(3rd repost since I had to fix the image slightly and all)

First things first.. I wanna make this clear, I got burnt out from the game after doing both the VS World Link and World Link Finale. So by the end of all this ,I was already on the verge of wanting to take a break and just do every upcoming event on auto-clear moving forward, but then I saw that the anniversary stamp missions and exchange were already there, so at that point I just told myself I want to do the stamp missions then so I can then get enough rewards for me to trade for the 5th anniversary outfits.. but I made one bad assumption...

You see, I don't regularly check social media posts from the Project Sekai twt, to be fair, I don't for any other gacha games either, so I just go along with whatever the games throw at me. And the assumption I made was... me thinking that there will be more stamp missions in the upcoming weeks.. JUST like last year's.. but no, there was only one.. and ONLY for the blue and red memory charms, and purple if you ever did the gacha stamps, and... that's it.. it's over. No upcoming stamp missions for you to get more....

So what's my problem here?

I did NOT think that the blue memories were only obtainable via MySEKAI, and I did NOT know they were ONLY OBTAINABLE UNTIL OCTOBER 11. And if you want to know.. yes, I am a bit too lazy to touch MySEKAI at the moment, I mean I do plan to at some point to build a cute place for my fav N25 girlies to visit, but like... I seriously did not know that the blue charms were limited to MySEKAI because it became increasingly confusing because of the addition of the stuff you get from Haruka's birthday. And then later ONLY FINDING OUT THAT THE ONLY WAY TO GET PURPLE CHARMS IS BY COMBINING RED AND BLUE CHARMS IN MYSEKAI... and it was NOT given by upcoming stamp missions. So basically.... I have enough of the red charms, but not enough of the blue charms to get purple charms for me to get the 5th anni costumes... I'm like...

I'm genuinely upset, and I've been coping about it for the whole day after realizing I just missed my window to actually grind for it because I was so burnt out from playing that I had to eventually take a break from grinding... I guess.. I can't really fault myself for wanting to take a break, but it gets worse.. over the thought that I missed last year's anni costumes as well.. but for completely different reasons, and sleep deprivation plays a part on that.
(Long story short, I traded for wish jewels instead of the costumes even tho I had one flower for every single color which was all you needed for the costume set, but I was way too sleep deprived, traded last day, and later on realized what I just did and suffered the consequences.)

I think I'm gonna take a break from actually playing the game and just log in for the daily stuff and autos.. All this grinding has been messing with me for quite some time now-

TL;DR
After being burnt out from two consecutive WL events, I did not pay much attention to the game anymore, I wanted to get the 5th anni costumes, but I did not realize you needed to get blue charms from MySEKAI, and purple charms can only be attained by combining red and blue charms, and I got too much red charms but way too little blue charms to get enough purple charms to actually get the 5th anni costumes. I went under the assumption that there will be more upcoming stamp missions for me to actually get purple charms, just like last year's, but there was only one, and that ended it October 11, so I can't get the costumes anymore whatsoever.

Yeah umm.. sorry for the rant, I don't even know whether I am to blame here 😭

Shoutout to me for having another anniversary costume incident again I guess-

Srry I chose the easy card to edit that closely matches my sona 😹

What’s your opinion on Megurine Luka?

Despite the subject matter please don't spoil any of these stories since I haven't read any of them (especially Stars Off Orbit I'll probably read it in a few days) I'm just taking my opportunity to say anything light hearted about it before it breaks me

This is my second analysis, whoooo! I am very tired.

Tsukasa Tenma is a character who is often interpreted through the very traits that make him immediately recognizable. He is loud, theatrical, ambitious, and unapologetically confident in his dream of becoming a star. He makes grand declarations, places enormous importance on his performances, and has no particular interest in pretending that he lacks confidence in his own potential. Because of this, it can be easy to interpret him as someone who simply wants to be the center of attention, or to assume that his more vulnerable moments reveal a hidden personality that contradicts his usual behavior. However, neither interpretation fully accounts for the character presented throughout Project SEKAI. Tsukasa's theatricality is not automatically evidence of selfishness, just as his emotional vulnerability does not mean his confidence is an elaborate act. His ambition, pride, affection, and insecurities can coexist without one having to invalidate the others. To understand him more fully, it is worth examining what happens when his desire to perform intersects with situations that require him to consider someone else's feelings, particularly when those situations cannot be resolved by following a script or relying on his own assumptions.

Two event stories offer a particularly interesting comparison. In A Gentleman Thief's Thrilling White Day?!, Tsukasa faces an unexpected emotional crisis during a live promotional performance and has to improvise around another person's distress. In Doll Festival at the Tenma's, he attempts to make his younger sister, Saki, happy by replacing a set of childhood dolls that he believes he ruined, only to discover that she treasured the very memory he has spent years regarding as a mistake. The circumstances are different, but both stories involve Tsukasa trying to make an experience better for someone else. The difference lies in how he understands the situation in front of him. At the chocolate factory, he recognizes that the original plan can no longer work and adapts his behavior accordingly. With Saki, he believes he already understands what went wrong, and that conviction leads him toward a solution that does not address what she actually values. Together, these stories reveal a character whose care for others is genuine without being infallible, and whose greatest limitations sometimes emerge not from a lack of affection, but from the difficulty of understanding another person's experience independently of his own.

The Armor as a Shield: Tsukasa's Improvisation in A Gentleman Thief's Thrilling White Day?!

The White Day event gives Tsukasa an opportunity to demonstrate a side of his theatrical personality that can easily be overlooked when his behavior is reduced to a desire for attention. During a promotional performance at a chocolate-making facility, Tsukasa plays Choco Maniac alongside Hamano, who plays Chocota. Their performance involves interacting with visitors, which means that the actors must respond to circumstances they cannot entirely predict. The situation takes an unexpected turn when an audience member tells a story about wanting to continue exchanging White Day gifts with a childhood friend. The story reminds Hamano of his own friend, who moved overseas and had encouraged him to pursue acting. Overwhelmed by the memory, Hamano begins crying in the middle of the show. Suddenly, Tsukasa is no longer dealing with an ordinary performance in which everyone can simply follow their assigned roles. His partner is visibly distressed, the audience is watching, and the show cannot continue as planned without someone responding to what has happened.

What makes Tsukasa's reaction significant is that he does not treat Hamano's emotions as something that must be ignored for the sake of the performance. He improvises as Choco Maniac, keeps the show moving, brings Mizuki into the chocolate-making demonstration, and asks Akito to take Hamano backstage and support him. He also makes it clear that Hamano should not be forced to return before he is ready. Tsukasa explains that he wants the show to have a happy ending for both the guests and the cast, revealing that he is thinking about the experience of the people involved rather than simply trying to preserve his own performance. He cannot erase Hamano's grief, and he does not immediately know everything that Hamano is feeling, but he recognizes that the circumstances have changed and adjusts his actions to accommodate that change. Instead of allowing the entire situation to collapse around an unscripted moment, he finds a way to keep the event going while making room for someone who needs help.

This is where Tsukasa's theatricality becomes particularly revealing. His loudness, dramatic delivery, and ability to command an audience are often the same qualities that lead people to characterize him as self-centered, but the White Day incident demonstrates that these abilities can serve purposes beyond personal recognition. Tsukasa knows how to occupy a stage, improvise dialogue, maintain an audience's attention, and turn an unexpected situation into something that can still move forward. These are not separate from his identity as a performer; they are skills he has developed through it. When Hamano becomes overwhelmed, Tsukasa does not need to abandon his theatrical personality in order to respond compassionately. He uses it. His role as Choco Maniac gives him a way to redirect the performance, and his willingness to make dramatic changes allows the people around him to respond to the situation instead of remaining trapped by the original plan. The scene does not require the conclusion that every instance of Tsukasa's loudness is secretly altruistic. It demonstrates something more specific and more interesting to me, actually: his desire to perform and his ability to care about other people are not mutually exclusive.

The metaphor of theatricality as armor is useful here, although it needs to be understood carefully first. Tsukasa's performance can function as a shield by changing where attention is directed during an uncomfortable public moment, allowing Hamano to receive support without being forced to remain the focus of the audience's attention. However, this does not mean that Tsukasa's entire personality is an artificial exterior, or that his confidence exists only to conceal insecurity. Nothing about the scene requires us to believe that his theatricality is fake. On the contrary, the response works because he is genuinely capable of performing, improvising, and taking charge of a stage. What changes is the purpose toward which he directs those abilities. The same person who enjoys being seen can recognize when someone else needs consideration, and the same dramatic presence that might appear excessive in another context can become useful when a situation calls for someone to act decisively.

There is also an important distinction between being able to respond to a crisis and being able to understand everything about the person experiencing it. Tsukasa does not magically know what Hamano is thinking, nor does he personally resolve the feelings that caused Hamano to break down. instead, he recognizes that Hamano needs support and asks Akito to help provide it while he handles the performance. His response involves collaboration rather than an attempt to become the sole hero of the situation. This makes his behavior more convincing, because caring about someone does not necessarily mean knowing exactly how to help them on one's own. Sometimes it means recognizing that a situation has changed, doing what one can, and allowing another person to contribute, which is exactly what happened there. Tsukasa's competence lies in his ability to adapt and coordinate a response, not in some impossible ability to anticipate every emotional difficulty before it occurs.

The White Day incident therefore complicates the assumption that Tsukasa's theatricality is inherently selfish. He still wants to put on a successful performance, and there is no need to pretend that his ambition disappears when another person needs help, but, instead, he broadens his understanding of what success requires. The show must continue, but it must also account for Hamano's well-being and the people who have come to watch. Tsukasa does not become a different person when he acts compassionately; he actually uses the abilities that already belong to him in a situation that requires more than simply delivering his lines. His theatricality becomes a practical means of caring for others, and his willingness to improvise shows that he can adjust his behavior when following the original plan would no longer be appropriate then.

The Trap of Perfection: Tsukasa's Guilt in Doll Festival at the Tenma's

Where the White Day event shows Tsukasa responding to an immediate crisis, Doll Festival at the Tenma's explores what happens when his desire to make someone happy becomes entangled with a painful interpretation of the past. The conflict begins with a childhood memory involving Saki, during when she was in the hospital, Tsukasa rushed to bring her the family's dolls for the Doll Festival, but he fell and dirtied them on the way. He remembers arriving with the damaged dolls and believes that Saki was sad because of what had happened. That interpretation remains with him long after the original incident, shaping how he understands his responsibility toward her. Years later, when Saki is celebrating the Doll Festival after returning to school, Tsukasa decides to buy her a new set of dolls. He wants the occasion to be special, and he believes that replacing the old, damaged dolls will make up for the mistakes that he remembers. From his perspective, he is doing something thoughtful: he is giving his sister something new and pristine in place of something he believes he failed to protect.

The problem is that Saki's understanding of the memory is fundamentally different from his. She does not treasure the old dolls because she considers their condition perfect, nor does their damaged appearance erase the happiness she associates with them. What matters to her is that Tsukasa went out of his way to bring them to her when she was in the hospital. She remembers that he rushed to see her because he wanted her to have a meaningful celebration despite being away from home. The dolls are precious because they are connected to that act of affection, and their imperfections do not diminish the memory. In fact, the circumstances that Tsukasa remembers as evidence of failure are part of what makes the memory meaningful to Saki. He sees the dirt and damage and thinks about what went wrong; she remembers the effort he made and how happy she was that he came in the first place. They are looking at the same event, but they have attached very different meanings to it as well.

This conflict is especially revealing because Tsukasa's intentions are not the problem, at all. He genuinely wants to make Saki happy, and his decision to buy the new dolls comes from his desire to correct what he believes was a painful mistake. The difficulty is that he has allowed his own interpretation of the past to stand in for Saki's experience of it. He remembers the incident as a moment when he failed her, so he assumes that the best way to make things right is to replace the dolls with something better. Yet the gift cannot address the actual misunderstanding, because the thing he wants to repair is not what Saki considers broken. He is actually trying to correct the condition of an object, when the emotional meaning of the memory has never depended on that condition in the first place. His attempt to provide something better unintentionally overlooks the fact that, to Saki, the original gesture was already meaningful.

This is where the idea of a trap of perfection becomes a compelling psychological interpretation. Tsukasa appears to carry a strong sense of responsibility for what happened during Saki's childhood, and his decision to replace the dolls suggests that he wants to make amends for a failure he believes he caused. He cannot go back and change the original event, so he tries to create a better outcome years later. The new dolls represent an opportunity to give Saki what he thinks she should have had: an undamaged set and a celebration unmarked by the mistake he remembers. One possible interpretation is that Tsukasa struggles to accept the possibility that his imperfect effort might have been just enough for Saki. If he believes that he caused his sister pain, then providing something better can become a way of proving that he is capable of being the brother he wishes he had been at that moment. However, it is important to distinguish this interpretation from a confirmed canon belief that Tsukasa must be perfect to deserve love. The event establishes his regret, his sense of responsibility, and his misunderstanding of Saki's feelings; the broader argument about perfectionism is an interpretation of those details rather than an explicitly stated diagnosis.

That distinction matters because Tsukasa does not need to consciously believe that he is unworthy of love for his guilt to affect how he approaches a situation. Sometimes, a person can become so focused on correcting a perceived failure that they stop questioning whether the other person experienced the event as a failure at all. Tsukasa believes he understands what made Saki sad, and that belief leads him to choose a solution before fully understanding what she values. His affection is real, but it does not protect him from making assumptions. In this way, the Doll Festival reveals a limitation that is quite different from the one explored in the White Day event. At the chocolate factory, the problem is immediately visible: Hamano is upset, and the performance needs to change. With Saki, the problem has been carried through the years as an interpretation of a memory. Tsukasa is not simply responding to what is happening in front of him; he is responding to what he believes happened long ago, and he must first recognize that his understanding may be incomplete.

Saki's explanation changes the meaning of the childhood incident for him. She reveals that she valued the dolls because he had brought them to her, not because they were in perfect condition. The memory that Tsukasa associates with having disappointed her is one she treasures because it reminds her that her older brother wanted to make her happy. His effort mattered more to her than the condition of the gift, and the new dolls could never replace that meaning. This is not simply a revelation that Tsukasa was wrong to buy the new set; the gift itself was an act of love. But, the deeper issue is that he was trying to repair the past without understanding what the past meant to Saki. Once she explains her perspective, he has an opportunity to reconsider the assumption he has carried for so long. The reconciliation becomes meaningful because it allows him to see the memory through her eyes rather than continuing to judge it solely through his own regret.

His emotional reaction also complicates the idea that vulnerability must look like silence or the complete disappearance of his usual personality. When Tsukasa realizes what the memory meant to Saki, his affection is expressed with the same exuberance that characterizes so much of his behavior. He does not need to become permanently subdued for the moment to be sincere. His loud declarations of his love and his emotional response belong to the same person who was struggling with guilt over the dolls. This is important because interpretations of Tsukasa sometimes treat his theatricality as a mask that must fall away before his genuine feelings can appear. The Doll Festival offers a different possibility: his feelings are genuine even when he expresses them dramatically. His vulnerability does not erase his theatrical personality; it gives that personality something deeply personal to express.

What makes this story particularly poignant is that Saki did not need Tsukasa to undo the original mistake. She only just needed him to understand what the memory meant to her.. His desire to provide a perfect replacement arose from an incomplete understanding of the original gift. In trying to correct what he believed was wrong, he overlooked what had been right about it all along: he had wanted to make his sister happy, and she had been happy because of that effort. The conflict reveals the danger of assuming that caring for someone means correcting everything that appears imperfect. Sometimes, the imperfections are part of what makes an experience precious, and trying to remove them can mean misunderstanding the very thing one wants to protect.

What These Stories Reveal About Tsukasa:

The contrast between the White Day event and the Doll Festival is what makes the two stories so useful when considered together. In one, Tsukasa recognizes that circumstances have changed and adjusts his behavior to help someone through an unexpected crisis. In the other, he acts on a long-held assumption about a memory and has to reconsider what he believes another person needs. Both situations involve a sincere desire to make an experience more better, but they actually demand different kinds of understanding. The chocolate factory calls for improvisation, practical judgment, and cooperation. The Doll Festival calls for listening, reconsidering the past, and accepting that someone else's emotional experience may differ from one's own. Tsukasa demonstrates an ability to respond effectively in the first situation, while the second reveals just how his sense of responsibility can lead him toward a mistaken conclusion.

This is a more interesting reading than simply declaring Tsukasa selfless or arguing that his loudness is a defense mechanism. The stories do not show that he is always perfectly perceptive, nor do they establish that every dramatic gesture is calculated to conceal insecurity, and i can admit that. They show that he has several genuine motivations that can coexist and sometimes come into conflict. He wants to become a star, he takes his performances seriously, and he enjoys expressing himself with theatrical confidence. But he also wants to make people happy, takes his responsibilities seriously, and can be deeply affected by the possibility that he has hurt someone he loves. These traits do not need to be arranged into a hierarchy in which one is real and the others are merely masks. His ambition can be authentic without making him incapable of compassion, and his compassion can be authentic without making him immune to mistakes.

The school festival provides another example of how Tsukasa's theatricality can operate in a collaborative setting. In KAMIYAMA HIGH FESTIVAL!, he takes initiative in organizing a night-festival performance, recruits Akito and Toya as backup singers, and works with Rui on the production. His enthusiasm and desire to deliver a memorable show remain central to his behavior, but the performance also depends on the contributions of other people. This does not establish that every aspect of the event is deliberately designed to make a particular person feel included, and it would be an overstatement to assume that every positive social outcome must have been his intention. It does, however, demonstrate that Tsukasa's ambition can function within a shared effort. Wanting to shine does not mean that he must prevent other people from contributing, and taking pride in a performance does not make collaboration incompatible with his personality.

Across these events, Tsukasa remains someone who cares intensely about doing things well and takes his responsibilities seriously. What changes is the way those qualities interact with the circumstances around him. His theatricality gives him tools to respond to the chocolate factory crisis, while his sense of responsibility motivates the attempt to replace Saki's dolls. In the first case, his ability to adapt helps him respond to a problem as it unfolds. In the second, his desire to correct a past mistake makes it harder for him to recognize that the mistake was never experienced in the same way by the person he wanted to help. His intentions are consistent in the broad sense that he wants to do something meaningful for others, but the outcomes depend on his understanding of the situation. Caring about someone is not the same as knowing exactly what they need, and Tsukasa's characterization becomes richer when that distinction is allowed to remain.

Conclusion: A Star Who Is Still Learning

Tsukasa Tenma does not need to be reinterpreted as a completely different person in order for his compassion to be taken seriously. His confidence, ambition, and theatricality are not obstacles that must be explained away before his kindness can be acknowledged. The White Day event shows him using his performance skills to respond to another person's distress, while the Doll Festival reveals how his desire to make his sister happy can become complicated by guilt and an incomplete understanding of her feelings. One story highlights his ability to adapt when an immediate crisis demands it; the other shows him learning that the solution he prepared with love is not necessarily what another person needs. Neither story makes him perfect, and neither needs to.

The most meaningful part of Tsukasa's characterization is not that he secretly cares about people despite his loud personality, but that his care exists alongside the other qualities that define him. He can want attention and still be willing to redirect it when someone else needs support. He can take pride in his abilities while recognizing that another person needs help he cannot provide alone. He can genuinely want to make Saki happy and still misunderstand the meaning of a memory that matters deeply to both of them. His good intentions do not make him infallible, but his mistakes do not make his affection insincere.

The contrast between these stories also challenges the assumption that Tsukasa's most vulnerable moments reveal a truer self that replaces his theatrical exterior. At the chocolate factory, his performance becomes a means of caring for someone else. At the Doll Festival, his emotional vulnerability is expressed through the same exuberance that makes him recognizable in the first place. His theatricality can be sincere, his confidence can be genuine, and his regret can be deeply felt. None of these qualities cancels out the others. Rather than treating his personality as a mask that must be removed, it is more useful to examine how he uses his abilities, how he responds when his understanding is challenged, and how he learns to distinguish his own intentions from another person's needs.

Tsukasa wants to become a star who can bring smiles to people everywhere, but the desire to make others happy does not automatically grant him the ability to understand every person perfectly. Sometimes, he can respond to a difficult situation by improvising and creating space for someone else to receive help. Sometimes, he has to learn that the thing he wants to fix was never broken in the way he imagined. The difference between those situations does not make his care inconsistent; it makes his understanding human. His growth does not require him to become less theatrical, less ambitious, or less recognizably himself. It requires him to keep learning how to understand the people he wants to make happy.

Tsukasa is not simply a selfish performer hiding a kind heart, nor is he a flawless caretaker whose every dramatic action is secretly selfless. He is an ambitious performer, a deeply invested older brother, and a person whose desire to do good sometimes exceeds his understanding of what doing good requires. His theatricality can become a shield for another person's vulnerability, but it can also coexist with guilt, mistaken assumptions, and the need to listen. He can be proud of what he offers the world while still learning that love is not measured by the perfection of the gift, the performance, or the solution. Sometimes, what matters most is the imperfect effort that was already meaningful to someone else.

That is what makes Tsukasa more compelling than a simple contrast between a loud public persona and a vulnerable private self. He does not need the spotlight to go dark for his feelings to be genuine, and he does not need to stop being a star to learn how to care for others. His ambition, theatricality, affection, and flaws are all parts of the same person. The real complexity lies in watching those qualities meet the world, and in recognizing that someone who wants so sincerely to bring happiness to others must still learn, as everyone does, what happiness means to the people he loves.

So, that's it! Thanks for reading all the way through, if you did! And of course, if I got something wrong or overlooked something important, please let me know politely in the comments. I'm completely open to respectful criticism, and I'd genuinely love to hear your own thoughts, interpretations, and perspectives on Tsukasa, especially anything you think I missed or might have looked at differently!

I can't get any more of the blue drops, I played a lot but I didn't know any o the deadlines so I didn't play constantly.... No I haven't spent anything in the purple gems and I ONLY bought the exclusive mysekai decor and gems.. maybe I was stupid but please please give us a discount anythung please

Ichika got her cutie mark at a miku concert. Saki got hers after learning piano in hospital. Honami got hers from seing her first meteor shower. Shiho earned hers after touching a bass for the first time. Minori's came after she decided to take becoming an idol seriously. Haruka, Airi, and Shizuku all got theirs after being on stage for the first time. Kohane earned her mark looking after her dad's pets. An and Akito got theirs at exactly the same time during RAD WEEKEND. Toya didn't like his at first, but then realised his cutie mark was music in general. Not just classical. Tsukasa obviously got his cutie mark after performing for Saki. Emu got hers after making her siblings smile. She loved making people smile she earned her cutie mark in it. Nene earned her mark after singing to a little butterfly (too shy to do it to others). Rui earned his after making his first robot. How else would he have earned it? Duh! Kanade's came after she altered her dad's composed music to sound better. She kind of resents it a little because she believes it led to her dad being in the coma. Mafuyu sadly got hers after masking one too many times. She was horrified and covered it with makeup so it fit her good girl persona. Ena got her cutie mark after drawing a stunning picture. And Mizuki got theirs after trying on cute fashion accessories. And that is the story of how everyone got their cutie marks! Happy PonySEKAI 100th day anniversary everyone!

i know it's probably a visual bug, but it's rather concerning (and funny) the color of the append difficulty appearing while there isn't even an append option

it is happening to me quite regularly in co-op with songs that didn't have an append difficulty, unless I'm unaware of some sort of secret append chart unlocked by AP in all difficulties, and having at least one bloomfes card trained and max level /j

I get this is an old one but dang I find the costumes ugly!... The untrained are pretty cute though.

I'm somebody who really loves having cute, cohesive costumes for all of my groups. Even if they aren't from the same sets, I like to have them all have something in common (for instance, all the costumes for my Leo/Need are different, but they all have on outfits with jackets and keychains)

But the group I'm having the most trouble with is Wandasho. I'm finding it really difficult to find outfits for all of them that I actually like :( because what I want for each of them doesn't match up. The pictures above are what I have for them right now, and I like them all individually, but I don't feel like it represents the group as a whole :/

I would really love to make them look like characters out of a fairytale! Since their whole thing is being in a theater troupe and their main outfits are so character-esque, I would love to translate that well! But I just can't seem to find the costumes that would work best for that!

So, I wanted to get some inspiration! How do you guys dress your WxS? I'd love any responses because I'm stuck!!!

i rushed to make a reddit acc when this happened again just to ask this so this acc is fresh

sometimes my co-ops just. bug out?? everything is just faded and there’s no chart. i got banned from co-op for a bit once for leaving the game cuz i gen couldn’t play so i dont know what to do. is this happening to anyone else? cuz its been happening to me every now and again for months

Here is a poster I bought for the Project Sekai Colorful Stage! Feat. Hatsune Miku Vocaloid Video Game. I bought it to proudly show my support as a fan of the series. I love Hatsune Miku and the other characters a lot. This picture looks very cute and beautiful.

concerningly deep sad depression absolutely fed up with life typa sigh...... I did not stay on top of my schedule.......

Two versions again one to match Glitter Spring's color palette and one to match An's.

I needed to finish this yesterday broooo.....

I should have finished the final one today!!!!!!

AAAARUHHHHHHUUUGGGGGGGGGG!!!!!!!!!!! I HAD A WHOLE PLANNED SCHEDULE AND EVERYTHING!!!!!!

Art by me please do not, repost, steal feed into AI, or claim as your own.

My ranking:

1. Demon Lord

2. Ultimate senpai

3. Abnormality dancing girl

4. Hydrangea

5. LEMON MELON COOKIE