#chameleon fictive | Explore Tumblr posts and blogs

thecouncilwill-seeyounuminous · 1 year ago

Text

↳ ☆ “ hello! we are the numinous council! „ ˗̖́

☆ “ contents „

↳  system info

↳  frequent fronters

↳  boundaries

☆ “  system info „

↳ collective name: numi, numinous, or the council; responds to jan

↳ collective pronouns: he/ze/it/she

↳ body age: minor

↳ member total: 169+

↳ system type: traumagenic + polyfragmented

↳ other: audhd (autism + adhd), anxiety, minor dyslexia, bpd, npd, hEDS, pots

☆ “  frequent fronters „

↳ 🫧 jan ♫ host/core/chameleon ♪ he/it/ze ♩ trans masc + queer

↳ 🪷 pond/paradox ❀ host/composite/positivty holder ⁂ she/her ☺︎ femme + aroace-spec queer

↳ 🔮 futaba sakura ▚ cohost/overseer/fictive ☕︎ it/she/xe/nya/pix/sh3/byte/cli/ey ⚠︎ agender femme + ace/queer

↳ ☣️ dexter erotroph ◈ cohost ◉ they/xey/he/it ▣ masc/neu + aroaceflux

↳ 🎭 the mimic ♛ chameleon ♜ ???/??? ♞ ??? + ???

↳ 🐟 gillion tidestrider ☔︎ cohost/trauma holder/fictive ☾ he/sog/it/ze/lun ⚓︎ masc (fish) + ace/demi/bi

↳ 💉 sub S.T. mine ✹ subsystem host/fictive ✧ he/it/voi/haz/sci/beep/zip ⚡︎ masc adjacent + bi/queer

↳ ⚰️ emizel tucker ☠︎ prosecutor/fictive ✟ he/dae/fang/it ✸ masc + gay/queer

↳ 🍵 dr. takuto maruki ☕︎ local therapist/fictive ✍︎ he/ze/it/they ⚕︎ masc neutral + ace/bi

↳ 🎸 lukas graft ☠︎ ex-host/ex-cohost/protector/trauma holder ⚡︎ he/it/they/ze ⚔︎ masc + bi

☆ “  boundaries „

↳ DNI

please DNI if your blog revolves around anything that qualifies as NSFW. this includes but is NOT limited to: highly suggestive or outright sexual content, gore, self-harm, etc.

please DNI if you engage in syscourse or system discourse. i have zero interest in prosecuting people struggling with the same thing as me. if you are a system or if you’re a singlet or even if you’re a secret third thing, you are welcome to interact as long as you are civil.

please DNI if you engage in discourse about mental health or physical disability legitimacy. as a physically and mentally disabled system, we’d like to avoid ableist sentiments.

↳ general boundaries

✔︎ DMs, tagging, sarcasm, asks, mutuals

 front requests, doubles, source talk, source mates, joke insults or threats, nicknames

✘ unreality, flirting, phobias, asking for personal info, asking for contact info

p.s. if you say you’re a system, or anything else similar, we will believe you. you are like us, we are like you. whether you are high amnesia, low amnesia, high communication, low communication, many alters, few alters, or whatever other differences you have that make you all you, we will accept you and believe you. <3

↳ ☆ “ meeting adjourned! „ ˗̖́

#system #blog sorting tags ->#council members #council declares

11 notes · View notes

afraidtoblink · 1 year ago

Text

[Image description: a colourful three panel comic.

Panel one reads: “SYSTEM FACT SATURDAY (#2)

Did you know?

Introjects are a type of alter that can be a powerful and protective force for a system.

From caretakers to persecutors, these parts formed from an external source. These alters are key to processing trauma.”

Pal, a green cartoon chameleon in round glasses and a bow tie, stands next to their alter, who looks like an older relative of theirs.

Panel two reads: “introjects come in many forms:

-fictional characters (fictives),

-real life people (factives) (this includes)-relatives, past abusers, etc.

-plants and animals

-colors or concepts, inanimate objects (furniture, rocks, etc)

and more!

-they can suffer from false memories, perceived time distortions, identity anxiety, etc.

-introjects are not simply their source material. They are as unique as the systems they’re a part of.”

Pal is surrounded by their introject alters in a circle, some fictional characters, some family members, and a plant.

Panel three reads: “-When lacking resources, familiar figures can be anything from comforting to chastising. However, they all are formed to protect the system in some way.

-Introjects can be kind, cruel, or just a little silly- they all have their own unique roles and to understand those roles is to understanding yourself.”

Pal holds hands with two of their introject alters, walking forward together. End ID.]

Continuing System Saturdays with a look this week on introjects!

Every system has its own way of accepting its introjects and learning to love them, they 9did form to protect the system, after all!

813 notes · View notes

villainkinconfessions · 6 months ago

Note

we’re fictives and not fictkin but whatev here we go.

I’m kestrel, insys dating chameleon (both from wings of fire). we keep wanting to enter our tags and rb fan art of ourselves n such but all of it is like “these people are evil and irredeemable” and like even if we don’t say we are fictives it’s hard to admit we as a system like our source selves because we feel like we’ll be shamed.

I know that, on least on my end, I abused my adopted kids in canon. I don’t have many source memories? so I’m not sure if I did in my specific timeline (I hope not…I really really hope not. they didn’t deserve it.) but I just feel so attached to my source and my past and I feel bad so I just. is it such a crime I want to write a fix it where I wasn’t abusive and me & my husband & my daughter all stayed as a happy family and we took care of the adopted kids well and . like it might’ve not turned out perfect but it could’ve turned out good. I dunno I should get to writing that eventually

— kestrel

(p.s. thanks for having this blog)

#Kestrel fictive #Wings of Fire fictive #villainkinconfessions #mod yokai #That is what we are here for !

1 note · View note

cladlless-colletc · 2 years ago

Text

Meet the CLADLLESS System!*.✧｡*ﾟ+

So as you might already know, we are an OSDD system. For a while now I've been wanting to make a pinned post with brief intros of all my alters but tumblr's image limit didn't let me. But now I can!!!

We will aways keep this post updated by editing it with new info and faceclaims!

Before I introduce my alters, here is some info about our collective.

We collectively go by the names Sheppo and Mezzo!

Please do call the alters by their names and nicknames if you want to mention or talk to them~!!

We collectively identify as demiboy, asexual and panromantic. Pronouns are he/him or plural they/them!

We have no amnesia between alters. We interchange between singular and plural language. We are a traumagenic system, we do not believe in the existence of non-traumagenic or endogenic systems of any origin.

Now check our individual alter intros under the cut!! They are in alphabetical order.

Gisheisha/Bakuhatsu

19, genderfluid, he/she

Trauma holder, protector

Sexuality is unknown

He's quite aggressive, not very easy to deal with, but he tries his hardest to not be rude unnecessarily and focus his anger and energy on protecting others. Stays out of drama for he's very sensitive. Likes Gyaru fashion and V-kei music!

Gluta

16-19 ageslider, demiboy, he/him, angelkin and godkin

Social alter, former host (2015-2016)

Romance-repulsed aroace

He's very energetic and manic. He's like a chameleon and likes acting like a character at times. He's very protective, like a mentor or big brother to younger friends. His troll attitude makes it seem like he doesn't take anything serious, but he's one of THE most emotionally mature of the system, he just hates showing vulnerability. He has a particular love for grafitti, street & urban aesthetics and Oshare Kei! And is one of the most invested in our OCs.

Izuru Kamakura

19, demiboy, he/him

Fictive, symptom holder (extreme apathy)

Hopelessly romantic asexual

He's very apatethic, to an extreme degree, even having a monotone speech. He's very polite, rational and caring. He likes weirdcore(the liminal spaces type), poolcore, waterparks and Danganronpa. He's very attached to his source character.

Jesse

19-22, demiboy, he/him, nonhuman (guardian angel)

Trauma holder, symptom holder(bpd), former host (2020-2022)

Romantic asexual

He's very sweet and nice, but he can be very gullible too. Very empathetic and caring, has a need to protect and help everyone in all ways he can, and has a bit of a hero complex. He's also very paranoid and has a problem with being too nice for his own good, sacrificing his needs for others. He likes cottagecore, neon lit liminal spaces, cozy cofee shop aesthetics, yarn clothes and utaite.

Lavanda Cupido

19, demiboy, he/him, angelkin

Soother, little(not a child, but acts as a little), current host (since 2022)

Sex-repulsed aroace

He's very, VERY cute. Childish and whimsical, he's an age regressor, but has cutesy childlike mannerisms even out of regression. Usually has very low empathy, and he's quite sadistic so he can be a little harsh when he dislikes someone. When regressed, he's hyperempathetic and cries for his stuffies. He has a high tolerance for triggers and stressful situations as his role is to soothe the system. He's very popular among our IRL friends. He likes fairy kei, yumekawaii, uchuu kei, sleepycore, scenecore and everything nostalgic and colorful.

Ray Thomas

19-22, genderfluid, he/him

Social alter, former host (2016-2019)

Sex-positive romantic asexual

He's very mysterious. He's very social but also extremely introverted. He likes parties, is loud and flirtarious, but also deeply romantic and has quite a beatiful view of the world. He's abrasive and passionate, often obnoxious for some people. He's a little bit hypersexual. He and Jesse don't get along very well, but they're getting better! He likes Brazilian aesthetics called Mandrake and Maloka, two similar Brazilian street fashions and subcultures. He also likes emo and v-kei.

Rollo Halliburton Lamperouge

19, demiboy, he/him

Fictive

Romantic asexual

He's very sweet, shy and a little possessive. Very calm and collected, has a hard time staying in the body due to dysphoria. He fronts very little, and is very new to the system so he's still learning about his own likes and personality. He likes watching anime, likes Code Geass and Utada Hikaru. His favourite color is light purple.

Seele Liebe

22, demiboy(or demiguy, he feels "boy" doesn't fit him), he/him

Main protector, trauma holder, caretaker

Sexuality unknown

Strong, protective and mature. He's serious and focused. Fronts very little, mostly only when needed to protect the body or other alters in stressful situations. He's a typical softie under a badass coat. He likes Junjou Romântica, characters who are father figures and pretty flowers.

Tau-Burn

16-19 ageslider, demiboy, he/him

Symptom holder(autism), former host (2019-2020)

Romantic asexual

He's creative and productive, the one who get's things done. He's very mild in personality, very quiet and kinda shy but fun and outgoing when with friends. He's very concerned with his appearance, is extremely passionate about Menhera and likes Ouji fashion too. He's the most invested in drawing and our OCs. Has a thing for butterflies.

Vênus

19-22, genderfluid, she/he

Spiritual protector, former co-host (2020)

Sex-positive asexual

She's very popular, but fronts very rarely. She's hyperfeminine, likes girltalk, gossip and sexiness. She fronts very rarely so it's hard to pinpoint her personality, but she's definitely very outgoing and extroverted. She likes weirdcore, cybercore, y2k, Arca and any and everything weird. Also has a thing for butterflies too.

Zombie Mokuba

19, bunnygender, he/him

Symptom holder(autism, hypersexuality)

Hypersexual aroace

He's a self proclsimed hikkikomori. Has no social skills whatsoever, he is cheerful, bold and obnoxious, but really endearing. He calls himself dumb, likes to "act brainless" and writes with lots of typos, although not intentionally. Being extremely hypersexual, has many kinks and some of them actually have a part in his personality, but I think it's inapropriate to mention them directly here. He likes dirtycore, weebcore, old eroges, and skimpy emo puppycore clothings. His most notable quirk is that he only wears black, white, grays and pinks, never any other colors.

#system intro #system stuff #shep rambles

9 notes · View notes

lets-be-here-anyway · 4 years ago

Text

Hi!

I’m K.O (or Kaio), and I’m an “OK K.O.!” fictive and a member of an OSDD-1b system known as Blendy Pens (or more accurately, a subsystem of Blendy Pens we’re currently calling Chameleon Kidz). I made this blog mainly to interact with not only the plural community (especially any other fictives!), but to hopefully make some friends who’ll accept us for who we are ^^ some of the others (who aren’t the main fronters bc they already have their own blog) may speak here too so be aware of that!

-K

#osdd 1b #plural system #pluralgang #fictive #introduction post

3 notes · View notes

letterboxd · 4 years ago

Photo

Chameleon.

For Japanuary, J-horror auteur Kiyoshi Kurosawa talks to Aaron Yap about upending genre expectations with his dreamy new travelogue To the Ends of the Earth, the unconscious connections between his films, and how it’s time for a proper evaluation of Robert Zemeckis.

Kiyoshi Kurosawa’s continued, uncontested position as a horror auteur isn’t unjustified. Emerging as a key voice in the J-horror boom of the late ’90s, Kurosawa hypnotized us with his chilly, haunting, atmospheric—and often apocalyptically tinged—visions of baffling serial killers, ghosts in machines, insidious doppelgangers and vengeful apparitions.

Bong Joon-ho once called Kurosawa’s 1997 mind-bender Cure one of the greatest films ever made. Pulse, his terrifyingly prophetic 2001 film, for my money—and many Letterboxd members’—might still be the creepiest of all contemporary horrors. “It is the only film I’ve ever seen in which every single shot feels genuinely haunted,” writes Connor.

Rarely behaving in a traditional scary-movie fashion, Kurosawa’s idiosyncratic horror films often test our expectations of genre, then deliver beyond those boundaries to probe his recurring themes: identity and isolation, humanity’s relationship to technology and nature, and deep-seated anxieties that nibble away at society’s crumbling fabric. Pulse, besides being an exercise in deftly crafted dread, is a great, telling, melancholy movie about the overwhelming loneliness of the digital age.

Yoko (Atsuko Maeda) and her travel show crew in ‘To the Ends of the Earth’.

However, the general focus on his horror “side” tends to eclipse a filmography that’s far richer and more versatile than he’s usually given credit for. Over the past two decades, we’ve seen him seem forge a thrillingly chameleonic, unpredictable path that’s included an ecological thriller (Charisma), an Ozu-esque family drama (Tokyo Sonata), a metaphysical romance (Journey to the Shore) and an alien invasion sci-fi (Before We Vanish). No one is really doing it like Kurosawa, and To the Ends of the Earth is arguably his most exciting and enigmatic left-turn yet.

To the Ends of the Earth is a commissioned piece to celebrate the diplomatic relations between Japan and the Central Asian republic of Uzbekistan, but that doesn’t diminish that it’s unmistakably a Kiyoshi Kurosawa film, not a tossed-off, exoticized, postcard-pretty travelogue. His signature languorous pacing, shrewdly slippery tonal calibration, and acute spatial sensitivity are at full bore, servicing a loosely plotted tale of TV travel show host Yoko (former J-pop singer Atsuko Maeda) and her crew attempting to complete shooting an episode in the Uzbekistan capital of Tashkent.

If anything, this movie should really confirm him as a filmmaker of bold, fictive playfulness in a comparable register to Jacques Rivette, Olivier Assayas and Christian Petzold—something that 2013’s hour-long, similarly fish-out-of-water head-rush Seventh Code, also starring Maeda, hinted at. In To the Ends of the Earth, gentleness, compassion and dream-like bursts of song and fantasy percolate through a disquieting maze of displacement—cultural, artistic, gendered—and the result is an adventurous, unpindownable, thoroughly humanistic work of curiosity and imagination.

Some years ago you did a “double feature”-themed interview with the Belfort Entrevues Film Festival where you revealed the sources of inspiration for some of your films. What film, if any, was a chief influence for To the Ends of the Earth, and can you tell us in what way? Kiyoshi Kurosawa: When I make my work, I often consciously refer to films from the past, but that’s usually the case with genre films. For example, Cure was greatly inspired by The Silence of the Lambs. However, To the Ends of the Earth is not a genre movie, so I wasn’t consciously thinking of any specific films. However, the composition of the story, that the main character appears in every scene, is based on films by the Dardenne brothers. Viewing their films The Child and Two Days, One Night, it’s clear to see how the depiction of just one person can turn trivial incidents into something serious and suspenseful.

Atsuko Maeda and Kiyoshi Kurosawa on the set of ‘To the Ends of the Earth’.

Watching Bright Future, To the Ends of the Earth and Creepy back-to-back recently, I noticed several parallels and motifs which may or may not be intentional. For example, a jellyfish makes an appearance in a scene on TV in Creepy, or there’s a TV report of a blaze in To the Ends of the Earth that momentarily hints at a bigger natural catastrophe that echoes the jellyfish swarm in Bright Future, or other apocalyptic moments in your films like Charisma and Before We Vanish. Do you find that some of these motifs work on a subconscious level for you, or were some of them intentionally threaded in? It’s a very interesting point. Some of them were intentional and some were not at all. It’s true about jellyfish, they appear in both Bright Future and Creepy. However, this is the first time I’ve noticed. The endings of Charisma and Before We Vanish were already written in the script by necessity, so of course, it’s intentional. The depiction of the blaze on TV in To the Ends of the Earth was introduced to show something happening in Japan while the main character is taking a small adventure in Uzbekistan. I wanted to show that her boyfriend was in some kind of crisis there. While the fire on the TV is merely an accident, it does appear apocalyptic. I may have overdone that a bit. Perhaps some kind of unconscious thinking was at work.

That amusement park ride scene in To the Ends of the Earth has stayed with me in the way it suggests terror out of something seemingly mundane. What are some scenes from other films that have stayed with you? The amusement park ride scene wasn’t introduced to express terror. What I wanted to show was how crazy the assignment is and Yuko’s professionalism. She takes on the assignment without fear. This may have been a bit overdone as well. However, I thought that Atsuko Maeda, who didn’t hesitate to actually ride it three times, was a real professional. Apart from that, if I think about the movies that force people to experience horror, what comes to me are Roger Corman’s Pit and the Pendulum. Tobe Hooper’s The Funhouse, George Miller’s Mad Max: Fury Road. I also remembered the episode in Freddie Francis’s Torture Garden, where a grand piano has a will to kill people, which was great.

Your films tend to be very location-based; environments and spaces appear to play a significant part. The pandemic has been the ultimate test of our relationship with spaces and each other. How has the pandemic impacted you as a filmmaker, and are there themes and ideas that you are interested in exploring further as a result of Covid? As you pointed out, when I make a movie, I pay great attention to the location. The moment I find a good location, I feel that the script will be transformed into a movie. It is the moment when fiction and reality are fused. It’s hard to say anything though, I haven’t made a movie since the pandemic started. What I can say, at least, is that sitting in front of the computer at home is not cinematic at all. So far, I don’t feel that something new will be born from it. What should I do? After all, I feel that a movie can only be made by going out in the city with a camera after utilizing the best epidemic prevention system possible.

If you had to pick a film that’s a personal favorite, which would you pick, and why? It's too difficult a question. Japanese movies and foreign movies have different viewpoints. Also, there are completely different categories of movies [that] greatly influence me when I make films and the movies I saw when I was young that make me nostalgic. It’s impossible to choose just one. But, well, the one that comes to mind is Sam Peckinpah’s The Ballad of Cable Hogue, which is both nostalgic and heavily influential for me.

You’ve spoken about your fondness for American filmmakers like Tobe Hooper, Robert Aldrich, Steven Spielberg et al. Are there new, or more recent American filmmakers and films that have caught your attention or that you’re particularly excited by? I don’t know much about young American directors, but what I always care about is Alfonso Cuarón. Of course he is not a new, young filmmaker, but an auteur. Also, since this is a good opportunity, I’d like to mention Robert Zemeckis. He made such masterpieces as Cast Away and What Lies Beneath around 2000. For some reason, he has never been properly evaluated at all. For a time he was devoted to animation. However, he made a spectacular return to live-action films with Flight and continues to shoot unique masterpieces like Allied and Welcome to Marwen. Of course, not many people appreciate these works. However, he does not seem to care about public opinion at all and continues to boldly shoot new works. Perhaps Zemeckis is the American film director who makes the most authentic films today.

What are your movie-watching habits like? Do you continue to watch movies on physical media or prefer streaming these days? What was the last movie you saw in a theater? Basically, I like to watch movies at an ordinary movie theater in the city the most. When I can’t go to the movie theater, or even though I know the film is going to be boring but I have to watch a movie for business, I have no choice but to watch it on DVD or Blu-ray. Of course, I also use VOD once in a while. The last movie I saw in the theater, as of today, was the Japanese film The Voice in the Crime. I saw that just yesterday. I saw it with my wife at a cinema complex in Shinjuku, Tokyo. It was the latest work by the director who made the previous masterpiece Flying Colors, and I expected much from it. It was speedy and quite well done until the middle of the film, but by the ending, it was too boring. Unfortunately, it wasn’t a good movie.

What’s a memorable film-related moment from your childhood, perhaps something you experienced with family or friends, or a film that scared you or made you cry? The movies that my generation often watched growing up were mainly monster movies. The most unforgettable one was Matango. Like Godzilla and Mothra, it was directed by Ishirō Honda. I went to see this movie with my friends. It had a rather cute touch in the promotional materials depicting a mushroom with a monstrous appearance. However, the content was completely different from a normal monster movie. Shipwrecked survivors on an uninhabited island encounter monstrous mushroom creatures washed up on the shore. These are not unknown creatures such as Godzilla or Mothra, but the horrifying ending of a human being. The characters are being infected, changing one another into mushroom humans. All of us children trembled from the bottom of our hearts. In retrospect, the work is an extreme horror aiming along the same line as [Howard Hawks and] Christian Nyby’s The Thing from Another World. It was probably the first time I encountered horror which was not “to escape from destruction” but “when a human being becomes something not human”.

Is there a filmmaker or film you think about a lot that you don’t get to talk about much and would like to show some appreciation? I haven’t talked much about the Battles Without Honor and Humanity series directed by Kinji Fukasaku. I don’t know how well this series of Japanese movies is known abroad, but when I was a high-school student I saw this and quickly became a big fan. I’ve watched a variety of yakuza movies since then, and it’s safe to say that nothing beats this series. As the title suggests, the films depict a yakuza world without “Jingi” (yakuza’s moral code), and it was really humorous and exciting to see the betrayals and the destruction. After I saw this, all those traditional yakuza movies dominated by the strange ideology of “Jingi” looked like a childish fantasy.