The Architecture of Rain World: Layers of History
A major theme in Rain World's world design that often goes overlooked is the theme of, as James Primate, the level designer, composer and writer calls it, "Layers of History." This is about how the places in the game feel lived-in, and as though they have been built over each other. Here's what he said on the matter as far back as 2014!
The best example of this is Subterranean, the final area of the base game and a climax of the theme. Subterranean is pretty cleanly slpit vertically, there's the modern subway built over the ancient ruins, which are themselves built over the primordial ruins of the depths. Piercing through these layers is Filtration System, a high tech intrusion that cuts through the ground and visibly drills through the ceiling of the depths.
Two Sprouts, Twelve Brackets, the friendly local ghost, tells the player of the "bones of forgotten civilisations, heaped like so many sticks," highlighting this theme of layering as one of the first impressions the player gets of Subterranean. Barely minutes later, the player enters the room SB_H02, where the modern train lines crumble away into a cavern filled with older ruins, which themselves are invaded by the head machines seen prior in outskirts and farm arrays, some of which appear to have been installed destructively into the ruins, some breaking through floors.
These layers flow into each other, highlighting each other's decrepit state.
The filtration system, most likely the latest "layer," is always set apart from the spaces around it. At its top, the train tunnels give way to a vast chasm, where filtration system stands as a tower over the trains, while at the bottom in depths, it penetrates the ceiling of the temple, a destructive presence. (it's also a parallel to the way the leg does something similar in memory crypts, subterranean is full of callbacks like that!)
Filtration system is an interesting kind of transition, in that it is much later and more advanced than both of the areas it cuts between. This is a really interesting choice from James! It would be more "natural" to transition smoothly from the caves of upper subterranean to the depths, but by putting filtration system in between, the two are clearly demarcated as separate. The difference in era becomes palpable, the player has truly found something different and strange.
Depths itself is, obviously, the oldest layer not only of subterranean but of the game itself. The architecture of Depths has little to do with the rest of the game around it, it's a clear sign of the forgotten civilisations that our friend Two Sprouts, Twelve Brackets showed us, there's not actually that much to say about it itself, it's mostly about how it interacts with the other layers of subterranean.
That said, Subterranean is far from the only case of the theme of layers of history. It's present as soon as the player starts the game!
The very first room of the game, SU_C04, is seemingly a cave. It is below the surface, the shapes of it are distinctly amorphous rather than geometric. (well. kind of, it doesn't do a very good job of hiding the tile grid with its 45 degree angles.)
But let's take a closer look, shall we?
See that ground? it's made of bricks. The entire cave area of outskirts is characterised by this, the "chaotic stone" masonry asset is mixed with brickwork, unlike the surface ruins which are mostly stone. This, seemingly, is an inversion of common sense! The caves are bricks and the buildings are stone. This is not, however, a strange and unique aspect but a recurring motif.
This occurs enough in the game for it to be clearly intentional, but why would materials such as bricks be used in otherwise natural looking terrain?
The answer lies in the "Layers of History" theme. This is in fact, something that happens in real life, and it's called a tell
To be specific, a tell is a kind of mound formed by settlements building over the ruins of previous iterations of themselves. Centuries of rubble and detritus form until a hill grows from the city. Cities such as Troy and Jericho are famous examples. The connections to the layers of history theme are pretty clear here, I think. Cities growing, then dying, then becoming the bedrock of the next city. The ground, then, is made of bricks, because the ground is the rubble of past buildings. The bones of forgotten civilisations, heaped like so many sticks!
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why Aurora's art is genius
It's break for me, and I've been meaning to sit down and read the Aurora webcomic (https://comicaurora.com/, @comicaurora on Tumblr) for quite a bit. So I did that over the last few days.
And… y'know. I can't actually say "I should've read this earlier," because otherwise I would've been up at 2:30-3am when I had responsibilities in the morning and I couldn't have properly enjoyed it, but. Holy shit guys THIS COMIC.
I intended to just do a generalized "hello this is all the things I love about this story," and I wrote a paragraph or two about art style. …and then another. And another. And I realized I needed to actually reference things so I would stop being too vague. I was reading the comic on my tablet or phone, because I wanted to stay curled up in my chair, but I type at a big monitor and so I saw more details… aaaaaand it turned into its own giant-ass post.
SO. Enjoy a few thousand words of me nerding out about this insanely cool art style and how fucking gorgeous this comic is? (There are screenshots, I promise it isn't just a wall of text.) In my defense, I just spent two semesters in graphic design classes focusing on the Adobe Suite, so… I get to be a nerd about pretty things…???
All positive feedback btw! No downers here. <3
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I cannot emphasize enough how much I love the beautiful, simple stylistic method of drawing characters and figures. It is absolutely stunning and effortless and utterly graceful—it is so hard to capture the sheer beauty and fluidity of the human form in such a fashion. Even a simple outline of a character feels dynamic! It's gorgeous!
Though I do have a love-hate relationship with this, because my artistic side looks at that lovely simplicity, goes "I CAN DO THAT!" and then I sit down and go to the paper and realize that no, in fact, I cannot do that yet, because that simplicity is born of a hell of a lot of practice and understanding of bodies and actually is really hard to do. It's a very developed style that only looks simple because the artist knows what they're doing. The human body is hard to pull off, and this comic does so beautifully and makes it look effortless.
Also: line weight line weight line weight. It's especially important in simplified shapes and figures like this, and hoo boy is it used excellently. It's especially apparent the newer the pages get—I love watching that improvement over time—but with simpler figures and lines, you get nice light lines to emphasize both smaller details, like in the draping of clothing and the curls of hair—which, hello, yes—and thicker lines to emphasize bigger and more important details and silhouettes. It's the sort of thing that's essential to most illustrations, but I wanted to make a note of it because it's so vital to this art style.
THE USE OF LAYER BLENDING MODES OH MY GODS. (...uhhh, apologies to the people who don't know what that means, it's a digital art program thing? This article explains it for beginners.)
Bear with me, I just finished my second Photoshop course, I spent months and months working on projects with this shit so I see the genius use of Screen and/or its siblings (of which there are many—if I say "Screen" here, assume I mean the entire umbrella of Screen blending modes and possibly Overlay) and go nuts, but seriously it's so clever and also fucking gorgeous:
Firstly: the use of screened-on sound effect words over an action? A "CRACK" written over a branch and then put on Screen in glowy green so that it's subtle enough that it doesn't disrupt the visual flow, but still sticks out enough to make itself heard? Little "scritches" that are transparent where they're laid on without outlines to emphasize the sound without disrupting the underlying image? FUCK YES. I haven't seen this done literally anywhere else—granted, I haven't read a massive amount of comics, but I've read enough—and it is so clever and I adore it. Examples:
Secondly: The beautiful lighting effects. The curling leaves, all the magic, the various glowing eyes, the fog, the way it's all so vividly colored but doesn't burn your eyeballs out—a balance that's way harder to achieve than you'd think—and the soft glows around them, eeeee it's so pretty so pretty SO PRETTY. Not sure if some of these are Outer/Inner Glow/Shadow layer effects or if it's entirely hand-drawn, but major kudos either way; I can see the beautiful use of blending modes and I SALUTE YOUR GENIUS.
I keep looking at some of this stuff and go "is that a layer effect or is it done by hand?" Because you can make some similar things with the Satin layer effect in Photoshop (I don't know if other programs have this? I'm gonna have to find out since I won't have access to PS for much longer ;-;) that resembles some of the swirly inner bits on some of the lit effects, but I'm not sure if it is that or not. Or you could mask over textures? There's... many ways to do it.
If done by hand: oh my gods the patience, how. If done with layer effects: really clever work that knows how to stop said effects from looking wonky, because ugh those things get temperamental. If done with a layer of texture that's been masked over: very, very good masking work. No matter the method, pretty shimmers and swirly bits inside the bigger pretty swirls!
Next: The way color contrast is used! I will never be over the glowy green-on-black Primordial Life vibes when Alinua gets dropped into that… unconscious space?? with Life, for example, and the sharp contrast of vines and crack and branches and leaves against pitch black is just visually stunning. The way the roots sink into the ground and the three-dimensional sensation of it is particularly badass here:
Friggin. How does this imply depth like that. HOW. IT'S SO FREAKING COOL.
A huge point here is also color language and use! Everybody has their own particular shade, generally matching their eyes, magic, and personality, and I adore how this is used to make it clear who's talking or who's doing an action. That was especially apparent to me with Dainix and Falst in the caves—their colors are both fairly warm, but quite distinct, and I love how this clarifies who's doing what in panels with a lot of action from both of them. There is a particular bit that stuck out to me, so I dug up the panels (see this page and the following one https://comicaurora.com/aurora/1-20-30/):
(Gods it looks even prettier now that I put it against a plain background. Also, appreciation to Falst for managing a bridal-carry midair, damn.)
The way that their colors MERGE here! And the immense attention to detail in doing so—Dainix is higher up than Falst is in the first panel, so Dainix's orange fades into Falst's orange at the base. The next panel has gold up top and orange on bottom; we can't really tell in that panel where each of them are, but that's carried over to the next panel—
—where we now see that Falst's position is raised above Dainix's due to the way he's carrying him. (Points for continuity!) And, of course, we see the little "huffs" flowing from orange to yellow over their heads (where Dainix's head is higher than Falst's) to merge the sound of their breathing, which is absurdly clever because it emphasizes to the viewer how we hear two sets of huffing overlaying each other, not one. Absolutely brilliant.
(A few other notes of appreciation to that panel: beautiful glows around them, the sparks, the jagged silhouette of the spider legs, the lovely colors that have no right to make the area around a spider corpse that pretty, the excellent texturing on the cave walls plus perspective, the way Falst's movements imply Dainix's hefty weight, the natural posing of the characters, their on-point expressions that convey exactly how fuckin terrifying everything is right now, the slight glows to their eyes, and also they're just handsome boys <3)
Next up: Rain!!!! So well done! It's subtle enough that it never ever disrupts the impact of the focal point, but evident enough you can tell! And more importantly: THE MIST OFF THE CHARACTERS. Rain does this irl, it has that little vapor that comes off you and makes that little misty effect that plays with lighting, it's so cool-looking and here it's used to such pretty effect!
One of the panel captions says something about it blurring out all the injuries on the characters but like THAT AIN'T TOO BIG OF A PROBLEM when it gets across the environmental vibes, and also that'd be how it would look in real life too so like… outside viewer's angle is the same as the characters', mostly? my point is: that's the environment!!! that's the vibes, that's the feel! It gets it across and it does so in the most pretty way possible!
And another thing re: rain, the use of it to establish perspective, particularly in panels like this—
—where we can tell we're looking down at Tynan due to the perspective on the rain and where it's pointing. Excellent. (Also, kudos for looking down and emphasizing how Tynan's losing his advantage—lovely use of visual storytelling.)
Additionally, the misting here:
We see it most heavily in the leftmost panel, where it's quite foggy as you would expect in a rainstorm, especially in an environment with a lot of heat, but it's also lightly powdered on in the following two panels and tends to follow light sources, which makes complete sense given how light bounces off particles in the air.
A major point of strength in these too is a thorough understanding of lighting, like rim lighting, the various hues and shades, and an intricate understanding of how light bounces off surfaces even when they're in shadow (we'll see a faint glow in spots where characters are half in shadow, but that's how it would work in real life, because of how light bounces around).
Bringing some of these points together: the fluidity of the lines in magic, and the way simple glowing lines are used to emphasize motion and the magic itself, is deeply clever. I'm basically pulling at random from panels and there's definitely even better examples, but here's one (see this page https://comicaurora.com/aurora/1-16-33/):
First panel, listed in numbers because these build on each other:
The tension of the lines in Tess's magic here. This works on a couple levels: first, the way she's holding her fists, as if she's pulling a rope taut.
The way there's one primary line, emphasizing the rope feeling, accompanied by smaller ones.
The additional lines starbursting around her hands, to indicate the energy crackling in her hands and how she's doing a good bit more than just holding it. (That combined with the fists suggests some tension to the magic, too.) Also the variations in brightness, a feature you'll find in actual lightning. :D Additional kudos for how the lightning sparks and breaks off the metal of the sword.
A handful of miscellaneous notes on the second panel:
The reflection of the flames in Erin's typically dark blue eyes (which bears a remarkable resemblance to Dainix, incidentally—almost a thematic sort of parallel given Erin's using the same magic Dainix specializes in?)
The flowing of fabric in the wind and associated variation in the lineart
The way Erin's tattoos interact with the fire he's pulling to his hand
The way the rain overlays some of the fainter areas of fire (attention! to! detail! hell yeah!)
I could go on. I won't because this is a lot of writing already.
Third panel gets paragraphs, not bullets:
Erin's giant-ass "FWOOM" of fire there, and the way the outline of the word is puffy-edged and gradated to feel almost three-dimensional, plus once again using Screen or a variation on it so that the stars show up in the background. All this against that stunning plume of fire, which ripples and sparks so gorgeously, and the ending "om" of the onomatopoeia is emphasized incredibly brightly against that, adding to the punch of it and making the plume feel even brighter.
Also, once again, rain helping establish perspective, especially in how it's very angular in the left side of the panel and then slowly becomes more like a point to the right to indicate it's falling directly down on the viewer. Add in the bright, beautiful glow effects, fainter but no less important black lines beneath them to emphasize the sky and smoke and the like, and the stunningly beautiful lighting and gradated glows surrounding Erin plus the lightning jagging up at him from below, and you get one hell of an impactful panel right there. (And there is definitely more in there I could break down, this is just a lot already.)
And in general: The colors in this? Incredible. The blues and purples and oranges and golds compliment so well, and it's all so rich.
Like, seriously, just throughout the whole comic, the use of gradients, blending modes, color balance and hues, all the things, all the things, it makes for the most beautiful effects and glows and such a rich environment. There's a very distinct style to this comic in its simplified backgrounds (which I recognize are done partly because it's way easier and also backgrounds are so time-consuming dear gods but lemme say this) and vivid, smoothly drawn characters; the simplicity lets them come to the front and gives room for those beautiful, richly saturated focal points, letting the stylized designs of the magic and characters shine. The use of distinct silhouettes is insanely good. Honestly, complex backgrounds might run the risk of making everything too visually busy in this case. It's just, augh, so GORGEOUS.
Another bit, take a look at this page (https://comicaurora.com/aurora/1-15-28/):
It's not quite as evident here as it is in the next page, but this one does some other fun things so I'm grabbing it. Points:
Once again, using different colors to represent different character actions. The "WHAM" of Kendal hitting the ground is caused by Dainix's force, so it's orange (and kudos for doubling the word over to add a shake effect). But we see blue layered underneath, which could be an environmental choice, but might also be because it's Kendal, whose color is blue.
And speaking off, take a look at the right-most panel on top, where Kendal grabs the spear: his motion is, again, illustrated in bright blue, versus the atmospheric screened-on orange lines that point toward him around the whole panel (I'm sure these have a name, I think they might be more of a manga thing though and the only experience I have in manga is reading a bit of Fullmetal Alchemist). Those lines emphasize the weight of the spear being shoved at him, and their color tells us Dainix is responsible for it.
One of my all-time favorite effects in this comic is the way cracks manifest across Dainix's body to represent when he starts to lose control; it is utterly gorgeous and wonderfully thematic. These are more evident in the page before and after this one, but you get a decent idea here. I love the way they glow softly, the way the fire juuuust flickers through at the start and then becomes more evident over time, and the cracks feel so realistic, like his skin is made of pottery. Additional points for how fire begins to creep into his hair.
A small detail that's generally consistent across the comic, but which I want to make note of here because you can see it pretty well: Kendal's eyes glow about the same as the jewel in his sword, mirroring his connection to said sword and calling back to how the jewel became Vash's eye temporarily and thus was once Kendal's eye. You can always see this connection (though there might be some spots where this also changes in a symbolic manner; I went through it quickly on the first time around, so I'll pay more attention when I inevitably reread this), where Kendal's always got that little shine of blue in his eyes the same as the jewel. It's a beautiful visual parallel that encourages the reader to subconsciously link them together, especially since the lines used to illustrate character movements typically mirror their eye color. It's an extension of Kendal.
Did I mention how ABSOLUTELY BEAUTIFUL the colors in this are?
Also, the mythological/legend-type scenes are illustrated in familiar style often used for that type of story, a simple and heavily symbolic two-dimensional cave-painting-like look. They are absolutely beautiful on many levels, employing simple, lovely gradients, slightly rougher and thicker lineart that is nonetheless smoothly beautiful, and working with clear silhouettes (a major strength of this art style, but also a strength in the comic overall). But in particular, I wanted to call attention to a particular thing (see this page https://comicaurora.com/aurora/1-12-4/):
The flowing symbolic lineart surrounding each character. This is actually quite consistent across characters—see also Life's typical lines and how they curl:
What's particularly interesting here is how these symbols are often similar, but not the same. Vash's lines are always smooth, clean curls, often playing off each other and echoing one another like ripples in a pond. You'd think they'd look too similar to Life's—but they don't. Life's curl like vines, and they remain connected; where one curve might echo another but exist entirely detached from each other in Vash's, Life's lines still remain wound together, because vines are continuous and don't float around. :P
Tahraim's are less continuous, often breaking up with significantly smaller bits and pieces floating around like—of course—sparks, and come to sharper points. These are also constants: we see the vines repeated over and over in Alinua's dreams of Life, and the echoing ripples of Vash are consistent wherever we encounter him. Kendal's dream of the ghost citizens of the city of Vash in the last few chapters is filled with these rippling, echoing patterns, to beautiful effect (https://comicaurora.com/aurora/1-20-14/):
They ripple and spiral, often in long, sinuous curves, with smooth elegance. It reminds me a great deal of images of space and sine waves and the like. This establishes a definite feel to these different characters and their magic. And the thing is, that's not something that had to be done—the colors are good at emphasizing who's who. But it was done, and it adds a whole other dimension to the story. Whenever you're in a deity's domain, you know whose it is no matter the color.
Regarding that shape language, I wanted to make another note, too—Vash is sometimes described as chaotic and doing what he likes, which is interesting to me, because smooth, elegant curves and the color blue aren't generally associated with chaos. So while Vash might behave like that on the surface, I'm guessing he's got a lot more going on underneath; he's probably much more intentional in his actions than you'd think at a glance, and he is certainly quite caring with his city. The other thing is that this suits Kendal perfectly. He's a paragon character; he is kind, virtuous, and self-sacrificing, and often we see him aiming to calm others and keep them safe. Blue is such a good color for him. There is… probably more to this, but I'm not deep enough in yet to say.
And here's the thing: I'm only scratching the surface. There is so much more here I'm not covering (color palettes! outfits! character design! environment! the deities! so much more!) and a lot more I can't cover, because I don't have the experience; this is me as a hobbyist artist who happened to take a couple design classes because I wanted to. The art style to this comic is so clever and creative and beautiful, though, I just had to go off about it. <3
...brownie points for getting all the way down here? Have a cookie.
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talk about kinoga. NOW.
GAH
I JUST THINK THEY ARE SO............. well first of all. they are so cute and handsome. look at them right now
Second of all I have one million feelings about them and it's barely an exaggeration. For those who aren't familiar, Kinoga is one of my beloved splatoon ocs and I think about them all the time. Originally made when I tossed a "what-if" idea about Trito, my first splatoon oc, who was once part of the octarian military, if he runs into one of the old squad members on the surface, and Kinoga was born with the help of @igneouskit. Brainworms ensue. its terminal. check out their toyhouse
(extremely brief rundown for those unfamiliar with splatoon lore the relevant bits are as follows: some octolings are part of a military that were forced underground after a war with the Inklings over land due to rising seas. At some point during the plot, the song Calamari Inkantation is sung by the two idols, which is apparently imbued in the DNA of all creatures and compels octolings to see the surface. In the splatoon 2 DLC, octo expansion, some octolings are recruited by a shady company called Kamabo Co, which entices participants to enroll in tests through a deep sea metro, and offers the "promised land" as a reward. Completing the tests entails collecting parts of a blender, and the "reward" is getting blended into sludge. This sludge can get injected into other octos which causes them to lose their will and consciousness ("sanitization").
timeline-wise much of their story takes place between splat 2, through octo expansion, and is currently in the splat 3 era. When they were still in the military, they ended up hearing the Calamari Inkantation like Agent 8 did. Kinoga and their squad were incredibly close to each other. Unwilling to just up and leave the underground but wanting to give their squadmates a better life, Kinoga hears about Kamabo's "promised land" and wants to seek it out, so they leave the squad to embark on the metros and promises to return. They do not <3 Some of the tests make them encounter sanitized octolings and they begin to question what's really happening in the metros. Their tipping point is when they run into Agara, one of their squadmates that decided to enter the metros to look for Kinoga and ends up being sanitized. Kinoga, facing the crushing realization that their squadmates had followed them, unaware of the danger, narrowly escapes being killed by Agara and eventually makes it to the surface.
This results in them experiencing a good amount of crushing guilt about leaving, they never knew it would lead to the possibility of dooming their whole squad that followed after them because they were loved and trusted. Kinoga had no way of letting the rest of them know that they should turn back and it's so. AAUGH. They have no choice but to continue on, finding life on the surface and eventually making it to splatsville with the belief that the rest of the squad may be gone. Agara and Trito end up running through the metro, Agara gets sanitized and Trito survives, albeit without getting a nasty scar from an accident that nearly got him sanitized.
Trito makes me insane also. he's my funny silly rabbit. I care about him so so much. trito goes through the metros, to maybe catch up with kinoga or meet them at the promised land, trusting that it was worth leaving if Kinoga decided it was worth it for all of them too.
Trito, upon learning about The Horrors in the metro later, realizes what could have happened to Kinoga and Agara and is unwilling to return to the rest of the squad with this knowledge, struck by the possibility that they're both gone. <-also has to realize that these horrible things have been happening to all the octlings that left to go do the metro tests. He too, eventually escapes to the surface and makes it to Inkopolis.
Years later, Trito, on a day trip to Splatsville, encounters Kinoga on the streets, and they lock eyes. and. fuck. They thought they were dead and had dealt with the grief and accepting that they were gone, effectively pushing those thoughts aside, and now they're physically in front of each other and they have to deal with it again. they make me SICK. Kinoga knowing that trito went to the metros and followed them and made it out also. Trito knowing that Kinoga experienced the horrors as well and survived. Neither of them able to return to tell the rest of the squad but they're both here, alive on the surface and aarrghhhhhhh. now they have to cope with this. they hastily exchange contact information, having to leave each other again, and end up meeting later to really catch up.
I'm so normal about kinoga and their relationship to trito post-domes. They don't even realize that they miss each other so much because they accepted that they were already gone. Seeing how much the other had changed. Being each other's only tie to their previous lives and it dawns on them that they never can move on from this. Kinoga struggles to tell Trito that they couldn't bring themselves to go back, not knowing if they could escape a second time, not knowing if any of their teammates were still left, already dealing with occasional spurts of being wracked by grief. Trito feeling the same, wanting to forget the terrible things and find happiness on the surface, but disheartened when learning that Kinoga also couldn't bring themselves to go back to look (though now that the both of them are together.....they do eventually muster the courage to go back to the domes to look for their old squadmates). It like. sucks so bad. They didn't intend to abandon their squad, but they were given circumstances where they just could not, and none of the other squad members could have known and suffer for it. aarghhhhh.
They end up at Trito's place, Kinoga and Trito end up being very affectionate towards each other after reuniting, definitely Trito being clingier...Compelled to hold onto each other and not let go, not after feeling so much regret about leaving in the first place. It's like. they left once before and terrible things happened out of their control, so they're allowed to hold each other as close as they can so it doesn't happen again (THE DEMONS) (GRIPS). it's irrational for Trito especially to think that he'll never see Kinoga again when they have to leave, since they live in separate cities and have to go in the morning. and kinoga knows it's irrational and they do their best to comfort him anyways because. who could blame him for wanting to keep them there after being gone for so long and so unexpectedly. The slow, crushing experience of not fully registering that someone could be gone and it creeps up to them until it hits. auuuuugh. they have to be so tender with each other, not really knowing where to take things afterwards but relishing in the moment of having each other there. riding the high of each other's comfort. fuck. this post is just getting worse as it goes. Trito breaking down in Kinoga's arms because he's had to hold in his grief and having nowhere to put it and then finally being able to release it. just being able to feel Something again. kinoga feeling so heartbroken to see trito like this, remembering that he was always so outspoken and smiling and having him curled up against them unable to say anything. holding him as tightly as they can. Feeling the need to take good care of him. They aren't his squad leader anymore but they still feel compelled to look out for him because then they can feel like they're doing at least something right. whatever. you guys get the gist. I'm way too much of a sucker for like...............pained intimacy. I'm down terrible. I think both of them deserve a little kissy and more. again. very touchy and affectionate with each other, I guess theyre still like "friends" (A WARRIOR'S BOND. OR WHATEVER) and are not "together" like a couple but here are words from igneouskit who put it better then I could ever. they love each other so much and they make me blow up. worlds most situationship
and also one bit I forgot to mention is that Trito has a huge scar on his chest that he hates talking about, it just brings back the fear and pain felt when he got it, and by association reminds him that he's alone from his squad who may never see again, so he's very protective of it. Upon getting back to kinoga, they do find out about the scar accidentally, and Trito lets them. like auuuugh they were so familiar with each other and now get to see what's changed since the last time. exploring eachother's bodies. whatever
Kinoga also ends up feeling really guilty at some point for Trito being immediately so affectionate towards them, they harbor thoughts that they don’t deserve it after having him go through that pain, and trito having to tell them that he made his own decision, nobody was forcing him to go, and besides, did it to see kinoga and now that they’re right in front of him he can give him all the love he’s been holding for them. Auuughhhh. Like don’t worry about feeling guilty for it. It wasn’t their fault. What matters to him now is that they’re both alive and with each other. I feel like blowing up
Even after Kinoga goes back to splatsville the next day trito is still aches about them......like a few days of reunion could never be enough to compensate for the years that they spent apart. every time they meet up after that trito jumps in kinoga's arms and kiss them like it was the first time they'd reunited
anyways. they eventually go back down to the domes to find the others. By that time, Agent 8 had dismantled Kamabo, the Sludge shit was no longer in operation, and octolings have started going to the surface. Kanu, another squad member, left the domes to find Kinoga, Agara, and Trito(jilon was another squad member who left for reasons I haven't decided yet). Denchu, the last remaining member, stayed behind, holding on to the hope that the missing members would someday return (denchu is a whole other can of worms. theyre everything to me and I feel so terrible for them <3). Trito and kinoga meet denchu, they update them on everybody else, leaving agara unaccounted for. Kinoga, who was the only one to see Agara firsthand, knowing that she might be completely unsalvageable, hesitates to bring it up, but Trito insists on going to look for her. aughhh. kinoga wants to spare trito the pain of seeing her dead or unconscious. They do eventually find her </3
She is alive, but not doing well at all, Kinoga desperate to maybe find some way to undo sanitization and restore her to full health, knowing full well that it may not be possible. They take Agara back with them to the surface and Kinoga spends a lot of time agonizing again over having caused this, feeling that agara's state is somehow their fault (ITS NOTT they're beating themselves up so bad for this because they feel responsible for the squad. aughhh).
I think thats all I have for kinoga. for now. obviously there are more thoughts I can get into but currently my brain has just latched so hard on trito and kinoga's fun situation and I love them so much. didn't think I'd get attached to them this bad but here we are </3. I hope everyone who has read this far also enjoys them as much as I do
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