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HershelWidget — You may be one and the Same

#eyes #symbolism #unsettling #itzabellu #eyecontact #neoncolours #sillhouettes
Published: 2023-05-01 04:56:24 +0000 UTC; Views: 231; Favourites: 2; Downloads: 0
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Description "You may be the Soldier, Poet, and King, but all three can appear in one. Decide then, who displays the most Soldier, the most Poet, and the most King." - Soulin : Death Arises (ItzABell.U)

This is my favourite in a series of doodles I did for the ItzABell.Co Leaders. The bottom colours (Purple, Teal, Red) are their most personal ones, the colours that shaped who they are today. Purple, Teal, and Red represent P.I's authority, Nick's loyalty, and Inkio's resilience. Then, the top colours (Yellow, Orange, Green) are complimentary, or opposite, their "nemesis" colours if you will. Yellow, Orange, and Green represent P.I's doubts, Nick's restrictions, and Inkio's instability.

Each "layer" has something to with their eyes, as well, mostly for the obvious "eyes are the windows to the soul" (which I personally cannot see or understand, actually-), but also for how much they connect to the characters themselves. P.I's Purple eyes are her slow regret, Nick's Teal eye is his damage & turmoil, and Inkio's Red blocking of his eyes is his literal blindness to his situation. Their complimentary colours expand on these ideas: P.I's Yellow features are representative of A.I, whom is basically an "adult" counterpart, who gains the scar, third eye, and tears in the three main stories (Life, Her Hidden Identity, & Death Arises). Nick's Orange symbol is the symbol on his pupil that distinguishes his family from others, but expanded upon to its full form, representing the lack of control he truly has over who he is. Lastly, Inkio's Green eye is wildly different from his normal plus-shaped eyes, as it represents his fear felt strongest in his human form.

Sorry, I went on a long rant about that... I am a sucker for eye symbolism, and eyes are a MASSIVE part of ItzABell.U.

TLDR: Colours and eyes are symbolic of trauma.
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