#who does not represent me in any way other than like. hairstyle

[minteetho-art-archive]

get a load of THIS guy's ego...

[1000roughdrafts]

hey! if you take requests, i’m just wondering if you’d consider a sister winchester one? maybe her at 18? i love your writing so much, and i’d really love something like a hurt reader/dying reader?? something super angsty ahaha

Oh, for sure! Angst is my favorite! (as I'm sure you can tell by the word count lol) sorry it’s taken me like 3 years to get to this 😞

A/N: this was meant to post 2/28/24 because I wanted to ease into coming back with an every other week posting schedule BUT I’m just too excited and antsy for that lol also it’s set in Season 1, Episode 1

Thank you by the way!

Title: Please Wake Up

Warnings: swearing, graphic description of injury and illness, blood angst, hurt/dying reader, depiction of medical procedures, takes place in season 1 episode 1 :)

Word Count: 5.8k

Being third born after two boys, Y/N always felt like she had big shoes to fill. Despite her best efforts to impress the man, she never really formed a bond with John. Her next role model was Dean, who became more of a father to her than John ever was or could be.

Until her eleventh birthday, Dean did her hair into pigtails every day, partly because he hadn't learned to do any other hairstyle but mostly because he thought it was the cutest on her. He'd pack her and Sam's lunch with snacks he'd bought from vending machines and even pretend to take her on hunts because he knew she wanted to be exactly like him.

When she wasn't learning about monsters and guns with Dean, she spent time with Sam. He'd help her with her homework or play board and card games. They have as much in common as Y/N and Dean. Neither Sam nor Y/N got along with John, and neither remember their mothers. 

Y/N's mother was a woman John met in Nebraska three years after the boy's mom died. The affair only lasted a night, but to his surprise, he heard from her again six months later with the news that they had a baby girl on the way. John was shocked and heartbroken. He couldn't bear the thought of bringing another child into the life of hunting.

John kept his distance, adamant that Y/N would be better off without him, and when another three months of silence went by, he figured that Y/N's mother came around to see it his way. Unfortunately, her pregnancy was complicated, as was the birth, and it turned out that having Y/N is what killed her. 

When John got the call, he had half a mind to let the state take custody of little Y/N. Indeed, they would provide her with a better life than he could. John decided to meet her at least, and when he laid eyes on her perfect little face, he couldn't bring himself to abandon her. 

Y/N was barely sixteen when Sam left for college. While she was proud of him for putting himself first, it broke her heart for him to go the way he did. She missed him more and more every day, often keeping Dean up at night with her sniffling and crying. After a while, he would get into bed next to her when the tears started and sing Hey Jude while playing with her hair to help her fall asleep. That went on for another six months before she finally started to fall asleep without crying. 

For her seventeenth birthday, Dean came across a necklace he'd wanted to get for her since Sam left. From his wallet, he took out the only picture he had of the sibling trio, representing the single moment of their life where John treated them like regular kids, and using his pocket knife, he carved around their heads and bodies to match the exact size of the locket, smiling proudly at himself when it fit perfectly. 

Now at eighteen, she stands next to the Impala while Dean lugs their bags out, drops them into the trunk, and slams it shut. He heads for the driver's door but stops when he realizes Y/N hasn't opened hers yet. Eyebrows raised, he twirls a finger in the air as if to say, 'Let's get a move on.'

"Are you ever gonna teach me how to drive, Dean?" she asks. "I mean, you've got to, you know?" 

"No, I don't. Get in," Dean says. She does so with a huff. Dean checks the mirrors before backing out of their parking spot. Turning to Y/N, he says, "Besides, as long as I'm around, you don't need to," but softens his face into a smile when he looks at her. "Cause there's no way in Hell I'll ever let you drive my car." 

Y/N lets out a soft chuckle. "It doesn't have to be this car, Dean!" She rolls the window down, letting the cool breeze hit her face. "What happens if we get separated and I'm being chased by… I don't know, something that has super speed, and my only way back to you is to steal a car and -" 

"Stop. First of all, you should know that I'd never put you in that kind of danger," Dean says, disgusted by the mere thought. He lets out a long sigh. "I'll teach you," he says, looking at her gleaming smile. He tries his damnedest to see her for the adult she's becoming, but he only sees the happy baby in pull-ups he used to feed marshmallows and jello to on a motel room floor. "Just… not yet, okay?" 

She scoffs, "Most people learn to drive when they're only fifteen. I mean, you took me to freaking Vegas with a fake ID for my birthday, for fuck's sake!" 

"I said not yet, Y/N!" he says, shooting her the 'dad look' he's been perfecting since she was four. 

"Fine," she grumbles. She clasps her hands, "So I was looking through news articles, and there seem to be vamps in the next town. Should we be on that?" 

Dean clears his throat and needlessly adjusts the rear-view mirror. "Actually, kiddo, we're on something else right now." He keeps his head straight but glances at her out of the corner of his eyes. Whispering, he says, "We're gonna go get Sammy." 

Y/N's eyes widen as her head whips to look at him. "What?" 

He keeps his eyes on the road, "yeah, uh, with Dad missing... we could use the help," he says, gripping the steering wheel tighter. 

"But Sam's at college!" Y/N scoffs, "he wanted out!" 

"He abandoned us!" he shouts, shaking his head at himself when he notices her shoulders tense. Her eyes peer into her lap, where her hands lie folded. “Look Y/N/N, I just… I can't shake this awful feeling that something is wrong." He waits for a response from her, but she only nods with thin lips. She tunes him out and focuses on the wind hitting the window. "I gotta make sure they're okay," he says softly. 

Over the years, Y/N has learned to trust Dean's intuition, but right now, it just feels like he's being selfish. She opts to stay quiet, even if it makes a long drive longer.

Y/N jolts awake at the sound of the trunk slamming shut. She takes a moment for her eyes to adjust to the darkness. She doesn't see Dean next to her, so she scans her surroundings through squinted eyes, hoping for a clue about her whereabouts. She finds a gas station receipt in her lap and flips it over to see the scribbles of Dean's handwriting telling her to 'stay put or else.' She rolls her eyes, crumpling it into a ball to throw it into the backseat.

She hears the voices of two familiar men, one of whom she hasn't heard in two years. Her heart races, and she fumbles with the seat belt, trying to unhook it with shaky hands. She jumps out of the car and turns in time to see Dean leaning on the back of the Impala.

"It's a law school interview," Sam says, "and it's my whole future on a plate," he glares.

"Law school?" Dean asks with a smirk. Y/N walks over to stand next to Dean. He shoots a quick, acknowledging glance her way. Sam's eyes shift between Dean and Y/N, softening when they land on Y/N, "so we got a deal or not?" he asks flatly.

Dean says nothing but lightly nods his head. Y/N runs towards Sam, nearly knocking him over with a hug.

"Y/N/N," he smiles. Pulling her even closer to him, he wraps his arms tightly around her back and kisses the top of her head. "I missed you," he whispers.

"I missed you, too," she says, her eyes welling up with tears. Sam looks at Dean just in time to see him press his lips together with an 'I told you so' in his eyes. Sam shakes his head, squinting at Dean just before he lets go of Y/N.

"Kay, I gotta put a bag together," he sighs, "I'll be right back."

He turns to head for the door, and Y/N doesn't take her eyes off him until he disappears into the building. She blinks her eyes and turns to face Dean. He pushes himself off the back of the car and silently heads for the driver seat.

Sam and Y/N sit in the car at a gas station while Dean heads for snacks. Sam opens his door but quickly looks over his shoulder to check on Y/N. This is when he notices the box of tapes sitting next to her. Intrigued, he shifts in the chair and asks her to hand them to him. Y/N is hesitant because it's hard to say how Dean would react, and she's always hated being in the middle of their fights but does so anyway. Sam rests his tongue between his lips as he takes the box from Y/N. Stretching his legs out of the car, he rests the box in his lap to filter through them.

"Hey," Dean says from behind the Impala, his mouth wrapped around a candy bar, "either of you want breakfast?" he asks, holding a soda and a bag of chips.

Y/N waits for Sam to answer first. "No, thanks," he says, glancing Dean's way momentarily.

"I do," Y/N smiles.

"So how'd you pay for that stuff? Three of you still running credit card scams?" Sam says, going back to looking through the cassettes.

"Yeah, well, hunting ain't exactly a pro ball career," Dean says, putting the gas nozzle back into the pump.

Y/N chimes in, "Besides, all we do is apply," she shrugs, "it's not our fault they send us the cards."

"Yeah? And what names did you write on the applications this time?" he asks, swinging his legs back inside the car and closing the door behind him.

"Uh, Burt Aframian," Y/N answers. Dean gets into the seat, handing Y/N the drink and chips. "Thank you," she chirps.

"And his son Hector," Dean adds, "scored two cards out of the deal."

"Sounds about right. I swear, man. You've gotta update your cassette tape collection."

Dean frowns, nearly offended. "Why?"

"Well, for one, they're cassette tapes, and two," Sam holds one up, "Black Sabbath? Motorhead?" he says, dropping them to grab another, "Metallica?" he laughs, "It's the greatest hits of mullet rock," he says as Dean rips the Metallica tape from his hand with a glare.

"Well, house rules, Sammy." Dean pops the tape into the player with a tight smile, "driver picks the music, shotgun shuts their cake-hole," he says, dropping the empty case into the box. "Isn't that right, Y/N?" he smirks into the rear-view mirror and smiles when he sees her roll her eyes.

"You know, Sammy is a chubby twelve-year-old," Sam scolds, "it's Sam, okay?"

Turning the volume up, Dean cocks his head to the side, "sorry. I can't hear you. The music's too loud," he says with a slight chuckle.

Crashing a crime scene where police are still investigating is just another Saturday with Dean for Y/N, but seeing Sam's eyes widen at the box of Dean's fake IDs calls attention to how out of the norm this life is. Dean makes wise-ass comments to the cops, as usual, and Sam stomps on Dean's foot. Dean responds by smacking Sam's head as they bicker on the way back to the car, but Y/N can't help but grin from ear to ear.

Even when her brothers are arguing, Y/N couldn't possibly be happier. Today is her first hunt with both of her brothers and the first time in far too long since the three of them had been together for any reason.

They make their way to find Amy, who they learn is the girlfriend of the victim from listening to the cops on the bridge. They stop her while she's putting up missing posters, and after lying about being distant relatives of her boyfriend, they ask if she'd be willing to answer some questions to find him.

… "It's kind of this local legend," Amy's friend says after a few minutes of chatting. Massaging her thumb with her other hand, she continues, "This one girl? She got murdered out on Centennial, like decades ago." Dean glances over at Sam and Y/N, who listen intently, "Well, supposedly, she's still out there. She hitchhikes, and whoever picks her up? Well, they disappear forever."

At a local library, Dean searches the archive page for any murders on Centennial Highway with no results. Sam shoves Dean's chair, and when it rolls back, he scoots his chair to the computer to take over, earning him a slap from Dean. After replacing 'murder' with 'suicide,' a news article pops up.

"This was 1981. Constance Welch, twenty-four years old, jumps off Sylvania Bridge, drowns in the river," Sam reads.

"Does it say why she did it?" Y/N asks, scooting her chair closer to Sam to try and read the screen.

"Yeah," Sam says.

"What?" Dean says with raised eyebrows.

"An hour before they found her, she calls 911. Apparently, her two little kids are in the bathtub. She leaves them alone for a minute, and when she comes back, they aren't breathing." Sam lets out a breath, "both die," he says in a whisper.

The air grows thick around them, and Y/N frowns. "That's terrible," she says, shaking her head.

"'Our babies were gone,'" Sam reads, "'and Constance just couldn't bear it,' said husband Joseph Welch."

"Hmm," Dean points to the picture on the screen, "that bridge look familiar to you?"

They hit the bridge at nightfall. Crickets sing to water drumming against the rocks as it rushes under their feet. The clouds hang low in the sky, giving the air around them a haze.

"So," Dean says, peering over the bridge at the water, "this is where Constance took the swan dive," he says, leaning against the rail next to Y/N. 

"So you think Dad would have been here?" Sam asks in disbelief, looking over at Dean. 

"Well, he's chasing the same story, and we're chasing him," Dean shrugs, turning to walk down the bridge. 

Sam turns to follow. "Okay, so now what?" he says, forcing a breath through his nose. Y/N walks right next to him, still scared to let him out of her sight. 

"Now we keep digging until we find him. Might take a while," Dean grumbles. 

Sam stops walking, "Dean," he says, raising his hands before dropping them. "I told you. I've gotta be back by Monday." 

"Monday," Dean says, pivoting to make grueling eye contact with Sam, but only turns his body enough that he's still facing the bridge's railing. "Right," he says, shaking a finger, "the interview." The bridge creaks under him as he turns the rest of the way. 

"Yeah," Sam nods. 

"Yeah, I forgot. You're really serious about this, aren't you?" Dean says, shifting his weight between his feet. "You think you're just going to become some lawyer? Marry your girl?" Dean asks, the animosity growing with each word. 

Sam shrugs, "maybe. Why not?" 

Dean's voice roughens, "Does Jessica know the truth about you? I mean, does she know the things you've done?" 

Sam takes a few threatening steps toward Dean, "No, and she's not ever going to know," he scowls. 

"Well, that's healthy," Dean sneers. "You can pretend all you want, Sammy, but sooner or later, you're going to have to face up to who you really are," he says, turning around to continue walking. 

Sam huffs, "Who's that?" 

"You're one of us," Dean shrugs, a hand gesturing towards Y/N. 

"Hey! Leave me out of this," Y/N grumbles from ahead. 

"No," Sam says, speed walking towards Dean, "I'm not like you," he says, turning around as he stops in front of Dean. "This is not going to be my life."

Dean keeps his jaw tight. "Well, you have a responsibility to..." 

Y/N feels the tension rising and tries to plead with them to stop arguing, but they ignore her. "Guys!" she shouts again. 

"To Dad? And his crusade?" Sam scoffs. "If it weren't for pictures, I wouldn't even know what Mom looks like! And what difference would it make? Even if we do find the thing that killed her," he shakes his head, "Mom's gone. And she isn't coming back." 

Dean grips Sam's shirt and swings him around and against the bridge's railing with a clunk at Sam's weight against it. 

Y/N flips around and runs to their side, "Dean, what are you doing? Are you crazy?" She panics. But Dean continues to ignore her as he glares at Sam. 

After a long, breathless pause, Y/N shouts again, "Dean!" 

The misty air is still between them, and even the wind seems too frightened to move. It's as if the world is put on pause.

Dean's eyebrows raise, and he keeps a firm grip on Sam's shirt. Under his breath, he says, "Don't talk about her like that." 

He throws Sam's jacket from his hands and takes a few stabilizing steps backward in one movement. Y/N runs to check on Sam, who shakes her off with an "I'm fine" that sounds muffled compared to the pounding of her heart. A few tears escape her when she looks over at Dean walking away from them, but she doesn't realize she's crying until the taste of salt hits her lips. 

Her eyes return to Sam, shaking her head in disgust that Dean would treat him like that. She knew it had been rough for Dean since Sam left for college, but hell, it's been hard on her, too, and she's not throwing anyone against the side of a bridge!

Dean halts, “Sam. Y/N!” he calls. Y/N turns with a full-body glare, but her eyes widen when she sees a woman in a long, white dress standing on the bridge's railing. The woman looks over at them, and Y/N can see the resemblance to the picture of Constance. The woman's hair and dress sway in the wind, and she keeps her eyes on them as she allows herself to drop from the ledge. 

With a grunt, Sam rushes to the railing to look over it for her, Dean and Y/N not far behind him. 

"Where'd she go?" Dean barks. 

Breathless, Sam pushes out an "I don't know." 

The roar of the Impala's engine turning on startles them, their bodies whipping around just in time to see the headlights flick on. 

"What the-," Dean says. 

"Who's driving your car?" Y/N asks. 

Without taking his eyes off of the car, Dean pulls his keys from his pocket and jingles them, stealing Sam and Y/N's attention to them in unison. The engine revs, drawing back their wide eyes to the Impala. The tires squeal as the car begins to speed towards them. 

"Y/N, go! Go!" Dean says with a hand on each of his siblings, spinning them around to run in the opposite direction. Dean presses his hand firmly on Y/N's back as they run, keeping himself between her and the car. They run as fast as they can until Dean can feel the Impala's breath on his ankles, and he guides them towards the bridge's railing. 

Y/N's heart feels like a brick in her chest, weighing her down at the thought of jumping over. "I can't," she says in a breath, and all in a split second, she feels like her feet are cemented into the bridge's planks as Sam jumps over. "No!" she screams as Dean grips onto her arm, pulling them both over the bridge. 

Sam hangs from the ledge of the bridge, shouting for Y/N as her screams are washed out with a big splash. "Y/N!" he calls again from the back of his throat, climbing up the bridge to get on his knees. He looks over the bridge, scanning for Y/N and Dean, calling out when he sees his brother, "Dean! You alright?" 

"I'm super," Dean grumbles with an outstretched thumbs up. Lying on his back, half submerged in the muddy water. 

"I can't see Y/N! Where's Y/N?" Sam panics, and when the words hit Dean's ears, he springs to his feet in a second. He whirls around in a circle as he searches for her. 

"Y/N!" Dean shouts, wiping mud from his face. He paces around, "Y/N, where are you?" he yells, half-expecting her to pop out from behind a bush to scare him. 

The world spins around him for a moment, utterly void of sound aside from a ringing in his ears as Dean tries to comprehend what is happening. He closes his eyes tight, shaking his head to clear away the fog that covers him. They open onto the water, catching the moon's glimmer reflecting off something. He runs towards it, hopping from rock to rock until he finds Y/N's broken locket stuck in algae. Dean picks it up with shaky hands, recalling how her face lit up when he first gave it to her. She'd be devastated to see its state now. Fear spills down him in an icy chill.

His head swivels around in search of her. Tears, that he refuses to let fall, poke at his eyes when he sees her lying face down in the water, a bloody rock next to her.

“Y/N!” He shouts, rushing to her. He kneels to pull her out of the water by her shoulder, turning her over so that her back rests against his knee. "Y/N!" he yells again, and when she doesn't respond, he grabs her by the waist and hoists her over his shoulder. He grunts, shifting his weight before jogging for the shore. "Sam! I got her!" 

"Dean! Is she okay?" He calls out as he sprints down the side of the hill to catch up to them. The brothers reach the shore simultaneously, and Dean drops to his knees to gently set Y/N on the ground in front of him, Sam following suit. 

"Come on, be okay, be okay, be okay, be okay," Dean pleads softly, placing two fingers on her neck. His heart is beating so hard that he can't tell if it's her pulse he's feeling or his own. "Sam, I can't feel anything," he says. Dropping an ear to her mouth, he adds, "And I don't think she's breathing." 

"Call 911," Sam demands, ripping his jacket off to tie around Y/N's bleeding head wound. He quickly inspects the rest of her body for any bleeding before placing a hand on her chest. Looking up at Dean, who stands frozen, Sam puts his free hand on Dean's shoulder, "now, Dean!" he shouts, shoving him. 

Sam tilts Y/N's head back, checking again for a pulse, a breath, a twitch, a shudder, anything that meant he wouldn't have to perform CPR on his baby sister. He places his hands on her chest, one over the other, pausing in case her heart miraculously started again, but all he feels under his palms is the stillness of Y/N's wet and cold chest. 

Sam begins chest compressions, and the tears he'd been holding back rush out uncontrollably when he feels her ribs break under his palms. It makes him want to pull away, but he forces himself to continue. Dean watches in wide-eyed horror as he gives the 911 operator their location when asked, keeping his free hand pressed against his forehead. 

"Anything?" he shakily shouts at Sam after what feels like hours. Sam ignores him, counting out loud until he hits thirty again. He stops compressions to blow a shuddering breath into Y/N's mouth, watching her chest rise and fall before delivering another. "Hello! Is anybody on the way? My sister is dying here!" Dean shouts into the phone, but all that meets his ears is static. 

"Dean," Sam says with a heavy breath, beginning compressions again. "You gotta take over," he says between breaths. 

Without question, Dean drops his phone to the ground as he falls to his knees next to her, "come on, Y/N," he pleads, ignoring the burning in his knees as he places his hands together on top of Sam's. Sam leaves his hands under Dean's for just one compression before pulling away. 

"Okay, that's ten. You've got twenty more before breaths," Sam says before they count out loud together with every push into Y/N's chest. 

Dean is growing tired by his third round of compressions, but the sirens in the distance electrify him, giving him the energy he needs to continue. 

His face scrunches up as he musters the emotional and physical strength to keep going. Sam hurries to his feet, "don't stop, Dean, you're doing great!" he says with a palm at him. 

"Don't stop," Dean repeats mindlessly, "don't stop." 

Sprinting towards the paramedics, Sam waves his arms, shouting, "Down here! We're down here!" before he knows it, a group of professionals sprint down the hill, the gurney in tow. One takes a story from Sam as one tries to pull Dean away so the other two can take over caring for Y/N. 

"No, I can't stop!" he cries, which grabs Sam's attention, "don't stop," he nearly whispers, hands pumping into Y/N's chest. 

Sam rushes over and lowers himself to Dean's level. "Dean, let go. It's okay, they'll take it from here," he says, grabbing onto Dean's hands to pull him off of Y/N. They watch the paramedics in shock as they cut the shirt, bra, and pants off of Y/N, inspecting her skin. The first responders put what look like stickers with wires attached to them onto her chest and pull out the AED, telling everyone to stand clear before delivering a shock with a beep. Then, there was a pause and the silence that follows is deafening. Nothing. They check for a pulse and call clear again, shocking her. Then, nothing. Again. 

In the hospital's hallway, Dean tries to tune out the surround sound of constant beeping. His elbows rest on his scraped and bloody knees with his head held in his hands. He rocks back and forth, battling with himself. He sheds tears both out of fear for his sister's well-being and of guilt that he did the very thing he promised her he wouldn't: put her in danger.

The clacking of Sam's shoes pulls Dean from his homemade mental Hell. Dean lifts his head, quickly wiping his eyes before grabbing the cafeteria coffee. Sam's familiar smell of motel soap and deodorant washes away the torturous smell of hand sanitizer.

"Thanks," Dean mutters, taking a sip of the coffee before placing it next to him on the cold tile floor. 

Sam's eyes are red and puffy. Dean struggles to comprehend how Sam doesn't even try to hide the tears coming down. He often admires his brothers ability to wear his heart on his sleeve, though he'd never admit it. He wonders who he's being 'strong' for in this moment because it's certainly not himself.

Clearing his throat, Sam pulls his pants up slightly at the thighs before sitting on the bench next to Dean. He glances up at the ceiling momentarily, waiting for the announcement to end before asking, "Any news yet?"

Dean shakes his head. "No," he says in a raspy voice, forcing his eyes to look up and down the hall. "Excuse me," he says, standing to interrupt a nurse before she can enter a different room. "Would you mind helping us find whoever we need to talk to for an update on room 221?" he asks, gesturing to the door he hasn't been able to even look at since arriving.

Her eyes flutter to Sam, then the door, and back to Dean before she somberly nods. "Of course," she says, setting her pen back onto the clipboard as she turns to head in the direction she came.

Dean wants to return to his seat, but his body feels like an anchor. He sucks in a sharp breath. His shoulders tighten into his neck and with weak arms his hands fall to his hips. He hangs his head, clenching his teeth and pulling his face to suppress the tears. Sam jumps up to Stand with Dean, placing a hand tightly on his shoulder.

"She'll be alright," Sam says, not fully believing himself, "she's a Winchester; she has to be." 

Dean quickly straightens himself out because damn it, he's the one that's supposed to be taking care of his younger siblings - not the other way around.

"Sam and Dean Winchester?" a deep voice echoes the hall and they whirl around to greet the doctor. Dean quickly slaps the tears from his face. "I'm Dr. Ferguson," he says, holding his arm up to shake hands with Sam, then Dean. "Let's go somewhere more private to talk."

"We're good here," Dean spits. 

"Very well," the doctor sighs, looking down the hall behind him. He shuffles them closer to the wall and out of the traffic flow. "Well, while we were able to restart her heart, I'm afraid your sister has sustained a substantial injury to the head," he says, "the trauma caused the tissue around her brain to swell quite rapidly, and well, we have her on a ventilator, but," he lets out a breath, "we haven't seen as much progress as we were hoping for. She's technically in a coma right now, but we hope to see her come out of it in the coming weeks." 

"Weeks?" Dean bellows.

"Yes, I'm afraid that's standard recovery time for an injury of this magnitude. Although, we'd be having an entirely different conversation if not for your quick thinking in the field," he says with a tight-lipped smile, eyes jumping from Dean's to Sam's, "it's a long road to recovery, but this is a good start." 

"And what happens if she doesn't wake up?" Sam asks. 

"We will do everything in our power to ensure that doesn't happen," the doctor nods. 

"Thanks, doc," Sam croaks. "Can - can we see her?" he stutters. 

"Of course," he says, pushing the door open with his fingertips, "go on in," he says.  

Sam immediately notices Dean's hesitancy when they exchange a glance, so he nods before taking a few steps into the room. He covers his mouth to stifle a sob when he sees his little sister with a tube down her throat and one in her nose. When he's close enough, he reaches for her hand and sits in the chair beside her, startled by the sound of the door shutting. Dean slowly enters the room, but keeps his distance.

Dean feels like the air is void of oxygen and tells himself to pull it together enough to stand by her bed. "Hey kiddo," Dean says to Y/N with a shaky breath. "God, please be okay," he says, forcing a smile as he grips onto her hand.

The two sit with Y/N for days, only leaving for bathroom trips and snack runs, but when one goes, the other stays, and when one is napping, the other is awake. Dean has grown slightly more self-composed but is still anxious as they stay by her side, even when the nurses come to deliver medications, chart vitals, or empty her catheter.

"Hey, Dean," Sam says, clearing his throat. 

"Yeah," he replies, keeping his eyes on Y/N. 

Sam looks down into his hands, "about my interview-" 

"Wait, what?" Dean says, cutting him off, "you're still gonna leave after all this?" he shouts through a clenched jaw. The chair scoots back in a screech as he quickly brings himself to his feet, "you don't wanna be here when she wakes up?" he asks, aggressively gesturing at Y/N. 

"Dean, we don't even know if she'll wake up," Sam quivers. 

"Man, you are a piece of work," Dean shouts, shaking his head. 

"If you would've let me finish," Sam growls with narrow eyes, "I was going to say that I called earlier… to reschedule it," he sighs, looking back at Y/N, "they were very understanding of the situation." 

"Oh," Dean says, turning on his heels to face away from Sam. He swipes a hand down his face, shaking his head when his eyes open to the white walls of the hospital's room. "Look, man, I'm sorry," he says, palms open and facing Sam. "This just has me on edge." 

Taking a few steps towards him, Sam holds back the urge to get nasty with Dean, telling him he's not the only one feeling 'on edge' about their sister's condition. Instead, he raises his palms and softens his face, "Me too. Believe me." 

By Thursday, Y/N had graduated from a ventilator to an oxygen mask. Though still needing the feeding tube, she's shown glimpses here and there of the Y/N they know and love, but overall, she struggles to remain conscious. The doctors are calling it a 'Minimally Conscious State' and "completely normal with this type of recovery."

On Saturday, Sam heads out for food from a local restaurant at Dean's request - something about them having good pies - but Sam has a sneaking suspicion that Dean needs some time alone with Y/N, and Sam could use the fresh air anyway.

Sitting in the chair beside her bed, Dean holds one of Y/N's hands in both of his, bringing it up to his lips and kissing the back of her hand. "I'm so sorry I failed you, Y/N," he cries. "I should have been protecting you," he whispers, letting the tears fall freely now, "but instead of doing that, I got you into this mess."

Looking up at Y/N's face, he swears he sees a tear slip down her cheek. Despite being convinced he's imagining it, he reflexively draws his hand to wipe her tear away, gasping when it comes back wet. His heart races as he gently stands to get beside her in the bed. "Shh," he coos, wrapping his arm around her.

His eyes fall shut, and he's transported back in time to the almost seven-month period where she would only fall asleep if Dean were right there in bed next to her. Through tears and voice cracks, he sings Hey Jude in a whisper, occasionally reaching over to wipe her tears away.

"I love you so much," he whispers. "I don't know how to live without you," he says, his tears turning into sobs. "Please wake up," he cries, arm wrapped tightly around her, "I promise I'll teach you how to drive if you just please wake up."

~~~~ If you liked my story, please remember to heart, comment or reblog. Or if you'd like, you can add yourself to a tag list here if you wish :) Thank you for reading!! :)

Everything Tags <3

@wayardblueshun @81mysteriouslyme @drakelover78 @soab1967 @shutupandfeedmethings @pollywantacracker666 @sonnierae26 @obsessed5sosfreak @tlovescoffee @noodledoodlebug @hobby27 @cluz1babe @emptycanvasposts @suckmyapplejacks @signrunsavestheday @flamencodiva @roseblue373

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Sam <3 (not including the tags already above :) ) @fangirlxwritesx67 @immafangirlmess @sizekinkshawty

[raelyn-dreams]

Any headcanons of your favorite enstars characters? 👀💫

I do indeed nonnie! Though tbh, these are kind of full-cast headcanons lol. Tysm for the ask 😊

Mika is still upset he wasn't included in the Sanrio collab, and angrily sewed plushies the entire day it was announced.

During practice for Artistic Partisan, Hiiro was under the impression that the prop spears were much heavier than they actually were, leading to him accidentally slamming one through the wall (and nearly impaling Shu).

We don't talk enough about how Knights are given swords for their performances. Like who thought this was a good idea. Even if they are dull and fake, do you know how terrifying it is to have Ritsu Sakuma come at you with a sword and a maniacal grin? Kaoru Hakaze does.

Kuro was basically acting as a mediator for the entirety of the Yuukyou Seishunka cover rehearsals (while Mika and Souma prayed their unit leaders wouldn't kill each other). Keito and Shu came to feel kinda bad about this as they were winding down, so they begrudgingly worked together to make him a gi, as a thank you and apology. Keito never wants to hear the words "proper quilter's knot" again, but it was worth it for the smile on Kuro's face.

Hiiro and Hinata both have...shaky histories with high places (Hiiro in !! main story after Rinne disowns him, and Hinata during Setsubun). Niki doesn't know the details, but he notices after a while, so they start having rooftop hang-outs on occasion to help them with it.

I really like the Hiiro-Hinata-Niki dorm as a whole actually (which...Hiiro and Hinata are two of my favs, and Niki's up there, so that's to be expected lol). I see a lot of potential with the three, and I think they'd really get each other.

Ibara visited Kaname once. It was a stupid and sentimental thing to do, really, and he had work that needed to be done, lives to prepare for...but he couldn't help but feel he owed it to him, the near-silent apology that passed his lips that day.

Also, veering into AU territory a bit, but I think if Kaname were to wake up and eventually get back into the industry (after lots of rehab + accommodations), he'd keep the HiMERU name, but drop the "cool" persona he tried to associate with it. Life is too short to care so much about the public's perception of him, and I feel he'd go in the opposite direction of Tatsumi, and become even more outspoken, which would make him a good Crazy:B candidate.

OreMERU (our HiMERU) and Kaname are going to need to talk. A lot. I think Kaname wouldn't quite forgive him and would be upset about the identity theft, but he also can't bring himself to hate him, as he can see why he did it and knows it's for him. There's a lot of guilt and misunderstanding on both sides (ntm Tatsumi, Jun, and everyone else's reactions), but I think they eventually get through it alright, and OreMERU would always be Kaname's "Onii-chan".

OreMERU is also gonna have an identity crisis, and tries to quit Crazy:B, but of course Rinne, Niki, and Kohaku aren't gonna let him just dip like that. There's a lot of panicking, some bad hairstyle decisions, but he comes out alright, and starts going by another stage name that's important to him in some way.

I'm sorry about the excessive Tojo headcanons nonnie, I fully read Obbligato for the first time last week (just knew the basics before) and it wrecked me asdfghjkl.

Anyways. Back to everyone else.

As Mika gets used to Shu's more lenient personality, he tries to see how much gore he can get away with in Valkyrie's art.

Shu tries so hard to respect Mika's artistic vision and encourage him, he really does. But he draws the line at real pigs brains on-stage, even if they are in jars ("But Oshi-san, it represents the breakin' o' the mind after they tried so hard ta conform ta the expectations they put on 'em and ended up slaughtered! It's perfect symbolism, ain't it?")

Adonis makes money on the side for Undead by acting as an interpreter for other units during lives and Q&As. It ends up so popular and profitable that ES actually ends up investing money in professional interpreters for all events, because the ES heads can be kind of good people for once I guess. As a treat.

Rei, Ritsu, Niki, Tatsumi, Eichi, and Kaname (if he rejoins the industry) start having a combined monthly interview to make up for ones they miss due to illness/disability. The college kids/anyone that's been sick or couldn't make their own interviews occasionally join in too (usually Chiaki, Mayoi, Nazuna, Shu, Leo, and Izumi). Rei feels personally attacked sometimes, but its overall fun and way less stressful than trying to make every interview for their own units.

Kuro/Shu/Mao/Izumi dorm have sewing nights. It started because Kuro and Shu already sew, and Izumi wanted to be able to make his own alterations as a model just in case. Mao ended up joining in as a way to de-stress from student council work, and they have a relatively pleasant time together.

Souma is canonically good at embroidery, so I like to think he ends up creating his own sword scabbards for different Akatsuki costumes using the skills he's picked up from it. They're very pretty, and he's very proud of them.

[mauesartetc]

What's ur opinion about Vaggie's redesign/outfit change? I personally like this one better than the pilot one, mainly 'cos the colours suits more with hell and if you really pay close attention to detail you can see that her hair resembles moth's wings. I'd love to hear/read ur opinion of her.

I knew this was comin'. Y'all knew this was comin'. Let's do it!

First, some positives: Her hair does resemble moth wings, indicating that her design is, in fact, inspired by moths. We didn’t really get that in the original. Also, her outfit looks like something a hotel employee might wear to work, and the red matches Charlie’s new outfit as well. Eliminating the stripes from her socks was another good choice, as it makes things easier on the animators.

Here’s something I don’t understand, however:

What’s the purpose of giving both Vaggie and Angel Dust identical chokers, as well as the same scalloped shapes on their outfits (specifically at the edges of Vaggie’s sleeves and Angel’s pink gloves)? Typically when character designs feature the same types of shapes or accessories, there’s some sort of meaning behind it, which I go into more detail about here. 

An uninitiated person might get the impression that these two characters are symbolically linked based on their clothing choices. The scallops and chokers might be part of the uniform for workers in the hotel, but Angel is a boarder, not an employee. They might represent the characters’ history as sex workers (that’s still part of Vaggie’s backstory, right?), but that would only hold water if other sex workers in Hell wore the same items.

To me, this looks like Viv Medrano trading one problem for another. She previously had the issue of giving bow ties to tons of characters for no explained reason, and now she has the issue of similar chokers and scallops for no explained reason. Her attachment to aesthetics rather than meaning has caused both problems. Maybe I’ll be generous here and acknowledge the possibility that there is some symbolism in these choices we just can’t see yet, but Viv’s history of doing this doesn’t inspire optimism.

Also, the tweet featuring Vaggie’s new design referred to her as the “protector” of the hotel. So like... Security? Her pose and expression here make her look like a fighter you wouldn’t want to mess with, but I question how well-suited her fashion choices are to the task. Someone could easily grab her long hair and ribbons in a scuffle, and I’m not sure how much mobility that tight skirt would allow. 

Just for kicks, I Googled “women’s security guard uniform” to see how many of the results included skirts. It’s about as many as you’d expect. Once again, Viv sacrifices practicality for aesthetics, thinking more about what she finds pleasing to look at than the character’s needs. You’d think Vaggie of all people would have more sense. 

Anyway, I whipped up some sketches of how a shorter, more manageable hairstyle might look. The hair’s out of the way, it’s still shaped like moth wings, and there aren’t any ribbons to deal with. Viv seems to think hair and outfits can only be fashionable or functional, and that’s simply not true.

I’m also not sure why a character who died in 2014 is in the crow’s nest of a ship that looks to be from the 1800s or so. What’s the connection there? Guess we’ll have to wait and see.

[carostrelec]

so, to jump on the SSO character revamp opinion bandwagon... oh boy. okay. this is going to get long.

first and foremost, let me start with the things i like. i like the new hairstyles (even though there's a small "but" i'll get to later) and they look pretty nice in my opinion.

(speaking of that, does anyone have any screenshots of the short bob with ponytail hairstyle revamp? the one i use on my character, if you've seen my screenshots)

secondly, the makeup system seems to be working well, and that's great because i'm kind of tired of having to use the same makeup preset all the time (since the others each have a part that annoys me).

third, there finally seems to be some much-needed facial variety, and i am very curious to see how they look once they're animated.

however, that ties right into the points i don't really find myself/my vision of Agrippa represented in.

the faces look... toddler-like. from what i've seen, all of them are quite round and friend-shaped, with little of the facial definition young adults tend to have — and while i'm sure there will be people who appreciate this exact kind of face, i... don't know how to feel about this yet. not necessarily negative, but not positive either.

there are some visual parts of the hair revamps that look unnatural, and as a specific example i want to point out the short bob with swept bangs (i think that's how it's called?). the bottom of it, the part near the neck, is... questionably modeled, and while i know it might have been an effort to save some polys, it does not look right to me, and i hope they improve it before releasing it. (speaking of this, i am also not very on board with the brownish shading they went for with this particular hair color.)

(shoutout to tumblr that saved this when i went to fact-check myself and my phone decided to free memory by killing tumblr)

and last but not least. look. i am glad people of curvier body types are getting their representation, that's great! except i don't really find my real life build represented in any of them, the thinnest one (and that's not really thin either, more like slightly below average?) is the most similar one.

compared to that one, i have way wider shoulders. i think that's what throws me off so much about it, aside from the fact that it also looks shorter than me (that might also be influencing my perception of it).

compared to my vision of Agrippa, none of the body types match up — while their shapeshifter nature can be tricky to represent, i've settled on a look for them that is mostly feminine shaped with a notable absence of breasts and a very "tall, swamp creature, can tear your head off" (think Sabine but leaner and a little less mean) vibe. a vibe that is simply not represented in the current selection.

if you've read this far, awesome! i would love to read your opinion also, so feel free to leave it somewhere.

[ohnominamino]

An Essay on Love in Evangelion: 3.0+1.0 Thrice Upon a Time

Evangelion: 3.0+1.0 Thrice Upon a Time is a movie about love in all its forms. From the love of family, friends, and neighbors, to the compassion we feel for people we have never met. The movie reminds us that love is something we continuously gain, lose, and choose, again and again. Which love is greatest? In my opinion, the answer to that question is left up to interpretation. In this essay, I will give my own personal interpretation on certain character interactions and what I believe we are meant to take away from their Rebuild portrayals. 

The character I will start with is one I’ve noticed the most outrage over from people who haven’t seen the movie and read out-of-context spoilers: Kaworu Nagisa. 

Kaworu is a beloved character among many Evangelion fans, especially those who are members of the LGBT+ community. He is a canonical love interest of Shinji Ikari and I want to reassure people that this final movie does not change that fact. However, it does not make the couple blatantly endgame either. This skirting around the couple might make some fans upset, and while their feelings are completely valid, I do not think they fully understand the difficulties faced by LGBT+ people in Japan, nor do they understand the way that romance is typically conveyed in Japanese storytelling. (I recommend watching “Is ‘Yuri On Ice’ Good Gay Representation?” by James Somerton for more about storytelling nuances.) 

What have we been shown about Shinji and Kaworu’s love? The good news is, anything you read into the original TV series and End of Evangelion is completely true for the Rebuilds— because Kaworu is the same Kaworu. This movie proves Evangelion is a single universe set on repeat, and that Kaworu and Shinji meet each other every loop, and in each, Kaworu is trying to make Shinji happy. Within the final movie, Shinji becomes aware of the loops and chooses to break the cycle and free Kaworu from his pain. 

What does the relationship between Shinji and Kaworu teach us? I believe the purpose of their love is to show the audience that first, in the words of Kaji, “love has no gender.” Second, I believe Kaworu’s love in particular is a warning about basing your own happiness solely upon another person. There are parallels drawn between Gendo/Yui and Kaworu/Shinji. Gendo could not exist without Yui, and so he was willing to destroy the world to be reunited with her. For Kaworu, it was not the destruction of humanity, but the destruction of himself that defined his tragedy. What’s important within the final movie, in my opinion, is that Shinji does not reject Kaworu’s love. With the insight he’s gained from remembering past loops, he sees Kaworu’s love and appreciates him, but he also sees his suffering and wants to ease it. He helps Kaworu into a new world where he can seek his own happiness and find balance in his life (something his father did not have). 

While Kaworu and Shinji are not seen as an explicit couple at the end of the movie, it’s significant to note that, when he sets Kaworu free, Shinji holds out his hand to Kaworu as a promise to stay together. Over the course of the movie, Shinji comes to accept his connection to others through accepting touch (in the form of hand holding and hugs from Rei, Misato, and Gendo); however, Kaworu is the only character in the movie who Shinji initiates physical contact with and that speaks to how much Kaworu means to him. This simple gesture, in my opinion, keeps the door open for Kaworu and Shinji to be a couple one day, after Kaworu has found more balance in his life. 

If I were to write an entire essay about Kaworu, it would be titled, “Out of the Coffin: How the Resurrection of Kaworu Nagisa Buries the Tragic Lovers Trope” because this movie truly does just that. 

Another potential love interest for Shinji for many years was Asuka; however, unlike with Kaworu, the nature of this relationship is not left up to interpretation by the end of the movie. Before her big final battle, Asuka tells Shinji, “I think I loved you back then” (regarding their time in middle school) and Shinji, during Instrumentality, tells Asuka, “Thank you for saying you loved me. I loved you too.” It is past tense. 

What does this relationship teach us? It’s a beautiful way of showing that we can love people, and grow and learn, and let go when we no longer fit each other. Letting go is an integral part of life. Whereas other Instrumentality scenes involve touch, Asuka’s, mirroring the ending of End of Evangelion, has a distinct lack of touch. Shinji sits with his arms around his knees and Asuka turns her body away from him. He gives her his thanks and he sends her off to find her peace. Asuka and Shinji teach us that it’s okay to grow out of relationships. You can appreciate what they were to you at the time they happened and move on. 

What about Rei? To be honest with you, this movie is less about Rei’s relationship with Shinji, and more about her relationship with the world. Rei teaches movie viewers about the simple pleasures of living. While Shinji is in mourning for the first quarter of the movie, Rei (as “Sokkuri”) is learning about crop growing and community, the wonder of babies and kittens, the joy of the bath after a long day of fruitful work, and the power of words and picture books. At the end of her life, she only regrets not having more time to spend with the people she loves. In Instrumentality, Shinji accepts her hand when it is offered to him, which I hope signifies he is ready to see life as she had come to during the final movie. 

Rei teaches us that we can love living and to not take our limited time for granted. 

Next, we move on to parent figures: Gendo and Misato. I think they both represent people ill suited to the role, who do the best they can despite it. Gendo, as mentioned for Kaworu above, is a warning about defining yourself by your relationship to another person (Ikari, afterall, is Yui’s name). He is also a lesson in how people mourn and how they can lash out. Misato, like Gendo, felt herself a poor parent, and while mourning the loss of Kaji, she gave up her child to be raised by other people, but, unlike Gendo, went forward to put all her energy into protecting humanity. Both of them reach out to hug Shinji within the movie and he accepts them where they are. 

While I wouldn’t say the movie shows that Shinji forgives Gendo, it does show his making an effort to understand and make peace with what others have done. For Misato, it is fair to say we can still hope for a better future, even when it feels like everything is crumbling around us. Her self-sacrificing love for her son and the whole of humanity is what enables Shinji to then save the people he loves (via the spear of Gaius). 

In the movie, we are also shown friendship. Touji, Hikari, and Kensuke are important members of their community who maintain open communication with those around them and respect others’ boundaries. They are patient and kind and represent the importance of being present. They teach us to meet people where they are and support them how we can, whether it’s giving them a warm meal or giving them space when they need it. 

There are many more characters that could be talked about, but today I am going to end on Mari. Mari’s love is physical. She enjoys being in people’s personal bubbles. She cuddles Asuka and helps trim her hair, she gets into Gendo’s space at college, and at the end of the movie, she reaches out her hand to Shinji to help him stand up from his seat. Upon first glance, some viewers might take Mari and Shinji’s final scene to be romantic, but the reality of it is this: We do not, and cannot, know what kind of love she is meant to represent in his life.

We do not know Mari’s relationship with Shinji because they hardly interact in the movie. She clearly cares about him, but in my opinion, it comes from a place of duty and compassion— Mari was friends with Gendo and Yui. She has been there since he was born. (If we take the manga to be canon, then Mari even had romantic feelings towards his mother. Her hairstyle and glasses are from Yui. At the end of the movie, Mari has changed her hairstyle, which to me implies she has moved on, and “getting” with Shinji would be a thematic break.)

Additionally, their conversation, while flirty, is very much one that implies they haven’t seen each other for a while. Mari is someone who is very physically affectionate. With everyone. If someone ignores that and focuses on the fact she gets into Shinji’s space and claims that’s romantic, they better acknowledge it’s possibly romantic with Asuka, who we see far more intimacy with. When Mari flirts, Shinji flirts back and her initial reaction is surprise, “Wow, you’ve learned to talk back!” Her purpose is clear. She is there to remove the DSS choker from his neck. 

Personally, I love that Mari is the one to close the movie, for the exact reason that we do not know her relationship with Shinji. For Mari to have an assigned role would be to say, “This kind of love is most important,” when the entire movie was spent showing us each love is of equal importance in the balance and building of our lives. (It’s wonderful to see those types of love embodied across the platform from Shinji at the end of the movie: Rei and Kaworu, who, just like in End of Evangelion, could signify the ability to connect with others and be loved.)

If you view Mari as a romantic love interest, then I think it speaks to the value that you as an individual give to romance rather than what the characters themselves are feeling. To me, Mari, the character who was created to “destroy Eva,” is a symbol of all love. When Shinji takes her offered hand and then pulls her to run into the new world, it’s a symbol of balance. The give and take of any kind of relationship. 

We are the product of every relationship we have ever had, from our parents to the people we once loved, from our friendships to any other person we want to stay connected to. Evangelion: 3.0+1.0 Thrice Upon a Time is a story about these relationships. It is a story about love. 

[greysfall]

My 4444-word review of NEO TWEWY (with personal illustration + heavy spoilers)

My overall critical score for the game is 7.5/10, while my personal enjoyment score is 8.5/10. This review is posted as I have 80% completed the game, got the secret ending and achieved the Angel psychic rank. I’ll first start with the main pros and cons as follows.

PROS:

-        Enjoyable as a whole, still upholding the first game’s spirit in world building and sharing the same backbone - which was mostly revealed in the Secret Reports, it’s impossible to grasp the story without reading them.

-        The new cast and new game is charming in their own way

-        The old cast’s return is one of the biggest highlights for sure, it was fun and impactful. Everyone stays true to themselves and also had their own stories wrapped up nicely.

-        Boss designs are cool, new pins are fun to use and collect

-        The connection between the old and new cast is well written and executed, including but are not limited to the tension between the old and new protagonist, the weird but fun interaction between the 2 Composers, the new friendships revealed and formed

-        Sho being in the main cast is something so uniquely TWEWY and uniquely Sho

-        Still good music

-        Still many fun side quests, some of them really uphold the same quirky spirit of the old game and some are surprisingly touching

-        Many new nice stores and yummy looking foods to explore

-        The map is really easy to memorize for me, it’s fun to travel around the “current” Shibuya to see all the differences compared to the past

-        The social network is crazy and interesting to read through

-        Has an anti-frustration system to help 100% complete the game more easily and earn money faster, so post-game is relatively managable.

-        Overall, I really feel the efforts the team poured into making this as their passion project, not just during the development process but for all the last 14 years. They showed the vision of what they wanted to make, at the same time giving something to both the old as well as new fans.

CONS:

-        The biggest problem with the game is scenario writing. The story is so heavily back-loaded. The director himself thought it would be better to balance out the tension flow by adding more at the beginning but gave in to the scenario writer in the end, probably due to time pressure. This results in an underwhelming execution of characterization and lots of wasted potentials for the first half of the game.  

-        I struggle to view it as a stand-alone game, since the backstory and the old cast both play such an important role in the core of the game. If someone plays this game without having played the OG, they can only enjoy it on surface value at best.

-        The new cast is nice but most of them aren’t quite as intriguing as the old cast, maybe it’s cuz they’re all too nice deep down that they lack a little bit of an edge, of that batshit craziness that everyone in the OG used to have? I think some characters (Fret, Nagi) ended up weaker in terms of characterization because the writer is too afraid of making them unlikeable – which kind of backlashed cuz they only became likable in the most expectable way to cater for a specific group of fans. I would have wished for the other team leaders to be more crazy too, had they not suffered 30+ loops of the Game…

-        The CAMERAWORK IS HELL.

-        Gameplay does get tedious at certain points with all the time travels.

-        Shiba is so badly written as a villain, some Shinjuku characters should be given more screentime cutting into Shiba’s– like Hishima or Kaie or even, Hazuki (though his limited presence also solidified his importance).

-        Some of the main character designs, for example Beat’s hairstyle and his food reactions are hilariously bad. What’s the point of covering up most of his unique facial features?

-        Some of the minor/side characters’ design are too cool for them to have such a small role (eg: Ayano, Eiru). Ryoji did get much screentime but is nowhere as fun as Makoto was.

-        Overall the scope of this game is made a little too big for the team to handle as perfectly as the last game that was very compact, it felt somewhat rushed in development too so the missing pieces are clearly there in the final picture

The entry fee versus paying for it all in the end

An important difference between the Neo game and the original Shibuya game was that the Shibuya rule asked for an entry fee that is the Player’s most important asset, stated as a chance the Composer gives them to reexamine themselves. Meanwhile, the Shinjuku rule neither encourages nor allows personal growth and ultimately aims to erase as many Players as possible. It’s a pity we were never introduced to the full Shinjuku rulebook, as it seems like the system there focuses more on building up power and a grand government to compare with the individuality-driven system of Shibuya.

When you have to compare the new game and the original game (OG), this is an important factor to consider. Also, the OG has a serious storyline running through and through, locked with a different partner/GM creating unique atmosphere for each week and you don’t get to see your old partners again until the end. NEO’s team system does not allow such deep insight and communication between the Players. All of your teammates are always there throughout, the dynamic does change with each new addition but it is not as prominent as a partner change.

Another important factor is how the OG was built from scratch for a new platform as “something no one has ever seen before”, while Neo recycled a lot of old unused ideas from the previous development (check out this interview for more details). The development team for NEO lacks 2 key members and had a change of writer so the final product is not as strongly bound together as the last game.

The new cast is definitely inspired by today’s teenagers (from the view of creators), compared to the old cast they’re more sociable and always seem to take whatever works for them despite feeling unstable inside. They are all innocent and genuinely nice kids, avoiding to hurt each other to a degree that they end up keeping some sort of distance. They’re also unable to communicate at deeper levels, always stagnant at this half-baked stage of equilibrium without any motivation to get to the core of things. That is the cost of entering the game without an entry fee, without even dying or having a reason to be there/to fight seriously. These kids were stolen from the RG into a Game that was decidedly the worst environment for them to change or develop, just wandering around cluelessly to find a way “out” until tragedies started to unfold one by one and they ended up being charged the total sum of the price for their actions – ultimately losing everything in the end.

That is, I believe, a story arc which can resonate more to the youth of today rather than of my generation. If the message of the old game was to “listen”, enjoy life to the fullest and accept to trust others, the message of the new game is to “speak up” from the inside, trying to understand yourself and take actions instead of just going with the flow and finally, to take responsibility for such actions.

If Neku was handpicked by the Composer for being the special one with an all-dense soul to ensure victory of the game then Rindo was just a normal kid chosen out of random by Kubo to be his back-up plan, who just happened to have a high enough imagination to awaken the incredible power from his pin. Rindo was then officially chosen by the Composer as Josh picked up and handed the pin to him again, this time not as Josh’s personal Proxy – but as the Proxy to represent the normal people of Shibuya and via whom he could gamble if humans can fight for their own fate.

The underworld heroine and the hero with little of his own

Shoka is for me a refreshing and layered heroine. She’s the kind of character that took at least 3 trials of creators to form as a complete individual – that included Nomura who gave her the base design and Reaper background, Gen who gave a more cunning touch and the writers who made her English dialogues more punchy. Dishonesty equals “tsundere” is such a cliché, so the English writers tried really hard to avoid that trope in my opinion, while still letting her good intention come through.

She serves as the character who is informed of everything the players should have known, and there was almost nothing she could do about it. Almost. Until she met Rindo.

They were drawn to each other by sharing a state of “not having anything of their own”. They both started out with not being able to truly know themselves, Shoka even hated her RG life but also managed to mature from that stage before Rindo. She must have vibed with Shiki’s love and passion in the Gatto Nero threads, initiating her connection with Shibuya and understanding herself more. With Shoka as Swallow, they were able to open up to each other and offer mental support… but was still not getting to the centre of their problems because for all this time, Shoka could not tell Rindo the most important things about herself.

How did Shoka feel when she met Rindo at the UG? She probably didn’t want to hope that he would live the day until she witnessed the Twisters’ potentials. From the very beginning, they were both incredibly conscious of each other and also constantly frustrated that the person they happened to “notice” was such a condescending bitch/a clueless loser. The Shinjuku Reapers are overall quite drunk in power and uncompassionate to Players, Shoka included. She is also a master of dissociation, which results in her constant boredom, tone swings, haughtiness and subconsciously distancing herself from the friend – the boy she cares about – from false hope, as she judged from facts that it was a hopeless situation where nothing could ever be. Maybe she is naturally a bit of a chameleon just like her name suggests (Shoka 紫陽花 = hydrangea, the color-changing flower), so putting on an act and always dissociating herself from what’s important was easy, while hiding her contradiction was impossible. It was the ex-Reaper Beat who broke it out to her, that she should decide whether she really cared and wanted to do something for a change. He knew how it felt like to cross that line, and knew she wanted to too.  

Shoka is endeared by many of the Shinjuku Reapers and has shown independent acts of kindness (the Shinjuku ghost), proving that her kind and truthful side is as real as her harsh and dishonest side – which makes her a nice mirror to the previous heroine Shiki, who also embraced a dichotomy of self-complex and self-love within her character. In the end, she was the first of the new cast to ultimately accept all that is important to her and independently made the decision to help save Shibuya despite all costs.

She was jealous at Rindo’s interaction with Tsugumi and Kanon but remained silent cuz she wasn’t at a place to have any say about it. She also didn’t reveal about Swallow because that would only add an awkward irrelevance to their current situation, as she was too ready to face erasure at the end of the Game. She only wished to “play a game” with him, be it FanGo or the Reapers’ Game. The tension that the team could only feel at the end, she’s felt it the entire time. The song “DIVIDE” is applicable to not just one bond in the game, but it always makes me think of theirs. There is always a “divide” between her and Rindo throughout the course of their journey, as the living and the dead, as a Player and Reaper, as someone who has a place to return to and someone who doesn’t, someone who knows little but wields too much power and someone who knows a lot despite not being able to do much.

“If only I had the chance to connect with you on the other side

But time goes on, and without us realizing it

The battle is getting heated

Time goes on, and without us realiazing it

Divided again”

To be honest, maybe I didn’t grow any affection for the new main cast from Rindo’s perspective but from Shoka’s. Since I started to sympathize with Shoka, I started to see the boy in a more “real” way. The real Rindo, behind his peaceful façade with others, would lash out on Shoka for her unfairly harsh attitude while none of the others cared. He could also subtly feel that mantle of unspoken secrets from her, her own contradictions, the unresolved chemistry between themselves – and not knowing what to do with it rather than to feel angry with all the unfairness he could not process. (As a Libra too, he’s triggered the most by unfairness!)

It is actually a positive development as he’s at least “reacting” to something strongly now rather than to keep evading his problems. During my replay, I clearly saw the difficult situation Shoka was in, her remaining harshness after the Motoi incident was due to her internal struggle with a mission to save her own life, versus a chance to really be with the team. Her decision was to do both at the risk of losing favour from both sides. Rindo started to accept her layer by layer, as the person who resonated the most to her contradicting nature from the start and knew that via learning her resolve, he has learnt his too.

Later into the game, she even got too much of his attention. Maybe even without knowing she’s Swallow, he’s familiar with her thinking direction and Swallow had always been closer to him than any other friend. It was only after she had to betray her important ones twice that she could start being truly honest. The scene when she died a 2nd time left a strong impression in me, the little reveal let Rindo know that he is also losing Swallow as he’s losing Shoka – and that only death could drive the last secret out of her. Her final “Later, loser” echoed through Rindo as it was the final truth, with only him remaining to hear it: they had actually, already lost everything.

Rindo was the boy who never dared to face all that matters to him until he lost it all, fighting an unfair battle in the faith that they would somehow still win. Shoka was the girl who always knew what was dear to her, but never dared to think she could be together with them ever after and still threw her all into a battle she knew was losing. I think they stir each other on naturally to fill out their gaps, similar to what the Shibuya game partner systerm would have aimed for. The end reward was a little divine intervention to help close up the divide between them once and for all.  

During the game there was not enough space to process anything personal so at the ending when they officially became “friends”, it was an important affirmation of their bond. Some people complained it was friendzoning but it’s not, they just have arrived at the perfect place to start something more. “From now on, we will truly be together” – I read it as that kind of message.  

The heroine from a lost battle, with her story taken away

After reading the secret reports and playing the game to be surprised of how small a role Tsugumi had in the main game despite being the “Hype-chan” thought to be a major character of the next TWEWY installment, many fans would feel sad at a missed opportunity to see the Shinjuku arc in full depiction.

It was shown clearly that, a Shinjuku arc was very carefully planned out and is a vital part of the whole story, yet it could not be made due to various circumstances behind the development scene. I would assume, that the team were not able to make a TWEWY game that ended on a despairing note, but it already happened in their mind, thus becoming a mental burden that forced them to break away from it and started the game anew with NEO. A significant part of NEO became the healing arc for the Shinjuku characters, especially for Tsugumi though I really wished more emphasis should have been placed on her rather than Shiba. We didn’t even get to see her brother – Shinjuku’s Conductor who had a vital role and instead was given the clueless Shiba, who had absolutely no idea what’s going on all the way until the last day in NEO. It’s as if Tsugumi has had her story stolen away from her, because her own battle ended with a saddening loss.

I think every time the game creators look at Tsugumi, they would feel that sadness too. Maybe to them, she is a bigger character than what is seen by the fans, as despite their failed effort to depict her story, she’s lived in their mind for all these years through periods of destruction, healing and rebuild.  Though it is a pity we could not get to experience the full scope of the Shinjuku story, the creators was clear about the place they wished for it to arrive at.    

Individuality, connection and the social network

The team system adapted from Shinjuku rulebook does not allow much room for personal development, as the team dynamic is closer to a work relationship forced to bear results, than a spiritual bond to max out all corners of understanding as found in the partnership system. The old Shibuya system allowed only 1 winner and 1 week limit per game, while the new rule declares for a 1 winning team and only the team at last place will be erased – the other teams will enter another loop. Furthermore, whichever team to challenge the unwinnable Ruinbringers will face the risk of ending up dead last followed by erasure. As a result, the longest-standing teams are most likely not the strongest ever recorded, but the ones who have figured out a strategy to simply survive until something changes, enjoying their newly found social constructs while they are at it. Basically, it is a system to hypnotise players into the illusion that they are still “living”.

Therefore, we as players would not get to the core of each Player individually as fast and directly as we did in the last game. The Twisters were able to stand out not because they’re powerful, they only started to have a real chance after growing enough to each form a meaningful and personal connection to another teammate. It did not come as a team, nor did it intiate from the existing friendship between Rindo and Fret. In fact, I did not find much solidity or anything truly note-worthy about the main team and new characters within themselves until they started clashing with other team members, Reapers and new recruits from week 2 onwards. Rindo found his personal development with Shoka (via a clash with Motoi and pretty much a mini dating sim between them), then via the confrontation of his role with Neku; Fret found his with Kanon then Nagi, the team learned about the real Neku via Beat, Neku entered the UG via Coco’s wish to save Tsugumi… it was not the team but their personal links that empowered them to fight and solve each of their problems.

The other team leaders may have failed because they did not form such personal links, after 30+ hopeless loops Fuya’s team all fell apart to pursue their own interest even at the cost of erasure, Motoi quit his KOL façade to work like a dog for the Reapers (probably to save just his own ass not his team), while Kanon dropped her tricks to find changes via honest cooperation in acceptance of a fair loss. The despairing note in that is huge without making much of a scene because their failure didn’t happen at their best effort to “win”, but in their last attempt to find a way “out”. Even Shiba got his way “out” in the end thanked to his personal friendship with Hishima and Tsugumi.

Something has shifted in the mindset of the game creators in the last 14 years, as both games are about “connection vs individuality” but the last game focuses more on connection between just individuals and this one on the overall network that is formed out of those individual connections.

The introduction of Beat into the main cast was truly the bridge between old and new, they helped each other out in several turns before officially recruiting him. Beat is a character whom a lot of fans including myself have felt somewhat concerned about after Neku disappeared from the RG, so when the new kids welcomed Beat with warm and organic interaction and Beat seemed happy, I started to feel like I wanted to help them out too! I think the overall team chemistry is enjoyable enough for new players, but I could warm up to the new kids more from the pov of a returning character – whom I’m glad to be Beat, as the older brother figure who is genuinely kind, fun, serious and upbeat at the same time; who is needed and needs the kids in return.

The social network is a fun and refreshing feature. You can read all of the crazy tidbits about Shibuya and the links each character have formed with the town people, it’s also fun to visualize how the characters act off screen. Characters’ profiles provide extra insight into their background too, like how it reveals Tsugumi has been friend with Coco during her time in the RG. During the game when not all characters have showed up, you can sometimes guess which empty spot will belong to whom. For example there is a 1 character linking to Neky that is not linked to anyone else, so I could guess that was Joshua, and that another character linking only to Joshua was probably Hazuki, hinting that the 2 Composers are related before either of them even showed up.

Hazuki only showed up for 5 minutes, but his presence is so vital and true to the game that I think he is the most memorable out of the new cast. The two Composers have such an intriguing bond, with their yin/yang or phoenix/dragon themes, opposite color design, the sempai/kouhai tone and the way they keep some sort of distance/work relationship as if it’s mandatory between Higher beings, yet at the same time they can talk so casually because they are truly equal – and different from one another. I have written a separate meta on them here.

Some people pointed out, that all Shinjuku characters’ names and themes are based off Hanafuda cards and the Phoenix in Hanafuda belongs to the Paulownia suit – which is Joshua’s name flower. This is so interesting because it feels like the creators somehow saw it as a sign to interweave the Shibuya and Shinjuku storylines together. Though it doesn’t come out much on the surface, it’s fascinating nonetheless considering both Josh and Haz had at some point interfered with the other town’s affairs.

“Shibuya tour with Haz” was such a special scene, as it happened between 2 characters who do not/no longer have a reason to care about Shibuya, on the subject of what is worth saving about Shibuya. Hazuki carried out the purification of Shinjuku and stepped in to restore Shibuya just as part of his job and unlike Hanekoma or Joshua who both possess profound understanding of humanity, he really didn’t know humans at all. Rindo’s irrational wish invoked in him a sense of curiosity, to try gambling on something irrationally and learning a bit of what his senior have experienced. With all the pieces put together, it provides an overview on Higher beings as a whole, and that Joshua and Hanekoma are really the odd ones out with Hazuki being somewhere in between them and the rest.        

The old friends

It’s easy to have returning characters overshadow the new cast as they have already matured out of their personal story arc and stayed in our hearts for all this time. In the end, I have managed to enjoy both the old and new cast separately and altogether, and they will both find their own place in our memory of this game for the long term.

Sho is truly as crazy as ever, the game wouldn’t be the same if Sho is any less of what he is. Sometimes it doesn’t feel like Neky or Beat is younger than Nagi at all, with moments when it seems like Neky has aged 14 years instead of 3 years. His friendship with Coco surprised me pleasantly, and their interaction together with Beat was fun to watch. Rhyme’s found a new dream and her friendship with Kaie is precious too, especially considering that she can still talk to him online after the game ended. Josh and Neku’s interaction suggested that they have resolved the past and are on equal terms now, they even parted ways in good spirit and I don’t feel any worry about them like I did before.

Neku and Shiki’s reunion scene was beautiful, theirs is such a special bond that it has grown and supported them even without being able to see each other. I am so happy to see them all again and that they stay true to who they are, albeit looking more grown up, cooler and happier than ever before.  

Overall, NEO can’t become a classic on par with the OG, but is definitely a good sequel and a good game in its own rights. I’m happy with whether or not there will be a 3rd game to complete the 3 monkeys theme, but if there will be – I hope the creators can really find the time to learn from the last 2 games and start over with a fresh mindset and strong core.  

[choicesenthusiast]

Representation at Pixelberry: The Follow-Up

One year ago, on June 15, 2020, Pixelberry released a statement regarding representation at the company. Here is the LINK to the original blog post, and here was MY RESPONSE. Oh, how naïve and optimistic I was. It contained a list of goals and promises they hoped to accomplish within a year. Well, a year has passed, and here is my attempt to hold PB accountable. I'll be going over the five main points of their representation plan and if they achieved what they promised. All criticisms are about content released after June 15th. Long post beware, but I'm not putting it under a read more because I feel like it's important for all to see.

1. Commitment to diversity of Love Interests - FAIL

We’ve already been moving towards having Love Interests have customizable skin tones. We will continue to do this with some stories, while also having some characters with clear ethnic identities. At the same time when we have multiple love interests of different ethnicities, we are aiming for those Love Interests to have equal game time.

"LIs with customizable skin tones" mean they come in three flavours: white, black, and ambiguously Asian/Latinx interchangeably. So far I have rarely seen an LI as connected to their culture/ethnicity as Rafael Aveiro, and he just talked about his Vovo's food if he ever were on screen. They had many chances with the other OH LIs as well. Even Ayna Seth and Tatum Mendoza were confirmed to be Indian and Filipino, respectively, though FA gets a little leeway, as it was set in a fictional west-European continent.

As for equal game time? I'm sure the biggest example we can all think of was the mess that was Open Heart 3, which was written during the hiatus (which only existed because they were going to straight up kill Rafael in Book 2). Game time was not equal among LIs, and the white male LI was heavily favoured. PB also continues to pay female LIs dirt by giving them no screen time. In addition to that, LGBT+ players, who are consistently underrepresented, receive one (1) unprepared pride month survey, prpbably only because someone asked them about it on Twitter.

This is the meat and potatoes of everything because it's what they're outputting to their audience. It's what the people see. Given that things haven't been going so well lately in this department, consider this promise a big fat fail.

2. More authentic and diverse hairstyles for people of color - QUESTIONABLE

Our team will focus on providing more authentic and representative hairstyles. We are prioritizing these hairstyles outside of our normal book processes and will introduce them in new books as they are ready.

While, yes, they have added two new hairstyles in WEH, they also just took Jade Bonet's hair and recycled it for LoA F!MC. PB recycles all their hair more often than not.

3. More diverse book covers - QUESTIONABLE

This is an initiative we started in January of this year. As a result the number of Black, Latinx, Asian, Native American, Pacific Islander, mixed, and other characters on new book covers increased from 35% of characters in 2019 to 60% characters in the first half of 2020. However, the number of black characters is still not high enough this year. More are already scheduled for books later this year. We will make sure that Black characters are well represented on our covers in the future.

"Diverse" does not just mean by race, but also gender, sexual orientation, etc. FA has the only recent MLM cover. And don't tell me that the FA and LoA covers are any different from each other. The only black characters on covers are Zoey Wade (QB), and Black!Gabe Ricci (LoA) and Bastien (WB), which aren't even their canon races unless you choose them to be. This is the case for many single-LI books, such as Cassian Keane (W:ABR, which technically premiered on Mar. 16, but the sentiment is the same), Sam Dalton (TNA), and Dakota Winchester (WEH). Not to mention the customizable/multi LI books like DS, RT, BaBu2, MTFL, etc. Majority of these covers are just cishet couples delicately cradling each other's bodies or whatever. And we're not even gonna get into how PB literally put the Open Heart LIs in order of their favouritism on Book 3's cover.

4. Writers/Staff - QUESTIONABLE

We will be engaging in professional training on historical and current racism for our writers to ensure more of them have a better understanding and more context for views of diverse characters in Choices. We will also create a program that gives more authority to people of color in the studio to advise writers and artists on more authentic portrayals in both writing and art of black, brown, and minority characters.

A story with a Black-led cast is something I have asked for in the past, but failed to follow-up on. We will very likely start this with a Black-led cast story led by Chelsa, one of Pixelberry's Black writers.

We will increase the number of diverse writers we source for new stories, starting with hiring more Black and Latinx writers to lead the charge.

For all teams at Pixelberry we will actively work to bring in more Black and Latinx candidates with the goal to increase the number of Black and Latinx employees at Pixelberry. Although Pixelberry is over 50% female, on teams where females are not at 50% we will actively work to source more female candidates.

This promise seemed like a copout from the start because we have no way of knowing who works on what at PB unless we very meticulously stalk their LinkedIn or Twitter or whatever. We have no solid statistics except for what they feed us. I do know, however, that they recently let the Ms. Match writers go and were hiring for external writers, but there really is no way of knowing what's going on behind-the-scenes with their 112+ employees, and of course there would be NDAs involved. We are yet to see a book with an all-Black cast, and receive rare development updates with new books. Actually, I think a really good way to promote diversity is to do staff showcases on their social media. Just a way to show the public who's responsible for what. Writers, game devs, the art team, etc. Don't think it'll happen, but it's always a good idea.

5. Donations - QUESTIONABLE

Pixelberry will also be making $100,000 in donations to Black Girls Code, the Black Writers Collective, and the Latinx Writers Collective at Techqueria. Rather than as a lump sum, we will be making these donations over the course of a year to remind us that we are not making short term changes, but are committed to long term sustainable actions. We’ll also be donating up to an additional $100k from profits for this week, 6/15-6/21.

There has been no proof, no receipts, no evidence from PB that they have donated anything to anyone, and as far as we're concerned, their word doesn't mean anything. No news or updates news about it. I would love to believe that they did something, but as you can see, I've become quite the pessimist. BWC still uses PB's old logo (like, pre-Choices) on their sponsors page, and the last interaction they've had with BGC was in 2013. They don't even follow each other on Instagram. In fact, BGC received a huge donation from MacKenzie Scott, formerly Bezos last July. Yes, that billionaire Bezos, and that got coverage from them. Obviously donations don't need to be for publicity, but in this case I think it's important there should be proof. Again, it's really hard to tell with these behind-the-scenes things, but given how PB loves to gloat and hates to keep promises, we can assume that none of this happened.

~~~

So, what's the takeaway? That PB's fallen down the drainhole of shitty content and empty promises and has no intention of climbing out as long as they still make that bank? Seems counterproductive, because good representation gets good feedback and income. They pump out bad books with barebones "representation" if you can call it that, then drop their precious merch and pretend all is fine and dandy. But just as I suspected one year ago, none of this matters, because people forget things, and people move on, and shit gets swept under rugs. Yet, here I am, yelling at a company in a post I for sure doubt they'll see. Because if not me, then who?

@playchoices Your move. It's been your move for a year now. When will you actually make it?

[antiloreolympus]

7 Anti LO Asks

1. Do you know what really gets my blood boiling about this comic? Persephone and Demeter's relationship.

In the myths, Demeter and Persephone loved each other more than anything. Their reunion is so important - it marked the coming of spring and growth. A whole cult was dedicated to this for crying out loud. Yes, the myths were far from perfect, but the Persephone and Demeter myth showed the strength of a loving mother-daughter relationship with Demeter searching endlessly to find her child that was ripped away and had her innocence forcibly taken.

Now, RS is not the only author to make Demeter this over-bearing mother type in order to put more positivity onto the Hades-Persephone relationship. However, RS takes this trend to a whole new level - to the point where I would even consider it misogyny.

How is it, she takes this beautiful mother-daughter relationship and makes it out to be an abusive and controlling one, and then takes the Hades-Persephone relationship from a forceful one to a loving, perfect relationship with no problems? How is it ok to ruin one relationship to elevate another?

I understand that many versions of the myth try to downplay Hades' actions, and even make it so Persephone actually falls in love with him and there is no rape. But it doesn't change that this relationship was problematic, and meant to represent the loss of innocence.

Then fans have the gall to claim this comic is feminist and then claim on top of that that Demeter and Persephone's relationship was the same in the myth? These fans clearly don't know the myths, and neither does RS.

Making Hades a good person is fine. Changing it up a bit to make Persephone's loss of innocence something else is also fine. But ruining Demeter and Persephone's relationship? Especially when Persephone has to spend half the year with her? So horrible. 

2. im sorry, but rachel cant introduce KRONOS coming back and then dropping it for several episodes to focus on a stake-less trail and persephone not knowing what lingerie to seduce hades in. like thats too much of an earth shaking development and huge stake plot point to just ignore for months to focus instead on something as minor as hxp's relationship, which only points out a huge flaw: why is hxp's relationship so minor in this? isnt the whole point supposed to be about them?

3. I think LO completely dropped the ball over Hades’ characterization. 

From the first ep I thought ok, this is good, we have some bones to see he’s not that lucky in love and is just tired and lonely, and while ignoring the creepy actions towards Persephone, I thought ok, Artemis hates him, Hestia hates, even Ares hates him, maybe once Persephone finally sees the underworld and probably gets to know him it’ll be a clever twist and they’ll be proven wrong. The underworld will turn out to be fair and just, the citizens will love Hades, he’ll be revealed to be a good leader and king and not like his brothers, it’ll be like everyone saying Hades of myth isn’t actually that bad, and it’ll help reinforce why this sweet and bubbly Persephone wants him, she sees the real him, not the mean rumors and assumptions, this is perfect.

And then it just didn’t happen. The exact opposite happened, actually.

We’re shown the LO underworld is cruel and unjust, where the poor dead are forced into slavery and Hades created a harsh class divide with him and him only on top, the citizens hate him, the underworld gods don’t trust him and openly seem ok if he’s taken out of power, he’s not a good leader and king and doesn’t even want the job yet keeps it for his own ego and grip of power m, and on top of it all he is just like his brothers, if not worse. He loves to get violent over any little slight against him, he hoards wealth and resources to enrich himself while his citizens starve and struggle to survive, he’s corrupt, he controls all the media and laws to bend to his will, sleeps with his brothers wife for centuries behind his back while claiming to be holier than thou, he has sex with his secretaries who are made dependent on him for any way to survive, and now he lusts after his barely legal intern who is also now dependent on him for her way to survive, and that’s only what I remember off the top of my head.

LO perfectly set up to prove Hades isn’t the devil or the false pop culture assumption that he’s evil and to show some actual facts from myth, and yet Rachel only ended up reinforcing exactly that and even making him even worse with her made up ideas, all while thinking having Persephone ignore or excuse it somehow makes it not bad or even a good thing. It’s honestly kind of impressive just how bad of writing that actually is. 

4. Chapter 172 is not that interesting. It’s setup had me excited to see Hephaestus and Hera and learning more about echo, but it’s cut so short. Because again the story can’t leave HXP out for 2 seconds.

I can also see why Zeus is gonna go insane. 

5. i agree w/ other anon. LO should have pulled a PJO or a BoZ and just made up OCs and have them interact with the gods than whatever Rachel thinks shes doing, which is lying she's being accurate and faithful while completely changing all of it, removing what is needed, and adding what isnt so that it lines up with no actual myth besides like, various 50 shades fanfic she read in 2015 and some popular tumblr text posts.

6 . the animation studio behind blood of zeus literally can only draw one face for the men and one face for the women and they were still able to make the gods all look distinct and hot while LO can't even bother to use more than 6 colors and can only have the women look as tiny as possible with the biggest boobs while the men are all just lego men.

7. ////FP SPOILERS////

Okay so like I stopped reading LO way back before season 1 ended, and a majority of my knowledge of the series comes from what I read here on your blog which is enough for me lol and I decided to read the latest 5 chapters just to see what's up (on zahard. I refuse to give the actual series any views)

And I just. Could not take the whole scene with Daphne running from Apollo seriously? The anatomy and art inconsistency was so distracting that i genuinely could not find it serious. Even when Thanatos discovers her hibernated body I couldn't take it seriously because of how she looked?

And when Hades had that call (??? Was it a call? Or his inner dialogue? I couldn't really tell ngl) with Zeus and said he's causing Persephone unnecessary distress, and that she didn't pose any threat. B!tch??? She killed a ton of mortals??? She has no control over her powers???? She's literally a fugitive for the aforementioned things??? She apparently woke Kronos up? (Idk if anyone knows about that, again my knowledge only spans to whatever I read here) Hello????

And I have a lot to say about the chapters starting the trial but I'll only mention one thing; Hades saying "I don't think blindly supporting my little brother would be doing him any favours (as a ruler)" had me cackling. This is coming from a guy blindly supporting a girl he's literally only known for a few weeks, who's like what, only recently turned 20? Sit tf down Hades you're not cool, you creepy ass overgrown smurf.

Overall I still hate this series lmao. Regarding art though I feel like I wouldn't be so miffed about the anatomy much if the character designs were consistent and the story was compelling. They literally change hairstyles and body types frame by frame, and it's distracting.

The timeline from what I read here is laughable. 4 years in publication with almost 200 chapters and you're telling me only like a month has passed canonically. That's wild and such poor writing.

And as someone who literally will sympathise with any lead character pretty quickly, the story makes me hate them. It makes me want to root against them. I also hate the fact this trash is somehow top ranked on webtoons when so many other stories are far better then it.

Anyway, many thanks to this blog for existing and allowing me to dump so much text here to vent out my hate for this series lmao. You the mvp fam, hope you're having a good day 🥂🥂🥂

[shizukateal]

The Holy Quintet: The BEST DRESSED Magical Girl Team EVER. Part 2: Characters made of symbols and shapes.

Part 1 here.

Mami Tomoe

Mami Tomoe’s outfit is a work of genius that really humbles me as an aspiring character designer. Watching the perfection in its simplicity only boggles my mind trying to reverse engineer the thought process behind it. Even if they already had decided on the huntress theme before they finished her, how did Ume Aoki came up with cutting the sleeves like that? Or with the perfect skirt shape that allows the corset to show all of her curves while puffing at just the right height to not make the hipline transition awkward and giving the shape of a flower? How long did it take her to find this particular color scheme? Did she immediately know where to put the purple to balance the outfit without feeling artificial? How did she realize that the stripes on the socks would add the ideal touch to the whole setup? Or the perfect way to turn the soulgem into a hair accessory? I would have gone the easy way and put it in the chest ribbon like the amateur I am! Did she have doubts about it while she was figuring out the exact design of the boots?!

This outfit does everything. It’s sexy without being unnecessarily tasteless, it’s girly and fancy but battle-ready, it even passes the silhouette test, it’s nuanced, almost realistic. Even Mami’s hairstyle, which in a lesser design would look too childish, is perfect for her. Mami’s whole theme is that she’s a little girl desperately trying to convince herself that she’s an adult. Her low drill-tails are doll-like, which is to say a little girl’s idea of what a fancy adult woman looks like. The side-swept bangs also give a youthful roundness to her face while being elegant, and the way the hat and hairpin complements the whole thing is just * cheff’s kiss *.

Kyouko Sakura

Kyouko is a fire gal, and as such her shape is a triangle, so her outfit is a halter top coat that widens into the frilled overskirt. Her ponytail also feeds into this theme, with hair bits sticking wildly on the top like the fire sparks of a candle, and the ribbon is just scrappy but cute enough to compliment her personality. Haha, ponytail, get it? Like a horse? Or in her case a de-horned unicorn, ergo her spear. Her look also gives us the impression of an outlaw with her pirate/rider boots, long coat and gloves, fitting her lifestyle, and her soulgem is on her chest, indicating her more emotional nature. I think the boldest decision was to leave her hands ungloved, or at least I know I wouldn’t have done that, but that’s why I’m glad I wasn’t in Ume Aoki’s position when Madoka was in production. The white details on her undershirt and boots also put an elegant touch of complexity that completes the whole thing. What I’m trying to say here is that Kyoko has the ““easiest”” design of the other puellas, but it’s still top notch.

Sayaka Miki

Sayaka’s outfit is a balancing act, trying to keep it’s knight aesthetic clear without relying on heavy armor to do so and thus allowing Sayaka’s more romantic, femenine side to show, not to mention her water + music/mermaid theme. Her whole getup is very ingenious. Her short hair allows the cape to flow without seeming excessive and heavy or an inconvenience, her hairpin prevents the cut from being bland, but still keeping a somewhat tomboyish look, and her skirt has a distinct asymmetrical cut that, with its white outline, gives the idea of a wave. Her boots are short, comfy, practical, and their shade is just different enough that they avoid the look from feeling kinda boring within its color pallet, without straying away from it. I’m honestly amazed at how well they pulled of her belly-button soulgem as well, especially without taking away from the knight theme, hell they even used that in their favor! That is ingenuity. It was also a genius idea to hold the cape on a choker to make it all fit better with a sweetheart neckline.

Homura Akemi

As I mentioned before when I talked about Senjougahara, Homura is a rhombus, not just in her soul gem but in the rest of her body: she is pointy, slim, and long. She is the tallest and lankiest amongst the Holy Quintet, her outfit primarily highlighting her legs and her hair ending in jagged points. What impresses me the most about it is that the shirt is very weirdly cut for a concept as straightforward as “school uniform”, but it works. I can imagine a much easier version of it without the undersleeves or the collar. Speaking of which, the shape of them draws attention to her soul gem on her hand, which is placed there to symbolize how she’s the most “hands on” magical girl. Her time motif is present in her back ribbon, which looks like clock hands, same with Moemura’s braids, and in her shield, which is small and attached to her wrist and also is actually a sand clock. That shield is a really neat, concise, and smart way to tie up the entirety of her wish, huh? Speaking of Moemura, it’s really interesting to see the conflict between the two versions of this character in their differences. First we have the hair, of course, then the red glasses. I sense that there’s more to those than what I’m interpreting here, but the best I can do is conclude that aside that Homura tosses them out because they represent her weakness the fact that they’re red means they also represent her emotionality, which Madoka returns to her when she gives her her red ribbons (which also represent the string of fate, of course, and also confidence in oneself). But the part that interests me the most is her heels. Moemura doesn’t fit them, she trips on them constantly, but for Homura they are a symbol of her maturity and composure. Naturally, the first time we see Homura break down after narrowly killing Kyubey before they could do a contract with Madoka, she trips on them.

@leafbladie also pointed out to me that the reason it looks like a school uniform might be because school is the only place where she could make genuine human connections. 

Madoka Kaname

Kyouko is a triangle, Homura is a rhombus, and Madoka is, fittingly, a Star, aka. a cluster of points shooting out from a center, which also blends well as a flower motif. Or to put it even more eloquently, she’s the flower from the ground that will eventually become the star in the sky. It’s in her skirt, gloves, socks and ponytails. And the rest of her? Is a deception in its simplicity. After all, this is what you expect from the leader of a magical girl team, right? Pink! Ribbons! Frills! Come on, you’ve seen this outfit before, it’s practically the same as Cure Peach’s! But Madoka is aiming for something more specific: she is both a fairy AND a witch, the two faces of the Magical Girl, creatures of fairytales often related to either nature or to the stars, and it works precisely because she uses that shape. Madoka is a balance of roundness and pointiness, it’s just that those points are softened by the pastel coloring. Her balance in ribbons and frills is excellent as well. I should probably write a separate post on how those 2 elements work in general, but suffice to say that we all know way too many magical girls that just put those things everywhere. Two on her ponytails to highlight them, one behind her neck, two on her hips to smooth the hipline transition, two behind her shoes. Huh, speaking of those, Madoka has surprisingly tall heels, right? Taller than Mami’s and only matched by Homura’s. Really tells you who the 2 most emotionally resilient members are in the team.

The last piece I’d like to highlight is her weapon, which I’m jealous of because I did that concept for an OC of mine and now if I do it everyone is going to think that I got it from her. But in any case, yeah combining a druidic staff into an also druidic bow whose arrows are also shooting star analogues is the perfect choice for this particular character, the Goddess of Magical Girls.

And this, everyone, has been my reasoning and analysis of the genius of the Holy Quintet’s character designs. Follow me if you want more magical girl outfit analysis.

[shirophantomvox]

Analyzing Killua Zoldyck's Character

Illumi Analysis| Hisoka Analysis| Chrollo Anaysis|

What’s up y’all?! I’ve had at least 2 cups of coffee this morning and I am ready to write my butt off! This post will be about Killua Zoldyck, my second favorite character and you will know why by the end. If you’d like me to write about your favorite character, Be sure to send me a message and I will get on it ASAP.

Here we go!

I saw Killua for the first time on Tumblr. Someone created various icons for several anime characters and edited them. They were all aesthetically pleasing but for some reason, his picture stood out. Now that I look harder, it is because he was holding a Pepsi can instead of the off-brand one they drew for him in the cartoon. I noticed everyone on TikTok and Twitter had the very same icon as their profile picture (usually those that like to troll and say racist things to others). Once I started watching Hunter x Hunter, I realized the character immediately. Thank you for your edits!

Killua Zoldyck is the youngest child in the family and is the only child that developed a mind for his own.

Instead of taking the pleasure of killing, he runs/avoids and achieves this by becoming friends with Gon. It’s interesting to think that no one in the Zoldyck family wants to kill for fun except for Illumi.

I remember Zeno telling Chrollo: “Do you think I enjoy killing?”.

This makes me think that the family’s job is to destroy enemies that are a threat to society. Are the Zoldyck’s taking on the role of cops or an extension of such? If that statement is true why does Illumi take pleasure in abusing his power when his own grandfather only does it when criminals are involved? Granted, Silva and Zeno’s reasoning for brutally fighting criminals isn’t legal, and (to me) are considered to be vigilantes, at least they don’t go around doing the horrible things like how Illumi and Hisoka do.

This very reason why Killua ran away from home. He decided to rebel against his mother and implied: “Fuck you. I’m going to do what I want.” Killua and his siblings are victims of child abuse and show that they deal with that abuse in different ways. Killua masks his abilities in public and tries to keep them under control, Kalluto seems to be very quiet and obedient, Milluki is just as abusive as Illumi, and we already know about Illumi. Milluki is physically abusive; this can be seen when he is whipping Killua for running away and threatens to destroy Gon, Kurapika, and Leorio while Illumi plays mind games on Killua and uses his Nen to do the trick.

Killua’s character is very special and in a way takes the lead as the main character instead of Gon. I don’t know if that was intentional or not. Killua is a 12-year-old boy who leaves home to escape his abusive home and see the world for his own. During phase 1 of Hunter’s Exam, he instantly clicks with Gon; probably because he’s the only 12-year-old there. They constantly challenge each other to see who will win and who will buy dinner or some other reward. Because of his abusive home, Killua often masks his feelings. This is noticeable every time Gon talks about him being his best friend and he always reacts as if he’s embarrassed by it.

Gon is his shield from going bat-shit crazy like his family. They both have faced opponents (like Hisoka and others) where Killua could have unleashed his assassin abilities but didn’t. Yes, some of the opponents are stronger than him, but it wouldn’t hurt to try.

Killua is the best friend Gon could ever have. Since he knows about aura and any supernatural abilities, this is why he stops Gon and even insults him for pushing himself too far. Killua stopped Gon from using too much aura in the past especially once Kite’s arm was cut off by Pitou. Because Killua wasn’t there to stop him when fighting Pitou, this resulted in Gon’s downfall. Did Killua believe it was his fault that Gon almost died? He isn’t responsible for Gon’s actions but he focused so much on running away from his “demons” and masking his temper by maintaining his friendship that he wasn’t paying attention to Gon’s noticeable and developing temper.

Killua Zoldyck is a child that suffered from abuse and to escape that reality, he runs away, takes Hunter’s Exam only to match with his brother, chooses defeat, and then kills an opponent, not of his own free will.

But wait, there’s more.

After being rescued from his prison of a home, he goes to Heaven’s Arena, met Zushi and his teacher, develop Nen, follows the Phantom Troupe around and somehow managed to survive that, meet Bisky, join a game to get closer to Ging, witnesses Gon disappearing, trying to form a relationship with Alluka, and then tries to heal Gon with a quickness.

Whew, chile!

At the beginning of the show, it appeared as if Killua was taking on too much and only did so to keep his mind off what he escaped from.

One thing to point out is Killua’s motivation to heal Gon no matter what. It is implied that he doesn’t care what will happen to him or anyone else as long as Gon can live again.

Wait.

Isn’t that along the lines of what Gon said about getting revenge for Kite? He didn’t care about what happened to him? Hmmmm. I guess they’re very similar after all!

Killua and Gon are BFFs and will do anything for each other. Friendships in real life should be this way; let’s follow his fictional example.

Face

Killua’s face is the typical shape for someone his age. His eyes are wide, as blue as the morning sky, and honestly, I wish he’d smile more. Even though he is 12 years old, he still has a babyface.

Hair

Killua’s hair color is very similar to Princess Allura’s and Lotor’s. According to verywellmind.com, the color white represents innocence and purity. Ironically, Lotor and Killua are the opposite of that while Allura has maintained her innocence. Killua’s unique hair color and hairstyle are amazing! I love how it stays in shape while he is fighting or running.

Clothes

Regarding clothes, he is JUST like his brother. Again, Illumi irks me, but they both have a great taste in fashion. Through the show, Killua changes his clothes more than Gon, which is funny. I guess if Gon changed his clothes too much it would take away from his character. Killua’s default style contains a sleeveless white shirt with a purple one underneath, basketball shorts, and gym shoes. Just look at these outfit changes! This is why Killua is my 2nd favorite character in this show.

Behavior

As stated before, Killua cares more about others. This is ironic because the Zoldyck family only cares about themselves or their family while Killua feels the complete opposite. It’s almost as if he trusts strangers more than his own family. A common phrase: “She/He turned to the streets” that I’ve heard in my hometown can be applied here. Killua probably hates his family and turned to strangers to find love and comfort since they neglected that. He is also the only one that tries to develop a relationship with Alluka. At first, I thought “Wow he’s only developing a relationship with her to heal Gon” but then I realized it was bigger than that. Alluka has been separated from her family because of her dangerous abilities. She will demand something and if that person doesn’t fulfill her demands, they will suffer horribly. Killua learns that Alluka has a healing ability and while Illumi complains that Killua was hiding rules from him, he never took the chance to talk to him about it and continued to threaten Alluka. The family “banished” her to a confined room for who knows how long because, apparently, she had been possessed by a demon from the Dark Continent and they do not know when it happened. Despite knowing that Killua could parish with the rest, he still develops a relationship with her. He is the true example of excepting someone for who they are. As far as I’m concerned, running away was the best decision he made. It saved his life and in return, he’s going to save another. I do find it ironic that something considered to be so dark has the power to bring something back to life when usually it’s something bright like a light...interesting. You all know what I’m saying. Most television shows only portray angles to heal others while demons only seek to destroy. The Zoldyck family is wrong for pushing Alluka away. How could you do that to your own kid? Shit, you should be blaming yourself for not watching her and allowing the demon to posses her.

In conclusion, Killua is my second favorite character. He is bold, loves his friends, and isn’t afraid (anymore) to step up to people he may not win against. His character has blossomed from a young boy afraid to step up to his brother to a boy who isn’t afraid to do so. He has learned about Nen and has gone through many trials and tribulations just to say he is much stronger than before. What characters would you like to hear about next? Send me a DM!

Fin.

[narrative-critical-understanding]

Kishimoto’s framing

Kishimoto always tries to frame Konoha and its members in a sympathetic light no matter what. 

*Atrocities happen often. Tsunade towards Pain: “The great nations have suffered, too. I’ve had enough of your accusations!” Yeah, well maybe the three great nations of Stone, Sand and Leaf / Fire at least shouldn’t have used the Rain country as battleground. Konoha even started that war where you lost your younger brother and lover. In the end you came back to be Hokage, didn’t reform anything and only gave that shit response to Pain (Pain: “[...] You think you’re the only ones who matter.[...]”) Cry me a river.*

Example - The murder of Pain’s / Nagato’s parents

Situation: A civilian family is cowering in a corner of their own home in fear of the Konoha ninjas who invaded their country and took over their city. Two Konoha ninjas just broke into their home looking for food to steal because they’re starving. *Looks like they didn’t bring enough provisions for a siege.* They plan to look around for more food after eating the canned food they found. 

The father apparently thinks that the best possible option is to get out and away from the ninjas before they are found. Nagato is scared, but his father tells him not to worry and try not to make any noise. They’re in the process of sneaking out when Nagato accidentally breaks a vase.

Pro Konoha/”Will of Fire” framing: Two Konoha ninjas are hungry. They haven’t eaten for three days. One of them even thinks it has been four days. That’s a further emphasis on how incredibly hungry they are. *Don’t you feel sorry for them?*

The family uses a perceived opportunity to get away from the Konoha ninjas. They sneak towards their door, but Nagato failed to be careful and broke a vase even though his father told him to try not to make any noise. *It’s Nagato’s fault that they got caught or maybe all three of them are at fault. Why couldn’t Nagato be more careful and follow his father’s guideline? Maybe they should have cut his hair appropriately. How can he see properly with the bangs in his eyes?*

Me: Am I supposed to feel sorry for the Konoha ninjas? Well, I don’t. They’re adult soldiers who commit war crimes. They got hungry in the process. Cry me a river.

Why did Kishimoto use that way to make the Konoha ninjas notice them? Why did he choose Nagato to screw up their escape and just after his father tells him to try not to do exactly what he ends up doing? Why did he give Nagato that nonsensical hairstyle? It makes it seem on the surface that being caught is their own fault. This looks like it’s the victims responsibility to react to the situation in a careful and wise way. It takes part of the negative focus away from the perpetrators by indirectly blaming the victims.

To be fair: The family is clearly shown as victims. They’re afraid and don’t want a confrontation. They were ready to abandon their house, their food and their belongings in order to get away from the Konoha ninjas. 

Situation: The Konoha ninjas hear the noice and notice the family, which they immediately consider to be enemy ninjas. Probably because they’re being on edge since they’re on enemy territory that they just took over and also from all the recent and long-lasting fighting. They confront the family with drawn kunais (weapons) and question who they are. The father is desperate and charges at one of them barehanded. One of the ninjas falsely confirms out loud that they are enemies (ninja enemies) because the father charges at them. The father uses his right hand to grab the ninjas left wrist so that he doesn’t get stabbed by him. He stalls the ninja and tells his wife and son to flee. 

The mother tries to get her son to safety and protects him from being stabbed by the other ninja using her body as a shield. She tells him to run and dies. The father is enraged. *Can you blame him?* Then he’s murdered.

The Konoha ninjas realize that the survivor is a kid and that they aren’t ninjas. One of them panics about what to do about this and questions how this could have happened. They’re surprised that they mistook the civilian family for enemies.

Pro Konoha/”Will of Fire” framing: The Konoha ninjas are alerted to their presence because Nagato wasn’t careful. The family sneaked around. That’s even generally seen as suspicious. They don’t say that they’re civilians and they don't say anything at all towards the ninjas for the matter. The father charges at the Konoha ninjas first.

The ninjas misunderstood the situation. They thought that the family is a group of enemy ninjas. They're taken aback and disconcerted and one of them even panics apparently troubled. They had clearly no intention to kill civilians. It's terrible that it happened. How unfortunate. *Poor Nagato and those poor Konoha ninjas. They all now have to live with trauma.*

Me: *Who could possibly be there? Maybe the owners of the house? But no! They assume that all the civilians already fled their homes.* Why is the family drawn to look like they stand in the dark? Notice how the family is at the exact same spot when they sneak out and the light from presumably the kitchen illuminates them. The shadows of the ninjas shouldn’t be that big. The ninjas should be able to see them. They are clearly sparsely clothed, barehanded and don’t have a headband. The father only holds the ninja off. He doesn’t really attack them. 

The mother and son are clearly fleeing. The father even loudly tells them to. The other ninja immediatly goes after them right at Nagato. *How the hell am I supposed to believe that trained ninjas of all people don’t recognize that they’re civilians and one of them even a child?* The mother apparently doesn’t even defend herself. Her right upper arm looks like it’s hanging and she falls to the ground in the next panel. 

She clearly stands in the light, but falls down dead in darkness. How the mother is murdered is barely shown. There's her back and then she falls to the ground still with her back shown to us. The father is murdered off-panel after his face is shown in rage. What a way to obscure their murder at the hands of the Konoha ninja. Sure, the readers know it happened, but there’s a sense of detachment the way it's represented and as such we're to an extent disconnected from them and their experience.

All the while there are three panels dedicated to show the readers that the Konoha ninjas are surprised and one of them even troubled that they apparently murdered civilians of the village they just took over instead of enemy ninjas. The framing suggests to be sympathetic towards the perpetrators. Am I supposed to feel sorry for them that they now have to live with the knowledge that they murdered innocent civilians in their own home in front of their child? Well, I don't. Cry me a river.

To be fair: The Konoha ninjas are clearly shown as the ones in the wrong.

I left out a panel where Nagato is the sole focus. (He does nothing else than what he does in his last panel.)

Conclusion

The Konoha ninjas are shown to be the ones in the wrong, but the framing relieves them from some of the blame placing it instead on the victims or making it look like an unfortunate accident while also showing the Konoha ninjas in a light that apparently is supposed to get the readers to sympathize with them.

[celisea]

i am obsessed with master of the knights kaeya and even more obsessed with kaeya who serves khaenri’ah PLEASE elaborate more on your worms if you feel obliged

!!! AAA I’m glad you liked the designs hehe, YES SURE I CAN ELABORATE!! I thought about these 2 designs like the 2 futures Kaeya could have. A future with the knights and Mond or with Khaenri’ah and whatever is happening over there.  This may get a bit long but ill try to explain my brainworms in a coherent way. Also, English is not my first language, so if there is any confusion please tell me and I can try to tell it in another way.

So, first, I think the 5-star version of Kaeya MUST have both eyes uncovered. This is because I think if we ever DO get it, it will be like an ascension of sorts. Kaeya has the recurring theme that he hides a lot of things from everyone. He hides his true feelings, his thoughts and his true personality behind layers and LAYERS of lies. The only time he ever showed his true self his brother tried to kill him, he even looks at his vision as a reminder to never try to do it again. So, my point is that if he does get a 5-star version it will be when he accepts every part of himself and shows his true self to everyone. Therefore, I think he would be without his eyepatch. The loss of it represents the loss of his mask, both figuratively and literally.

Another thing to note is that Kaeya’s constellation is a peacock. There are a lot of different meanings to this but one that stuck out to me is this:

“Hindu motifs expose the peacock as a symbol of the unconscious; for, what is in one’s subconscious can be illuminated by the consciousness, starting the emergence of one’s true individuality.”

This adds to what I first said about the loss of his eyepatch. What I want to get from this is that in Kaeya’s case, the peacock could mean his struggles with his identity and how he expresses and views himself. So, his ascension to a 5-star could be his decision to be true to himself and chose to support the nation that he wants, be it Mondstadt or Khaenri’ah without regrets or second thoughts. In his vision story its mentioned how coming clean about his lies was the first time he felt like himself, like he was not holding back who he truly was. So, I believe Kaeya will not be able to be a 5-star or, in-story become stronger, until he comes clean to everyone about who he truly is.

Because of all of this, I thought about making two designs instead of just one, since I feel like either choice could represent himself coming out of his shell and showing his individuality.

So, now that I explained my reasoning as to why I made 2 designs, here is my thought process for each one!

Mondstadt

My first design thought for a 5-star Kaeya is that he would wear his vision on his heart. For me this is him showing that he does not see his vision as a reminder to always live a life full of lies, but as a reminder to stay true to himself and live in a way that he feels happy with. It also, of course, represents his loyalty to Mondstadt, the land that gave him said vision.

He also gets to keep his lovelock! This hairstyle is said to “show devotion to a loved one”, in this case the loved one would be Mondstadt and its people. And I also feel like it could be a nod to Crepus, his late adoptive father. We know that Kaeya loved Crepus and is part of the reason he had such complex feelings about who to side with since he adopted him and showed him love in a land he had never been to and probably didn’t want to go as a child. So, I thought it would be nice that his lovelock could also represent his love for his family.

Another thing I thought about was that a 5-star Kaeya would probably be introduced in the late game, so this means that in the future, Jean will probably be Grand Master of the knights. This is because I think it is foreshadowed by Mona on her voiceline about Jean:

“You mean the Acting Grand Master of the Knights of Favonius? Her constellation is Leo Minor, which represents strength and responsibility shouldered too young... Though the lioness has been separated from her pride for a long time, she grows from strength to strength, and the day will come when she is ready to return as its glorious leader.”

If its true that Jean will become Grand Master, then Kaeya would probably follow her and become Master of the Knights since he is her right-hand-man and Jean respects him a lot. This would also go well with the theme that Kaeya would act like his true self. Throughout his whole life, Kaeya has been a character that always acts in the background/shadows. He works and goes to assignments more than anybody else and does a lot of things, while only being supposedly the Cavalry Captain. This also happened when he was young and Diluc was still in the Knights. He worked in the shadows so Diluc could pass through any circumstance without any problems. What I want to get with this, is that Kaeya works a job that is not at face-value recognized. So, him being the Master of the Knights, a well respected and recognized title, seems fitting. Also, I just really like the idea of Jean and Kaeya climbing the ladder together and being a power team hehe.

Because of this, I think that Kaeya would borrow elements of Jean’s design like her corset thingy, her gloves, and finally the Knights official symbol. Since in this design his loyalty is to Mondstadt, he now feels free to put elements of the city on how he dresses!

One final thought about the Mond design (this doesn’t have anything to do with the design) is that I like to thing that in the endgame when Jean and Kaeya are Grand Master and Master, Diluc would look at them and say to them that he doesn’t think the Knights are incompetent anymore ;u; kind of like, “I’m proud of you two” moment.

Khaenri’ah

Oof so now to the angstier route, Kaeya chooses Khaenri’ah over Mondstadt and joins Dainsleif and co. on the quest to challenge the gods. The first thing I feel he would do is cut his lovelock. The lovelock hairstyle comes originally from Europe and Mondstadt is a Germany-based nation, so the cutting of it symbolizes his separation from Mondstadt and his adoptive family. His sense of duty meaning more to him than the love he received from the city, the knights, and his family.

His vision is kept on the side like in his original design. In his voicelines, he mentions that a vision is a mere tool to control the elements. It has no other meaning; in this route he does not give it any meaning at all since Khaenri’ah hates the gods, the vision is nothing more than a tool to complete his nation’s goals. Instead, what is on his heart is a star, a symbol representative of Khaenri’ah.

His outfit on this design resembles more Dainsleif’s and has a lot of star-shaped elements. His peacock cape is replaced by one more reminiscent of Dainsleif’s and he keeps some elements of his original design like the gloves and the cuffs of his sleeves. I kind of wanted to give the vibe of a royal. Peacocks also can represent royalty, so in this design his confidence and individuality stems from his duty to protect his homeland from the gods. I believe Kaeya does have royal blood from the Blacksun dynasty and it’s represented by all the gold elements and his shawl thingy.

I get a little sad thinking about this design because I feel like Jean and Diluc would just be… absolutely heartbroken by this decision. Imagining a battle between the three really breaks my heart lmao. I feel like it would be worse than the fight Diluc and Kaeya had when they were young. This battle would be complex on both sides. Jean and Diluc would see their former friend and brother working against the city that brought him so much happiness. Kaeya would be heartbroken too, having to attack his brother and his close friend. If Mihoyo does have Kaeya choose Khaenri’ah, and they decide to attack Mondstadt. Man™ its going to be REALLY sad. In this route I 100% believe that one of the three will die.

Anyways! That got REALLY LONG HOLY SHIT… I’m sorry lmao this kind of turned into a character analysis of Kaeya hehe. If you have any more questions, feel free to ask!!! Thank you for the ask. As you can see, the Kaeya brainrot is real….

[circlique]

How do you make a good OC hetalia nations?

1. Research Seems cliche, but a hetalia OC without research is just...an OC. You’re trying to represent a whole country with a person, so designing a character and then picking a country for them to represent is...not it. You need to actually look into the country’s history and understand how it got to where it is today, what factors influenced its history and current society. Understand why it gets along with some countries and doesn’t with others. And yet this can’t be the only thing you research. I think researching the history and relations is a good baseline but that ultimately does not result in a good character on its own. You need to also research what the people there look like, what people there tend to wear, any common stereotypes (positive or neutral, not negative/racist ones please), cultural norms, etc. I’ve seen plenty of profiles that had obviously had a lot of research put into them, but they read like a wikipedia article for the country. The character themselves just seemed bland, because the creator spent a lot of time on the history, relations, and facts, but not a lot on actually developing their character.

2. A Personality

So that’s really where the other stuff comes in. What are people there generally like? What cultural norms drive morality and society there? It is like Japan where there’s a heavy emphasis on honor, politeness, and working as a group? Is it like America where individuality, strength, and hard work are highly valued? Those are the kind of stereotypes playing into the personalities of Hetalia characters, and those should kind of be the baseline when figuring out what kind of person your OC should be.

And then--just make the character interesting. Stereotypes shouldn’t be the only thing making up their personality. All the Hetalia characters have their little quirks that make them unique, like Prussia keeping a diary or Canada being a fan of Naruto. Don’t be afraid to give them interests beyond stereotypical things people from their country would do. Don’t be afraid to give them relatable, human trait that make them unique and stand out as an individual. Look at their history and think what things might have left an impact on them, for better or worse. Incorporate that into their character!

That’s why the OCs that read like a wikipedia article are boring. You’re telling me what the country is like, not what the character is like. Your character should believably be able to represent someone from that country, but I should also be able to believe that they are an actual person! They should grow and develop and learn from their mistakes, have heartbreaks, have joys and things that are important to them, just like anyone else.

3. Design

I already talked a little bit about researching what people from the country look like and dress like. Even if your character is their own individual, they should still look like someone I would reasonably expect to find in the country. If there are cultural hairstyles that are common, consider giving one to your OC. If people in the country tend to dress modestly, perhaps the OC dresses in the same manner. Race and ethnicity can get complicated and there really is no one-size-fits-all method to determining what ethnic groups your character should represent or what features they should have, but I would highly recommend against making your OC half-(insert colonizer here) for “historical reasons.” (I am mostly talking about things like making Laos half French btw). I really have never seen that sort of thing done well. If anything it tends to make the focus the colonizer’s influence rather than the influence of the culture that existed before the colonizer’s arrival. Don’t fall into the trap, unless there is a very, very good reason, like total death of the civilization that came before and replacement by the colonizers/immigrants, or the intent of the OC to represent colonial populations ONLY (like intending America as “new world” settlers, and personifying Indigenous Nations as separate characters completely).

Another thing about physical design is to try and make it interesting. Traditional costumes and unique uniforms are always good. Plain colored shirts and flag design hoodies are...plain, predictable, boring. Look up some fashion from that country! Dress them as something someone from their country might be interested in! (Australia wearing khakis like Steve Irwin, or America wearing a bomber jacket because the image of a Top Gun pilot in a jacket and aviator glasses is just...very very American) But, also try and keep it realistic and don’t go overboard trying to make your character unique or representing too many things at once. Slapping 3 different curls on them and giving them heterochromia is overdoing it.

4. Relations

You should get a basic idea of how the country gets along with others by researching its history. Common allies are most likely friends, common enemies, at least a rivalry or possibly some disdain between the two (if not outright hatred).

One thing I want to emphasize is to let the OC be their own person though! Don’t define them by their relation to someone else. Isn’t it annoying when someone greets you with “oh, you’re ____’s kid!” instead of your name? I feel the same way when I see an OC described as ____’s child/sibling. Especially if there are plenty of history and culture and things that make that country unique, but the creator has chosen to focus on that time the country was colonized, or part of a union. That’s not to say your OC can’t be related to a canon character, but don’t force it just so you can have a certain family dynamic. Sometimes countries that are close are just friends or neighbors, not family. Let the country be their own character rather than make them an extension or an accessory to another!

----

This is getting long, but I think those are things people should consider when making a Hetalia OC. Long story short, the character should be someone I would expect to find in that country, but who is also their own individual who I could really see existing!

[whitleyschn33]

Color in RWBY’s Designs

I’ve been trying to reblog this post for a good 10 minutes, and Tumblr just refuses to let me, and I don’t think I’m blocked, so @strqyr​ , have a reply

...

Okay, ignoring the out-of-left-field (hah) pivot to politics that cropped up in the comments -

I’m not an artist, but I do follow a few that discuss character design and have attempted some recolors myself, and when it comes to the various designs and colors of the RWBY girls, it’s not so much about the in-universe importance of color, it’s about the more meta principles of character design. Once again, I’m not the most qualified person to talk about this, so excuse me if I get something wrong or ramble.

In visual mediums, a character’s design, more specifically their silhouette and their colors, is what makes them stand out and memorable to an audience; in a lot of cartoons and anime, you’ll likely be able to recognize characters by their designs long before you remember their names, and even if you don’t know their names, seeing the silhouette or even color palette of that character can bring their image to your mind. For example, I haven’t seen an episode of Sailor Moon in my life, but show me Usagi’s silhouette, and I can tell you exactly who that is. I can show you this, and I would bet that 99% of you can tell me what character this is meant to represent despite it literally just being 5 rectangles.

(On a slight tangent, in action shows, colors and the smart placement there-of are doubly important, as they help with keeping track of a character as they move through a cluttered environment and interact with other characters, and keep track of how they move their bodies in that space. To use a specific example from RWBY itself, check out the Nevermore fight from Volume 1 - despite all the debris flying around the screen and the amount of wide shots, it’s easy to keep track of how the characters move around the screen. Yang’s gauntlets help direct your eyes to her punches, and the splash of red in Weiss’s collar makes sure she doesn’t turn into a white blob moving around the screen.)

RWBY specifically is a show that quite literally advertised itself and its character on the premise of color. The show is named not just after the main characters, but the main characters’ colors. The first trailers were the Red, White, Black, and Yellow trailers. Their original designs, while of course using other colors in the palettes, give an overall impression of red, white, black, and yellow, making the characters pop against the stark black, red, and white backgrounds of the trailers, as well as stand out against the background characters that were literally empty black voids of silhouettes. Their initial character designs are tied completely to them representing a specific color, and this color gimmick also makes the girls stand out as characters. Ruby’s red cloak and ruffles, Weiss’s white side ponytail and dress, Blake’s black bow and tuxedo vest, and Yang’s fiery yellow hair and gauntlets are instantly recognizable from a glance, and that’s a sign of good design that makes them distinct.

So, when you get to the later volumes and suddenly the characters are wearing less and less of their original, iconic colors on top of getting new silhouettes, it makes them start looking less and less recognizable as the characters they were originally designed to be, and more like completely different characters. Lets look at Blake and Weiss as an example. If you’d never seen RWBY, could you tell me if these were the same characters?

Alright, let’s fill in the details.

They look like two completely different pairs of characters. It’s not even the clothes themselves, but the colors and shapes of their clothes combined with the radically different hairstyles make the V7 designs look very much unlike the original designs. The girls got alternate outfits in V2, but they all fit the general silhouettes and color schemes of their typical outfits, and were still very much recognizable as the main team, just with new clothes. Such a drastic shift in what types of clothes and the colors they wear in V7, on the other hand, makes them look like different character designs. If you’re going to change what a character is wearing to something very different, keeping the colors consistent helps with keeping them recognizable as the character they are.

Now, changing the design of your character beyond the specific clothes they wear isn’t necessarily a bad thing. Characters change as they progress through a story, and in visual media, changes to character design can be used to signify how they’re changing or how they’re reacting to their environment and new situations. For example, in the S2 premire of Avatar, Zuko cuts off his distinguishing topknot to represent his fall from a Fire Nation prince to an outlaw on the run, and in season 3, the GAang don red Fire Nation clothes as a disguise, ditching their usual blue, orange, and green clothing. In the Owl House, Amity dyes her hair purple to represent her making her own choices rather than letting her family control her life (and I picked this up from gif sets, without having even seen the show). Design changes, even to hair and color, can be used to represent change - and RWBY has managed to do this fairly well in the past! For example, Weiss’s V4 design is very different from her original design - her sleeves and collar are tight rather than poofy, her colors are muted and overrun with greys and blues, her whites are mostly hidden and her red is nowhere to be seen. This works, though, because it represents Weiss’s current situation - she’s being controlled by her father, her individuality represented by her whites and reds being driven out, and her dress is mostly tight against her wrists and neck, like shackles and being chocked. It’s a good way of showing a character’s changed situation, while keeping her recognizable from her side ponytail and poofy skirt remaining the same.

The latest redesigns of Team RWBY, however, don’t do this. They change radically, in color, hair, and clothing shape, and there’s no clear reason why. Why do they change how they look so drastically? What prompted them to style their hair so differently, to cut it so short? Why have they decided to choose different colors to wear? To circle back to the initial post, what part of their character development has changed them from the color they were representing to the color they’re now representing?

For more specific question/examples - what prompted Blake to cover herself in a heavy white coat in V4, when she was heading to a tropical island to recover? Why does she wear a bright white coat for official Huntress business when she’s meant to be a ninja? Why does she cut her hair so short? Why does Weiss cover herself in blues and greys in V7 when blues and greys were used to show her unhappiness and imprisonment by Jacques, rather than returning to lots of whites? Why does she go from a sleek ponytail to a thick heavy braid? Why does Ruby replace her cape and start styling her hair differently? Why does she go from a poofy skirt with ruffles to a very sleek, low volume skirt? Why does Yang not wear any yellow anymore? Why do none of them seem to wear anything suited for the cold? None of these questions have real answers. We can speculate all day, but at the end, that would still just be speculation.

Why does Lillie in Pokemon change her hair and clothes? To prove that she’s not just something for her mother to control and dress up to her ideal of beauty; that Lillie can make her own choices and is ready to stand on her own two feet and do what needs to be done, rather than relying on Repels and the player character.

Why does Blake cut her hair and start wearing so much white? ....

Why does Persona 5′s Akechi’s palette switch from bright white, reds, and golds to dark blacks and purples? To show the tearing down of the Detective Prince façade to the true darkness underneath.

Why does Weiss start wearing so many dark blues and greys? ....

I could go on, but I think I’ve made my point. Things just change on RWBY, key aspects of their designs like their hair and colors, and for the most part, there just seems to be no reason given to change. I’m not saying things like colors can never change, clearly they can, but for character design, especially in a show so heavily focused on colors and how characters are represented by their colors, it’s not a thing that should be taken lightly; if a character has grown so dramatically that the manner in which they express themselves as a character has changed, like the original poster is implying it can, it should be clear to see why this character has changed in this manner.

Without a good reason for it to change, it feels unnatural, like the character isn’t the same character - so when RWBY’s colors seem to be changing without good reason, creating designs that don’t look right for the character they’re meant to be in the situations they’re meant to be in, it causes people to want to revert back to the original palettes. Not because they’re denying individuality of the characters, but because the characters are no longer designed like the individuals they once were, and artists want to bring that individuality and striking design back through the use of the colors these characters use to define themselves.

[camgirlkaminari]

so ive been thinking for a while now how bonkers it is that ochako has a floatation quirk and an almost identical hairstyle to inko midoriya, and now that we're closing in on deku mastering all 7 ofa quirks, I can't stop thinking that nana, a woman who has been textually compared to inko midoriya, ALSO had a floatation quirk. i wanna ramble about it a little bit:

inko's first introduction to the comic is her telling us that she can float small objects toward herself:

she's an older generation, so her quirk isn't all that powerful compared to the kids' quirks. this is apparent when ochako comes into play and can float much larger objects, but with less control over their trajectory. i think we're not ever meant to compare the two characters' quirks, since ochako is more powerful, and can also float herself. even further, inko doesn't seem to suffer any consequences for using her floatation quirk, but since we are only shown her using it once, there's no way to know.

(i find inko to be such a strange character. she spends so much time crying and being deku's mom that we forget that she is her own person. she's married. she has a quirk. what's her job? how does she pay the bills? how did she meet her fire breathing husband? does she have parents of her own? we know so much more about everyone else's parents than we even know about the main character's mom! this feels so deliberate, even beyond the fact that we are all wondering if deku's dad is somehow ~a villain~. like I don't care about deku's dad! what's up with his fucking mom!!)

so now we're so focused on ochako's journey to mastering her quirk and learning how to float herself in addition to huge objects that we almost forget how similar to inko she started out: her hair, her face, her kindness, her strength.

spoilers ahead: 

now, like 150 chapters later, we learn about nana shimura's quirk: float. deku knows what's coming, so he asks his friend ochako, who can float, for pointers on floating. this is excellent strategy, deku! good call! you don't know anyone else who can float themselves so you learn from ochako!

meanwhile, absolutely NO MENTION of how 'hey, my mom can float stuff too! weird coincidence!' despite him remembering all might's comparison of nana to his mother.

all of this leads me to have a few theories about the nature of afo & ofa, the relationship between ochako, nana, inko, and deku, and the major themes of legacy in bnha.

theory one: Gramps For All

there's a massive theme in bnha of grandchildren of importance. first, we learn that tomura shiguraki is the grandson of nana shimura, a pro hero, one of the three factions warring for a place in post-quirk society. then we learn Eri is an instance of this: she's the granddaughter of an equally influential player. The comatose boss of the yakuza, one of the three factions warring for a place in post-quirk society.

there's all kinds of legacies in bnha: shouto, the son of the number 1 hero, a direct victim of hero society. iida, the younger brother of a hero who was victimized by a villain hell-bent on changing hero society. hawks, the son of a serial killer, a victim who perpetuates the cycle of victimization in the name of upholding hero society. all these legacies, but we don't know anything about their extended families. what are endeavor's parents like? were iida's grandparents pro heroes too? does hawks really have no other family?

and where are deku's grandparents? did they ever watch him while his single mom was working?

my theory is that afo is not dad for one, but actually gramps for one. he had children, more than one, and they each had their own children. inko is one of them, and izuku is the resulting child.

deku, grandson of all for one, one of the three factions warring for a place in post-quirk society. eri, shiguraki, and deku, each representing the groups most affected by post-quirk society: yakuza, "villains," and "heroes."

theory two: ochako & deku are cousins

why the hell does ochako look so much like inko midoriya and NOT her parents?

(in the anime, they look a lot like her, but in the manga...)

gramps for one had children, more than one, and they each had their own children.

i think that ochako may be adopted, or one of her parents is, or perhaps even inko was, so ochako's connection to biological relations is distant or non existent. she may not even know. we've seen that horikoshi doesn't make character design mistakes, and he's gotta realize that every time he draws deku & ochako in the same scene that he's drawn the same face twice.

so either he's trying to throw us off, or he's making a grander statement about who they are. he's a fan of star wars- he's already done a reverse of "I am your father" with touya & endeavor, so I think it would be interesting if he's set up this ochako/deku thing as a fun homage to luke/leia, too. but they're cousins, not twins.

(that's just deku times two, babey!)

inko, unconnected to her family as she seems, may never know if she had siblings or half-siblings. ochako's parents may never have known about ochako's biological relations.

this is a much weaker theory, but i think quirk singularity theory can make some sense of it. we have the original float quirk user, nana shimura. I don't think she is related in any way to inko or ochako, but her quirk helps demonstrate the generational growth of power. she was a hero before all might, meaning she's an earlier generation and had an arguably weaker quirk. but since she was a hero, she honed her quirk so that it comes across as incredibly strong, however she seems to have only been able to float herself, not objects or people.

float quirk user number two, inko midoriya, who can float small objects toward herself. she's the next generation after nana, so her quirk is still kind of weak, and in fact looks incredibly weak compared to nana's and ochako's quirks. inko is a nobody, not a hero, just deku's mom. she had no reason to hone her quirk. who knows? maybe if she'd gone on to be a hero, she could float entire buildings if she wanted to.

float quirk user three, ochako uraraka. ochako can float objects AND herself. she's a hero and a strategist, and incredibly strong despite being 16. she can float pieces of buildings and people and herself all at once. she's a hero. she's powerful. she's thoughtful & kind, yet willful and strong. she's the ultimate culmination of the other floatation quirks as well as inko & nana's personalities. but since we were introduced to these three float quirks all out of order, it's difficult to see the exponential power growth that happens each successive generation.

I don't think that ochako's ever going to be a major player in the end of all for one, or even the plot overall, but i think the THEME of ochako being the ultimate floatation hero in the series is a major player in the final story. ochako REPRESENTS the singularity. the generation after ochako will be so strong, perhaps her descendants would be able to negate all gravity in the vicinity, maybe on the planet. who knows! even if ochako isn't related to deku, let's say dechako happens, they have babies. that's a lot of float quirk in one couple! their kids are gonna have no bones! no muscle development because they never have to fight gravity! ochako's existence represents such a huge, yet nearly invisible thematic element of bnha.

tldr: ochako looks exactly like inko and has a cumulative float quirk reminiscent of both inko & nana, and i suspect the parallels between the three is deliberate for some reason. i just think that's neat.