Uncommon Questions For OCs And Their Creators:

Uncommon Questions for OCs and their creators:

Send me a # (questions for OCs) or a letter (questions for creators) and I’ll answer

QUESTIONS FOR YOUR OCs

What’s the maximum amount of time your character can sit still with nothing to do?

How easy is it for your character to laugh?

How do they put themselves to bed at night (reading, singing, thinking?)

How easy is it to earn their trust?

How easy is it to earn their mistrust?

Do they consider laws flexible, or immovable?

What triggers nostalgia for them, most often? Do they enjoy that feeling?

What were they told to stop/start doing most often as a child

Do they swear? Do they remember their first swear word?

What lie do they most frequently remember telling? Does it haunt them?

How do they cope with confusion (seek clarification, pretend they understand, etc)?

How do they deal with an itch found in a place they can’t quite reach?

What color do they think they look best in? Do they actually look best in that color?

What animal do they fear most?

How do they speak? Is what they say usually thought of on the spot, or do they rehearse it in their mind first?

What makes their stomach turn?

Are they easily embarrassed?

What embarrasses them?

What is their favorite number?

If they were asked to explain the difference between romantic and platonic or familial love, how would they do so?

Why do they get up in the morning?

How does jealousy manifest itself in them (they become possessive, they become aloof, etc)?

How does envy manifest itself in them (they take what they want, they become resentful, etc)?

Is sex something that they’re comfortable speaking about? To whom?

What are their thoughts on marriage?

What is their preferred mode of transportation?

What causes them to feel dread?

Would they prefer a lie over an unpleasant truth?

Do they usually live up to their own ideals?

Who do they most regret meeting?

Who are they the most glad to have met?

Do they have a go-to story in conversation? Or a joke?

Could they be considered lazy?

How hard is it for them to shake a sense of guilt?

How do they treat the things their friends come to them excited about? Are they supportive?

Do they actively seek romance, or do they wait for it to fall into their lap?

Do they have a system for remembering names, long lists of numbers, things that need to go in a certain order (like anagrams, putting things to melodies, etc)?

What memory do they revisit the most often?

How easy is it for them to ignore flaws in other people?

How sensitive are they to their own flaws?

How do they feel about children?

How badly do they want to reach their end goal?

If someone asked them to explain their sexuality, how would they do so?

QUESTIONS FOR CREATORS

A) Why are you excited about this character? B) What inspired you to create them? C) Did you have trouble figuring out where they fit in their own story? D) Have they always had the same physical appearance, or have you had to edit how they look? E) Are they someone you would get along with? Would they get along with you? F) What do you feel when you think of your OC (pride, excitement, frustration, etc)? G) What trait of theirs bothers you the most? H) What trait do you admire most? I) Do you prefer to keep them in their canon universe? J) Did you have to manipulate or exclude canon factors to allow them to create their character?

Shitty Mizu flip book

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frap-p

2 months ago

Day 13 (3 days late) of my Women’s History Month art challenge

Mizu from Blue Eye Samurai!! She’s is such a complex character. I think it’s fascinating that she wants revenge against her father essentially for bringing her into existence (and on her mother’s behalf as well ofc). Wanting revenge against someone specifically because they created you opposed to revenge against someone who took something away is so interesting, I don’t think I’ve really seen that before. In addition to being a super complex character, her fight scenes are also just very, very fun to watch. Looking forward to season 2!!

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frap-p

5 months ago

Ever Think About How Master Eiji Was Testing Mizu's . . . Mettle ?

Ever think about how Master Eiji was testing Mizu's . . . mettle ?

*finger guns*

No, but really, it cannot be an accident with this show that Master Eiji taps Mizu in the same manner he does ore and blades to test their soundness. He is testing this child, seeing how the child responds to instruction and correction--and Mizu never complains. He never has to tap Mizu more than once in an instance to impart the lesson. We're even shown a repeat moment where Mizu loses the rhythm of hammering and Master Eiji's tongs rise to admonish but he doesn't have to carry through because Mizu has already resumed.

Mizu is hard-working, diligent, self-motivated and -directed. Mizu does as told, is unobtrusive, and doesn't give up. Mizu listens, asks good questions, and is clearly learning. Mizu is being refined and shaped under Master Eiji's tutelage.

It's a shame, then, that "all metal wants to be a sword" and that Master Eiji failed to recognize and hear to what degree Mizu framed himself (as they acknowledge between them) in the symbolism of swords: the purification of hammering out impurities, the sword as the soul of a samurai (perhaps even evidence of a soul), the sword as the line between life and death.

Master Eiji indulges Mizu's stated desire to become a great swordsman--the greatest swordsman--but it's clear that in the moment Mizu declares his intention to leave to go seek revenge, Master Eiji had hoped his lessons would seep in and take root over the years, grow and overcome this foolish idea, that Mizu would become the artisan who makes swords rather than throw himself out into the world as the sword itself. Master Eiji had hoped the days working at the forge would burn out the impurities of a heart's worldly desires to leave behind a distilled will to create. Master Eiji says revenge is like gold, it doesn't rust, implying it can be pursued at any point in the future, but what he wanted was to delay to win more time so that he might get Mizu to forget all about revenge altogether. Master Eiji doesn't want Mizu to throw away his life, to go off and die. For what? To what end?

Master Eiji couldn't see Mizu and so couldn't be turned off by the sight of Mizu, but as a consequence Master Eiji couldn't measure the shame that permeated Mizu's cells. Master Eiji wanted to present language of purity as freedom--let go of all things in order to pour all of yourself into one task, cleanse yourself to begin again with each new work--but he couldn't see that every mention of purity was a cut into Mizu's psyche, who could only hear it as an indictment of her person. A half-breed. A woman. What Mizu touched, she believed, was made unclean. The shame prevented her from hearing what he said: steel too pure made fragile swords. The shame only heard "pure" and named a lack that refused to be filled by Master Eiji's efforts.

"I did not train you to be a demon . . . or a human. I showed you how to be an artist."

[...]

"Do you think revenge is an art?"

"Swords, pots, noodles, death. It is all the same to an artist."

"Then I am a bad artist."

The thing is, the unspoken thing, is that both Master Eiji and Mizu do need that human spark, the affection. "The people you collected." Master Eiji admits he made his best swords with an apprentice. Mizu survived thanks to Master Eiji--whatever kindness and compassion and sense of worth she has derives significantly from him. Perhaps if they could have said it . . .

It's significant that Mizu returned the meteorite ore to Master Eiji--with interest--as steel with the bits and bobs of people that Mizu had collected on her journey. All of herself. All her deeds. All she'd been given.

At her first departure she took that steel without permission, the act of successfully forging the stubborn metal acting as the justification, as if she earned it through mastery of smithing. The next time she will have to earn the forged steel by agreement, through connection with another person, with mutual trust and esteem and respect. A sword that could kill a god . . . but perhaps one that might not kill at all, if her heart is finally at rest, purified of its burdens.

The final shot of Season 1 in which Mizu is seen she's not carrying a blade. If she hasn't taken any of Master Eiji's blades with her, she has left everything behind. She faces whatever is to come uncovered: no hat, no tinted glasses, no scarf to hide her throat.