scribbles for you <3 (@lavender-tea-dragon @papayakito @twstedsword @bravadoting)
seen from Israel
seen from United States

seen from United States

seen from Malaysia

seen from United States
seen from United States

seen from United States

seen from Finland

seen from Malaysia

seen from Australia
seen from China

seen from United States

seen from India

seen from Malaysia
seen from United States

seen from Malaysia
seen from Türkiye
seen from United States
seen from Türkiye
seen from China
scribbles for you <3 (@lavender-tea-dragon @papayakito @twstedsword @bravadoting)
OG Nagi Sketches
I challenged myself to draw the NEO TWEWY cast during the time of the original game starting with Nagi 💜
Happy Halloween and Happy Birthday to 777!
He and his partner are enjoying the moment with their celebratory jam session 🥳💜
Gift for @def-march in the @twewyss Halloween exchange! I’m so happy to have been involved this project, especially when drawing for one of my friends 😄
Lament! Why’d you make my voice stutter? Why do truths never matter? Why’d you curse me with “you’re a natural born genius”?
I’ve been thinking about Kanon’s relationship to the Variabeauties and I believe she does enjoy their company, but much more as friends than teammates.
She knows they can carry out her orders but doesn’t fully trust in their individual capabilities, unlike the W3 Wicked Twisters (top-down vs bottom-up leadership). It’s most likely a subconscious choice on her part, but it does shape the responsibilities and roles they have as leader and followers.
On W3D3, she perishes by insisting they act separately, shouldering everything herself and not believing in their collective strength.
(My best analogy for it is that she joins a group project with friends, but gives herself the brunt of the workload, not trusting that everyone will finish their parts. By doing this, she denies them the opportunity to prove themselves beyond the doing bare minimum.)
I’m watching a playthrough of Persona 4 (currently at 10/22) and it’s a deeply infuriating game writing-wise. They have interesting setups for these character arcs in the dungeons, but don’t commit to exploring these issues after that.
I was most disappointed by Yukiko and Rise’s resolutions because they go back to jobs they previously resented due to obligations to others. Yukiko admits she would lose her support system if she moved and Rise is guilt-tripped by her manager into rejoining the idol industry. How are we supposed to be satisfied with those conclusions? Nevermind that the social links don’t really touch upon the reasons they were dissatisfied in the first place, and the game has a habit of circling back to the status quo.
As for Naoto, while it is upsetting to see them use transphobic imagery and rhetoric for her, they also don’t commit to the sexism angle from what I’ve seen so far. By having the misogyny as something Naoto anticipates rather than something she’s personally experienced, the game doesn’t treat it as a legitimate issue. It goes from a systemic problem to a personal hangup.
Naoto: “If they [the police] had the slightest ‘concrete’ reason to look down on me, no one would need me anymore...”
Kanji: “You don't know that.”
(Lastly, even if they tried, I don’t think the writers were equipped to handle the subject given the frequent “comedic” misogyny, especially with Teddie and Yosuke. I know those are common anime tropes, but game generally ignore the implications in the topics it raises.)
Any Reaper interaction is bait to me specifically