Hi, so I saw that you were doing requests so can you do California hcs? :D
(Not forced)
Hiii I'm so sorry that this took so long, I was kinda stumped and was doing other things BUT I did finally get around to it so HERE
California-
He has a lot of hobbies, such as hiking and making loom bracelets, if it exists it was probably a hobby of theirs
Has always been interested in how personifications/states came to be, most just appeared one day, some are related to each other or other countries, while a very small group (pretty much just the OG13 and Louisiana) are related to humans, it’s all very interesting and mildly terrifying to him
Trained marksman, owns two guns but rarely uses them unless their stressed, then it’s off to the shooting range (or ya know, he'll just shut down, honestly him going to the range doesn't happen too often when he's stressed but it is always an option)
Actually pretty close to the Canadian provinces, at least closer to them than they are with most of the states (Alberta scares him though, will never be alone with Alberta)
Loves astrology, knows everything that he can and had tried to get the other states into it but with no success (technically, they actually got Connecticut pretty into the science side of it)
Space cat
Likes to stargaze, occasionally will drag Nevada and Utah out with him, they can’t get Arizona to go unless he is dying
Animal Crossing ruined him and he loves the games so much (New Leaf's their fav)
Also I did a drawing since this is really short
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excuse me i need to Muse on something for a moment
so in Wally's secret 'vinyl' audios, specifically the last few (if we're listening to em in chronological order), obviously he starts to sound more strained/distressed. his breathing is more labored, like it's taking all of his energy to make contact.
but the audio that really caught my attention was the "But i still can't see" one. cause he just said he has more eyes than he did before. he knows We draw them a lot, and it's thanks to that that he can see. but he still can't see?
so my question is: where is Wally physically? cause although he can (assumedly) see the WHRP goings on, he can see through the eyes We draw, that could all be on a, uh... more Intangible level of sight. like the spiral pit is forming an eye, and then there's the eye on the ceiling in the secret Staff Only section - could Wally be in the pit, that space between his reality and Ours, "watching" through the eyes? but unable to actually see with due to the pit being pitch black nothingness? is he somewhere else? is he stuck? he can see, but he can't... see.
(or is he trying to explain an abstract concept - he's not actually viewing anything, but he can sense it. like how he knows We're there, even if he can't see or hear Us. but he just doesn't have the words to describe it other than using physical senses - see, hear, look.)
and him saying "...that I can see. But it is still... I can't..." but it's still what, Wally? dark? something else that he doesn't have the words to describe, so he just says that he can't see?
i know that in the Livestream Trivia Document (compiled by @/the neighborhoodwatch) there was something said about Wally being in a box. my first thought reading that was "oh, so he's in storage? the physical puppet, i mean?" which would make sense - show's over, there's no more use for him. pack 'em up and put him away. but that paired with the "can't see" audio makes both seem a lil... connected.
Wally can't see > he's likely somewhere dark > the inside of closed boxes are dark > Wally's in a box. (or maybe the Neighborhood is the box? it's a stretch, i know, but the map is a box. television sets are often set up in "boxes". maybe it's less of a physical storage box and more of a 'boxed in' sort of thing...)
one question i've had since the Start of my interest in this incredible project is: how is Wally communicating? how has he connected to the site? how does he connect to our reality? the pit almost definitely has something to do with it - most likely acting as a bridge, or the deteriorating of the barrier between our two 'worlds' - but if Wally is in a box and Not the pit or even just in the puppet's reality... how is he reaching us beyond just seeing through the eyes he's given?
or is he in their reality, and he can contact through the pit or something, but he can't actually see the other side? Our side? he knows it's there - that We're there - but none of it is visible to him. maybe his apparent disassociation in the 14 bug audios is a demonstration of him contacting Us. we can see through him, but it's a one way street.
and speaking of the pit - i just had a thought. his whole thing with Us letting him in, opening... the pit on the neighborhood map is getting bigger and clearer. but the presumed Other Side, the one on the Staff Only ceiling, is small. it's the size of a ceiling panel. it seems to me that Wally is chipping away at his side of the pit or 'portal', trying to reach Our reality, but he needs Us to do the same thing on the other side. the QA can hear him calling, but there's no phone on their (Our) side of the pit. how do We call back???
there's a fundamental barrier & lack of understanding between Wally and the QA/Us. he's trying. he wants to be let in, but what does that mean, really? let him in where? open what? he's desperate. he wants us to understand. he's trying so so hard Without the right tools to clearly communicate what he wants. he can't see Us, We can see him, both know the other is there, but there's no way to connect. and the attempts are hurting all parties involved, however unintentionally
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Thoughts on SEES's 1st tier personas? You can keep this short if you want, and don't forget Psyche!
WOOHOO Prince rants about personas round 2 electric boogaloo!
OK this time I'll focus a little more on the actual designs themselves and my thoughts on how they relate to the character + their stories. Read more because well... You know me...
MC/FeMC: So for Orpheus I think its a pretty fitting choice for the protagonists. The protagonists are on a Journey just like Orpheus journey out of the underworld (kinda on the nose lmao) and both of them have strong connections with music! There's probably some connection between the underworld journey and the fact the plot of the game is to stop death but I'm not sure how to word it if you get me. I also like how they really resemble the protagonists face and hair wise! The mechanical detailing is also a neat touch, I've always seen it as the protagonists being very closed off with their emotions (that's kinda of a trend with a lot of the P3 cast I feel, the inital personas are very stiff but then the 2nd tier have more human feel to them).
Junpei: I think Hermes is a really good choice for Junpei. They're both kinda tricksters and Hermes is often portrayed as being carefree (in media at least) which suits Junpei a lot. In terms of design I think its pretty good, I really like the over exaggerated wings on his feet (the iconic winged sandals Hermes usually rocks) and I like his helmet design. My favorite thing about him as I mentioned before though is actually his animations. The way he slides into the enemies reminds me of a baseball player sliding to a base when they're running between bases (Idk baseball that well I hope that makes sense). Very fitting for Junpei considering his choice of career in Arena and also how he uses his sword like a baseball bat!
Yukari: Io is an interesting one for me. I really like her design, I think the girl in the cow head is a very fitting look for Io (who was a woman who got transformed into a cow by Zeus. Io's story is very sad imo (classic Greek woman gets screwed over by Zeus story) but I'll be honest I've never been totally sure why they went with her for Yukari. I think it works don't get me wrong and I like the choice I just don't see why (I, as I'm sure you can tell, am very passionate about Persona designs and I do my best to understand the choices behind the character and design of the persona and how it relates to the user). It just got pointed out to me (shout out to you Rui) that the way the woman is chained to the cow is kinda symbolic of how Yukari is chained to her past and I think that's a really really cool detail!
Akihiko & Shinjiro: I have to combine these two for obvious reasons. Polydueces ugly design aside for a moment, man. This choice for Akihiko is so good because of its connection to Castor. Regardless of how you view Akihiko and Shinjiro's connection, the way they are so connected to each other and how interwoven they are as characters to the point their personas are literally twins?!! Absolutely amazing I don't think we've had as powerful a persona connection since. I really love how their designs reflect each other two, Polydueces with its lighter and more alive design versus Castor and his dark look and the sword that's embedded in his chest? Symbolizing that he's the mortal twin that dies in the legends? And then connect that with his story in the game? Blows my MIND conceptually the best personas in the series actually. I love them.
Fuuka: OK I love Lucia and how she interacts with Fuuka. Having that glass orb as her body and have Fuuka in there navigating for the team is really really cool! I really like the pose of the persona (there is something about it... blanking on why that is relevant to its design). I also love the detail of her eyes being covered as she is the Patron saint of the blind! A cool choice for a navigational persona. Something about her being considered a martyr is fitting for Fuuka too. I also like how different it is to the others (a lot of the others having Greek connections whereas this is a Catholic saint).
Mitsuru: Oh Penthesilea my absolute beloved. I've discussed her in detail before (mind you probably two years ago at this point) but like one of my favorite things about her is the weapons she uses. The sword, particularly a rapier is seen as an honest weapon. A good knight has a sword, a skilled duelist has a rapier. Mitsuru is a very strong and experienced Persona user (and ofc is a fencer herself). She's convinced everyone she's on this noble quest to fix the Kirijo Group's mistakes, which is partially true to be fair. But her other weapon? A dagger. Associated with dishonesty and treachery. I feel like this alludes to her being dishonest with SEES. I adore Mitsuru but even I can admit she was sneaky and kept important details from SEES (she had her reasons but still). And ofc the treachery I feel is less her and more Ikutski betraying her trust and her father's trust. Also her being dishonest about her own motivations! And then ofc the big details: the absence of red in Penthesilia's design and her face being fully covered by the mask! Showing the walls Mitsuru has built up around herself!!! Sorry I just love Penthesilia and will over analyze her a lot.
Koromaru: Honestly I don't have much to say here but that's not a bad thing! Cereberus is really true to the original myths, a three headed dog with a hellish looking design and that's what they've given us. It's a solid design and I love him!
Ken: OK my own thoughts about Nemesis aside, I think its a really well executed design. It's a very unnerving and angry looking design, perfect for the goddess of revenge. And obvs her being a goddess of revenge is very very suitable for Ken given his motivations up until October 4th! The color scheme really helps with this too. Just a very edgy design perfect for Ken.
Aigis: Palladion is really cool because it's not actually a person but rather an object! Specifically an object associated with protection very similar to aegis. Which well, is perfect for Aigis. A robot dedicated to protecting the protagonist. I can't quite put it into words but its just a really really cool design. I like the big metal spike going through it, very robotic and always reminds me of the front of a pirate ship, not sure if that was intentional tbh.
Metis: OK Psyche is tricky for me. As a design its really cool. I enjoy the butterfly motif a lot. I really like its dress too and I think it resembles Athena which makes a lot of sense given who Metis is! Why Psyche though? The only connection I can make is that Psyche was originally a mortal who was considered so beautiful people mistook her for Aphrodite. Which I guess ties into how Metis was mistaken for Aigis..? Idk there's def a connection here somewhere but I am not sure of what that is. It's still a cool design though.
And I think that's everyone? Hope I didn't forget anyone man this was fun to do. Congrats if you read it all LMAO
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X5 _ Soft Wood Has No Reflection
First – A Small Quiet
A story. The Thin Man told him many stories about all the things, and Mono had listened to all of what the man and his hat would say.
By the dull light from a murky window, he carved deep into the plaster with a bit of metal. The tool smelled thick of rust and the flaking dust made his nose tingle, but he worked all the same to form the pictures he was familiar with. There the formed the many children he knew about. The man and his hat had many children, he always went to look for them. Mono always chased, but he never saw the children the Thin Man kept. That was how it always was.
He made the same mistakes with Her too.
While scratching out the shape of a television, he wondered where it was real and what was the story? When the Thin Man looked at him, something important was there. It wasn’t like together, but it was more than the company. Or that was a part of the story too. It made sense to him way back ago, but now that he thought more and scratched at the wall, he doubted what he thought. He spent a lot of time looking after the Thin Man, sharing with him the important stuff – food, the speek, and he told the Thin Man how wanted he was. Mono would always take care of him.
But it was all the silly child nonsense. Mono didn’t have anything the Thin Man wanted, and he shouldn’t have tried so much. It was all a game of pretend, and it made Mono feel mighty for a short time. All things must come to an end. The man in the hat said it once about how he was ‘grow up’ or something. The speek was strange, and Mono settled on thinking it meant to forget or runaway. The way the man and the hat made the sounds, it was like ‘grow up’ was something Mono had to do, but only if to figure something else out. Most of the time the Thin Man didn’t make sense, but Mono always paid attention. The stories were important.
The tall man didn’t leave Mono, he just never thought about Mono. The Thin Man had so many children, everywhere, across the city. Children to visit and look at, all the children the Thin Man had found, scared children and cautious children. Mono was just one of the children, but the Thin Man never liked visiting him. So Mono made sure to chase. He was good at finding the Thin Man. The best at it.
He would always be the best.
The scrawl of the man and his hat was not incredibly tol, but Mono did his best with how high he could reach. It wasn’t warning speek, he never did warning speek about the tall thin man. Very near the curved shapes, meant to be the Thin Man’s shoes, he added a small scribble shape. The shape sort of had a cube atop the triangular mass, but Mono wasn’t really specific on who the child should be. The man in the hat always had a child with him. Very rarely did Mono see him without one of his children that was not Mono.
“Mono. Am Mono. Mono,” he mumbled, with each scritch and every drag of the flint.
There was no child called Mono. The Thin Man had a boy and a child and another child and another boy, and sometimes a brat. Mono liked the speek brat, but the Thin Man always knotted his face in a way that Mono knew it wasn’t good speek. He still liked the way it sounded.
“Nu-sance.”
All stories had to end. If they didn’t, Mono would go nowhere and nothing would happen. He might stop and go nowhere anymore, and that was always bad. Children that stopped turned cold and hard, and never ran ever again. That wouldn’t happen to Mono. He knew what had to happen, he remembered. It was important he never forget that story, and the Thin Man made helped him know what was supposed to happen. He did try to make something different happen, he wanted to keep his Thin Man more than anything. But he couldn’t.
For a while, he had something that felt very warm and important. It was the biggest thing he had ever felt, and the heavy sensation always awed him with how wonderful it was to cling to. With every ounce of his mighty power, he bundled it up and locked it in his core – into whatever made Mono a Mono. It couldn’t be found anywhere, but he felt it deep inside his world. The best things could not be clutched, they just were.
That never existed, though. It was the story Mono made for himself. He chased the Thin Man and thought about the things they could do, where they should go. Everything that made Mono happy, he tried to share with the Thin Man. But to the man in the hat, there was no one called Mono. Mono chased ideas, he found comfort in stories, and the man in the hat didn’t think about which child he found, or which boy he looked at. A child was a child. All of them were the same.
To Mono, he was the most important child. Ever. And he wanted the Thin Man to see how great he was, how amazing Mono was as the best company.
The flint plinked softly when it fell beside his knees. Mono couldn’t hold it anymore, he couldn’t press the sharp edge in the soft wood and carve out the stories he made about the Thin Man.
That was all they were. Stories. Silly stories of ideas Mono wanted. The dreams he had, about the Thin Man smiling with something so impossibly warm it made Mono beam back with the mightiest of grins. Once upon a time, the thin Man scared him so much and he hated the tall thin man for taking Her. Now, all he wanted was to smell the smoke and curl up in his long arms, to shy away from awful roaring thunder, and hide from all the hate the world threw at him.
He settled on curling up in his coat, beside the wall he had marked his story into. The pictures answered his questions about where the Thin Man went for his long and busy. It helped him understand why he would always be alone, and how dumb it was to think about anything but food and shelter. Nothing lasts forever. Especially the things that made Mono so warm and happy.
The Thin Man was far from knowing anything about Mono, but that was how it was supposed to be. Mono remembered, he never forgot. He just wanted to pretend a little longer. Now?
Now.
It was time for Mono to gather his thoughts and all the pieces that made him – Mono. He was ready to run as far as he could and search for that edge of the city, where the waters lapped at the shore, and the other wilderness waited beyond the misty rains. It was time for Mono to find new places to tuck his head down and rest in the half sleep. Just like now.
A long-long journey awaited him, it would be lonesome and dangerous. But the Thin Man left him a long time ago. Nothing could hurt him now.
Mono settled his head behind his knees and soothed out the tremors in his shoulders. Very soon, a bubble of warmth formed in the tent his coat formed. The empty room creaked the way they always did, and the wispy gale clawed at windows. None of that reached Mono. He refused to feel anything.
Next
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