Souless

Just a fellow degenerate of a/m.
like vtubers a/m Ln and gacha games

[Nene🪷 @NilouStrap]

Bro met sandrone irl😭😭

[valentine | 𑣲 firefly @ruanhertamei]

fat fuck so fucking cute

[Nexat 💣 Onion Fam @NexatG]

After lots of rewatches, checking replies, browsing and asking around, here's the supercut, if I missed anything, welp, that's it ✌️🥀

#CHADcast

[Genshin Animation Info @Genshin_HU_Info]

This is Genshin...?

[丸子とーと🌏 @komadori_poeru]

ザコ敵おじさんに鷲掴みされる差分wip

[OrangeMaru🍊夏コミ新刊委託中 @OrangeMaru_]

新作！
サキュバス円香のアクスタです😈
両面製作で後ろ姿もあります！

[エノキドォ@2nd単行本12月25日発売！ @enoki_do]

12月25日に2冊目の単行本が出ます！！！！！！！！！！！！！！！！！！！！！！！！

[しゅにち@8/21、22台湾FF @syunichill_]

無邪気に乗ってくるアスナ

[𝐊𝐎𝐍𝐓𝐄𝐍𝐀｜𝐋𝐕.𝐂✦𝐍🐊 @Kontenasan_bf]

A horse-racing game winning TheGameAwards—even in a mobile category—should make the racing world louder than it did.

I’m surprised. Not the polite kind of surprise, either.

When I first saw Uma Musume, I had a blunt, uncharitable thought: “Another personification project? Isn’t this late?” At the time, “turn everything into a cute character” didn’t feel fresh.

Then the first season of the anime ended, and the real test didn’t arrive. We waited. And waited. About three years passed before the app finally appeared. During that stretch, there were sites collecting rumors, fans watching every update like it was a weather report, and plenty of people—me included—peeking in with more curiosity than faith.

The internet did what it always does in a long silence: it invented stories. “Deep Impact can’t be added.” “They’re not allowed.” “It’s impossible.” The more time passed, the more the rumors sounded like evidence. And when you hear “development restart,” you don’t imagine a masterpiece. You imagine confusion, wasted money, and a project that will limp out just to say it shipped.

I was wrong.

And I don’t just mean “it turned out okay.” I mean I owe the kind of apology you only give when your earlier confidence was lazy.

Look at what the second season of the anime did. People call it promotion, but that word is too small. It didn’t simply advertise a product; it taught the audience how to care.

In retrospect, the three-year wait that people complained about looks different.

Here is the part that still surprises me most: Uma Musume didn’t “prove personification still works.” It made that whole argument feel outdated.

“Isn’t personification old?” No. The old version is old.

And it matters that the subject is horse racing.

Racing is not an easy theme to export. It has a dense vocabulary, a complex structure, and a reputation for being “for insiders.” In many countries, it is treated as either a niche pastime or a moral argument, not as a living storytelling machine. Even within racing, people sometimes forget what the sport looks like to someone who hasn’t already memorized the rules.

A game that can make people care about racing-adjacent stories at scale—on mobile, on a global stage—didn’t just win an award. It demonstrated something the industry rarely admits out loud:

Racing is not hard to love. It is hard to approach.

Uma Musume solved approachability without flattening the soul of the source. It didn’t win by simplifying everything into trivia. It won by understanding that emotion comes first, and knowledge follows. It didn’t ask the audience to pass an entrance exam. It offered a door.

Now add the other detail that makes this even more impressive: the delayed world expansion.

If you’ve watched Japanese companies for long enough, you recognize a certain pattern of caution.

That approach can be frustrating. It can feel like leaving opportunity on the table.

Global audiences do not wait politely forever. They move on.

This one arrived late and still found oxygen. That is rare.

Which brings me back to the racing industry.

If you work in racing, or love it deeply, it’s easy to treat a mobile award as “nice, but separate.” That would be a mistake.

t’s a signal that the story engine of racing—its drama, its rivalry, its heartbreak, its absurdity, its romance with time and training—can travel further than racing itself has managed to push it.

And it also suggests something practical: racing doesn’t always need to market its rules. Sometimes it needs to market its feeling.

I started as a skeptic. I watched the rumors multiply. I laughed at the idea of a restarted development cycle ending in triumph. I assumed the project had already lost. That wasn’t insight.

So yes: I want to offer a sincere apology—and more than that, respect.

In racing terms, this content didn’t win by leading from the start.

It broke slowly, found its rhythm late, and then came past everything when it mattered.

[左藤空気＠新刊販売中 @patrietta]

もう一つの中間堕ち形態

[またのんき🔻 @kinnotamadx]

午睡と呼ぶには些か…長くなりそうだね

[V Faction @V_Faction]

Umamusume brings out the best in Calli #calliolive

[Esen @esentries]

This literally happened to @premier_two's Gold Ship run lol.

[Dream's Longest Day @Dreamboum]

I watched the Arima Kiren 2012 race and Gold Ship 100% was a beast who just didn't care about showing off his full power

He wa last place the whole time then decided to blast through the entire crowd of horses at the last second. It's all a game for him. Gold Ship is scary!!

[MaGnet @AKWLSPT]

#绝区零 #ZenlessZoneZero #ゼンゼロ

English version
Translation: https://t.co/JVuc5XAacB

[ム月🐈‍⬛🐾 @mutu193]

帰宅〜！

久しぶりのアコスタ！楽しすぎて時間がいくらあっても足りない…！！( т т )
ありがとうございました🙇‍♂️
#アコスタみずほPayPayドーム福岡

[Kaela Kovalskia (カエラ) 🔨 @ホロライブ | STREAM dahlah. @kaelakovalskia]

HAPPY BIRTHDAY @ourokronii 🥳🎊🎉🦍🏋️🫨😵‍💫😵😇🤠😎🥸🤓🤡🙈🙉🙊🙀😽😼😾😺😸🧠🫀🫁🦷👁️👁️💪👏