💛SINAXAE✨

アニーサ|Nicknames: Ani/Skazzfish🫰 Everything I do is Mobile. 💛May You Heart Be Your Guiding Key🫶 Twitter: @_SLK4187/@Skazzfish Likes: Games*, Music, Cartoons, Comics, ARTs of all kinds🫰 Kingdom HeARTs Obsession Arc!!🫶💛 Twin Sister/Best Friend: ray-xenolabs/Arin/Rin

[ar-mage-ddon]

still waiting...

[last-flight-of-fancy]

Started thinking about Riku-Kairi parallels and symbolism wrt the ending of kh2 so please hold while i get needlessly verbose about it-

specifically it started with this gif

and ofc adhd is as adhd does and started going down the rabbit hole of connecting the dots.

The act of reaching out a hand/hand holding is a recurring thing in kh, the vast majority of which is chock full of meaning and symbolism, and this is no exception. This is the culmination of The Hero's Journey part of Sora's tale, the return home, and the heartfelt reunion between long-seperated friends. fun fact the heroine's journey follows the hero's journey for the first third or so before continuing on. kinda like how kh continued on long after things seemed to be 'resolved'. weekly plug to look up Howler's Heroine's Journey essays if you haven't yet

The angle from which I am viewing this scene right now is in regards to ofc Riku, and his own iconic pose that we see the first time in the intro to kh1 (and many, many times since)

And this is where my riku-kairi-are-inverted-parallels-to-each-other brain starts barking like a dog because oughghghghggh same pose opposite side completely different body language- AHG.

And this matches their character arcs (as well as their respective combined arcs with sora) to a T as well. Riku's pose is the first we see, way back in kh1, and his hand is as much a taunt as it is an offer. Very befitting his relationship to sora in that game, which was coloured by a forged rivalry and intense jealousy (to quote the ultimania; Complicated Feelings) of/for sora.

(it is also notable that to date this gesture has yet to be resolved. the closest they've gotten is when sora grasped Riku's hand in kh2 on finding him- albeit in Ansem's visage.

Symbolically this is Sora attempting to accept the gesture, but this time it is Riku who fails to meet him halfway, too deep in guilt and regret to feel worthy of it. his hand is turned downwards, limp and unresisting.

And again in DDD when Riku grabs sora's hand/wrist in an attempt to wake him from his nightmares, but this time sora isn't capable of reciprocating. like two ships passing in the night, always reaching but never quite meeting)

(this one isn't quite as strong in the visual symbolism specific to the Riku Pose, but i did think it bore mentioning)

to return to the first gif however, for Kairi her posture is much less stiff, leaning forward with palpable releif at Sora's return. Honestly the fact that she holds out her left hand (which as far as i know is not her dominant hand) marks this as a very deliberate choice to parallel her as opposite to riku. and much like the rest of kh2's ending, it FEELS like a culmination, a completion of their arcs.... and most certainly isnt.

Which i mean to say, it's a mid-point. And the reason I say this is because of one little thing.

The seashell charm.

There's a sort of irony here in that the charm that was meant to reunite them in this moment is also symbolically like a wedge between them. A heartfelt and meaningful gesture, don't get me wrong! i love this scene and the genuine emotions within, but i do love chewing on the way this gains a slightly different meaning in the greater context of later story beats; specifically that of kh3.

With how pointed and direct the parallel is between kairi and riku in these scenes, it did make me pause for a moment thinking about kh3. i know we've all seen a thousand and one analysis' of the paopu scene at this point, but forgive me as i must do so again under this specific lens.

'how does the paopu scene relate to the hand extended gesture at all?' i hear you ask, and on the visual surface not much. it has more to do with sora and kairi's relationship arc through the games and, of course, the lingering loose thread that was the cave drawing.

The paopu scene is a touching recreation of that cave drawing, one enacted by a pair of kids who didn't know if they would live to see another sunset. It's also probably the most symbollically dense thing in all of kh and that is saying something so I'm going to try and keep my observations limited to just what is relevant to this post- and that would be the way that the paopu scene is a direct continuation of Kairi's 'you're home' gesture in kh2.

shooting stars are also a common recurring symbol in kh, and that's the symbol that ties these two scene's together. if kh1 is two disparate stars each trying to reach the other (the cave drawing, the seashell charm, the way their hands are seperated at the end of kh1), and the end of kh2 is that of the stars finally meeting (the single seashell star charm pressed between their palms), then the paopu scene is that of the stars passing each other by and beginning their own journey's anew (two stars held by crossed arms, each now holding a small piece of the other (bitten fruit) to show that their meeting may have been brief but it was meaningful)

it is in this way that kh3 quietly and tenderly closes out sora and kairi's combined arc, as two unlikely friends who then drift apart again, shining brightly for the shared experiance, Remind mostly serves to support that finality, tying up the last couple loose ends between them, and leaving the two far more comfortable with each other than they ever were while that arc was still ongoing (which i read as them no longer being uncertain as to what their relationship is; that of friends, and not whatever so many others around them had pushed and assumed)

(seriously look at how much more comfortable they are with each other the second the pressure to be something they're not is off. the awkwardness is completely gone i love it)

All of this is ofc still in parallel to Riku, who boasts no such star imagery (instead he has the iconic Heart of KH itself), and in fact while he symbollically continues to reach out to sora, physically he has completely refrained from doing so at all- in fact most examples of the Gesture in kh are deliberately invoked by other characters in order to bring riku to mind in some way (and often more for the players benifit than sora's)

axel in CoM,

(i have given up on tumblr gif search)

YMX in DDD,

which then immidiately cuts to riku in kh1 just to make it as blatant as possible that yes the reference is intentional (i guess CoM was too subtle somehow so they had to make sure this time)

and even Riku himself to Namine at the end of kh3, representing Repliku's final wishes in a funny sort of symbolism oroboros.)

and it's not a coincidence that the completion of that connection provides definitive closure to the arcs in question; that of namine to repliku, but also a little bit to riku himself. namine still has a role to play, but that role (i think) is more or less exclusive to her relationship with sora. namine and riku's relationship arc, background as it is, is complete, and now both are connected primarily through their incomplete arcs with sora.

(which makes the way that sora and kairi's example in kh2 is a complete outlier really interesting tbh. smth smth thinking your relationship is one thing and if it was that thing then yes that would have been the end, but it wasn't that thing and thus it wasn't the end smth smth comphet metaphor smth)

which brings us back to how riku himself hasn't really reached out to sora directly since kh1, the act that set off both of their journey's. The reasons for that are many- guilt, fear, a certainty that sora will not reach back and that he doesn't deserve it anyway- but despite that the Gesture is still subtly affirmed as being Riku's over and over again, never quite letting the audience forget it... because eventually this bit of symbolism so consistently portrayed throughout the series will reach its own conclusion, starting how it began with one deuteragonist reaching out to the other, and this time the other reaching back to complete the gesture.

[dawnepiphany-deactivated2025062]

False Light: A Master of Masters Analysis

False Light A Master of Masters Analysis My name is Dawn. This document is a resource for Kingdom Hearts fans interested in the Master

383 pages of canon analysis (mostly screenshots) and theories about the Master of Masters!

[elliot]

I played the alleged anti-rpg, moon (1997) approximately 2 years ago; it was a game that took my mind by a storm and inspired a well of creativity unlike any other. After years upon years of being incapable of original work due to a deep rooted dry spell, it was moon that opened the floodgates of my brain back up and enabled me to start making things directly from the heart again.

I’ve played a lot of games, and moon is both a cult classic and one of the most fascinating for a good reason. In the 6~ ish hours you get with it, it communicates such a wealth of abstract thematics that have managed to create a ripple effect present with games we love even today. This post examines the core of the game: the metanarrative relationship that exists between The Hero and The Invisible Boy.

There are major spoilers for the game in this post. Please read at your discretion! 

When moon posits itself as an anti-rpg, what does that term entail?

At a glance– the player assumes it’s a reference to the gameplay system which is structured around “saving” animals/monsters as opposed to fighting them. 

However, what makes the game an anti-rpg in actuality has little to do with this feel good, heartening mechanic: because the very end of the game tells you distinctly that this mechanic will not truly save anything or anyone. Whether you’re killing or saving these monsters, animals, characters, etc. you are still viewing them as metrics, objects of your affection/destruction, numbers and things and targets for your own amusement. The Invisible Boy still has a leveling system, just like The Hero. To allow these creatures and characters to flourish, you ultimately must leave them behind. The game is an anti-rpg, not because you harness the power of pacifism over violence, but because the ultimate act of love for this game, for its characters, for its messaging is to step away from it and internalize what it’s communicated to you in your real life. That’s the only way you can “beat” it.

But to deconstruct this further: the game itself deconstructs the notion of “roleplaying” ala using the protagonist as a self insert through The Invisible Boy. Who is The Invisible Boy, and who is The Hero?

When introduced to the game, you are playing as a young boy who is subsequently also playing as a character: The Hero, who serves as his initial avatar. The first thing the game prompts you to do is enter a name. The title track of the song that plays during this sequence is Entry Song, a seemingly basic reference to “name entry” that doubles as an allusion to the fact that this is the exact moment where both the Invisible Boy and The Hero “enter” the world. The name you enter applies to both characters, a reveal that’s delivered to you at the very end of the game – The Invisible Boy has this name in lower case, while The Hero has it in upper case. Fundamentally the same name but mirrored to each other. The young boy is thrust into the world through the TV screen, losing his corporeal form and therefore becoming The Invisible Boy. His existence is a strange, undefinable thing; for a reason never made known or explicit, The Invisible Boy is capable of seeing dead animals felled by The Hero. This may be due to the metanarrative divide he exists within as a “real” boy who has entered the two dimensional world of the game, but his ability to communicate with the dead transcends his interactions with the slain animals. In the sequence with Tanaka, it’s noted that the Invisible Boy has the capacity for contact with spirits and that “regular people” cannot enter the liminal space that exists between the living and the dead. What does this imply regarding the Invisible Boy? I’ll circle back to this after establishing what we know about The Hero.

The Hero, when you are first introduced to him, only exists at the mercy and control of the boy controlling him; once that boy enters the universe, he seems to act in accordance to his mission regardless and is preoccupied with the notion of leveling up and defeating the Dragon no matter the cost. Of course, easter eggs and lore within the game go on to reveal that The Hero is actually Gramby’s dead grandson, pierced by the White Feathered Arrow and trapped within the cursed armor, which effectively brainwashed him into becoming a bloodthirsty warrior with no real cognizance of what’s going on. The rainbow generator may seem inconsequential, but rainbows often symbolize the bridgeway between life and death.

So what does that have to do with the Invisible Boy?

The simplest way of communicating it is that the Invisible Boy and The Hero quite literally cannot exist without one another. The prologue featuring The Hero (called FAKE MOON) that you go through foreshadows the game’s central plot events but through the lens of The Hero, which are then experienced through the lens of The Invisible Boy. From chasing around the “crazed dog?”, to the fight with Perogon, to boarding the airship, to the mass slaughter of the animals on the moon – the story of the game, whether it’s as The Hero or The Invisible Boy, has already been written into existence. Much of moon is storytelling in reverse, wherein the further you progress, the more you come to understand The Hero’s “reality” during FAKE MOON. The songs that play during FAKE MOON are songs that reappear during REAL MOON with different instrumentals to denote them (1, 2, 3, 4, 5). Same melody and yet it evokes a completely different feeling.

The Invisible Boy follows the same road as The Hero; everywhere The Invisible Boy goes, The Hero is shortly up ahead of him. They take the same steps, meet the same people, activate all of the same plot points. The Hero’s world is rigid and unyielding, limited to an 8 bit soundtrack with environments and people rendered to their simplest forms. The Invisible Boy’s world is a subversion of this, with no soundtrack to guide him – instead you’re given a variety of genre breaking tracks to play of your own accord, with only the sound of your own footsteps to accompany you (The Hero and The Invisible Boy’s footsteps are both used to characterize their presences). The Invisible Boy’s leveling system demands that he talks to and understands other characters, but there’s still a pervasive sense of loneliness that colors his gameplay, a feeling that never quite leaves; much like The Hero’s journey. When Gramby sees The Invisible Boy, she recognizes him as her grandson and uses the inverse of his name, the version of it that exists in all caps. 

Is this to say that on some level, The Invisible Boy and The Hero exist as the same entity in dual points and egos? Possibly. The Invisible Boy is a real person, and The Hero comes into existence because of him. At the end of the game, when The Invisible Boy is slain by The Hero, The Hero dies immediately: because The Hero cannot exist without the Invisible Boy. When The Hero’s armor falls away, you do not see a child.

You see nothing. You see an invisible boy.

Florence speaks often of a recurring motif in this game: rebirth, the bridge between realities, life and death. Dying and being born again. The Hero gets his second chance – as the Invisible Boy. Because the Invisible Boy and The Hero are still a product of their design (the role of the protagonist), they condemn the cast and world to the same fate regardless of the means they take. Shedding their role within the game is the only way they can save anyone. Florence proposes that the dreamscape, the subconscious, is a gateway to another reality – The Invisible Boy’s “promises” to the Moon Queen take place in the dreamscape, where he retains his form as a human child as opposed to The Invisible Boy. The Invisible Boy and The Hero are both bound by their promise to save Love-De-Gard no matter the cost and no matter the sacrifice. On the moon, when you see the Moon Queen in person, she is physically attached to the Dragon The Hero fights: they exist as a dual ego, as two sides of the same coin. The Hero has been following the trail of the Dragon, while the The Invisible Boy has been following the guidance of The Moon Queen. They are one and the same. 

Fiction, stories, games, are escapes to other realities that exist to us and us alone. We, as the player, make out its meaning. Is that meaning steeped in blood? Is it dehumanization? Is it gratification?

While many use the scrapped “ending” as a frame of reference for The Hero’s fate or what he truly is, that’s simply inaccurate; Kimura has talked about this “ending” quite a bit. Here is an interview where he states that not only was this not an “ending” but rather a part of a scenario that you’d clear in order to eventually attain an ending that resolved the scenario in question, but also that it was scrapped early into development because it was not the direction they had wanted to take the game in. Thematically, it’s incongruent with what we’re presented. Here’s another interview where Kimura discusses it, once again stating that it would clash with what the story was presenting as is.

Conversely, there is a vocal theater that was released where you follow along with The Hero, aka the young boy that exists inside of him. Near the end of this theater, you get to hear The Hero actively make the choice to exit the game and open the door; perhaps cementing the idea that The Hero and The Invisible Boy exist as dual egos, hence why neither are shown in the ending credits.

The Invisible Boy and The Hero could be viewed as an elaborate metaphor for our relationship to gaming and art. They could be viewed as a metaphor for how young boys are socialized into violence through gaming. They could be viewed as a literal story of rebirth. They could be viewed as a young boy, learning to navigate the world and himself, at odds with these two facets of himself. They could be viewed as a young boy wanting to learn how to do right by the world, and the creatures he’s come to love. They could be viewed as something so abstract, or something so literal, that the possibilities are endless – but their identities and roles are inextricably linked and form the heart of moon. After finishing, I dug through the game in a relentless pursuit in some attempt to understand what happened to The Hero, how his narrative could be read more mercifully, what the point of this child’s alleged suffering was–

In the end, the answer is simple. You are him and he is you, just as the Invisible Boy is.

[sleepysealion]

When you fish upon a star.

[motherfactorin-pi-face]

In which I describe the maths of how to attack and dethrone God (per Minamimoto)

So in my evergrowing post thread (which I know I'm already gonna have to add to that essay fml) I did make ref to...well, a thing that literally has made my jaw drop since when I played TWEWY the first time (and keeping in mind this was a game friends forcefully insisted I play because "there's a char Sho Minamimoto who's just like you fr", and after I'd nodded "yup" re the SI unit obsessions and the compsci refs to Heaps and Crunching (and later, as I found out, "crashing" in JP), and the aesthetic, and, and...)

Namely: Sho Minamimoto literally uses (or tries to use) a very famous maths formula called Euler's Identity to take out the Composer as an example of Forcefully Applied Mathematics. :D (This may have also been the moment when I was like "Yup, he just like me FR")

So. First off. Euler's Identity.

It's kind of difficult to explain why this particular equation is considered one of the true Chef's Kisses of Mathematics to non-mathematicians, but part of it is elegance, and part of it is that it includes five of the foundational variables that show up in mathematics all the time (and really even more functions if you break it apart): a) the natural logarithm e or Euler's number which is roughly 2.71828182845... and which is zetta important in a lot of fields including finance, biology, medicine, and calculus functions, and (as we'll get into) antennas and field strength measurements and pretty much a Shitload of functions related to growth b) the imaginary unit i or the square root of -1 (which turns out to be extremely useful in a lot of contexts, including electronics (seriously; AC electricity and functions relating to that are *heavily* dependent on the imaginary unit) and graphing and arguably how Cartesian graphs work especially once you get into calculus c) Pi (π), everyone's favourite circle ratio of 3.141592653589793238462643393279 (is pulled away from keyboard before I can draw a Taboo Noise Refinery Sigil in Paint) and which is Important in many, many contexts d) 1 (yes, 1 is considered a constant! Specifically "A quantity exists") , and

e) 0 (yes, 0 is considered a constant too, specifically "a quantity does not exist", and reducing Euler's Identity results in e^(i*pi)+1=0) To make it even more Minamimoto-esque, you can technically also express Euler's Identity as a reduction of "e^(i*x) = cos(pi) + (i * (sin(pi)) (aka Euler's Formula), and cos(pi) =-1 and sin(pi)=0.

And really it's kind of a beautiful way of how things all fit together in a lovely function that is almost a kiss from the Math Gods and if plotted traces a lovely circle.

So after that little tangent, here's how this all relates to W2D7 of TWEWY, and Minamimoto's forcefully applied mathematics. * * * So, first we end up at Pork City (Mark City if you're watching the anime; Tokyu Group liked the TWEWY tourism and by the time the anime and NEO came around decided to take advantage of the advertising), and...Joshua and Neku start having a very interesting conversation on why there's So Much Damn Noise at Pork City anyways:

Neku asks if this is the work of Pi-Face, Joshua notes "Probably" and then goes on to note that it might not all be JUST Minamimoto:

In other words: Pork City is effectively acting as an amplifier or at least an antenna for Noise. (I am not the only one to have noticed it and not even the only one on Tunglr, for that matter; Voice From The Corner also picked up on this as well though I'll freely admit I'm diving a bit more into the STEM portions of this.) TWEWY:tA is even more blatant about this imagery in ep 6, where Joshua explicitly notes that all the emotion in Shibuya collects at Mark City (remember, the animation uses the RL name) and then "crashes into Mark City and shoots up into the sky. That emotion flows back down and keeps building up here." (Shortly afterwards, Joshua also mentions the Imaginary Noise Plane as the inside of Mark City warps, similarly to a sine wave flow--or the flow of energy into, or out of, an antenna. (You do not know how loudly I screamed seeing this, as an aside) So, this is where we get into piece one, e (and where a healthy interest in radio and electronics hobbies helps!)

So antennas, interestingly, have how well they pick up a frequency measured in a logarithmic scale, and basic field strength measurements (and a lot of other "wavey" things, including earthquakes, including, well, literal background noise) get measured on logarithmic scales too. It's rather more common with antennas and earthquakes for this to be measured on log-10 scales (hence the Richter scale for quakes, or decibels for antennas and sound). There's a particular group of measurements (physical field and power measurements), however, that actually uses log-e, aka the natural logarithm, and especially for voltage or current and "root power quantities"--the neper. And, in Euler's Identity, e is taken to powers...and Pork City is basically acting as a huge antenna. Also in info engineering aspects, there's another aspect--the nat, which is considered a unit of information or info entropy...also based on e. (I told you Euler's number comes up a lot of places!)

Let's continue... So now we come to i, the imaginary unit, and that's called out blatantly by Joshua:

This, too, is based on math--from Final Fantasy II, specifically, and how the Flare spell worked. Flare is an area-effect spell and it hit based on (Enemy's HP/Flare level), i.e. enemies that had HP divisible by 2 could be hit by a Flare level 2 spell and could deliver damage based on that spell's level, etc. So a level i Flare, based on how complex numbers work, could hit just about anything (assuming, of course, that the Composer is not a Fractal Bastard and promptly yeets himself into a PokeYugiBeyBladeVerse). But...that's not the ONLY part where things imaginary come into play. So, one of the interesting bits of lore that came out in (of all things) the NEO:TWEWY Field Walk RPG (alas, JP only, but a delightful source of lore, and thankfully the fan community preserved almost all of it) is actual canon on how Tin Pins and Psychs work including the actual formula on how they work in a convo between Minamimoto and Fret:

Fret: Soooo, these psychs and pins and stuff… how does it all work? Minamimoto: The pin is charged by the Imagination of the user. Fret: Uh huuuh. Minamimoto: The pin itself is just a medium. Fret: Mm-hmm. Minamimoto: “Power” is calculated from the numerical limit of the pin, using your will as a coefficient. Fret: Yeah. Minamimoto: But that formula alone means nothing to me!

(Emphasis mine: props to Pavaal on the Dead Bird App for initial translation, and to multiple others for confirmation from the FWRPG script.) So basically how Psychs work is functionally as an athame, using formula Psych=Limit^Imaginatio. (Secret Report 1 in TWEWY also confirms Imagination is important in making a Psych work to begin with; the formula) Of note, Minamimoto also has a canonically high Imagination, as detailed in the Secret Reports. To even become a Reaper to begin with (as noted in SR7) those who survive the week who have enough Imagination become Reapers, and even among Reapers Minamimoto tends to stand out (he is canonically the youngest Reaper Officer ever, and apparently had quite the rapid rise to power). SR15 in TWEWY notes (even keeping in mind that in this instance Hanekoma is being a bit of an Unreliable Narrator in covering his own butt regarding the Taboo Thing):

The sigil Minamimoto drew was one of the undecodable types. Was that a mistake on the Fallen Angel's part? Or was it a transcription error by Minamimoto? Either way, with that design, he stands little chance of reviving himself. However, Minamimoto is driven, and his Imagination strong. Perhaps strong enough to make a Taboo sigil work, even in the Underground... If so, the specific result would be impossible to predict.

And in SR19 (again, covering up just a bit for his own helping hand):

I've detected an energy spike here. It would seem Minamimoto has returned. I judged his revival unlikely after spotting his Taboo refinery sigil on the first day, but it appears Minamimoto's Imagination is much stronger than I'd anticipated. The Fallen Angel must have completed the array for him. A troubling thought. Who can say what impact this will have on the Composer and Conductor's Game?

And even in the NEO Secret Reports it's noted his second trip through Coco's version of the Sigil actually ramped up his Imagination even more (in NEO SR 7):

Minamimoto, on the other hand has all but vanished from the proxy’s side. His Noise refinery sigil drastically heightens his Imagination, which may be why he can clearly recognize the proxy’s abilities. I have an idea of what he’s planning. It’s dangerous, but I have no way of stopping him.

And again, TWEWY:tA also makes it more blunt that Minamimoto was selected explicitly because of his Imagination and his connections to Shibuya as Hanekoma's Plan B. So there's imaginary units (in the sense of literal level i flare), and imaginary units (in a Reaper whose Imagination is already in the stratosphere). And in regards to pi? Well, Pi-Face, he has very much a rep of being....numbers- and math-obsessed even BEFORE he throws 156 digits of pi in the Composer's face:

But pi (as a number) is actually meaningful as HELL to Minamimoto, he engages in saying pi to himself drawing the Taboo Noise Refinery Sigil (goroawase in Japanese which relates to literally an obstetrician going to a foreign country and a woman giving birth at night as insects make a lot of noise which can almost be seen as a minor ritual to Make It Work, a little happy pi rhythmic thing in English in the game, actual spoopy sounding pimetry in the anime that sounds very sorcery-y). Looking (for far too long) at the Taboo Noise Refinery Sigil, pi is encoded in it in at least four or five places (multiple times as functionally a magic binding circle, at least once where he draws the symbol for pi in such a way that when it's turned upside down it literally spells "pi"). It's important. It's meaningful. It's His Number and transcedential and irrational and beautiful and unrestrained :D So now y'all are wondering, "OK, smartass, where's the -1 at?" As I noted, another way you can write Euler's Identity is specifically as "e^(i*pi)+1=0", so that can be expressed as a way to null the Composer (who is probably the 1 in question). Euler's Identity would be used to subtract 1 from the equation, in other words (as Minamimoto was intending to come back from Erasure by literally integrating himself via Taboo Noise Refinery Sigil). There's one other interesting bit of symbolism, one that's deep enough that I'm not even sure the writers of TWEWY intended, but if so...it's such a chef's kiss that I have deepest admiration.

So Euler's Identity can be expressed in terms of a formula, and as a reduction of sine and cosines involving pi and i, but it can also be mapped as motion--specifically as how a function evolves. (I tend to be a pretty visual thinker, and there's an extremely good discussion on Euler's Identity here that goes into the whole "mapping the function" aspect to show how Euler's Identity works in practice.)

So typically when you're doing a non-negative function or a zero function, generally there's an assumption of "right-hand" rotation or movement. Complex functions, you get into fun things like circles, and curves, and even some very beautiful fractals (like with the Mandelbrot set) with the right iterative formulas. Euler's Identity...is literally a left-hand-path function:

(And those of you who were writing about the Cyclic Nature of Minamimoto are probably all screaming right now) Anyways, wanted to share in full one of the things that was a jawdropper for me in TWEWY back when I found the game at a glorified skateshop that sold games in 2011. Thank you for coming to my TED talk, zeptograms :3

[skazzfish]

Hey, yo! It's me, Ani!! It's been years and Everytime I try to avoid coming here of all places because it holds so many bad memories for me, however, I feel... no, I know I've changed a lot. I'm still cringe in certain ways, but I and more hopeful and positive now a days. It still needs serious work, but Kingdom Hearts I feel like it revived me!!:)

I've been on my Twitter(tsk tsk)-- _SLK4187(MAIN) My Art Acct is Skazzfish!) I've been drawing loads of KH art, so whenever I get the will to, I'll post most of my hard work here!!

[skazzfish]

I just wonder howmany people are still here...???

[skazzfish]

[skazzfish]

It Has Been Ages

[mintsdraws]

Young Nastyman

[melonishvarts]

[jadeazora]

Saw the original on Facebook and decided to make this (probably against my better judgement).

The plot of Pokemon Black and White in a nutshell.

[jadeazora]

Finally got some concept art for my fave science boy! I’ve been wondering about this since Sun and Moon. (Grimsley got some and he’s arguably more minor of a character in SM. Colress at least got two scenes where he gives you free stuff.)

(Also, love that little grin.)

[plasma-queen-deactivated2018013]

You can’t change the world without a little pain.

Closet cosplay ⚡️

[moxis]

☆ Colress  in Pokémon Adventures ( 第十章 ブラック ・ ホワイト編 ) ☆

[monsterato]

dont fuck with me

WHY DOES HE HAVE SUCH A HANDSOME FACE

there’s also a lysandre and gio video I’ve seen, but maybe I missed those.