oc

yeah what the hell ill put him here too

his birthday was actually on the 6th. happy 42nd(?) (belated) birthday to my oc, link yang 🥹👴 #art

my shaylas

🥸

thinking of writing opdt fic except it’s an opera o who keeps thinking of ayabe (who’s dating top road) and doto breaks under the pressure (she can’t stop thinking about how she can’t live up to opera o’s expectations, thinking “maybe she’d be happier with someone like Ayabe-san…”)

very old art to help you maybe get their vibe basically BGM is a sopping wet pou and XT is ... evil (no). she's basically the white-haired child of sasori & makima (but less genocidal) if that makes sense (it doesnt im sorry)

here are my daughtersons: xue tian (XT) & bao gengmi (BGM). basically: they're toxic doomed childhood friends(?) to ??? forever haunted yuri

if i posted my ocs on here (this is technically my main and not an umamusume side) would you all run and never return

the Look is the moment one discovers oneself as an object for another’s freedom (Sartre). It produces shame (the shock of finding oneself exposed and fixed). one becomes a being-for-others: one's possibilities are now filtered through how one is seen.

here... succubus!opera & ayabe (explicit) fic. no comment from me. archiveofourown.org/works/70297356

another point to make. earlier that day she told ayb to “face your troubles… as I face my reflection” (self-confrontation). her soliloquy, however, externalizes trouble into fate and dramaturgy. i think that contradiction implies that she needs performance to look in the mirror at all.

something i learned from class: A soliloquy is a speech that one character gives when no other character is present on the stage. you can interpret it in many different ways.

ope’s method of teaching the others to get into character for their play is by telling them not just to “act” their parts, but to immerse themselves in the characters (to speak, think, and practice as though they are those roles). hm, someone is projecting their own method here…

oh santa king. the sun king is lonely, and you, santa king, must shoulder his burden. but santa king, you’ll be the happiest to carry it, won’t you?

when ope plays the Sun King but subtly admit how lonely her crown is, I think topro thought: “so even Opera O-chan feels that way…”

for me to enjoy opdt, i need them to both suffer. ope is too much for doto; doto is not enough for ope. ope thinks she’s giving doto a crown; doto feels like she’s been handed a guillotine. they adore each other as rivals but the way they express it makes them both miserable.

opera: the Sun ayabe: the Moon doto: the Hanged Man topro: Justice (or the Chariot)

i love u ayabe

how the fuck am i supposed to draw these? girl fuck you

opekun's debut had only a single reporter attend. this memory threatens to unravel her entire constructed identity: if she was ignored then, what if her current success is indeed just merely a dream? somewhere deep down, she knows her identity as the Overlord requires constant reinforcement.

kagerou daze but it’s doto and her clumsy ass constantly accidentally killing opera o

ep 6 of opera o's character story makes her loneliness textually explicit: opera o declares “only one person could ever stand as my equal—me,” then adds, “I will have to bear my solitude,” and the trainer immediately thinks: “Hm… I wonder if she feels lonely”.

i didn’t expect so many people on twtter to be unsettled by my drawing of ope being stabbed in the back by doto. After all, it’s something ope herself references directly in her dialogue—albeit metaphorically—so it doesn’t feel that extreme to me…?

no single figure grants opera o the complete rival she imagines. the Overlord persona demands a rival, but the real world offers that demand in pieces: striving (Top Road), autonomy (Ayabe), and care (Doto), rather than in one person.

99

after ope’s triumphant “We race together! This has always been my true goal as the Centurial Overlord!” speech, ayb mutters: “She doesn’t fool me… No way it was her goal from the beginning. She came up with that spiel on the spot.” this implies that ayb can indeed recognize when ope is improvising..

“I feel somehow connected to you! …That’s why I must somehow settle this score!” ope says this while cornering ayb into accepting her “rival” role. ope *does* sense something in ayb but she can’t present that recognition/kinship vulnerably so she translates it into a “score to settle.”

ayop but i hate coloring rn #umamusume

i lied. i wrote another fic 🤦‍♀️ archiveofourown.org/works/69083036

perfect foils: opekun = a stationary “sun/overlord” who wants flawless, overwhelming victories v. stego = a laughing wanderer who treats racing as an endless “journey,” often vanishing from campus and even going abroad.

ope is conscious of the mask she wears, lives inside it so hard that it becomes true enough to move herself and those around her. words neednt be bound to their dictionary meanings (“who ever said that words be restricted to their definitions? …to be shackled by common sense is entirely nonsensical”

ayb’s running is tied to atonement and a never-born sibling. ope's counter is to stage the present so loudly the past must answer: she names roles, declares a legend, and corrals the “same-gen” into memory-making as if the right pictures and poses could pin life to the page.

i wrote a short opera o fic titled "the mirror": archiveofourown.org/works/68957371 i'm not experienced with writing fanfiction but I hope anyone who reads it enjoys it. i’m not sure if I’ll write more opera o fanfics, but I enjoyed the experience.

sometimes i think that the “forest reflection” story is a child Opera O reframing a panic episode. the cues are fear (“last person in the world”), self-talk through a reflective object, and a post-episode commitment to an identity that guarantees safety: “the sun."

does anyone fw stay gold x opera o

does anyone have any parts about opekun they'd want me to analyze/talk about? i'm curious to what everyone thinks of her. she's an interesting character after all

during the hotspring event, opekun says “I lack experience in these heart-to-heart situations,” which is a rare admission that she has little to no practice with genuine emotional intimacy (if that's the right term). not bc she's emotionally dull. I actually think she's highly emotionally aware.

I'm thinking of the hotspring event with T.M. Opera O. Why is direct, sincere speech more threatening to Opera O than criticism or defeat? is her fantasy of being “invincible” incompatible with being Loved rather than Admired?