TADC gang at the end after putting living corpses of people who killed themselves that are implied to be stuck in their mindscapes forever in an aquarium and having fun with two dudes that are responsible for at least half of the things that happened (they found meaning in stagnant life or something)
I had a dream where they added tsukasa's vocals to slow downer but he wasn't singing any of the lines he was just hollering vaguely in the background
And if you played the rhythm game, all of the show callouts would be changed so that your team was acknowledging the yelling. I remember Mizuki and Ena had a line like "Wowww isn't Tsukasa talented?" "I mean I guess but why is he here", and Haruka had a line like "I hope his throat is okay"
They added a 7th section to character rank achievements and it was just called The Tsukasa Segment. The achievements were like "Make [character] become aware of Tsukasa." "Unlock [x] voice lines featuring [character] and Tsukasa." And if you got enough Tsukasa Achievements you would be awarded a sticker that wasn't even related to him. Mine was a crusty low res image of a chain saw, but a lot of people got a crusty low res image of a pile of mulch. It seems like it depended on who you got your final tsukasa achievement for sticker threshold for. I got my last Tsukasa Achievement frommm a pink girl who Wasn't Mizuki or Emu, but I forget who. I think Mizuki, Ichika, and Shiho sticker getters got the mulch
Oh and people would get mad if you mentioned the hollering. They insisted it was always like that, and you'd get cancelled for gaslighting if you disagreed. Project sekai's official accounts also denied the change. Profile cards pointing it out would get your account deleted
People made their usernames those like, fancy html abuse ones, so they could get on the event leaderboard to point it out. But for some reason their slogan for people who remembered the Tsukasa-less version was "#neverforget", and so many people were posting it on social media that any 9/11 posts that also used that phrase were buried. By the end of the dream, the public had forgotten 9/11.
please please please just give me a loredrop of aoyagi toya (aka his character and stuff) (could you also do the other vbs characters i mean you dont have to though
Hi! I'm assuming you're asking for a summary of Touya's character, as well as the other members of Vivid BAD SQUAD? If so, I would recommend just reading the actual event stories. If you're short on time, the fastest method to read them is through either the Project SEKAI Fandom Wiki (uses official translations) or Sekaipedia (uses primarily fan translations), though I'd recommend actually watching the event stories in the game or on YouTube for the best experience.
But if you want a character analysis for each member of the entire unit... I think I have too many thoughts about all of them to be condensed into singular posts. For this reason, I'll simply bring up one thing I feel is underdiscussed in regards to Touya's character: his behavior during his altercation with Akito in Chapter 14 of Vivid BAD SQUAD's Main Story.
When we discuss Akito and Touya's fight in Main Story, we usually focus on the fact that Akito punched Touya. And for good reason: it is one of the only instances of physical violence in Project SEKAI, and is an awful thing for Akito to do. Touya did not deserve to be punched.
However, I do believe Touya's behavior is worth discussingā after all, Touyaās intention in their fight was to upset Akito as much as possible.
It's obvious through how Touya evades Akito's attempts to start a conversation. Akito is worried about Touya when he says he's quitting music, he thinks something's happened with Harumichi again. Instead of being mature about the situation and discussing his insecurities with Akito, Touya does this:
It is really in this scene where we see the absolute worst of Touya's ego.
He's so thoroughly convinced that he's not worthy of being by Akito's side, that he's not serious about music, while also knowing just how much Akito loves him. Touya knows he can't just leave Akito with no warningā Akito absolutely will look for him. So, in order to run away from the situation, Touya has decided that hurting Akito as much as possible is an adequate method. Touya needs Akito to hate him, for Akito's own good.
And Touya knows how to make Akito hate him, because they've spent so much time together. He's turned their bond into a weapon.
He tells Akito to grow up, because Touya knows how much Akito wants to be taken seriously by others. He knows Akito hates being looked down on.
He tells Akito his dream is impossible and meaningless, because Touya knows how much Akito is affected by the discouragement of others. He was there when the two of them teamed up and were disparaged by crowds.
He tells Akito that their music doesn't mean anythingā implying their partnership doesn't mean anything, because Touya knows how much Akito loves him.
It's almost funny, in a way, because Touya's learned this from his parents.
It's the stubbornness and arrogance of his fatherā insisting he knows best for someone else, disregarding the pain he inflicts onto him. It's the manipulative tendencies of his motherā twisting his perception of events and invalidating his feelings.
And even after getting punched by Akito for it all, Touya doesn't regret it.
It's something Touya says isn't exactly a fight when Kohane asks about it. It's something he believes should've done a long time ago, after all.
But Touya didn't account for Akito's determination.
He chases after Touya anyways, and he forces Touya to let go of this mindset. That he knows what's best for Akito, that he should keep hurting both Akito and himself to make that possible. Touya accepting that he can do what he wants both frees him from his insecurity and his urge to control the situation. He breaks the habit he borrowed from his parents.
To close this post, I would like to say that this is not meant to demonize Touya whatsoever. I am not saying he is anywhere remotely close to as bad as his parents, but rather, as a victim of their abuse, he was bound to pick up these behaviorsāā especially since they were normalized in his childhood.
I also wanted to talk about this aspect of Chapter 14 because it shows us just how much of Touya's trauma bleeds into his relationships. I appreciate the portrayal here for the fact that it's an unlikable trait for Touya to have, much like how Akito's trauma-fueled immaturity is unlikable. Touya is not a "perfect victim", but rather a flawed teenager that's grown massively through having Akito, Kohane, An and the VIRTUAL SINGERS as a support system. I enjoy reflecting on how much he's changed, is all.
Kohane, Akito, and Touya all have clear symbolic associations with various animals. For example, Kohane is often associated with hamsters, Akito is often associated with dogs, and Touya is often associated with birds.
However, An does not have any repeated animal motifs like her unitmates do. Instead, An is consistently symbolized with different kinds of flowers.
While I do not know much about hanakotoba (flower language) and what specific kinds of flowers symbolize, I do want to discuss the broader reasons of why An is so heavily associated with flowers in the first place.
1. An's Childhood
An being related to a plant rather than an animal is likely a nod to her communal upbringing, but also the neglect she faced by her parents.
Plants, particularly those in public spaces, are often taken care of by multiple people rather than a set of parents. For An, her roots are in Vivid Street's soilā the community watched over her when Ken and Yuka did not.
An was raised in a similar way to how plants are. Her basic needs were taken care of by Ken and Yuka, but they never acknowledged her emotional needs properly. While An had a cheerful disposition her whole life, her resentment and insecurities only grew with age. The distance between An and her parents is palpable, especially in earlier stories.
After all, they only saw that her petals never wilted.
2. The Infantilization of An
A large portion of An's struggles throughout her life are a consequence of misogyny. The symbol of a flower (one that is stereotypically feminine) embodies An's girlhood and how she is infantilized because of it.
Despite An being around thirteen or fourteen years old at the time of Nagi's diagnosis with terminal pancreatic cancer, Nagi assumed that her death would be enough to kill An's passion for singingā she viewed An as too fragile to handle the truth. Nagi selfishly convinced the whole town and even An's parents to lie to her, an action that ultimately took away An's right to grieve over Nagi properly and directly caused her to develop attachment issuesā as she was misled for years that Nagi had abandoned her for a career in America.
The reason why all those adults infantilized An so easily is simpleā her gender. If An was a boy, she would be assumed to be tough enough to handle itā because that is "what men are supposed to do."
But the truth is, that while An does act tougher than she actually is, she is not frail. She is incredibly determined, hardworking, and passionateā having gone through many hurdles to get where she is now.
She fights back without hesitation to the people that wrong herā lashing out at Ken for lying to her and only accepting any apologies on her terms. She defends herself, knowing full well that she's been treated unfairlyā their good intentions do not erase the hurt she has faced.
When they plucked the rose from its soil, they did not anticipate the thorns lining the stem.
3. An's Relationship to Her Gender
With the mention of roses comes the discussion of the event that delves into An's gender extensivelyā Wishing for your Happiness Beyond the Blue Sky.
The event is one that tackles An's internalized misogyny and discusses her gender expression.
Throughout the event story, An is notably insecure about wearing a wedding dress, believing that the tuxedo that Shizuku is wearing would fit her better. She tries to act more mature while wearing itā revealing the true narrative purpose of the dress.
An is not uncomfortable with wearing the dress because of her stylistic preferencesā instead, it is that she believes she is not womanly enough to wear it. After being confronted by Shizuku, however, An learns that her usual personality can coexist with the dress, and she has a great time!
However, this brings An to a relevant realization at the end of the event. She pieces together that she was trying to act more like Nagi when she was in the wedding dress, as An saw herself as unladylike in contrast.
An's preference in clothing and her "boyish" personality is the reason why she subconsciously saw herself as "less of a woman." In other words, An infantilized herself because of her lack of adherence to traditional gender norms.
The flower is a representation of how An views herself. But now, the flower has changed from a symbol of infantilization and neglect to one of joy and confidence.
Thank you for reading! Additions to this post are welcomed and encouraged.
