I happened to first hit this song on Youtube right after typing this:16.23: Juubi winces, “If we join now … we will become our monsters … You … the Haifun I want to spend the rest of my life with,” she reacts with surprise at those words as he continues, “you do not need this.” (090607 14:15 MDT) This is merely the latest experience that tells me this story is emerging from the mind of the universe through my hands and is not actually my own creation
The original name for the character is "Devon"; Haifun's name is actually more prescient since it is Japanese (and other Asian languages) for Ashes.
The voice of the song is very similar to that of Juubi's "monster", the unhealthy fantasies in his mind that have taken on a life of their own. Haifun's monster is not based on her fantasies, but her experience (I'm concerned this song might contain a nasty spoiler about that.)
-----------------
(Laughs)
Oooooh, Haifun won't go to heaven
she's just another lost soul about to be mine again
Leave her, we will receive her
It is beyond your control, will you ever meet again?
Haifun, no longer living
Who had been rendered unwhole as a little child
She was taken, and then forsaken
You will remember it all, let it blow your mind again
Haifun lies beyond this portal
Take the word of one immortal
Give your soul to me for eternity
Release your life to begin another time with her
End your grief with me, there's another way
Release your life, take your place inside the fire with her
Sever, now and forever
You're just another lost soul about to be mine again
See her, you'll never free her
You must surrender it all if you'd like to meet again
Fire for your desire
As she begins to turn cold for the final time
You will shiver, till you deliver
You will remember it all, let it blow your mind again
Haifun lies beyond this portal
Take the word of one immortal
Give your soul to me for eternity
Release your life to begin another time with her
End your grief with me, there's another way
Release your life, take your place inside the fire with her
...
Take me away, yeah
...
Give your soul to me for eternity
Release your life to begin another time with her
End your grief with me, there's another way
Release your life, take your place inside the fire with her
Oooooh, Haifun, no longer living
Who had been rendered unwhole as a little child
She was taken, and then forsaken
You will remember it all, let it blow your mind again, man
Showing posts with label 十日. Show all posts
Showing posts with label 十日. Show all posts
Wednesday, June 10, 2009
Monday, April 20, 2009
Vacation on Mars
(Portions (c) Id Software 2004 as applicable; remainder (c) 2009 Terry Wilson; see author's comment(s).)
Juubi and Haifun emerge through a hazard door to be greeted by a great shaft, the bridge over which has been burned away. Bits of girder, railing and pipe still glow red hot. They each wear special custom built spacesuits specifically made for their "vacation." They are festooned with strange devices they got used to quickly called "weapons" (the FWL story has only one, and our Featherwing Lovers never even touch it.) They plan their jump across this strange chasm when suddenly a green glow erupts from the side of the corridor on the other side. A being jumps out of the nook where the glow now fades, and turns to them. Fortunately, he is human: Counsellor Elliot Swann. His face is an unspoken question.
Juubi calls across to him, "Hi, boss!"
Haifun says, "We're ready to answer those questions you asked us back at the spaceport."
Flashback: Counsellor Elliot Swann and his bodyguard Master Corporal Jack Campbell emerge from the aft ramp of a transport, "Darkstar 4409" that has just landed at Mars City, the morning of 15 November 2145.
Swann, a look of frustration on his face, mutters, "I can't believe it's come to this, I didn't want to come here."
Campbell, clearly his friend, responds, "He left you no choice."
"True," the balding lawyer acknowledges, "but this is the last time. I'm tired of running damage control every time he makes a mess."
"Right," says Campbell who's decked out in combat armor and carries an intimidating equipment case, "you're the 'control' and if that fails, I'm the 'damage'."
Swann responds, "If that's what it takes. Betruger is going to start doing things our way."
Campbell gives him a nod, "Whatever you say, Counsellor." At this, he turns back to the transport ramp, "but tell me, what are we going to do with these two?"
Juubi and Haifun emerge from the transport, giggling at each other. Haifun, with her long brown hair instantly has the eyes of not only the two powerful friends, but those of a dockworker, a marine guarding the platform, and Dr. Mark Caseon, who can't wait to get off Mars. They don't have looks of admiration at what must be the longest hair on Mars, but one of total disbelief. Elliot Swann soon reveals why.
"What the heck are you two doing here? Mars is no place for a vacation. It's dangerous here, it feels like all hell could break loose," he mutters incredulously.
"Just a vacation," Juubi says, straightening out a strand of Haifun's hair.
"Yeah, right," Campbell mutters to Swann, "UAC's highest rated marine...well, second highest rated marine...is bumped off the flight so these two to go on a casual stroll around the most expensive town in the solar system."
"And, since I can't get you to answer why you're really here," Swann says, "can you tell me, just for curiousity's sake why, as close as you two obviously are, I have never seen you two kiss."
Haifun pecks Juubi on the cheek, "See, we kiss, Counsellor."
Swann seems a little nonplussed, "I think you know what I mean."
Juubi walks by him and whispers so softly that not even Campbell can hear, "I just hope I'm not forced by circumstances to answer that."
Elliot Swann, sighs. Campbell, who knows him well, can almost hear his thoughts, He sounds almost like Malcolm Betruger.
The Present: Campbell comes out of the corridor that branches left from the main corridor the burnt bridge leads to, plainly curious as to what now has his boss so perplexed, "Wow...I guess they can look after themselves around here," he gasps.
Juubi pauses to inspect the chasm under the bridge, then looks up at Swann and smiles.
"Don't tell me you're planning to jump," Swann asks in a rhetorical tone. The gap in the bridge is about thirty feet, clearly beyond any human's ability, even in Mars' gravity.
"Not exactly," Haifun says, then looks at Juubi and says, "Careful honey, the lift in the middle could drive us into those pipes," pointing at the broken pipes above where the bridge used to be.
"And sink around the edges," Juubi complains, "will bring us down pretty smartly on the other side, since it's open grating. It is better to go long than short."
"So!" Swann calls across to them, "you said you were going to answer my questions."
"So we did," Juubi says, "Why are we on Mars? Why have you never seen us kiss."
Juubi turns to his wife and after an adoring gaze, their heads tilt and come together in the dim light on their end of the bridge. A poof-whoosh sound barely audible across the bridge over the noise of the updraft in the shaft heralds the deployment of their wings. Juubi then turns to the broken bridge and sprints at its edge, spreading his wings as he clears the railings, catching the updraft in the middle.
Campbell has never seen such a creature, but he's seen things equally strange, if much different, since his arrival on Mars. He raises his weapon and points it at Juubi.
After a flap, Juubi's wings vanish and he falls to an impact several feet past the jagged edge on the far side of the bridge. Haifun is already in the air as Juubi lands, tucking into a shoulder roll and coming back to his feet right in front of Campbell, staring at the huge trapezoidal muzzle of a BFG 9000, UAC's most advanced and powerful handheld weapon. Haifun lands a bit more skillfully and comes up beside her husband.
"Glad to see you're still human," Juubi says.
Haifun looks at Counsellor Swann, "We volunteered when our brother on the Board told us of a report radioed back by Dr. Richard Davis four months ago. If you could call the creatures we've been fighting for the last sixteen hours 'demons', Juubi and I, along with a handful of other featherwing beings secretly living as humans on Earth, are what you might call 'angels'."
Juubi adds, "We thought you might need our help," then extends his hand to Campbell, who lowers his enormous weapon and takes Juubi's in a firm hold. Both turn in response to a now familiar cry: something called an Imp.
Juubi rapidly unholsters his shotgun and pops off a round at it. It falls over onto its back, clutching at what seem to be minor wounds from the shotgun's pitiful spread pattern. The Imp was too far away for the shotgun to have done any significant damage, if it were loaded with normal ammunition. The Imp, still screaming, disintigrates into flaming fragments and soon is no more.
Campbell gasps, "I must have killed three dozen of those and I have never seen one go down so easily."
Haifun says, "We've prepared our ammunition with our own built in poison. We call it scratch. Ordinarily, it will only knock a human unconscious, and selectively erase his memories of featherwing beings. We use it to keep our existence a secret."
"But against these things," Juubi adds, "it has quite a whallup."
...to be continued(?)
Juubi and Haifun emerge through a hazard door to be greeted by a great shaft, the bridge over which has been burned away. Bits of girder, railing and pipe still glow red hot. They each wear special custom built spacesuits specifically made for their "vacation." They are festooned with strange devices they got used to quickly called "weapons" (the FWL story has only one, and our Featherwing Lovers never even touch it.) They plan their jump across this strange chasm when suddenly a green glow erupts from the side of the corridor on the other side. A being jumps out of the nook where the glow now fades, and turns to them. Fortunately, he is human: Counsellor Elliot Swann. His face is an unspoken question.
Juubi calls across to him, "Hi, boss!"
Haifun says, "We're ready to answer those questions you asked us back at the spaceport."
Flashback: Counsellor Elliot Swann and his bodyguard Master Corporal Jack Campbell emerge from the aft ramp of a transport, "Darkstar 4409" that has just landed at Mars City, the morning of 15 November 2145.
Swann, a look of frustration on his face, mutters, "I can't believe it's come to this, I didn't want to come here."
Campbell, clearly his friend, responds, "He left you no choice."
"True," the balding lawyer acknowledges, "but this is the last time. I'm tired of running damage control every time he makes a mess."
"Right," says Campbell who's decked out in combat armor and carries an intimidating equipment case, "you're the 'control' and if that fails, I'm the 'damage'."
Swann responds, "If that's what it takes. Betruger is going to start doing things our way."
Campbell gives him a nod, "Whatever you say, Counsellor." At this, he turns back to the transport ramp, "but tell me, what are we going to do with these two?"
Juubi and Haifun emerge from the transport, giggling at each other. Haifun, with her long brown hair instantly has the eyes of not only the two powerful friends, but those of a dockworker, a marine guarding the platform, and Dr. Mark Caseon, who can't wait to get off Mars. They don't have looks of admiration at what must be the longest hair on Mars, but one of total disbelief. Elliot Swann soon reveals why.
"What the heck are you two doing here? Mars is no place for a vacation. It's dangerous here, it feels like all hell could break loose," he mutters incredulously.
"Just a vacation," Juubi says, straightening out a strand of Haifun's hair.
"Yeah, right," Campbell mutters to Swann, "UAC's highest rated marine...well, second highest rated marine...is bumped off the flight so these two to go on a casual stroll around the most expensive town in the solar system."
"And, since I can't get you to answer why you're really here," Swann says, "can you tell me, just for curiousity's sake why, as close as you two obviously are, I have never seen you two kiss."
Haifun pecks Juubi on the cheek, "See, we kiss, Counsellor."
Swann seems a little nonplussed, "I think you know what I mean."
Juubi walks by him and whispers so softly that not even Campbell can hear, "I just hope I'm not forced by circumstances to answer that."
Elliot Swann, sighs. Campbell, who knows him well, can almost hear his thoughts, He sounds almost like Malcolm Betruger.
The Present: Campbell comes out of the corridor that branches left from the main corridor the burnt bridge leads to, plainly curious as to what now has his boss so perplexed, "Wow...I guess they can look after themselves around here," he gasps.
Juubi pauses to inspect the chasm under the bridge, then looks up at Swann and smiles.
"Don't tell me you're planning to jump," Swann asks in a rhetorical tone. The gap in the bridge is about thirty feet, clearly beyond any human's ability, even in Mars' gravity.
"Not exactly," Haifun says, then looks at Juubi and says, "Careful honey, the lift in the middle could drive us into those pipes," pointing at the broken pipes above where the bridge used to be.
"And sink around the edges," Juubi complains, "will bring us down pretty smartly on the other side, since it's open grating. It is better to go long than short."
"So!" Swann calls across to them, "you said you were going to answer my questions."
"So we did," Juubi says, "Why are we on Mars? Why have you never seen us kiss."
Juubi turns to his wife and after an adoring gaze, their heads tilt and come together in the dim light on their end of the bridge. A poof-whoosh sound barely audible across the bridge over the noise of the updraft in the shaft heralds the deployment of their wings. Juubi then turns to the broken bridge and sprints at its edge, spreading his wings as he clears the railings, catching the updraft in the middle.
Campbell has never seen such a creature, but he's seen things equally strange, if much different, since his arrival on Mars. He raises his weapon and points it at Juubi.
After a flap, Juubi's wings vanish and he falls to an impact several feet past the jagged edge on the far side of the bridge. Haifun is already in the air as Juubi lands, tucking into a shoulder roll and coming back to his feet right in front of Campbell, staring at the huge trapezoidal muzzle of a BFG 9000, UAC's most advanced and powerful handheld weapon. Haifun lands a bit more skillfully and comes up beside her husband.
"Glad to see you're still human," Juubi says.
Haifun looks at Counsellor Swann, "We volunteered when our brother on the Board told us of a report radioed back by Dr. Richard Davis four months ago. If you could call the creatures we've been fighting for the last sixteen hours 'demons', Juubi and I, along with a handful of other featherwing beings secretly living as humans on Earth, are what you might call 'angels'."
Juubi adds, "We thought you might need our help," then extends his hand to Campbell, who lowers his enormous weapon and takes Juubi's in a firm hold. Both turn in response to a now familiar cry: something called an Imp.
Juubi rapidly unholsters his shotgun and pops off a round at it. It falls over onto its back, clutching at what seem to be minor wounds from the shotgun's pitiful spread pattern. The Imp was too far away for the shotgun to have done any significant damage, if it were loaded with normal ammunition. The Imp, still screaming, disintigrates into flaming fragments and soon is no more.
Campbell gasps, "I must have killed three dozen of those and I have never seen one go down so easily."
Haifun says, "We've prepared our ammunition with our own built in poison. We call it scratch. Ordinarily, it will only knock a human unconscious, and selectively erase his memories of featherwing beings. We use it to keep our existence a secret."
"But against these things," Juubi adds, "it has quite a whallup."
...to be continued(?)
Sunday, April 5, 2009
Featherwing Love: "Known" chapters
I have scripted about 40 chapters for Featherwing Love, and more continue to be added as the concept map is filled. "Concepts" (and I'm coming up with and refining those still very frequently) need to be presented through "Chapters", and those in turn have to fit into the plot. some concepts don't have chapters, and some will never have chapters in Featherwing Love because I want to leave room for sequels, and possibly fan fiction. I have a few for that phase of life called "adolescence", but I actually want to avoid those for now...this is why Haifun and Juubi are in their mid-twenties, a departure for most shojo manga (where the characters...at least the main girl...are in high school.) These are the ones I can blog about:
Rescue Glide: The first chapter, where Haifun jumps from her first marriage and high-rise home into the arms of her second love, Juubi, a featherwing being in a philanthropic mood that evening.
The chaotic, nailbiting courtship which I can't blog about yet...
Honeymoon Dance: The morning after their wedding, both Haifun and Juubi have wings. After a hug and a kiss, they both take off and fly, dancing in mid air.
A couple more chapters which I can't blog about yet...
Let's Tell The Story: Well into married life, Haifun and Juubi decide that they need a permanent record of their romantic tail...uh, tale, and scrounge the world for suitable artists and authors to take on the task. They ultimately settle for the manga rookie Terry Wilson. I playfully say this is how I got my inspiration for the story, but that too, is part of the fiction.
What is not fiction is the aspect that this story doesn't quite seem to be one I've made up, but is one which has, in my mind, rather walked up to me and asked to be told...a spark of creative concepts that want to be shared, that want a fictional story built around them to be a vehicle for their telling. I believe that they contain truths about human love which we have an awful tough time learning by any way other than experience, and sharing any other way than by fiction, a proxy experience. I've decided not to put it in this blog, but I welcome you to ask...and if you explore After Columbia Project, you can find out on your own...about my religion. If you share that same religion, I'd love to discuss with you more specifically where the spark of creative concepts comes from, and why I think it came to me.
Honeymoon Dance and Let's Tell The Story are the "promotional" chapters, which I will complete first. After this, I will complete Rescue Glide, and storyboard several more chapters, which is when I will start launching proposals to publishers. Hopefully, I will reach this phase before the end of August.
Rescue Glide: The first chapter, where Haifun jumps from her first marriage and high-rise home into the arms of her second love, Juubi, a featherwing being in a philanthropic mood that evening.
The chaotic, nailbiting courtship which I can't blog about yet...
Honeymoon Dance: The morning after their wedding, both Haifun and Juubi have wings. After a hug and a kiss, they both take off and fly, dancing in mid air.
A couple more chapters which I can't blog about yet...
Let's Tell The Story: Well into married life, Haifun and Juubi decide that they need a permanent record of their romantic tail...uh, tale, and scrounge the world for suitable artists and authors to take on the task. They ultimately settle for the manga rookie Terry Wilson. I playfully say this is how I got my inspiration for the story, but that too, is part of the fiction.
What is not fiction is the aspect that this story doesn't quite seem to be one I've made up, but is one which has, in my mind, rather walked up to me and asked to be told...a spark of creative concepts that want to be shared, that want a fictional story built around them to be a vehicle for their telling. I believe that they contain truths about human love which we have an awful tough time learning by any way other than experience, and sharing any other way than by fiction, a proxy experience. I've decided not to put it in this blog, but I welcome you to ask...and if you explore After Columbia Project, you can find out on your own...about my religion. If you share that same religion, I'd love to discuss with you more specifically where the spark of creative concepts comes from, and why I think it came to me.
Honeymoon Dance and Let's Tell The Story are the "promotional" chapters, which I will complete first. After this, I will complete Rescue Glide, and storyboard several more chapters, which is when I will start launching proposals to publishers. Hopefully, I will reach this phase before the end of August.
Friday, April 3, 2009
Featherwing Love Intro
The Japanese is pronounced "haoto no ai" (if you can't read romaji, "hayoto no ayee" is close enough), and means most literally, "buzzing love".
Style note: Couldn't find anything with feathers, so I decided to borrow a bit from After Columbia Project, and use the Minima Black style from ACP...and yes, it's me...same person, different account. This might explain to the very few ACP regulars why "aftercolumbia" has suddenly gone away.
http://ascentroadmap.blogspot.com/
http://aftercolumbiamars.blogspot.com/
2 February 2009 (after exactly 6 years as "aftercolumbia"), I was listening to the Cascada Song, Everytime We Touch, and had a vision of what is now "Honeymoon Dance", two featherwing beings dancing with each other in midair. The wings magically deployed from their back during the first chorus line "everytime we kiss, I swear I could fly." I develop this into a 29 frame manga script.
Same day: First drawing of Haifun (I named her that day, but not with kanji.) It was impressive for the level of manga I was at (I had been drawing manga since 28 January, a whopping five days), but it sucked.
4 February 2009: I drew "Frame 11" and designed the wings. This is actually a fairly nice drawing, even from an objective perspective. This wing design has been superceded, but the span and average chord dimensions remain the same.
9 February 2009: I redrew Haifun in the same pose as I did on 2 February, a 3/4 portrait. It took me 90 minutes to do the pencil master. After I finished, I pulled back and looked at it, and sat there quite stunned at my first piece of pro-quality manga. A pen detail is online at:
http://www.flickr.com/photos/36560633@N04/3370747293/
I begin to develop a trace method because of a desire to protect my erasable pencil masters. I thought that this would also aid in scanning and combining different details from the same frame. This latter concept is a failure, but I still use it to preserve the pencil masters. You will see this when I complete the HD Frame 5 second edition. [This is the "portrait" image in my profiles] The primary remiges and their faces will be the same, but the wing design has been overhauled. HD-5 is the only drawing that had the old wing design in them that had any hope of being recovered after I redesigned the wings.
17 Feburary 2009: "Flying Romance", the original 29 frame dance, becomes Honeymoon Dance, the last (now third-from-last) chapter in an enormous and complex storyline. Flying Romance becomes my main project, replacing a previous manga project, and After Columbia Project.
This manga remains very modest; acts and details remain out of frame, under calf-length nighties with sleeves, under four foot long overlapping remiges, or some other method. I don't think I'll ever need to draw Haifun, or any other female character, with bared breasts. I also don't anticipate using the word "sex" during the manga, since we have come up with so many other ways to refer to the act, and I come up with another of my own (it's a spoiler, so I won't share it here.) The word "rape" is impossible to avoid if I want to avoid using the word "sex", since other methods of describing rape either use the word (sex attack, sexual assault), or ambiguous ("having his way with her"). Fortunately, pictures clean up the words (i.e.: in Ayashi no Ceres, Aya nearly gets raped three times...not counting Yuuhi...once in Vol. 6, twice in Vol. 10, and Ceres actually gets raped in a flashback in Vol. 13. This word is never found in the manga dialogue, although author/artist Yuu Watase may have used it in a sidebar...I say "may" because the translator has some latitude and my memory isn't precise either.)
Now, I must say that the story concept around Featherwing Love (at this time, "Flying Romance") orbits around Cascada's music. This time I was listening to Bad Boy this time. The vision was very, very painful and I cried. Haifun was being raped by the husband she had before Juubi, who she flies with in Honeymoon Dance. She escapes to the balcony, takes off her wedding ring, throws it against the planter, then climbs the railing as her husband emerges behind her. Crounched, she rotates over the railing, then pushes herself as far away from the building as possible. It is a high-rise condominium...she can't fly...this is her suicide. As the chorus begins, Juubi snatches her out of midair, but she is uncooperative. She doesn't want to live, and fights to escape her rescuer. Juubi can't maintain altitude. This vision wasn't going to resolve itself, and I knew Juubi needed to land. I thought about bushes, but eventually decided that it had to be an apartment window. Juubi's own wouldn't be open, so he pulls out a cell phone and calls a friend. He drops the phone as he approaches the window, which is sliding open in front of him. He flares and makes his wings disappear ("furls") just before he touches, tumbling forward across the room inside, letting go of Haifun as soon as they've stopped. Haifun shakes off the surreal feeling of the most recent two minutes of her life and suddenly realizes that they aren't the _last_ two minutes of her life. Juubi's friend is panicking, because he has seen Haifun's horrible injuries. Knowing they can't reveal the wings that carried her from her condo to his apartment, he realizes that they must face the possibility of taking the blame for those injuries. I storyboarded this almost immediately.
From 17 February to 15 March, I developed the entire story of their courtship, which ends with Juubi sharing his wings with Haifun, his new wife. It is a tremendously chaotic tale exploring how human (and featherwing) love, friendship, and lust works (Greek words, "agape", "phileos", and "eros"), and how they must agree in romance.
More later...
(Kisure's the friend who opened the window; I added his tag later)
Style note: Couldn't find anything with feathers, so I decided to borrow a bit from After Columbia Project, and use the Minima Black style from ACP...and yes, it's me...same person, different account. This might explain to the very few ACP regulars why "aftercolumbia" has suddenly gone away.
http://ascentroadmap.blogspot.com/
http://aftercolumbiamars.blogspot.com/
2 February 2009 (after exactly 6 years as "aftercolumbia"), I was listening to the Cascada Song, Everytime We Touch, and had a vision of what is now "Honeymoon Dance", two featherwing beings dancing with each other in midair. The wings magically deployed from their back during the first chorus line "everytime we kiss, I swear I could fly." I develop this into a 29 frame manga script.
Same day: First drawing of Haifun (I named her that day, but not with kanji.) It was impressive for the level of manga I was at (I had been drawing manga since 28 January, a whopping five days), but it sucked.
4 February 2009: I drew "Frame 11" and designed the wings. This is actually a fairly nice drawing, even from an objective perspective. This wing design has been superceded, but the span and average chord dimensions remain the same.
9 February 2009: I redrew Haifun in the same pose as I did on 2 February, a 3/4 portrait. It took me 90 minutes to do the pencil master. After I finished, I pulled back and looked at it, and sat there quite stunned at my first piece of pro-quality manga. A pen detail is online at:
http://www.flickr.com/photos/36560633@N04/3370747293/
I begin to develop a trace method because of a desire to protect my erasable pencil masters. I thought that this would also aid in scanning and combining different details from the same frame. This latter concept is a failure, but I still use it to preserve the pencil masters. You will see this when I complete the HD Frame 5 second edition. [This is the "portrait" image in my profiles] The primary remiges and their faces will be the same, but the wing design has been overhauled. HD-5 is the only drawing that had the old wing design in them that had any hope of being recovered after I redesigned the wings.
17 Feburary 2009: "Flying Romance", the original 29 frame dance, becomes Honeymoon Dance, the last (now third-from-last) chapter in an enormous and complex storyline. Flying Romance becomes my main project, replacing a previous manga project, and After Columbia Project.
This manga remains very modest; acts and details remain out of frame, under calf-length nighties with sleeves, under four foot long overlapping remiges, or some other method. I don't think I'll ever need to draw Haifun, or any other female character, with bared breasts. I also don't anticipate using the word "sex" during the manga, since we have come up with so many other ways to refer to the act, and I come up with another of my own (it's a spoiler, so I won't share it here.) The word "rape" is impossible to avoid if I want to avoid using the word "sex", since other methods of describing rape either use the word (sex attack, sexual assault), or ambiguous ("having his way with her"). Fortunately, pictures clean up the words (i.e.: in Ayashi no Ceres, Aya nearly gets raped three times...not counting Yuuhi...once in Vol. 6, twice in Vol. 10, and Ceres actually gets raped in a flashback in Vol. 13. This word is never found in the manga dialogue, although author/artist Yuu Watase may have used it in a sidebar...I say "may" because the translator has some latitude and my memory isn't precise either.)
Now, I must say that the story concept around Featherwing Love (at this time, "Flying Romance") orbits around Cascada's music. This time I was listening to Bad Boy this time. The vision was very, very painful and I cried. Haifun was being raped by the husband she had before Juubi, who she flies with in Honeymoon Dance. She escapes to the balcony, takes off her wedding ring, throws it against the planter, then climbs the railing as her husband emerges behind her. Crounched, she rotates over the railing, then pushes herself as far away from the building as possible. It is a high-rise condominium...she can't fly...this is her suicide. As the chorus begins, Juubi snatches her out of midair, but she is uncooperative. She doesn't want to live, and fights to escape her rescuer. Juubi can't maintain altitude. This vision wasn't going to resolve itself, and I knew Juubi needed to land. I thought about bushes, but eventually decided that it had to be an apartment window. Juubi's own wouldn't be open, so he pulls out a cell phone and calls a friend. He drops the phone as he approaches the window, which is sliding open in front of him. He flares and makes his wings disappear ("furls") just before he touches, tumbling forward across the room inside, letting go of Haifun as soon as they've stopped. Haifun shakes off the surreal feeling of the most recent two minutes of her life and suddenly realizes that they aren't the _last_ two minutes of her life. Juubi's friend is panicking, because he has seen Haifun's horrible injuries. Knowing they can't reveal the wings that carried her from her condo to his apartment, he realizes that they must face the possibility of taking the blame for those injuries. I storyboarded this almost immediately.
From 17 February to 15 March, I developed the entire story of their courtship, which ends with Juubi sharing his wings with Haifun, his new wife. It is a tremendously chaotic tale exploring how human (and featherwing) love, friendship, and lust works (Greek words, "agape", "phileos", and "eros"), and how they must agree in romance.
More later...
(Kisure's the friend who opened the window; I added his tag later)
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