#two halves persona

[times-eclipse]

Concept art of a location for my Persona fangame idea.

It's called the Chinvat Bridge.

[jmgangel]

The difference between Souyo and Shuake is so stark but also they are the same To Me.

[kingofdinosaurs]

sorry thinking about minazuki again.

me and the guy who lives in my brain and was probably born from my deep seated repressed understanding that my dad was abusing me and the survival instincts i had beaten out of me in order to become a better human weapon. there to protect me because i can't understand how to protect myself. who is also technically a potential harbinger of the doom of all mankind if he ever really got going but he would never do that to me specifically (FUCK THE REST OF YOU)

vs [deeper voice that's still clearly from the same vocal cords but with a completely different cadence and intonation] me and the mentally ill traumatized human i awakened within who i do my best to protect and care for with my limited understanding of how to do so. who can and has hurt me worse than anyone, to the point that my ingame title references that injury. but to hurt me is to hurt himself, and i would still do anything for him. so no matter what, i shoulder any burden i can manage for him. even to a fault. even to a breaking point.

we rely on each other. two halves of a whole. and yet we cannot admit that we share a deeper bond than many could imagine. it didn't even come to mind. someone else had to point it out. we meant the world to each other while never knowing how to articulate it.

and our persona who is a weird owl.

[phantom-miria]

it is extremely amusing seeing all the people in the notes like "I don't know anything about FE but the Persona pairing calls each other partners" like yeah. it shows that you don't know anything lmao because Chrobin...also does that...and "other half" "two halves of a whole" etc

people should vote however they want but they literally do also use that exact phrasing and other even more dramatic wording to talk about their partnership beyond that

Round 2, Matchup 5

**Remember, you’re not voting for the best ship, you’re voting for which ship fits the partner trope the best!

[odesofmeddea]

forever obsessed with the samdean conjoined twins submotif reiterated throughout and through the means of visualization, symbolism, and text; there's this sheer panic of bodily separation (‘you two are never seeing each other again’ - while shackled in one chain in one cell on one bed; ‘we're in separate rooms?’; banging at the physical and unbodied barriers between them like wild dogs) that bleeds into violence and zeal of the two homogeneous moieties gluing back into one entity, however incongruous and transgressive. transgressive in the sense that this codependency defies expectancy of societal normativity and operates solely in a scope of self- and mutual necessity that turns grotesque, asocial: no, i will not bury my brother's body, says dean, no, i will not burn my brother's body and will preserve it in a casket til he comes back to me, says sam - the idea of flesh rot appears as a wraithlike afterthought irrelevant to their mental corporeal knot. it is also riot against reality. grave will not eat him. death will not take him. demons won't hold us apart. the only association of completeness is related to each other, whether marital, spiritual, or consanguineal, because ultimately the denial, or absence, of any distinction between those is their fusion into synonymity - they are the namesakes of their married grandparents, they were subjected to the embarrassingly blatant realization of being soulmates, ‘i shall be your little brother’ says siren, comingling familial with erotic; ecclesially nuptial, too - spewing oath-confessions in a church. any revolt from either of the halvings against this ingrownness or an attempt for autonomy is stifled by the other until one brother-extremity swallows, subjugates the opposing one, and the pair turns into oneness again: sammy cannot have his own life and his own body and his own sexuality unless it is curated by dean but so is dean cannot have his own thoughts and his own experiences and motifs unless sam is the prime participator, prime confidant, or the object of. there is a dialogue in season iii where sam tells dean that if he cannot save him from death then he has to become dean. if i can't have you through you then i'll have you in me. he resorts to absorption of dean's persona into seity in his denial of separation just because (‘there ain't no me if there ain't no you’). it is a deeply abusive, cannibalistic, intrusive concept that also implies the smothering, terrifying totality of love and all its manifestations both subtle and extreme. it is painful and yet it is not improper because it is sought and anticipated and relished like a final homecoming (‘sam is the age he was when dean died’, ‘like he's been waiting for dean for years...and in a lot of ways he has’). it also happens to be fucking deranged.

[dead-girl-tells-stories]

I have another idea for a story, but I once again don't know what to write, so I'm building a skeleton.

It's a DC x DP x ML crossover. Damien, Marinette, and Danny are triplets born into the LoA. From birth, they were taught to not see each other as siblings but as rivals for Ra's attention. When they were five, they were dipped (more like dropped) into the pits for the first time. Danny never comes back out. The second time was when they were six. Damien and Marinette came back from a mission gravely injured. Marinette doesn't come back out. Damien becomes the sole heir.

As one can imagine, Danny and Marinette aren't dead but simply taken to where they were needed at the time. That being said, things for these two characters go mostly according to their respective shows after they integrate into society. With the exception that the two of them are more competent and don't fight like rabid raccoons. But things take a dark turn when they turn sixteen.

Marinette

. After finding out that his father is Hawkmoth, Adrien is unable to carry the weight of being the holder of the cat Miraculous, as he doesn't want to fight his father and gives it to Ladybug. He promptly moves to the States to further his modeling career. Marinette, unable to find someone else worthy to be the holder of the cat Miraculous, stores it away and becomes the sole hero of Paris (with occasional helpers). But because of this, her two lives get more intertwined, and she is forced into a corner where she has to choose between being Ladybuy or Marinette.

. But she doesn't get a chance as Hawkmoth is dethroned and replaced by an even greater threat. She is forced to take on the persona of LadyNoir. Her life crumbles as she tries her hardest to balance her life as a hero and a person. She tries to save everyone but someone always ends up getting hurt. Whether it be her as Marinette, clinging to what little of her life is left. Or her as LadyNoir, with no choice but to watch innocent civilians die because she couldn't think of a better plan that could've saved everyone.

. It gets to the point where she makes an unforgivable wish. But every wish has a cost. She only finds out the price when she is forced to stand behind an invisible wall and watch as her life replays before her eyes, the film slowly burning away till there's nothing left. She cries as she falls into an ocean of familiar Lazarus green.

Danny

. Danny's life is also crumbling around him as he struggles to separate his human life from his ghost half. But after becoming the Ghost King, things only became more complicated and even more dangerous as more ghosts started coming through the portal to challenge him for the crown. And while he would really love to give it away, the guys that kept fighting him for it are very clearly evil. So he has to keep fighting, winning, and solidifying his position as the King of the Infinite Realms. But with every win comes a newfound power. Power he doesn't want. Power that scares him.

. It gets to the point when Danny has to drop out of school. He wasn't even scoring double digits anymore so what was the sense of keeping him? But Danny couldn't stay home either, it was too dangerous as his ghost and human halves were slowly becoming one. And his parents' obsession was slowly becoming a threat to him. He thought he had the solution. He was going to shut down the portal and leave Amity Park.

. It was perfect really, as no ghost portal meant no ghost. And he couldn't be vivisected if neither the GIW nor his parents could catch him. He talked the plan over with team phantom and they reluctantly agreed. The ghost portal is destroyed, and Danny leaves Amity and files over Elmerton and a few other towns. But after flying for a while, Danny gets to a sort of border where nothing meets... NOTHING. On the other side was just an infinite void. Nothing.

. Danny slowly realizes that in this world, all he knew was Amity Park. He never actually traveled or went on field trips. Never went to visit extended family nor did any visit. No one 'new' ever came to Amity Park because they were all just nearby. He learned no relevant history besides Amity Park because there was nothing outside of Amity Park. When the realization had finally set in the world began to crumble into the void and it became a race against him and the void.

. Danny knew that he was fast but the void was faster, and before he knew it he was back in Amity. He was going to warn them and try to save as many people as he could. But saw something in their eyes. They already knew. Danny watched how teary eyes and big smiles, everyone and everything he loved crumbled into the void, fading into nothingness.

Scientists across the galaxy, the universe even, often theorize about how everything came to be. Well, it didn't start with a bang, that's for sure. 'Well then how did it start?' you might ask.

Well..., it started with some tears and a scream.

[allgirlsareprincesses]

I am Venus: Folktale Motifs in Queen Charlotte

Adapted from my 2023 Twitter thread

How the love story of George and Charlotte subverts the classic animal bride and groom tales for a new generation:

We begin with clear swan maiden motifs, with Charlotte as the captured bride betrothed against her will. When the dowager princess refuses to allow her to wear the wedding gown she selected, this is stealing the animal skin (or power) of the animal bride.

What’s more, George’s mother insists she wear an English wedding gown. Clothing the bride claims her for the mundane world, separating her from her otherworldly home. In a typical swan maiden tale, she would flee the moment she recovers her stolen skin.

Then comes the first subversion of the tale: George gives her the option to leave, symbolically returning her animal skin and her power. And Charlotte chooses not only to stay, but also to wear her own wedding gown, thus claiming his world as hers.

Next we see Fruit Maiden motifs, as Charlotte is twice prevented from picking her own oranges. In these tales, the prince cuts open two oranges before discovering his true bride in the third. When Charlotte finally picks her own orange, she once again claims her power.

Later, we see hints of Star Lovers. George has already mentioned his interest in astronomy, but now we see his observatory. This fascination with the heavens and his role as monarch suggests that he is a star husband and Charlotte is his mortal bride.

However, Charlotte also originally called him a beast or troll, and as we see more of George’s mental health struggles, we realize that he does indeed see himself as the animal husband, unworthy of his celestial bride.

When she discovers him in the garden calling to Venus, Charlotte explicitly associates herself with the planet and thus with the goddess of the same name. It turns out SHE is the star bride after all, and George is the mortal husband.

In fact, as the king associates more and more with his "Farmer George" persona, even using this knowledge to assist Charlotte in birth, it becomes clear he is the earthly husband, always digging down while gazing up.

He allows himself to be practically buried in the cellar under the doctor's horrible "treatments," and hides under the bed to escape the sight of the heavens. His only light is his wife, descended from the sky of her own choice.

Mythically, the monarch is the conduit between heaven and earth. When Charlotte the Star Bride meets George the Earthly Husband in the middle, two halves become whole, and they are able to rule together.

Swan Maidens, Star Brides, and Fruit Maidens are nearly always captive brides. Their agency is not a factor in most folktales, but Queen Charlotte turns this on its head by making its heroine a goddess, giving her the power and choice to love as she wishes.

This story's thesis is vital in today's world where nothing seems certain: that life is lonely, so if you are fortunate to find your person, you choose to love them even when it's hard and painful. That feminine desire matters at every age. And that love can work miracles.

[nekumiho]

persona 3 reload came out yesterday so Naturally i was obligated to finally do a finished piece with my silly velvet room attendants submas au. alt versions, lore info, and misc doodles under the cut o__o (attendant related p5 spoilers mentioned). also sorry for the eyestrain.

protags they attend to are Fellow Twins hilda and hilbert who always just get referred to as 'passenger(s)'. velvet room manifestation is the inside of a subway car, no i havent worked out what that symbolizes to hilda and hilbert, dont worry about it. but i think whether its visibly in motion or not wld depend on the protags' mental state, one side of the windows for hilda and one for hilbert. mostly dark empty with no visual movement outside the windows w/ maybe a flickering station light somewhere or a visibly blocked tunnel for when theyre feeling stuck in life, default would be like a well lit platform outside of the window with faceless shadow people walking around, how crowded it is depends on their progress with social links. high speed through the tunnels with their half of the car rocking violently when there's high stress super dire stuff going on, steady movement when theyre making progress with something, etc etc

their brassards HOPEFULLY translate to 'down' (χάμω) and 'up' (πάνω) in greek??? i wanted smth like caroline and justine's hats but also not The Same and uhhh yknow. persona 3 and greek mythology are pretty :handshake:.

i dont wanna steal margaret's eldest sibling clout so i think physically ingo and emmet would be younger than her but only barely. margaret is literally the only attendant i can see being physically over like 35 and i need sbms to be mid thirties at like the bare minimum. theyre highkey disturbed whenever lavenza willingly splits herself back into caroline and justine. weirded out by the other 'twins' in general bc they're not even Real twins. they gatekeep being twins. if anyone asks "so are you guys also just two halves of one person" it will be the most offensive thing you could ever say to them. elizabeth and emmet bully theodore together. ingo doesnt dislike theodore but just kind of forgets he exists because the twins are always being like "my brother, [name] (pauses and remembers theodore), i mean, ONE of my brothers,"

emmet is very :handshake: with elizabeth while ingo is very :handshake: with margaret. they both have their own fave sisters whoops. (sorry lavenza). in any sort of 'dancing game' scenario theyre both awkward as hell. very theodore core in general with emmet having some of the elizabeth vibes of just 'i am just never going to stop making random jerky body movements' ingo is a BIT more stiff. but like in general i think theo's way of life and elizabeth's aria of the soul have pretty good ingo and emmet vibes respectively. if i ever learn model editing beyond texture replacement its so over for my mmds.

i love igor dearly but i think since there are Two of them they can kinda handle stuff on their own while igor helps with Other persona protags in their respective rooms? emmet says shit like "YEAH FUCK IGOR THIS IS OUR LINE!!!!!!!!!!!!" and ingos like "emmet be nice thats still our boss and the only reason he let us be in charge is because hes busy".

ingo handles all persona fusion stuff and emmet does storage/organization/other misc stuff and gives you p3 elizabeth styled quests. they can both be social linked because i say so. emmet is justice arcana and ingo is judgement. emmets quests are the only way or at least the main way to increase your social link with him and if you dont finish one of his Special Request ones you lose your link with him. one of the special requests is to take him and ingo to see a real subway station 100% because theyve never seen one.

of all the other velvet rooms, they like the p4 one the most because the inside of the limo is the closest to the subway car they're familiar with but i think theyd like the p3 one too for the possible rocking motion of the elevator eternally going up

thats all i can think of right now i THINK thats everything??? so heres an original concept sketch,

and also a funny emmet quest moments doodle

oh yeah emmet really fucking loves jack frost because they have similar vibes. ingo, on the other hand, is a big pyro jack fan.

[yuseirra]

**persona 3 spoilers**

after drawing the previous comic with aigis and the protagonist, this popped into mind:

since he has ryoji who understands him thoroughly, I believe he won't be so lonely. They're basically two halves of the same person in a way, they share the same fate too.

So they will both be fine together.

[ratlesshonret]

Song Analysis - Children of the City

Part 0 - My Ramblings, or Whatever

Hello everyone, my name is Honret, and today I am going to be doing the long-awaited Children of the City analysis that I have been teasing for far too long.

Of course, this isn't my first rodeo with song analysis. I've analyzed quite a lot of mili songs on r/mili, over on Reddit. So why am I doing this on tumblr? Partially for reach/exposure (r/mili is tiny,) and partially because I'm liking using Reddit less and less every day.

If people like this post, I might do more, or even repost my old analysis pieces on r/mili over here so they can be archived in a neater way.

Anyway, let us get on to the actual song. This analysis will contain spoilers for Library of Ruina.

Part 1 - Analysis of the Lyrics

This song is arguably rather short in terms of number of lyrics for a mili song, so let's get right into it.

Also, to get this out of the way immediately, this is a Character Song for Yan Vismok from Library of Ruina. If you're reading this, you probably already know that, but if not then it is very important information to know.

Sleep for a total of eight-hundred hours per day And drink a liter of milk Warm-up before you go play

Immediately, this beginning part seems to be almost satirizing the nature of the Prescripts. Obviously, sleeping for 800 hours in a day isn't possible, and drinking an entire liter of milk is uncomfortable for most, but they feel like things a Prescript would order someone to do. After all, they frequently demand impossible and seemingly random actions from the recipient.

Only eat or write Or pull the trigger with your right hand Only thing that's left Is to work on following commands

This next section seems to be referencing the suppression of left-handed people in the past, and relating that to the oppressive nature of the Prescripts. They order you to do uncomfortable things you might not be skilled at, just like a left-handed person may have been ordered to eat or write with their right hand.

The second half ties it back into the main theme by making it about following commands. The people who follow the Prescripts are, in a way, constantly being commanded to do things, with the fear of death if they don't follow. In that way, they're constantly being trained to unquestioningly obey a higher power, just as left-handed people were made to obey the command to be right-handed.

(This part also makes me headcanon Yan as a leftie)

By the time you realize You'll be restrained to a desk And with your dreams on the floor, you comply Eyes chained to the test Find a groom or bride, bonus if brunette In ninety hours, spill their insides Paint your room picturesque

This section is long, so like the last part, I'll split it into two halves.

The first part seems to broadly reference life in The City itself. By the time you've realized you're being trained to follow random commands, you're already figuratively tied to a desk, your only option to comply further with the commands due to having already given up so much.

Yan himself seems to have given up a lot to the Prescripts. Its heavily implied he's killed loved ones, and done other horrible things just for the Prescripts, with his only reward being to become the Messenger who delivers Prescripts to others just like him.

With his dreams figuratively on the floor due to the Prescripts, all he can do is comply.

The next lines seem to continue to drive in the ludicrous nature of the Prescripts. Finding someone to marry within ninety hours is a tall order, especially if you're encouraged to focus on just brunettes. And of course, the typically-violent nature of the Prescripts is also brought up, with the next command in this sequence being to kill the very person you just married. Its also a massive tonal shift in the song.

Now it's time for another vendetta Going through the shelves, picking out my pre-written persona Children of the city sees only the neon stars Reflected upon the murky gutter sky Don't ask me why I desperately wish to be included in The City's night

The first line here might be referencing how Yan has picked up a lot of vendettas in his time delivering the Prescripts. Or at the very least, he feels like people hate him for delivering their Prescripts, just as he hates the Prescripts themselves. After that, the part about a pre-written persona seems to imply that Yan is never being his true self. All he can do to avoid the pain of what the Prescripts demand is to pretend to be someone else, a persona.

This next part is likely a metaphor, and one that I've still had trouble parsing. It could be implying that the "children of the city," which is likely those who work under the Index, or more broadly those who follow what The City desires, only see the bright neon stars, and not the dark murky gutters they're reflected in.

Finally, Yan says that he wishes to be included in The City's night, but he doesn't know why. This, to me, says that he has a secret desire to follow what The City wants of him, so that he may finally be included, rather than feel the same exclusion he's felt his entire life as a Messenger of the Index.

In four-hundred thousand meters, turn right

A nice little metaphor, comparing the Prescripts to a car's GPS system.

Pick up a knife and stab a familiar warm body Learned to fight before I knew love or bitterness of coffee Snippy scissors cut down the strings, I set myself free Only to figure out everything I chose was by proxy

The beginning of the second half of the song here seems to be implying that Yan has definitely killed people close to him before, almost definitely because the Prescripts ordered it. Furthermore, he has been doing this from a young age, as it was "before I knew love or coffee," which very much seems to be telling me he was young.

The next part of the song seems to focus on the events that led Yan to Distort. He forged Prescripts to cut himself free and establish his own free will, but everything he chose was "by proxy," as the real Prescripts told people to follow Yan's fake Prescripts. His betrayal was forseen and intended all along, and his will was never his own.

As we suckled upon the nine-millimeter pacifier Swallowing the fact that other than to expand, we had no purpose As my ever-burning will to stay afloat backfires I now know I must be comfortable Being who I considered worthless

I think the part at the start of this verse seems to be implying that suicide is a common thing among people in the Index. After all, when your will isn't your own for long enough, you may consider doing something drastic to get it back, or even just to rebel, such as committing suicide. There's also probably people who have been ordered to kill themselves by the Prescripts.

The next part is more about Yan in particular. His desire to stay afloat backfired, in the sense that the very act of clinging to his free will made it hurt him even more when he realized that his actions were all just controlled by the Prescripts, and by extension, The City. So in the end, the very people who he considered worthless, those who just follow orders like sheep without caring where they're from, are in fact just the same as him, even if he didn't realize.

Follow the city's ribbon To a heart nobody seems to listen It takes my heart being broken and broken again (Broken and broken again) To know that I am the reason why (The reason why) The sufferings never end

Yet again, let's take this from the top.

The first lines are probably referring to Yan finding the "God of The City" responsible for producing the Prescripts. After all, he was following a Prescript that led him straight there, and its a place that almost nobody else knows about.

The rest of this verse seems to be Yan talking about the pain he's felt delivering Prescripts. After all, he seems to blame himself for all the pain caused by people following the Prescripts he delivers as a Messenger, which is probably why he says that its partially his fault that the suffering in The City doesn't end.

It could also be referring to his own suffering. His internal struggle for free will, to prove that his actions are his own. Every time its disproven, his heart gets broken again. But in saying his will is his own, he's also saying that him delivering Prescripts that hurt people is his own decision.

This probably ties into why he's so willing to follow the voice telling him to Distort. Once he finally has confirmation that his will is just the will of the City, that its all determined by the Prescripts from the start, he can finally remove all the blame and pain that he's been pushing onto himself and just mindlessly follow the Prescripts.

Now it's time for another vendetta Going through the shelves, picking out my pre-written persona Children of the city sees only the neon stars Reflected upon the murky gutter sky Don't ask me why I desperately wish to be noticed by The City's eye

The only part of this chorus that is different from the first chorus is the final line. It seems to be saying that Yan wants The City to notice him, that he wants it to see his actions. Maybe he feels the The City noticing him would make all of his struggling worth it, or that it'd give his life some meaning.

Do not go home until you finish reading the value of e 2.71 8281 8284 5904 5235 3602 8747 1352 6624 9775 7247 0936 9995 9574 9669 6762

This part is referencing Euler's Number, which is an irrational number, meaning it never ends. The value of this number can never be read in its entirety.

He's never going home.

Part 2 - Summary

Children of the City seems to describe Yan's thoughts and struggles in his life, as he's followed the Prescripts to both his own detriment and the detriment of those around him.

Yan wants his own free will, wants his actions and destiny to be his own. But at the same time, this desire is constantly at odds with Yan's desire to not be at fault for all the pain and suffering he feels like he's caused as a Messenger of the Index, delivering the same painful Prescripts to people that he's been following his entire life.

In short, Yan is in pain. And when he finally gets confirmation that he has no will of his own, that its all the work of the random generations of The City, he finally Distorts into a form that mindlessly follows the Prescripts, feeling no guilt or pain over anything he does.

Part 3 - More of My Ramblings

I hope this analysis makes sense, and that I'm not just hallucinating these meanings to these lines. Yan is one of my favorite new characters in LoR, and I wanted to do him justice by analyzing his Character Song to prove that I am the true Yan Scholar.

If you do have feedback, I'd love to hear it. I want to fully understand this song, and by extension, Yan Vismok himself.

[theoneprecioustome]

Aikoto Moments Masterlist: Episode Aigis

This list will focus on the remake. To see how it fares in comparison to the original, check this post.

Notes:

Since Makoto isn’t actually in the game, most of the list will focus on Aigis' side of their bond as well as the little things that connect them.

There will also be third party quotes about Aigis’ bond with Makoto.

I bolded the most important moments.

The post is image heavy & contains spoilers for the entire game.

When that person died, there was nothing she could do to bear the pain. The machine girl found herself thinking that she had no use for a heart that did nothing but let her feel pain. And thus, the girl's heart became a blue butterfly, which took flight, and the pain in her chest disappeared. However, in its stead, there was now a large, gaping, empty hole in her chest. The emptiness in her chest didn't hurt, but it also did not let her feel anything. She wasn't alive anymore. Nothing but an empty shell, devoid of emotions, cursed to stand still in time where she was forever with no place to move forward to. — Episode Aigis Epilogue, Persona 3 Official Fanbook. Translation by Nenilein.

PROMOS

✤ The Key Visual of Episode Aigis features Aikoto. What's more, it reveals that Makoto in the original P3R art was meant to be looking at Aigis all along, like two halves of a whole.

✤ Soejima released an illustration to celebrate Episode Aigis. The illustration features Aikoto & Metis.

✤ The First Edition of the Episode Aigis soundtrack comes with a double-sided Aikoto box featuring the Key Visual and their AOA attacks. This is what Lotus Juice had to say about it:

"In the cover, you see P3HERO and Aigis looking at each other... if you open it, they'll be separated... like they're almost within reach of each other, but aren't. I wonder if that feeling gets across to fans as well? It's very beautifully done."

✤ SEGA Korea welcomed September with an Aikoto Calendar featuring the Episode Aigis Key Art (alternative link).

✤ HINEMOS released two more Aikoto Sake bottles to commemorate the release of Episode Aigis.

OPENING

✤ Episode Aigis features an exclusive opening & song focused on Aigis' feelings after Makoto's loss. Full lyrics here and Analysis in the post linked above!

(Lost without you) But little things like the scent of his cologne Is a painful remindеr that he’s gone It feels like my heart is suffocating How do you make amends when you’re gone from me? Even though with a win, how come I feel so lost? Nothing makes sense to me I’m so numb, so lost without you

BATTLE SONG

✤ The new Battle Song, Don't, is also from Aigis' POV. While it focuses on Aigis' feelings through her conflict with SEES, it also has references to her feelings towards Makoto. Full lyrics here!

Already lost my keys to the door wide shut Only had one wish now it’s never gonna come true Trapped in time Forever in remorse How could I ever be in peace when nothing else matters to me?

MENU & UI

✤ In the menu, Aigis is shown holding a blue butterfly who flies away from her. According to the old devs, blue butterflies are used to symbolize Aigis' heart, which is the perfect imagery for Episode Aigis. Curiously, blue butterflies also often used in relation to Makoto, which carries very meaningful implications they're soulmates your honor.

✤ P3R's UI is meant to represent "the Protagonist's Sea of Souls", and it reflects their psychological state. True to form, Aigis is shown looking sad and lonely in hers, which is how she has felt since she lost Makoto. In the Equipment menu, we can even see her reach out before sadly retreating into herself, as if she were trying to catch someone who is now long gone.

PROLOGUE

✤ During the anime cutscene, we see a new rendition of Makoto's and Aigis' last moments together.

MARCH 31ST

✤ Aigis is the one who kept Makoto's Evoker after his passing.

✤ Aigis says that the one thing she feels certain of is that Makoto wouldn't have blame any of them for what happened, showing how well she understands him.

✤ Junpei comments that he’s glad Aigis has been “hanging in there” (spoiler: she isn't) because "It really seemed like you cared about him more than anything in the world."

✤ Aigis reveals that she remembers her last moment with Makoto whenever she closes her eyes. Depressed, she kept having the same dream over and over again: running after him, calling his name but never being able to catch up.

✤ She also recalls the promise she made him during the rooftop scene: "I promised to protect him, and I made that my reason for living. But now... that promise can never be fulfilled."

✤ Aigis says that one day, her sadness "mysteriously" left her. She stopped dreaming and requiring sleep. Unbeknownst to her, this is the event that draws The Abyss of Time to the dorms.

✤ When Aigis is scared of losing more precious people, she sees Makoto walking away from her and desperately tries to reach out to him. Then, Athena metamorphoses into Orpheus. It's interesting to notice that the effect used when Makoto disappears is the same effect used when Orpheus appears.

✤ Aigis and Makoto have the exact same Velvet Room and Aigis can even access his entire Compendium. In other words, they must share the same space “between dream and reality, mind and matter.”

✤ Elizabeth also explains that a Persona "represents one's heart and soul." Aigis can use Makoto's as if they were her own. Let that sink in!

✤ When Aigis thinks that reaching the Answer to Life may lead to her death, she is surprised to "discover how little the possibility bothered me." With Makoto gone, Aigis has lost her reason to live. It's to the point that when Aigis believes that she may die if she loses her key, she says: "If I did, then that would be fine..."

✤ During one of the activities with Metis, she comments on how fulfilled she feels whenever Aigis trusts her with something. If the player lets Aigis say "I think I understand", Metis will say: "Then you must have someone in your life who's just as important to you as you are to me." Which is quite big, because Aigis is literally Metis' everything lol

✤ Aigis getting Makoto’s power means she "inherited" something from him.”

✤ Aigis says early in the game that normally, people have a reason to awaken to their Persona, but that for her it was backwards. She had a persona and then she gained a reason (protecting Makoto). Later, we discover that the reason for her awakening to the Wild Card was that with Makoto gone, she has lost her purpose and her reason to live.

✤ The door that lies in the deepest part of The Abyss of Time leads to Aigis’ past and the moment she awoke to the "Persona abilities" Makoto had. In here we see Aigis' dream, the one where she runs after Makoto, trying to reach him in vain. We also find out that she was in so much pain and so lost after his passing that she wished she could go back to being just a machine again.

It was so painful losing him... I couldn't bring myself to do anything, so... I just hid in my room. For a while, I did nothing but chase after him in my dreams...

✤ Aigis' trophy is called "The one who dreamt", after her dream of Makoto.

✤ After the fight with Shadow!Makoto, he disintegrates into blue butterflies as Aigis desperately reaches out for him.

✤ Aigis can't decide whether she wants to go back to the past, or respect Makoto's sacrifice and remain in the present. Irritated by Aigis' predicament, Yukari accuses her of running away from her own feelings for Makoto.

✤ Metis explains that she would do anything to protect Aigis, because she is "all she has". This prompts Aigis to say that she, too, once felt the same way about someone.

✤ Aigis being willing to lay down her life to not have to fight her friends makes Metis break down. She echoes all of Aigis' buried feelings at Makoto's sacrifice. "Why do you have to die? Why does it have to be you...? Why can't it... be me instead? Please don't leave me behind... I'll give my life for the key, too! And if that doesn't work... then I'm coming with you! So we can always be together... Please, don't leave me all alone!" 😭

✤ Aigis realizes that she has been running away from her own feelings. Before going back to the past, she needs to know why Makoto did what he did—because she won't give up on what's important to her.

✤ After that fight, Aigis finally acknowledges that she wants Makoto back, too, and explains that she needs to know exactly what he did before she can make a choice. Despite her own feelings, Makoto's come first to her 😭

✤ Aigis screams "No!" as Erebus aims for Makoto. We also get two new shots of Aikoto's last moments together, showing Makoto smiling peacefully on Aigis' lap.

✤ After the final fight, Yukari acknowledges her jealousy over Aigis inhering Makoto's power and says that just like Makoto, Aigis is the one who knows how to move forward.

✤ Aigis reaches the very same Answer to Life that Makoto did: Friendship and Bonds are what give people life.

✤ Metis tells Aigis that there's still a way for Aigis to keep her promise to protect Makoto, and that is by fostering connections with others, so that they may one day reach the same answer they did.

✤ Metis is revealed to be Aigis' Shadow: the manifestation of the heart Aigis wished away after losing Makoto.

✤ Once Aigis regains her heart, she breaks down crying at last, finally processing her grief at losing Makoto.

✤ Before she fully fades away, we hear Metis' voice talking to Aigis and telling her how she can reach Makoto so he won't have to carry on alone anymore.

ENDING

✤ Aigis goes back to the rooftop for the final cut-scene. Just like that last day she spent with him, there are cherry blossom petals blowing in the wind.

✤ The credit song, Brand New Days, is once again from Aigis' POV. It focuses on her feelings towards SEES and Makoto as she walks forward into a new tomorrow.

There are days when I tire of calling out the meaning of my life, and my head droops But still, in my heart (So look up to you) Is your smile

✤ During the credits, we see Aigis looking back over her shoulder as she walks through the Moonlight Bridge (the place that started it all for her and Makoto). Lastly, cherry blossoms once again welcome her when she reaches the school. Considering their meaning (Don't forget about me), I'd like to think they're yet another reference to the fact that Aigis will go on living—forever carrying her memories of him.

✤ The Clear Data Save features Aigis' portrait over a cherry blossom background. If you beat the game on Heartless, a cherry-blossom-colored butterfly is added and placed over Aigis' heart.

EXTRAS

✤ In Orpheus' myth, he descends to the underworld in search of his dead wife, Eurydice, but ultimately fails and finds his own death. Knowing this makes Aigis having Orpheus as her main Persona even more meaningful. Not only is Orpheus' Makoto's Persona—so it's like he's left a piece of himself with her, his own version of I'll Never Leave You—it also represents Aigis' plight during Episode Aigis: either moving forward or going back to the past in search of Makoto. Unlike Orpheus, Aigis is eventually able to move forward carrying her memories of her beloved with her.

✤ Aigis' Compendium is signaled by a bookmark with a red butterfly, while Makoto's is the same bookmark but with a blue butterfly.

✤ Two dictionary entries evoke Aikoto. The first is That Day, which mentions it's "the last day Aigis ever spoke to him." The second is Aigis' Past.

✤ One of Elizabeth dialogues is "Do you posses the power to overcome any adversity as well? Just as he did...?" Another of her dialogues foreshadows Elizabeth wanting to ask Aigis to help her free Makoto's soul from the seal ("When the time comes, I may ask you to..."), just like in Persona 4 Arena.

✤ When Fuuka learns that Aigis may die if her key is taken, Aigis explains that she didn't want SEES to worry over her, too, when they're all "doing what they feel is best... for him..."

✤ Just like in The Answer, Yukari spends the game jealous of Aigis because she heard Makoto's last words and inherited his power—although this time she luckily handles it a lot better. This leads Mitsuru to explain that Yukari doesn't mean Aigis any malice; as she does so, she acknowledges Aigis' feelings and says that Makoto did no mean any less to Aigis than he did to Yukari. Later, Yukari herself ends up acknowledging Aigis' feelings and suffering over Makoto, strengthening their friendship.

✤ It's revealed that both Mitsuru and Yukari made promises to Makoto, or rather, to themselves after Makoto's passing. This bears mentioning because Aigis' promise to Makoto is never described in such terms in the game. At the contrary, in the original game, Yukari even goes as far as comparing them to say that unlike Aigis' promise to Makoto (あなたと違う), hers was one-sided (一方的に), highlighting that Makoto was there to acknowledge Aigis'.

✤ Metis tells Aigis that "The souls of all living things are connected through a plane similar to a sea." The Seal of Souls is likely where Makoto & Aigis are shown together in the opening, and the storyboards even describe it as an "unexpected reunion" 😭

✤ Mitsuru decides to give everyone their Evokers back, so it’s fair to assume Aigis still has Makoto’s.

✤ The Persona 3 Official Fanbook holds a short story about Aigis and Metis (I included an excerpt of it at the top of this post) and a column on the symbolism behind Aigis getting Orpheus (Orpheus, just like Aigis, went to the underworld in search of his lost beloved). While it's not material that came out with this version of Episode Aigis, it's still as relevant (and touching) as ever, so I really recommend reading it.

[times-eclipse]

What if Maid Marian as a persona?

I tried incorporating elements of Maid Marian's older representation (stronger energy, page disguise), possible role in May Day celebrations (springtime, flower bud, sunlight on feather), and possible connections to the Virgin Mary (shawl)... and fox.

When I got to doing the legs, I got the idea of... what if I left them out, which was kind of a hard decision to make. The goal was to reduce the human-ness to the design (along with the obscured face), as well as be more overt with any imagery. It also may connect to the character who may use her as a persona, as said character has robotic legs.

The only thing I'm not so happy about is the falling blossoms/petals, as they feel haphazardly placed, or possibly the way the flower dress flows, but that's more regarding the composition than the design.

[utdrmv-confession-box]

Transcript: I honestly kind of hate when people separate Asriel and Flowey as characters in fan content, it’s just so much more good for him narrative wise to be the same person. The character arc is IMMENSE, and literally so fucking tragically good you don’t even understand. It just reduces Asriel to “qwq poor little cinnamon roll, could do no wrong, the sweetest little crybaby scrimb” and Flowey to “hehehehHAHAHAH evil psychotic fourth wall breaking gremlin weed”

Isn’t it just more interesting to see Asriel go from a privileged sheltered royal child, to facing the cruel realities of the world through being introduced to chara, a very likely much less fortunate, edgy child. He then is introduced to emo shit by Chara because come ON they are both like 12 at most. Making shitty oc’s and shit(looking at you epic god of hyper death, this is also why I think Chara refers to themselves as a demon, it’s both a reflection of their tween edginess and eventually a self-villainising coping mechanism). But he has to maintain his perfect golden child persona, and starts to feel the pressures of being royal; he’d already have issues with loneliness before Chara came along too I think.

And then, what becomes of him. I like to believe that being soulless does not render him incapable of emotion/caring for people. It’s a trauma response. And as he grows as an individual (unintentional pun), he’s have to grapple with not only the things he’s done but how much he has changed as a person. How he genuinely went from kindness even in the face of certain death to “kill or be killed”. How that was a genuine mindset born out of bitterness. And how eventually those two halves of both his jaded and his pure pre-trauma brain reconcile to a compromise of “Don’t kill, but don’t get killed, alright?”

Doesn’t that just make for so much of a better well-rounded character?

[randomly--accessed--memories]

Overlord Niffty backstory because why not

She was born Nancy Sada in 1931 to two first-generation Japanese immigrants in middle America. She had a relatively happy childhood, mostly confined to her local Japanese American community. However, after the US entered WWII, she was suddenly under enormous pressure to acculturate herself into mainstream American society in order to prove her and her family's loyalty to the country.

As she aged, Niffty developed an obsession with perfection– being the perfect American, the perfect woman, the perfect everything. She began molding herself to fit these roles, making herself smaller, sweeter, more demure, all in hopes of achieving the ideal self. It wreaked havoc on her self-esteem and mental health, and more often than not it felt as though it was all in vain since society was so hostile to her due to her ethnicity.

However, when she was 19, Niffty finally made some progress towards her goal of achieving the post-war ideal; a handsome young man had taken an interest in her. Niffty jumped at the opportunity, falling head-over-heels for him (or at least, the idea of him), and agreeing to marry him the moment he asked. This was it. She had the perfect, all American husband and she was going to be his perfect wife.

Things were fine for a while. Niffty was perfectly happy to stay home running the household all day while her husband was at work. She enjoyed housework and even if she was a bit lonely, she knew she'd make friends with the other women in the neighborhood eventually, and if not, then her future children would fill her days. But as time went on, that sunny outlook started to seem more and more naive. The neighborhood women were cold to her due to her ethnicity, she wasn't getting pregnant no matter how hard she tried, and her husband was becoming increasingly callous and neglectful, treating her more like a maid than a wife.

The isolation took its tool on Niffty and she started edging her way towards a nervous breakdown. She tried to suppress her anxieties by committing even harder to the Perfect Housewife persona, but that only made things worse as now she was not only unhappy, she was failing at her goals. Things eventually came to a head in 1953, when she discovered her husband had been cheating on her with someone at work. Niffty felt as though her world was crumbling around her and, in a fit of rage and grief, she stabbed her husband to death with a kitchen knife. The neighbors heard the screams and called the police, who promptly shot Niffty three times in the chest when she refused to drop the knife.

Niffty was devastated when she woke up in Hell. She'd spent her entire life being as sweet and kind and good as possible, but all of it had been for nothing. She'd killed the person who was supposed to be the center of her world and was now damned for eternity because of it. She'd failed. Despite how heartbroken she felt, Niffty wasn't willing to just roll over and die or let herself be swept up in the violence of Hell. She was only 22– she wanted to live, and live well at that. She'd wasted her whole life being good and submitting to everyone who crossed her path and it'd gotten her nowhere, so why not try the opposite?

Niffty never did things by halves. She fully committed herself by seizing back her agency by any means necessary. Using her small size and cute demeanor to her advantage, she started carving out a life for herself in Hell. She got herself a job in the fashion industry (one of her great passions in life that she'd abandoned for her husband) as a seamstress and settled into a typical sinner's life. However, she wasn't satisfied with the state of things for long; she didn't want to just be another face in the crowd, she wanted to make her mark on the world.

Slowly, she started tricking people into contracts. It wasn't hard– so many sinners saw her as weak and harmless that they easily agreed to deals that they would've been far more cautious of had they been dealing with a more physically intimidating demon. Networking, exchanging favors for favors, building up her status– all of it paid off in the end when the previous Overlord of the fashion industry was killed, leaving a power vacuum that people were rushing to fill. Niffty managed to start her own business using the connections she'd made, and while all the other wannabe Overlords were fighting over the old Overlord's power and territory, she positioned herself to start gaining power of her own.

Her business was successful and began to grow, starting to swallow up smaller fashion studios left and right. Niffty's tireless pursuit of her goals was starting to pay off and she was not about to let up now. She pushed her employees to work harder, work faster, and within only a few years, she was the head of the most successful clothing brand in the Pride Ring. It was child's play to topple the person who'd come out on top in the scramble for the title of Overlord of Fashion and claim it for herself. By the end of the 1950s, tiny, humble little Niffty had clawed her way to the top of Hell's hierarchy.

For the next several years, things stayed that way. Niffty felt as though she'd finally reclaimed her personal power and was content to protect that power at all costs. She made sure her brand was always putting out the best clothes they could possibly make; she became very territorial and would crush any competitors who threatened her power like bugs; she decided that while she may never be the most powerful Overlord, she could be the most perfect one.

She developed a toxic work culture within her company, telling her employees/contractees that they were all one big, happy family, with her as the doting mother. She was genuinely sweet and affectionate with her workers and did whatever she could to make them like her– other than improving the sweatshop conditions of her factories, of course. Then, when a problem arose or they fell behind on their quotas, she would leverage that emotional connection against them and punish the whole group for the actions of a few, using the justification of "mother knows best."

Niffty started to open herself back up to men again after several years of ignoring them to focus on her career. She started leaning towards the "bad boys" she'd admired in her youth, since the perfect, seemingly wholesome option had worked out so badly for her. Despite all her power, she was still scared of entering into a real relationship though; if she let her guard down, things could so easily turn abusive again and she'd be back to being someone's little toy on a string again. She eventually decided that she liked men more as aesthetic objects more than as people. She ended up with a little collection of breathtakingly handsome male models who'd signed their souls away to her– she never engaged with them sexually or romantically, but instead got her kicks from displaying them like taxidermied butterflies, reveling in the total control she had over the people who had once had such control over her. She'd occasionally hook up with men outside of her employ, but she never entered into a significant, long-term relationship ever again.

Niffty sat comfortably on top of the hierarchy until the late 1960s. She'd met Alastor in passing a few times during Overlord meetings/events, but she'd never exchanged more than a few polite words with him. She didn't feel particularly in danger from him– his huge Overlord massacre had been over thirty years ago at that point and while he still did topple one every once in a while to keep himself fresh in everyone's minds, he usually went after far bigger fish than her, power-wise. Sure, business was booming, but she was a 4 foot tall bug woman without any of the big, flashy powers most Overlords had; she'd be too easy a target for him to get much of a thrill out of, right? She felt utterly secure that day, sitting in her office, drawing up new designs for the upcoming season, completely invested in her work. And then everything went black.

[rrasado]

⸢ FURINA'S HAIR: SYMBOLISM ⸥

OTHER NOTES ➽ My personal interpretation of our beloved archon's design, specifically the way she styled her hair in all forms.

SPOILERS ➽ SPOILERS FOR 4.2 ARCHON QUEST, PROCEED WITH CAUTION!

Focalors, who had pure straight hair. Seamlessly luscious befitting that of the divine.

Focalors, who separated her humanity and divinity, one day seeking that human half for a greater goal.

Focalors, who approached a short-haired Furina that possessed the same raw curiosity for living as Focalors did when she first left her watery form. So young yet so full of life.

Furina, accepting a role at the cost of herself, donning a polished attire that still resembled her human apparel.

Furina, who faced the eager audience that was Fontaine with the same long curls as Focalors, which was unlikely to have grown naturally in such a rushed length of time.

Furina, who paraded a unique haircut, yet you can see where the end of her short hair is, and where the temporary locks start.

Furina, who had shown us in her mental stage the rigorous pursuit of a solution for the prophecy; working with both her true human self and the godly persona she played.

Furina, who, unlike Focalor’s hair, had a distinct cut that’d separate the short thrill of humanity and the long lamentation of an archon.

Furina, who unlike Focalors', was always a figurehead even in design, one who didn’t have the same true divinity as Focalors.

Focalors, who, unlike Furina, didn’t have the pleasure of experiencing the glory of a god to her people nor the amusing titillation of a human.

Focalors, who will forever outgrow her hair until it’s long enough for even the Oratrice Mecanique d'Analyse Cardinale to chop it, thus ending her divine run.

Furina, who, unlike Focalors', was able to live out her humanity even when the long tresses of divinity were cut from her hair. Only appearing when assuming a fleeting role as Fontaine’s archon.

Furina, who may now grow her hair at her own pace, not as an artificial divinity, but as a human who yearned for spectacle.

Focalors, who designed her human self in a way that’d allow for Furina to grow, because that’s the one thing she knew she couldn’t fulfill herself, as evidenced by the lengthy tresses that flow behind her before her demise.

Focalors, whose hair is unnaturally split into two, might've been the forewarning of her two halves.

Focalors, and her humanity, are differentiated by the consequences of cutting their hair, of cutting their divinity.

Tag list :: @cxsinesis @luvielle

[intermundia]

obi-wan and anakin fight back to back, two halves of a single warrior, anakin embodying offense and obi-wan providing the defense. that's the way they approach the world, their public faces. i've discussed before how i think they each have a private face too, which can be in conflict with their public persona. it leads to internal tension, and complex characters who have suppressed needs. i like to think anakin tries to appear strong in public, attacking the world, but is secretly emotionally weak, greedy and needy, wanting attention, affection, validation. obi-wan also tries to appear strong in public, but his strength is the strength of self-control and self-abnegation. he is also secretly emotionally weak, greedy and needy, just like we all are. he wants things that he's not allowed to want and usually restrains himself back from. but obi-wan and anakin fight back to back, trusting each other to compensate where they are vulnerable. when their relationship works, their bond is strong, they offer the other the opportunity to be their full self, and express their private needs. anakin gets to be passive instead of active, gets a space where he is safe to yield and be weak. obi-wan also gets to be a active instead of passive, anakin is something he can reach out for and hold for himself. they make each other whole.