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recollé application
This app was written as of chapter 72 of the manga.
PLAYER
YOUR NAME: Boba
18+?: Yes.
CONTACT:![[plurk.com profile]](https://plurk.com/favicon.ico)
chipsnfish
CHARACTERS IN GAME: n/a
RESERVATION LINK: Here!
YOUR NAME: Boba
18+?: Yes.
CONTACT:
CHARACTERS IN GAME: n/a
RESERVATION LINK: Here!
CHARACTER: CANON SECTION
NAME: Yato
AGE: Approx. 1000 years
CANON: Noragami
NAME: Yato
AGE: Approx. 1000 years
CANON: Noragami
CANON HISTORY: Fandom wiki. I’m sorry that it is so lengthy though actually it is a bit short of current manga canon, so briefly the rest:
Yato is able to defeat Takemikazuchi and convince him to negotiate with Heaven to listen to Bishamon’s case. Afterward, he rushes to help defend Bishamon; however, he and Yukine are ultimately captured by Heaven and put on trial for the sin of rebellion. Yato takes the chance to appeal to Heaven, exposing the existence of the Sorcerer, but the gods refuse to believe him. Disgusted and impassioned, Yato rebukes Heaven -- and then, with the arrival of Amaterasu, is sentenced to death and Yukine imprisoned in a tiny box for eternity. Stuff happens and long story short, Yato and Yukine are able to walk away after playing a sadistic game of divine Russian roulette but everything hurts and happiness is just a dream on the cosmic breeze??
CANON PERSONALITY:
Yato wants to be Japan’s #1 god. Dubbed in turns a god of delivery, calamity, depravity, war, and fortune, his exact nature is an evolving construction. But for most of his life, he’s been a no-name god with no followers, no shrine, and hardly any respect from the few gods who bother associating with him. Every member (save the most recent) of his long congo line of shinki -- spirits of the dead who serve the gods as guides and tools -- has inevitably quit on him in disgust and despair, so hopeless are they that he can provide for them or amount to anything great.
Which is kind of a fair assumption! Yato is not very good at life, though not for lack of trying. He works hard and can deliver the most sparkling, enthusiastic sales pitch under the sun, but his standard payment is five yen (the traditional monetary offering to the gods) no matter the job. This leaves him perpetually poor, and when he does happen to amass a modest amount of money, he quickly spends it all on the newest good luck charm or gambling prospect to catch his eye. He doesn’t know how to manage his money, sweats too much (according to his shinki), looks every bit as homeless as he actually is, and only understands instant gratification.
He isn’t always personable and can be too honest; he tries to abandon one client in the very first chapter because he’s disgusted with her self-victimizing attitude, much to his shinki’s protest. At worst, his low tolerance for other people’s complaints and perceived weaknesses can lead to rash behavior. When a boy tries to commit suicide by throwing himself out of a fourth story window, Yato rescues him by jumping after him, catching him bridal style mid-air, and landing with perfect poise -- only to viciously slap the boy, give him a disdainful tongue-lashing in front of a crowd, and then fall to his knees as he realizes he’s dislocated a shoulder because he was in the possessed body of an ordinary high school girl all that time.
In fact, he often fails to think consequences through in everyday life, and it’s much in line with the transient nature of his entire existence. Aside from his physically and (especially) psychologically abusive father, whom Yato tries to distance himself from as much as possible, he hasn’t had reliable support from anyone for most of his life. Gods are to be nurtured to their best possible natures by their shinki, but Yato can’t hold on to any for much more than a few months, and it leaves him physically insecure, bereft of proper guidance, and most of all, lonely. When Yato cooks up a ridiculous marketing opportunity or spends all his money on a bogus fortune telling scam, it’s because he’s become used to clinging to the present and living only for himself. It’s a foregone conclusion that his shinki will inevitably leave him and that every human he meets will soon forget him, and so Yato has settled into a selfish, impulsive existence.
As world-wise and perceptive as he can be, he is still immature from an emotional standpoint. As mentioned, he’s prone to acting rashly and can be too quick to get into an argument. On the flip side, he hogs the people and things most important to him with childish insistence and harbors a deep love for some things that most adults have grown out of, like Capyper (a Mickey Mouse-like character that Yato is convinced is real real) and Santa Claus. He dreams of having a pure white wedding with romantic interest Hiyori and almost always sleeps with the shrine she made him by his side. Yato’s early life wasn’t very kind to him, but despite -- or perhaps because of -- his alienation and hardship, he often fantasizes about larger-than-life concepts and puts his faith in what he sees as pure and genuine. It marks him as a surprisingly optimistic person; in his mind, if he works hard enough or has enough faith, he can finally meet Santa Claus or build that shrine he always wanted.
For all his faults, Yato is not a bad person -- far from it. His deepest desire is to become the kind of god that can make other people happy. When he came into existence, he was born with that innate impulse. Unfortunately, the only person around to make happy was his father, and his father’s wish was to cull humanity. Aside from that directive, Yato’s father gave him no moral guidance; he only praised Yato when he killed well, and craving that happiness and affection, child Yato grew up murdering indiscriminately to earn his father’s approval. It was his first personal shinki, Sakura, who taught him that killing is wrong, and though he ultimately lost her, her lessons would go on to color Yato’s formerly blissful personality for the rest of his life: a resigned self-loathing whenever his father would send him to kill more people; the realization that he could make people happy without hurting or killing; what it means to be a good person; the sincere and heartfelt affection of someone who isn’t his father; and the sadness and reality of loss. It resulted in a deeply conflicted Yato, who knew he was capable of doing good but was trapped by his father’s will and his own inability to become self-sufficient.
So while Yato hardly knows how to take care of himself, he tries to take care of the two most important people to him in the present, Hiyori and Yukine, as best he can. He isn’t always very successful, but he is always sincere. Maybe too sincere. And definitely overinvested. He can brush off most slights from people he doesn’t care for, but when it comes to his loved ones, each insult is a dagger to the kokoro, usually to comedic effect but often taken to heart. His thoughtfulness can range from gentle, to overwhelming (“Your feelings are way too heavy, Yato!!” --Yukine upon receiving a startlingly professional-looking sweater handmade by Yato with wool he sheared from a sheep himself), to borderline creepy, to downright invasive. It all comes from a genuine appreciation for the people who put up with him; the execution is just clumsy, stunted from a lack of understanding about how to express himself in an appropriate way. He’ll aggressively stalk Hiyori to protect her, or shyly invite her to her own surprise party because he missed her birthday. He’ll secretly destroy a shinki-marketed magazine to erase the (righteous) temptation for Yukine to find another god to serve, or sleep in a brightly lit room every night to ease Yukine’s fear of the dark.
But however obsessive and overwhelming Yato can be when left to his own devices, when the people most important to him express genuine anger or frustration, he’ll do his best to stop (though results may vary). When they voice their deepest concerns, Yato listens with every ounce of his attention. When they’re feeling down or upset, he wracks his brain for the best way to make them happy, or gives them the space they need despite his own urge to rush to them; it isn’t uncommon for him to agonize over whether or not he is making them happy enough. Yato is always ready to shower his loved ones with praise and encouragement, whatever venture they choose to undertake, and would silently endure any hardship for their sakes. He’s fiercely loyal, and would literally challenge Heaven on pain of death in defense of a friend he believes to be in the right. For much of the series, Yato’s care for others is braided with his selfishness -- but over time, he’s learning how to love others in a more healthy and selfless way.
Currently, Yato is trying to reform himself and make the change from a god of calamity to a god of fortune, and in so doing he is slowly becoming a more content, genuinely self-respecting person. Because for all his marketing swagger, bold confrontation, over-the-top enthusiasm, and overwhelming affection for his loved ones, he is deeply anxious about losing Yukine and Hiyori and instinctively blames himself for the misfortune that touches their lives. Yato is an extremely competent worker and warrior, and yet his self-esteem is low because he was never successful where it “mattered”: he got no respect from his fellow gods, couldn’t keep any followers, had no shrine, and was constantly rejected by his shinki. His shrinelessness (and therefore homelessness) is sometimes played for laughs, but in truth it has left him feeling deeply unwanted and inconsequential, an outlier of society. These things have all begun to change, yet the perpetual threat of failure still looms over him. He craves the acceptance and lawful legitimacy that he was never given in a thousand years, which is part of why he dreams the way he dreams: he wants a big, popular shrine with a pack of adoring shinki... and most telling of all, a wife, the ultimate sign of normalcy and settlement. Unfortunately, the only thing he was ever consistently praised for was his proficiency at killing, and so even now he believes that cutting is all he’s good for. But recently, Yukine has begun guiding him toward using that cutting for the betterment of humanity. Meanwhile Ebisu, the god of merchants, guides Yato toward becoming a god who lives for others, and Hiyori shows him that he’s a god worth saving. Yato is a god in constant progress who desperately wants to be a better person.
SKILLS/ABILITIES: Job-related skills aside, these are all extensions of his godhood. I’m sorry for this length…...
Conditional immortality. Provided he has at least one human who believes in him. If he didn’t have a single believer, he would disappear. While more popular gods will reincarnate upon physical death, it has been said that Yato will not because he’s so obscure. Furthermore, gods cannot be killed by mortal means. Yato has been violently bludgeoned in the head, poisoned, set on fire, shot, and pushed off a cliff, but he always heals in short time. Only denizens of the Far Shore (shinki, gods, ayakashi, etc.) can do lasting damage.
Near weightlessness. Because he isn’t a denizen of the Near Shore (a.k.a. human), he appears to have a fraction of the mass of a human. He can jump great heights and fall safely, as well as land on slim branches without breaking them. His balance is excellent as well; he can perch on poles and walk telephone lines with perfect poise.
Teleportation. The rules are not explicitly defined, but it appears that Yato only teleports to people he’s speaking to over the phone. He can also teleport to Takama-ga-hara (the dwelling of the gods) via his shrine.
Cutting. This seems to be a specialty of Yato’s. Where other gods’ shinki can manifest as armor, animals, or even things like smoking pipes, every single one of Yato’s shinki has been a bladed weapon. Not only can he cut physical things with unerring precision (he’s used a branch to cut a bandanna in half, and cut two rapidly fired bullets in half with one swing), but with a shinki, he can sever memories and ties between people. Shinki blades can cut selectively; for instance, Yato can use one to cut a man’s innards while leaving the man outwardly intact.
God of war. Yato is almost exclusively a swordsman, but he’s handy with improvised weapons in a pinch. His combat ability is almost disproportionate with his obscurity; he’s been able to fend off and escape Bishamon, the strongest god of war, for centuries despite always having one shinki versus her several. Since obtaining Yukine as a hafuri (a blessed vessel, among the rarest and strongest of shinki), Yato’s combat ability reaches ever greater heights; in a moment of desperation, he’s gone so far as to dramatically split the skies with a swing of the sword, earning him the title “He Who Rends Heaven”. But even without a shinki, he is artful and inventive with any blade.
Endurance and healing. Perhaps in part due to his heavy combat experience, Yato can power through most heavy injuries without much pause. When suffering a deep cut to his sword shoulder, he has bound his sword to his hand to continue fighting under great duress. He’s even suffered a slit to the throat and been able to carry on, albeit with some difficulty. While they do eventually tire, gods heal more quickly and bear no scars or disfigurement after the fact.
Shinki. Gods can retain wandering human spirits as shinki. The god binds the shinki to him by granting a name in three parts. Using Yukine (Yato’s shinki) as an example, he has the true name Yuki, common name Yukine, and vessel name Sekki. All three names are based on a single kanji character, which becomes tattooed somewhere on the shinki’s body. When Yato calls Yukine’s vessel name (Sekki), Yukine becomes a sword; when he calls Yukine’s true name, Yukine reverts back to human form. Gods and shinki form a one-way connection in which the feelings of the shinki are felt by the god. If a shinki commits wrongdoing and knows that it is wrong, he will “sting” his god. If a god is stung severely enough times, that god can die unless he releases the offending shinki or the shinki is disciplined via a risky ceremony called an “ablution”.
Jack of all trades. Thanks to a thousand years of job-hopping, Yato has amassed an absurd amount of talents. He has been shown to be a competent artist, glass artisan, cook, car repairman, plumber, aspiring pop idol, math whiz, weaver, bridal dress maker, olympic snowboarding qualifier (seriously) and more. If it’s something that people get paid to do, chances are that Yato’s dabbled in it and maybe even gotten pretty darn good at it.
Gods don’t poop. While gods and shinki can go hungry, they can’t starve to death. They can eat as much as they want and never get full, but remember: they don’t have to poop.
Forgettability. Humans have a hard time noticing Yato and soon forget him after meeting him. Even humans who have associated with him for a long time will eventually forget with prolonged lack of exposure. Gods and shinki are perceived by humans as “strangers in the background” even when standing right in front of them, which makes them effectively invisible to humans until they make a concerted effort to be noticed.
Divine possession. Gods can slip into the sleeping bodies of their human followers (in this case, Hiyori) and control them for as long as desired. No one can force the god out prematurely. The only physical indicator that a possession has taken place is the taking on of the god’s eye color.
Yato is able to defeat Takemikazuchi and convince him to negotiate with Heaven to listen to Bishamon’s case. Afterward, he rushes to help defend Bishamon; however, he and Yukine are ultimately captured by Heaven and put on trial for the sin of rebellion. Yato takes the chance to appeal to Heaven, exposing the existence of the Sorcerer, but the gods refuse to believe him. Disgusted and impassioned, Yato rebukes Heaven -- and then, with the arrival of Amaterasu, is sentenced to death and Yukine imprisoned in a tiny box for eternity. Stuff happens and long story short, Yato and Yukine are able to walk away after playing a sadistic game of divine Russian roulette but everything hurts and happiness is just a dream on the cosmic breeze??
CANON PERSONALITY:
Yato wants to be Japan’s #1 god. Dubbed in turns a god of delivery, calamity, depravity, war, and fortune, his exact nature is an evolving construction. But for most of his life, he’s been a no-name god with no followers, no shrine, and hardly any respect from the few gods who bother associating with him. Every member (save the most recent) of his long congo line of shinki -- spirits of the dead who serve the gods as guides and tools -- has inevitably quit on him in disgust and despair, so hopeless are they that he can provide for them or amount to anything great.
Which is kind of a fair assumption! Yato is not very good at life, though not for lack of trying. He works hard and can deliver the most sparkling, enthusiastic sales pitch under the sun, but his standard payment is five yen (the traditional monetary offering to the gods) no matter the job. This leaves him perpetually poor, and when he does happen to amass a modest amount of money, he quickly spends it all on the newest good luck charm or gambling prospect to catch his eye. He doesn’t know how to manage his money, sweats too much (according to his shinki), looks every bit as homeless as he actually is, and only understands instant gratification.
He isn’t always personable and can be too honest; he tries to abandon one client in the very first chapter because he’s disgusted with her self-victimizing attitude, much to his shinki’s protest. At worst, his low tolerance for other people’s complaints and perceived weaknesses can lead to rash behavior. When a boy tries to commit suicide by throwing himself out of a fourth story window, Yato rescues him by jumping after him, catching him bridal style mid-air, and landing with perfect poise -- only to viciously slap the boy, give him a disdainful tongue-lashing in front of a crowd, and then fall to his knees as he realizes he’s dislocated a shoulder because he was in the possessed body of an ordinary high school girl all that time.
In fact, he often fails to think consequences through in everyday life, and it’s much in line with the transient nature of his entire existence. Aside from his physically and (especially) psychologically abusive father, whom Yato tries to distance himself from as much as possible, he hasn’t had reliable support from anyone for most of his life. Gods are to be nurtured to their best possible natures by their shinki, but Yato can’t hold on to any for much more than a few months, and it leaves him physically insecure, bereft of proper guidance, and most of all, lonely. When Yato cooks up a ridiculous marketing opportunity or spends all his money on a bogus fortune telling scam, it’s because he’s become used to clinging to the present and living only for himself. It’s a foregone conclusion that his shinki will inevitably leave him and that every human he meets will soon forget him, and so Yato has settled into a selfish, impulsive existence.
As world-wise and perceptive as he can be, he is still immature from an emotional standpoint. As mentioned, he’s prone to acting rashly and can be too quick to get into an argument. On the flip side, he hogs the people and things most important to him with childish insistence and harbors a deep love for some things that most adults have grown out of, like Capyper (a Mickey Mouse-like character that Yato is convinced is real real) and Santa Claus. He dreams of having a pure white wedding with romantic interest Hiyori and almost always sleeps with the shrine she made him by his side. Yato’s early life wasn’t very kind to him, but despite -- or perhaps because of -- his alienation and hardship, he often fantasizes about larger-than-life concepts and puts his faith in what he sees as pure and genuine. It marks him as a surprisingly optimistic person; in his mind, if he works hard enough or has enough faith, he can finally meet Santa Claus or build that shrine he always wanted.
For all his faults, Yato is not a bad person -- far from it. His deepest desire is to become the kind of god that can make other people happy. When he came into existence, he was born with that innate impulse. Unfortunately, the only person around to make happy was his father, and his father’s wish was to cull humanity. Aside from that directive, Yato’s father gave him no moral guidance; he only praised Yato when he killed well, and craving that happiness and affection, child Yato grew up murdering indiscriminately to earn his father’s approval. It was his first personal shinki, Sakura, who taught him that killing is wrong, and though he ultimately lost her, her lessons would go on to color Yato’s formerly blissful personality for the rest of his life: a resigned self-loathing whenever his father would send him to kill more people; the realization that he could make people happy without hurting or killing; what it means to be a good person; the sincere and heartfelt affection of someone who isn’t his father; and the sadness and reality of loss. It resulted in a deeply conflicted Yato, who knew he was capable of doing good but was trapped by his father’s will and his own inability to become self-sufficient.
So while Yato hardly knows how to take care of himself, he tries to take care of the two most important people to him in the present, Hiyori and Yukine, as best he can. He isn’t always very successful, but he is always sincere. Maybe too sincere. And definitely overinvested. He can brush off most slights from people he doesn’t care for, but when it comes to his loved ones, each insult is a dagger to the kokoro, usually to comedic effect but often taken to heart. His thoughtfulness can range from gentle, to overwhelming (“Your feelings are way too heavy, Yato!!” --Yukine upon receiving a startlingly professional-looking sweater handmade by Yato with wool he sheared from a sheep himself), to borderline creepy, to downright invasive. It all comes from a genuine appreciation for the people who put up with him; the execution is just clumsy, stunted from a lack of understanding about how to express himself in an appropriate way. He’ll aggressively stalk Hiyori to protect her, or shyly invite her to her own surprise party because he missed her birthday. He’ll secretly destroy a shinki-marketed magazine to erase the (righteous) temptation for Yukine to find another god to serve, or sleep in a brightly lit room every night to ease Yukine’s fear of the dark.
But however obsessive and overwhelming Yato can be when left to his own devices, when the people most important to him express genuine anger or frustration, he’ll do his best to stop (though results may vary). When they voice their deepest concerns, Yato listens with every ounce of his attention. When they’re feeling down or upset, he wracks his brain for the best way to make them happy, or gives them the space they need despite his own urge to rush to them; it isn’t uncommon for him to agonize over whether or not he is making them happy enough. Yato is always ready to shower his loved ones with praise and encouragement, whatever venture they choose to undertake, and would silently endure any hardship for their sakes. He’s fiercely loyal, and would literally challenge Heaven on pain of death in defense of a friend he believes to be in the right. For much of the series, Yato’s care for others is braided with his selfishness -- but over time, he’s learning how to love others in a more healthy and selfless way.
Currently, Yato is trying to reform himself and make the change from a god of calamity to a god of fortune, and in so doing he is slowly becoming a more content, genuinely self-respecting person. Because for all his marketing swagger, bold confrontation, over-the-top enthusiasm, and overwhelming affection for his loved ones, he is deeply anxious about losing Yukine and Hiyori and instinctively blames himself for the misfortune that touches their lives. Yato is an extremely competent worker and warrior, and yet his self-esteem is low because he was never successful where it “mattered”: he got no respect from his fellow gods, couldn’t keep any followers, had no shrine, and was constantly rejected by his shinki. His shrinelessness (and therefore homelessness) is sometimes played for laughs, but in truth it has left him feeling deeply unwanted and inconsequential, an outlier of society. These things have all begun to change, yet the perpetual threat of failure still looms over him. He craves the acceptance and lawful legitimacy that he was never given in a thousand years, which is part of why he dreams the way he dreams: he wants a big, popular shrine with a pack of adoring shinki... and most telling of all, a wife, the ultimate sign of normalcy and settlement. Unfortunately, the only thing he was ever consistently praised for was his proficiency at killing, and so even now he believes that cutting is all he’s good for. But recently, Yukine has begun guiding him toward using that cutting for the betterment of humanity. Meanwhile Ebisu, the god of merchants, guides Yato toward becoming a god who lives for others, and Hiyori shows him that he’s a god worth saving. Yato is a god in constant progress who desperately wants to be a better person.
SKILLS/ABILITIES: Job-related skills aside, these are all extensions of his godhood. I’m sorry for this length…...
Conditional immortality. Provided he has at least one human who believes in him. If he didn’t have a single believer, he would disappear. While more popular gods will reincarnate upon physical death, it has been said that Yato will not because he’s so obscure. Furthermore, gods cannot be killed by mortal means. Yato has been violently bludgeoned in the head, poisoned, set on fire, shot, and pushed off a cliff, but he always heals in short time. Only denizens of the Far Shore (shinki, gods, ayakashi, etc.) can do lasting damage.
Near weightlessness. Because he isn’t a denizen of the Near Shore (a.k.a. human), he appears to have a fraction of the mass of a human. He can jump great heights and fall safely, as well as land on slim branches without breaking them. His balance is excellent as well; he can perch on poles and walk telephone lines with perfect poise.
Teleportation. The rules are not explicitly defined, but it appears that Yato only teleports to people he’s speaking to over the phone. He can also teleport to Takama-ga-hara (the dwelling of the gods) via his shrine.
Cutting. This seems to be a specialty of Yato’s. Where other gods’ shinki can manifest as armor, animals, or even things like smoking pipes, every single one of Yato’s shinki has been a bladed weapon. Not only can he cut physical things with unerring precision (he’s used a branch to cut a bandanna in half, and cut two rapidly fired bullets in half with one swing), but with a shinki, he can sever memories and ties between people. Shinki blades can cut selectively; for instance, Yato can use one to cut a man’s innards while leaving the man outwardly intact.
God of war. Yato is almost exclusively a swordsman, but he’s handy with improvised weapons in a pinch. His combat ability is almost disproportionate with his obscurity; he’s been able to fend off and escape Bishamon, the strongest god of war, for centuries despite always having one shinki versus her several. Since obtaining Yukine as a hafuri (a blessed vessel, among the rarest and strongest of shinki), Yato’s combat ability reaches ever greater heights; in a moment of desperation, he’s gone so far as to dramatically split the skies with a swing of the sword, earning him the title “He Who Rends Heaven”. But even without a shinki, he is artful and inventive with any blade.
Endurance and healing. Perhaps in part due to his heavy combat experience, Yato can power through most heavy injuries without much pause. When suffering a deep cut to his sword shoulder, he has bound his sword to his hand to continue fighting under great duress. He’s even suffered a slit to the throat and been able to carry on, albeit with some difficulty. While they do eventually tire, gods heal more quickly and bear no scars or disfigurement after the fact.
Shinki. Gods can retain wandering human spirits as shinki. The god binds the shinki to him by granting a name in three parts. Using Yukine (Yato’s shinki) as an example, he has the true name Yuki, common name Yukine, and vessel name Sekki. All three names are based on a single kanji character, which becomes tattooed somewhere on the shinki’s body. When Yato calls Yukine’s vessel name (Sekki), Yukine becomes a sword; when he calls Yukine’s true name, Yukine reverts back to human form. Gods and shinki form a one-way connection in which the feelings of the shinki are felt by the god. If a shinki commits wrongdoing and knows that it is wrong, he will “sting” his god. If a god is stung severely enough times, that god can die unless he releases the offending shinki or the shinki is disciplined via a risky ceremony called an “ablution”.
Jack of all trades. Thanks to a thousand years of job-hopping, Yato has amassed an absurd amount of talents. He has been shown to be a competent artist, glass artisan, cook, car repairman, plumber, aspiring pop idol, math whiz, weaver, bridal dress maker, olympic snowboarding qualifier (seriously) and more. If it’s something that people get paid to do, chances are that Yato’s dabbled in it and maybe even gotten pretty darn good at it.
Gods don’t poop. While gods and shinki can go hungry, they can’t starve to death. They can eat as much as they want and never get full, but remember: they don’t have to poop.
Forgettability. Humans have a hard time noticing Yato and soon forget him after meeting him. Even humans who have associated with him for a long time will eventually forget with prolonged lack of exposure. Gods and shinki are perceived by humans as “strangers in the background” even when standing right in front of them, which makes them effectively invisible to humans until they make a concerted effort to be noticed.
Divine possession. Gods can slip into the sleeping bodies of their human followers (in this case, Hiyori) and control them for as long as desired. No one can force the god out prematurely. The only physical indicator that a possession has taken place is the taking on of the god’s eye color.
CHARACTER: AU SECTION
AU NAME: Yaboku “Yato” Tomioka.
AU AGE: 21.
PHYSICAL DIFFERENCES: His eyes are bright blue in canon. Here, they’ll be brown. He’s also a little scarred up from being in fights all the time, but nothing major.
AU NAME: Yaboku “Yato” Tomioka.
AU AGE: 21.
PHYSICAL DIFFERENCES: His eyes are bright blue in canon. Here, they’ll be brown. He’s also a little scarred up from being in fights all the time, but nothing major.
AU HISTORY:
- Moved alone to Recollé at 18.
- His mom died giving birth to him, much wow such original. Growing up, his dad provided well for him materially and cares for Yato in a manner of speaking, but also seems to take pleasure in psychologically tormenting him for reasons I will leave vague. Think letting child Yato take in a stray puppy but then WHOOPS “accidentally” leaving out some chocolate Yato brought home one day, and now the puppy has eaten a bunch of chocolate so now it’s ded. You’re so irresponsible Yato, look what you did and this is why you’ll always be a failure without Dad.
- The kind of kid who was quiet and wary but wanted to be able to trust people and make friends.
- Homeschooled by said trash dad up until high school. There, he learned quickly and initially kept up good grades, but didn’t adjust well to his peers and fell in with a bad crowd. He was standoffish and reclusive, got into fights often (and usually won), and had attitude problems with teachers he didn’t like. His dad didn’t really care to teach him any better.
- Probably had a rep for being scary and maybe even a little cool in a delinquent way. Got his nickname Yato (from YAboku TOmioka) around this time.
- Hit 18 and then booked it so fast and far out of his dad’s home. He was woefully unprepared to live independently and struggled from the outset, but refused to go back to his dad. Hopped a few cities before arriving in Recollé, taking odd jobs the whole way.
- Desperate for money, he sometimes had to take less savory but better-paying work.
- Once feeling like he was in charge of his own destiny, Yato became more expressive, self-driven, and hopeful for the future. Though he is not at all okay from a material standpoint and struggles with the social stigma of being homeless (as well as a “failure” without Dad), he is happier as a person than he once was. Still, he has occasional lapses of melancholy.
AU PERSONALITY:
While Yato is still an outlier of society in Recollé, the fact that he can stay in people’s memories, lacks about a thousand years of loneliness, and has a much wider pool of friends and acquaintances to connect with will make him more well-adjusted when dealing with people, more willing to work toward forming new ties, and a little quicker to open up. It isn’t so much a waste of time getting to know people, and the people who do bother talking to him are generally less ostracizing than the gods and shinki of Noragami canon.
He'll act much like his mid-canon self, having developed some with experience, but with plenty of room left to grow.
- Moved alone to Recollé at 18.
- His mom died giving birth to him, much wow such original. Growing up, his dad provided well for him materially and cares for Yato in a manner of speaking, but also seems to take pleasure in psychologically tormenting him for reasons I will leave vague. Think letting child Yato take in a stray puppy but then WHOOPS “accidentally” leaving out some chocolate Yato brought home one day, and now the puppy has eaten a bunch of chocolate so now it’s ded. You’re so irresponsible Yato, look what you did and this is why you’ll always be a failure without Dad.
- The kind of kid who was quiet and wary but wanted to be able to trust people and make friends.
- Homeschooled by said trash dad up until high school. There, he learned quickly and initially kept up good grades, but didn’t adjust well to his peers and fell in with a bad crowd. He was standoffish and reclusive, got into fights often (and usually won), and had attitude problems with teachers he didn’t like. His dad didn’t really care to teach him any better.
- Probably had a rep for being scary and maybe even a little cool in a delinquent way. Got his nickname Yato (from YAboku TOmioka) around this time.
- Hit 18 and then booked it so fast and far out of his dad’s home. He was woefully unprepared to live independently and struggled from the outset, but refused to go back to his dad. Hopped a few cities before arriving in Recollé, taking odd jobs the whole way.
- Desperate for money, he sometimes had to take less savory but better-paying work.
- Once feeling like he was in charge of his own destiny, Yato became more expressive, self-driven, and hopeful for the future. Though he is not at all okay from a material standpoint and struggles with the social stigma of being homeless (as well as a “failure” without Dad), he is happier as a person than he once was. Still, he has occasional lapses of melancholy.
AU PERSONALITY:
While Yato is still an outlier of society in Recollé, the fact that he can stay in people’s memories, lacks about a thousand years of loneliness, and has a much wider pool of friends and acquaintances to connect with will make him more well-adjusted when dealing with people, more willing to work toward forming new ties, and a little quicker to open up. It isn’t so much a waste of time getting to know people, and the people who do bother talking to him are generally less ostracizing than the gods and shinki of Noragami canon.
He'll act much like his mid-canon self, having developed some with experience, but with plenty of room left to grow.
test
A blurb is a short promotional piece accompanying a creative work. It may be written by the author or publisher or quote praise from others. Blurbs were originally printed on the back or rear dust-jacket of a book, and are now found on home video cases, web portals, and news websites. A blurb is a short promotional piece accompanying a creative work. It may be written by the author or publisher or quote praise from others. Blurbs were originally printed on the back or rear dust-jacket of a book, and are now found on home video cases, web portals, and news websites.
A blurb is a short promotional piece accompanying a creative work. It may be written by the author or publisher or quote praise from others. Blurbs were originally printed on the back or rear dust-jacket of a book, and are now found on home video cases, web portals, and news websites. A blurb is a short promotional piece accompanying a creative work. It may be written by the author or publisher or quote praise from others. Blurbs were originally printed on the back or rear dust-jacket of a book, and are now found on home video cases, web portals, and news websites.
more test
A blurb is a short promotional piece accompanying a creative work. It may be written by the author or publisher or quote praise from others. Blurbs were originally printed on the back or rear dust-jacket of a book, and are now found on home video cases, web portals, and news websites. A blurb is a short promotional piece accompanying a creative work. It may be written by the author or publisher or quote praise from others. Blurbs were originally printed on the back or rear dust-jacket of a book, and are now found on home video cases, web portals, and news websites.
WHOOP WHOOP
no subject
A blurb is a short promotional piece accompanying a creative work. It may be written by the author or publisher or quote praise from others. Blurbs were originally printed on the back or rear dust-jacket of a book, and are now found on home video cases, web portals, and news websites. A blurb is a short promotional piece accompanying a creative work. It may be written by the author or publisher or quote praise from others. Blurbs were originally printed on the back or rear dust-jacket of a book, and are now found on home video cases, web portals, and news websites.
most test
A blurb is a short promotional piece accompanying a creative work. It may be written by the author or publisher or quote praise from others. Blurbs were originally printed on the back or rear dust-jacket of a book, and are now found on home video cases, web portals, and news websites. A blurb is a short promotional piece accompanying a creative work. It may be written by the author or publisher or quote praise from others. Blurbs were originally printed on the back or rear dust-jacket of a book, and are now found on home video cases, web portals, and news websites.
no subject