ㅤㅤㅤㅤ ㅤPfp by @cloveredreaperㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤ ♡23th biggest Mizuki fan and also her wife♡ Basically irl Mizuki who sucks at funny washing machine rhythm game, has a totally normal interest in a pink girl she isn't married to, and sometimes talks about her other interests (occasionally)
I'll make a proper better introduction at some point down the line oops
I like pink, a lot and that also includes Mizuki who is fundamentally the best character to ever exist in all of fiction and I'm sorry this is just not even a debate but just the truth ok, she's like, the best and I enjoy her on a purely normal level
^ Mizuki for reference, I'll probably rant about her a lot
I also like rhythm games like maimai and ddr, but I'm kinda bad at them, I'm still 13k at maimai after like 2 years
I also like to tell myself i enjoy doing art but I draw so infrequently I can't actually say that
I do like reading tho, if you count pjsk stories, and for actual books, twolonelyheaves is pretty good you should check that out
Oh lastly I'm unfortunately cursed with being a furry, Cerise is my Fursona, shes a pink Serval/wild cat hybrid with a big ass fluffy tail (i wish I had a tail T-T) and she also likes pink a lot
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For { twolonelyheavens } fans. If you aren't a fan, go away, unless this topic interests you.
This essay is dedicated to @cerisemeow who is NOT allowed to read it.
Contains major spoilers and discussion for Act 1 and 2 of { twolonelyheavens }.
Did you know in the initial first run of planning for tlh, near the end of Act 2 there was a fight scene involving Cadence being confronted in some way by her surviving, failed sibilings?
In the "throwing ideas against the wall" phase of the process, this event would have taken place after Ery had dismantled the group's morale, leaving everyone disconnected, and Cadence would be further from them than ever as she continued to look down on them as disadvantaged products of survival machines. The point of a crisis like this was to kill as many birds as possible. The outworlders had to reconciliate, they had to find a way to get Cadence to trust them before the third act, and Cadences trauma had to be placed directly in between her and The Outworlders in order to challenge her beliefs.
What was initially planned of the chapter is that due to a continued argument following the groups collapsing morale, Cadence continues marching forward, uncomfortable watching what seems like the logical end for The Outworlders: they cannot resolve their tension and proceed to split up, which causes them to die. Through out act one and two, it is an understated idea that Cadence doesnt need The Outworlders at all, and are instead dragging them along as sociality is still an essential part of her biology that she has lacked for years. As such, she is constantly fearful that they will actually leave and she will return to living a life of a lonely machine.
This separates her from The Outworlders, who upon searching for her again, find her incapacitated, surrounded by a group of her sibilings (referred to as the "Hollowed", creative name i know. Very subtle). She is paralyzed at the sight of them, being forced to look in a mirror of her own biology, and suffering severe deep seeded survivors guilt.
This is how the chapter developed over time in the planning phase:
The Outworlders essentially beat the fuck out of the Hollowed, forced to work together to save Cadence, and successfully do.
The Outworlders threaten the Hollowed away with pack mentality.
The Hollowed are incredibly strong and scary creatures. The Outworlders initially go back into their coping mechanisms before they are forced to confront the idea that they cannot brute force their way through it, and have to work intentionally to escort Cadence away from them, scaring them with pack mentality.
???
The chapter is removed entirely.
At some point i likely realized that this idea was such a jarring tonal shift. Nature, flora and fauna were never meant to be the villains. I just couldn't have a creature like that in the book.
The Outworlders and Cadence had to be truly alone.
{ tlh } is a book about surviving the self. After cutting this portion of the book, I dedicated the rest of my thematic writing to spitting in the face of every fantasy and sci-fi trope we're used to.
Usually, dropping characters into a new world you expect the hero's journey. Magic, lore, or some hidden power that makes beings special. I wanted to do the opposite: strip away as much power until all that was left was physical and mental vulnerability.
In the standard fantasy, Minty being a taur or Ery having wings world be a superpower. In { tlh }, their biology is another way for the world to hurt them. Minty is a girl who can't find traction on the slippery ceramic floors. Ery's wings are draped loosely across the snow or used as a shivering cocoon because she's freezing to death.
These characters, including "Supersoldier" Cadence, are continuously burdened by their non-human traits. The idea is to prevent the reader from looking at them like creatures and to start looking at them as people. Their otherness only exists to show hoe much they can suffer, which ironically makes them feel more human than a standard protagonist.
She spends the whole book talking about survival probability and dismissing emotional connection. But, her magic is just a trauma response. The climax of her arc is breaking down and admitting that she's just a 12 year old girl who doesn’t want to be alone.
The biggest middle finger I could possibly offer to genre tropes is Cadence. Usually the native guide is a wise, mysterious mentor. Cadence is pretty mysterious, sure, but the reality of her existence is that she is a child brainwashed into thinking shes hardware.
Looking back at those initial notes, I realized that I was trying to give the characters an external enemy because I wasn't quite ready to face their internal ones yet. Cutting the fight scene was scary because it meant the story had to survive on pure vulnerability alone. But { tlh } was never supposed to be a comfortable fantasy.
Kanade hates the sensory experience of it. People touching her, asking her questions, making noise... Yeah, no.
Mafuyu, similar to Kanade, doesn't like the sensory experience, but she's masking so hard the entire time she doesn't realise that. Her least favourite part that she's aware of is pretending to have preferences. It's just hair. Why does it matter? As long as it's not in the way, it's not important.
Ena has the exact opposite problem; she knows exactly what she wants. She's always hated having long hair, she can't stand the feeling on her neck and how it sits weirdly in her shirts... But God forbid women have short hair, right? So every time she goes to a hairdresser they attempt to convince her to grow out her hair, because it would look so pretty, and she would look so nice and girly...
Mizuki has been doing her own hair since around a few months after niigo formed. She'd started growing it out, and she'd gone to a salon to get rid of the split ends, and they cut off way too much and undid basically all of her progress, so she's been doing it herself ever since then. Her hair gets absolutely everywhere and it's a pain to clean up, so she only does it when it's completely unavoidable.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality✓ Free Actions
Free to watch • No registration required • HD streaming
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality✓ Free Actions
Free to watch • No registration required • HD streaming
I've recently been writing a lot about a pair of dragon girls in an empire undergoing sino-japanese-industrialism-like expansion and development.
(these guys)
The following is a thought I've been having whilst I've been worldbuilding.
And I've been describing a world for them that's been a mixture of Chinese (which I know) and Japanese (which I don't really know) culture. Historically and aesthetically, it's very Japanese (wow! thing, japan!) inclusive of its clothing, half of its cuisine, royalty standards, architecture names, and visual inspiration.
I'm not… Japanese. I'm Chinese. I just saw these characters and wanted to put them in that setting.
It's not like the story of "The Imperial Domain of Ten-No-Kagami (天の鏡) (The Mirror of Heaven)" is supposed to take place in an actual point in time. It is not supposed to be nonfiction. It is not supposed to represent a real point in time. Everything is fictional, any relations to persons living or dead is purely coincidental, etc etc. HOWEVER, is this problematic the same way "wow! thing, japan!" is? To just look at a very real culture and amalgamate it just because it looks pretty or it makes for a somewhat cultural story that technically doesn't have anything to do with Japan?
It's ultimately a story about revolution against tradition. About the voice of the people, and progress for the good of society, told through the story of two dragon-girl princesses running away from their castle on the mountain. What does this really have to do with Japan? I could have told this story under the influence of any other culture.
However I think the metaphor of old, traditional Asian-oriented legends and tales being challenged by the new, energetic youth isn't really a story that would be told in the same way if this story was set in a new age industrial America. Frankly, that would be fucking hilarious.
Imagine if America was the "wow! thing, japan!" country. If you could look at Southern Fried Chicken or some shit and go "wow! chicken, america!" There has to be some sort of distinction between these cultures that makes it OK to write a story about Japanese culture just because it seems to fit better. Maybe this is something people don't actually worry about. Maybe this is actually something EVERYONE worries about and I'm getting doxxed tomorrow.