hey uh same anon, if i'm honest i meant it a little more cuz it doesn't really feel like you're writing celeste? don't take this the wrong way but it's kind of coming off a little like you're exoticising japanese culture a bit for horror aesthetic
OUTOFDOLLS. Thank you for this message, this is the good critique I need and I’m so glad you sent it. I’m going to address the second issue first because I believe that’s the biggest statement in this question. I respect all cultures profoundly with all my authority, back from their mannerisms to their sayings to their ways of speech. I make sure that when I write something regarding it, I put my entire soul effort or even weeks into it because I think the biggest piece of humiliation and shame for me would be offending or discriminating any culture in general, but let’s further on why I’m getting so in depth with Japanese culture for our beloved Sotomi,
I am so deeply invested in Japanese culture for Sotomi is because of the doll culture in Japan. All of the students talents are what makes them their character and for Sotomi I’ve chosen the art of traditional doll making. She is the SHSL traditional doll maker, and her talent alone makes lots of room for research. Doll culture in Japan takes a HUGE place in Japanese history, from religion to a child’s plaything to an object of delight to an actual living creature. Doll making goes deep into Japanese ancient culture from the makings of dogu, humanoid figures by the ancient Jomon culture in Japan (8000-200 BC) and the makings of Haniwa figures of the Kofun culture (300-600 AD). There are even temple records that refer to the makings of grass dolls to be blessed and thrown in the river at Ise Shrine (3 BC). This is one of the roots of the modern day festival Hinamatsuri. Doll culture is so popular in Japan that there are two festivals regarding it: Hinamatsuri and Tango No Sekku. There is also special behavior for dolls. An expression would be the ceremonies of Doll burial. When the doll’s owner must reluctantly throw it away, they takes it to a temple where old and new dolls, both costly and ordinary ones, are together. After the owners say goodbye and express their deep gratitude, the dolls are burnt to ashes. The sudden change in Sotomi’s deep investment in Japanese culture is not simply for a horror aesthetic; if anything I care less about that; but is the Doll culture. I do not exploit Japanese culture for some cheap thrills and that is definitely NOT my intentions. I spend agonizing time thoroughly researching, writing, and devoting my time towards the doll culture in Japan. The least thing I worry about in Sotomi’s characterization is her horrific side, my main focus are her dolls. Her dolls are apart of her entire character and literally, what she is! I have spent years of research and dedication on traditional Japanese dolls and I am very confident with my knowledge on them. And if I do come off like that, I will drop what I’m doing immediately and look for another way to express her culture. I favor the Japanese culture and in no ways would I ever wish to exoticize it nor exploit it.