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It looks like the old thread (>>16402) has passed away into obscurity, never again to be bumped. Oh, well! In lieu of repeating the premise of the previous thread, I'll index the previous posts but otherwise rely on the title to be self-explanatory enough:
>>16403 The Tengu a broad-ranging academic overview of tengu-related myths over the centuries
>>16408 Kojiki, the oldest surviving written work from Japan, which details its ancient mythology and the history of its earliest emperors
But I'm going to start this thread off with a different kind of background influence on Touhou, which many of you will already know about but which some of you might not! The illustrated oeuvre of Takemoto Izumi was an early, maybe even formative, influence on ZUN's aesthetic sensibilities, and their influence can be seen very strongly in the earlier games, extending as far as an entire character—pic related—being imported wholesale into the third game of the series. While the overt borrowings may have tapered off over the years, you can still witness the cute, bubbly, but also earnest and at times seriously reflective sensibility in the tone and approach of Touhou today. So, even though the majority of us may be readers and writers and thus might incline more towards textual aspects of the setting or the lore or the characters' personalities and backgrounds, I think it's worth taking a second look at the "silly outfits" of our favourite girls with a finer and more appreciative eye for what non-textual sentiments might have compelled ZUN to design them that way, beyond the two extremes of "obscure mythological reference" and "unqualified whimsy".
Any good recent academic papers out there on miko? I read a few some years ago that I unfortunately never saved. Not having academic database access anymore sucks...
I don't think I have anything to add to the tengu scent discussion (other than maybe that I suspect Hatate's habits overcome whatever scent tengu naturally have or prefer to apply, and she smells like anyone else who shuts themselves in their room 364 days/year. Personally that makes me want to dunk her into the nearest bathtub, but somebody in this thread probably finds it attractive), I'm just dropping by to drop off some tales of necromancy from the journal article I used as a resource for my exhibition entry last month.
Specifically: https://www.tandfonline.com/doi/abs/10.1080/10371397.2015.1007120
I have access through my university, but I suspect most other people are going to be out of luck, so if anyone wants I can at least summarise the myths mentioned within (it's mainly focused on one in particular, but it details several others for cultural and historical context). Or just copy them out, if that doesn't violate the site's rules on piracy? Just the summaries of old stories, I mean, not the whole article.
>>18395
I can try and take a look if I have time, though with classes starting up again soon, I don't expect I'll have much.
Ahead of the site’s anniversary next month, it’s time for another writing event!
Participating
Anyone can participate as a writer and/or a reader, and all skill levels and types of interests are encouraged. Prospective writers are to submit a piece by the end of the submission period and everyone, both writers and readers alike, are encouraged to comment about the stories and discuss them. Feedback and critique is always appreciated! As with most site events, the idea is to have the community participate and make things lively.
The tradition is to have people submit entries anonymously, so as to not taint perceptions and color feedback, but this is just a suggestion. The main goal of these events remains to encourage the community to create and for everyone involved to have fun.
Submission period
Submissions will be opened around a month from now on 2026-04-01. A thread will be created for entries and there will be a 2-day window for any stories to be counted as part of the event. You can post something later than that, but the idea is to have everyone on equal footing when it comes to getting comments and feedback.
Themes
These events are normally centered around some theme. Entries ideally should contain elements of either or both of the themes. These themes are meant to spark inspiration or help writers along and how broadly or specifically they are implemented are up to the writer.
This time around, the themes are comfort and community.
Comfort can mean anything ranging from a prosaic, physical, sensation but it is probably best read as something (or someone) that provides solace, consoles, provides relief or enjoyment; a small ritual enjoyed by a character after a long day of work, catching up with an old pal to put things into perspective or distract, or appreciating the effort put into a special meal would all qualify here. This can be something abstract and mostly intellectual, it
>>19453
> I intended the thrust of Sannyo's recollections to be that their (that is, all the hags, including those unnamed) mums had been far more collectively-minded than the 'sisters' of the present
When you're a kid, it can seem like those in charge have everything down on lock.
I'd like to see more about about mountain hag society and how it works in practical terms, but I did appreciate the familial bonds as were presented in the story. They're all really full of themselves and that's great to see as that's how a lot of (extended) family works.
It's very different to see all that than the external facade they put forward to non-mountain-hags.
>>19457
>When you're a kid, it can seem like those in charge have everything down on lock.
Indeed, it might be the case that things weren't nearly so ideal as in Sannyo's rosy memories. She has little idea of the sorts of conflicts their mums may have had simmering beneath the surface. I've found it's hard to get at that sort of stuff until someone just outright tells you later on. Otherwise, you're only left to wonder as you age.
>I did appreciate the familial bonds as were presented in the story
>that's how a lot of (extended) family works.
Really, I didn't set out to tell a story about family, but I knew it would be fairly relevant. I'd hoped there would be an interesting enough dynamic, what with how I've framed mountain hags. I guess one thing that I've wanted to get at in writing is questioning the concept of kinship beyond typical ideas of family. The question in and of itself isn't that relevant within the piece, but I suppose it's what drove some of what came out. I'm glad it spoke to you in some way.
>It's very different to see all that than the external facade they put forward to non-mountain-hags.
I do like to explore the interior dynamics of social groups a bit. I just find it kind of fascinating in and of itself. Feels kind of like cheekily peeking behind the curtain, I guess.
>>19451
night, outside
i wrote this one. i've already went through the writing process at >>19306 so i think all that's left is the story itself. much like burakumin, this was something i had partially written months before, though only the first part and with a number of differences, mostly after he moves on from the sitting duck. the original 'draft' was on an old device that's no longer accessible, so i had to rewrite it anyway. it's interesting to see everyone else come up with stories to fit the themes, while so far i've only been finishing things i've partially written. easily enough, i've divided the parts based on location but i think there's also an incidental difference in thematic focus. the first part i feel leans more with community (or lack thereof) in the village while the second reaches for comfort with the kappa. that said, i don't think i gave much direct attention to the themes beyond that.
for the old draft of part 1, there was a bit more on the inn's crowd beyond the ones gossiping about him, like someone recounting a drunken sekibanki encounter and a couple of friends sharing a pipe before throwing a remark on keine's work that night. there was also a journalist interviewing someone in a darkened path to cheaper rentals. just things the old man heard as he walked by so they weren't full blown scenes thankfully. there was another idea of a communal sleeping hall for the destitute, hopelessly drunk or folks who live outside the walls during the full moon but i never actually wrote it down. of course, i traded that for more on the village and it's changes, the old man's reminiscences and his feelings. the bit with the moriya shrine's project was a very late addition. for part 2, i did have the most general idea of their meeting already before ha
Since the last thread (>>18683) has reached bump limit, let's continue the customary character discussions in a new thread. Just like before, every week, everyone will vote for a new Touhou character to discuss. If you have anything at all to say, or just enjoy thinking and talking about Touhou, by all means, share your thoughts. If you want to comment on a character that has been discussed previously, you can use >>17770 The Irregular Character Discussions Thread.
You can comment with your interpretation of the character's personality and outlook, your opinion on what they stand for, story ideas you have for them — anything goes. This is a writing-focused board, but no specific angle or approach is mandatory. You don't have to write a lot either — a small message is just as good, just make sure it's something fellow participants can latch onto or expand upon. As well as just sharing your thoughts, please don't forget to engage with other posters. It's fun to read what others have to say, and starting a conversation helps you shape and enrich your own view.
Apart from the obvious, here are some things you might want to consider:
The boss fight, if there is one — there can be a lot of personality to things like spellcard names and bullet patterns.
The music theme — to help you set the mood, at least!
The character design — visuals are the first thing you see and what you remember them by, after all.
The mythological/cultural inspiration — it can fill in a lot of blanks in an interesting way.
Changes over time — whether in the source material or the fandom.
That's just to get you thinking.
But either way, don't be afraid to speak up. Happy discussing!
Hey, don't just use the exact same header post. *tsukkomi fan smack*
>I just don't like when she's treated as a single minded joke character.
Not gonna lie, I generally dont like how a large portion of people within fandoms don't really bother with coming up with their own interpretation of a character and just stick to popular memes. Having characterisations inspired or based on other fanworks isnt inherently a bad thing, but if you're only doing what everyone else is doing then it becomes boring and overused. Its happened with many 2hus.
As far as Sakuya goes, I do think the concept of her being a former vampire hunter is interesting but I'm not too not about the Lunarian thing. I do like to believe that her ability to manipulate time has its ties to Lunarians but not Sakuya herself.
But the SDM's existence in Touhou and the fact They're the only faction in Gensokyo to not be Japanese makes me imagine that other mythological beings from other parts of the world would want a spot in Gensokyo, but at the time, Gensokyo wasnt big enough to accommodate everyone.
(Not Sakuya related but I thinks its kinda funny to me. I predicted that Fossilized Wonders was going to be about the Lunarians because it's conflict was about the days repeating itself and the discussions of time in Touhou to me always felt synonymous with the moon much like water is.)
>>19474
I actually like Sakuya being an inhuman weirdo more, but in a different way that Sanae's lack of common sense. I think a not very-human-like human makes for a better 3rd protag compared to an ordinary magician and the shrine maiden of paradise.
Although maybe that might be a bit too-youmu like, I feel like sometimes the servant and master pairs can feel a bit too similar.
I kinda prefer the depiction of Sakuya as a somewhat-airheaded, kinda-weird girl Reimilia found one day and took pity on, who just so happens to have an absurd ability, as one does in 2hu.
Not to say she isn't a very good maid, she is... but we see her mess around a bit too much for her to be perfectly elegant, and let's not forget that she decided to open a window...
On a rocketship.
I want there to be more places in Gensokyo with people in them! Seriously, there's only, like, 6 locations that people care about! Hakurei Shrine, Forest of Magic, Human Village, Youkai Mountain (I'm including Youkai Forest and Genbu Ravine as part of Y. Mtn.), Scarlet Devil Mansion, Myouren Temple, The Netherworld, Mosleum of Dreams, or whatever it's called—the Taoist place—the Bamboo Forest of the Lost, Kourindou, Underground, Hell... And it's the same people doing the same thing every time!
Everywhere else is just "___ Path," "___ Lake," "___ Flower Field," "___ Hill," and they have no people! They're filler! Or the center point of a mystery that goes nowhere! It's boring!
I want more villages! I want the sea! I want Hokkaidou! I want Kyuushuu! I want more youkai societies! I want faction conflicts that aren't just "Buddhism vs. Taoism," "Don't trespass on Youkai Mountain," "the villagers are afraid of youkai and chase them out," or "Hell is having another gang war!"
I want to complain about all the story ideas that I have that get cockblocked by stuff like "Murasa would never sail a ghost ship through the skies plundering the rich because 1) she's Buddhist, 2) she doesn't have a ghost ship, 3) the only people to plunder are the human villagers, but they're protected by the shrine maiden, so there's nowhere else to plunder while waiting for the heat die down" even though she's the only character to be able to do that!
Main issue with Touhou is that it's wide as a ocean and deep as a puddle. Places like the human village or the Netherworld are incredibly poorly defined. Even the SDM was basically a blank slate until like a year ago
>>19427
>>19427
I don't really mind that, I think it's easier to make up details for a location than it is to make up an entirely new location. It just seems slightly less fanfic-ish, or at least it's something I'm more comfortable with.
Although I do like the details we do get, like how Yuugi runs the hot springs in the capital of former hell, albeit I find that detail more useful and opening to my imagination than Kosuzu's book store.
A few people in the discussion thread and/or the discord have mentioned either having hoping to say more about characters once their week was over, or due to circumstances were not able to participate in the discussion of the week. So I decided to create a thread for people to be able to continue those discussions without taking up the main thread!
Here’s Teruyo’s link to the characters discussed so far (as well as for the character that is currently being talked about, but discussion for that character should be reserved for the main thread!): https://www.thp.moe/discussion
>>19343
That's more or less how I view Tewi and Eirin's perspective on the whole matter
.
A little while ago on the Discord a couple people, including myself, did a Touhou sorting and I thought explaining which characters you like and dislike, and why could be a pretty interesting subject for the thread.
The sorter for anyone interested: https://tohosort.frelia.my/
Anyways, if you want to see the full list it's picrel, and my top 10 in order are: Yuugi, Tewi, Seija, Cirno, Mamizou, Shou, Marisa, Sekibanki, Shimy, and Tsukasa. With Koishi being the 11th place.
I was told, some what in gest that my preference for 2hus meant that I–
>Either you are into Woman who can fuck you up or into Woman who can fuck you over, or both.
While I know that's a joke, I wanted to explain why I like certain characters so much. I'm a big fan of naturalism in works, i.e scientific observation, social commentary, the indifference of nature, and characters grappling against the nature they were born with and the society which fosters or rejects that nature. In addition to this, I, in a more broad sense, like characters who have baked in conflicts, but at the same time if those conflicts begin to overshadow the character themselves I begin to lose interest.
That and my liking of characters largely correlates with how interesting I think they'd be to like, except for Yuugi who holds the number 1 spot due to also being my Waifu.
Anyways, explaining that I think my top 10 makes a lot of sense, but I'll go more into the detail with the top 5.
Yuugi, among the big 4, is the only Oni by birth with Kasen and Suika both having mythological backstories as former humans. She was left holding the bag as an authorit figure for them while Kasen plays hermit and denies her existence as an Oni, and Suika fucks around on surface. In contrast, Yuugi is employed, and although very Oni-like, also seems very reasonable and personable in her appearances. She probably has some resentment for her sisters but in turn would understand they have their reason and as seen in CDS is fine with being wrapped up in events. She also has big tits.
Tewi I feel like can
I have made a similar sorter several months ago since we are sharing those.
For Reisen, If you read the 4th discussions, I was the most active in those discussions. Heck, I was initially supposed to have only one post to kickstart the discussion but apparently I had too much to say about her that I split it into 2. She's a character I think about a lot because she's practically everything I love in a character: Black Suit, Red Eyes, Purple, Sadistic Pos with Anxiety, Versatile ability, Firearms. There was a lot I said about her and more I could've said, but it'd only make sense in a Touhou Story I'm working on which is basically related to another reason why Yuiman is high on the sorter. Before I get to Yuiman I'll give you a quick rundown on the story:
Its about Yuiman thinking the world is going to end because of a conspiracy theory going around Gensokyo that a Triangular shaped Ship will come and destroy the earth and not being in the right state of mind to truly discern what's real and fake and just accepted this. The reality was that the conspiracy was actually Nina overhearing Reisen talk to herself (by a coast that was recently added to Gensokyo) about a Dream she had about meeting a girl who owned a massive spaceship big enough to destroy planets and stars and wondered if she was also going to destroy her world too. Nina misinterpreted that as the Truth and warned everyone about it. Additionally, Gensokyo in this story has grown in size and population. Nina states that because it has become so large, the ship will have a more fun time destroying it.
As for Yuiman generally love the concept of a character whose ability was exploited to the point they could no longer differentiate what's real and fake and for Nina, she interprets anything as the "Truth" but has no real world experience or education to truly discern what's real and fake.
I'm tired as of me typing this so maybe I'll explain more later? But yeah thats my list.
>>18400
What typifies autumn besides falling leaves? I feel like that's a harder one to capture in any ready shorthand. Summer's hot, yeah. Spring's green, yeah. Winter's cold, yeah. What even is autumn, though?
Maybe it's just because I've lived in a place that doesn't have very "fall" kind of weather or scenery, but I don't have too much emotional connection with it beyond the calendar months of the year.
A few ways. One is that the transition between summer and winter can itself be a good indicator; someone dressing for a warm day that turns out a colder and more miserable is a good one.
Setting it during certain events is also a good way to do it, like a festival or the like.
But a subtle way to do it is through food. Pretty much any place with strong seasons will have seasonal meals, where the availability of goods ebbs and flows with the year. Showing people having certain sorts of foods - like September pumpkins - can do well to set the time subtly.
Since the last thread (>>18276) has reached bump limit, let's continue the customary character discussions in a new thread. Just like before, every week, everyone will vote for a new Touhou character to discuss. If you have anything at all to say, or just enjoy thinking and talking about Touhou, by all means, share your thoughts. If you want to comment on a character that has been discussed previously, you can use >>17770 The Irregular Character Discussions Thread.
You can comment with your interpretation of the character's personality and outlook, your opinion on what they stand for, story ideas you have for them — anything goes. This is a writing-focused board, but no specific angle or approach is mandatory. You don't have to write a lot either — a small message is just as good, just make sure it's something fellow participants can latch onto or expand upon. As well as just sharing your thoughts, please don't forget to engage with other posters. It's fun to read what others have to say, and starting a conversation helps you shape and enrich your own view.
Apart from the obvious, here are some things you might want to consider:
The boss fight, if there is one — there can be a lot of personality to things like spellcard names and bullet patterns.
The music theme — to help you set the mood, at least!
The character design — visuals are the first thing you see and what you remember them by, after all.
The mythological/cultural inspiration — it can fill in a lot of blanks in an interesting way.
Changes over time — whether in the source material or the fandom.
That's just to get you thinking.
But either way, don't be afraid to speak up. Happy discussing!
>>19035
Orin was under the assumption the Oni and Satori wouldn't like it, and that they would kill Okuu for her conquer the surface plan.
But her profile points out that her assumption was incorrect. I imagine that there's some resentment but if the reactor had benefited them they probably don't complain much, either way I think their biggest problem is still with Okuu. Especially now that she bombed protesters, but since she isn't trying to bathe the surface in hellfire anymore they probably don't complain much as long as she minds her own buissness.
>>19035
The capital lot seem fairly segregated from the are of the geyser facility/reactor. Could definitely see the kappa living in their own quarters while they work down there, possibly doing tours of a couple of weeks. Then again, possibly isn't too far to commute from their main hideout on the mountain.
Who'd fix leaky pipes, anyhow? Kappa plumbers in overalls with surly attitudes? Maybe a certain earth spider could be an independent contractor since she seems to enjoy building and fixing things. At any rate, I like to think that most of the underground inhabitants would probably just not think about all that industry nearby—it'd only really be noticed if the water pressure/temperature dropped.
>>19041
I've always felt like it would be a fair ways down to get into the more relevant parts of the Underground, even if you have, say, a lift going straight down; one dreads the sort of maintenance such a thing would regularly need.
Though, yeah, some number of them would probably need to be around for a length of time to ensure proper working order. Imagine being some poor sod stuck on repeated shifts down there because nobody else can do your job. There's probably not enough aircon in the world that would make it bearable for extensive periods.
>earth spider
It'd be interesting to know her position amidst other Undergrounders. I'd guess earth spiders in general don't live in the Capital, but who knows? Maybe there are a quiet few, perhaps called upon for help with construction.
The previous thread (>>16503) is necro-locked, so I guess it's time to make a new one. Same deal as last time: Talk about writing, but keep idea solicitations and unsolicited pronouncements of writing orthodoxy to a minimum.
That out of the way, I wanted to talk about something that might be valuable to some. There's a certain orthodoxy around the shape of narratives resembling an arc, needing to be divided in certain ways, etc. that gets bandied about on the internet and elsewhere a lot. It may help some to adopt that thinking, but I've felt over the years that it hindered just as much. Some narratives really just can't be force-fit into that sort of shape, or trying to do so may constrain things to uncomfortable degrees.
Along these lines, I encountered a book by chance called Meander, Spiral, Explode by Jane Alison (https://search.worldcat.org/title/1049791446). It's less writing advice and more a light examination of pieces of literature and how their narratives take on shapes that depart from the supposedly prototypical arc, mimicking patterns found in nature. To some, it may not be wholly convincing, and certain examples do feel slightly contrived, but I think it's still valuable for consideration. For those who struggle with the idea of the narrative arc, this may well be a godsend.
I was drawn into the ideas presented in Meander, Spiral, Explode enough to try and apply them in some of my own writing. If you can get hold of a copy, I recommend giving it a read.
>>19018
>they may have written themselves into a corner or lost sight of what it was that they originally felt like doing and the story [...] became too difficult to set right
Guilty as charged on both counts, and with degrees of planning, too.
>you need to have an ending in mind and work backwards from there
I can see the logic in it, but I think it's difficult to actually pull off. You'd probably have to either stubbornly stick to your decision regardless of story evolution (not a great choice, imo), or be ready to constantly reëvaluate as things shift (pain in the ass). I don't know, though. Never seen a good model of such a plan.
>It doesn't have to be a specific or set-in-stone event either, mind—could just as easily be something like characters taking stock of things or making decisions under the circumstances that have arisen.
I'm not quite sure what you mean here. Your examples seem like somewhat specific events to my understanding. What's the distinction being made? How can those things be less specific or unspecific?
>clear-cut structure
Incidentally, I'm curious how you understand this. When I hear about structure in relation to storytelling, that brings to mind something like a stacking up of discrete "blocks" of story, wherein some relatively independent events occur that still nevertheless contribute at least thematically to a greater "point" or "objective" of a story. That's only one way to conceive of things, of course, and I wonder how others see it. I haven't seen many good examples of story "structure" beyond the usual arc-shaped ones.
>Stories evolve and change even when they're not CYOAs.
I'm also curious on this point. What do you mean, exactly? I suppose it's possible for serialised things that aren't necessarily CYOAs could change, but I can't see the same for something that's just a sing
>>19024
>I'm not quite sure what you mean here.
I was differentiating between something like "Bilbo accidentally comes across the ring and pockets it" which is a distinct event that is easily understood in the context of plot with something more circumstantial and reactive that adds to the story and narrative but isn't an a to b to c event in the plot hence, "could just as easily be something like characters taking stock of things or making decisions under the circumstances that have arisen."
>clear-cut structure
I meant this in the most naked of senses: thing a leads to b leads to c ... leads to the ending. Mapping that out in advance in full isn't necessarily helpful, I think, as it can be something of a straitjacket. I can't offer much in terms of theory or analysis when it comes to the various ways stories are structured—I simply haven't taken the time to break down the many things I've read into what I think are their constituent parts and my experience with books that do is that they're opinionated and prescriptive, to the point of ignoring things that don't conform to their paradigm.
>What do you mean, exactly?
As far as I know no one is capable of foreseeing every aspect of a story and keeping that conception in an immutable fashion in their mind. I've never seen an author ever talk along those lines; working out scenes, character dynamics, specifics of language etc are subject to change as a work is produced and then perhaps edited many times. Stories of any length are not done in a single sitting and, even so, ideas and thoughts naturally arise in response to what is done and how we see those things. This is true even without input from others; votes, reader comments, editors, spouses, imaginary personas, and whomever else can and do affect thoughts and feelings about a work even if indirectly. Time passes—sometimes weeks and months—between entries, revisions, or drafts and so things naturally change and evolve.
>>19026
I guess I'm still not quite understanding the distinction being made. My understanding of what constitutes an "event" is simply something happening in the context of the story/plot. Isn't everything kind of circumstantial on some level? I mean, if Bilbo wasn't in the right place, he'd never find that ring. Of course, the story also wouldn't really progress, but all the same. I don't know. I find it hard to conceive of how a particular set of "things happening" can be outside the general movement of, uh, things.
...then again, I'm still not sure I can disentangle notions of plot versus story.
As to structure in the sense of a particular ordering of things, I suppose it can be limiting if adhered to rigidly. That said, I've experimented with trying to "shape" a narrative in a specific way with... well, difficulty but also minor success. That's been largely very short stuff, though. I don't know how it would even begin to apply to something at scale.
And there is a certain "mainstream" of writing on, uh, writing that clings to the idea of a story being in an "arc" shape, even though the source of that is more analytical conception than anything. I see the appeal of having certain decisions be pared down by default, but I've had little success trying to work that way.
Waaaah…!
Hello everyone. Welcome to the second Spooky Month Writing Contest. I’m your Mascot, Hata no Kokoro… I’m so happy to meet you all.
Welcome everyone. I’m the host for this contest, Gooboi. Last year’s Spooky Month contest was quite a lot of fun, with a nice variety of entries. I always hoped I might be able to make it a yearly thing; so here we are again, giving it another round.
I’m taking over from Kogasa this year. Halloween… it’s really fun, isn’t it? It’s a time of fear, and joy, and so many others… every emotion I can think of, and more! I joined because I wanted all the feelings you could put into your stories.
Indeed, there’s few times better than halloween to run the full gamut of emotions and experiences. From the horror of the unknown to the simple joys of getting and eating candy… Halloween has it all.
THEME
This year, I spoke to a few members of the audience to get their opinions. And they chose from a small list of options I provided. Kokoro, would you do the honours?
This years theme is… Harvest Fest. So it’s festivals this time? Mamizou took me to one of those last year, in the Human Village - wait.
Is something wrong, Kokoro?
…Wasn’t last year’s theme about masks?
It was, but we’re gonna mix it up every year.
…Then why was Kogasa the host that year? Why not me?
I just couldn’t imagine starting a spooky month contest without her as the host, you know? …Don’t look at me like that.
A-anyway, this contest has two main themes, both themed around fall. One is the idea of Harvesting - both in the literal sense of gathering crops, but the fruits of one
>>18886
For character's past I think that since the fandom has mostly made up its mind on certain characters' past, that most just find it easy to go along with the current of what's understood. Especially if the character's backstory isn't a main focus.
Although it's not like alternate ideas don't exist for that sort of thing. Renko = three fairies of light, Junko = Change, everything going on in Suwako and Kanko's past, Okina (who's hard to decode), Seija's questionable relationship to Sagume (I think I see this one played around with most of all), I guess there's also Nue.
>>18886
>Ah, to have actual Japanese uni library access…
Yeah, that'd be nice! Sadly, my time as an exchange student is over, so the only library I still have access to is on the other side of the pond...
Ah yeah, I forgot to mention, but I keep up with both of your stories here, they're super fun! Funny that they both star cynics who wear a lot of red...
Nice music! I'm always looking for more music for reading and writing. Also glad for your comments - hopefully next time I can kick the habit of meandering and CARVE DIRECTLY THROUGH THE GRANITE TOPSTONE RIGHT INTO THE OCEAN!!!!
