AXPLICATION
PLAYER INFORMATION
Your Name: Leah
OOC Journal:![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
goodburger
Under 18? If yes, what is your age?: NOPE
Email + IM: bromunculus @ gmail + pudenda express
Characters Played at Ataraxion: Brian Moser (bloodplay)
CHARACTER INFORMATION
Name: Hana "Hatchin" Morenos
Canon: Michiko to Hatchin, also known as Michiko e Hatchin and Michiko and Hatchin, which I believe is what it's finally going to be licensed as in the US? I'll be referring to it as Michiko e Hatchin for the remainder of this application.
Original or Alternate Universe: OU!
Canon Point: episode 22, during her final airplane flight away with Hiroshi.
Number: 114
Setting: The story of Michiko e Hatchin is set in a fictionalized Latin-American country that is most analogous to Brazil. The country is apparently called Diamandra, according to the fake passports they use at times, but this is never actually mentioned in dialogue! Diamandra is also the name of the prison from which Michiko escapes at the beginning of the story. Go figure. Portuguese is the primary language used and spoken by characters, though there are a few examples that demonstrate the existence of English (ALL POWER TO THE BLACK PEOPLE is graffitied on the wall of a bar) and Chinese (there are thriving Chinatowns in some of the cities that Hana and Michiko go to on their journey, one of which serves as the primary impetus for an episode's plot), and the national currency is the arca. No capital is ever established, and though characters explicitly refer to Chinese people and presumably China as a country, the world outside of the presumably South American area in which the main characters operate is never expanded on. The exact time period is similarly a mystery, though it probably isn't a stretch to say that it is at least "modern"; certain technological advances, such as the advanced cultivation system used to grow "monster tomatoes", indicate that it may take place in the present day, but the fact that Diamandra is essentially a third world country and neither of the protagonists are well-off complicates any attempts to date the show. The fact that when maps are used, there's nothing that actually resembles South America also contributes to making any sure conclusions about its setting a huge, huge pain in the ass!
There are no magical abilities or fantastical technology which complicate the setting, however; it's a typical world where there are haves and have-nots, and those without the luck to be born to wealth and security often have no choice but to stoop into illegality to stay alive. There's truth in what Hana's foster father tells her--that her situation is lucky, living as the ward of a middle-class reverend in a country where children have to sell their bodies or join gangs in order to survive--even though he's also an asshole and her life situation in fact sucks balls. Kids who aren't born to privilege have to harden themselves in order to live day-to-day, and Michiko's childhood in a favela orphanage is much more typical. So too are Satoshi and Hiroshi, who straight-up grew up on the streets and had to join gangs to get by. The cities and countrysides are full of crime, whether that's petty or part of crime syndicates with names like Monstro Preto or Fantasma, and that organized crime tends to permeate lives more often than not.
Also, it's anyone's fucking guess why so many characters have extremely non-Japanese last names and Japanese first names; Michiko Malandro, Hiroshi Morenos, Atsuko Jackson, Satoshi Batista, etc. etc. The show never even tries to explain it, so I'm gonna just follow that lead.
History: Michiko e Hatchin is about, unsurprisingly, Michiko and Hatchin. Hana Morenos is an orphan who knows nothing about her real parents and even less about familial love--her foster parents, the Belenbauza-Yamadas, treat her like a welfare check at best and the family's personal workhorse at worst, and her siblings outright verbally and physically abuse her. You really wouldn't suspect that her adoptive father was a priest/reverend/HE IS CLEARLY CATHOLIC HOW DOES HE HAVE A WIFE AND KIDS, but hey, there you go. Basically, she's lost in the system and her life blows Harry Potter style, until the day when a strange woman crashes through her window on a motorbike, lands on the breakfast table, and whisks her away forever. The woman is Michiko Malandro, a self-proclaimed "sexy diva" who knows Hana's presumed-dead father, Hiroshi Morenos, from way back when. In the biblical sense. And she just escaped from the prison which she was thrown into, basically, because she was looking for Hiroshi. Michiko doesn't believe he's dead, and she wants to find him. And that's how Michiko and Hana, now nicknamed Hatchin, set off on an awesome Thelma and Louise style journey down the highways of Diamandra.
AS FOR WHY... MICHIKO... IS ACTUALLY INTERESTED IN FINDING HATCHIN... Hiroshi Morenos, a man who's in general a total prick, was a prominent figure in the crime syndicate Monstro Preto but wanted to get out of the game. Twelve years before the events in our heroines' story takes place, Michiko Malandro, his girlfriend, is arrested by rookie cop Atsuko Jackson, her old bffl from her childhood in a favela orphanage and lesbro. Her supposed crime is the murder of the leader of Fantasma, Monstro Preto's rival syndicate, who she'd previously recklessly attacked on the suspicion that he'd had something to do with Hiroshi's disappearance. Around a year afterwards, Hiroshi is supposedly killed in a bus accident, Michiko hears the news in prison after one of her numerous escape attempts, and she goes into despair. Some time after that, Atsuko gives Michiko a photo of a baby girl, one and a half years old, called Hana Belenbauza-Yamada; Hana resembles Hiroshi to a ridiculous extent, has the same gang brand as Michiko on her stomach, but most important of all is her age; she was born two years after Hiroshi "died." Michiko, certain that the love of her life is in fact alive and just being a runaway dickbag par excellence, spends the 9 or so years attempting to break out of prison; in the 10th year of Hana's life, she finally succeeds. She busts through the Belenbauza-Yamadas' window on a motorbike and lands on their kitchen table, and then we are back to the point at which we started! Pretty much all the episodes have their own self-contained plots, strung together by the overarching search for Hiroshi, so it's...... pretty much like a Latin American Samurai Champloo with chicks; the main focus of the series is not the man at the end of the journey, but the way there, and the relationship between Michiko and Hatchin that develops along the way and changes both of them for the better. Nevertheless, there are some important highlights to note!
Michiko's journey to find what the fuck even happened to Hiroshi initially leads the two to head for the city of Vermelha, where she and most of the other core characters to the narrative grew up in the favelas. On a pit stop, she and Hana have an encounter with Atsuko, now bitterly fixated on recapturing her old friend and more than a little willing to do crooked police work in pursuit of that goal, and Father Pedro, Hatchin's adoptive parent, who's equally fixated on shooting her so he can get the insurance money her disappearance would have cost them. They escape this sticky situation and, thanks to Michiko, cause a shitton of property damage, which will prove to be a consistent recurring theme over the course of the series. They next spend a few days in Sao Cabal, during which Hatchin gets her first job and cuts her hair, a famous stripper named Pepe Lima claims to have information on Hiroshi but is in fact full of shit and hoping to steal Michiko's money so she can start a new life with her little sister, and both of them almost certainly die. Having come up with no hints on the way, Michiko and Hatchin come to Vermelha itself, where Michiko hopes to find out more from some of her old friends. Instead, Michiko finds herself pursued by Fantasma, now headed by the old second-in-command of the gang leader, who still bears a grudge against both Michiko and Hiroshi. Hatchin is kidnapped by the same people, and after a bunch of kicking guys in the face with stiletto heels it all ends with Michiko daringly rescuing her from a bullfighting ring, with an actual bull. In the ring. With them. I told you this was episodic!
Michiko's new object of pursual is the current head of Monstro Preto and Hiroshi's old best friend, Satoshi Batista, who she feels must know where Hiroshi is; on the way to find and talk to him, tensions escalate between Hatchin and Michiko when she gets involved with a married man and her behavior towards Hatchin, already slightly callous, starts to verge on abusive. The two of them fight constantly until, on the whim of Shinsuke, one of Satoshi's henchmen, Michiko is separated from Hatchin when going to meet with the mob boss in Osso. Left alone, Hana starts to live homeless, sleeping on a bench, and eventually meets a girl named Rita who performs in a travelling circus and is in love with a much older and very unintereested man. The two become close friends, and when the circus leaves Osso she comes along with it, setting up and taking care of/getting punched by the animals; Michiko, who has only narrowly escaped her subsequent capture by Satoshi (who, spoilers, hates her, killed the head of Fantasma 12 years ago, and has no idea where Hiroshi is either) and a handover to Atsuko, finds her on one of the circus' stops, but Hatchin is still angry at her and refuses to come along. When she realizes the circus owners intend to sell her and several other girls on the black market, however, Michiko is there to help her escape from their hot air balloon, and the two are reunited amicably to continue their search. As all of these events happen, however, Hatchin is slowly becoming more and more disillusioned with the father she now knows more and more about; although she doesn't realize it yet, reality is beginning to set in for Michiko as well. The two of them are growing steadily more reliant on one another, however, and though they still bicker their relationship strengthens and becomes much healthier over time. They're set back by Michiko contracting a severe fever, and Hana attempts to pay for the quack doctor Michiko insists on seeing by standing guard at night for a farmer and preventing bandits from stealing his vegetables. Predictably, since she's ten years old, this ends poorly, and the only thing keeping her from attempting to intimidate the doctor into dropping their debt is the fact that a fever-dreaming Michiko attacks him first.
Upon Michiko finding a newspaper story featuring a photo of "Rock Morena", a man who grows uniquely engineered tomatoes alongside a female scientist and coincidentally looks exactly like Hiroshi with a farmer's tan, the two set off to find him at the factory farm, but end up only meeting the scientist; Hiroshi himself is long gone. Michiko realizes that Hiroshi was also the woman's lover, and acts predictably ridiculous, but ultimately she proves to be more of an ally than a foe; she helps them escape from Atsuko, who's also found the clipping, and the two women part with a sort of tense understanding. Based her directions, their next destination is the city of San Paraiso, but upon arriving there they learn that Hiroshi has moved on once again. Worse than that is the fact that, according to his old partner in petty crime there, he's never mentioned Michiko at all. This combined with the fact that his original flight from the tomato farm was clearly motivated by Michiko's escape sends her into a bout of depression, as she believes he's forgotten all about them; she only perks up once Hatchin gets a soap opera star to send her a call on the night of Carnaval, telling her about Hiroshi's feelings for her. This is well-intentioned and also completely untrue, but it works nonetheless, and the two set off again.
While hiding out on a train with Hatchin, Michiko has a particularly wrenching encounter with Atsuko, who has made arrangements for her to flee the country and refuses to take no for an answer; at the same time, Hatchin comes across Satoshi, who has begun to fall in the ranks of his own organization and is hiding out on the same train. In an attempt to keep him from going further in the train and killing Michiko, she tells him she knows where Hiroshi is and will take him to him. Suddenly, the train crashes while trying to avoid a man who's driven his truck onto the tracks, having been forced to by Shinsuke in an attempt to kill Satoshi or smoke him out. In the aftermath, Satoshi drives off on Michiko's own moped with Hatchin as Michiko watches helplessly. While Hatchin deals with an emotionally volatile gangster with a mancrush on her deadbeat dad and the other gangsters who want to kill him, Michiko deals with evading the police and chasing the two of them to Goinia, Hiroshi's last known location. Satoshi finally murders Shinsuke while Hatchin hides out elsewhere, but his value as a gang kingpin hasn't decreased along with his status in Monstro itself; when they also arrive at Goinia, the gangsters he attempts to threaten into finding Hiroshi for him have no intention of doing so. While searching for them in the city, she's once again spotted by law enforcement and is the subject of a dramatastic chase through a market that ends with her barricaded in an amusement park. An ambitious cop's attempt to break in and capture her ends in Michiko escaping and the police accidentally killing a hostage; their death is blamed on her. Finally, her path crosses with that of Satoshi and Hatchin, the latter of whom has just seen Hiroshi waiting at a bus stop. Although Satoshi tries once again to kill her, a rival gang leader has already fatally injured him; the two drive off, and he's later gunned down for good. Michiko and Hatchin's escape, however, isn't final. Only shortly after being reunited the two are surrounded by the same corrupt cops who framed Michiko for the hostage death, intent on either arresting Michiko or killing the both of them and claiming Hatchin died in the crossfire. They're only narrowly stopped by the arrival of Atsuko, once again, who has kept to her vow of treating Michiko as a stranger. Michiko insists on talking to her anyway, however, and the two cut a deal. Michiko and Hatchin are given one last chance to run, and they make it to the train station just in time to catch up with Hiroshi himself.
Two months and many miles later, the two of them have finally reached the man who was the impetus for their entire journey, and with him they venture off to an independent pilot's headquarters to purchase a flight for two people. At this point, Michiko makes a shocking revelation; she's not coming with them. Instead of having a happy family with Hiroshi, she wants Hatchin, at least, to know her own father. Turning herself in to Atsuko as had been agreed upon, Michiko goes back to jail to serve her sentence, while Hatchin and Hiroshi fly away and out of the country. Of course, Hiroshi, being the total prick that he is, ends up leaving Hana a short while later for a new lover, and she grows up by herself, has a kid of her own, meets up with Michiko again, etc., but that's all later on in the story and complicated without any real specific details.
Personality: Hatchin frequently plays the straight man to her canon's other namesake, the loud, vulgar, and bombastic Michiko, in a way that belies the age difference between them; she frequently appears to be much more of an adult than her makeshift custodian. And on the surface, this is a pretty cut and dry conclusion! Hana is polite and reserved, quiet, and very serious, constantly thinking of what she'll have to do to pay for the damage this time, or what to get for groceries. Her concept of morality evolves over time, but at the beginning it's very black and white, and there are certain tenets she still sticks to almost always! Stealing, for example, is just plain wrong. She seems to enjoy taking a mothering role with other people, particularly friends and loved ones; it's something she's very used to, and one of the only ways she's able to pay people back. Showing other people who she cares for that she does, in fact, care for them, and "protecting the people she loves" is one of her top priorities, whether that manifests in cooking a meal while picturing Michiko's reaction or breaking into a dude's house with a crowbar to try and cheer her up.
There's no disconnecting who Hana is during the events of Michiko e Hatchin with the childhood she's experienced and the things she sees over the course of the series. Hana grew up in an abusive and neglectful home where she was nothing more than a source of income, and her experience on the road has led her to realize that there are plenty of shitty and uncaring people outside of that home, too. She lives in a frankly dangerous world, and rather than approaching that with a vulgar kick-in-every-door brassiness, she tries to deal with those dangers pragmatically and navigate her surroundings in a way that won't end up getting her into trouble. All of these experiences have contributed to the forming of her personality and the tiny serious adult persona she has. She comes off as quiet because she doesn't want to provoke anyone, and she's self-reliant because she knows most people simply aren't reliable. Similarly, it's often not that she hesitates or acts meek because she doubts herself; she does so because she knows that people don't frequently care what she has to say, and her childhood has led her to the baseline assumption that they won't.
Where Hana does doubt herself, however, is the realm of interpersonal relationships. Having been burned so many times, she hesitates to trust others at first and has, for example, not much of an idea of how to be friends with people her own age, let alone make a meaningful connection with a parent figure! She balks at the idea of any romantic attachment, repeatedly rejecting a boy with a crush on her with something near fear despite the fact that she clearly does like him. Once she starts to build relationships, though, she holds fast to them and learns quickly. She's clearly always wanted parents, friends, and a real home, but the idea of getting any of those things has been unthinkable for so long that, until the beginning of her canon, she doesn't really have any experience to work off of! This can make her a little awkward when it comes to initiating overtures of friendship, but once she builds enough rapport and understanding she's a loyal friend and a caring person who's willing to go to vast lengths for the people she loves, up to and including breaking into a soap opera actor's house with a plastic bag mask on her head because she wants to snap Michiko out of her depression. Though some of her gestures are partially borne from childish frustration, there is very real heart and bravery behind them; it's exceptional how much Hana is willing to put up with without breaking. And underneath her quiet exterior, she hasA LOT OF FEELINGS some serious reserves of unarticulated emotion; when Hana makes her feelings known, she really makes them known. This is partly tantrum-like behavior, but it's also a very real overflow of all the anger and frustration she feels she has to suppress. The best example is probably her initial outburst, when her foster sister Maria attempts to burn her face with an iron and kicks her out of the house; she literally lets out ten years of suppressed rage in the ensuing blowup. On her face. Later on she becomes more accustomed to articulating herself, particularly with people she knows, to the point where she's willing to argue with Satoshi himself about her dad being a useless turd, but her tendency to bottle things up, particularly with new people, never completely goes away. When it's not a life or death situation, her initial impulse seems always to be to do the self-protecting thing, accepting other people's shitty behavior as par for the course and making herself as unobtrusive and polite as possible, until her own indignation boils over. She'll sometimes take on Michiko's own brash and foolhardy mannerisms as a way of venting these feelings and effectively getting other people to listen to her; when she's trying to calm down a boy who thinks his father is in mortal danger, for example, she affects her tone of voice and stomps on a chair in order to shut him up. When she's cooking dinner and missing Michiko at the circus, she apes her in order to stave off feelings of loneliness. She's clearly the first and most prominent example of a strong person Hana's had constantly in her life, and although she's all too aware of her fallibility, she also loves her and is positively influenced by her headstrong confidence.
Looking at all of this super serial strength of character, though, it's important to remember that she's still a kid! Hana forgets to wash her hair, she screws up omelets (although this totally continues into her adulthood it's just genetic), she gets drunk off juice and yells about beating people up, and she has tantrums. She has a lot of tantrums, in fact, though most of them are confined to her muttering under her breath and not actually pressing an issue, or vented through dry humor that she figures people (read: Michiko) will not get or listen to. Her fights with Michiko are often equally childish on her own part, not least because she finally has someone to whom she can speak her mind. Again, she's also a kid coming from a severely neglectful and abusive home, and that means that Hana has been deprived of any emotional support for the vast majority of her life. That she knows what it's like to have people who care for her now means that she craves an emotional connection even more than before. At any point where Michiko, her universal constant during the series, shows tendencies towards morphing back into what Hatchin was accustomed to for so long--hitting her, for example, or abandoning her at her childhood orphanage--she recoils and reacts with fury. Hana is, despite all her calm reasoning and stubbornness, a desperate and dependent child when it comes to love; she's formed so few attachments that those she does have being jeopardized is a horrible prospect for her. She can eventually cope with these losses, in much the same way that she copes with everything, but the pain and loneliness which they ultimately cause her is less easy to move on from. Around ten years after the events of the series, during which she and Michiko are separated, she's a single mother with a child to take care of who she loves and a steady job she seems to enjoy, but still she feels lonely; in many ways her relationship with Michiko, the first person to show belief in her despite all her faults, is the one that most defines her. It's not a completely healthy relationship at all times, but it is ultimately the most important constant in Hana's life, and something which she draws an incredible amount of strength and love from. For the sake of Michiko's life, she'll put her own in jeopardy; to get her smile back, she'll move mountains.
Abilities, Weaknesses and Power Limitations: Hana has absolutely zero powers (unless you count the metabolic ability to somehow get drunk off drinking orange soda) and has all the physical prowess of a prepubescent child, which is to say none! She does, however, know how to cook, clean, and in general take care of a house at a level that is somewhat abnormal given her age. This is largely the product of her abusive childhood and playing the responsible adult during her and Michiko's journey. She also....... can take care of circus animals. Hana's real strengths stem from her moral core and stubbornness; she's become more streetwise than most children her age, is brave despite her weakness and position, and has an excellent radar for bullshit. All that being said, she's ten and can be snapped like a twig.
Inventory:
•The underclothes she shows up in (an undershirt and a sadly adorable pair of bloomers)
•The clothes on her back (green sweatshirt that reads ARMY across the front; shirt; pair of shorts; little-kid boots)
•A colorful top and leggings
•This hat and shirt
•A dark beanie
•A copy of this picture.
•A bottle of anime knockoff Fanta.
•A cast-iron ladle
•And a crowbar.
Appearance: Hana is short, pale, and skinny, with particularly twiggy arms and legs. Her most distinctive feature is unquestionably her hair, which is blonde and extremely out of control at the best of times; initially worn in two giant pigtails, she now keeps it (relatively) short and manageable. Given her scrawny frame and androgynous hairstyle, in addition to the fact that she often stays extremely quiet while in public, Hana's frequently mistaken for a boy during the course of the show. She greatly resembles her father, particularly when he was a child her age, which is something characters who're familiar with him remark on; Hiroshi Morenos was and remains kind of a prettyboy, and Hana has a lot of his more delicate facial features. She's usually fairly well-dressed, since Michiko has no problem whatsoever with shoplifting as many outfits as she feels like, but not always well-groomed. She also has a gang tattoo across her stomach and has had it since she was a baby! It's of two stylized crossed feathers and the initials L.B.D.D., the significance of which has never been revealed.
also an image reference
Age: 10 years old!
SAMPLES
Log Sample:
Even the ingredients are different here; somehow, after the first week, that's what continues to strike her the most. Hana's used to cooking, and more than that, she enjoys it. There's something about it that makes her feel powerful, capable, when the alchemy of heat and ingredients and diligent stirring and prodding results in success. What she's not used to i cooking with the ingredients she finds when she looks through first the 13th floor kitchens, then the 14th -- as though there would somehow be a difference from floor to floor. It's more like a restaurant than anything else -- and she's used to that too, from her time in Sao Cabal, but even then it seems like there should be something more. The food is frozen, dehydrated, preserved, like the dinners you could buy in the grocery stores for a price much steeper than she's ever been able to afford. She punctures the cans of broth and pours them into a large soup pot, vegetables and meat already cooking at the bottom, and though it's quicker and easier it's also a reminder that there's no market next-door, no butcher willing to sell carcasses to her for stock, let alone a supermarket. Let alone a next door, actually.
It's not that that really takes the edge off her satisfaction, though. It's that no matter how well she makes do with what she has and incorporates new ingredients, no matter how finely she minces and evenly she chops, she's the only one who's going to be eating it. It wasn't like that at the circus, not really; even though she was by herself most of the time, she wasn't really alone. Rita was there, someone her own age who she could show off to, laugh with, borrow clothes from. (She looks down at the cheery orange and yellow pattern of her shirt and feels, for a moment, horribly empty in a separate way.) But even then, there'd been the other one, the invisible woman in every room, defining each space with her palpable absence and the resulting peace and quiet. She'd missed her then and she misses her now, but it's different, somehow, than any of the other separations. It's the feeling of the bottom of her stomach falling out as she rose in the plane, face pressed to the glass, but the distance between them now is so much greater Hana can't even imagine it. How away far from a strip of highway, rosy with the early morning, is space? How many lifetimes would it take for Michiko to come for her here, if she even could?
Thinking about this doesn't make her cry, not anymore. Hana has seen what that kind of foolish yearning does to people firsthand, knows how corrosive it will be if she doesn't keep on moving, and refuses to let it happen to her. Despite repeating this to herself, sometimes even out loud, the hole in her stomach lingers obstinately, and the inside of her mouth tastes salty and bitter, dulling all her best culinary efforts on her own tongue. One tiny, hopeful corner of her mind keeps on thinking if Michiko were here--; but the rest of her knows better. She corrects herself sternly as she stirs the soup, slow and methodical and counter-clockwise. It doesn't mean she doesn't still believe in her, but Michiko is gone -- or, more accurately, she's not here. She's in Diamandra somewhere with that Jambo, and there's nothing she can do to change it. Hiroshi is gone, too, but that isn't nearly as important. She doesn't care if he never tastes her food, and she's sure (absolutely sure! definitely sure! she'd shout if she were saying it aloud, to prove her point, but there's nobody to shout to) he wouldn't like it anyway, not in the real way, no matter what he says. She can picture it in her mind's eye, him saying "that's good, Hana", maybe trying to reach out to pat her head -- and she can see herself shrinking away from his touch just as easily. No, she doesn't mind that he's not here. It's dangerous and frightening, but somehow the idea of having to rely on him makes her feel sick rather than hopeful.
All this aside, though, there are constants. The right amount of salt will always bring out the right amount of flavor, and whether she shakes her ingredients freeze-dried out of packets or gets them fresh, there are self-imposed rules and methods that must be observed. She may be alone, she may feel alone, but Hana is rarely effusive with her feelings, and she is never completely overcome by them. She still believes in Michiko, wherever she is, and even if her own life had no meaning to her, she is not going to let her down now, because she is exactly as sure in her conviction that Michiko believes in her too. Ever since the day she got on her motorcycle and took that first leap of faith, even before they knew it, it's been that way. That too is a constant, and it is one she intends to observe.
So she continues watching the surface of the soup, humming under her breath. She will finish it, and she'll eat it too, sharing whatever's left with whichever stranger wants some. After long enough, maybe... it won't be the same. She knows that. But maybe that's living, knowing that things change and people leave and remembering who you are anyway, and maybe she will start enjoying it. Either way, she intends to live.
Comms Sample:
Ah...
[There's a quiet voice, high-pitched and a little hesitant, on this end of the broadcast; evidently a girl's. She pauses for a moment before continuing.]
Excuse me. I have a question. [There's another little beat in between her statements, but she's steadier now that she seems to have settled on the track this address will take.] What kind of jobs do they have here? It doesn't matter what it is, as long as it's something I can do... I've had a lot of jobs before. Working hard's not a problem either. I just want to have something to... [to do; to distract herself with; to make her feel just a little less sick and powerless; even if she could articulate the last few -- which, to be fair, she just might -- she wouldn't ever say as much aloud.] ... It's important.
Um, so if you know anything about it, please tell me. Thank you.
[And there's a little click! Judging from the fact that a little girl wearing a baseball cap is now looking down dolefully at it, very much visible, this is apparently not actually the sound of her hitting the off switch. She certainly seems to think it is, however, and the camera view takes a sickening plunge as she falls back on a freshly-made bed, presumably one of the two in her room. She sighs heavily and closes her eyes, then opens them again.]
Mm?
[Oh hey look at that, it's blinking.
Oh, it's still blinking.]
AAAH--! [Thankfully she's already on her back so she can't spaz out indefinitely, but her eyes widen and she grabs her device to mash the buttons frantically; just as she's doing this, she seems to realize that loud and panicked sounds are, in fact, obnoxious.] Oh -- sorry, I'm sorry!
[AND NOW IT'S OFF.]
Your Name: Leah
OOC Journal:
goodburgerUnder 18? If yes, what is your age?: NOPE
Email + IM: bromunculus @ gmail + pudenda express
Characters Played at Ataraxion: Brian Moser (
bloodplay)CHARACTER INFORMATION
Name: Hana "Hatchin" Morenos
Canon: Michiko to Hatchin, also known as Michiko e Hatchin and Michiko and Hatchin, which I believe is what it's finally going to be licensed as in the US? I'll be referring to it as Michiko e Hatchin for the remainder of this application.
Original or Alternate Universe: OU!
Canon Point: episode 22, during her final airplane flight away with Hiroshi.
Number: 114
Setting: The story of Michiko e Hatchin is set in a fictionalized Latin-American country that is most analogous to Brazil. The country is apparently called Diamandra, according to the fake passports they use at times, but this is never actually mentioned in dialogue! Diamandra is also the name of the prison from which Michiko escapes at the beginning of the story. Go figure. Portuguese is the primary language used and spoken by characters, though there are a few examples that demonstrate the existence of English (ALL POWER TO THE BLACK PEOPLE is graffitied on the wall of a bar) and Chinese (there are thriving Chinatowns in some of the cities that Hana and Michiko go to on their journey, one of which serves as the primary impetus for an episode's plot), and the national currency is the arca. No capital is ever established, and though characters explicitly refer to Chinese people and presumably China as a country, the world outside of the presumably South American area in which the main characters operate is never expanded on. The exact time period is similarly a mystery, though it probably isn't a stretch to say that it is at least "modern"; certain technological advances, such as the advanced cultivation system used to grow "monster tomatoes", indicate that it may take place in the present day, but the fact that Diamandra is essentially a third world country and neither of the protagonists are well-off complicates any attempts to date the show. The fact that when maps are used, there's nothing that actually resembles South America also contributes to making any sure conclusions about its setting a huge, huge pain in the ass!
There are no magical abilities or fantastical technology which complicate the setting, however; it's a typical world where there are haves and have-nots, and those without the luck to be born to wealth and security often have no choice but to stoop into illegality to stay alive. There's truth in what Hana's foster father tells her--that her situation is lucky, living as the ward of a middle-class reverend in a country where children have to sell their bodies or join gangs in order to survive--even though he's also an asshole and her life situation in fact sucks balls. Kids who aren't born to privilege have to harden themselves in order to live day-to-day, and Michiko's childhood in a favela orphanage is much more typical. So too are Satoshi and Hiroshi, who straight-up grew up on the streets and had to join gangs to get by. The cities and countrysides are full of crime, whether that's petty or part of crime syndicates with names like Monstro Preto or Fantasma, and that organized crime tends to permeate lives more often than not.
Also, it's anyone's fucking guess why so many characters have extremely non-Japanese last names and Japanese first names; Michiko Malandro, Hiroshi Morenos, Atsuko Jackson, Satoshi Batista, etc. etc. The show never even tries to explain it, so I'm gonna just follow that lead.
History: Michiko e Hatchin is about, unsurprisingly, Michiko and Hatchin. Hana Morenos is an orphan who knows nothing about her real parents and even less about familial love--her foster parents, the Belenbauza-Yamadas, treat her like a welfare check at best and the family's personal workhorse at worst, and her siblings outright verbally and physically abuse her. You really wouldn't suspect that her adoptive father was a priest/reverend/HE IS CLEARLY CATHOLIC HOW DOES HE HAVE A WIFE AND KIDS, but hey, there you go. Basically, she's lost in the system and her life blows Harry Potter style, until the day when a strange woman crashes through her window on a motorbike, lands on the breakfast table, and whisks her away forever. The woman is Michiko Malandro, a self-proclaimed "sexy diva" who knows Hana's presumed-dead father, Hiroshi Morenos, from way back when. In the biblical sense. And she just escaped from the prison which she was thrown into, basically, because she was looking for Hiroshi. Michiko doesn't believe he's dead, and she wants to find him. And that's how Michiko and Hana, now nicknamed Hatchin, set off on an awesome Thelma and Louise style journey down the highways of Diamandra.
AS FOR WHY... MICHIKO... IS ACTUALLY INTERESTED IN FINDING HATCHIN... Hiroshi Morenos, a man who's in general a total prick, was a prominent figure in the crime syndicate Monstro Preto but wanted to get out of the game. Twelve years before the events in our heroines' story takes place, Michiko Malandro, his girlfriend, is arrested by rookie cop Atsuko Jackson, her old bffl from her childhood in a favela orphanage and lesbro. Her supposed crime is the murder of the leader of Fantasma, Monstro Preto's rival syndicate, who she'd previously recklessly attacked on the suspicion that he'd had something to do with Hiroshi's disappearance. Around a year afterwards, Hiroshi is supposedly killed in a bus accident, Michiko hears the news in prison after one of her numerous escape attempts, and she goes into despair. Some time after that, Atsuko gives Michiko a photo of a baby girl, one and a half years old, called Hana Belenbauza-Yamada; Hana resembles Hiroshi to a ridiculous extent, has the same gang brand as Michiko on her stomach, but most important of all is her age; she was born two years after Hiroshi "died." Michiko, certain that the love of her life is in fact alive and just being a runaway dickbag par excellence, spends the 9 or so years attempting to break out of prison; in the 10th year of Hana's life, she finally succeeds. She busts through the Belenbauza-Yamadas' window on a motorbike and lands on their kitchen table, and then we are back to the point at which we started! Pretty much all the episodes have their own self-contained plots, strung together by the overarching search for Hiroshi, so it's...... pretty much like a Latin American Samurai Champloo with chicks; the main focus of the series is not the man at the end of the journey, but the way there, and the relationship between Michiko and Hatchin that develops along the way and changes both of them for the better. Nevertheless, there are some important highlights to note!
Michiko's journey to find what the fuck even happened to Hiroshi initially leads the two to head for the city of Vermelha, where she and most of the other core characters to the narrative grew up in the favelas. On a pit stop, she and Hana have an encounter with Atsuko, now bitterly fixated on recapturing her old friend and more than a little willing to do crooked police work in pursuit of that goal, and Father Pedro, Hatchin's adoptive parent, who's equally fixated on shooting her so he can get the insurance money her disappearance would have cost them. They escape this sticky situation and, thanks to Michiko, cause a shitton of property damage, which will prove to be a consistent recurring theme over the course of the series. They next spend a few days in Sao Cabal, during which Hatchin gets her first job and cuts her hair, a famous stripper named Pepe Lima claims to have information on Hiroshi but is in fact full of shit and hoping to steal Michiko's money so she can start a new life with her little sister, and both of them almost certainly die. Having come up with no hints on the way, Michiko and Hatchin come to Vermelha itself, where Michiko hopes to find out more from some of her old friends. Instead, Michiko finds herself pursued by Fantasma, now headed by the old second-in-command of the gang leader, who still bears a grudge against both Michiko and Hiroshi. Hatchin is kidnapped by the same people, and after a bunch of kicking guys in the face with stiletto heels it all ends with Michiko daringly rescuing her from a bullfighting ring, with an actual bull. In the ring. With them. I told you this was episodic!
Michiko's new object of pursual is the current head of Monstro Preto and Hiroshi's old best friend, Satoshi Batista, who she feels must know where Hiroshi is; on the way to find and talk to him, tensions escalate between Hatchin and Michiko when she gets involved with a married man and her behavior towards Hatchin, already slightly callous, starts to verge on abusive. The two of them fight constantly until, on the whim of Shinsuke, one of Satoshi's henchmen, Michiko is separated from Hatchin when going to meet with the mob boss in Osso. Left alone, Hana starts to live homeless, sleeping on a bench, and eventually meets a girl named Rita who performs in a travelling circus and is in love with a much older and very unintereested man. The two become close friends, and when the circus leaves Osso she comes along with it, setting up and taking care of/getting punched by the animals; Michiko, who has only narrowly escaped her subsequent capture by Satoshi (who, spoilers, hates her, killed the head of Fantasma 12 years ago, and has no idea where Hiroshi is either) and a handover to Atsuko, finds her on one of the circus' stops, but Hatchin is still angry at her and refuses to come along. When she realizes the circus owners intend to sell her and several other girls on the black market, however, Michiko is there to help her escape from their hot air balloon, and the two are reunited amicably to continue their search. As all of these events happen, however, Hatchin is slowly becoming more and more disillusioned with the father she now knows more and more about; although she doesn't realize it yet, reality is beginning to set in for Michiko as well. The two of them are growing steadily more reliant on one another, however, and though they still bicker their relationship strengthens and becomes much healthier over time. They're set back by Michiko contracting a severe fever, and Hana attempts to pay for the quack doctor Michiko insists on seeing by standing guard at night for a farmer and preventing bandits from stealing his vegetables. Predictably, since she's ten years old, this ends poorly, and the only thing keeping her from attempting to intimidate the doctor into dropping their debt is the fact that a fever-dreaming Michiko attacks him first.
Upon Michiko finding a newspaper story featuring a photo of "Rock Morena", a man who grows uniquely engineered tomatoes alongside a female scientist and coincidentally looks exactly like Hiroshi with a farmer's tan, the two set off to find him at the factory farm, but end up only meeting the scientist; Hiroshi himself is long gone. Michiko realizes that Hiroshi was also the woman's lover, and acts predictably ridiculous, but ultimately she proves to be more of an ally than a foe; she helps them escape from Atsuko, who's also found the clipping, and the two women part with a sort of tense understanding. Based her directions, their next destination is the city of San Paraiso, but upon arriving there they learn that Hiroshi has moved on once again. Worse than that is the fact that, according to his old partner in petty crime there, he's never mentioned Michiko at all. This combined with the fact that his original flight from the tomato farm was clearly motivated by Michiko's escape sends her into a bout of depression, as she believes he's forgotten all about them; she only perks up once Hatchin gets a soap opera star to send her a call on the night of Carnaval, telling her about Hiroshi's feelings for her. This is well-intentioned and also completely untrue, but it works nonetheless, and the two set off again.
While hiding out on a train with Hatchin, Michiko has a particularly wrenching encounter with Atsuko, who has made arrangements for her to flee the country and refuses to take no for an answer; at the same time, Hatchin comes across Satoshi, who has begun to fall in the ranks of his own organization and is hiding out on the same train. In an attempt to keep him from going further in the train and killing Michiko, she tells him she knows where Hiroshi is and will take him to him. Suddenly, the train crashes while trying to avoid a man who's driven his truck onto the tracks, having been forced to by Shinsuke in an attempt to kill Satoshi or smoke him out. In the aftermath, Satoshi drives off on Michiko's own moped with Hatchin as Michiko watches helplessly. While Hatchin deals with an emotionally volatile gangster with a mancrush on her deadbeat dad and the other gangsters who want to kill him, Michiko deals with evading the police and chasing the two of them to Goinia, Hiroshi's last known location. Satoshi finally murders Shinsuke while Hatchin hides out elsewhere, but his value as a gang kingpin hasn't decreased along with his status in Monstro itself; when they also arrive at Goinia, the gangsters he attempts to threaten into finding Hiroshi for him have no intention of doing so. While searching for them in the city, she's once again spotted by law enforcement and is the subject of a dramatastic chase through a market that ends with her barricaded in an amusement park. An ambitious cop's attempt to break in and capture her ends in Michiko escaping and the police accidentally killing a hostage; their death is blamed on her. Finally, her path crosses with that of Satoshi and Hatchin, the latter of whom has just seen Hiroshi waiting at a bus stop. Although Satoshi tries once again to kill her, a rival gang leader has already fatally injured him; the two drive off, and he's later gunned down for good. Michiko and Hatchin's escape, however, isn't final. Only shortly after being reunited the two are surrounded by the same corrupt cops who framed Michiko for the hostage death, intent on either arresting Michiko or killing the both of them and claiming Hatchin died in the crossfire. They're only narrowly stopped by the arrival of Atsuko, once again, who has kept to her vow of treating Michiko as a stranger. Michiko insists on talking to her anyway, however, and the two cut a deal. Michiko and Hatchin are given one last chance to run, and they make it to the train station just in time to catch up with Hiroshi himself.
Two months and many miles later, the two of them have finally reached the man who was the impetus for their entire journey, and with him they venture off to an independent pilot's headquarters to purchase a flight for two people. At this point, Michiko makes a shocking revelation; she's not coming with them. Instead of having a happy family with Hiroshi, she wants Hatchin, at least, to know her own father. Turning herself in to Atsuko as had been agreed upon, Michiko goes back to jail to serve her sentence, while Hatchin and Hiroshi fly away and out of the country. Of course, Hiroshi, being the total prick that he is, ends up leaving Hana a short while later for a new lover, and she grows up by herself, has a kid of her own, meets up with Michiko again, etc., but that's all later on in the story and complicated without any real specific details.
Personality: Hatchin frequently plays the straight man to her canon's other namesake, the loud, vulgar, and bombastic Michiko, in a way that belies the age difference between them; she frequently appears to be much more of an adult than her makeshift custodian. And on the surface, this is a pretty cut and dry conclusion! Hana is polite and reserved, quiet, and very serious, constantly thinking of what she'll have to do to pay for the damage this time, or what to get for groceries. Her concept of morality evolves over time, but at the beginning it's very black and white, and there are certain tenets she still sticks to almost always! Stealing, for example, is just plain wrong. She seems to enjoy taking a mothering role with other people, particularly friends and loved ones; it's something she's very used to, and one of the only ways she's able to pay people back. Showing other people who she cares for that she does, in fact, care for them, and "protecting the people she loves" is one of her top priorities, whether that manifests in cooking a meal while picturing Michiko's reaction or breaking into a dude's house with a crowbar to try and cheer her up.
There's no disconnecting who Hana is during the events of Michiko e Hatchin with the childhood she's experienced and the things she sees over the course of the series. Hana grew up in an abusive and neglectful home where she was nothing more than a source of income, and her experience on the road has led her to realize that there are plenty of shitty and uncaring people outside of that home, too. She lives in a frankly dangerous world, and rather than approaching that with a vulgar kick-in-every-door brassiness, she tries to deal with those dangers pragmatically and navigate her surroundings in a way that won't end up getting her into trouble. All of these experiences have contributed to the forming of her personality and the tiny serious adult persona she has. She comes off as quiet because she doesn't want to provoke anyone, and she's self-reliant because she knows most people simply aren't reliable. Similarly, it's often not that she hesitates or acts meek because she doubts herself; she does so because she knows that people don't frequently care what she has to say, and her childhood has led her to the baseline assumption that they won't.
Where Hana does doubt herself, however, is the realm of interpersonal relationships. Having been burned so many times, she hesitates to trust others at first and has, for example, not much of an idea of how to be friends with people her own age, let alone make a meaningful connection with a parent figure! She balks at the idea of any romantic attachment, repeatedly rejecting a boy with a crush on her with something near fear despite the fact that she clearly does like him. Once she starts to build relationships, though, she holds fast to them and learns quickly. She's clearly always wanted parents, friends, and a real home, but the idea of getting any of those things has been unthinkable for so long that, until the beginning of her canon, she doesn't really have any experience to work off of! This can make her a little awkward when it comes to initiating overtures of friendship, but once she builds enough rapport and understanding she's a loyal friend and a caring person who's willing to go to vast lengths for the people she loves, up to and including breaking into a soap opera actor's house with a plastic bag mask on her head because she wants to snap Michiko out of her depression. Though some of her gestures are partially borne from childish frustration, there is very real heart and bravery behind them; it's exceptional how much Hana is willing to put up with without breaking. And underneath her quiet exterior, she has
Looking at all of this super serial strength of character, though, it's important to remember that she's still a kid! Hana forgets to wash her hair, she screws up omelets (although this totally continues into her adulthood it's just genetic), she gets drunk off juice and yells about beating people up, and she has tantrums. She has a lot of tantrums, in fact, though most of them are confined to her muttering under her breath and not actually pressing an issue, or vented through dry humor that she figures people (read: Michiko) will not get or listen to. Her fights with Michiko are often equally childish on her own part, not least because she finally has someone to whom she can speak her mind. Again, she's also a kid coming from a severely neglectful and abusive home, and that means that Hana has been deprived of any emotional support for the vast majority of her life. That she knows what it's like to have people who care for her now means that she craves an emotional connection even more than before. At any point where Michiko, her universal constant during the series, shows tendencies towards morphing back into what Hatchin was accustomed to for so long--hitting her, for example, or abandoning her at her childhood orphanage--she recoils and reacts with fury. Hana is, despite all her calm reasoning and stubbornness, a desperate and dependent child when it comes to love; she's formed so few attachments that those she does have being jeopardized is a horrible prospect for her. She can eventually cope with these losses, in much the same way that she copes with everything, but the pain and loneliness which they ultimately cause her is less easy to move on from. Around ten years after the events of the series, during which she and Michiko are separated, she's a single mother with a child to take care of who she loves and a steady job she seems to enjoy, but still she feels lonely; in many ways her relationship with Michiko, the first person to show belief in her despite all her faults, is the one that most defines her. It's not a completely healthy relationship at all times, but it is ultimately the most important constant in Hana's life, and something which she draws an incredible amount of strength and love from. For the sake of Michiko's life, she'll put her own in jeopardy; to get her smile back, she'll move mountains.
Abilities, Weaknesses and Power Limitations: Hana has absolutely zero powers (unless you count the metabolic ability to somehow get drunk off drinking orange soda) and has all the physical prowess of a prepubescent child, which is to say none! She does, however, know how to cook, clean, and in general take care of a house at a level that is somewhat abnormal given her age. This is largely the product of her abusive childhood and playing the responsible adult during her and Michiko's journey. She also....... can take care of circus animals. Hana's real strengths stem from her moral core and stubbornness; she's become more streetwise than most children her age, is brave despite her weakness and position, and has an excellent radar for bullshit. All that being said, she's ten and can be snapped like a twig.
Inventory:
•The underclothes she shows up in (an undershirt and a sadly adorable pair of bloomers)
•The clothes on her back (green sweatshirt that reads ARMY across the front; shirt; pair of shorts; little-kid boots)
•A colorful top and leggings
•This hat and shirt
•A dark beanie
•A copy of this picture.
•A bottle of anime knockoff Fanta.
•A cast-iron ladle
•And a crowbar.
Appearance: Hana is short, pale, and skinny, with particularly twiggy arms and legs. Her most distinctive feature is unquestionably her hair, which is blonde and extremely out of control at the best of times; initially worn in two giant pigtails, she now keeps it (relatively) short and manageable. Given her scrawny frame and androgynous hairstyle, in addition to the fact that she often stays extremely quiet while in public, Hana's frequently mistaken for a boy during the course of the show. She greatly resembles her father, particularly when he was a child her age, which is something characters who're familiar with him remark on; Hiroshi Morenos was and remains kind of a prettyboy, and Hana has a lot of his more delicate facial features. She's usually fairly well-dressed, since Michiko has no problem whatsoever with shoplifting as many outfits as she feels like, but not always well-groomed. She also has a gang tattoo across her stomach and has had it since she was a baby! It's of two stylized crossed feathers and the initials L.B.D.D., the significance of which has never been revealed.
also an image reference
Age: 10 years old!
SAMPLES
Log Sample:
Even the ingredients are different here; somehow, after the first week, that's what continues to strike her the most. Hana's used to cooking, and more than that, she enjoys it. There's something about it that makes her feel powerful, capable, when the alchemy of heat and ingredients and diligent stirring and prodding results in success. What she's not used to i cooking with the ingredients she finds when she looks through first the 13th floor kitchens, then the 14th -- as though there would somehow be a difference from floor to floor. It's more like a restaurant than anything else -- and she's used to that too, from her time in Sao Cabal, but even then it seems like there should be something more. The food is frozen, dehydrated, preserved, like the dinners you could buy in the grocery stores for a price much steeper than she's ever been able to afford. She punctures the cans of broth and pours them into a large soup pot, vegetables and meat already cooking at the bottom, and though it's quicker and easier it's also a reminder that there's no market next-door, no butcher willing to sell carcasses to her for stock, let alone a supermarket. Let alone a next door, actually.
It's not that that really takes the edge off her satisfaction, though. It's that no matter how well she makes do with what she has and incorporates new ingredients, no matter how finely she minces and evenly she chops, she's the only one who's going to be eating it. It wasn't like that at the circus, not really; even though she was by herself most of the time, she wasn't really alone. Rita was there, someone her own age who she could show off to, laugh with, borrow clothes from. (She looks down at the cheery orange and yellow pattern of her shirt and feels, for a moment, horribly empty in a separate way.) But even then, there'd been the other one, the invisible woman in every room, defining each space with her palpable absence and the resulting peace and quiet. She'd missed her then and she misses her now, but it's different, somehow, than any of the other separations. It's the feeling of the bottom of her stomach falling out as she rose in the plane, face pressed to the glass, but the distance between them now is so much greater Hana can't even imagine it. How away far from a strip of highway, rosy with the early morning, is space? How many lifetimes would it take for Michiko to come for her here, if she even could?
Thinking about this doesn't make her cry, not anymore. Hana has seen what that kind of foolish yearning does to people firsthand, knows how corrosive it will be if she doesn't keep on moving, and refuses to let it happen to her. Despite repeating this to herself, sometimes even out loud, the hole in her stomach lingers obstinately, and the inside of her mouth tastes salty and bitter, dulling all her best culinary efforts on her own tongue. One tiny, hopeful corner of her mind keeps on thinking if Michiko were here--; but the rest of her knows better. She corrects herself sternly as she stirs the soup, slow and methodical and counter-clockwise. It doesn't mean she doesn't still believe in her, but Michiko is gone -- or, more accurately, she's not here. She's in Diamandra somewhere with that Jambo, and there's nothing she can do to change it. Hiroshi is gone, too, but that isn't nearly as important. She doesn't care if he never tastes her food, and she's sure (absolutely sure! definitely sure! she'd shout if she were saying it aloud, to prove her point, but there's nobody to shout to) he wouldn't like it anyway, not in the real way, no matter what he says. She can picture it in her mind's eye, him saying "that's good, Hana", maybe trying to reach out to pat her head -- and she can see herself shrinking away from his touch just as easily. No, she doesn't mind that he's not here. It's dangerous and frightening, but somehow the idea of having to rely on him makes her feel sick rather than hopeful.
All this aside, though, there are constants. The right amount of salt will always bring out the right amount of flavor, and whether she shakes her ingredients freeze-dried out of packets or gets them fresh, there are self-imposed rules and methods that must be observed. She may be alone, she may feel alone, but Hana is rarely effusive with her feelings, and she is never completely overcome by them. She still believes in Michiko, wherever she is, and even if her own life had no meaning to her, she is not going to let her down now, because she is exactly as sure in her conviction that Michiko believes in her too. Ever since the day she got on her motorcycle and took that first leap of faith, even before they knew it, it's been that way. That too is a constant, and it is one she intends to observe.
So she continues watching the surface of the soup, humming under her breath. She will finish it, and she'll eat it too, sharing whatever's left with whichever stranger wants some. After long enough, maybe... it won't be the same. She knows that. But maybe that's living, knowing that things change and people leave and remembering who you are anyway, and maybe she will start enjoying it. Either way, she intends to live.
Comms Sample:
Ah...
[There's a quiet voice, high-pitched and a little hesitant, on this end of the broadcast; evidently a girl's. She pauses for a moment before continuing.]
Excuse me. I have a question. [There's another little beat in between her statements, but she's steadier now that she seems to have settled on the track this address will take.] What kind of jobs do they have here? It doesn't matter what it is, as long as it's something I can do... I've had a lot of jobs before. Working hard's not a problem either. I just want to have something to... [to do; to distract herself with; to make her feel just a little less sick and powerless; even if she could articulate the last few -- which, to be fair, she just might -- she wouldn't ever say as much aloud.] ... It's important.
Um, so if you know anything about it, please tell me. Thank you.
[And there's a little click! Judging from the fact that a little girl wearing a baseball cap is now looking down dolefully at it, very much visible, this is apparently not actually the sound of her hitting the off switch. She certainly seems to think it is, however, and the camera view takes a sickening plunge as she falls back on a freshly-made bed, presumably one of the two in her room. She sighs heavily and closes her eyes, then opens them again.]
Mm?
[Oh hey look at that, it's blinking.
Oh, it's still blinking.]
AAAH--! [Thankfully she's already on her back so she can't spaz out indefinitely, but her eyes widen and she grabs her device to mash the buttons frantically; just as she's doing this, she seems to realize that loud and panicked sounds are, in fact, obnoxious.] Oh -- sorry, I'm sorry!
[AND NOW IT'S OFF.]