tw: blood and eyes
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if i look back, i am lost
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@rrozen
tw: blood and eyes
GUYS PLS GO SUPPORT THE ARTIST THEY ARE SO GOOD I LOVE THESE DRAWINGS
@LBZJJAXy7aTYBkt on twt!
It's hysterical to me that people think that GloMas was objectively a better event than Playful Land when GloMas:
Expected us to believe that a 19-year-old highschooler would somehow re-discover an extinct flower species and harvest enough of them that he'd be able to enact his world-reaching terrorist plan, all by himself.
Explained said highschooler's terrorism like this: in non-magical terms, Rollo is like if his little brother was naturally extremely flexible and wanted to train to become a contortionist, accidentally broke his spine while showing off his abilities to Rollo and died, then Rollo grew up and also presented extreme flexibility, and went insane because of all that (his little brother's death + him developing the same ability that led to his death) and plotted to somehow erase extreme flexibility from people's bodies worldwide.
GloMas had better aesthetics, cooler story beats and a better SSR trio, but it ended up being the worst Twst event ever by virtue of making Rollo so ridiculously OP (not in terms of magical abilities, but of his other abilities) that it challenges suspension of disbelief, and making his backstory completely bonkers because magic in Twst isn't some arcane, corrupting unnatural force.
It's a fucking biological ability, and Rollo got beef with it because of a personal tragedy.
It sounds like a parody of a Sad Villain Backstory if anything else. GloMas wrote the stakes to be extremely high with Rollo's villain moments, by making him an anti-magic terrorist who was willing to revolutionize the ENTIRE WORLD collateral damage be damned, and it completely failed to deliver on his backstory to explain how a normal person would become who he did.
literally the potential to write Rollo as an anti-magic cult survivor was RIGHT THERE HE'S TWST FROLLO FFS
And since Rollo's motivations are so nonsensical, the entire event falls apart, because in retrospect everything that Rollo was doing, and everything that our boys fought against, becomes predicated by this nonsense.
Meanwhile Playful Land:
Expected us to believe that if you're rich and powerful enough you can get away with human trafficking... which is what actually tends to happen lol, just because it's an extremely dark and hopeless truth of the world it doesn't make it any less true. PLUS, the event itself left it ambiguous if Fellow would have indeed gotten away with trafficking the NRC students. Maybe he would have, maybe he wouldn't, but the question itself was raised. It's also worth noting that Playful Land itself was a relatively new attraction, which in writing is code for "this scam hasn't been found out yet because not enough time has passed for that" lol
Explained that Fellow and Gidel do what they do because they grew up in extreme poverty and would do anything not to struggle again. Which is also realistic, almost obviously so. And the way Fellow changed his mind is a classic Underling Realizes He's Being Used By His Boss And Opts Out moment, it also works because Fellow did what he did for money, boss prevents that money from coming (by forcing Fellow to pay for the damages NRC caused), Fellow fucks off because then there's no point in sticking around anymore if he's gonna be just as poor as he was before taking the gig lol.
There's other stuff that Playful Land did right and GloMas did wrong ( for example its ambiguous ending over whether or not Fellow and Gidel will manage to escape from their investors after escaping from the NRC boys vs GloMas' "dance party yaaaay don't question why Trein or GrimYuu or the non-SSR boys didn't skin Rollo alive because they also knew that Rollo was the villain and unlike the SSR boys didn't say anything about not beating him up!" ending)
but in general I can say that GloMas is a subjectively better event, as in most people agree that it's prettier and cooler and makes people's feefees happy because big bad Rollo got defeated, whereas Playful Land is objectively better, as in the plot is better constructed and the villains are better written.
Even though I know that most of the fandom won't agree with me, because people really thought that Maybe Rollo Had A Point when he did his little speech about how this Evil Corrupting Magic (that people as young as children develop naturally and which is so mundane that it can be used to entertain festival-goers) should be Extinguished (again, we're talking about a mundane ability that's developed naturally) and how THAT will fix this Twisted Wonderlan's Inequalities (It. Is. A NATURAL BIOLOGICAL ABILITY.)
(ramblings about Rollo's and Fellow's beliefs under the cut because they stray a bit from the main subject of this post)
Can you give like, a "style guideline" for how you do the unique magic posters? It can be as rough or developed as you want, I'm just curious about your thought process
I'm not sure if I can explain it very well, but I'll try! there's definitely a skill to being able to explain The Process in a way that makes sense to other people, so apologies in advance if this just ends up a confusing mess of words!
since these are about each character's unique magic -- though some of them are. looser. than others -- that's a pretty obvious starting point. I try to stay away from a literal "here's a picture of them using their magic" and go for more of the tone and feeling of it. like...the ones I did for the twins don't really have anything to do their magic at all, because I decided it was more interesting to make it about their twinny-ness and their eyes, and having them bookend Azul. so...their magic got relegated to the background as the teeth/tails from the kanji, rather than anything relevant. :') but they look nice and creepy, which was more important to me!
I always start by doing a bunch of thumbnails to get the idea down and figure out what exactly I want to do. for these I go to colors straight off the final thumb instead of doing a tighter sketch; things tend to change a lot and get moved around and shapes and silhouettes get refined as I go, so I just try to get the idea and the important shapes down and worry about fixing my wonky anatomy later. the style is so flat and minimal that it's fun to lean into that, use a lot of symmetry and lack of depth to push the shapes a lot further than with lines! my only rules for it are that 1) the character should be prominent, and 2) facial features are in limited supply and only to be handed out when necessary (both eyes? don't be greedy). other than that it's anything goes!
here are the final thumbs I went with for each if you're interested! some of them stayed pretty close, and some of them still ended up changing a lot during painting:
once I feel good about that, I come up with two or three main colors + an accent color + a "black" and a "white". (I don't use pure black or white for these, I use dark and light shades of other colors. like for the poms, the "white" is a super pale green and the "black" is a super dark blue. it looks richer and blends better with the rest of the palette that way!) I try to use the same colors within the dorm groups (except for the scaras) to keep some internal consistency, but they don't have to be exact or anything.
color is something I tend to really struggle with so I like to have a palette to start with, even if I end up getting away from it. :x I don't restrict myself from adding more shades and colors as necessary, but I try to be mindful about it -- pops of contrasting color immediately become a focal point, so I don't want to overuse those and make it distracting. the little rimlighting highlights are in the "white" color, and just there for fun and to make things a little less 100% symmetrical for some of them! they're easy to overdo though so I try to use them sparingly.
the actual process of painting is mostly thinking about shapes and silhouettes. because there's no lines and no real depth, clarity is really important; a lot of it is making sure the shapes all look satisfying and there aren't any weird little messy areas or anything. and pretty much all of the fonts I go over to add bits too or change slightly, to make it less stock-looking and integrate it more! there's just a lot of trying different stuff and havin' fun, seeing what happy accidents happen. (like...the heart shape in the milk on Trey's was not planned, it came out kind of heart-shaped by accident and I went YESSSS PERFECT and cleaned it up to make it look more intentional. stuff like that!)
uhhh what else. I do everything with one brush (except for some of the little grungy font touchups on the twins), constantly check my values with an adjustment layer on top at 0% saturation, and horizontally flop the canvas to make sure it isn't looking weird or skewed. the paper textures are a final thing, they're a couple of paper layers on top set to soft light and are mostly the same across the board (just slightly adjusting for each) so they don't take a lot of thinking about. the nice thing about doing a series like this is I only have to figure out sizing/borders/etc once. >:)
so...yeah! I don't know if that all made sense or was satisfying, but that's the way I can think to express it! and if nothing else you can enjoy my stupid doodle of Rook making a weird clown face. 👍
in light of recent events i rewatched Every Valkyrie MV. here are my findings (EMOTIONAL)
ok i think there's an image limit so i can't put everything in here but somebody pointed out that le temps des fleurs is the first time shu and mika touch each other in an mv. i decided to do a little research and they were ALMOST RIGHT!! but not only this, shu and mika have never made this much eye contact or like smiled at each other this much before 😭
but here imgonna focus on them specifically reaching out to each other!
nothing particularly exciting happens in their first mv, but in memoire antique, mika reaches out to shu, whose back is turned:
but seems to know it (being good enough as a performer or like, partner) is futile, and kinda accepts that shu won't acknowledge him:
he even curls his fist in defeat arthur style but no image space for that so just. source: dude trust me
as the mvs go on, they begin to look at each other more and reach out to each other more, though they never touch:
HOWEVER in gaisenka (home of the last three too) they do this:
which is. PROGRESS YAY but if you watch the mv you'll see it literally looks like there's an invisible barrier between them </3
then there's acanthe which like barely counts because it's sort of more a story and less a performance and the story is so. it's like a straight up romantic tragedy, but most importantly, it's here where shu starts to act like he needs mika and will do anything to get him back (please watch acanthe for what i mean. if you haven't. honestly which enstarrie hasn't watched acanthe. please change this number to zero)
BUT MOST IMPORTANTLY:
SHOULDER TOUCH‼️but again i think this is more of the story and less of Them. in the parts where they dance and sing they still never touch so i think this slightly disqualifies the shoulder. however even if it weren't disqualified, this isn't a hand touch so. still technically irrelevant to the post </3 but still. this part is so wails
THEN. theeee labyrinth song i forget the title. this is where shu begins to let mika shine n sorta take the lead in both style and song, and they sing to each other more and dance together (as opposed to shu being the puppeteer and mika being the marionette like in their first song and gaisenka). mika reaches out to shu and shu LOOKS BACK!! scroll back up to memoire antique and sob!!
and then THIS:
BRO...
and now. le temps des fleurs. the mv begins on a dull-colored stage, where everything is somewhat muted. right off the bat shu and mika are singing to each other and facing one another and they FINALLY TOUCH HANDS YAY HAPPY PRIDE MONTH but it's not just a simple touch:
shu swings mika's hand back and forth
and twirls him 🥺
eventually the stage lights up (after a scene where their silhouettes cross paths and shu's turns back to follow mika's which i'm really normal about), and petals fall from the sky, and it's so joyful and full of color, which i like to think is. shu's world once he like finally recognizes mika not just as a partner on stage but mayhaps as a partner in life as well :')
they touch hands not once, not twice, but four times in le temps des fleurs!!
and through it all, shu is looking at mika, meeting eyes with him n smiling at him, which--going back and watching all the old mvs where they only ever look out at the audience or at each other, but rarely at the same time--makes me so emotional dude!!!!
this song is so gentle and filled with :)-ism, and they're always reaching for each other (almost touching each other's hearts bawling) n dancing so closely and in sync. like look at this. the way shu looks at mika in this one. we know what you are
finally, i took a screenshot of every ending of every valkyrie mv (slapped together haphazardly in photopea). notice how in every one, they never face each other directly:
tho in labyrinth they stand so closely back to back with their eyes closed, i think its bc they trust each other a lot which is SO wonderful and real and true.
BUT IN LE TEMP DES FLEURS?
THEY REACH OUT TO ONE ANOTHER straight up GAZING into each other's eyes,
and bro is SMILING and like yea like the newly lit stage he is filled with joy and warmth and idk this is just a great way to send them off, idk how climax events work but either way this is such a beatiful arc ender with shu not just recognizing mika's talents (labyrinth) and importance to him (acanthe) but also recognizing that either as a stage partner or as a platonic or romantic or whatever partner, he loves him, and life with him is so much brighter than what they had before :')
Vil And Rook Relationship Analysis
Vil and Rook are two of the closest characters in the cast. The are one of the pair of characters that have a clear friendship. Not to say that other characters don’t have a clear friendship with others, just that the TWST cast aren’t exactly known for being opening with their emotions on certain matters.
Which, part of that might be because of Rook. Rook certainly doesn’t have any problem expressing his emotions, feelings, or thoughts on any subject matter.
But their relationship is interesting when looking at it from the perspective of who they are as characters. Vil is someone that strives to get the closest to perfection as he possible can. Someone that strives to be the epitome of beauty in every sense of the word (Beauty isn’t just about physical appearances.) Rook is someone that strives to observe beauty. To see it in every facet, to understand it, to see the beauty in everything that there is. Because of these characteristics of the two, the are ironically a perfect pair in that regard. Its why they work so well together as Dorm Leader, and Vice Dorm Leader.
Actually, I think people will see this the most clearly in Beanfest. Because Rook is giving the chance to hunt down Vil. It’s why he tells Trey to stay out of it. He wants to be the one that hunts down Vil, to feel the thrill of the hunt of catching someone that strives to be the epitome of beauty. Vil enjoys the fact that someone can actively push him to be the best of the best. Someone that isn’t putting him into some poorly constructed box of who they think Vil is. Because in the end the two completely understand each other. And they will push one another to be all that they can be because they isn’t anything that the two want more.
Rook will not hesitate, in most instances, to call Vil out. When Vil might be slacking, or there is something that Vil himself failed to notice. We see this in Vil’s Lab Coat Vignette. Similarly, Vil does the same when Rook is acting particularly eccentric. Granted, I don’t think Rook’s behavior bothers Vil, considering the main example of Vil doing this is when Rook’s actions could reflect poorly on his Vice Dorm Leader position, so Vil lets him know in turn he will not hesitate to find a new Vice Dorm Leader if Rook is slacking. We see this in Rook’s Lab Coat Vignette.
The reason I used term most instances, when describing Rook calling Vil out, is because he doesn’t always outright say something when he knows Vil is being a bit eccentric himself, just in a different way than Rook. We see this all throughout chapter five. He doesn’t call Vil out or address Vil increasingly stressing himself out. Its clear Rook notices it, just doesn’t say anything. Which, this could be because Rook didn’t think saying anything would actually help. Since I doubt with the emotions Vil was dealing with at the time would have allowed him to think clearly, and then he would have Vil mad and him and still not have gotten the point across.
That and the fact that he wanted to trust Vil. Even up to the very last moment where he was fully planning on drinking the poisoned apple juice. He wanted to trust who he had come to know as a person. That Vil would never go that far, because Rook knows that isn’t who Vil is as a person. And Vil trusts Rook in turn. We see this when Vil goes through everyone’s bags when they arrive at Ramshackle. Or at least, everyone’s bags but Rook’s. And that’s because he trusts Rook. So he doesn’t have to go through his things.
And it’s because they know each other so well, that they understand each other, that they respect each other, that in the end Rook voted for RSA. Because Rook knew the very moment Vil went to go rewatch the clip of them dancing on stage, what they did when it was time to perform for the actual competition, that he wouldn’t have been happy with the outcome. That it would have felt like nothing more than a shallow win. And because he knows Vil so well, he voted for RSA. Because Vil didn’t need a pity vote seeing as Rook would have been lying about his own feelings on the matter. What Vil needs is a hard earned, fair, and clear win. The VDC wouldn’t have given that to him and Rook knows that.
✦Worldbuilding ✦ Name of places correlation
Fun fact I gathered through out the year (through research and discussion with friends):
- Vesuvia: Vesuvius is a name of a mountain which eruption caused the destruction of Pompeii and many other cities.
- Nopal is cactus originated from Mexico, Sanguaro (the character appeared in Asra's route) is also a name of a cactus appeared in Arizona, California and Mexico. Maybe supposed to represent the desert and semi-desert area.
- Venterre in French: vent means wind and terre means earth. Basically means The land of Wind lmao. Famous known for their wine.
- Zadith might be based on a Muslim alchemist in the ancient world.
- Sea of Persephia: the pronunciation similar to Pasiphaë, queen of Crete, goddess of witchcraft and sorcery, mother of Minotaur.
- Firent in French is past tense of "do".
- Karnassos: Might be a variant of Parnassós, a Greek mountain range with some events in Greek mythology.
- Prakra - Ok I have no idea since it's kinda hard to find the name because I don't think Nix went on with Pakra which is a real place or mean "caught" in Hindi. Probably just a variant of "chakra" - energy point on your body.
- Zephyr Bay: Zephyr means "light wind".
- Malvent Strait: Malven in Germany means "mallow flower". Ancient Greek considered it as "cure-all"; in Bible and Israel, the leaves are survival food in harsh environment; in Victorian and European folklore, it symbolizes youthful romance (source).
- Republic of Galbrada: Ok so this might be a pun with "gal" and "brother", especially it's a republic of girls and brothers lol =)) But it could be gal from galera means "friends, group" and brada means "shout, call out" in Portugese.
- Fennekh Desert: from Fennec - desert fox in Sahara desert, North Africa.
- Nimbus Fork: Nimbus means "luminous cloud/ halo around the saint", "dark, gray rain cloud" (originated Latin).
- Hjalle: derives from Old Norse name “Hjalmarr" with 2 parts “hjalmr” (helmet, protection) and “*hariaR” (warrior, leader of an army). So it means “protection by the army”.
- Macawi Port: Might be from Macaw - a group of New World parrots. Originated in Central America, Mexico, South America and the Caribbean.
- Nevivon: this is also kinda tricky, I will list some of my guess here.
1. Nev (slang) means smoke, ivon varies from ivan (Slavic) means God is gracious.
2. Nevis - an island in Caribbean.
3. Evion (American) means spring water. This might be the one.
Official Fan Book Content: Interview with Composer Ozawa Takumi (Fan Translation)
This interview was originally published in the "Disney's Twisted Wonderland Fan Book" on November 1st, 2020
Lyricist, composer and arranger of the background music for "Disney's Twisted Wonderland" as well as its main opening song "Piece of my world". Debuted as part of the music group GANASIA in 1996. She has composed music for anime and video games such as "Magia Record" and "Period Cube” and has also produced music tracks for a wide range of music artists such as the individual unit “ReReGRAPHICS”.
How the Music for "Disney's Twisted Wonderland" was Created Q: The opening song, "Piece of my world", is a big hit. What did you have in mind when you composed it? A: Actually, I was told not to focus too much on the “Disney” aspect while composing. I wanted to create the imagery of a fantastical music-idol group, but with a touch of villainy. That's how the song was born. I am glad that everyone has accepted it.
Q: It’s surprising that you were told not to focus too much on the “Disney” aspect. A: But I do incorporate imagery that is reminiscent of the world of Disney, such as the theme parks and the parades. There is nothing too specific—it is more of a general atmosphere.
Q: How were the Night Ravens? A: There were 11 members, and this was my first time recording with such a large group. Everyone had a wonderful awareness and sense of rhythm. Kihara-san, the main vocalist, has a husky, straight-forward voice with good pitch. Mori-san has a rich, romantic voice. They were able to visualize the worldview depicted in the song through their singing. The other members sang charmingly as well. It's not often you get a recording session with such a lively and good-looking group of people.
Q: I would love to try it out at karaoke. Any advice on how to sing it? A: It starts out with a bewitching atmosphere, like you’re telling a story. The chorus needs to be energetic and fun. I would love it if the rest of the song were sung freely, with people making the most of their own individuality!
Q: Along with the main opening song, you are also in charge of the background music. Which did you create first? A: I composed the background music first. The main theme that plays when the application is launched was the very first track I made. Since the song needs to invite the player to the magical world of villains, I kept the necessity of a dark atmosphere in mind. The track references both the live-action Disney movies "Alice in Wonderland" and "Maleficent".
Q: It’s so exciting for "Twst" to have so many different songs as a part of its background music. How many are there in total? A: I’m not exactly sure, but I know I have created about 95 different songs for the game. The number of rhythmic and event songs continues to grow. I don't know how many more I still need to make (laughs). I am happy to discover something new every time I work on a new song.
Q: What is your process when you compose music? A: First, I received a list of how many tracks they were going to need up till the final chapter. I was also given an outline of what the scenarios were (only up until about midway through), as well as the illustrations and background art to be used. I began by creating music based on all those materials and received additional materials as things moved along. I am more or less done with everything on the list by now—I’m currently working on event music.
Q: What did you think when you first learned about the basis for the game? A: I found it to be surprisingly comedic. I thought that the comical dialogue was fun, and while the characters might be villains, they’re not that evil. In fact, there are a lot of scenes that made me laugh in spite of myself. The playful, slapstick humor gets me every time.
Creating melodies and rhythm via scenarios and illustrations Q: How do you create a melody from an image in your head? A: I am given instructions for each song, such as "this one should be full of hope" or "this one is about coming up with a plan", and from that I come up with an idea about what that sounds like. There are also instructions along the lines of “please refer to these works”. For example, for the Pomefiore Dorm, I, of course, used the music from "Snow White'' as a reference. For the Fairy Gala (event), I was asked to reference Tinkerbell’s song "Fly to Your Heart", so I expanded on the imagery that was born from listening to it and tried to paint a world reminiscent of Ireland, with piccolos and flutes.
Q: Do you compose music on the piano? A: The piano is often involved. I pick up on phrases that come forth while running my fingers along the keys. But in the case of digital-sounding music such as that of Ignihyde Dorm, I sometimes play around on a synthesizer first, and expand upon ideas from there. Sometimes I start with drums. In many cases, I also start from looking at the illustrations. I love both anime and manga, and sometimes music comes from just looking at illustrations of different characters. But sometimes it can be hard to come up with a melody. There was a slapstick, comedic scene that I mulled over for days.
Q: There are times when a single song requires days of work! A: Yes. Some days I work from noon until late at night, or even until the following morning. On bad days I’ll just stop completely. Sometimes I will listen to all the songs I've completed up to that point. If it looks like I'm not going to make a deadline, I’ll sometimes just go “Ahhh!” (laughs).
Q: What do you keep in mind when creating music for "TWST"? A: It can’t become too dark. Even if it feels unsettling sometimes, it can’t bring you down. It needs to be harrowing and exciting. With the character summons, though, I want the audience to get excited, so that track has a three-beat, exciting feel to it.
Q: What is the hardest part of songwriting for TWST? A: The rhythmic tracks take the most time to compose. The timing of when the notes need to be tapped is decided by the developers, so I never know how they will turn out. Sometimes I will be trying a newly released rhythmic game and be caught by surprise by how my music has been used and how difficult it turned out to be (laughs).
Q: Do you ever attend recordings? A: Yes. I complete everything at home on synthesizers, then move to the studio for recordings, with certain parts getting re-recorded with live instruments. I integrate drums, bass, guitars, flutes, saxophones, strings, etc.
Q: Is that your voice in the songs with choruses? A: Yes, it is. I am often singing the choruses in the music. I sing the chorus in the house-warden battles and the bewitching chorus that comes in after the music box version of the main theme on the album screen.
Q: What is it like to play a game that uses your own music and voice? A: It's great fun (laughs). When a rhythmic game is too difficult, all I can think is, "I'm so sorry, everyone," and I try my best, but I get stuck, too.
The Composer Speaks about the World of Popular Video Games Q: Who is your favorite TWST character? A: At first glance, I was most interested in Idia. I like the gap between how cool he looks and how he’s a complete introvert. Recently, I have become interested in the headmaster. He annoys me sometimes, though (laughs). I am intrigued by his play-acting. And then there is Grim. He does stir up trouble, but he never goes too far. I hope there will be a lot of merchandise (laughs).
Q: Are any of the characters similar to yourself? A: I don't think so (laughs). But the one that I had the most empathy for was Jamil from Scarabia Dorm. As the story progressed, I found myself thinking, "I know that feeling”, and he resonated with me.
Q: Does each character have their own theme? A: Not particularly. I take care to not make the characters seem too “evil” through the music. They’re more mischievous than evil.
Q: Do you have any music-related trivia to share that fans might not already know? A: It might be fun for people to try and guess what movies I had in mind when I was creating certain songs. For example, I had the live-action "Alice in Wonderland" movie in mind when composing the music for Riddle’s overblot scene, but no one realized it. Not even the production team noticed (laughs). Also, the background music for Happy Beans Day (event) is a tribute to the "Mickey and the Beanstalk” cartoon.
Q: Were any of your songs inspired by Alan Menken's music, or other recent movies? A: The themes and rhythmics for both Savanaclaw Dorm and Scarabia Dorm were, yes. I did not use any of the melodies from the movies, but I did refer to my favorite song "Arabian Nights" (Aladdin), and the "Nants' Ingonyama" part of "Circle of Life" (The Lion King)(laughs).
Enter the Dreamlike World of "Disney" Anytime, Anywhere Q: Have you always liked Disney movies? A: Yes! I love the bewitching "Aladdin", and how fun its songs are. I was shocked by “Maleficent", which changed my view of villains entirely. I also like Tim Burton's "The Nightmare Before Christmas", also because it is bewitching and the parts that pull at your heart strings. I have collected a lot of Jack Skellington merchandise.
Q: Do you go to the theme parks? A: I loved the "Haunted Mansion’s Holiday Nightmare" with Jack during Halloween. I used to go once a month. I would arrive at the park in the morning and craft a strategy for visiting all the attractions and things in the most efficient way before it closed.
Q: Are you a villainous person yourself (laughs)? A: I sympathize with and am drawn to villains because I scare easily and have no self-confidence. Also because they each have their own reasoning for what they do, their own circumstances and their own sense of justice. Whether it is right or wrong varies by situation. It can be hard to know if the "righteous" side is really that "righteous” at all.
Q: Finally, a word to your fans! A: Thank you for all the enthusiastic feedback on social networking sites. Everyone’s encouragement is what keeps me going. I am so happy to hear that there are some people who are learning to play the songs by ear. I think that playing TWST can make you feel like you're at Disneyland, without ever leaving your home. That's how I feel when I write songs for it. If you have never tried the game, I would be happy if you could try approaching it as if it’s another Disney theme park.
Note: Thank you so much to my amazing proofreader for this project, who decided to remain anonymous as they don't have a Tumblr account, without whom this would have been much less legible💕
Additional Resources: (disclaimer: the following projects had no proofreader, edits have been made as corrections came in from the community but these would be best taken as general guides rather than literally) ・Character and Place Name Etymology, Translated from the Fan Book ・Seiyuu Interviews from the Official Fan Book (Part 1 of 11) ・Interview with Twisted Wonderland Creator Toboso Yana (Part 1 of 10)
Who put Kuro to sleep? The smoke around the scene where Mahiru picks Kuro up is very similar to Snow Lily's illusion power.
From the Lust arc, we know that Lily is capable of putting people to sleep because he used the power to stop Misono from leaving the manor. His illusion can also act as a barrier to keep people from entering a certain area. That ability would be useful to ensure that Mahiru was the one who found Kuro.
It's important to note that Lily has a contract with the Alicein family even before his first visit to Kuro (he mentions that he and JeJe are close). We don't see Lily during the interaction with the C3 member but it's possible he's waiting outside. Their distance limitation is the furthest of the Servamps and that would be possible.
The woman from C3 who visited Kuro gives me strong Alicein vibes due to her cane being a flamingo. It's well known that the Alicein family has a "Alice in Wonderland" motif. Flamingos were used to play croquet by the Red Queen. The reason she didn't have Lily join their meeting is because she wanted to keep him as a secret weapon.
Lily was also one of the three who voted to have Sensei be killed. We know that Lily didn't want to be revived. However, another reason he might've voted in favour was because of C3's plan and the curse.
For the curse, they wanted to "subdue" Sensei. It's very likely that they wanted to link Kuro and Sensei so they both slept for 100 years.
Lily lifted the fog that kept people from picking Kuro up once Mahiru passed by. This makes me think that whoever planned for Mahiru to be the one to make a contract with him. Why? Mahiru's secret power. A contract between the most powerful Servamp and someone with Mahi's power could be "the key" to reviving Sensei or defeating him once and for all. I don't think C3 was the one who made the plan though. Toru stated that only his mother and himself knows of Mahiru's power.
But, the person who told Lily to wait for Mahiru to pass Kuro to dispel the barrier must be close to Lily. What if it's Mikuni? Mikuni has a mysterious plan that no one knows the true goal. He dislikes vampires so I doubt he's truly working with Tsubaki. He could want to take his anger out of Sensei for causing his family's downfall. Mikuni is only cooperating with Tsubaki as long as it gives him what he wants for his own plan. He researched many things in private and he doesn't give that information to C3 so he might know about Mahiru's power through that.
My friend also headcanon that Mahiru could have the power nullify magic/illusions and he dispelled Lily's barrier by walking through it. I would like this scenario better because Kuro and Mahiru met through chance rather than it being a result of a plan by C3 or Mikuni.
Trey Clover is suspicious as hell
At the beginning, Trey seems like a boring, grounded, big brother type of character whose purpose is to balance out the eccentricity of the rest of the cast. Once you get a little further, you realize he does have his own quirks and moments of selfishness. But then you stay there. You still accept him as one of the most normal characters in the cast, and you register the oddities as flukes… and not as hints into something more.
Hello, I’m still here and I’m still into TWST. As a returning present, here’s a 1k words long overanalysis and theory post about Trey.
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Nothing to see here.
Just posting screenshots relate to Sebek in this event:
Look at him all proud.
Silver's daily struggles.
Few seconds before the two show up.
Look at them in their glorious form!
Idk what he said but he cried so... BABY! 😭
"Thank you Sebek"
Sebek got notice by his wakasama 🤩
I love you my child
YOU’RE THE ONE WHO MADE ME CRY, ACE !!! (ಥ﹏ಥ)
have I mentioned that I really like the “sherlock holmes is secretly a gavin ancestor” theory
rip in pieces jenry hekyll
Style (Hand holding masterpost)