#(<- bard has no idea what this means)

[lanternlightss]

miscellaneous doodles whilst trying to iron out some details in my fic

[theskeletoninthegarden]

Every time my brain comes up with a story idea that doesn't involve me doing some serious mental gymnastics to get it to work I have no motivation to bother.

[killjoy-prince]

Telling Astarion that another character is charming but he's not bad either

[becausegoodheroesdeservekidneys]

Hey. Hi. Hello. Today I learned about the existence of 15th century Welsh poet Gwerful Mechain and that she apparently has a surviving work of erotic poems.

Please. For Christmas. For Yule. Please tell me more because I can't read Welsh.

Heh heh. Oh, Gwerful Mechain is the absolute best.

(Quick housekeeping to keep the post manageable - I previously wrote about things like cynghanedd and cywydds and englyns and such here, so check that if you need an explanation.)

What's fun is that we don't know a ton about her, because not a lot got written down about people in her time. Her surviving work covers a 40ish year span at the end of the 1400s to just into the 1500s, but we don't know when she was born or died or anything like that. We know her parents' names? And that she was from Mechain, hence the bardic name. And that she married a guy and had a daughter, something which actually does mark out her body of work as different from her contemporaries; being a wife and mother, she couldn't do the usual bardic role of travelling the country to spread news and play at courts. This means she doesn't have any of the praise poetry that a lot of male bards produced about the lords that hosted them.

But, there's stuff we can piece together about her. For one thing, she was not just literate (not a universal skill for anyone at that point, but especially for women), but she was astonishingly well-read and had what appears to be a classical education, given her poetic references and traditional Welsh meters. For another, her work often had recurring themes of religion, sex, and women's rights, sometimes all at the same time.

At the point Gwerful was active, Welsh bardic culture heavily featured ymrysonau. An ymryson is like... well, I hesitate to say "sort of like a rap battle" after the way everyone and their dog now thinks that's what the Mari Lwyd does, but they were like a cross between a rap battle and the publication war between two rival academics. A bard would write an englyn and publish it in the local parish newsletter. Another bard would see this, and write their own englyn about how stupid the first bard's englyn was, and publish it in the same newsletter. The first bard would see this and retaliate. The second bard would retaliate to that. And on and on it would go, like a printed tennis match for all the parishioners to enjoy, until someone wrote a conclusive verse OR until someone went "Lol, you got me good there" and bowed out with dignity. Sometimes, these things were fucking vicious; but other times, they were just banter between two bards who knew each other and were enjoying the chance to keep their poetic skills in tip top condition.

Now, Gwerful was an active and enthusiastic participant in ymrysonau. We have many examples of her work from these. There are two of particular note that I'll list here, each against a different bard:

Dafydd Llwyd o Fathafarn. Mathafarn and Mechain are not so distant from one another, so no real surprise that these two locked horns a lot, but the impression I always got from their ymrysonau is that they were good mates, actually. These fell into the 'banter' category more often than not. Dafydd was a Welsh Nationalist who was hoping for a Welshman to rise up and throw off the yoke of English oppression, and most of his work is about that, but he turned up the filthy erotic shit for any ymryson with Gwerful because BOY HOWDY was that her specialty. IIRC she did occasionally poke fun at his Welsh Nash leanings, especially his obsession with Mab Darogan (OLD Welsh idea that translates to the Son of Prophesy - the Arthur-style figure that will one day drive out the English overlords), but mostly their ymrysonau were incredibly beautifully-written odes that could be summed up as "Dafydd, my man, my good friend, I mean this sincerely: suck my entire clit".

She often won.

Ieuan Dyfi. God, what a fucking asshole. This one was not banter. Gwerful played for blood with this prick.

We actually would know nothing about Ieuan Dyfi if not for Gwerful Mechain, because it was her poetic response to him that meant his only surviving poems made it to the modern day; that, and the record of him being brought before a church court where he admitted adultery with Anni Goch, a married woman. Oh, and the record of him being brought before the law courts at Liverpool, accused of domestic abuse and gambling? If I remember right?

Two things to know that set the scene for what came next:

One of Gwerful Mechain's surviving poems is an englyn considered to be possibly the oldest extant poem about domestic violence written by a woman: I’w gŵr am ei churo (To the husband who beats her)

Dager drwy goler dy galon - ar osgo I asgwrn dy ddwyfron; Dy lin a dyr, dy law’n don, A’th gleddau i’th goluddion.

There are a lot of translations for this one to try to keep its poeticness, but this one is pretty good:

Through your heart’s lining let there be pressed, slanting down, A dagger to the bone in your chest. Your knee smashed, your hand crushed, may the rest Be gutted by the sword you possessed.

She has others, too, that deal with sexual assault, and something scholars often note about Gwerful is her remarkable knowledge of the law as it pertained to women's issues. So she was not, you see, a woman with a high view of a man accused of domestic violence anyway.

But then Ieuan Dyfi wrote five poems about Anni Goch, the married woman he'd fucked, each more "Wow dude, she said no" than the last, culminating in I Anni Goch; a full cywydd of misogynistic Medieval-incel bullshit about how false and evil women are, which listed all the false and evil women of history including classical and mythological figures.

And. Well. Gwerful had some views.

Her responding cywydd - I ateb Ieuan Dyfi am gywydd Anni Goch - basically blasted the guy back into his own impact crater and disintegrated him. What she did with it, essentially, was to mirror his cywydd. Where he'd gone "Isn't it so true how great men throughout history have always been brought low by women, amirite lads? Here's examples", Gwerful went "Isn't it so true how 'great men' throughout history have behaved appallingly and fucked up through their own actions and then somehow managed to blame women, amirite lads? Here's examples." Where his examples had been historical figures, so were hers. Where his had been classical, so were hers. Where he went Biblical, so did she.

And what's so interesting about that last one is how pointed she was with it - for some reason, in his big list of evil women, Ieuan Dyfi did not go for the most obvious and low-hanging of fruit (no pun intended) - he doesn't cite Eve. In response, Gwerful also sidesteps the most obvious and low hanging of fruit - she doesn't cite Mary. In so doing, she makes it clear that she doesn't even need to.

There is no record of him responding to her. IIRC, there is a record of him doing three years in prison.

But! Outside of all of that, the big thing Gwerful was known for was her erotic poetry. You'll be unsurprised to hear that it wasn't written for shits and giggles - much like today, women of the time were told that most of their value was in their looks, and they had plentiful insecurities about their bodies. Gwerful wrote her erotic stuff to confront those insecurities and shine a light on the issue. There are so many examples of this, but far and away the most famous is definitely Cywydd y Cedor - roughly translated, 'Ode to the Vulva'. Though I have also seen it titled Cywydd y Gont - Ode to the Cunt. It's such a shame that the English language is literally, physically not capable of cynghanedd, because it means unless you learn Welsh you will never understand the beauty and the lyricism of the piece, and how it elevates and undercuts the content at the same time; but it's a joyful, masterful, irreverent work that uses the fancy language male poets were forever dedicating to the rest of a woman's body and applies it squarely to the vulva. In fact it basically opens with "Men are cowards, describe more cunts or gtfo" before launching into its main subject matter. The last line is pro-pubic hair, too, like I really must stress how much Gwerful Mechain would have to offer Tumblr if you could speak Welsh. This is probably her most widely translated piece, though, you can definitely find English versions. Although you can tell how blushing and reticent the translator is - and therefore how sanitised their translation is - by whether they've called it Ode to the Vulva/Cunt, or Ode to the Pubic Hair.

Needless to say, the original is not sanitised.

(Actually, I should also say - this one is also a response piece, probably, but in this case to a bard who lived a century earlier - Dafydd ap Gwilym, the absolutely legendary and uncontested king of Welsh romance poetry. He wrote a poem called Cywydd y Gal - Ode to the Penis. I have only just put two and two together on that.)

As a final note, I should say that my personal favourite Gwerful Mechain poem on this subject, mind, is actually I'w morwyn wrth gachu - to the maiden who is shitting. It's an englyn written in Gwerful's customary high poetic form, but it is what it says - it describes a woman taking a shit, and farting as she does. Beautiful and magical and disgusting and banal, all in one go:

Crwciodd lle dihangodd ei dŵr - ’n grychiast O grochan ei llawdwr; Ei deudwll oedd yn dadwr’, Baw a ddaeth, a bwa o ddŵr

Funnily enough, it's hard to find a good translation for this one lol.

My attempt:

She crouched where her water escaped - creased From the cauldron of her heat; Her two holes were arguing, Shit came, and a bow of water

Eh. It's so bland in English. Honestly, if you could read Welsh...

Anyway, if anyone reading this can read Welsh and wants to read some of Gwerful Mechain's stuff - including some of the pieces she was responding to in the ymrysonau - you can find a load here. Otherwise, I hope you enjoyed!

[nostalgebraist]

I feel like I've had the same experience several times now: someone does a new translation of a non-English literary classic, and all the critics praise it to the moon, so I go and try to read it, and it's turns out it's just . . . bad? Like, really bad? And weirdly bad?

A while back, I wrote about the case of Pevear and Volokhonsky. Here's another example, which I encountered while doing background research for my novel Almost Nowhere.

----

One of my novel's major characters is a literary translator, famous for his rendition of the Persian epic poem Shahnameh ("Book of Kings").

To help me write this character, I tried to read the Shahnameh myself. I started out – where else? – with the translation that seemed to be the gold standard, and which was certainly the most critically lauded.

Namely, the 2006 translation by Dick Davis, in prose with occasional shifts into verse.

Here's how the Shahnameh begins, in Davis' translation:

What does the Persian poet say about the first man to seek the crown of world sovereignty? No one has any knowledge of those first days, unless he has heard tales passed down from father to son. This is what those tales tell: The first man to be king, and to establish the ceremonies associated with the crown and throne, was Kayumars. When he became lord of the world, he lived first in the mountains, where he established his throne, and he and his people dressed in leopard skins. It was he who first taught men about the preparation of food and clothing, which were new in the world at that time. Seated on his throne, as splendid as the sun, he reigned for thirty years. He was like a tall cypress tree topped by the full moon, and the royal farr shone from him. All the animals of the world, wild and tame alike, reverently paid homage to him, bowing down before his throne, and their obedience increased his glory and good fortune.

And here is the same opening, in the 1905 translation by Arthur and Edmond Warner (which I only discovered much later in the process of writing Almost Nowhere):

What saith the rustic bard? Who first designed To gain the crown of power among mankind? Who placed the diadem upon his brow? The record of those days hath perished now Unless one, having borne in memory Tales told by sire to son, declare to thee Who was the first to use the royal style And stood the head of all the mighty file. He who compiled the ancient legendary, And tales of paladins, saith Gaiúmart Invented crown and throne, and was a Sháh. This order, Grace, and lustre came to earth When Sol was dominant in Aries And shone so brightly that the world grew young. Its lord was Gaiúmart, who dwelt at first Upon a mountain; thence his throne and fortune Rose. He and all his troop wore leopard-skins, And under him the arts of life began, For food and dress were in their infancy. He reigned o'er all the earth for thirty years, In goodness like a sun upon the throne, And as a full moon o'er a lofty cypress So shone he from the seat of king of kings. The cattle and the divers beasts of prey Grew tame before him; men stood not erect Before his throne but bent, as though in prayer, Awed by the splendour of his high estate, And thence received their Faith.

Now, I can't speak at all about the source text. I have no idea how faithful or unfaithful these two translations are, and in what ways, in which places.

Still, though. I mean like, come on.

This is an epic poem about ancient kings and larger-than-life heroes.

This is a national epic, half myth and half history, narrating the proud folkloric lineage claimed by a real-world empire.

There is a way that such things are supposed to sound, in English. And it sure as hell isn't this:

What does the Persian poet say about the first man to seek the crown of world sovereignty?

Excuse me? That's your opening line? I thought I was reading a poem, here, not taking a fucking AP World Literature exam!

----

Postscript

Some of the critical praise for the Davis translation, quoted on the back cover of my copy (emphasis mine):

"A poet himself, Davis brings to his translation a nuanced awareness of Ferdowsi's subtle rhythms and cadences. His "Shahnameh" is rendered in an exquisite blend of poetry and prose, with none of the antiquated flourishes that so often mar translations of epic poetry." (Reza Aslan, The New York Times Book Review) "Thanks to Davis's magnificent translation, Ferdowsi and the Shahnameh live again in English.” (Michael Dirda, Washington Post) "A magnificent accomplishment . . . [Davis’s translation] is not only the fullest representation of Ferdowsi’s masterpiece in English but the best." (The New York Sun)

[berriblossom]

Oh, Great Divine!

☆| It's time for a SAGAU, more so a comforting one. Reader's gender is ambiguous and gender neutral, archons adore reader, in this sense the Nahida tag is platonic!|

☆ Tags/warnings! | Socially Aware Genshin AU, archons and people of Teyvat treat the reader as a god or heavenly figure, religious references (cathedral of Mondstat and Narukami/ Sangonomiya Shrines of Inazuma) some minor lore for reader, Reader is referred to as "Their Grace" or "My/Your Grace" and "The Great Divine" ALL PORTRAYALS ARE FICTIONAL!! anyway, enjoy.|

Within the lands or nations of Teyvat, for centuries the practice of worshipping an Archon was beyond common, more so for those who wish not to believe in spiritual practices concerning the gods of each element are more on the rare side to find. However even if such existed, there was one thing to never be doubted within the lands of Teyvat.

The Great Divine's presence over mortals and immortals alike.

The creation of Teyvat in many national mythos credits the sole ideas and creation to the Great Divine. Even the archons and the sources of their celestial names were blessed upon them by their divine grace. Depending on which nation you visit, some may say that their archon is specifically blessed by their grace.

In Mondstat, the nation of wind, song, freedom, wine, and bard's ballads, once every 100 years they celebrate the freedom blessed to them by Barbatos and the Great Divine. A tradition stretching for the last millennial to show the love and deeply routed affection given by its people and archon. Yes, Barbatos, or now the "drunken" bard known as Venti among his people. Every festival of a "New Eve" as they call it, is another 100 years for him to show his affection for his beloved divine. Despite his defiance to Celestia and the natural order placed after your departure, he still fully believes in your care and love for humans and archons alike. To Venti, whispering to the wind like he did with you thousands of years prior, even in his wind-spirit form. You'd sit together where now the great tree at Windrise and speak about the future of Teyvat, something despite having the authority over you simply spoke to him as:

"For what will come, Your nation will prosper and learn the true meaning of freedom and song..."

So to this day, he sits under that tree and thinks of the years since, missing your warmth from curling up in your hands as a wind spirit to laughing and humming beside you in his divine form. He has seen it for the last few hundred years, the art, songs, plays, books, and even food and weapons made in your name, and every hundred years he repeats the same. A small prayer from his soul is whispered into the wind as he tells his deep care and love for his dear grace. And the people of Mondstat no different, all gather at the great Cathedral and warmly sing about the Great Divine and Lord Barbatos as they place to wine, food, and gifts at the altar of your image. When alone Venti will sneak in and sit under your statue, missing the warmth of your hands but relishing the love in your image.

In Liyue, the nation of Geo, contracts, and the adepti, the greats divines are influenced by the first contract Rex Lapis made with them over 7000 years ago, even before Liyue was a fully combined nation. Zhongli remembers the conversation you two had, sharing a simple game of wit and tea. Then he was immature to your influence and power but now he relishes in it. Proudly in his vast historical knowledge, preaching his love and the power the great divine holds. How you could shape the sea with a flick of your wrist, how you've created mountains from your fingertips, how your vast knowledge is spread throughout teyvat as a bible to be studied and read over and over again. But mostly what he and all of Liyue celebrate is the contractable care and affection you give him and the people of Liyue.

This time around Liyue is a time spent every hundred of years a new eve of dawn as it is called, one Zhongli and his fellow adepti never get tired of. A time to give gifts of care to neighbors, friends, and even coworkers in the busy harbor. Even the Northland Bank celebrates by lowering interest on loans!

(But only for this amount of time and by the next New Eve of Dawn the Interest WILL reset)

But mainly it is a way to give worship to the Great Divine and their trust in Rex Lapis and his Adepti to protect and serve Liyue. Everything Zhongli has done was for your gratitude and divine love. So when a New Eve comes, he sits anywhere in Liyue, the mountains, hills, somewhere to overlook the harbor, and enjoys a warm cup of tea. Your favorite while imagining your smile as you talk, the games you'd two play. He watches his disciples and Apeti celebrate with gifts, food, and songs at your altar set around Liyue. He sips his tea and awaits your fated return, happy to share more memories and stories with you.

Within the land of Eternity, formerly transcience, Inazuma's style of celebration differs slightly from some nations. The Grand Narukami Shrine would hold a private ceremony, cleansing the sacred Sakura tree and your statue underneath, barhing the precious stone engravings with crisp clean water. Meanwhile the people if Inazuma would be celebrating on their own occasions, firewroks light into the clear sky, dancing ceremonies at the teahouse fill with guest.

However, the new electro archon herself sits alone at the top of Tebshukaku. Quietly walking down memeory lane in her mind. For the last five centuries of the New Eve of Dawn celebration, she'd sit in her space of Euthymia alone in solitude quietly sulking at the idea of your everlasting figure. How her and Makoto would chat down the lane of inazuma speaking about plans of you, speaking of your visions of the nation of electro, Makoto laughing at how embarrassed Ei used to be around you and your divinity. Now Ei smiles solemnly..

She knows now that she as archon must take the mantle, for in your teachings that it the goal of the heavenly principles you've left. Fated to return, she prays that you'd come to her first. She dreams and imagines in her meditations within her quiet Euthymia that you'd hold her. That her loneliness would be cured indefinitely. But for now she waits, with a plate of dango and some ofdly colored tea, shit eats alone as the fireworks set off atop Narukami island, she whispers a promise to herself and her nation on your honor.

"For it will be fate...my grace...you shall return to us...to eternity...we shall be reunited."

Far off in the lands of eternity, however, the island that formed the resistance sings and dances around the bonfire, the resistance army of Sangonomiya and Watatsumi laugh as they praise the late OmiKami, or the serpent god Orobashi. The fire dances as troops tell stories, shrine maidens sing and laugh, and her priestess sits while holding a book. She smiles softly. Kokomi looks above at the horizon and sees the corpse of their late god, she wishes silently to herself and for her ancestors to below the sea. That once the great spirit of life and forefather of the vishaps would return to bring life to the benevolent serpent. But for now, she sits alongside Gorou as they watch the troops enjoy the holiday.

Within Sumeru, however, and alongside it, Fontaine...the New Eve of Dawn has been on the academic calendar differently, which is how some older nations react. For those in the rainforest, it is a blessing of Lessor Lords Kusanali's birth. For the dessert, it is the bringing of a new promise for the scarlet sand kings doubted return. Within the nation of dendro, it is a holiday of now academic activities, no scholars shrouded in work, but a day off. The people worship by their own will and sit in taverns, bars, and cafes to drink mereily while chatting with friends. Some visit your altar within the Akademiya, and others pray at home.

Nahida sits on a branch of the great tree that houses the knowledge many wish to obtain, in her hands an ancient seed of fate, she herself has no memory or knowledge of where it came but holds ot and teasures its existence. For she has a kindling that it is tied to this divine spirit that is expected to awaken. From her small conversation with Apep, the seed is treasured. Hence, she holds it and feeds the growing plant bits of dendro elemental energy. She sighs as she watches the sun set and the cheers from the streets and grand bazars performances. Nilou must be dancing now, she thinks. She hums a small song while kicking her feet, her hands warm with caution. She may not know you yet, but she knows already... Your spirit and divine will watch for her and her nation. The goddess of wisdom has many questions for the great creator of this world, but for now, she just hums and sits happily, a great birthday gift indeed.

Meanwhile, in Fontaine, similarly, it is deemed a weekend off of work. Many go home, some go to the Opera to catch performances of the holiday, others read tabloids of the steambird that some random person in the court has the great divine in their basment all along. All fiction truthfully. Furina reads her book as she makes another plate of pasta macaroni. For the occasion, she bought extra special ragau to taste amazing. She dances around her kitchen listening to soft music. For years her mind would have doubted and even hated this day, anxious fears of disappointment and disapproval looks from her days as stabding archon. Would you have hated her? Did you think she failed fontaine and you? Was her a cursed human taking title of archon an insult to you? Furina had nightmares even of the prohecy and your return to see fontaine gone and underwater. But now, as the prophecy and fontaine were safe and out of fear, she ate and asked a good question this new century.

"What kind of pasta would their grace like..."

Soft rainfall drops onto the steps of the Palais Mermonia, the evening rain was forcasfed but welcomed, Neuvillette wrote on the papers softly, agreeing to a few celebratory events the Opera wanted to hold. Usually Lady Furina would be jumping for the task but here he was. Dread builded in his soul. This time of year brought many pains to Neuvillette.

A new century meant a new set of hundreds of years he gets to oulive humans, melusines maybe, but also the clock inches closer and closer to your return. Neuvillette spent early years of his lofe researching and discovering his species and kind for decades. Figuring that if you are the forefather and creator of vishaps and the sovereignty. Why was so many things done the way they were? Why ddi the power the gnosis and archons hold come from them? Why can't he understand your implications, even such his ancestors didn't wish to think against? What power do you hold and how did aid Fontaine in the end? He knew Focalor and Egeria spoke to you, even asking for forgiveness before your departure, so why? Neuvillette, places his pen downs and stands to look out the window of his office to look down at the streets of the Court of Fontaine, a glass of crisp water swirls in his hand. He sips slowly and sighs, coming to think.

"In this new century...please with it, may you come along too my grace."

In the nation of fire, victory, war and passion, raors could be heard from the stadium of flames as people of different tribes shouted and cheered the competitions down below. Surfing races, climbing achievements, conbat bouts, even break dancing competitions held. Mavuika sits at her throne above as her people cheer and celebrate, raising glasses, foods, gifts, and money even in your image. She slips away from the fesitivites to be alone in the speakers chambers, past the sacred flame, and into her personal get-away. Now empty, she stares at the famous wheel of the sun, Natlan has held for centuries, the same you blessed the first pyro archon with, as their rules of ruilibg were left in your favor. She smiles as she too holds her head high, similar to her ancestors before her.

She remebers before she was even archon, how her parents would tell stories of the Great divines influence, love, and power. That the spirit of victory belongs to the pyro archon yes, but the strength was given by you as well. She remembered your fave engraved in ancients temples and stones around Natlan and now some statues around the lands too. She knows too well her nation is blessed by your, not only for the peoples cheers and vitcories but the long-lasting stay they've had against the threat of the abyss thus far. Maybe when you return and ward off the abyssal threats for good, she top could ask something of you...for that she won't know until she sees you herself.

"Until we meet my grace...may your memeory burn eternal.. and your power live within my people."

-> Did i go overboard, yes...but eh...hoped you enjoy, and also i may make a small series out of this..who knows..

[thydungeongal]

Neoclassical Geek Revival is a really weird game. While the name would make one think it's some crusty OSR game that is mostly just remixing old ideas that could not be further from the truth. It's a strange game that is in many ways very old school but is more than a simple heartbreaker (mostly because in contrast to the archetypal heartbreakers this game is clearly written with an awareness of movements and games within the hobby besides just D&D).

First of all, it's a game that is particularly interested in its own weird dice and number tricks. Dice can explode. Sometimes you're specifically looking for the maximum of a given die (for an example: if a character is out of combat for maximum of d6 rounds, marked as ?d6, it means it's checked every round by rolling a d6 and on a 6 they are no longer out). There is a dice chain where dice can "increase" or "decrease" in strength, like a d10 becoming a d12 or a d8 becoming a d6. You can INVERT dice, so a d4 becomes a d12 or a d10 becomes a d6. Besides a normal linear progression, some rules utilize a cumulative progression of 1, 3, 6, 10, 15, etc.

Then you start getting into the specifics and things are once again weird: there are classes but instead of picking one class and sticking to it you basically build your character by allocating pieces into the different classes. Level 1 characters start with three pieces of pie. You COULD allocate all three into Warrior, to make a pretty straightforward fighty type, or you might want to mix it up by adding a single piece of Bard into two pieces of Warrior for something not unlike a warlord, kinda. The number of pieces you allocate to a class also ends up affecting a specific modifier, used in a wide variety of conflicts. Warrior adds to Combat, Rogue affects Stealth, Mystic affects Occult, Bard affects Presence, and any pieces allocated to Fool (basically the class that represents someone who survives adventures based on pure luck instead of skill) affect Faith.

This is where you get one of the things that sets the game apart from most OSR games: many old school games are often based around the idea of singleton mechanics and procedures to cover specific situations. NGR rejects this in favor of a single conflict system that then gets applied to situations besides combat! It is literally what some people think of when they hear mechanics for social interaction, i.e. dealing 1d6 rhetorical damage to an opponent's argument to get them to relent, but applied to multiple different situations.

Interestingly, the game does not have hit points: all damage accrues against stats. In an argument "social damage" (called Influence) accrues against a character's Will, and once it exceeds it the character has lost the argument. But characters have a pool called Luck (which you can increase by allocating pieces to Fool) which can be used 1:1 to mitigate damage of all kinds. The game even has tricks for FORCING opponents to spend Luck, as a means to chip at their defences before targeting them with something that REALLY hurts (like insulting an opponent in a physical conflict).

The game also has no list of spells, instead just giving players the systems for making their own spells. Same with monsters in fact.

And sometimes you just get hit with a rule that makes you think "why has no other game ever done this." Like the rule for giving experience in dungeon crawl focused campaigns where each new room explored after the first is worth 10 cumulative XP. So if characters end up exploring five new rooms they get 100 XP (after the first one, 1+2+3+4 times 10).

Anyway it's a neat game, worth looking at and mining ideas from imo.

[ixiot-ghostrebel]

Get ready for my ✨️Palace of Alcazarzaray✨️:🎉

So... Almighty Creator of Teyvat Reader. We all know that the original inhabitants of Teyvat are dragons, so that means, Almighty Dragon!Creator.

Almighty Dragon!Creator who has a rivalry/resentment/tense relationship when it comes to The Primordial One because of their shades.

Almighty Dragon!Creator who thinks of the original Dragon sovereigns as their children.

Almighty Dragon!Creator who stays and watches over Teyvat, slowly their resentment lessens(even if they stay bitter because their children's powers were taken by outlanders) as they watch their teyvat, their teyvat, get more lush and green and just. Their teyvat becomes full of life and wonder.

Almighty Dragon!Creator who watches Khaenri'ah's fall in solemn silence, who looks at the children of stars in pity. Yet they are not their domain, so they cannot help(or can they).

Almighty Dragon!Creator who watches the traveler's journey, who finds intrigue in the silver companion who looks oh so similar to the Primordial One.

Almighty Dragon!Creator who watches the traveller go through nations, who watches them help Their Children. Who cannot help buy beam at this outlander who helps their children(even if one is still dead(orobashi), even if one will never get his power back(dvalin), even if one has shattered in two and has lost himself(azdaha), and even if one lost theirself to madness(apep), one gets his power back(Neuvillette) and they are so happy for him.)

All I'm saying is: Almighty Dragon!Creator who gets attached to both the Traveller, but also who gets attached to Paimon because of her relation to the Primordial God in some way or another.

Oh and Neuvillette Fluff with them.

- Starboy Anon

Wowie, Starboy Anon! This is a lot of info!

Not saying it's bad (I loredump as heavy as this when it comes to my own stuff), but I certainly have too many headcanons for your headcanons to write a Sagau!Character x Creator!Reader request!

Starboy Anon you have NO IDEA how much I am of a sucker for Azhdaha and Dvalin. YOU HAVE NO IDEA HOW DID YOU FIND MY HIDDEN WEAKNESSES—

I care very little about the Shining Shades and the Primordial One, so apologies for skipping over them in this headcanon request!

Headcanons: Primordial Dragon Reader—All Shall Bow and Respect Thee As They...Uh...

(Warning: Might Be OOC!)

Alright, pretending that Reader had ZERO RESTRICTIONS on what they can do NOW...Allow this idiotic Ghost Rebel to demonstrate their favoritism benevolence:

Dvalin Headcanons:

Reader absolutely adores Dvalin to bits. You Cannot tell me otherwise. They will literally give this dragon the world if they could.

Reader would definitely give them a human form if Dvalin ever wished to use it to mingle with the mortals in Mondstadt—In fact, Reader would be their tour guide (I have zero references of how Dvalin's mortal form would look like, but I imagine it'd look like a playable character skin—in other words, a very cool one)

I like to imagine that Dvalin loves music so much, he digs into Monstadt's traditional music and begs Reader to have Venti (or another bard) play the tune he finds.

Reader would definitely be the overprotective parent that absolutely hates it when others try to flirt with their children. Dvalin is clueless to these flirtatious attempts, so Reader is helicopter parenting so hard rn LOL

FLOWER CROWNS OMG. I imagine Dvalin would love those! Reader is going to indulge them with so many of them! Even better if Dvalin makes friends (obviously with the Traveler, Paimon, and Venti—those guys are naturally invited)

Reader would let Dvalin try any cuisine, but if it's anything related to alcohol, Reader is definitely going to make sure they are a) not spiked, and b) Dvalin takes a very little amount of it.

Reader's the kind of parent to see their child get a scratch on their skin and freak out and treat it like it's a very bad wound. I think you know where this is going.

Oh, and you know the Abyss Order that kind of manipulated Dvalin? No, you don't—because they no longer exist :)

Would definitely fly with Dvalin in their dragon form, or in their human-dragon form. Whichever Dvalin likes, Reader will follow suit!

Azhdaha Headcanons:

MY DRAGON BOYYYY LETS GOOOO *Aggressive Truck Noises Because Ghost Rebel Can't be Biased—*

Ahem, anyways. Considering that Azhdaha has a bit of something akin to dissociative identity disorder, Reader definitely treats the guy with extra care, opting to entertain both of Azhdaha's "personalities."

Yes, Reader fixes the erosion and memory problem. Yes, Reader gave them a new dragon body that is not purely made out of rock so that it doesn't erode too quickly. Yes, they also gave their child a human form (yk in Zhongli's story quest, Azhdaha took two appearances? Forget those two merging together—just take the color palette off of Azhdaha's dragon form and make something >:) I like to imagine a part of his hair or his eyes glows a certain color depending on the element he's wielding in his human form)

Reader shows them around all of Liyue, considering Azhdaha never really had the chance to see it properly. I like to think Azhdaha would listen to every single piece of information given to them like a sponge in water. Anything that's new or interesting to this guy, he is not backing down from it.

Now, I know the million dollar question: Does Azhdaha get scammed like Zhongli? No, because Reader is always there glaring at merchants that dare try to mess with their children in any way possible. They're also there, telling their child all about commerce and the ways of the trade—something that Azhdaha is into considering mining and ores are technically also in the business industry.

You know the guy that got blessed by Azhdaha, who can now see if rocks are valuable ores or not? Yes, believe it or not, but I believe Azhdaha would 100% check up on the mortal despite being completely tsundere and in denial about it.

HIKING! I think Azhdaha would like to have the mobility to hike—after all, in his dragon form, he's kind of the hefty and large side, so he can't exactly move fast or be nimble. I think he'd really like this change of pace!

Apep Headcanons

No huma form. She refuses to be compared to or even look like mortals. That is something Reader respects.

Technically Reader's eldest child so far. Reader kind of spoils them with loads of things only they can now make for Apep—maybe like flowers, or certain foods, etc. etc.

I like to imagine Apep secretly loves private affection. Reader giving Apep so many dragon hugs, or cuddles, or head pats. Reader spoiling them with literally anything they got lol—

Unfortunately, there's not much I can write for Apep :') There isn't enough lore for me to write on for them....

Neuvillette Headcanons

Reader 100% indulges him in his hobbies of tasting every bit of water.

Fusses over him because he's the Iudex and Reader practically almost curses out Focalors for giving their child such a demanding task, but also thanks her for showing him the ways of mortals yk. Love-Hate relationship.

Reader would bring him certain foods once they figured out what kind of mortal foods he likes.

Melusines? THEY BOTH LOVE THEM, THEY ARE NOW CREATOR'S GRANDCHILDREN (if I remember the lore correctly, I'm pretty sure they are considering they were born from a dragon??)

Reader looks out for Furina whenever they can because Neuvillette is truly Furina's #1 Fan bro—but only because Reader loves Neuvillette and doesn't want him to stress himself out.

THEY WILL KEEP THE SOUP LADLE (yk from that one Lantern Rite event? Neuvillette made a soup ladle in a theme of a dragon?) Anything Neuvillette will make, Reader is KEEPING IT in their DRAGON HOARD.

And that's all I have! Hope you find this good, Starboy Anon! :)

Ghost Rebel Side Notes: It's been so long since I wrote headcanons! This was a LOT LONGER than I thought it'd be LOLL. Hope you all enjoyed it though! :)

Seeing as we're close to 1000 Followers, I might be posting a follower event very soon 👀 Hopefully I won't die immediately once I post it! (If Tumblr eats your request, I am leaving) Anyways—I'll see you all next time! >:D

✦ Check out The Ghost Rebel’s Blog Description & Info Page to See if Their Mailbox is Open! ✦

[caligvlasaqvarivm]

Actual Ultimate Classpecting Guide

For real this time.

Buckle up, this is a really long one. For everything that's posited, I can provide textual evidence; that being said, I'm not going to be including the textual evidence within the essay itself, because it's already long enough as-is. As such, please feel free to ask for clarification or sources on any assertion, and I'll do my best to provide.

Before we begin, there's some things to discuss about how we're going to be approaching classpect in the following essay. In numbered list form for our short attention spans:

1. There is a concept Hussie talks about multiple times in his book commentary, "personality alchemy" - the idea that there are these "platonic ideals" of certain characters, which can be mixed and matched with others, in order to create new characters. The examples he gives are of how Eridan was a proto-Caliborn, how Kanaya has shades of Jade, how Nepeta was a proto-Calliope, and how Sollux and Eridan have shades of Dave in them. Classpecting is fundamentally a form of this personality alchemy:

2. Class describes the character's arc and emotional hurdles, while Aspect describes the character's base personality traits by which this arc is experienced.

3. For example, all three Seers struggle with hubris: Rose's need to be the smartest person in the room led to her being manipulated by Doc Scratch, Terezi's obsession with meting justice led to her engineering a situation where the only option was to kill Vriska, and Kankri's desire to be seen as a spiritual leader amongst his friends led to him furthering their divisions and harming them.

Then, when their pride is shattered, they cope by inflicting willful self-blindness: Rose turns to drinking herself stupid (the opposite of Light's sway over knowledge), Terezi gets down with the clown (the opposite of meting out Mind's justice, as it's a Gamzee W), Kankri goes celibate (Blood L) despite his clear romantic feelings for certain teammates.

4. As for Aspect: note how all three Life players share the personality traits of optimism, stubbornness, and obstinacy. All three Breath players share an immaturity and naïvety, and are quite frankly irresistible to people for some reason. All three Light players share a need for the spotlight and a tendency toward long-windedness and persnicketiness. So on and so forth.

What's interesting is, if you start analyzing characters that share Classes and Aspects, these specific types of similarity crop up over and over - all our Knights struggle with insecurities and facades, both our Bards have a crisis of faith. All three Breath players have an aspect of immaturity and childishness to their characters, and all three Light players are deeply concerned with appearing intelligent and feeling important.

5. As a result, this guide is NOT intended for classpecting real life people, because we are complicated, we contain multitudes, and we don't have arcs. This is primarily an analysis of what Class and Aspect mean in Homestuck based on textual evidence, because I genuinely believe that you can basically figure it out if you read carefully.

6. Duality, and the idea of "equal and opposite," are major themes within Homestuck - Prospit and Derse, Skaia (described as a crucible of birth and creativity) and the Furthest Ring (the literal afterlife). Which classes are involved in an Active/Passive split, and opposing Aspects, are the same way. This is the primary method I used to determine the Active/Passive pairings and opposing Aspects. After all, as Callie describes, both Thieves and Rogues are classes "who steal" - so, too, do I try to unify Classes by a common theme, even if they diverge wildly in how that theme is expressed (as Thieves and Rogues do). In the same way as the opposite of "up" is not "apple," but "down", because "up" and "down" are both fundamentally concerned with relative vertical position, so too can be defined concepts like Breath and Blood, Hope and Rage, Light and Void - as well as the reasoning behind Class pairings like Heir and Page, Maid and Knight, and Seer and Mage.

7. Descriptions for both Class and Aspect are left deliberately vague and up to interpretation within the comic itself, and this is by design: the actual manifestations of an Aspect can vary wildly given the Class, and even individual person, that it's tied to. Calliope even makes note of the fact that, under the right circumstances, someone can manifest effects that appear to be the opposite of their aspect. She's also careful to couch her language in "may" and "can" - because these concepts are intentionally somewhat nebulous and malleable. As such, while this guide certainly lays down what can be gleaned and inferred from the text, do note that Homestuck runs on a soft magic system, and as such, nothing stated is firm, 100%, must-always-be-this-way - just an overview of what we've seen.

8. There is often great overlap between Aspects, Classes, and Classpects - which Calliope herself notes. Heart and Blood are one of the most salient, as they both have a fixation on relationships, and Calliope mentions that under the right circumstances, a Classpect may even be able to manifest what appears to be the opposite of their Aspect. Again, Homestuck operates on a soft magic system, so this is a feature, not a bug.

ASPECT

There's a little less to say about Aspect, not because it's less complicated, but because "base personality traits" are much more nebulous compared to Class's sway over character arc. Still, Aspect represents the fundamental way a character is, and thus, color every interaction that character has. There's a reason Ultimate Selfhood is sought through Aspect, not Class - Aspect is the core of the character's being, what makes that person that person.

That all being said, Class has major sway over how an Aspect manifests, and certain classes can even invert the Aspect and even the character's role in the party. As such, these descriptions must be parsed carefully in relation to Class. Moreover, due to the soft magic system, there is at times overlap between unrelated Aspects, which can also be exacerbated by Class - Heart and Blood being the most obvious in this regard. Still, overall, you'll find the Aspects to be fairly distinct from one another.

Please also note that every Aspect can deal with its literal counterpart by default - Light players can wield lasers, Breath players can wield the breeze, et cetera. Because this kind of goes without saying, and because the non-literal stuff is more interesting to discuss, I'm not really going to go into too much detail about the literal qualities.

Finally, something interesting to note is that nearly every Aspect follows its own Hero's Journey cycle - full actualization for each one usually means reaching around to its opposite Aspect, and taking lessons from them - for example, Breath players need to learn maturity and responsibility, while Blood players need to learn relaxation and whimsy. Thus, an Aspect at its worst manifests in two ways - either a toxic overabundance of the Aspect's worst traits, or such a dearth of the aspect that it begins to resemble its opposite. Only by reaching into the opposite, however, can the player be tempered and reach full maturity - can they become more of who they are.

SPACE / TIME

Space and Time are both concerned with physical reality, goals, and the way one approaches them.

Space is associated with "the big picture" - with recycling, reproduction, and the interconnectivity of all things. The aspect also presides over the enjoyment of the journey over the destination - Space players serve as reminders that the present moment is as important as the end goal. Space is often a more passive Aspect, being the stage upon which the story is set. They're the hosts of the party, and the one who marks the ending.

Its players reflect these tendencies, often being feminine, with penchants for life-giving acts such as gardening. Their personalities tend towards frivolity and silliness, finding it difficult to stay on-topic or bring full gravitas to serious situations. Perhaps a better word would be "distractable;" when the aspect is so concerned with all things in connection with each other, it's easy to lose track of details, and it's easy to enjoy things simply as they come. Space players tend to be kind, patient, and forgiving, which is a strength as much as it is a flaw; it's easy for malicious actors to take advantage of this compassion, or for the Space player to find themselves in a poor situation by being overly permissive. They can easily be painted over by stronger personalities, and tend to struggle with romantic relationships, as they attract many with their kind and giving natures, and few are naturally so considerate of the Space player in turn.

"Passive" is a good word to use; at a toxic overabundance of their Aspect, Space players are trampled underfoot. They become enablers, servants to dark forces, or so lost in their own worlds that they neglect the one they live in. With their Aspect "inverted," a Space player becomes a demon of poor prioritization. Distracting not just themselves from their true purpose, but others, too, the Space player will wreak havoc by overemphasizing unimportant topics and ignoring important tasks. This superficially resembles Time, in that the Space player will become fanatically dedicated to their task, but note that the poor prioritization is still Space-esque at its core.

Still, within this nadir is a valuable lesson: the strength of self-assertion, and the determination to see a goal through. These will allow the Space player to weed their garden, separating good from bad, allowing it to flourish like never before.

Time, in contrast, is associated with "the little things" - with details, minutiae, and processes. Time presides over the struggle toward something greater, the endurance of hardship with an eye on the prize - the destination over the journey. Time players are the ones keeping track of the tasklist, marking off each item as it reaches completion; they are the tireless workers keeping the whole engine running.

Time players, thus, are ones whose lives are marked by struggle. They are highly goal-oriented; in contrast to how Space players can easily move from goal to goal, task to task, Time players feel bound to see things through to the end, finding satisfaction only when they've achieved their desired result - and only until they come across the next goal in their journey. A Time player isn't happy without a goal to work towards, a craft to polish, a prize to win - but this driven nature can easily be its own downfall, as it leaves little room for the player to admit to their own shortcomings, or ask for help from others. Moreover, their focus on minutiae can leave them blinded to the bigger picture, and it's easy for a time player to fall to despair, able to do nothing more but spin their wheels. They're prone to directionless anguish, frustration, and resentment towards the seeming futility of their actions, becoming destructive and defiant even when it doesn't serve them to do so.

At a toxic overabundance of their Aspect, Time players become explosively destructive. The ultimate "goal" of all things is death, with which Time is associated, and accordingly, Time players have a penchant for aligning themselves with futility and entropy, struggling so hard that their thrashing leaves a trail of annihilation in their wake. With their Aspect "inverted," Time players detach entirely - they can become so fed up with struggle that they simply opt to lay their weapons down and let the end take them. It's very easy for them to come to the conclusions that either everything matters, or nothing matters. This superficially resembles Space and its big picture thinking, but note that its framework of struggle, and whether or not a goal needs to be pursued, makes it a Time concern.

But the inherent meaninglessness of existence is, in itself, an important realization to make - that whether or not anything "matters" in the grand scheme, things can still be worth doing, worth caring about, and worth investing in. This realization allows the Time player to attack their goals with renewed vigor and greater clarity, which in turn means that the party becomes an efficient, well-oiled machine.

BREATH / BLOOD

Breath and Blood are both concerned with directionality, interpersonal relationships, and autonomy.

Breath is the Aspect governing freedom, liberty, and independence; it is a force that breaks shackles, clears out social norms, and refutes "the rules," whatever those rules may be. Breath players can't be tied down, whether by physical bonds, societal rules, or even the ineffable forces of the narrative itself. They are leaders of example, pioneers, and trailblazers, opening new paths for their teammates to follow.

Breath players are goofy and gullible, often with hearts full of childlike whimsy, naivety, and even immaturity. They are friendly and well-meaning, fond of simpler things, and easily swayed by others. They approach the world with a sincere and innocent good-naturedness, like a baby animal before it learns to be fearful of danger. Something about this sincerity seems to make Breath players irresistible to others, and they often find themselves the subject of romantic attraction. However, in this childishness is also the great pitfall of many Breath players - their natures are naturally conflict-averse, and egotistical the way a child can be, failing to see beyond themselves. They can be incredibly callous when not considering the consequences of their actions, or the viewpoints of others.

At their worst, Breath players are irresponsible and callous. They'll shirk the consequences of their actions, blaming anybody but themselves, or simply choose not to care who they hurt in order to get what they want. They may even choose to stop making choices for themselves, leading to the "inversion" of their Aspect - a voluntary loss of freedom and independence, derived from an Breath-like aversion to responsibility, which superficially resembles the bondage of Blood.

But if they are able to overcome these tendencies, a Breath player will learn what true responsibility looks like - responsibility for themselves, their choices, and the effect they have on others. Armed with this, a Breath player's ability to break bonds can be focused into a clear force for good, clearing away all obstacles and harmful societal standards, leading the charge into something new and beautiful.

Blood, in sharp contrast, is the aspect that governs bondage, contracts, and interdependence. It is a force that binds. Under Blood's sway are not only romantic entanglements, but familial, friendly, and societal ones as well. This aspect sees overlap with Heart, but the division is this: Heart concerns itself with feelings, and Blood concerns itself with compatibility. Blood players are diplomats, forces that remind us all that we are more similar than we are different, and that that similarity should bring us together when we are on the verge of pulling apart.

Blood players, reflective of their Aspect's association with bonds, tend to be neurotic and obsessive. They have a tendency to over-examine and overthink, constantly fretting over the infinite and infinitesimal variables that influence the shape of society and interpersonal relationships. However, this judgmental nature stems from a deep well of idealism and empathy; Blood players can't help but care about others and wish for the best for them. In a way, this makes them one of the most mature members of the team, being concerned with its overall well-being. Unfortunately, their prowess does not extend inwards, and their assessment of themselves is usually direly incorrect - all the worse because Blood players always feel responsible for those around them. Blood, being the Aspect concerned with interdependence, is the weakest one when all alone.

Thus, it's easy for the Blood player to wind up controlling - desperate to make sure everyone is moving according to their vision, they'll become iron-fisted dictators, with a "my way or the highway" approach to social interactions. It's easy for them to wind up pariahs of their own making, becoming so critical of others, or so adamant about enforcing their own will, that they inadvertantly sever their ties - something that superficially resembles Breath's independence, but is truly a result of Blood's neuroticism.

But with that space and separation can come great clarity. Blood players must learn to relax their grip, and allow people room to breathe - including themselves. Once able to grasp that sometimes bonds must be forged with a soft touch, Blood players' natural empathy shines through, allowing them to build something so much kinder and greater than the sum of its parts.

LIGHT / VOID

Light and Void are both concerned with knowledge, ontology, and "narrative relevance".

Light (as well as its counterpart) are perhaps best understood through the lens of "narrative" - this idea that, of all things that do and don't exist, and all events that do and don't happen, only the ones put to page are "relevant". Thus, Light is associated with knowledge and luck - that is to say, it's associated with the knowable, the objective, and the concrete, and the ability to determine "important" events. Light players have read the book they're participating in, and able to serve as luminary guides from one plot point to another, lighting the lampposts for others to follow.

Light players, naturally, are erudite and educated, possessing keen intellects and cunning minds. They are fond of knowledge itself, of markers of status and prestige - whether that's wealth, the adulation of the masses, or a massive library. They harbor a desire to be important, to be seen, to be acknowledged, and are happiest when they are looked up to. Conversely, they deal poorly with being looked down upon. Their confidence transmutes easily into hubris, and they struggle with having that pride challenged. As such, they tend to be volatile and unpredictable, quick to retaliate against those who threaten their egos, or obsequious to those whose acknowledgement they desire.

Their desire for the limelight can quickly spell disaster - they can become incredibly cruel, harsh, and egotistical in their pursuit of narrative significance. They forget, in their obsession, that they, too, are fallible and flawed, and the inevitable reminder can come very harshly. Light players struggle with moderation, and as such, when they feel shame, they'll often take drastic measures to cope with it - deliberately darkening their own influence or intellects, removing themselves from the "story" entirely - something which superficially resembles Void's penchant for the background, but which is firmly rooted in Light's obsessive need for drama.

But in experimenting with narrative insignificance, Light players can reach an epiphany - in their absence, others may shine, and that can be a wonderful thing. Light players, then, can learn to shine not just for their own sakes, but for the sake of others, allowing them to weave a story even more brilliant than any that can be weaved alone.

Void, in contrast, is the blank spaces between the words. That which is secret, subjective, unknowable - these are Void's domain. It's associated with taboos and hidden things, sexuality and pleasure. It's also associated with the empty canvas - the blank space before creation, and the oblivion to which creation is eventually destined for. Thus, it stands for infinite possibility, though the collapse of those possibilities into a reality removes that reality from Void's domain.

Thus are Void players ever cosigned to the background, though this generally suits them fine. Void players are very self-possessed. Where Light players tend to exaggerate and complicate, Void players are honest and simple, preferring straightforward solutions. They don't tend to think very hard, instead letting intuition and emotion guide them to where they want to be - which makes them one of the more stable personalities on a team. However, this simplistic, feelings-driven approach often leads to pleasure-seeking behavior, poor impulse control, and overindulgence in vice, and from there, to irrelevance, with which Void is so closely interlinked.

Void players are especially prone to vice, and at their worst, will become so drunk on pleasurable activities that they pursue them to the active detriment of the party's goals or the Void player's self-improvement - making them the ultimate irrelevant character. They can also very easily drag others into their mélange, with a forcefulness that resembles Light's illuminating guidance, but which is ultimately rooted in Void's pursuit of personal pleasure.

But there's a lesson to be learned in Light's domain: how to bring themselves into relevance and greatness. A Void player, once they learn to pursue not just personal pleasure, but a greater satisfaction for the collective whole, can drag the Void behind them, kicking and screaming, to where it'll be of use.

MIND / HEART

Mind and Heart are concerned with what it means to be a sentient being, with identity, and with why we do what we do.

Mind is the Aspect associated with logic, rationality, karma, ethics, and justice. To a Mind player, they "are" because they "think". They are keenly aware of the consequences of every action, and well-versed in cognition and behavior, such to the point of manipulating others with ease. Deeply concerned with the "effect" of cause-and-effect, Mind players are always cognizant of debts and credits, where justice is owed and where it has been over-meted, and their subtle machinations culminate, like well-placed dominoes, in grand and explosive finales.

Mind players are schemers - it's in their nature. They have a tendency to view the world as a puzzle or game, with themselves and the people around them as pieces on a board, and set as their standard rules the laws of ethics and karma - owed debts and overhanging credit - guilty and innocent. Mind players are wickedly cunning, and have an high success rate with every scheme they commit themselves to, but the grand downfall of all these tendencies is that they tend to lack in a sense of identity, and have a poor grasp on their own emotions or desires. While they may know how to provoke a desired reaction, they don't know how to change someone's mind. They often find themselves grappling very painfully with their own selfhood, with feelings of emptiness, inadequacy, or uncertainty.

Thus, a Mind player at the worst zenith of their Aspect is heartless and cruel. Leaving no space for empathy or even personal feelings in their plans, the Mind player will plot for an ending as heartless as they are. But a Mind player is never truly without emotion, and ignoring their own feelings causes them to manifest in terrible ways - Mind players have a tendency to seek toxic, codependent relationships, hoping to find external validation, subjecting themselves to the wishes of others, which can appear like Heart's fixation on feelings and desire.

But in recognizing their own need for emotional validation, and the importance of their own feelings, a Mind player can realize that there's an entire dimension to the game they've been playing that they've been ignorant of. When a Mind player learns to temper their schemes with empathy, compassion, and kindness, how much more success they'll see - and how much happier that grand finale will be!

Heart, then, is associated with feelings, motivations, intuition, the soul, and the self. To a Heart player, they "are" because they "feel" like they are - and they're keenly aware of the multitudes that are contained within themselves. Deeply concerned with the "cause" of cause-and-effect, they're drawn to desires, those of themselves and of others, especially where strong feelings are concerned. Heart players are gifted with an intuitive understanding of those around them, both their good and bad qualities, and are tasked with the grand task of bringing out the best.

It stands to reason, then, that Heart players have a firm grasp on who they are and what they want. For the same reasons, it's difficult for a Heart player to truly hate or condemn another person, because they are so adept at understanding them. However, this understanding comes with a price - because the Heart player is so aware of themselves, they can't escape their own worst traits - nobody self-loathes as accurately as a Heart player can. Nor can they ever truly be untruthful with another, making them poor manipulators. Capable of presenting a different facet of themselves as the situation calls for it, certainly, but just as it's impossible to lie to a Heart player, who always knows how someone really feels, it's impossible for a Heart player to lie to themselves.

With this sincerity comes vulnerability. Heart players wear theirs on their sleeves, and at their worst, this can make them demanding, needy, and sensitive - so eager to connect with others emotionally that they'll cramp themselves to fit others' desires. But they can't ever keep this up for long; Heart players have a tendency to withdraw from others after being hurt too often, finding it easier to be alone and silent about their feelings than to deal with the pain of rejection. They may even work to manipulate others, preying on their emotions and desires to force them to act in their worst interests. This superficially resembles Mind's cold logic, but unlike Mind's cool rationality, Heart's aloofness is a mask, an attempt to avoid pain by pulling away.

But this isn't purely a negative, because a Heart player can learn a healthier form of detachment, and separate out healthy and helpful desires from harmful and detrimental ones. Given this clarity, the Heart player becomes the team's emotional core, able to raise up each teammate's best qualities, while helping them deal with their worst, enabling everyone to be the best possible version of themselves - which the Heart player knew them to be all along.

LIFE / DOOM

Life and Doom are concerned with outlook, with journeys, and with trials and tribulations.

Life is an aspect concerned with healing, growing, and improving. It is associated with beginnings, optimism, and positive emotions. The very essence of Life lies in its healing abilities, in this idea of overcoming the odds and triumphing over hardship and difficulty. Life is action, movement, and motion, and its players can scarcely hold still. Life will find a way - and Life players harbor the same immutable belief; they are the most stubborn weeds in the garden, the cockroach that survives the apocalypse, and the beating heart that refuses to stop.

Life players tend to be optimistic and confident. They are self-assured individuals, with a stubborn belief that good things are on their way, and any hardship they face is not only temporary, but something that can be overcome. They can find the silver lining in any cloud, and enjoy themselves under any circumstance. They love to nurture, to care for others, though this love has a tendency to be one-sided. Indeed, Life's stubborn nature is its players' greatest pitfall; their persistence easily becomes obstinacy, and their confidence can become condescension. Their self-assured nature easily becomes egotism, and they can have great difficulty grappling with those who don't share their views - even coming to oppose those who bring emotional pain and suffering that can't be easily fixed.

It's very easy for a Life player to decide another person isn't worth their attention, and opt to leave them behind - after all, Life has to move forward, no matter what it tramples in the process. At their worst, they're stubborn to the point of not listening to anyone but themselves, confidence becoming blockheadedness. This focus on forward progress without looking back can even cause Life players to become harmful to others, so focused they are on their own growth that they don't notice that they're choking everyone else out. This may resemble Doom's death in its worst case - arresting everything else, eventually blocking even their own path with unruly, out-of-control fecundity.

Thus, a Life player needs to learn to more gracefully accept Doom's influence - to pause, slow down, and consider viewpoints that are negative, unpleasant, or difficult. A Life player, endowed with moderation, will be able to cultivate a bountiful garden, rather than an unruly jungle - a place for all to flourish and live in plenty, never wanting for anything.

Doom, then, is the aspect concerned with death, with rest, and with endings. Doom is associated with suffering and with negative emotions, with peace, with sleep, and with dreams. Doom players have a natural penchant for prophecy, and are often dual dreamers, able to take advantage of both Skaia's oracular clouds and the Horrorterrors' voices over Derse. All things must eventually come to an end, and not all times will be good; in these troubling times, Doom players shine, as they are the guides who call the murk home, and know best how to navigate rough waters, course-correcting until the storm passes.

Doom players tend to be deeply pessimistic. They experience, to a much more magnified degree than others, negative feelings and impulses, and it's difficult for them to see the world without seeing its flaws, first and foremost. They are not healers, but commiserators, those who understand greatest that sometimes there's no way to deal with tragedy but to simply sit with it and wait for it to pass. The counterpoint to Life's insistence on breathless positivity, Doom is a reminder that pain, grief, sadness, shame, and guilt are not unnecessary things - in fact, excising them can lead to terrible consequences. Doom players are the universe's martyrs, often taking it upon themselves to course-correct, to sacrifice themselves in order to give others a chance to continue on, to avert a terrible fate.

Unfortunately, this tendency also brings with it a tendency for Doom players to wallow in misfortune, or worse, to take themselves out of the picture, giving up entirely on seeing a better ending. As if energized by their own sense of futility, a Doom player at the "inverse" of their aspect may seem to echo a Life player's focus on forward progress and motion, actively spurring their team on towards an untimely demise.

A Doom player must learn to harness this sense of progress for good, rather than harm. A Doom player, once able to grasp the joy of life even in the greatest depths of despair, will be able to fill even the darkest hours with peace, meaning, and hope.

HOPE / RAGE

Hope and Rage are concerned with permission, and are the lens by which we define reality.

Hope is described by Hussie in the book commentary as being "framed as the most powerful aspect" because it is, literally, an aspect that defines reality. Its specific ability is lies in reducing the "fakeness attribute" of something, thus making it "real". Hope is associated with convictions, with idealism, with faith, order, holiness, and, of course, with magic - which Hope turns real. Hope is permission itself - a reality-breaking ability to look at the world and decree that it must be another way, a way in which the Hope player believes it ought to be.

Thus, Hope players tend to be hard-headed zealots, with no self-awareness whatsoever. Their inclination towards powerful beliefs makes them very difficult to dissuade from a path they've set their minds to, and their specific suite of abilities makes them terrifyingly likely to make their vision come true. Hope players are usually not particularly cunning, nor particularly intelligent, nor even particularly empathetic. Given the Aspect's focus on conviction and faith, it's usually very difficult for Hope players to notice anything occurring beyond their own minds and feelings. Thus are Hope players hopeless optimists, hopeless romantics, and hopeless in general - often great sources of embarrassment to their teams, as their naked sincerity is painful to witness. However, their ability to define reality does not leave them when their beliefs are faulty (which they often are, given Hope players are not particularly introspective, either), which is what makes a Hope player so dangerous.

A Hope player can easily be set on the wrong path - as convicted as they are, and as difficult to shake from that conviction as they can be, Hope players can easily march down a path of destruction, if not persuaded with a deft touch and gentle guidance. In the event that their faith is broken, Hope players easily become despondent and lost, floundering and wishy-washy, which superficially resembles Rage's self-consciousness, but is truly just a lack of direction.

But Rage has a powerful lesson to teach Hope players - that of questioning themselves, interrogating their own beliefs. Once their convictions have gone through rigorous scrutiny, revised into the best, brightest versions of themselves they can be, a Hope player is a worker of miracles - speaking into existence a beautiful future on faith alone, proclaiming that how they see the world is how the world shall be.

Rage, then, is the power of denial. If Hope reduces the "fakness" of a thing, then Rage reduces its "realness". Rage, too, is a means of defining reality, in this case taking a torch to the aspects of reality that it rejects. In more passive Classes, this works in subtler ways, stoking others towards destructive fury. Rage is associated with anarchy, chaos, revolution, destruction, anger, and nihilism. A Rage player will not suffer a world that does not satisfy them, breaking it to pieces, such that something new can take its place.

Therefore, Rage players are prone to harboring anger and resentment, discontentment with the status quo, and faith only in that what currently exists must somehow be dismantled. However, unlike Hope players, who can't help but be pathetically sincere, Rage players are incredibly self-conscious, and often try to mask and hide their embitterment and anger. This, ironically, leads to further ostracization, as others can tell they're being inauthentic. This only further compounds their sense of alienation, and drives them further into smoldering resentment. This makes Rage players sound volatile and dangerous, and they are - but the same fury that moves them is the fury that ignites revolts and tears down oppressive regimes, a necessary and vital well of energy and momentum. It takes careful handling to ensure that the team's Rage player can channel this energy towards righteous causes, rather than marking all as a target for their destructive ire.

In the worst-case scenario, the Rage player turns that rage out indiscriminately, deciding that there is nothing worth fighting for - only unpleasant things to be brought to ruin. This is Rage at its toxic overabundance. Conversely, a Rage player can retreat so harshly into their mask that they allow others to dictate their beliefs, taking them to heart - an action motivated by Rage's destruction (this time, turned inwards) that superficially resembles Hope's convictions and faith.

The true path for a Rage player is a healthy balance - to allow themselves some of Hope's sincerity, and by doing so, to become more sincere and true. This will let them release the pressure of their mounting ire, such that it can be converted into productive, rather than destructive, energy - the heralds of a revolution, razing away the faulty, corrupt old systems such that something better and new can take their place.

CLASS

As previously stated, Class governs a character's character arc - the character's starting circumstances, whether their conflict is primarily internal or external, and what major aspect of their Aspect becomes a hurdle for them to overcome.

In the same way an Aspect's sways tie into the character's base personality, the character's Class abilities tie into the kinds of struggles they face, and have great influence on how their Aspects manifest.

That being said, a character - and their Class - are always subject to their Aspect, as their Aspect is tied fundamentally into who they are. Thus, it can be said that a Light player will always have an affinity for knowledge and provide Seer-esque guidance even when not in a Seer role, a Doom player will always have prophetic abilities even with a non-prophetic class (note that Mituna, an Heir, still had prophetic visions, despite those generally being the realm of Mages and Seers), and a Life player will always have a penchant for healing, even paired with a destructive Class like Prince or Thief (the Condesce, after all, could still extend life; a Prince of Life would likely manifest not as one who causes plants to wither and die (this would actually suit a Prince of Doom), but one who destroys in the way of nature overtaking an abandoned shack, or a forest breaking down a body).

This means that when a character's Classpect inverts their Aspect, it doesn't mean that they suddenly become a hero of the opposing Aspect - rather, it means that, at their very worst - at the nadirs of their character arcs - they will lean so much into their Aspect's worst traits that it will superficially appear as the opposite, when all it really is is an absence of themselves. Dave, a Time player, usually so attentive to detail (despite his disaffected facade, he's always paying rapt attention to Karkat's rants, and noticing all the clues pointing to his destiny of defeating LE), at his lowest emotional point (arguing with Grimbark Jade after sobbing about his lost childhood whimsy), states that he doesn't think Lord English is that big a deal, and never even did anything directly bad to him or his friends - when he was literally directly haunted by LE via Cal his entire childhood. Similarly, Rose drinks herself stupid in order to cope with her mother's death.

Note how, superficially, this almost appears to be an invocation of Space's "big picture thinking," its passivity and permissibility, or how Rose's case appears to be Void's tendency to indulge in vices and pleasure - but they're not. Time's worst traits superficially resemble Space, Light's resemble Void, and vice versa - Grimbark Jade is the Condesce's taskmaster, and Porrim at her worst was as much of a nag as Kankri, trying to do a Time player's managerial job. Horuss and Equius at their worst won't shut up and won't stop talking over their partners. So on and so forth.

Finally, Calliope tells us a couple things about Active/Passive pairings. The first is that Calliope introduces the idea of paired classes with the idea that both Rogues and Thieves "steal" (and later, that both Princes and Bards "destroy"). This presents the idea that both classes can be roughly summed up with the idea that every pairing can be summed up with a common theme.

The second is her description of what makes a Class Active versus Passive - that Active Classes move their Aspect to benefit themselves, whereas Passive Classes allow their Aspect to be moved in order for others to benefit. In a way, they're like active and passive voice in grammar (to tie in with the way Classes and Aspects are so tied to ideas of narrative and character arc) - an Active Class performs their Aspect, and a Passive Class allows the Aspect to be performed "by others" (the famous piece of advice regarding telling the two apart being that a sentence written in passive voice can have "by zombies" tacked to the end of it - eg, John is attacked "by zombies", as compared to active voice - John attacks).

Thus, the Class pairings, along with their basic themes, are as follows:

KNIGHT - / MAID +

"One who controls."

Knights and Maids are paired together through two key factors: the first is that they both hold leadership or managerial roles; the second is that both classes carry the connotation of serving a Lord. Fittingly, they are both struggle with the control of malicious forces - Knights with prophecies indicating their role as heroes, Maids with direct usurpation by malicious forces.

PAGE - / HEIR +

"One who inherits."

Pages and Heirs are paired together because they both fundamentally deal with the great inheritances placed before them. Pages can come into incredible, limitless power - but they must struggle and work hard for it; Heirs begin the game in societal comfort and wealth, and must learn to defect from their decadence.

THIEF - / ROGUE +

"One who steals."

Thieves and Rogues are highly adaptable, as Thieves are capable of fantastic on-the-fly adaptation, whereas Rogues have an infinite toolbox at their disposal. They are both provocateurs, shakers of the status quo, though the Thief does so for personal gain, while the Rogue does so to right injustice.

MAGE - / SEER +

"One who guides."

Mages and Seers are tied together by the gift of prophecy and future sight. Seers are privy to the endless branching paths that the future may take, while Mages are gifted with the ability to outright determine a future that will certainly happen, appearing to be prophecy.

WITCH - / SYLPH +

"One who changes."

Witches and Sylphs are individuals blessed with great magic, but poor judgement. Sylphs heal and nurture, but are drawn to those with strong desires, and enable them to cause great harm; Witches, meanwhile, possess strong emotions, which they often use as moral guidance, for better or worse.

PRINCE - / BARD +

"One who destroys."

Princes and Bards are representatives of society - the one who determines its course, and the one who recounts its passing. Princes suffer from a toxic overabundance of Aspect, and are prone to spectacular meltdowns, whereas Bards are always poised for a crisis of faith. Both are responsible for catastrophic failures - but also breathless victories.

INDIVIDUAL CLASSES

KNIGHT

"One who controls [Aspect] or controls using [Aspect]."

Knights are frontline warriors, rallying points behind which the party falls into line. Although they are often leaders, just as often, they are logistical planners, strategists, or simply the team's beating heart. They are almost always thrust into positions of narrative significance, often carrying grand destinies or even outright heroic prophecies on their shoulders. The are the party's rallying force, its center, and a guiding light - the one to lead the charge, behind which the party will follow.

The primary character struggle a Knight will have is with crippling insecurity. Knights are prone to self-loathing and imposter syndrome, and will often adopt a façade in direct opposition to their aspect (ie, their fundamental personality) in order to cope with their feelings of inadequacy. Thus, their relationship with their aspect becomes love/hate - though they're naturally drawn to their aspect, and even naturally skilled at utilizing it, they have a tendency to become their own worst enemy, as their insecurities make them push their façades, and their façades distance them from their aspect.

"Controlling their Aspect" means that the Knight has easy access to their Aspect, wielding it like a tool or weapon - for good or for ill; "controlling using their Aspect" is what grants Knights their leadership abilities, able to dictate how others ought to act in accordance with the Knight's Aspect - whether their understanding of their Aspect is high or low, whether their advice is good or bad.

Therefore, at their worst, a Knight will fall prey to their insecurities, retreating into their facades, rejecting their Aspect, which will allow disharmony or misuse of it to proliferate throughout the team. They may even wind up deliberately twisting their Aspect's presence within the team so that they never have to be confronted by it; these distortions ripple outwards and eventually culminate in major catastrophes, all on account of the Knight's negligence.

But at their best, a Knight is a shining beacon and guiding light; when they come to terms with themselves, and allow themselves to be comfortable in their own skin - when they no longer allow themselves to be ruled by their insecurities and anxieties - they ensure that their aspect is harmonious wherever it appears throughout their party, and can wield it expertly as a weapon, as if it were their own flesh and blood.

MAID

"One who allows control through [Aspect] or allows [Aspect] to be controlled."

Unlike Knights, which take positions of frontline prominence, a Maid is a managerial presence in the backlines, though no less crucial for the smooth functioning of a party. Just as the invisible hands of the hired help keep a household running, the Maid will be called upon to provide vital services to keep the game stable, even if those services are more noticeable by their absence than their presence. Maids are often the party's unsung heroes or even shadow leaders, tugging at invisible strings, fingers on the pulse.

A Maid's primary character struggle will be that of escaping oppression. Maids tend to start the game in positions of subjugation or subservience, especially to malicious forces, and their abilities often end up being exploited to serve their masters' ends. Therefore, one may even have the impression that a Maid is ruled by their aspect, held prisoner and slave - at least until they're able turn the tables.

"Allowing their Aspect to be controlled" means that Maids are capable of directly dispensing their aspect unto others - a Maid of Time can dispense time unto foes, pausing them in their tracks; a Maid of Life can grant so much life that they can revive the dead. Their boons are great and direct, straightforward in a similar manner to Knights. "Allowing control through their Aspect" grants them their uncanny managerial abilities, as their aspect dictates the realm in which nothing occurs without the Maid's knowledge or permission, a realm made available to whomever the Maid's allegiance lies with.

Thus, at their worst, the Maid becomes a saboteur. Exploited by malign forces, their abilities to allow control over others through their aspect, or control of their aspect, makes them perfect vehicles by which their aspect can be hijacked or usurped, and made to turn against the party, and they often find themselves placed into these positions through no fault of their own. It takes the party banding together to shake off the forces that would keep a Maid in bondage.

However, at their best, Maids ensure that the party can never go too far off the rails. There is a place for everything, and everything will be in its place; a Maid is a supply line, a safe haven, and a promise that everything will be neat and tidy when the party returns from war. When the Maid belongs to themselves, their homestead becomes a fortress, and nothing occurs under the Maid's watchful eye without their express permission.

PAGE

"One who works to inherit [Aspect] or inherits [Aspect] for themselves."

Pages are a class defined by promise. As the name suggests, a Page begins weak, but has the great potential to develop into one of the most powerful players in the game. The exact nature of a Page's powers are vague, not because they are insignificant, but because they are so great that it's difficult to encompass them all. At the apex of their arcs, Pages are capable of miraculous feats, overpowering even Lords and Muses - if only they could reach that point and stay there.

A Page begins the game weakest of all, reflective of their long journey of growth. Where most classes only fall into deficit of their Aspect at their lowest emotional points, Pages begin their arcs in deficit - exhibiting character traits opposite to those their Aspect normally encompasses. Moreso than any other class, a Page must learn to grow into their Aspect. Weak-willed, naive, and easily hurt, Pages require careful nurturing if they're to come into their own.

"Working to inherit their Aspect" describes the endless journey of growth the Page must undertake - one with many missteps, backslides, and setbacks along the way. Still, they "inherit their aspect," meaning that their full potential, when realized, is overwhelmingly great - practically becoming their Aspect in humanoid form, capable of utilizing it to its glorious full potential.

However, their nature defeats them, and even if they can attain this state, the Page usually can't stay there for long. At their very worst, the Page's deficit of their Aspect's better qualities can turn the Page into a gravitic well of misfortune - an albatross about the party's neck, the centerpoint, if not inciting incident, of a massive disaster, as their team is sucked in by the Page's natural weakness.

But this is only true as it contrasts to a Page at their best - having grappled and won with the greatest of all weakness, a Page is poised to come into the greatest of all strength. Shown kindness, compassion, and support, a Page at full power reflects a party at their best. A Page at full strength is breathtaking to behold, an unstoppable force of nature, their Aspect made manifest.

HEIR

"One whom [Aspect] grants inheritance or inherits [Aspect] for others."

Heirs, in contrast to Pages, start the game strong. They usually belong to the upper echelons of their respective societies, a position of great wealth, leisure, and comfort, and are set to be inheritors of even greater wealth. Similarly, their Aspect comes to them as if of its own will - it is powerful, but difficult for the Heir to control, reflecting the wealth and status they've enjoyed as birthright.

An Heir's main challenge is that of examining their privilege, and learning where they wish to spread the gift they've been given. Because of their positions of sheltered comfort, Heirs are not particularly world-wise, and often harbor massive blind spots to the suffering of others and the ills of society. As such, they tend to be fairly aimless, given great power but no strong motivations, and have a tendency to simply indulge in their Aspect without contributing great help or hindrance to their team at all.

The Heir's Aspect is practically an independent entity. Being one whom "their Aspect grants them inheritance" refers to how the Heir starts powerful, able to summon their Aspect to perform great, miraculous acts. However, it is highly intuitive and difficult to control. The Heir's challenge lies not in attaining great power, but in attaining control over, and the ability to direct, their existing abilities. Once they do, they can "inherit their Aspect for others" - Heirs become a conduit through which their party can experience their Aspect, making it a usable pool of wealth for them all to draw from. However, because of their comfortable positions, many Heirs end up dallying, finding no pressing need to do so.

But this dallying hides a ticking clock. An Heir's inheritance will come to them, one way or another, and if they aren't ready to receive the great responsibilities that come with such great power, then the power will eventually consume them. An Heir with no clear direction will eventually become lost to their Aspect, entirely removing both from play. Like how wealthy inheritors simply become part of the status quo, so, too, does an Heir disappear into their Aspect, fixing it in place.

Thus, Heirs must learn where they have been blind, where they have been foolish, and what it means to be underprivileged. Then, once they turn their energies towards addressing those injustices - to taking responsibility for building a better future - when their wealth comes to them, they'll be able to distribute it where it's needed most. An Heir, fully-realized, brings their Aspect to heel, and makes it a resource available to their entire team, as if welcoming them all into the family.

THIEF

"One who steals [Aspect] or steals using [Aspect]."

Thieves are, as the name suggests, greedy - much of their arc revolves around a desire to amass wealth, though what's considered "wealth" varies based on the Thief and especially their Aspect. They tend to be callous people by nature, capable of ignoring or trampling over the feelings of others in order to take what they want, in the hopes of filling an emotional void the Thief may not even be fully aware of.

The Thief's playstyle is one of careful resource management. Reflecting a natural tendency to take "wealth" from others, Thieves are unable to use their Aspect without first "stealing" it - a subtractive act which leaves the victim bereft of the Aspect, weakening them in the process. Because of the finicky nature of these abilities, it takes great cunning to be a Thief, and the Class both demands and requires the player to be adaptable, flexible, and quick on their feet, able to effect complicated schemes and engineer the perfect situations for their powers to have the greatest effect. Thieves aren't necessarily strong, but they have a very high victory ratio, because they're experts at turning a situation to their own advantage.

"Stealing their Aspect" refers to the fundamental way in which the Thief class is played, this resource management game; "stealing using their Aspect" reflects how the Thief often becomes a malignant force within the party, viewing their own teammates as caches of wealth to plunder. Thieves are naturally prone to hurting others for their own purposes, craving drama and attention, and being of such callous dispositions that they're able to perform extreme acts of cruelty given the right motivations.

Thieves often become a target of ire within the party, disruptive forces whose quest for personal wealth and fulfillment comes at the cost of those around them. At their worst, they can bring so much heat down upon their own shoulders that the party feels the need to treat them like an enemy, which is disastrous for party harmony. Moreover, it's disastrous for the Thieves themselves, as Thieves seek wealth to compensate for some emotional emptiness, and making enemies of their friends only serves to deepen their ennui.

Thus, a Thief must be taught that true happiness and fulfillment doesn't come from the struggle for wealth, but from the building of something better with those they care about. A Thief, thus turned to heroic purposes, becomes the party's pinch hitter - an adaptable spy, an unpredictable maverick, an element of surprise - and above all, a reliable ally, capable of turning any tide in the party's favor.

ROGUE

"One who steals from [Aspect] or steals [Aspect] for others."

Rogues, on the other hand, call to mind such figures as Robin Hood, stealing from the rich to distribute to the poor. Rogues are at their best when they're agents of a well-planned heist, as they possess an unlimited toolbox - their own Aspect - to play with. Their Aspect is a treasure trove, just waiting for the Rogue to plunder it and share its riches - if only the Rogue can figure out how.

Rogues are forces of revolution. They naturally carry a rebellious spirit, one which bristles at injustice, takes a stand against authority, and questions the status quo. Their ideas are unfocused, however; they know they must rebel, but usually don't start with a clear idea of against who or what. They know that their society is injust, but they don't know how to address that injustice. They know there are villains, and may even know these villains' identity, but they don't know how best to defy them. In a similar way, they're often lost as to how to utilize their Aspect beyond its most basic applications, and usually require external assistance in order to bring out its full potential.

Rogues' true potential lies in "stealing from their Aspect" - an additive act, rather than a subtractive one, as a Thief's stealing is. Rogues are capable of removing their own Aspect's sway over another entity, allowing it to exhibit the characteristics of the opposite Aspect; a Rogue of Void can create things out of nothing, a Rogue of Heart can tease out behaviors and actions. They can also "steal their Aspect for others," allowing them access to their own Aspect's suite of abilities as well. This allows the Rogue incomparable flexibility, their abilities - like their dispositions - rebellious and subversive.

But their rebellious spirit, coupled with their lack of understanding as to who their real enemies are, is dangerous when left unchecked. Rogues often suffer from a failure to start, giving up on trying to understand the deeper implications of their abilities, and of the society they can't seem to find contentment in - but they can also suffer from a worse fate: rebellion without a cause. Rogues' free spirits can lead to them bucking the status quo in ways that actively harm others, performing acts of taboo or poor taste just because that rebellious energy needs to be put to use somewhere. These can have disastrous knock-on consequences, as some things are taboo for good reason.

Thus, Rogues need to be guided - to make connections with others, and come to a greater understanding of the world at large. Once they know their target, and what needs to be done, the Rogue makes sure there are no obstacles along the way - no safe is uncrackable, no prison inescapable, and no problem unsolvable, so long as the Rogue is there to work their magic.

MAGE

"One who guides [Aspect] or guides [Aspect] for themselves."

Mages are prophets, of the "always correct" variety - or so it seems. In actuality, Mages don't "predict" the future, they "choose" it - in a setting where the future is mutable, the Mage's ability is to speak into existence a future they desire, to tip the scales of causality and collapse possibilities into a single definite course. Their Aspect is the lens through which their "prophecy" occurs, a realm in which they command the fabric of reality itself.

As if to karmically balance this incredible power, Mages are afflicted by deep and terrible sadness. They start the game miserable, having been subjected to the greatest injustices their Aspect can offer, tormented by guilt, shame, and self-loathing. Their worldview has been shadowed with a lens of suffering and anguish, and so, too, is their view of the future. Mages usually begin the game having already set several prophecies into motion, and these early prophecies are usually obstacles that the party must overcome.

Mages "guide their Aspect" - this refers to the way their prophecies, that is, their chosen futures, always come true. Their visions may be limited to the sway of their Aspect, but it remains a powerful ability nonetheless. "Guiding their Aspect for themselves," then, outlines the Class's Active nature - the futures the Mage picks must be ones the Mage believes will come to pass.

Unfortunately, Mages have a tendency to pick ugly futures. This isn't out of malice or anger; this is because Mages start the game sad, and without intervention, grow sadder. They're prone to spirals of negativity, self-loathing, and depression, and as their outlook dims, so, too, do their forecasts. Mages suffer, but even suffering can grow familiar - can even appear comfortable or desirable, if the Mage suffers long enough. It's easy for them to grow so accustomed to misery that misery is the only outcome they can see - spelling doom for the rest of the party, one prediction at a time.

But a Mage whose party shows them kindness and forgiveness, compassion and empathy, can pull them out of their misery. How beautiful, then, the future appears! A Mage who believes in a brighter future is a force to be reckoned with. When a Mage can bring themselves to say, "and everyone lived happily ever after," you had better believe they did.

SEER

"One who who is guided by [Aspect] or guides [Aspect] for others."

Seers, meanwhile, are the true future-sighted, able to see the myriad paths the future could take. Like Mages, their Aspect serves as the lens by which their vision is colored; the Seer can sense, with fine accuracy, which paths are closest to the sway of their aspect, and which paths will take them further away. As if gifted with a guide to the game, their intuition is tied directly to the mechanics of SBURB, and they serve as the party's guides, a role indispensable in a game with so many moving parts.

Seers will struggle with blindness, first by hubris and ego, and then by self-harm. Seers begin the game quite full of themselves, proud of their prowess in their Aspect - usually arrogantly so. When this pride is inevitably shattered, Seers have a tendency to deal with their feelings of shame and guilt with willful, self-induced blindness - as if flipping a switch, they become ashamed of the pride they once placed in their Aspect, and seek to place as much distance between it and themselves as possible. There's comfort in ignorance, even if it renders the Seer useless.

Seers are "guided by their Aspect" - able to sense its presence, they gravitate toward it, and towards futures with it in abundance. And, in the same way, they "guide their Aspect for others," lighting the way for others down the path of greatest reward. Seers truly love their Aspect, no matter how much they may misplace their faith in it, and seeking it out is a great joy for them.

This is why a Seer at their worst is so tragic. By inducing intentional blindness within themselves, they are functionally deadening the strongest part of their soul. No matter the temporary relief this brings to the sharp, jagged pain of shame, it invariably deepens the Seer's suffering, as they deny themselves not only their own joy, but their ability to help others - another act which inherently delights them.

Thus, a Seer needs to be made to deal with their shattered ego head-on, to accept their own shortcomings, to become at ease with the idea that they don't have all the answers. Once their vision becomes clear, and their view becomes honest, the party nevermore has to fear becoming lost or straying from the path - the Seer will see to that.

WITCH

"One who changes [Aspect] or changes [Aspect] in others."

Witches are the winds of change, tweaking reality all around them until it suits their desires. A Witch is presence that commands both fear and respect, and their Aspect bows down before them, reduced to a mere minion in the Witch's presence, ready to attend to all their needs. In a way, the Witch's powers are straightforward - they can manipulate their Aspect as they desire, changing its qualities as they see fit. "How they see fit," then, is where the issue lies.

Witches are usually of "outsider" status, never truly being part of the society from which the rest of the party descends. Free from the same rules and common sense that govern the others on their team, Witches instead operate on a value system heavily reliant on their own emotions. What a Witch deems to be correct, to be true, or to be righteous, are often based not in any objective measure, but in subjective, emotional bias - and they're emotional creatures, indeed. Prone to fits of great anger, Witches can be benevolent one second and malicious the next, and their abilities let them imprint, to a greater degree than any other Class, their desires onto the world that comes after them.

Witches "change their Aspect," as in, the crux of their abilities lies in manipulating the qualities of their Aspect in their surroundings - extending, shortening, magnifying, shrinking, growing, removing… so on and so forth. It's a fearsome power. They also "change their Aspect for themselves" - their Aspect is hapless but to obey their desires; Witches change the world to suit themselves, and their feelings of how things "should" be often become how things "are" in short order.

Thus, a Witch who has been swayed toward evil entities and nefarious ends is a truly dangerous opponent - and it is unfortunately easy for this to happen. Witches' social isolation means they tend to trust their emotions, and a force that flatters these emotions can easily win a Witch's trust. By the same token, those that fail to flatter the Witch are often considered enemies, even if they're benevolent forces. A Witch's morality can thus become warped and topsy-turvy, which has grave consequences for the world that the Witch then shapes.

Therefore, a Witch's struggle lies in learning to see beyond their own emotions, to take in the opinions and assistance of others even when it seems superficially unpleasant, to move beyond the childlike rejection of that which is uncomfortable. Once able to see a more nuanced form of right and wrong, once able to tell evil from good, Witches can build even utopia.

SYLPH

"One who allows [Aspect] to change others or changes [Aspect] for others."

Sylphs are nurturers and healers; they bring to mind fey folk whose very footsteps cause plants to grow. Wherever they go, whatever they touch, all becomes suffused with the Sylph's Aspect, which flourishes under their careful cultivation. Sylphs adore their Aspect, and their Aspect adores them; Sylphs generally feel at peace with themselves, surrounding themselves with what they like.

A Sylph's main challenge - or rather, the main challenge that Sylphs wind up posing the rest of the party - is that Sylphs are enablers. They're attracted to those with strong wills and extreme dispositions, amused by the havoc they wreak and pleased by their attention. Sylphs love to pick out favorites and lavish them with care and attention, excusing any wrongdoing on their behalf and shielding them from consequences. At the same time, those who don't strike the Sylph's capricious fancy find themselves discarded in the Sylph's mind, shut out from the boons the Sylph can provide.

A Sylph is "one who allows their Aspect to change others" - this almost always manifests as healing, as it's an additive ability (that is to say, the Sylph can grant more of their Aspect to someone). "Changing their Aspect for others," on the other hand, explains this enabling nature of theirs - the Sylph will intervene to make the world into a playground for their favored individuals, even to the point of turning other, less "interesting" teammates into playthings for the Sylph's beloved.

Thus, while the Sylph themself isn't particularly prone to wild mood swings and acts of malice, their influence can still cause disaster by allowing unscrupulous individuals to flourish - even encouraging their worst tendencies. A Sylph's touch is subtle, but that subtlety only lends it an insidious quality, as the Sylph quietly works against the good of the many for the cruel, selfish pleasures of the few. At their very worst, the Sylph can deem themselves their only favorite, and render everyone else a minor character in their one-man show.

Thus, Sylphs must be challenged. They must be made to reckon with the fact that favorable treatment is not necessarily kindness, and that bias can easily become harm. When a Sylph is able to grasp the difference between bias and doing good, and tune their approach toward that greater good, uncolored by bias and personal preference, then there is no place safer, kinder, and more conducive to growth than the Sylph's embrace.

PRINCE

"One who destroys [Aspect] or destroys using [Aspect]."

Princes are the most anxious, psychologically anguished members of a party. They suffer from a toxic overabundance of their Aspect - its traits are taken to an extreme, and not only the Prince, but those around them, are made to suffer for it. Princes are naturally set on a path of self-destruction, the culmination of their uncontrolled accumulation of their Aspect, and their meltdowns are spectacular, taking their Aspect - and whoever is unlucky enough to be in the same room - with them.

A Prince's challenge, therefore, is as simple to understand as it is difficult to overcome. The Prince needs to learn how to calm down, relax, and find inner peace. Princes are terribly prone to circular thinking and downward spirals. Their natural inclination is to feel anxious and responsible, like they carry the weight of the world, and this causes them to act out in extreme and aggressive ways. Eventually, others pull away, put off by the Prince's intensity. This only deepens the Prince's malaise, and Princes are - pushed by this hovering sense of urgency and catastrophe - willing to employ drastic, desperate measures to enforce compliance with their wills. They wake on their moons early, reflective of their driven natures. They're determined to a frightful degree, and no sacrifice is too great, no work too dirty, if it means achieving what they see as the greater good.

Princes "destroy their Aspect" in this way - by presenting their Aspect at its worst, they make others take distance, ruining it for everyone else. Their hard wills, intense emotions, and unshakeable drive to do what (they feel) needs to be done - at any cost - is their source of power. Thus, Princes "destroy using their Aspect" - their toxic overabundance of Aspect lets them channel it into a pure, annihilatory force; what they lack in the delicate utility of the other classes, they make up for in raw, ruinous power. Princes can easily deal the greatest damage in a combat scenario, their ability to destroy overriding nearly everything that would stand against it.

Thus is the problem with Princes. They're ticking time-bombs of anxiety and frustration; when they finally go off, they carve a path of destruction, before ultimately self-destructing, leaving no trace of their Aspect behind. Not only that, but it's very difficult to defuse the bomb early; Princes have finicky, aggressive, and complicated personalities, and tend to react poorly to straightforward attempts to calm them down and reason with them. They often appear to be their own worst enemies, marching inexorably toward their own destruction.

But Princes not only can be saved, but must be saved. They must be saved because kindness and compassion must exist for their own sake, and a Prince rescued from their own worst tendencies is living proof of the truth of that sentiment. A Prince, given the peace they need to reorient their priorities, will not rest until they see a brighter future realized. They will be the first to rise, and the last man standing, banishing - as if by royal decree - all obstacles, all enemies, all misfortune, and all ills.

BARD

"One who invites destruction through [Aspect] or allows [Aspect] to be destroyed."

Bards are the wild cards of a party, responsible for both improbable victories and catastrophic defeats - sometimes both in a single session. The methods by which a Bard works are a mystery to even the Bard themselves, which make it easy for the party to dismiss their powers - and, by extension, the Bard themselves. After all, who would expect there to be consequences for something so ridiculous as a Bard?

Bards are usually targets of abject ridicule by their teams. They can't help it - they're religious types, or at least types that hold great, lofty, ridiculous beliefs near and dear to their hearts. A Bard's primary struggle invariably winds up being a crisis of faith. Bards begin the game with a positive, "correct" faith in their Aspect; however, something will inevitably occur that shakes the Bard's faith in this viewpoint to its core. In this state, Bards are incredibly fragile, and it's very easy for them to succumb to whispers of cruelty and destruction, for their beliefs to warp, and for the Bard to come to serve the worst aspects of the society they represent.

A Bard "invites destruction through their Aspect" - their powers are subtle, but have catastrophic effects. Bards are instinctively drawn towards causing the first flap of a butterfly's wing, which cascades into a grand, impossible karmic backlash. They "allow their Aspect to be destroyed" by being the conduits for the forces of their faith - whatever faith they hold - to wreak unimaginable consequences across the game.

Thus, a Bard must not be allowed to fall into darkness. The cost is too great. They must be treated with kindness, patience, and sincerity, and given a chance to re-establish their faith in a better, brighter future. If this can be done, then at the party's direst moment - in their darkest hour - they will find that kindness paid back a thousandfold, as an innocuous act by the Bard that no one remembers balloons into a miracle.

[literaryvein-reblogs]

Writing Reference: 5 Symbols

for your next poem/story (pt. 5)

EGG

The egg is as powerful in its symbolism as it is potent as a life-force.

The World Egg is a ubiquitous symbol for the egg from which the Universe is said to have hatched, an idea that appears in creation myths from all parts of the world: The Celts, Hindus, Egyptians, Greeks, Phoenicians, and many more all agree about this idea.

The form this cosmic hatching takes is variable though:

Often, the egg rises from primeval waters and is incubated by a bird; in Hindu belief, this is the Hamsa, a goose.

When the egg hatches, the yolk and the white become Heaven and Earth.

The Shinto tradition says that the Universe resembled a giant hen’s egg that broke open, with the heavier parts becoming the Earth and the lighter, the Heavens.

There is also a theory that the entire Universe is contained in a huge egg that stands upright.

The egg is a symbol of new life, and this idea is borne out with chocolate eggs at Easter, which in itself is a celebration of the pre-Christian fertility Goddess, Eostre, who also gives her name to the hormone estrogen.

The subsequent celebration of Christ’s death and resurrection meant that the egg kept its significance as a symbol of new life and hope.

Archeologists have found clay eggs in Russian burial sites, reinforcing the belief in the egg as a symbol of immortality and of rebirth.

In alchemy, the Philosopher’s Egg symbolizes the seed of spiritual life, and depicts the place wherein a great transformation takes place.

The ancient riddle of what came first, chicken or egg, was deftly if disappointingly answered by Angelus Silesius, who said: The chicken was in the egg and the egg was in the chicken.

FEATHER

The Egyptian Goddess of truth, Ma’at, has the ostrich feather as her attribute. There is a very specific reason for this:

Because the ostrich is a flightless bird, the design of its feathers is different to those of other birds where one side is larger than the other.

The ostrich feather, however, is perfectly balanced and symmetrical, and so is a fitting emblem of justice.

Its symbolism is closely aligned to that of wings and birds. They stand for ascendance, flight, communication with the spirit realms and the element of air.

Shamanistic use of feathers is for all these reasons;

the feathers enable the soul to become as light as the feather and transcend the boundaries of gravity, time, and space.

Shamans of all nationalities wear feathers as a part of their ritual apparel.

The eagle feather is the most valuable of all feathers:

In some parts of the world, this feather, synonymous with all the power of the bird, is considered so sacred that only card-carrying Native American tribal members may own them. Those found in the wrong hands are the cause of heavy fines.

The swan’s feather appears in the cloaks of druids; because the swan is the bird of poetry, its feathers magically confer these powers on the bard.

Used at the end of the arrow as a “flight,” feathers have a practical as well as symbolic use.

Additionally, feathers are a symbol of sacrifice:

This is because, when chickens and other birds were ritually slaughtered, all they left behind was a few feathers, fluttering to the ground.

The other major symbolic meaning of the feather associates it with vegetation and with hair, primarily because of a similarity in appearance.

HOURGLASS

The function of the hourglass is to mark the passing of time, as sand trickles through the narrow waist in the middle of the transparent glass container that is the same shape as a figure of eight.

Therefore, it is often used as a motif to show the inevitability of death.

However, the shape of the hourglass, as well as being a visual symbol and a word used to describe the figure of a shapely woman, is a lemniscate, or infinity sign.

That the hourglass can be turned upside down to start the cycle all over again makes it an optimistic symbol of rebirth.

PHURBA

This is a sacred knife, used only in ritual practices by Tibetan Buddhists.

Like the Athame of the Western tradition, it is employed to create the sacred spaces that are used for rites and ceremonies.

Its design is based on a stake used in ancient times to tether sacrificial animals, and it is used to describe a magic circle in the same way as a compass.

Can only be owned or handled by initiates.

THYRSUS

The thyrsus was a sacred implement used in rituals and festivals during the time of the Ancient Greeks.

It was a staff, standing about as high as its owner, made from a giant fennel stalk topped with a pine cone and wrapped with vine leaves.

As a phallic symbol, it was combined with a goblet or chalice, symbolic of female energy and used to counterbalance the staff.

As well as being a symbol of male energy, though, staffs or long poles of some description have a universal use as a sacred instrument to connect the Heavens to the Earth, a conductor for the divine spirit.

Source ⚜ More: On Symbols ⚜ Writing Notes & References

[maacbrem]

Thinking about Lieve’tel and Bertrand and crying at the club

She’s off putting and she knows it, knows that she moves a bit too carefully to seem entirely natural and when she speaks there’s an unearthly resonance to her voice and when she closes her eyes she sees all the threads of the world converging into warp and weft. She’s seen generations pass her by while she remains unchanged, her goddess’s voice and silence guiding her onwards, and she knows when people look at her they reject what they can’t understand. The Champion left behind his family to serve the Matron, and she takes it as her duty to watch over them even when they insult, demean, mock and dismiss her (even when they watch her back in battle and allow her to guard theirs in turn, which for warrior folk like them is as good as a declaration of care even as they refuse to meet her eyes or hold her gaze too long in a challenge she won’t answer).

And Bertrand is… normal. Ordinary. Unremarkable until he opens his mouth, and prone to sticking his foot there. He’s an aging human enamoured with the idea of being not a hero, per se, but a heroic figure. The dream of a legacy drives him. He learned to duel in fencing clubs but his first real fight was a half-drunken brawl to reclaim a bard’s stolen tips. He has a sense of righteousness but doesn’t always act on it and the older he gets the more frightened he is of dying without meaning. He makes her laugh, and then he does it again on purpose, and he keeps doing it for as long as they spend together.

She makes time for him when he’s in Vasselheim, usually scouting out the up-and-coming young adventuring parties that make their way through the city because he wants to be a mentor but hasn’t quite figured out what he has to offer yet. He attends services and makes offerings and lets her unpick his tangled anxieties about what comes after. They get thirty years in intervals of hours to weeks, and they’re not exclusive - neither of them is ever in a place to make promises they don’t really need - but they keep circling back to each other.

She knows she’s going to lose him and he knows she’s already mourning him. He gives her a bell for her prayer beads and she passes on the name of an old supplicant with a bloody past who might have work that suits him in Marquet. When he dies, she knows he’s gone before she wakes that morning. When the world is poised to end, she puts herself on the line with his token in hand because it is her duty and her honor, and because Bertrand once said that to be remembered well is to be immortal without cost, and what they had might not have been love but it was important.

[minminyoonjii]

Otter Chaos

❤️Ultimate Masterlist

💜Rules and Guidelines

🧡Stray Kids Scenarios Masterlist

🌹CW

Wholesome|Hurt/Comfort|Breakdown|Forced Regression|Bottling Up Emotions|Caring! Kim Seungmin|Skzoo! Otter|Empath! Stray Kids|Act Of Service! Lee Minho & Lee Felix|Anxious! Little Reader|Princess! Dweakki & Quokka & Otter|Skzoo Heavy Fluff

💌 This is a work of fiction, I by all means don't force ship anyone. They have the right to love whomever they want.

🍄Wordcount: 1.7K

You stared at the new line of skzoo plushies the managers laid in front, "This is going to be the highlight of the 4th fanmeeting, the only problem is the theme," the manager said, looking through the suggestions. "How about fantasy?" Changbin suggested, picking one from the list. Hyunjin hummed in agreement, "Yeah, then we can have different accessories," he said, favouring the idea. "It's not a bad idea and since it's on the list I'm sure hyung has some samples for it," Chan pointed out, leaning back.

The manager nodded, "Here are the base samples. The head of merchandise production said they will use your ideas for the pieces," he said, passing out the paper. Changbin giggled, nudging your side, "Maknae-ah look, your little otter could wear a dress," he said, holding up your skzoo. "Maybe my child and yours can wear dresses," Jisung said, moving Han Quokka to you. Changbin whined, "Dweakki would look prettier in a dress than Quokka," he said, tapping the table.

Jisung gasped, "How could you say that to my child?" he exclaimed, hugging Quokka close. Chan rubbed his temple, "The three of you can wear dresses, there's no need to fuss," he said, sketching a knight outfit for his Wolf Chan. Hyunjin smirked at his creation, "Jiniret will be a king," he said, making the details for his red coat and crown. Felix furrowed his eyebrows, "Should Bokarri be a mage?" he questioned, trying to draw a witch hat. Jeongin nodded, "Foxiny is going to be a priest," he said, sketching a cleric outfit.

Seungmin scrolled through his phone looking for ideas, "A bard, huh? That's not too bad," he mumbled, following the reference. The manager cleared his throat, "It's going to be on a 10-centimetre doll, please limit the accessories to three," he said, collecting the paper from the members who were done. You looked at your sketch, "This should be enough," you whispered, handing the paper. Changbin smirked, proud of his baby pink dress, "Dweakki will be the star of the ball," he said, crossing his arms.

"But does he have wings?" Jisung asked, showing his lilac purple outfit. "Wow," Felix said, patting Jisung's shoulder. "What about you, Agi?" Hyunjin asked, raising an eyebrow. You gulped, "Um, just a blue ball gown and a flower crown," you said, showing your reference. Seungmin smiled, "That looks stunning, I'm sure your little otter will love it," he reassured, ruffling your hair as he walked out. You huffed, patting your hair back down. 

Chan chuckled, "This room will be ours for the next hour so you guys can do whatever you want," he said, scrolling through his social media. You walk over to the chair next to his and peeks over his shoulder, "That's dope," you whispered, watching the edits Stays' made. "Right, I don't even know how they made me look kinda attractive," Chan giggled, rubbing the back of his nape. You smiled, "Stays are our number one promoter," you said, clicking a hashtag with your name.

"Not too bad yourself," Chan whistled, scrolling through a few videos when one caught his eye. 'Is Straykid's Youngest a Regressor?' it titled, making your heart sink. It didn't have a lot of views but the comments were abundance. Chan subconsciously clicked it, reading them. Some were denying the possibility and some were linking past videos of your behaviour. You didn't realise you loosened your grip on your phone until it hit the floor with a thud. 

Chan jolted out of his trance, swiping out of the app, "Baby," he tried to reassure. You faux a smile, pretending nothing happened, "Guess Stays got a lot of thoughts, hm?" you said, clicking into the app again and finding another member's hashtag. "Channie look this was from Hyune's AOTM video," you added, showing Chan. He nodded, surprised at how quickly you changed the subject, "Yeah, he did well on it," he said, raising an eyebrow. 

You nodded, "I remember staying up with him before the shooting," you said, admiring the different styles of edits the fandom has made. Seungmin raised a muffin in front of your face, "Bite," he said, smiling when you did. "Minnie, look at this one," you said, showing Seungmin an edit of himself. Chan eyed your figure, leaning back into his chair. "What's on your mind?" Minho asked, staring at him. Chan sighed, "We stumbled into a TikTok and I'm pretty sure she's going to cry the moment she's alone," he said, knowing your quirks.

Minho nodded, noticing how you gulp back your emotions, "I could cook dinner. She never says no to my meals," he suggested, leaning his face against his palm. Chan nodded, "Sounds great. I have an idea that could work too," he mumbled, whispering into the manager's ear. The manager nodded, "This line is meant for you to bring back to the dorm," he said, putting the skzoo in a paper bag. Chan smiled, "Thanks, hyung," he said, holding the bag close.

Felix laid his cheek on the table, "Can we go home now?" he mumbled, scrolling through his bubble. Chan checked the time, "Yup, Minho and I will go get some stuff at the grocery so we'll take the other car. Just text us what you need," he said, packing his things. Felix stretched, "Finally," he whined, making a beeline towards you. "Come on, sunbeam. The day is still bright," Felix added, wearing his beanie and mask. 

"You wanna head by the river? We could walk to the dorm," you suggested, pulling down your cap. Seungmin nodded, "Let me join too," he said, following you. "The sky's clear today," Felix said, looking up. Seungmin hummed, pulling out his camera to take some pictures, "Maknae-ah, pose," he instructed, taking shots of you. Felix giggled, using his phone to take different angles, "You could post this," he said, showing you.

"Yeah," you said, walking along the trail. Seungmin furrowed his eyebrows, and he frowned having a tinge of uneasiness, "Is she feeling alright?" he whispered, nudging Felix's side. "I don't really know," Felix sighed, watching you from behind. You took off your shoes, and made a beeline to your room, "I'm going to wash up," you said, not caring who heard. Jeongin gave you a side glance, "Huh?" he questioned, raising an eyebrow.

Felix eyed the stairs, "I'll just prepare some hot chocolate for her," he said, not wanting to intrude. Jeongin frowned, "Why? What happened?" he asked, confused about what happened after the meeting. Felix shrugged, "We're not sure. We just noticed the signs," he said, knowing Jeongin understood. "Another episode-ish?" Jeongin asked, helping Minho with the bags. Felix nodded, "I don't know what triggered it though," he sighed, setting the drink ingredients aside.

Minho pursed his lips, "She saw a TikTok about netizens questioning if she's a regressor. We all know she is, it's been obvious since our elimination show," he sighed, preparing dinner. Felix's jaw dropped, "Oh, so that's what happened," he frowned, shuffling to wrap his arms around Jeongin's waist. "Should we talk to her?" Jeongin asked, leaning his head back on Felix's shoulder. Felix hummed, "I think Minnie already did," he said, noticing Seungmin's absence.

"Agi?" Seungmin whispered, knocking on your door. You furiously wiped your cheeks, "Yeah?" you responded, hoping your voice didn't crack as much. Seungmin huffed, turning the doorknob, "I'm coming in," he said, pushing the door open. You looked down, the mental weight you've been carrying around since the meeting came crashing down once you got to the comfort of your bed. Seungmin frowned, holding your skzoo, "Look at me, hm?" he said, waving the plush.

You held back a smile, remembering it was time to let go. Seungmin chuckled, and kneeled in front of you, "Don't you want to play with me, princess?" he asked, his voice soft. Your eyes flickered a familiar gaze, one he hadn't seen in a while, "Princesses like you should play with plushies and have cuddles, hm? Not have big kid thoughts," he said, leaning his tone towards a baby voice. You gulped, biting down on your tongue so as not to succumb to the relief.

Seungmin squinted his eyes, "Guess the princess is busy, Otter. That's too bad, isn't it?" he asked looking at the Otter. "That's right," he said, pitching his voice as if the Otter replied. A shuddered sigh escaped your lips, "No," you whispered, wanting to take the Otter back. Seungmin smirked, "You can't take it, Agi. Your Otter wants to be with me," he teased, hoping you'd slip. You furrowed your eyebrows, "That's not fair," you said, trying to get it back.

"It so it," Seungmin chuckled, raising the Otter up high. Your lips wobbled, and tears poured from your eyes. It didn't take long before you started wailing from the sheer exhaustion your body was going through. Chan swung open your door, making you and Seungmin flinched, "Why is she sobbing?" he asked, pulling you into his arms. Seungmin gulped, handing him your Otter plush. Your sobs died down, Otter clutched close to your chest.

Chan sighed, "Min could you get the paper bag outside the door?" he said, rubbing your back. Seungmin nodded, immediately grabbing it. "Look what I got," Chan whispered, holding out the new line skzoo plushies. Your glossy eyes sparkled, "Ottew," you whispered, taking it towards you. Seungmin dumped out the rest of the skzoo, "You brought them home?" he asked, holding his PuppyM. Chan nodded, "She looked like she wanted them so I did what I should," he said, watching you examine the rest,

Seungmin frowned, "I shouldn't have teased her too much. I just wanted her to slip," he said, patting your head. "It's alright Seung. She looks much more relaxed doesn't she?" Chan said, leaning back against your headrest. Seungmin nodded, "Definitely," he whispered, lightly pinching your cheek. Chan stretched, "Do you want to carry her down?" he asked, knowing that you'd probably not want to leave your bed.

"Yeah," Seungmin said, placing two skzoos in his shirt pockets and lifting you. Chan chuckled, seeing how you easily got distracted by the plushies. "Dinner is ready," Minho yelled, plating up his dishes with a cup of hot chocolate to the side. Seungmin hummed, setting you down on your chair. Felix giggled, "Hi, baby. Open wide," he said, feeding you a bite. You preened at the gesture, body wiggling with each mouthful. 

The members cooed, snapping pictures of your adorableness. Jeongin smiled, "I'm glad she's feeling better," he whispered, not wanting to break you out of your trance. Minho and Chan nodded, "Us too," they said in sync, placing more meat on Jeongin's plate. 

[fangirlingpuggle]

so since ford is like, CONVINCED dips and mabel are his kids in this au he is obviously not going to avoid them no matter what stan says about it (yet another point of tension between them...) so any thoughts on how he trys to bond with them? dd&md perhaps? children like that game right? maybe when it becomes clear mabel doesn't like the actual gameplay aspects he and mabel draw art to replace the official stuff and thats how he bonds with her? weapons also. he also trys to bond by giving them weapons ( i mean its ford cmon now)

Oh he totally disregards Stan warning him off

Ford: These are my children Stanley

Stan: No sixer, no they are not, they are your grandniece and nephew you were in another dimension when they were born

Ford: Oh please Stanley time is easy to mess that proves nothing

Stan:Ford your being stupid, when did I become the smart twin?

I think he's very unsure how to bond with them at first. Dipper is easier though Dipper wants to know all about the journals and Ford is more than happy to tell him everything (His son is so much like him) He also may be asking questions while talking to Dipper about any unusual powers he may have, or if they may manifest later in life. (He is sure all the strange things Dipper has found so easily are him unconsciously using his powers)

Stan: Sixer it's not hard to weird stuff, you found it

Ford: Yes Stanly but I was a genius looking for all of it the twins stumbled into it

Stan:I CAN'T WALK OUTSIDE WITHOUT TRIPPING OVER A GNOME FORD IT'S NOT HARD

With Mabel Ford can see she takes after Bill more with her chaotic nature, but he also see her empathy (And she reminds him of the version of Bill he thought he knew and cared) He encourages her creativity and listens to her talk about ideas and 'I'm sure I can invent that' he makes her insane creations, and doesn't bat an eye at the insane weapons she wants.Stan is close to having as heart attack.

He also gets them to come on explorations with him showing them places in gravity falls and explaining about science and how theoretically certain powers would work. (And if they had certain powers how this would work)

he would totally share his D&D interest and DM for their adventures, Dipper would love it and I think think Mabel who love the RPing and would making the most insane mix of classes Bard, Druid, Ranger with unicorn pig animal companion or something similar. She'd also totally draw characters and maps.

[dailyadventureprompts]

Hello Dapper. I don’t really expect too much about this, but do you have any ideas for Wargs? They have an interesting relationship with goblins and are weird in that they’re essentially sapient wolf monsters, but I don’t think they’re ever really used that creatively.

Monsters Reimagined: Wargs, wolf panics, and the Economics of Lupophobia

While the surface level answer is pretty simple (warg is a conversion of varger, an old Norse way to refer to mythological wolves like Fenrir) there's actually a surprising amount of material to drill into here on the topic of sapient wolf monsters, especially for someone like me who has a interest in moral panics and mass hysteria events. Wolves were effectively a boogyman for pre-industrial societies, a deep seated generational fear that we only recognize today through cultural relics like the big bad wolf or boy who cried wolf.

TLDR: If you want to do something interesting with wargs beyond just "wolves that talk" I'd advise playing to their folk / fairytale roots. They're creatures of embodied dread, drawn from the stuff of the feywild to sow fear among those who would travel off the path or too close to the wilderness. This lets you tell interesting stories about how the party/major characters respond to fear: Does fear of being attacked in the dark drive the party to make risky decisions that might endanger their quest? How do the villagers react when the wolves are very literally at the door, demanding just one of their neighbours as a meal in exchange for safety?

I'd also advise getting weirder with a warg's powers, playing into that fear of the unknown by doing unexpected things. The party can fight off a pack of wolves, sure, but what does it mean when the lead wolf rips off the bard's shadow and takes off into the night?

Background: If you want a window into the headspace of wolf-panic, think about the neigh omnipresent fear of sharks created by the Jaws franchise. Children who have never seen the movie, let alone seen a shark in person can become irrationally afraid of getting into deep water because they've absorbed the pervasive cultural phobia, which goes onto shape environmental policy as sharks are overhunted or killed out of spite for their perceived threat.

So it was for wolves, even after they were largely hunted to near extinction by medieval and postmedieval societies, the fear of them was so ingrained into cultural traditions that wolf and werewolf panics were a thing that went hand in hand with witchtrails. France had a country wide one as late as the 1760s and the movie based on it ended up inspiring Bloodborne. Alternatively look at the anti-wolf efforts during the colonization of the Americas, right up to the opposition to reintroducing wolves back to Yellowstone park.

On that note (and because we can't have a Monsters Reimagined without some kind of class analysis), lets talk about how these fears are propagated: On many levels it makes sense for everyday people to be afraid of wolves, they're a hunting species that can absolutely pose a danger to us, and when you're living or travelling outside the protection of a settlement you really are vulnerable to a coordinated pack of carnivores running you down.

However, the primary threat that wolves pose to humans isn't predation, it's property damage, specifically in how they kill livestock. While we can talk about individual farmsteads beset by beasts, in reality the herds that wolves were most likely to prey upon belonged to the landowning classes, powerful people who had a profit incentive in seeing wolves driven off or exterminated. This is where you get bounties on dead wolves, not just paying for the value of the hide but actively rewarding people for going out and killing as many wolves as possible to the point of it becoming a profession. This practice has existed for MILLENIA and is still active today, primarily in places where big agriculture influences governments.

It seems incidental at first but then you realize that it fits the model of just about every other kind of cultural panic: widespread ignorance and fear that just so happens to mobilize the populace in a way that financially benefits a select few. You can see the same thing happening today in england with badgers of all things, which have been identified with the local dairy industry as a threat to their herds. This is not only led them to petition the government to cull the badger population, but to put out anti-badger propaganda, eventually turning it into a culture war issure to the point where conservative mouthpieces like Jeremy Clarkson openly encourages killing and gassing badgers on sight.

Returning to the land of fantasy for now: I think it's worth taking the idea of the warg and mixing it with a few other "black dog" cultural archetypes, which can also include the creatures like the shuck or church grimm. In this instance the warg is a sort of curse made manifest, the fear of a haunted place given literal teeth. People who transgress into these forbidden spaces find themselves pursued by a manifestation that dogs them till they're exhausted and vulnerable, much like a wolf harrying its prey.

The bhargest is also of special interest here, considering how I like to relate goblins back to the feywild. You could easily see bhargests as agents of fey that feed on human fear, leading a pack of goblins or hobs that occupy the desolate lands they've called to haunt. My version of Maglubiyet would also delight in employing such creatures as his emissaries.

Going back to the vargr/ Norse mythology angle, it's interesting that most of the wolves that show up are destined to devour something, whether it be a god or celestial certanty like the moon and sun. It's like the concept of an inevitable chase is so fundimental to what a wolf IS that it became a theme of ragnarok's inevitable certantly. Consider having certan packs of wargs be offspring of some fenrir style god eater, beasts of forboding doom who's mere presence is an omen of ill times.

Alternatively, if you wanted to play on the big bad wolf angle, give wargs the ability to take on flimsy human disguises, all the better to get close to their pray and sow fear among the townsfolk. Historical wolf panics after all are not all that different than serial killer panics, and it'd be a fun twist on a traditional werewolf adventure to have the party on a creature that didn't play by the usual lycanthropic rules.

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[noellefan101]

Nick-Names - Genshin

Characters: Xiao, Scaramouche, Venti, Lyney, Albedo, Kaveh, Thoma, Diluc, Childe, Heizou, Kazuha x GN reader

Warnings: a lot of cheesy and weird nicknames, if you dont like some for a specific char you're welcome to send me your ideas, could be modern au, established relationship

(you can clearly see that i prob put in an OC, so im so sry, but some i just also really head-canon as the "would rather date a loving person than be loving" if you get what i mean)

Summary: both of your pet names for each other, some silly some sweet

Note: you can really tell where i had no ideas for nicknames. and ik i use both 'pet names' and 'nicknames' but im just kinda stupid and didnt care to change stuff when i was already done with it. also i may just have a problem but why does princess sound 10x better than prince, no matter your gender, anyway love youuuu

Xiao

He will always say what is on his mind, and he did the same thing when you brought up using pet names. he wasn't very fond of the idea, and sometimes he still isn't(depending on the situation). but he has gotten used to it more over time, like when you burst open his door and to talk to him while using the most absurd nicknames he´s ever heard of.

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Pet names for you: lovely, qinxing, [shorter version of your name](sry people with short names, i fell ya)

Pet names for him: babe, baby, cutie, dove, birdy, my alatus

Scaramouche

Will never admit he likes being called weird things by you, EVER. if he did then he was drunk and he was totally lying. and that counts with calling you stuff as well, he would rather die than admit he doesn't just call you that bc you wanted him to.

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Pet names for you: idiot, princess/prince, dear

Pet names for him: smoochi, love

Venti

He was probably the one who suggested the idea at first, like two days/weeks (seconds) into your relationship. i also think he already had at least one nickname for you when you were "just friends", in the crushing phase, and has some for all his other friends as well(prob also his teachers if school au, lul).

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Pet names for you: windblume, cecilia, [insert the cheesiest thing you can think of], my love

Pet names for him: venni, my dear, sweetheart, my bard

Lyney

He would be over the moon if you gave him a nickname, and would instantly be looking like a tomato too. would increase its usage by tenfolds if you said you liked one of his nicknames. you cannot stop him even if you somehow got 'Father' involved.

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Pet names for you: babe, mon trésor, mon amour, beautiful

Pet names for him: sweetie, amour, lyn

Albedo

He didn't really see a use for it at first, finding it kind of useless. but sooner or later realized how happy you looked when he had somehow slipped up and called you 'love' when he needed your assistance. and later just didn't bother to stop.

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Pet names for you: love, my cecelia, my dear

Pet names for him: 'bedo, lovely, (my) genius

Kaveh

He LOVES nick-names, probably made one for everyone in the friend group(yk alhaitham, tighnari n cyno), and would be delighted to make some up for you.

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Pet names for you: beloved, lovely

Pet names for him: baby,

Thoma

He really wanted to try using them, yes he calls Ayato and Ayaka my lord and my lady, but its just not the same as calling your lover something sweet. and good luck if you don't like it, he's keeping those names forever.

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Pet names for you: babe, sweetheart, baby, sleepyhead, lovely

Pet names for him: babe, love

Diluc

He honestly wasn't a fan at first, he hated it even. but of course, you being you, insisted on using names for him, and encouraged him to at least try to use some for you. so he kinda got into routine with it.

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Pet names for you: my love, my dear

Pet names for him: dear, red head, love, my hero

Childe

Of course, he would use nick-names and such, he uses nick-names for the traveler and paimon, so of course he would be using such with you. honestly how could he not, especially when you're looking all cute cuddled up in his hoodie.

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Pet names for you: my love, beloved, cupcake

Pet names for him: ginger, ma strong man(only for teasing purposes), hubby

Heizou

He'll almost never call you by your actual name, he didnt even when you two were just friends, only in the most serious of times would he do that. so it was no surprise that when you actually started dating, they could only become sweeter and cheesier as time goes by.

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Pet names for you: princess/prince, baby, beautiful, (my) sunshine

Pet names for him: hei, zou-zou, babe

Kazuha

He loves it bc no matter what you call him he'll be happy. and he makes sure you have "some" as well, and i guess he just can't stop coming up with more, and they're always more cheesy than the last. you don't know how he does it, but maybe its just his poetry skills coming through.

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Pet names for you: dove, (my) love, sweetheart, sweetie, my dear

Pet names for him: kazu, dear

thank u for reading whatever this thing is(totally not a filler bc i habe been working on that streamer au for too long), luv ya-Masterlist

You are welcome to reblog and like any of my posts, but you CAN NOT translate, copy or hate on anybody for liking my posts

[inexplicifics]

I’m very curious about Eldritch Trio/Jaskier.

Jaskier is very curious about everything!

Jaskier gasps in awe. Gweld glances over at him, eyes gleaming like coals behind smoked-glass spectacles. “Who’s the lad?” he asks Geralt. “Bard,” Geralt says, with a sigh. “Wants stories.” “A bard, hm?” Gweld asks, chuckling, and holds out a gloved hand to Jaskier. It’s warmer than Jaskier expects when he clasps it. “Jaskier the bard, at your service,” Jaskier says brightly. “Are all witchers as magnificent as the two of you?” Gweld’s eyebrows go up, and he glances over at Geralt, who sighs again. “He’s like Lambert.” It has the tone of an explanation, though Jaskier has no idea what it might mean.