#japanese folklore creature

[kelogsloops]

work in progress of this little kappa #brbchasingdreams

prints | tutorials

[ex0skeletal-undead]

Kudan by Reurum

From the artist: Kudan is a relatively late character in Japanese folklore. The first mentions of it in written sources date back to the 19th century. According to beliefs, Kudan was a calf with a human face, which, in the first few days after its birth, made one or several prophecies and then died immediately. Typically, Kudan predicted droughts, famine, or other calamities, but there are also mentions of it predicting Japan's defeat in World War II.

[yoga-onion]

Legends of the humanoids

Reptilian humanoids (12)

Toyotama-hime – Wani (Dragon) Goddess disguised as a human

Wani was a dragon or sea monster in Japanese mythology. Wani is discribed as "crocodile", or sometimes "shark".

Toyotamahime (See) is a goddess in Japanese mythology. Daughter of the sea god Watatsumi, she was said to reside in a dragon palace. Their palace was as if made from fish scales and supposedly lies undersea. Her true form was “Yahiro no Owani (meaning giant crocodile, approx. 24 m long)”, and she was the wife of Hoori (See2), is known as the epitome of human–animal marriage tales. She was the mother of Ugayafukiaezu-no-Mikoto (See3), father of Emperor Jinmu (the first Emperor: See4), and sister of Tamayori-hime (See5), the Emperor's mother.

Toyotamahime makes a fateful meeting with the demigod prince, Yamasachi, also known as Hoori ("Fire-Subside"). They married and lived happily in the dragon palace. 3 years later, she and her husband Hoori, who missed home, went ashore to give birth.

She then warned her husband, "All people from other parts of the world give birth in the form of their native country when giving birth. So I will give birth to a child in my true form”, and requested Hoori not watch how she gives birth. Hoori, however, was pazzled and peered in on his wife as she was giving birth, and saw her crawling around as a giant crocodile of about 24 metres (79 ft) long. He then startled in shock and retreated. Toyatama-hime learnt that being witnessed her true form by her husband, "I have always intended to pass through the path of the sea," she said, "but I am ashamed that you should have observed my true form.” She blocked the sea path, leaving the child behind and left.

伝説のヒューマノイドたち

ヒト型爬虫類 (12)

トヨタマヒメ 〜人間に変身する和邇 (龍) の女神

和邇は、日本神話に登場する龍または海の怪物のことである。和邇は「ワニ」、ときには「サメ」と表現されることもある。 

トヨタマヒメ（参照）は、日本神話の女神である。海神ワタツミの娘で、竜宮城に住んでいると言われている。その宮殿は魚の鱗でできたようなもので、海中にあるとされる。その正体は「八尋の大和邇（やひろのお��わに: 体長約24mの巨大な鰐の意）」で、ホオリ（参照2）の妻であったことから、異類婚姻譚の典型として知られる。神武天皇（初代天皇: 参照4）の父である鵜葺草葺不合尊（うがやふきあえずのみこと: 参照3）の母であり、天皇の母である玉依姫（たまよりひめ: 参照5）の姉である。

トヨタマヒメは、半神の王子ヤマサチ、通称ホオリと運命的な出会いを果たす。二人は結婚し、竜宮城で幸せに暮らしたが、3年後、故郷が恋しくなった夫のホオリとともに出産のために陸に上がった。

その時、トヨタマヒメは夫に「すべて他国の者は子を産む時になれば、その本国の形になつて産むのです。それでわたくしももとの身になつて産もうと思いますが、わたくしを御覽遊ばしますな」と忠告した。ところが夫のホオリはその言葉を不思議に思い、妻が今盛んに出産している最中に覗いてみると、八丈 (約24m) もある長い鰐になって這いずり回っていた。そしてホオリは畏れ驚き退いた。しかるにトヨタマヒメは夫が窺見した事を知り、御子を産み置いて去った。「わたくしは常に海の道を通つて通おうと思っておりましたが、わたくしの形を覗いて御覽になつたのは恥かしいことです」と言い、海の道をふさいで帰ってしまった。

[bestiarium]

The Ushi-Oni [Japanese folklore, yokai]!

Japanese folklore has a rich repertoire of strange beasts, spirits and creatures. And as Japanese Yokai go, the Ushi-Oni is one of the older ones. Though usually depicted as a giant spider with the head of a bull, some sources portray it with a feline body, resembling a monstrous bull-headed tiger. Regardless of its appearance, the Ushi-Oni is a cruel and vicious creature that enjoys killing people. In some versions this monster makes its home on mountains or in forested areas, but usually it is an aquatic spook, living either in the sea or in freshwater rivers, lakes or swamps.

The Ushi-Oni is married to a different monster: the Nure-Onna. This female fiend resembles a large snake with a human head and arms. She is an aquatic creature and lives near shores and riverbanks.

The two monsters work together to ambush people, with each having a set role: first they wait on a shore or coast for someone to pass by. When they spot a lone traveller, the Nure-Onna transforms into a young human woman holding an infant. She then walks up to the intended victim and asks them to hold her baby, and if they do, she casually walks into the sea and disappears, leaving the victim confused and holding a baby.

Whether this baby is a sentient, separate entity or merely a magical illusion is unclear, but its weight magically increases when the victim is holding it. Eventually, the child is so heavy that the traveller is unable to move without dropping the infant. At this point, the bull-headed Ushi-Oni emerges from the sea and pounces on the unfortunate victim to devour its prey.

In the 14th century epic ‘Chronicle of Great Peace’, the hero Watanabe Tsuna faces and eventually defeats an Ushi-Oni.

Sources: Yoda, H. and Alt, M., 2016,  Japandemonium Illustrated: the Yokai Encyclopedias of Toriyama sekien. This work is a translation of the Gazu Hyakki Yagyo by Toriyama Sekien in the 18th century. Marks, A., 2023, Japanese Yokai and Other Supernatural Beings: Authentic Paintings and Prints of 100 Ghosts, Demons, Monsters and Magicians, Tuttle Publishing, 240 pp., p. 122. (image source 1: Vongraven on Artstation) (image source 2: Bakemonozukushie, an Edo period scroll currently in possession of the Brigham Young University collection)

[k-i-l-l-e-r-b-e-e-6-9]

[drawfee-quot3s]

um, julia is using the sun to shine light IN my eye while i'm doing the intro,. which i really appreciate on a personal level

- jacob

[r-aindr0p]

Are there any fae-like creatures in french myths?

I know about the story of a giant black wolf that terrorized France back in the day, but that’s all I can remember.

Legends and stories including wolves are in fact really widespread in european culture since middle age ! But yeah the most well known in France is the Beast of Gévaudan which was described as massive ! (and the one from Le petit chaperon rouge/Little red riding hood)

Concerning other creatures and fairies/faes in french legends and stories, we do have

Mélusine : fairies mentioned a bit everywhere in France, they are mostly described as women with a scaly tail lower body and are sometimes associated with mermaids or vouivres. (far from how they look like in genshin impact)

Vouivre : not to be mistaken with wyverns, vouivres are creatures described as snakes with bat wings, sometimes they are depicted having rear legs and wings (and they look very goofy like that imo). These creatures can be aquatic and in some descriptions, possess a big jewel on their forehead.

Tarasque : a creature from provencal legends, which lived in a swamp near Tarascon and terrorized and ate people. It's most popular description was of a big creature with a spiked turtle shell, six bear legs, horse ears, bull chest, lion head, a human face and a twisted tail. Legend says Ste. Marthe tamed the beast. (I swear they were just being attacked by bowser this is the same creature)

These are the one I depicted roughly in the pic above but there are many more creatures depending on the different regions of France ! (There's a lot of fairies and fantasy like creature in stories from bretagne/brittany) Some others that I find either fun or cool are :

Meneurs de loup : which translates to wolf leaders are people told to be able to talk to wolves and even transform into one, either because they are werewolves or they made a pact with the devil. (it's kinda giving spice and wolf vibes and I love that story sm)

Jambe crue/Came-cruse : Roaming in the Pyrénées at night, this thing is a single leg with an eye on the knee that eats people and runs very fast. (Idk why this one is so funny to me but oddly terrifying as well)

[episodes-without-incident]

2/29/2024:

1 episode since Drawfee last referenced Cats (2019)

5 episodes since Drawfee last referenced Everytime We Touch (2005)

[inspofromancientworld]

Legendary creatures: Kitsune, Kumiho, hồ ly tinh, and huli jing

Fox spirits such as kitsune (狐, きつね) of Japan, kumiho (Hangul 구미호 or Hanja 九尾狐) of Korea, hồ ly tinh (狐狸精) of Vietnam, or huli jing (狐狸精) of China are shape-shifting fox spirits, usually having nine tails. They are typically tricksters that can be either benevolent or malevolent.

By Unknown painter from late 4th to mid 5th century A.D., unknown photographer - http://www.sohu.com/a/193975015_556515, Public Domain, https://commons.wikimedia.org/w/index.php?curid=73024755

The oldest version of the nine-tailed fox spirits was from China. The first story that has the juli jing was the Shanhaijin (山海经 Classic of Mountains and Seas) which was compiled sometime in the fourth century BCE, but the currently known form wasn't completed until the early Han dynasty (202 BCE - 9 CE). It contained stories fables of the pre-Qin dynasty (prior to about 700 BCE). It says '靑丘國在其北其人食五穀衣絲帛其狐四足九尾。 The Land of Blue Hills lies to the north where the inhabitants consume the Five Grains, wear silk and worship foxes that have four legs and nine tails.' The nine-tailed fox was seen as a good omen, only appearing in times of peace. However, it also says 'Three hundred li [150km/93.2 miles]farther east is Qingqiu Mountain, where much jade can be found on its south slope and green cinnabar on its north. There is a beast here whose form resembles a fox with nine tails. It makes a sound like a baby and is a man-eater. Whoever eats it will be protected against insect-poison (gu).' During the Han dynasty, the mythology added the ability to shape-shift into humans as they became older, one description of which was by Guo Pu (郭璞, 276-326 CE) 'When a fox is fifty years old, it can transform itself into a woman; when a hundred years old, it becomes a beautiful female, or a spirit medium, or an adult male who has sexual intercourse with women. Such beings are able to know things at more than a thousand miles' distance; they can poison men by sorcery, or possess and bewilder them, so that they lose their memory and knowledge; and when a fox is thousand years old, it ascends to heaven and becomes a celestial fox.'

By Chris Gladis (MShades) from Kyoto, Japan - Flickr, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=748434

Fox worship arrived in Japan sometime during the Jomon period (14,000-300 BCE) as evidenced by necklaces including canine teeth and jawbones of foxes. Stories from China were brought to Japan by merchants who traded and brought in as kyuubi no kitsune (九尾の狐, nine-tailed fox). In the Nihon Shoki (日本書紀, the Chronicles of Japan), which is the second-oldest book of Japanese history, mentions foxes twice, both times as omens. It records that in 657 a byakko (white fox) in Iwami Province was a good omen. In 659, a fox bit a vine a construction worker and it was seen as an ill omen. There were tales of kitsune turning into kitsune nyoubo (狐女房 fox wife) that are revealed as foxes after pet dogs that were recorded in the Nihon Ryouki (日本霊異記) book of fables during the Heian period (recorded between 787-824).

By Hùng Phong Lê - Hùng Phong Lê, Public Domain, https://commons.wikimedia.org/w/index.php?curid=134883158

The Hồ ly tinh have specific ages that they have to reach to gain their tails. They must practice for a hundred years to have three tails and be considered a 'demon fox', for a thousand years to become a 'ghost fox' with six tails. When it gains nine tails, it's considered a 'celestial fox' and can turn its tails into humans. If the fox loses its tail, it dies. In the Đại Việt sử ký toàn thư (chữ Hán: 大越史記全書, Complete annals of Đại Việt), compiled in 1697, states that Emperor Lê Thái Tổ was saved by a hồ ly tinh when he was hiding in Lam Sơn from the Ming army. He took the time during his hiding to bury a girl in a white dress and that a white fox distracted the army when he was almost caught.

source: https://www.deviantart.com/auroreblackcat/art/Gumiho-283762936

The kumiho are able to become beautiful women who seduce men to eat their liver or heart. The Chinese story entered into Korea during the Three Kingdoms period (삼국시대, from about 494-562) and state that foxes become kumiho with great age and become stronger with that age, too. The kumiho were largely viewed neutrally, though self-centered in their need for human organs and souls. It wasn't until later that they were viewed as evil, bloodthirsty fox-human hybrids that might turn into humans if they can avoid eating human flesh for a thousand years. Something unique to the kumiho is that they develop and pass along 'yeowoo geseul' (여우구슬, 'fox marbles' that they give to and then take back from humans by an action that looks like kissing. It can only remain in the human part of the chain for a year before it can kill them completely. When it's returned to the fox part of the chain, the human has no memory of the yeowoo guseul or the kumino.

[phoebepheebsphibs]

I was on google looking up Japanese mythical creatures for writer purposes and uhhhhhhhhh

Hm...

[yokaizuna-sumo]

We have a new yōkai flying in! It's the Yatagarasu! The three-legged crow is an important figure Japanese mythology and being a symbol of the sun and a servant of the sun goddess, Amaterasu. Each of its legs represent a virtue of the gods. If you manage to catch this rare yōkai, you'll get its special blessing of the three pronged attack!

[draconicdeityarts]

I Love…. Kappa….

[bestiarium]

The Daidarabotchi [Japanese folklore; yokai]

The easiest way to imagine a scary monster is to make it giant. It comes as no surprise then that many, if not most, cultures have some concept of giants in their religion or mythology.

The Daidarabotchi – also Daidarabocchi or Daidarabochi, among other variations – are colossal beings from Japanese folklore. They are a kind of nature spirits and appear in many different stories.

So huge were these giants that their movements shaped much of the world as it is today: when a Daidarabotchi walked, its footprints became ponds or even lakes. Many important Japanese landmarks, including Mount Fuji and Lake Biwa, were said to have been created by Daidarabotchi in the distant past. In fact, Mount Fuji was supposedly built in a single night.

In another story, one of these giants lifted up both Mount Tsukuba and Mount Fuji and placed them on a pair of enormous scales, so he could see which mountain was heavier. 

In the 18th century Kaidan Hyakki Zue, the Daidarabotchi was depicted as a giant pitch-black humanoid creature. I don’t know if this is the first popular depiction of these creatures, but it caught on and became the standard look for these giants.

The Tearai Oni – which literally translates to ‘demon who washes its hands’ – is supposedly a member of this species. The Tearai Oni is a humongous creature known for its penchant for compulsively washing its hands in deep rivers, which it does by bending over backwards.

Among other places, a Daidarabotchi was said to inhabit the mountain Togakushi, which is supposedly a spiritual place inhabited by several kinds of supernatural beings.

Sources: Wakamori, T. (1989), The Hashira-Matsu and Shugendo, Japanese Journal of Religious Studies, 16, 181-194, p. 183-184. Davisson, Z. (2024), Ultimate Guide to Japanese Yokai, tuttle Publishing, 288 pp., p.193. Bane, T. (2016), Encyclopedia of Giants and Humanoids in Myth, Legend and Folklore, McFarland, 212 pp., p.51. Bane, T. (2016), Encyclopedia of Beasta and Monsters in Myth, Legend and Folklore, McFarland, 423 pp., p.311. (image source: TheJapanBox) (image: illustration from the 1798 Kaidan Hyakki Zue, Vol.1, by Katsukawa Shun’ei and Katsukawa Shunsho. Image taken from The Librarian Witch)

[threepoint14art]

I'm gonna word vomit about the nightmares because GOD I'm listening to great escape on loop and i feel like I'm going insane so yeah if you wanna read that im gonna put it under the cut because its probably gonna be LONG TLDR: I love them and they make my head hurt

We know the nightmares are not good people, like at all. The very first instance we see them is in the episode literally titled "BONNIES NIGHTMARE" and yeah, they sure are his nightmare.

They harass him for money as a "tradition", Bonnie doesn't have any, they try and take his guitar, until there they’re pretty standard random assholes, then meg says "they know where you live" when Bon tries to intervene and refers to them as a complete group, "the *nightmares* know where you live" and then the stakes become weirder. Because aside from just very visibly being horrible people, they already have a reputation of being actually dangerous besides just mugging, they know where people live. You can argue they know where Meg, Fox and Spring live based on past history with all of them, and they could know where Bonnie lives based on how they harass him and all of that; but for them to know where Bon lives? someone who they appear to have literally no biases against and who is, up to that point, just completely unrelated to any of what's happening? It’s weird

You could say it's because he's friends with Meg, but I sort of doubt Bon would bring anyone over with how his dad is, so we are back at "why the actual hell would they know that" If they are mindless thugs it’s a bit weird that they would keep track of specifics like that. And I like to think that that’s the point. They make it a point to know sensitive information about people so that they are less inclined to go against them, just like Meg was. 

Then Fox appears and they seem really put off by it. The series tries really hard to sell that Fox is angry, violent and just a hot head. Which I don't really agree with? as in rewatches I've found myself going "yeah that's a valid reason to be angry" but whatever, going off the series alone and what they intend with each character, Fox is someone who is sort of dangerous, guy who gets into fights and all of that, they seem sort of familiar with each other too. "this is low even for you guys" and then Deuz calling Fox by his name. 

So they are 1) known 2)violent 3) actively make a show out of it. They scare people by knowing their private information yet they don’t seem to do anything with it at all, they could harass Bonnie closer to his house and not at the literal school entrance full of people but they don’t. They could drag him out to somewhere more hidden to not get bothered, but they don't, it's almost as if they want people to see. It's performative, speaking loud and laughing louder, in direct contrast to Bonnie's quiet voice who tries to leave in the least showy way possible. 

We don't see them go to school, hell we don't even see them in uniform until after camp, so I used to think they were older and that  the entire thing with the nightmares vs spring was sort of "the adult drama" outside of school and its teenagers. Their entire group just felt heavier than the rest of the kids, probably fueled by being antagonists.

The next time we see them it's with the aforementioned Spring, they are graffiting a wall and Spring tells them to not do it and to go do it in the "legal area" the artistic zone made for that. 

This is really interesting to me, mostly because even though spring grew up in a similar situation to them, he carries completely different moral values. It even seems as if he's overcompensating. Spring is a hard worker, he has jobs upon jobs and tries to live honestly, and to see other people get by in the direct opposite way he does, he wants to be as separated as possible, have nothing in common because he is a “good” person and they are “bad” people. 

There is no way that his entire area isn't drowning in graffiti already, because even sub-urban areas have graffiti, both actual art and the standard weird drawings of dicks or random curse words. And while the latter are not exactly great to see, they are also inherently thoughtless. People walk around and go "yeah this would be funny" and do it without thinking twice.

With the way that Onnie and Onyx (I call oxy that) talk about it, what they were about to do wasn't thoughtless, they were literally looking for a nice wall. it seemed like they just wanted to do actual artistic graffiti which is a pastime that seems inherently way less morally evil than just harassing random kids at school. They aren't actively looking for Spring either, they are just there. Spring picks the fight, the police come

They run away from the police, there's a ruckus with the police after (as said by Fox). They didn't actually vandalize anything, hell they didn't even have any paint on them throughout that entire exchange. But they still run? They could have done something before going over there, but in that case it'd be strange that they would be so calm and giddy about it knowing full well someone could come, they don't seem to be carrying anything at all either, robbing school kids may be possible with only your fists but they were just around streets without any knife or anything at night, so i doubt they could mug someone if they tried. 

So why would they run? I think it’s because they are all mostly just show, and that their lives shaped them to be that way. The police are scary not on the basis of "they can imprison me for this wrong thing I did" but on the basis of "the police hates people like us." The police hates the poor, the police hates queer people, it hates anyone who fails to fit in the box of what"an upstanding citizen" should look like. Of course they leave with their theatrics still there, telling Spring to "be grateful they saved you!!!" trying to save face. But it's clear they didn't actually do something to warrant fleeing, and this is supported by Spring also hiding. 

The next episode, "the birth of evil" is where everything crumbles and by crumbles i mean comes together. Spring, Fox and Bonnie go to a talent show and they meet the nightmares there, once again the whole act starts again. An obnoxious laugh, a confident pose, an ensemble of people behind you to be able to have your back. Deuz calls them dogs and the other 2 bark, its a performance. Deuz adresses the group, Onyx talks to Spring, Onnie talks to Bonnie.  

They don’t seem to acknowledge Bonnie in specific as anything important, they don’t blink and demand he gives them the money he still “owes”, they don’t tell him he’s lucky that he’s not alone. They pick a fight with the conglomerate and that's it. 

The way Spring and Fox carry themselves in the exact same situation seems just fundamentally different. They insult back of course, but they are way less vitriolic with it, and they don't accompany it with an air of grandiose superiority or an encore of background laughs or barks to drive their point home. They seem honest with their comeback, they have fun with it. Onyx and Onnie GROWL. 

Deux stands in front of them, he has been doing that this entire time, and the other two behind him growl, genuinely upset or threatened by a comeback that let's be honest. Was not even that good. "You smell that? envy?" and "the rats came out to eat, shame we didn't bring cheese"

But it not being good is sort of the point, it feels less practiced, less rehearsed and less of an act, a stupid comeback that reads more like a 3rd grader fight than anything, compared to the more antagonistic "look at the stray dogs. though this was a talent show not a barking one." "give me paw, have you learned to play dead yet?" Those are way stronger, and yet it seems like they just lose the exchange, immediately get defensive and growl, and look genuinely upset. 

Funny thing is that their insults apply to them more than they apply to those three. Both Onnie and Onyx have been shown constantly barking and growling, to call someone a stray dog implies some level of poorness or a lack of belonging. They put down what may seem wrong with them, and apply it to other people to get a leg up. 

Maggie tells them to drop it, they go and perform what they came here to perform. Deuz says "dont waste your energy, let's prove what real talent is" which can certainly just be read as another insult, as a way to call them talentless, but i chose to interpret it as masking a sore spot. We HAVE talent, even if people say we don't.

And this is the main attraction. Great escape. My love. 

With all we know about them, you would imagine their music would follow through with the image they've been constantly pushing. Rough around the edges, loud, obnoxious, full of self adulation. But it's just... Not that.

Song starts, and it seems like they will follow through. It's strong, it's loud, it's overwhelming and yet awestrucking, the guitar is at the forefront and is going crazy. And then it suddenly becomes soft, not weak or pacifying by any means, but soft nonetheless. 

Deuz’s voice is calm, he’s not screaming and he’s not making himself louder than necessary, the mic is there and it WILL pick what he says up. So he’s just singing, he’s not struggling to be heard. The very first line is “if i wasn’t the one who i thought I was, could you show with conviction who you really are?” It’s weirdly wordy and self introspective for someone who is supposedly just evil, who has presented himself as an unmovable wall, as someone strong, foul mouthed and completely used and comfortable with his way of life. As someone who poses a real danger.

If I wasn't who I thought I was, if I wasn't strong and if I wasn't at the forefront, could you really show who you are? If he wasn’t like this, if he seemed soft or weak, could his group live in peace? Could they be who they want to be? It’s not like they are 100% free to be who they are right now. They too, keep an appearance of being unbothered, strong, but at least they get to live, they get to present themselves how they want and not be scared of someone hurting them because of it, because they ARE the harm, and they have a leader. He’s the pillar, and he has to be who he THINKS he is. He has to be there.

“Will you be able to not fall today without your costume?  your heart breaks just like a fragile glass” The idea of costumes, of keeping an appearance, making “the nightmares” a single intimidating entity that no one can mess with, could they live without it? Chances are not, life is cruel and they seem to know that. It’s a dog eat dog world, and they act as if they are on the top of that food chain.

The song is for all of them, it’s ADDRESSED to them, Deuz uses first person and second person, me and you against whatever is put in our way. And that is what makes the song so special to me, in a show were we see the protagonists in the process of becoming friends the nightmares have been together since forever. And this song is for them, to find hope in hopelessness and to simply state how important all of them are to each other. “and in the distance I can hear that your voice started to call me”.

And we see what has led them down this way of thinking. Not a justification, but an explanation.

We start with Deuz, whose first memory appears to be literally working. Working to sustain himself, working to be able to live better, “I know that I will wake up.” I know that I can get out of here somehow, people are horrible to a literal child trying to live, we see how it lasted a long while too. From the candy selling to when his hands are curled into a fist we can see that he visibly grew up, he kept living in those conditions and he never actually experienced sympathy for it, people laughed, people insulted him, people seemed to be grossed out by the mere idea of a kid who was BORN into poverty, because how dare he try and survive? “I fell into an dark abysm without an end”  

With this it would make sense for him to become cynical, to assume it’s him against the world forever, and that people are inherently evil. But the lyrics are hopeful. “I escaped swiftly and I saved my life, I felt as if i were finally breathing again. Today let’s break the walls at once” Life is cruel, people are cruel, but it gives him a frame of reference of what type of people stay at the top of the chain, to be mean, to be violent, not out of enjoyment but necessity, camouflage to survive and breathe again, make sure people don’t mess with him again. The image of a little kid with scratches throughout all his body looking angrily at the camera

“In a place of the world where light goes away and doesn’t want to come back. Could you be sure that you’ll find it?” He could stay alone, he could dish out the same disdain and disgust that people showed him when he was at his lowest, but despite it all he still has empathy, and despite everything he wants to help, “evil” was born through how he lived, but his true nature is still there. And when he sees someone his age at his lowest, he doesn’t hesitate to help. He doesn’t fall in the idea of “everyone should have it as bad as me, i had it worse, it’s not my problem.” He extends the kindness that he never had, and he helps. Could you really find light when everything seems dark? find hope in what seems hopeless?see a A scared little kid being beat in a closed alleyway, amongst all the trash. Could you be fine with it? Have any hope in such a situation?

“if everything breaks slowly and with pain. Could you pick up the pieces that fall?”  He stops it, he becomes the light that went away, a sense of hope and belonging, he offers a hand that was never offered to him. Onnies expression in this always gets me, he looked scared when he was alone, but once someone stands up for him he doesn’t look glad or happy. He seems shocked, in complete disbelief. Both Onyx and Maggie seem to be relieved when they are saved, but Onnie is just shocked. Why would someone just intervene or care? this was not a one time thing, he already had the bruises before any hit ever connected, he fled into a dead end and expected it to end like that. And it didn’t. Everything was already broken, why would someone pick up the pieces? 

“In the distance I can hear the quake of the world and its end. Today you’ll start from zero. I have to say see you later” I’ve seen some people be confused by this part or even laugh at it. Deuz just appears, punches onyx, and they become friends. But the very first shot is Onyx sitting slumped on the ground as if he had been beat up and was barely conscious. But he wasn’t, he had no injuries at all, the lyric talks about the end of the world, he had given up. We don’t know the circumstances of this, but given how clean his clothes are and how he lacks any injuries, it’s my personal headcanon that he got kicked out. A kid alone in the streets kicked out, he should give up, because what else could he do? how else could he live? A wake up call in the form of a fist, this place is dangerous and not what you are used to. But today you’ll start from zero, you just have to say goodbye to what you had. 

The chorus changes, it’s no longer a dark abyss, but a dark path. In the name of not being at the very bottom he has become something he isn’t, all of them have, their lives shaped them to be rougher, they are like the people who hurt them in the past. This is especially true to Onnie becoming a bully. And the path seems endless, because dropping the fake bravado doesn’t seem like a possibility. The world is cruel to those it perceives as weak, so they can’t show themselves to be. That's why we are shown the three of them looking angry, unbothered, the strength their life demanded but at the very least as a group; making themselves bigger, with Deuz at the forefront. 

And we cut to Maggie (who I use he/him for), screaming and trying to get away from someone who is clearly bigger, an adult. From the song “closer” at the camp arc, we can see how that person was enjoying causing distress, a crooked and mocking smile on their face “there will be people who think this is pure hypocrisy” To go from being the kid suffering at the hands of someone stronger, to the one causing said pain onto another kid, all to not be weak and not be a target again. 

The group doesn’t only defend Maggie, fight back against someone bigger than all of them. But Deuz goes out of his way to try and cheer him up, and gives him a sweet to calm down.  “incapable of forgetting the beast that’s hungry yet again” this world, it’s difficulties that feel like sharp teeth mauling at people who have not done any sin but to exist yet, people feed on others being miserable, on feeding on those who seem weaker and their suffering, like beasts. You can’t ignore it, you have to fight back, bare your own teeth.

“Beyond the storm my hand is waiting for you. That sword pierced depression with all it’s strength” After the suffering, after the hardships and the pain, my hand will be there waiting for yours. Together we are stronger, and together we can be happy despite what everyone else can say. “Before just falling like that…” before giving up, before falling, we have each other.

And it’s the chorus again, I fell in a dark abyss, but now what saved his life is not making himself scarier, it’s not the realization of what act he should put on, it’s not his anger freeing him. It’s having his group. And once they break the walls, once they break through their self imposed image, through “the wall” , they can live without fear or grudges. 

Next we see them is at camp, and it seems as if Deuz already started to try to break through said wall, they are actually going to school now, they are at a camp. And when Onyx and Onnie start with the theatrics, when they try to immediately establish themselves as stronger and crueler. He reminds them that they are not on the streets. They aren’t in that horrible environment they’ve always lived in, not everyone is bound to be outright hostile, and they try. 

Later on Deuz says “If being at this camp and learning to work in a team makes my boys finally get accepted by society. Then I’ll do it.” and after that “I’ll show them that we can all change for the better.” They all became hostile because of where they grew up, but if there’s a chance to not be like that, to live in peace, then he’ll take it. He wants the best for them.

And that’s not to say Deuz has always been the pillar of morality. He participated in Bonnies harassment as much as all of them, but their thing is to change, to let go of that gut reaction of cruelty to avoid being hurt. And Deuz also changes with time. At the start, anyone who participated in the event, who went to the docks which is their territory, he would have been annoyed, he would have called them talentless, insult them and their craft and claim he and his crew were better before completely disregarding them as a whole. He would have been defensive about the only place where he can actually showcase his thoughts and feelings. But no! Later on he has respect for Fred, calls him “the king of the docks” and tries to be friendly. Of course after that Freddy is completely confused and he gets pissed, but I think it’s because he tried, he attempted to be friendly and swallow his pride and his defensiveness about the one thing they all have, and he got (in his head) made fun of. It made his instinct of “be the one on the top of the interaction always” kick in, because they WERE on the streets at that time and it’s suddenly the same it always has been. 

Right after that pup kills him on a single punch and that didn’t happen ^^.  no waaaay he would go down so easy to a person like pup whose most athletic skill is gymnastics. Deuz has shown he's had to fight and fight dirty/lawlessly to survive since he was little. it just doesn't make sense and it’s not real TOT Pup is built like a twig

“pia what about onnies song” also didn't happen ^^. After this point the series tries to soften Onnie to be less of a willing participant of the group’s actions, and I just really do not like it. Let him have blue hair and pronouns AND evil in his heart. 

I think that’s all for all, i need to be tazed. I know i kept it very neutral till now but guys please tell me you see why i ship them all so hard. God. I need to kill them all

i hate them you need to be put down <3 like the dogs u like (the nightmares) - Loops

[k-i-l-l-e-r-b-e-e-6-9]

[drawfee-quot3s]

we're going to japan?

we're going to japan!

i don't have a passport :(

wwwweee smuggled youU! innn the luggage!!

okay!

oOoooh!

unfortunately you passed away in transit. 'cause it was too cold in the cargo hold.

- nathan, jacob, + karina