But this is a good hint that the call from the Coast Guard told the servants about a girl, probably . Having an believable excuse Yasu could put on a new masquerade with a new background. Maria is easy to foolish. It's also suspicious she stopped searching for her rose which means Yasu could introducing the naive girl her new role. Bernkastel mentioned that the blue hair color isn't the natural one so it's likeley Erika is wearing a wig. Using other identities (the original Beatrice) is hinted since EP1 so it's a fair assumption. Using a name of a different person has interesting effects and my theory needs to bypass many rules but that later in rules.

Main Argument: There are two Erikas (Furudo)

I think it's strange that Lambda says "worlds" instead of "games". This means she could really mean the whole earth. If a real human Erika Furudo existed then she didn't existed until End...therefore the Erika Lambda is talking about is a fictional one. Bingo. It's like the grounddog day loop always includes an Erika Furudo but not the one we can see on screen. Which makes the World of End and Dawn special because a second Erika Furudo existed there and I think it's the Erika persona Yasu is using here. The influending part is just a plus and it confirms Yasu wasn't using Erika at all in Episodes 1-4 and there was no need to create her implying the two Erika games are special cases. In that case I will use Human!Erika for the drowned dead Erika and Yasu!Erika for the gameboard one and Meta!Erika for the one in meta scenes.

Thesis: The parting and introduction line Meta!Erika is using is from the Human!Erika

(Using the official translation) She said it: "This is the detective Furudo Erika's final parting line...and self-introduction!!" . The finale of Dawn is kind of self-realising and acceptance of Meta!Erika without Battler and Beatrice realising it. I can see some people are struggling with the red truths because previously Shannon and Kanon are separate people and now they are supposingly the same person. But I thought it makes perfect sense they aren't counted together. And if Meta!Erika citing someone else explains pretty much else because human!Erika is dead anyway.

Theses: The counting doesn't matter with Yasu!Erika.

She adds one person, nothing more . If the parting+introduction line is a intentionally misleading red truth then we have not to worry about contradictions with too many humans. Yasu!Erika is on the island and Human!Erika is the sea.

Final thoughts: Nothing really to say here. It happens to leave out many explanations and analaying isn't my strenght. When I release motives etc. it should be a little bit clear even if you don't believe in this.

[violethowler]

The Things That Matter

I’ve talked a lot over the last two months or so about the many different ways that the characters, story, and themes of the Kingdom Hearts series align with the framework of the Heroine’s Journey. For the final chapter in this series of essays, I’d like to talk about what it means for this series to follow this narrative formula. Because the fact that Kingdom Hearts fits into this storytelling pattern is critically important now more than ever. 

The three most recent series I know of that aligned with the Heroine’s Journey framework all ended up missing the landing in various ways. Two of the three - Voltron: Legendary Defender and the Star Wars sequel trilogy - abandoned the formula in their final installments, while the third one - the Frozen movies - managed to fit into the formula almost completely, but suffered in the second movie from a lack of clarity as to which of the two leads is the main protagonist and which is the Animus. Two of these were under the Disney umbrella, and all three have had evidence found that executive meddling or other behind-the-scenes conflicts over story direction played a role in how the final installments ended. 

As I mentioned in my essay “Into the Unknown,” when a story deviates from the structure it appears to be following, it produces a visceral sense of wrongness in the audience. In stories which up toward the end aligned with the Heroine’s Journey, that effect is amplified. The framework of the Heroine’s Journey was designed to uplift the experiences of identities outside of what society considers the default option in storytelling. The lived experiences of those identities are mirrored in the narrative’s themes. So when a story set up around calling out prejudices and double standards about those identities that are ingrained into the audience’s culture deviates from that formula, the result inevitably ends up reinforcing those biases instead, on top of the brokenness of the narrative in general.  

In terms of how this applies to Kingdom Hearts, Sora and Riku’s individual character arcs have been noted by many LGBTQ+ fans to have notable parallels with elements of their own lived experiences:

Riku’s arc of learning to accept his darkness as something natural that’s a part of him and which he can express in a positive way mirrors how many LGBTQ+ people grow up with the idea that same-sex attraction is “sinful” and “unnatural” and have to unlearn that mindset in order to realize that there’s nothing wrong with them. Likewise, Mickey’s line in Re:COM about how spending time with Riku has positively changed his opinion about Darkness can be read as an analogy for straight people who are initially unsure of or hostile to LGBTQ+ identities changing their minds with education and first-hand interaction to become staunch allies. Esmeralda’s talk with Riku about how “There are just some things we need to keep separate from the world at large, at least until we have time to figure them out”[1], while on one level is referencing Riku’s Darkness and his inner turmoil relating to Ansem, can also describe the common LGBTQ+ experience of being in the closet and hiding that part of yourself from the people around you[2]. 

As for Sora, in Kingdom Hearts III he responds to Davy Jones’ comments in The Caribbean about the romantic relationship between Will and Elizabeth by saying that “I still have a lot to learn about love[3],” indicating he lacks understanding of his own feelings in the area of romance. This is supported by the official Kingdom Hearts Character Files book published by Square in February 2020. Short stories in this book featuring Sora’s POV depict him as actively confused about what romantic love is[4], and struggling to define the nature of his relationship with Riku[5][6]. This can be a common experience for LGBTQ+ youth growing up surrounded by media that only ever depicts romantic relationships as one boy, one girl. Many people who grew up like this—myself included—have had similar experiences of struggling to understand our own feelings about someone of the same gender because for our entire lives up to that point we had little or no exposure to the idea that being romantically interested in someone of the same gender as you was an option. 

Sora and Riku are each written in ways that speak to common LGBTQ+ experiences, and the fact that so many things—the canon parallels to Disney romances, the match with how love interests are portrayed in the Heroine’s Journey, the fact that one of the series’ Lead Event Planners Michio Matsuura was described by the Co-Director Tai Yasue to be “head over heels for the bond between Riku and Sora’s hearts[7]”, in connection with his enjoyment of “pure love dramas[7]”—are all pointing to the conclusion that these similarities did not happen by accident, but by design. 

It makes so much sense for Heroine’s Journey narratives to be used to tell LGBTQ+ stories because there are so many ways that homophobia and transphobia overlap with and are rooted in the very same gender and cultural norms that the framework challenges. Many countries have come a long way towards public acceptance of LGBTQ+ identities, but in terms of the stories that we tell, mainstream fiction is still skewed in favor of stories with protagonists who are straight and cisgender. Storylines with straight romance are treated as a society-wide default, while creators in countries like the U.S. who want to include even the smallest background references to LGBTQ+ relationships have had to fight and push back against corporate pressure to remove them. 

This is especially true for media aimed at children and teenagers, as the fact that being openly LGBTQ+ is still widely considered problematic in many countries is frequently used by entertainment executives in ostensibly more progressive countries as an excuse for censoring LGBTQ+ storylines and characters. Multiple creators working on animated shows for Disney and/or its competitors have spoken out in recent weeks about the resistance they faced to including LGBTQ+ relationships[8][9][10] and how they were told that openly acknowledging characters as non-straight was too controversial or “inappropriate for the channel"[9].

As a consequence of this environment, creators wishing to depict non-heterosexual relationships have had to resort to creative methods of getting the implications past the censors in a way that LGBTQ+ audiences would recognize while still maintaining plausible deniability so that the executives could make money off the story in anti-LGBTQ+ markets. The downside to this is that because these efforts are more subtle, most straight audiences will either not notice the implications, or else dismiss them as an accident. Some will go as far as coming up with alternate explanations to justify why any potential LGBTQ+ subtext about a character or relationship could not possibly have been put there by the creator intentionally. 

This extends not only to audiences, but also to people who interact with these stories in a professional capacity, such as translating and marketing a story’s international release. Animated shows that feature same-gender relationships have had international dubs change the gender of one character in the pairing to make it straight, for instance. Or there's the infamous example of how the English dub for Sailor Moon in the 1990s changed two girls from lovers to cousins in order to provide an explanation for their closeness that didn't involve acknowledging that the characters were not straight. In terms of the Kingdom Hearts series, the English localization has routinely downplayed LGBTQ+ subtext in the series while in some cases adding romantic undertones to interactions between a male and female character that did not exist in the original Japanese script. Kingdom Hearts III was one of the most egregious examples of this:

Hercules’ recollection of how he dove into the River Styx to save Megara’s soul in KH2 is thematically connected to Riku sacrificing himself for Sora at the Keyblade Graveyard through the phrase taisetsu na hito (literal meaning: “precious person”) when Hercules is talking to Sora in Olympus and when Mickey is talking to Riku in the Realm of Darkness at the beginning of the game. The English version translates this as “person I love most” for Hercules, while changing it to “what matters” for Riku and Mickey to call back to his meeting with Terra in Birth by Sleep, which the scene includes a flashback to. While Mickey and Riku’s original meaning can still be deduced from the conversation around it, especially with Mickey saying "sometimes you care about someone so much," changing the line for the sake of a callback downplays the evolution of Riku’s goals from protecting “things that matter” to protecting “the *person* who matters”. 

Donald and Goofy’s teasing Sora in the scene at Galaxy Toys where Sora comments on how much he or Riku resemble Yozora is framed in the English version as “Riku would be a great action figure because he’s cool, unlike Sora.” However the original Japanese indicates that the teasing is centered around the fact that Sora said a character who looks like Riku was good-looking.

When Kairi offers Sora a paopu fruit, she says in the original Japanese that it’s simply a good luck charm so that they don’t get separated, while in the English localization, she says “I want to be a part of your life no matter what, that’s all.” While “that’s all” still fits with how the parallels to Winnie the Pooh indicate her connection with Sora has weakened and she wants to maintain it, the first part of the English line calls back to the legend of the fruit introduced in KH1, which was openly referred to as romantic by Selphie in the original and localized versions of the first game. As a result, this adds romantic implications that contrast with Sora’s unreceptive body language and facial expressions[11] as he reacts to the initial offering of the paopu fruit. 

In the original Japanese, Riku’s words to Sora before his sacrifice at the Keyblade Graveyard translate to “I believe in you. You won’t give up.” The English localization changed it to “You don’t believe that. I know you don’t.” Not only does it remove a callback to the original game, but this phrasing dowplays Riku’s faith in Sora and ignores Sora’s very clear feelings of inadequacy. 

During the scene where Sora and Kairi are floating through the dark tunnel toward the Keyblade Graveyard, Sora’s line in English, “I feel strong with you,” was originally an acknowledgement of Kairi’s strength that called back to how he wouldn’t let her come along on the return trip to Hollow Bastion in the first game because he thought she’d “kind of be in [his] way”[12]. Removing this callback takes the focus away from Kairi’s growth and brushes aside one of the ways the game shows that Sora’s view of her has changed over the course of the series.

Some fans defend changes such as these insisting that the development team had to have approved of them. However Testuya Nomura himself feels strongly enough about the subject: he stated in a 2018 interview several months before KH3's release that “an incorrect or defective translation risks compromising the comprehension of the whole story,” referring especially to the Kingdom Hearts series[13], and the English localization of Re:Mind—which was much more accurately translated than the base game—directly references the original meaning of Kairi’s words during the paopu scene in one of the DLC’s Kingstagram posts. This all indicates that changes such as these that remove important connections or change the meaning of the conversation are ones that the development team very much do not approve of. 

LGBTQ+ fans of Kingdom Hearts who recognize their own experiences reflected in Sora's and Riku’s journeys know that Disney has not had a good track record when it comes to depicting LGBTQ+ characters in properties they are affiliated with. The most we ever get in their movies are background moments or nameless characters that are only there in one scene that easily can be cut out for distribution in countries with heavy anti-LGBTQ+ legislation. And that’s if the character’s orientation is even mentioned out loud in the film at all instead of simply being confirmed by interviews before or after release but never acknowledged on-screen. Television has fared better, but until recent years we never had any main characters who were confirmed in-show to be anything but straight. But things are slowly starting to improve. Within the last few years shows like "Andi Mack" and "The Owl House" have depicted major characters as openly interested in others of the same gender[14], and Pixar recently released a short as part of their Sparknotes program called “Out”, which openly centers on a man worrying about telling his parents he’s gay. 

This is why it is so important that the Heroine’s Journey of Kingdom Hearts follow through to a structurally appropriate conclusion, with the development team being given the freedom to tell their story in full without restriction or censorship. Deviating from the formula this late in the series would represent a continuation of the recent trend of Heroine’s Journey narratives being structurally broken by inference from forces other than the main creative team. But if the Kingdom Hearts story is able to complete it’s Heroine’s Journey without executives or localization teams getting in the way of the intended story, then the LGBTQ+ themes already present in Sora and Riku’s journey will break so many barriers,challenge people’s expectations of what is possible, and convey powerful messages of self-discovery and acceptance—just like the framework was designed to. 

Sources

[1] Kingdom Hearts 3D: Dream Drop Distance; Square Enix; 2012. 

[2] Tumblr post by @blowingoffsteam2; December 3, 2019. https://blowingoffsteam2.tumblr.com/post/189461796759/blowingoffsteam2-dont-mind-me-over-here-just

[3] Kingdom Hearts III; Square Enix; 2019. 

[4] Translation of KH Character Files Beast’s Castle story by @lilyginnyblackv2; February 3, 2020. https://lilyginnyblackv2.tumblr.com/post/611420864489062401/character-files-beasts-castle-story-english

[5] Translation of KH Character Files Arendelle story by @lilyginnyblackv2; March 3, 2020. https://lilyginnyblackv2.tumblr.com/post/611490139845345280/character-files-arendelle-story-english

[6] Translation of KH Character Files Arendelle story by @notaseednotyet; March 1, 2020. https://twitter.com/notaseednotyet/status/1233993459670765569

[7] “Message from the KINGDOM” Updates!; April 11, 2012. https://www.khinsider.com/news/-Message-from-the-KINGDOM-Updates-2427

[8] “”Steven Universe” and “She-Ra” creators on Representation”; Paper Magazine; August 5, 2020. https://www.papermag.com/rebecca-sugar-noelle-stevenson-2646446747.html

[9] Twitter thread by Gravity Falls creator Alex Hirsch; August 9, 2020. https://twitter.com/_AlexHirsch/status/1292328558921003009

[10] Twitter thread by Owl House creator Dana Terrace; August 9, 2020. https://twitter.com/DanaTerrace/status/1292321440029478917 

[11] Frame by frame analysis of Sora and Kairi’s body language during the KH3 paopu scene by @notaseednotyet; September 14, 2019.  https://twitter.com/notaseednotyet/status/1172774158167506944

[12] Kingdom Hearts; Square Enix; 2002. 

[13] “Nomura stresses the importance of direct translations on story comprehension, and talks about world development as well as the Gummi Ship;” August 27, 2018. https://www.kh13.com/news/nomura-stresses-the-importance-of-direct-translations-on-story-comprehension-and-talks-about-world-development-as-well-as-the-gummi-ship/ [14] Disney’s The Owl House Now Has a Confirmed Bisexual Character; August 9, 2020. https://io9.gizmodo.com/disneys-animated-series-the-owl-house-now-has-a-confirm-1844665583

[kogane-no-tamashi]

Some Of Our Characters

Isabelle Rosegates

Age: 15

Magical Ability: Goddess giving her the power to heal and previde special buffs to her allies , but to her opponents she uses a light ray that she can shoot from her finger tips that do good damage

Backstory: Isabelle and her family originally moved from the country of Roan to Alfheim to get a better start at life. This is where she met Silas and Yasu at a young age. After the incident her and Yasu became closer and formed a tight bond so that she won’t let what happened to Silas happen to Yasu 

Daki Suruma age: 18 gender:  male

powers: Time Control- Daki is able to use his power of time to stop his opponent from moving, slow them down, or make his allies move faster. Though he cannot stop time in a wide area range only to a certain person.

history:  Daki was birthed to a secret clan. His clan are descendants of the legendary Requiem. His clan was tasked with protecting the continent and preventing any too bad from happening. But soon after he turned 10 his clan was wiped out by a unknown force. After his clan was wiped out he noticed he was the sole survivor and decided to protect the continent by himself behind the scenes. While doing so he meets the main characters Yasu, Isabelle, and Takashi. He decides to help them become stronger as a new threat arises.

Anyways heres basics to a few of our main characters (more will be added soon)! And thanks to Jadyn for helping me write the backstory and such for Isabelle!

[philia-n]

Tagged by @chocolate-lemon <3 Sorry I’m so late, I’m just that lazy XDD

Rules: Answer 30 questions and tag 20 people!

Nicknames: They're derived from my name, mostly

Gender: Female

Star Sign: Pisces

Time: 1:55am, oops...

Birthday: March 3rd

Favorite Bands: Versailles, D, Femme Fatale, Lareine, Malice Mizer, Moi dix Mois

Favorite Solo Artists: Kaya, Kamijo, Yasu (Acid Black Cherry), Emilie Autumn, Voltaire

Song that is stuck in your head: Voltaire - 'See You in Hell', for some unknown reason :P

Last Movie: Revolutionary Road, just because it was on TV when I was home last week

Last TV Show: Lucifer

Why I Created This Blog: Because I wanted to reblog all the Eurovision memes :P

What Do You Post/Reblog: Everything I want to ;D Textposts, pretty pictures, fandom stuff... Sideblogs are for the WEAK

Last Thing You Googled: I was installing Skype so I guess that?

Other Blogs: None

Why the URL?: It's related to Versailles' concept story.

I Follow: 163

Followers: 177

Lucky Numbers: I don't think I have any. Maybe 3 because of my birthdate? IDC

Instruments: I used to play flute in primary and middle school

What Are You Wearing: Pyjamas

Dream Job: I don't know, maybe a cat sitter? :P

Last Book You Read: I'm still reading that book about ghosts of Polish towns and castles. But mostly fanfics, that should count too!

Top 3 Universes: Harry Potter takes all three places, tbh...

I tag: @deriidolll (NO HEJ), @lestaestheticism, @le-sortilege, @curse-of-rose, @sans-merveilles, @photoncerberus, @visualxmitsu, @raydicals, @haunted-realm AND EVERYONE WHO’S READING THIS. THAT’S IT. YOU’RE TAGGED

Reason behind the tags: I’m not even sure half of my followers are active but if you guys wanna do it, then go for it :D

[yasuharu-ffxiv]

B A S I C S

Name: Yasuharu T.

Nickname: Yasu

Age: 30

Nameday: 32nd Sun of the 1st Umbral Moon

Species: Au Ra/Half Raen, Half Xaela

Gender: Male

Orientation: Homosexual

Profession: Entertainer at Red Tengu’s Doma Bar | Healer/instructor's aid at the Conjourer's Guild

P H Y S I C A L   A S P E C T S

Hair: Smooth, braided, a bit below the shoulder blades

Eyes: Cobalt blue with magenta limbal rings

Skin: Purpleish-grey

Height: 5ft 10in (178 cm)

Weight: around 143lbs

Tattoos/scars: No tattoos or scars. The latter is thanks to both a rather safe civilian life and being practiced in the healing arts.

F A M I L Y

Siblings: None that he knows of.

Parents: Mother and adoptive father are alive and well, living out in Central Thanalan. His birth father’s whereabouts and status are currently unknown.

Grandparents: Unknown on all sides.

Misc Relatives: Unknown/None so far.

Pets: baby Coeurl, his company chocobo.

S K I L L S

Abilities: Healing, calming the elements, breathing underwater (yay for controling air and water), archery, bardic magic.

Hobbies: Singing, dancing, playing music, juggling (he often does this when bored), cooking, sewing (well SOMEONE has to fit the dresses he buys to his lack of bust).

T R A I T S

Most Positive Trait: Sunshiny personality, ability to soothe others.

Worst Negative: Irritable in the mornings until coffee sets in / quick to be snippy with people he doesn’t like / quick to knock people down (both figuratively and literally) if they belittle him

L I K E S

Colors: Purple, yellow, teal, royal blue

Smells: Lilacs, red wine (especially cherry wine), water, summer breeze.

Textures: Soft, smooth, warm.

Drinks: water, Chamomile Tea, Hot Chocolate, Mulled Tea, red wine, anything sweet.

O T H E R  D E T A I L S

Smokes: No

Drinks: Yes

Drugs: No

Mount Issuance: No

Been Arrested?: No (and he hopes to keep it that way)

Tagged by: @zahkis-ffxiv (Love ya Zah! *hugs*)