#puella magi madoka magica roleplay

[madoka-kanames-blog]

I drew a drawing of akemi-San. I think she’s very cool 🥰

[homlily]

" When did I .. become a witch ? ! "

Homura Akemi roleplay account .

all fandoms are welcomed .

[mwyoomi]

Myoomii ☆ Phos !! Magical girl who saves the world from homework and mild annoyances!!

HEIII!! I'm myoomii / phos! I'm a self taught artist nd I love posting art / comics of my ocs!! I'm also rlly into danganronpa , land of the lustrous , and madoka magica!!

I ALSO HOST A COUPLE OF DANGANRONPA / KILLING GAME RP SERVERS ON DISCORD! I might post comics abt them on here but idk we'll see!!

ANYWAYYY!! that's abt it 4 my intro!! pls hmu if u wanna b friends pleeeeek!!

[mystybelle]

Most livable fantasy world

Add others in the comments, I wanna see something

[raincloud-fanfics]

Hay! So i really wanna Role Play and have been struggling to find partners. I am 17 (almost 18) and looking for people to do NON SEXUAL role plays.

I am a Horror and Angst fan, but fluff is fun too. I manly use OCs, but if you wanna do cannon characters, that's fine.

Fandoms

•The Magnus Archives

•Genshin Impact

•Demon Slayer

•Madoka Magica

•Marvel

I am also fine with doing role plays that are more bast in reality, or just made up by one of us!

Don't contact

•ProShip

•younger then 14 or older then 30 (its just for my own safety and comfort)

•racist or fascist

I use Discord for my role play, so just reach out and maybe we can see.

[findroleplay]

All characters involved in NSFW are 18+!

Hello! I'm 26 and I'm an avid roleplayer! Roleplayer is my life, and today I'm looking for some partners to roleplay some Sonic the Hedgehog Sonic × Shadow roleplays!

I DO NOT ROLEPLAY WITH ANYONE BELOW 18. I will not under any circumstances roleplay with anyone who is under 18.

As for writing length, I'm looking for a partner who could play as a dom/sometimes switch Shadow and match my length at 2-4 paragraphs, sometimes even more. I sometimes break discord limits as well depending on what's happening in the rp. (Smut doesn't have to be invoked)| also prefer heavy adult themes, including things such as hurt/comfort, angst and more!

This is going to sound like a bizarre idea but please stay with me here! So I am looking for a partner interested in a unique

AU: Madoka Magica! You don't have to know anything about the anime, I can explain it and if anything it's fun having you go along with the ride.

Basically the AU goes like this: Shadow is an orphan and the older brother to Silver. Similar Ark things happen except it's at a private manor where Gerald is a scientist that adopted Shadow and Silver in order to basically use them for research into these creatures called Witches that are responsible for all the curses and misfortunes in the world, and the magical hunters that slay these witches. These hunters get a wish in return to making a contract to fight Witches, to which Gerald wants to use that wish to save Maria. Later on, Maria ends up making a contract herself so she can fight by Shadow's side and support him.

Similar Ark stuff happens but here Maria falls into despair during the invasion which causes her magic to corrupt and turns her into a Witch.

Shadow is forced to slay her, and from there on it's been Shadow and Silver alone as the only survivors left of the invasion.

The rp would begin where Shadow takes Silver and they make it to a city with only the clothes on their backs. Here Shadow meets Sonic, a fellow hunter to which things go from there. I know the idea sounds crazy, but give it a chance and I promise it'll be very interesting. We also don't have to include sex at all either.

#literate rp #discord rp #roleplay #rp #tumblr rp #fandom rp #mature rp #sonic au #sonadow #sonic the hedgehog #sonic fandom #Sonic RP #angst #literate roleplay #mxm roleplay #mxm rp #mxm #puella magi madoka magica #pmmm madoka #pmmm

-

[depressedindivisual]

All characters involved in NSFW are 18+!

Hello! I'm 26 and I'm an avid roleplayer! Roleplayer is my life, and today I'm looking for some partners to roleplay some Sonic the Hedgehog Sonic × Shadow roleplays!

I DO NOT ROLEPLAY WITH ANYONE BELOW 18. I will not under any circumstances roleplay with anyone who is under 18.

As for writing length, I'm looking for a partner who could play as a dom/sometimes switch Shadow and match my length at 2-4 paragraphs, sometimes even more. I sometimes break discord limits as well depending on what's happening in the rp. (Smut doesn’t have to be invoked)I also prefer heavy adult themes, including things such as hurt/comfort, angst and more!

This is going to sound like a bizarre idea but please stay with me here! So l am looking for a partner interested in a unique

AU: Madoka Magica! You don't have to know anything about the anime, I can explain it and if anything it's fun having you go along with the ride.

Basically the AU goes like this: Shadow is an orphan and the older brother to Silver. Similar Ark things happen except it's at a private manor where Gerald is a scientist that adopted Shadow and Silver in order to basically use them for research into these creatures called Witches that are responsible for all the curses and misfortunes in the world, and the magical hunters that slay these witches. These hunters get a wish in return to making a contract to fight Witches, to which Gerald wants to use that wish to save Maria. Later on, Maria ends up making a contract herself so she can fight by Shadow's side and support him.

Similar Ark stuff happens but here Maria falls into despair during the invasion which causes her magic to corrupt and turns her into a Witch.

Shadow is forced to slay her, and from there on it's been Shadow and Silver alone as the only survivors left of the invasion.

The rp would begin where Shadow takes Silver and they make it to a city with only the clothes on their backs. Here Shadow meets Sonic, a fellow hunter to which things go from there. I know the idea sounds crazy, but give it a chance and I promise it'll be very interesting. We also don't have to include sex at all either.

[findyourrp]

Eh…Hi!  Apologies if I didn't phrase this well—I'm not great at this whole post/message thing. But hey, if you're interested, shoot me a DM! The names Bandage (or Bandy!), I’m 19! I’m sort of looking for long-term fun RP's! But also new fun friends to hang out with! People I can headcanon and rp with! In terms of roleplay style, I prefer a semi-lit to lit approach, typically writing around 1-3 paragraphs or more if the inspiration strikes. But that doesn’t mean you have to! My response time can vary, so I'm totally cool if my RP partner takes their time too! Sometimes I’m a dummy and forget to respond haha! About me! - I’m a furry so expect a heckton of furry/furry-themed ocs haha! - I can attempt to adapt to any RP length If that's something you're into then great! - Respond quickly to most RPs. {though note i am a scatterbrain so if i forget! Don’t be afraid to judge me!} - I love to hc a lot! - SFW or NSFW RPs are fine with me. For NSFW I prefer MxM haha

Note if we DO do NSFW, most of my ocs are gay and bottoms :D

Fandoms I like and don't mind rping are Animal Crossing Aggretsuko Beastars Danganronpa FNAF  Ever After High Dark Deception Monsters Miraculous Puella Magi Madoka Magica

Here are my characters for you to take a gander at. 

Here's kinda what I'm looking for what I'm seeking in terms of roleplays/headcanons:

I'm all about that world-building and fantasy vibes, creating unique and immersive settings.

I'm open to both NSFW and SFW scenarios—variety is the spice of life! We can mix it up or focus on one, or even just keep it to headcanons.

I love the idea of our characters and stories evolving beyond our initial concepts, letting them grow and change organically. Let's see where the journey takes us!

 I like to talk about our OCs a lot.

If ya can’t RP! No biggie! I don’t mind HCing and coming up with funny little scenarios or what iff ideas I do ask you’re at least 18 plus in terms of NSFW! 

Here's what I'm looking for in potential RP partners: I do ask you’re at least 18 plus in terms of NSFW!

Let's be more than just RP buddies; let's be friends outside the character realm too!

Bonus points if you're into drawing or appreciating art—though not a must, I totally dig it!

Got a real passion for OCs? We're gonna get along just great!

IF YA INTRESTED! Either comment here or message me 

🦝🦝🦝

.

[1-ask-madoka-kaname-1]

Please do keep in mind that this blog is only for fun and should not be taken as canon!

Hello! I'm Kaname Madoka, you can just call me Madoka tho! :3

Welcome to my blog, hope you enjoy it here! ^_^

Before you go asking me stuff please do keep in mind I may be unable to answer some your questions, not because I don't want to but it might be too personal or I just don't have time or it's just a bit weird, so please be careful with what you say! >_<

Other then that don't be scared to ask me anything, I'd be more than happy to answer! ≧◡≦

{Ooc; Just a reminder that, Madoka is 14 so none of that weird shit, there will be headcanons so if some headcanons don't match yours then don't be upset cuz a real person is behind this blog, I also don't have a lot of experience running rp/askblogs so y'know

Anyway yeah headcanons will be below

-Madoka uses She/They

-Madoka loves cats and plan's on getting one

-Madoka's favorite pastry to bake and eat is cupcakes, she loves to decorate them

-Madoka really loves getting her friends gifts

-Madoka's favorite type of songs are: Upbeat music, depressing lyrics

-Madoka loves using emoticon's (e.g, :3 :D >_<)

{Ooc; Just some extra stuff, please don't vent in the askbox, if you really feel like you need too go to another blog that allows that, basically do the bare minimum and have some kind of decency if I feel forced too I will add a dni list and/or turn off anon, also no godmod like don't write her for me or whatever y'know

Also when ooc you can call me Blue or Silver idc which one, I go by He/They thumbs up emoji

I hope you enjoy your stay! (^▽^)

That is all for now, more will be added later as time progress's!

{Ooc; I wanted to put these images with the main stuff but I couldn't find a good place to put them so uh

{Ooc; Also if you don't know who Madoka is uh first off why are you here second watch Puella Magi Madoka☆Magica

[cafeaubandage]

NEW MAGI DROPPED YALL!!

[madoka-kanames-blog]

Hello, I’m Madoka Kaname!

[tofu-the-jester]

Okay, I'm starting a D&D campaign for the first time, but I'm having difficulty thinking about story beats.

Instead of your usual D&D stuff, we decided to go with magical girls, and I'm very inspired by the story of Madoka Magica, but I don't just wanna straight up copy the story for my campaign. I already have ideas for main NPCs, villains, side characters, but I want input on what would be interesting for the actual story.

Currently what I have is that they all start in senior year of high school, we let them all meet each other and get along, after which is when the plot starts. Girls in their grade seem to be going missing, no one can figure out why or what's going on. One night of group karaoke later, they come out to a battle between two groups. One seemed to be just one magical girl and the others looked like a bunch of circus performers. The circus performers take something from the magical girl and escape. The group approach the magical girl and learn this is essentially the Queen of magical girls, but her power was just taken from her, the only power she has left is to grant wishes that could turn them into magical girls. Obviously they become magical girls.

After they encounter the circus performers again, and this time they have these terrible looking monsters on their side, distorted wrecks of vaguely human beasts, as well as a clown girl who also seems to be a magical girl like the group. Turns out the monsters and clown girl used to work for the Queen, yet once they were powerful enough, the Queen killed them and took their power. All that remained was the charms which let them turn into magical girls that held the remains of their souls. The circus performers found as many of the charms as they could, and stole the Queens power to try and bring these girls (the girls who went missing at school) back to life, but instead they turned into barely sentient monsters that began to destroy everything, the only one who came back in a stable form was the clown girl.

Basically it turns out that the players were working with the villain the entire time, and have to deal with the fact they killed off monsters that used to be girls just like them.

Now that's cool and all, but how do I fill in the time between the start and end? What fights should there be? Should I change some of the plot I have already? Any side quests I should give them? Anything helps, the campaign isn't until December so I have time, I'm just very nervous with this being my first time dming.

[xx-n1ko25-xx]

MADOKAA!!!!!!!!! PLEASEEEE DONT GOO!!!!!!!!!!!!!!!!

"Ah.."

*He looked down, he seemed to hesitate, whether to say the words or stay quiet*

*He let out a low sigh, as he muttered the words under his breath*

"Sorry, i've got to go meet the others now. I dont know when but i will see you again, Homura. Promise, so until then make sure to take care of yourself, okay?"

(OOC:RAGHHH, i was in my other account and did not see the ask!! Im sorry˚‧º·(˚ ˃̣̣̥⌓˂̣̣̥ )‧º·˚)

[waterfall-ambience]

In Stars and Time and Procedural Rhetoric

This semester I got the opportunity to write one of my final essays on ISAT for my media studies class. I had a lot of fun writing this (I actually initially surpassed the word limit OOPS), and, if time, motivation, and energy permit, I might end up writing more essays on ISAT because I have so many thoughts about this game. But in the meantime, please enjoy!

'In Stars and Time and Procedural Rhetoric' or: 'How ISAT uses medium of video games to tell its story'

Contains mild spoilers (talking more about game mechanics and thematic ideas than the plot itself), except for the penultimate paragraph, which has spoilers for the end of the game.

Video games are a unique art form in that they can tell engaging stories using the interactive aspect of the medium. The process of doing so, using game mechanics to convey the story’s messages, can be described as ‘procedural rhetoric’. Ian Bogost developed the idea of procedural rhetoric in the 2000s to describe the way that systems could create rhetorical arguments (Bogost 2) through established rules and processes. It has since become a key framework to analyse video games and how they can convey arguments and produce meaning.  ‘In Stars and Time’ (ISAT) is a 2023 roleplaying game by Adrienne Bazir that is exemplary in using procedural rhetoric to tell its story. The game follows the protagonist, Siffrin, as he becomes trapped in a time loop just as he and his friends are about to finish their adventure and defeat the final boss, the King, who has taken over the House of Dormont and frozen the country of Vaugarde in time. Siffrin relives the same two days on repeat, and over the course of the game, he descends into despair as his situation becomes increasingly hopeless. This essay aims to use Bogost’s ideas of procedural rhetoric to examine how ISAT uses its mechanics and mediation to create an affective response that helps the story convey its ideas about mental health and depression. 

            ISAT’s mediation is key to how its story is told. Video games often have an aspect of intertextuality, and ISAT is no different, as it plays with the concept of the time loop. ISAT works with a player’s understanding of time loop tragedies, such as those in the anime  Puella Magi Madoka Magica, in order to create expectations of how the game’s narrative will unfold. However, while the ‘experience’ of the time loop in Madoka is limited by the audience being passive observers for a short amount of time, ISAT’s player is an active participant in every loop that Siffrin goes through. Because of the game’s interactivity, ISAT is able to help the player empathise with Siffrin on a deeper level than they otherwise would have if the story was told through a non-interactive medium.

ISAT uses procedures to help players empathise with Siffrin through the diegetic aspect of the game’s death loop mechanic. This early synchronisation of player-character experiences helps ISAT begin developing its rhetoric. Whenever Siffrin/the player dies, they loop back to run through the House all over again. While Siffrin can choose to loop back to any point in time, there remains a repetition of going through the same rooms, fighting the same enemies, and running through the same conversations. At first, Siffrin and the player explore the House for the first time, becoming increasingly familiar with the layout, enemies, and puzzles with each loop. The time loop acts as a problem-solving process (Navarro-Remesal and García-Catalán 207), as both Siffrin and the player make progress by learning and exploring the House,  aided by the repetition of the loops. This familiarity and eventual mastery of the House can instil pride or confidence in the player (Hanson 277), especially in the early game. This confidence reflects Siffrin’s disposition during earlier loops, where they are ecstatic in being able to help their friends, even calling their ability a ‘blessing’.  ISAT begins building its rhetorical arguments with processes to help the player empathise with Siffrin, by making their affective responses similar to each other.

However, as the loops go on and the House becomes extensively explored, the repetition becomes tedious. This negative affective response is intentional. Many games require an element of repetition to gain mastery over the environment (Hanson 275), and ISAT is intertextual in how it expects players to be familiar with the repetitive process from playing other games.  However, in keeping the player in an already mastered environment, it flips that expectation on its head, prolonging the repetition beyond the point where it feels ‘natural’ in a game. The tedium the player feels reflects how Siffrin feels as they spend longer in the time loop and become increasingly desperate to escape. This synchronisation of experiences relies on the game’s mechanics being paired with its writing, and so can be considered 'procedural rhetoric' because it conveys how miserable the time loop experience is through coded processes. Character narration and narrative progression is used to supplement this idea, but much of ISAT’s rhetoric regarding this aspect is conveyed through synchronicity of affect created by the diegesis of the game’s mechanics.

The mechanics supplementing the time loop are also used to develop the game’s rhetoric. As the loops go on and Siffrin begins to unravel, it becomes increasingly clear that the loops exacerbate Siffrin’s mental illness and act as a metaphor for depression. This part is done more through the ‘text’ of the game than the interactive aspect, as Siffrin’s internal monologue becomes darker and darker, and his character portraits in the game’s menus begin to look more exhausted and unwell, while his friends remain blissfully unaware. While more textual than other aspects, this is still an example of procedural rhetoric because these changes only occur after certain checkpoints in the game’s code have been passed, and are used to argue that depression can be deeply isolating; that suffering alone begets suffering.

It is in the design of the combat system that ISAT’s argument about the nature of mental illness becomes clear: mental illness, especially depression, is a profoundly isolating experience. This is conveyed by the distance that the game creates between Siffrin and his friends. The key mechanic is that Siffrin keeps all their experience points from the loops, while their friends get reset after each one. As a result, Siffrin levels up faster than everyone else, gaining more powerful skills that surpass the combat niches that were initially filled by other characters. The game’s battle system is built on the idea of Rock Paper Scissors. At first, each character has a ‘type’ of attack they could use and a secondary effect. For example, Siffrin is scissors type and speeds up attacks, Mirabelle is scissors/paper type and heals, and Isabeau is rock type and boosts defence. However, as the loops go on, Siffrin accumulates more powerful skills. Siffrin gains rock and paper attacks, as well as healing abilities, incentivising the player to rely on Siffrin. Siffrin eventually becomes the strongest, most versatile character in the game, while the others become comparatively weaker. While the party starts the story working as a team, by the end of it, Siffrin is a one-man army. The difference in strength between Siffrin and the party conveys distance between them, with Siffrin remembering a host of painful experiences that their friends do not. This connects to the idea of the time loop as a metaphor for depression, because Siffrin becomes more isolated from his friends the longer he suffers in silence. Siffrin becoming self-sufficient in combat also reflects and ‘justifies’  their mentality that they can handle everything alone. This thematic link between the game’s mechanics and Siffrin’s mental state helps the player understand them as a character, and helps in the player’s emotional investment in the story. The use of game mechanics also ties into Bogost’s ideas of procedural rhetoric, because this portrayal of mental illness and isolation is developed primarily through the processes of the game itself (Bogost 3 ). This rhetoric also relies on ISAT’s mediation as a video game because the interaction and the game’s rules are vital to incentivising the player to make decisions in the same way Siffrin does, understanding why he believes certain (albeit unhealthy) things about himself.

The enemies in the House also stay at the same level throughout the game, while the party (particularly Siffrin) becomes stronger. As this happens, the combat becomes easier and less rewarding, creating a sense of tedium. This reflects how Siffrin feels that there is no reward to fighting enemies, or doing anything other than escaping the time loop. This is especially applicable to the King, the final boss. As the King fights become easier, Siffrin begins interrogating him for information. The party sees this behaviour as absurd, but Siffrin and the player have grown to see him merely as an obstacle rather than a nigh-undefeatable threat. This ties into ISAT’s rhetoric about depression because it shows that not only can mental illness create feelings of isolation and loneliness even when surrounded by others, but it can also erase any feeling of achievement or meaning in one’s actions. This aligns with Bogost’s ideas of procedural rhetoric because this tedium and understanding of the pointlessness of Siffrin’s actions are created through the pairing of ISAT’s writing with the game’s mechanics.

Outside combat, the game mechanics relating Siffrin’s interactions with their friends reflect how their relationship with them changes as the loops progress. Early on, the player gains the ability to skip through conversations that they have seen before. While primarily for the player’s convenience, this ability is framed as Siffrin ‘zoning out’ and not paying attention. This makes little difference in the early game, because most of the party’s conversations are new. ISAT’s character writing endears the player to Siffrin and their friends at this stage, helping them form an emotional attachment that reflects Siffrin's bond with each character. However, the number of novel conversations decreases as the loops progress. The player might use the ‘zone out’ function sparingly at first, out of curiosity that something might change, but use it more liberally when it becomes apparent that most conversations will remain the same. This is used to convey Siffrin’s boredom, but also it creates distance between Siffrin (and the player) and the rest of the party, which reflects how depression can leave someone feeling isolated from the people they care about.

Each party member also has a ‘friendship quest’ that becomes available in Act 3. Each quest brings Siffrin closer to their friends as he begins to understand them better. ISAT’s writing is emotionally compelling on its own, and after the completion of the quests, Siffrin begins the loop with a stronger bond to them. The game’s menus even correct themselves; the cast are no longer called Siffrin’s ‘allies’ or ‘friends’, but rather ‘family members’. The friendship quests are also strategically rewarding. Each party member gains a special, powerful combat skill, only obtained from completing the quest in a particular loop. When the loop resets, they lose the skill, and Siffrin has to complete the quest again to regain it. He and the player can choose to go through the motions again, even after the emotional impact has worn off. Combined with the ‘zone out’ function, ISAT’s rules and processes convey how Siffrin gradually loses connection with the party, eventually growing to see them as ‘actors’ reciting lines rather than the people they once called ‘family’.

Siffrin’s festering loneliness culminates in their breakdown at the climax of the game, where their distance from the party and their desperation to escape the time loop causes them to hurt the people they care about. While the character writing makes Act 5 emotionally challenging, the player understands why Siffrin sees the party as ‘actors’, as they have been going through the same ‘lines’ and conversations that Siffrin has, on repeat. It is through the combination of the game’s writing, mechanics, rules, and processes that ISAT creates an affective response in the player over the course of the game that amplifies Act 5’s emotionality. It is these affective responses that help the player understand Siffrin’s mental state, and how their coping mechanisms have driven them to despair. The time loop is only broken when Siffrin finally tells the party that he wished to stay with them for longer, something that they had previously been too afraid to admit. In pairing the narrative progression with the player’s affective responses created by the game’s mechanics, ISAT argues that the first step of breaking a depressive spiral is to open up to people you trust, and admitting that you need help.

ISAT utilises procedural rhetoric to create an affective response in the player that helps the game convey arguments about the experience of mental illness, namely that depression is an intensely lonely experience, that it can create distance between yourself and the people you care about, suffering silently perpetuates misery, and that admitting that you need help is key to breaking the cycle. The diegetic time loop mechanics synchronise the player’s experience with Siffrin’s build empathy, and the game is designed to be sometimes frustrating and tedious to communicate how Siffrin’s depression gets worse over time.  In using programmed mechanics and interactivity to create an affective response in players, ISAT communicates complex ideas about the nature of depression that would otherwise be limited if the story were told in a non-interactive medium, showcasing how video games are a unique art form that can be used to create meaningful narratives.

Works Cited

Bogost, Ian. Persuasive Games. The MIT Press, Cambridge, 2007, http://dx.doi.org/10.7551/mitpress/5334.001.0001, doi:10.7551/mitpress/5334.001.0001.

Hanson, Christopher. “Repetition”. The Routledge Companion to Video Game Studies, edited by Mark J.P Wolf and Bernard Perron, 2nd ed., Routledge, 2023, pp. 275 - 281.

Navarro-Remesal, Victor and García-Catalán, Shaila. “Try Again: The Time Loop as a Problem-Solving Process in Save the Date and Source Code.” Time Travel in Popular Media: Essays on Film, Television, Literature and Video Games, edited by Matthew Jones and Joan Ormrod, McFarland & Company, 2015, pp. 206 - 218

[clarafell]

new to the pmmm rp scene but my blog is not finished yet but do you know of any other active pmmm accounts besides yours?

unprompted / always accepting

Hello there, anon!

First off, welcome to the pmmm rp community!

I'm happy that you came to me because this moment gives me the chance to happily promote my lovely mutuals!

Neg from @heartbinders offers lovely versions of Homura and Madoka on their multi-muse blog as secondary muses. Neg's Shinji Ikari (from the Neon Genesis Evangelion franchise) also has a pmmm verse, if you are interesting in writing with some non-canon pmmm characters. Overall, there are a lot of characters on Neg's blog. She is really friendly and passionate with each of her muses!

Next has to be the creative Ryn. She is a rather unique case because both of her blogs contain connections to pmmm world, which is something that I adore. First, I have to share her OC blog ( @wolfvirago ) because Robin is an amazing character. Naturally, Robin has a pmmm verse. However, there is also her multi-muse blog ( @shibemuses ) that offers a large amount of pmmm muses. There is Madoka, Sayaka, Homura, Mami, Nagisa, and even Kyubey. Isn't that wonderful? The best of both worlds! Of course, her multi-muse has other options beyond the pmmm world. (But make sure to still check out Robin, though! Original characters, even if they don't have a pmmm verse, deserve the world!)

Next has to be Kasy from @deathdanse, which is a side blog to her @misfxts blog. Kasy is another fascinating blog because her pmmm muse comes straight from the spin-off called Puella Magi Tart Magica. Now, if you don't know... Puella Magi Tart Magica follows the story of Tart, the very same historical person that would later become Joan of Arc. While Kasy does not roleplay Tart, she does roleplay a very fasinating character called Corbeau. She is both seen in the Puella Magi Tart Magica manga, but she did indeed get featured in the Magia Record app. Magia Record brought Puella Magi Tart Magica to life. Either way, read Puella Magi Tart Magica. It's a classic. More historical spin-offs should exist in the pmmm franchise.

Here are some more pmmm options for: @nagarese @hogarsis @gracelessflame @phntasmgoria @duessperare @starsgifted @rosecoloredmuses

(Siiigh. I'm sorry for some of the mentions not working completely near the end... Tumblr is being rather rude on how many mentions you can do on your blog. It's annoying, but there's nothing that I can do about it. Either way, I highly suggest that you go check out those blogs!)

Like I have mentioned in this other anonymous ask, the pmmm rp community is pretty tiny. It is my hope that the Walpurgisnacht Rising movie will attract the growth of the community because I would love to see more pmmm blogs. The overall growth of the whole pmmm community, rp or not, will flourish with the release of the Walpurgisnacht Rising movie. Thank you for the ask, anon! ♥

[2000semocat]

I never made a pin or even an introduction, so here it is!

My name is Scourge or Aster, and I'm a silly artist who is trying to make a living off of art as of now. I am a 19 year old college student who has been drawing ever since I was in elementary school. I'm still finding my style, so my art quality may change drastically.

I usually ramble about things I love or things that somehow anger me (which is rare, as I don't usually rant about things in public). I also am the creator of an upcoming Marble Hornets AU where mostly everyone lives, and a test subjects AU where I compiled the characters I have been recently brainrotting about! I also have a small universe I'm working on for my persona, Scourge, and her whole family. I only have a few designs down, and it'll probably be up and going in 5 years.

Current brainrot: marble hornets/Slenderverse, creepypasta, OC's (mine and my friend's) puella magi madoka magica, MLP, hello kitty/Sanrio, ARG's, anything horror related (this also includes body horror), religious themes in art, bug/flower symbolism, early 2000's aesthetics, IT 1 and 2

My other socials can be found here:

I also have some commissions slots open (6/6), so dm me here (or via my discord, scourgethecat67) for faster responses.

And here are my TOS and rules: