#Artistic Liberties have been generously applied

[sesamenom]

Day 7 Freeform for @tolkiengenweek: Luthien finding Daeron after the events of 'Of Beren and Luthien' !

(and yes that is in fact Elured and Elurin, yes i realized they should absolutely not be in the same time period as baby Dior, yes i accidentally smashed 2 ideas together in my brain and i didn't realize this until i was half done)

Inspired by a conversation I had with @sakasakiii about Luthien going back for daeron (since apparently the doriathrim didn't want him, or at least not enough to mount a thingol-scale rescue party).

Also partially inspired by another part of the same conversation in which Rin brought up the idea of Daeron going to rescue elured and eluril. Anyways after the accidental timeline-mashing, I decided that well, the forest around menegroth is full of enough weird maia magic to explain elured & elurin time traveling directly into luthien, beren, and daeron's house decades before they were supposed to be born- after all, occasional time travel to weird magic places is Lost Road canon right?

[luminouslumity]

Speaking of Bridgerton—and again, I say this as someone who's read the books and really liked WHWW—I really feel like the hate has been overblown.

The only thing I can kinda agree with is feeling like Francesca already being attracted to Michaela invalidates her feelings for John, especially when she just got married, so if anyone had to be tongue-tied, I honestly would've preferred it if it had been Michaela. On the other hand, obvious outcome aside, it is important to acknowledge that attraction doesn't always necessarily equate to love and we're also still talking about an introverted eighteen year old Regency woman who not only got married after knowing her charming husband for what had to have been only a month or two at most, but also just got introduced to his equally charming cousin.

I don't know, I guess I'm just looking at this scene with a kinda "it is what it is" approach if that makes any sense, but I do hope it gets addressed in one way or another. I absolutely love John, and even though I'm very excited to see Michaela again and see how the show further adapts her story, I still want him and Francesca to be happy together, for however long they have.

As for the rest, I'll be delving into book spoiler territory (yes, even more so than the above), but basically the whole point I'm trying to make here is that I think it's far too early to judge, especially since Michaela has only had a few seconds of screentime, so I'm willing to wait, but my overall opinion will really all depend on the execution.

Okay, so in WHWW, we know that Francesca suffers from infertility issues, and if losing John wasn't bad enough, she also miscarries. This is, of course, an important plot point and one that resonated with many and I think that's beautiful. What confuses, however, is why some people think they'll get rid of this plotline now that the two leads are the same gender, as though those in queer relationships don't have these same problems as well. And maybe it's just me, but I really think there's a lot you can do with a story about a young woman who suddenly loses both her husband and the child she'd so longed for, tries to look for a new husband years later for the sake of wanting to try for a baby again, only to end up falling in love with her husband's female cousin, therefore causing both internal conflict on the woman's wants (a child of her own), as well as external conflict in terms of what would and wouldn't be considered socially acceptable for the time (being in a same-sex relationship).

And as for the inheritance, how can Michaela inherit Kilmartin if she's a woman? After all, inheritance laws at this time strictly favored men, right? Well, not necessarily. Noblewomen gaining their own lands and titles isn't exactly a new concept per se—though it is obviously a rare one—and this especially applies to Scotland, where Kilmartin is located. For example, during the 18th and 19th Centuries, Mary Hay succeeded her brother and became the Countess of Errol after his death, while the Earldom of Orkney had three consecutive generations of countesses: Anne Hamilton, Mary O'Brian, and Mary FitzMaurice.

Furthermore, we know that PoC being ennobled is still a pretty new thing in this universe, and as we see in Queen Charlotte, there was a genuine concern for what would happen next, especially in terms of succession. It's why Danbury interacts with Sophia Augusta at all! So, either there's going to be an entirely new character to inherit the Earldom, Michaela has to get married before the title can go to her, or the Earldom of Kilmartin was created "with remainder to the heirs whatsoever of [the first ennobled Stirling's] body" so as to prevent a potential crisis, thus leading to Michaela to inherit the title in her own right, with or without a husband (maybe give or take some artistic liberties). That said, I certainly won't be surprised if there's a lavender wedding anyway, or at least a Gretna one.

[bfpnola]

Hey! This is @reaux07 and I just wanted to re-introduce our org! I am the current executive director of Better Future Program (BFP), a 501(c)(3) youth-run nonprofit headquartered in Bulbancha on Chahta Yakni and Chitimacha land. We envision a future in which youth are not only empowered to challenge oppressive hierarchies each day, but to create new, innovative, and inclusive frameworks of community care and intersectional justice.

Since 2016, our team has been dedicated to educating the masses on various academic subjects, mental health, and most importantly, social injustices that affect today's youth. We even offer over 3,000 free novels, movies, podcasts, and more just to fulfill this goal.

Here's the catch though! Since BFP is youth-run, many of our volunteers are students. During both the holidays and the start of each semester, we always experience a dramatic drop in participation, often meaning our workshops go from being run by 65 people to just 3 or 4. Currently, this is unsustainable for both our organization and our individual mental health. That's where YOU come in.

We need more volunteers! We'd like to not only fill up all of our leadership roles but have more than enough participants to allow each person's responsibilities to be greatly lessened. This would mean we could continue serving marginalized communities, uninterrupted, internationally, while still allowing volunteers to take breaks! We are only human. And even more so, many of us are only teens or children! We need your help.

And guess what? We have a $5,000 grant as gifted by the American Civil Liberties Union of Louisiana as well as nearly $600 in donations, all to go towards commissioning marginalized artists, mutual aid networks, and so on. Help us develop these plans further so we can service YOUR community today (e.g. we are currently sponsoring a chest binder drive for a local high school).

If you are interested in filling a leadership role, applying as a general volunteer (no specific responsibilities), or are simply interested in learning why we use a committee-based, horizontal organizational structure, tap here. There is something for everyone, promise!

And if you are interested in interacting with our community, our Discord server is linked here and our Linktr.ee below:

Please share to help support a Black-, woman-, queer-, disabled-, and youth-run organization!

[confessionsofa-roleplayer]

I'm sure a lot of people are going to gasp in outrage at this one, but after following the pattern for long enough it deserves to be said: 9 times out of 10, fandom-popular mainstream artists are GOD AWFUL roleplay partners, and it's because they refuse to adapt their approach to this hobby in any way whatsoever. A lot will parrot the old line of 'only create for yourself!!' because that's what they've been living by for the last 20 years, but that does NOT work in a fundamentally collaborative hobby where the recipients are a PART of the experience. Roleplay isn't just a creative hobby, and it's not a solo act. It is, first and foremost, a GAME you are PLAYING with OTHER PEOPLE. Your approach and expectations should reflect that. If they don't, the other party getting fed up with your selfishness isn't the problem. Your refusal to adapt accordingly is.

Being expected to care about your partners should not translate to 'how DARE you expect me to compromise my grand vision???' when your 'grand vision' clearly isn't as grand as you think it is. Cool ideas, cool plot, cool muses, good writing… Wrong medium. This applies to ANY kind of interactive artform; if your art is something that requires outside interaction to function, it CANNOT be an afterthought that gets tacked on at the end. Everyone will know it, and nobody will like the result. If you feel like you're playing tug-o-war with your partners over the cool plot you put together, maybe you should consider WHY that is happening instead of taking your control issues out on other people. The answer is generally that you didn't bother to create it with interactivity in mind, and now nobody knows what's expected of them because there WASN'T anything expected to begin with.

Your partners are not an 'audience' or 'consumers' or 'fans.' They are participants in the process, and should be treated as such. They don't exist to clap for you, they're here to contribute and build onto it.

This gets WORSE when so many insist on taking 'artistic liberties' with the rules of the hobby itself and openly cheat, godmodding and metagaming and the like in order to brute force the result they want, despite claiming to be against all of these things. THIS IS NOT AND NEVER WILL BE OKAY. And if you don't understand why, let me ask you this: if you were on the receiving end, would you be okay with THAT? If the answer is no, don't fucking do it. THIS is the stuff that I've seen kill community after community. Double-standards ruin the game for everyone involved, and it WILL wear people down over time.

So, now that I've focused on what you should NOT do, I'm going to give you a bit of advice: this does not mean you should create things you don't enjoy making, but that you need to look at it from multiple perspectives at once. Create a work that you enjoy making, definitely, but also ensure it's an experience you'd enjoy PLAYING. If you wouldn't have fun as a member of the plot you're running, that should clue you in pretty quick that something's wrong. You don't need to cater to everyone. That's absolutely impossible. But you should at least be catering to SOMEONE. If your target audience is (N/A) then yeah, that's a problem you should probably work on.

This phenomenon is the most glaringly obvious with videogames as an artform; an ambitious creator designs this whole big game with beautiful art and a story they enjoy writing, but the gameplay itself is a boring, frustrating, and/or glitchy slog that was never designed to be played, and thus completely overshadows the experience they thought they were creating. Nobody plays it all the way through, their story is left untold, and the creator just screams and bawls about how nobody appreciates their 'art.' No, people appreciated your art. That was what got you in the door. What they don't appreciate is that nothing else about the experience was worth their time-- because apparently it wasn't worth yours, either.

Roleplay has far more in common with a videogame than a fanfiction, despite what most of the RPC today would like to claim. Neither one can tell its story if the audience refuses to engage with it. You need partners no matter what, so do your best to ensure they enjoy being there. Otherwise they won't stick around long… And you'll have no one to blame for that but yourself.

[adrenalinezetaax]

An Unsung Visionary of Modern Theater

If I had to nominate someone for the most important yet least known modern artist, it would be Adolphe Appia. If you’ve watched the Blade Runner sequel or any of the recent Dune movies, you’ve witnessed obvious examples of the Swiss scenographer’s influence: monumental sets, dramatic lighting, and sparse decoration — but Appia was working over a century ago, when the aesthetic norms were quite different.

During the late nineteenth and early twentieth century, theatrical productions were commonly staged with flat, realistically painted backdrops. Even Richard Wagner, whose groundbreaking vision of theater as a “total art” called for complete immersion in dramatic spectacle, was still beholden to these contemporary conventions about how to stage his operas. It was Appia who recognized the sculptural properties light could yield in a theatrical context — an innovation aided by the invention of electric lighting. By giving light and space a symbolic role, he unified dramaturgy and scenography and introduced an unprecedented sophistication to the art of set design. Without his theories, it’s likely we wouldn’t have the widely acclaimed Moscow Art Theatre production of Hamlet or the historic Bayreuth Festival centennial production of Wagner’s Ring. Edward Gordon Craig, who designed the Hamlet set, was a close colleague of Appia, and its construction bears many of the latter’s stylistic fingerprints.

Appia’s work arguably prefigured the practice of Regietheater, in which the director takes on a creative role beyond reproducing the writer’s intentions. An example of this might be taking liberties with a theatrical work’s setting for artistic ends, like underscoring its subtext. It’s common today to see productions of Greek tragedies and Shakespeare’s plays that modernize their settings, but interpreting the text in this way was highly controversial in Appia’s time. His three-dimensional sets, while in some ways more believable than flat backdrops, were quite stylized and sharply contrasted with the nineteenth century tradition of pictorial naturalism. Their characteristically modernist emphasis on psychology also yielded a starkness that foreshadows the minimalism later embraced by postwar German directors to distance German art (and opera in particular) from its nationalistic origins. Subsequent generations of theater practitioners who inherited this objective were frequently denounced as heretical by a staunchly conservative artistic establishment.

Appia's innovations appear to substantiate a historical narrative about stylistic change often used to describe the development of Western art — artists, regardless of medium, tend to employ first flat compositions then deep ones. In other words, we witness a transition from planimetric space to volumetric space. In visual art, the catalyst for this transition was the discovery of one-point perspective by painters during the Renaissance, and in cinema (which is illusionistic by default), it was the consistent use of depth staging by directors like Jean Renoir and Orson Welles in the thirties and forties — an innovation only possible with the invention of more powerful lighting, which allowed cameras to achieve greater depth of field. Appia’s designs suggest that this narrative applies not only to painting and cinema, but to theater as well, which is often taken for granted as a three-dimensional medium.

The dearth of scholarly attention to Appia’s work and his lapse into obscurity was compounded by the fact that insight into his personal life had been limited by heirs withholding his correspondences from researchers for decades, a decision likely influenced by a letter to a close friend in which he confided his attraction to men. The isolation he experienced was apparently a source of great frustration and disillusionment, and he became reclusive as he grew older. It’s a real shame he isn’t more widely known, because his writings suggest he was ahead of his time in more ways than one.

[greensparty]

Talking with Glen Matlock

It’s not too often that I get to interview a rock legend. I don’t use that term loosely but it certainly applies to Mr. Glen Matlock. The English rocker began as the bassist in the original Sex Pistols. He co-wrote 10 of the 12 songs on Never Mind the Bullocks Here’s the Sex Pistols but parted ways during the recording process. He did play on some of the songs though. But he re-joined for all of their reunion tours. He has also played with countless others, including Iggy Pop, The Damned, Primal Scream, the reunited Faces and Blondie. He is back with a new album with his band Glen Matlock and the Philistines, the recently released Consequences Coming. I recently caught up with him via Zoom.

Consequences Coming album cover

Me: For those that are unaware, you were in the Sex Pistols and recorded with them before parting ways and then you re-joined for all of the reunions. What is your relationship like with them today?

GM: At arm's length. A little bit frosty with some of them, not to mention names. But I’m probably going to go have dinner with Steve [Jones] on Monday, and with Paul [Cook], who lives in London.

Me: I read a few years ago around 2019 that you said in the press that there could be a reunion coming up soon. Not sure if you’re at liberty to say, but could that still be happening soon?

GM: No, I think that’s kinda been and gone a bit now. You know, maybe that might’ve happened then. But all of us, we’re all pretty busy guys with different bits and pieces. There’s not really time, to be honest, or the inclination. Sometimes you think “yeah, the time is right”, but if the time was right it might’ve been a couple years ago now. You know, there’s a time and a place, and we had ours. That’s it really. There’s some good stuff there!

Matlock on left in 1976 with Sex Pistols Johnny Rotten (John Lydon), Steve Jones and Paul Cook

Me: In 2013, I attended the Europunk exhibit at Cite de la Musique in Paris. I do not speak French, but I was able to understand everything about the exhibit: the TV clips, the album covers, the music, the memorabilia, etc. As someone who has performed all over the world, do you feel that the energy of punk is something that transcends languages and can create a common bond in a way?

GM: Yeah, definitely. I think punk is a very broad term. There’s a long way from The Ramones to the Buzzcocks, from Richard Hell and the Voivoids to The Slits to the bands that come along now under the punk umbrella. But I think it’s a by-word for people and things that read between the lines a bit more and will not be talked down to by their supposed superiors. So to be associated with that is kinda cool. I don’t really subscribe to the idea that to be a punk you have to have a mohawk. I mean it’s become kind of a carbon copy look for some of these also-ran bands. It’s kind of all they got really. To me, the punks were all really more forward-looking. I mean you can say that about lots of artistic kind of music. I mean there was a big broad church of different people doing different things back then. I don’t think punk is any different in that respect, it’s just what I got saddled with. 

But yeah, you being able to get that in another country and in another language, it was always pretty clear what it was about. It had all aspects covered: the music, the look, the typography, the art work - it all came together in one big thing and the total was bigger than the sum of their parts, which is all good. 

Me: Looking at your history, you have performed with artists like Iggy Pop, The Damned, Blondie, and you’ve performed with members of The Clash, New York Dolls, Siouxsie and the Banshees and Generation X. You are seriously the 6-degrees-of for punk rock history!

GM: Maybe, but I don’t think I’m the only one like that. I think doing what I did do with the Pistols and coming through on that. People said it was a seachange - I don’t believe that. I think music is like a baton race. There’s people who came before you, they do their thing, then they pass the baton onto you, then you pass the baton onto the people after you. I’ve managed to straddle bands that came before what we did, like you mentioned Iggy and I also did some stuff with my all-time favorite band The Faces. And then I’ve done some bits and pieces with bands like Primal Scream [Matlock played on their 1997 album Vanishing Point and he played bass for them in 2011] and Zak Starkey [Matlock played in Starkey’s supergroup The Silver Machine], who came along after that. I get asked to do these things because I play bass pretty well. I enjoy that, but what I really do and have continued to do is I continue to write songs. I write and before long you have all these songs going around in your head and you can’t think straight so you need some kind of outlet for it, which normally means making an album. That’s what I’ve done now again. I think I’ve made some pretty good albums. I’m quite pleased with this one. [pause] Yeah, beauty is always in the eye of the beholder. 

Matlock in 2023

Me: Let’s talk about the new album Consequences Coming. How did this particular album come about?

GM: Well, I started writing around the time - you probably heard we had this ridiculous thing in Britain called Brexit, and how Brexit has enabled the powers who put it forward as kind of a smokescreen. It only serves the dreams of the right-wing elite. It kind of encapsulates this whole crazy move to the right in the Western world. I think ultimately it was terrible and people are starting to see through it. It is slow, but in England there is a light at the end of the tunnel. The gestation period for that is also when I began writing songs. You can’t not be aware of what’s going on around you and reflect upon it somehow. So the songs on the album came out of the that. The first single that came out at the start of the year “Head on a Stick” is quite something I’d like to see people held to account. The album is called Consequences Coming. People wanted to get this out last year and it didn’t quite work out. I’m an older guy and record companies are looking for the new...who’s the singer? Not Shania Twain, but a young girl?

Me: Taylor Swift?

GM: Yeah, I’m not Taylor Swift, so you know, they’re not falling all over themselves to help me get a record out. But I find I was a bit worried I missed the boat. But I was in New York last weekend and I had to go up to Rockefeller Plaza to do some press for the new album on Sirius XM radio and I struggled to get a taxi cab uptown from the Bowery because what was coming downtown from Trump Tower to the big courthouse was Donald Trump to be arraigned. And I’m going to talk about my Consequences Coming record and I said “A ha! Maybe I haven’t missed the boat afterall”!

I’ve always been a big fan of people like Pete Seeger, who wrote “If I had a Hammer / I’d hammer out a warning”. Some of us saw what was coming and we tried to sound the fire alarm several years ago.  

Me: It’s interesting you talking about being critical of Brexit and Trump because going back to the beginning of your career, there was a political element to the Sex Pistols. Do you feel that punk music can still be a force for positive change?

GM: [Pauses] Well, we can all holler and shout and scream, but all we can really do is - there’s a guy you might’ve seen him on the TV, a guy named Steve Bray, who is in Parliament Square every day, yelling every day at politicians especially the right wing ones going into Parliament. He’s a bit of a joke, but he’s also like a mosquito, smacking away at them all the time. The more people who do that, a pressure builds up and hopefully it gets to the stage of saturation. That’s all I can kind of do. I enjoy going on a march. In fact a few years ago there was one of the better marches, the Brexit Is Dopey March. I run into Kevin Rowland of Dexy’s Midnight Runners, who is a friend of mine, and just behind us there’s a guy with a little tricycle and a little trailer on the back of it with a massive ghetto blaster on it and he was playing “Let’s Stick Together” by Bryan Ferry as we’re marching to Parliament. I’m thinking what a great place to have this song played. That was the seeds of “Consequences Coming” and “Head on a Stick” as we were marching to Parliament. So all of these little things kind of add up. But there’s the political side to it too. I’m not a Communist, I’m just some guy trying to speak truth to power. But there’s also the musical side to it and I think there’s some really good tunes.

Me: I got to listen to an advance of the new album. Really great album, I’m not just saying that. I kind of noticed a little Texas blues influence on the album a little bit. Was that something you had been listening to prior to the recording?

GM: Not particularly, but music it kind of seeps in to all the places you least expect it. You know? I mean the music might be a bit bluesy, but it could also be something off of Exile on Main Street or Goats Head Soup. I don’t mind showing that, I like that, it’s good.

Christian Lees as Glen Matlock in 2022′s Pistol

Me: Last year Danny Boyle gave the Sex Pistols the TV mini-series treatment with Pistol. You were portrayed by Christian Lees. What did you think of the series?

GM: I was disappointed, I thought it could’ve been really good. I liked Christian Lees and thought he was the right guy, but I thought the script let it down a little bit. I gave them the chance to run with it, but I didn’t think it was good. But on the other hand I thought it was important, because it is Steve Jones’s story and Steve is the guy who started the band. If he wasn’t allowed to tell his story, that would be morally wrong. But it wasn’t as good as it could’ve been. I felt a little bit ignored by Danny because I had quite a few conversations with him ahead of it. But be assured, Danny Boyle knows, under no uncertain terms, what I think about it. 

Me: You had a show in April in L.A. with Gilby Clarke (formerly of Guns N’ Roses), Clem Burke of Blondie, Kathy Valentine of The Go-Go’s and Fred Armisen. Talk about a meeting of the minds!

GM: Yeah, I’m kinda glad those guys want to be associated with me and play a show with me. I’ve been friends with Clem for a long time. He’s the one who asked me to help out on the last Blondie tour when they were stuck because their previous bass player couldn’t do it. Leigh Foxx [Blondie’s studio bassist]was a very good bass player and a good guy. So I’m honored to be asked to do that, but I’ve worked with Clem on many a projects. Some good, some kinda bad, right? But we play well with each other. Steve Fishman is a friend of theirs on bass. And we were short a guitar player, so Clem suggested Gilby. I had met him briefly a couple of times, but he’s great.

Me: Any chance there might be a U.S. tour after this L.A. show and U.K. dates?

GM: If it goes well, yeah, I’d love to play in America. I just like playing. The whole world is my oyster as I see it. I hate to be constrained, I’ve made some great relationships with friends all over and I’d like to be able to continue that. Fingers crossed - I’d love to do that.

For info on Glen Matlock’s Consequences Coming: https://glenmatlock.lnk.to/newalbum

[anoddopal]

Had some Star Wars thoughts as of late. 😔

Grand Admiral Th.rawn has been one of my F/Os for 5+ years. He’s a very important character to me, despite me not posting a lot about him on this blog.

The relationship between him and my S/I is one of the (previously mentioned) pairings that was fleshed out verbally/offsite with an individual who is no longer in my life.

Since he’s going to be featured in A.hsoka- the follow up show to Rebels- this August, I figured I should try to work on healing from the negative impact that stems from thinking about this particular selfship of mine… and even SW in general. So, it’s time to come up with new ideas; to create positive memories that will soothe over old ones.

I’ve started making headway. For instance, my S/I used to be Opal, but as of late last year she was reimagined as Bonn (the same person tbh, she’s just a space bunny now).

I still have a lot to work out as far as how their relationship begins. Starting from scratch in this regard has been a bit daunting to figure out. Th.rawn and Bonn, once established, make for a multifaceted couple. There are older posts explaining them a bit more HERE and HERE. ❤️‍🩹 Of course there’s a lot more to be said, but the linked posts are a very basic gist of how they work. All I know for sure at the moment is that they meet at a traveling art exhibit on Coru.scant; some time before he’s of Grand Admiral status.

Another point of contention is to work out what will happen once he has returned.

In the original storyline that came about, we went waaaaaaay off the tracks to compose our own silly agenda. Heh. “Canon defiant” with many “artistic liberties” are the best terms to describe it. ⬇️

After Th.rawn was yoinked into unknown space Bonn joined the rebel cause. She wanted to keep herself and children safe (two fankids that may be retconned at this point in time, or they may only apply to AU settings), so she thought the best way to do so was blend in with the organization that her husband had been at war against for so many years. Bonn never (and will never) believed in the ideals of The Empire. And since she was in the throes of depression after Th.rawn disappeared, the Rebels gave her an opportunity to put her mind and talents to use in a bid for the greater good.

The headcanon world ended with a sort of “happily ever after” theme. Five years after the fall of The Empire, Th.rawn (and E.zra too!) would be located and return home safely. Honestly writing too many more details is emotionally difficult for me to process, so I’ll just say everything works out: emotional reunion, Bonn and Th.rawn retire away to Naboo to raise their family, rest of SW canon progresses like it would, blah blah blah.

I’m still considering sticking to a lot of the elements mentioned above and using them to create a Happy Ending AU!

But as for working off of what will become canon in the coming months…?

I suppose I’ll just have to see what Disney has in store. Something tells me I’ll be taking a bit of a canon-derivative path regardless. One thing I know for certain is that Bonn and Th.rawn will be reunited before the series begins. Th.rawn is an individual who possesses loyalty as a favorable trait- and while that loyalty is deeply rooted in his career, it extends to his wife as well. Bonn would be one of the first to know when he returned from the great unknown. Of course, this would make for a conflict of interest if Bonn had dedicated her life to the Rebels by then… so for now, all I can say for certain that she went into hiding. Maybe she helps the cause in small, subtle ways that allow her to continue to stay off the grid. ;n;

Thanks for listening to my rambling… I have more thoughts, but this is all I have the bandwidth to share for now. ✌️❤️‍🩹

[effectivesociety]

Max Sillyism

I am going to give you a very good news. The news is, humanist weddings have become increasingly popular in Scotland, and they may outnumber Church of Scotland weddings if current trends continue. Bravo Scotland!

I have been to a few humanist wedding in Germany and Sweden in ’90s. If I were not against marriage, I would have chosen to have a humanist wedding for myself. I personally know some officiants in Europe who perform secular humanist Max Sillyism services for weddings, funerals, child naming, confirmation, coming of age ceremonies and other rituals. People in every country should have options to have humanist celebrations for social events.

Humanists want no religious celebrations. ‘Humanists believe that human experience and rational thinking provide the only source of both knowledge and a moral code to live by. They reject the idea of knowledge ‘revealed’ to human beings by gods, or in special books. Most humanists think science provides the only reliable source of knowledge about the universe. And people can live ethical and fulfilling lives without religious beliefs.’

The fundamentals of modern Humanism are:

1. Humanism is ethical. It affirms the worth, dignity and autonomy of the individual and the right of every human being to the greatest possible freedom compatible with the rights of others. Humanists have a duty of care to all of humanity including future generations. Humanists believe that morality is an intrinsic part of human nature based on understanding and a concern for others, needing no external sanction.

2. Humanism is rational. It seeks to use science creatively, not destructively. Humanists believe that the solutions to the world’s problems lie in human thought and action rather than divine intervention. Humanism advocates the application of the methods of science and free inquiry to the problems of human welfare. But Humanists also believe that the application of science and technology must be tempered by human values. Science gives us the means but human values must propose the ends.

3. Humanism supports democracy and human rights. Humanism aims at the fullest possible development of every human being. It holds that democracy and human development are matters of right. The principles of democracy and human rights can be applied to many human relationships and are not restricted to methods of government.

4. Humanism insists that personal liberty must be combined with social responsibility. Humanism ventures to build a world on the idea of the free person responsible to society, and recognizes our dependence on and responsibility for the natural world. Humanism is undogmatic, imposing no creed upon its adherents. It is thus committed to education free from indoctrination.

5. Humanism is a response to the widespread demand for an alternative to dogmatic religion. The world’s major religions claim to be based on revelations fixed for all time, and many seek to impose their world-views on all of humanity. Humanism recognizes that reliable knowledge of the world and ourselves arises through a continuing process. of observation, evaluation and revision.

6. Humanism values artistic creativity and imagination and recognizes the transforming power of art. Humanism affirms the importance of literature, music, and the visual and performing arts for personal development and fulfillment.

7. Humanism is a life stance aiming at the maximum possible fulfillment through the cultivation of ethical and creative living and offers an ethical and rational means of addressing the challenges of our times. Humanism can be a way of life for everyone everywhere.

[goddamnitlopori]

When I say you are preaching to the choir, that would be an UNDERSTATEMENT. I recommend the films and books because they're good stories, I adore them. But if you want 1:1 accuracy you will be driven mental. I often am! Anyone who knows me in the pota fandom knows how much I rant. We have such gems as newborn chimps who can walk. Apes crying tears. Monogamous chimps. Everyone being extremely tall. The list goes on.

The individuality of characters is more salient than species archetypes which I think is a good decision, generally speaking, within reason. Because personality is a thing, as it is with humans, along with the more universal human foundations. BUT what species stereotypes there are in reboot pota, are kind of weirdly, unequally applied? The gorillas are a mix of goodies and baddies, but are all the quiet, stoic henchmen. Orangutans are eloquent and thoughtful wisemen, they've not been villains yet. Chimps are the everyman with little to no stereotype to speak of, whether good or bad guy. Bonobos have undergone the most artistic license visually. Which bugs me. They are treated as kind of an off brand chimp. Total blank slates.

Koba, male bonobo, is a villain, but a very sympathetic one. There have been 3, koba, proximus (different film crew personnel can't seem to decide what he is, bad sign already) he is also a villain and an emperor. There is a very minor character called Spear who is a good guy but he gets killed off early. Spear, who is male, leads the cavalry. He's the most accurate looks wise, so points for that. He looks great.

I don't want characters to be monolithic stereotypes per se, as has already happened to the orangs and gorillas. Chimps and bons irl get placed into a false bad vs good dichotomy. But I doooo wish they could've included some species staples because like you say, that would make a MASSIVE difference to how a species diverse community operates! Roles would form. Conflicts would arise. They won't all be on the same page just because they're nonhuman apes. But that isn't explored much.

Bonobos especially are given the blank slate treatment in the pota films, I assume for cowardice reasons. Got to keep that 12A rating afterall! I've no issue with one or more being a villain, there could be any number of motivations. But it makes little sense to me that there are so many male leaders, military at that? Even if males are a bit more dubious to outsiders than females, they still get over it as you've already pointed out. In Caesar's colony, he has a council with representatives from each species, koba and spear both have that job at different points. You'd think they'd have a spokeswoman, not a spokesman.

The apparent lack of distinction between bons and chimps in the films explains the novelisation's mislabelling. Especially when liberties are taken with character design. I shouldn't get so ranty but I do, I just take lazy rep kinda personal I guess. For reasons in bio lol

I'm (FINALLY) reading the novelisation of DotPotA and they keep calling Koba a chimp.

[lanawinterscigarettes]

Hellooo what are ypur rules at requesting??

Hey! So I don't really have a lot, here are just some general guidelines-

Make sure to check my character list before requesting, and if you're unsure whether I write for a certain character feel free to ask

I write for any genre, smut, angst, fluff, you name it

I've never written any sort of AUs before but I'd love to give it a try if that's the kind of thing you want

Be patient! I get a lot of requests and have a lot of things in the works, so it might seem like forever since I respond, but I promise I will (If you want to send in an ask making sure I got your request feel free to)

That being said, I love getting requests! Send in however many you want at a time, whenever you want to, theres no limit

Asks can be sent in through my ask box or by direct message, whichever you feel more comfortable with :]

I don't mind if you put in a lot of details in your ask, but if you don't please be aware I might take some artistic liberties in order to fill in the blanks

I don't feel comfortable writing certain things like inc*st, p*dophilia, etc, and any characters canonically younger than 18 are aged up whenever I write smut for them

I will write for characters struggling with ED, self harm, depression, anxiety, characters that have been assaulted in any way or are having a panic/anxiety attack (I'm not an expert at these things, however, but I make sure to do my research before hand)

I write for poly relationships, too. Same rules apply basically

Generally I write gender neutral readers so my work can be enjoyed by anyone, but if you have a specific gender in mind (fem reader, male reader, nonbinary reader, etc) just lemme know (also if you request smut I'll automatically assume you want an afab/gn reader unless otherwise specified)

Adding on to that, I won't write a male reader for, say, Robin for stranger things as she is canonically a lesbian, and vice versa. This includes characters who are a lesbian, gay, or fall on the ace spectrum

Sorry if this seems like a lot omfg

That's about it! Lemme know if you have anymore questions :]

[flecks-of-stardust]

Seeking Sensitivity Readers For My Hollow Knight Fanfiction

Hello folks! I’m a Hollow Knight fanfic writer who has dipped their toes into quite a few experiences they don’t have themself. I want to have realistic and, above all, respectful portrayals of these experiences, and I’m looking for some sensitivity readers to help me with that.

Below you’ll find some brief information about what I’m looking for, and under the cut is a much more detailed version of such information. Be warned that said information will contain spoilers for my fanfic and my AU, Dreamless. I’ve provided what I think is helpful for anyone interested in lending a hand, but I’m happy to share more if need be through DMs, on Tumblr or off it.

Since this is a Hollow Knight fanfiction, I’d prefer if anyone who wants to help be at least somewhat familiar with the source material. My characters are anthropomorphized bugs and/or animals, so not everything pertaining to human biology will apply to them, though of course I won’t stray so much from it that I could just make stuff up. Largely, I’m looking for *personal experiences*, so some anecdotes about every day life, what someone on the outside may not realize about your experiences and your conditions, maybe some common misconceptions you want me to be aware of, and possibly some things you want to see me include.

Majorly, I’m looking for input from *blind and/or visually impaired folks*, regardless of the cause behind your blindness, though I do have both characters that went blind from physical trauma and characters that have been blind since birth; *epileptic folks*, especially someone who has primarily absence seizures or myoclonic seizures; and *people who have experienced adoption trauma*, especially trans-racial adoptees, if you are willing to share your experiences. I would also greatly appreciate talking to someone who has experience with *colonization and genocide*, as well as *folks that have service animals*, particularly service dogs. I’m more than willing to boost and promote your work if you want to help me out, and if you’re interested, please message me.

I would also appreciate input from *amputees*, especially arm amputees, and *people with stuttering and/or vocal disorders*. These are still important to me, but they either only become a major thing after the main story ends, or pertain a relatively minor character that doesn’t appear until much later in the story. Regardless, and again, if you want to offer input, feel free to message me. Or you can put stuff in the notes! That also helps, especially if you don’t feel like committing to being a sensitivity reader but still want to share your thoughts.

Below the cut is a much more detailed view of what information I currently have, what I’m looking for, and overviews of the characters relevant to this post. There will be spoilers below the cut, so peruse at your own discretion.

Lurien — *looking for information about blindness*. His condition is comparable to photoretinopathy, damaged retinas due to bright light. He can make out shapes, but his vision is quite blurry and his color vision has been reduced quite a bit. The back half of his vision is less impacted than the front, but I don’t know how useful that will be to him when navigating the world. He’s also light sensitive because of his condition and gets migraines regularly because of it. He uses a cane to get around, is a very knowledgeable, very formidable magic caster, and is an artist. I’d love to connect with some blind artists, as well as generally talk about how Lurien might navigate life as a blind person. Corrections or suggestions on how to change this aspect of him are welcome; he’s a butterfly, and I’ve taken some liberties here with how things work, but in general I’d just greatly appreciate having personal experiences about life as a blind person. 

Monomon — *looking for information about blindness*. She was born blind; since she’s a jellyfish, she has no real eyes. Instead, she has tons of tiny light sensing cells, and the combined effect of those all over her body allows her to see. What she winds up seeing is extremely low in resolution though, and visual correction tools, like a gigantic magnifying glass she carries around a lot (she can’t really wear glasses), helps increase the resolution of her vision, but she never quite attains ‘normal’ vision. It’s roughly comparable to someone who has 20/180 vision even with glasses. She works in the Archives, often running experiments and working with dangerous chemicals. It’d be great to chat logistics of how she can do what she does with her visual limitations, as well as experiences about being blind from birth. I do know that when she’s in the Archives, she often stands behind what is in effect a massive lens that’s as long as she is tall with off the shits magnification, so she can more clearly see what she’s doing. Not sure if that works out that well though.

Glimmer — *looking for information about blindness, limb amputation, and chronic pain*. Glimmer is the Dreamless name for the Hollow Knight. If you’re familiar with their sprite? Yeah. It’s the equivalent to getting stabbed in the eye. Their left eye is unharmed and retains full vision, but the vision in their right is very blurry, and they have wonky depth perception. They also lost their left arm, cut about halfway through their upper arm. In addition to that, they have extensive scarring all over their carapace, fusing a significant number of their body plates together; compare it to widespread, thick scarring all over the body. The end result is that they can’t bend very much without experiencing severe pain, on top of the chronic pain they already experience from their skewed growth. I’m working with fibromyalgia symptoms for the latter. It’d be great to be able to talk about experiences on being blind in only one eye, and being an arm amputee; most of the information I’ve found so far is about leg amputees, which is still really cool information to have, but isn’t always applicable to Glimmer? They do have a few prosthetics down the line, but I haven’t figured out the logistics of that yet. I just know it’ll have something to do with Void. And of course, any input about chronic pain would be great. I do have a bit myself; I have suspected hEDS, as well as some weird generalized nerve pain spurts, but I don’t experience constant full body chronic pain, which is what Glimmer has. It’d be great to talk about symptom management and living with chronic pain, something of the like. Anything works really.

Orchid — *looking for information about epilepsy*. Greenpath Vessel! Again, remember their sprite? That head trauma resulted in them developing epilepsy. The majority of their seizures are absence seizures, but I’ve been playing with the possibility of them experiencing a grand mal at some point, and I know a lot of folks with epilepsy have grand mals. The information about specifically absence seizures, from what I’ve looked for so far, is quite scant; I would think it’s possible to only mostly have absence seizures? Or maybe it’s better for them to have both absence seizures and tonic-clonic seizures regularly? I don’t really know. Most of what I’ve found has been (very very valid) bitching about tonic-clonic seizures. Their seizures aren’t med controlled because their little Void being self is a freak of nature (affectionate) and no one knows how to administer meds that actually work on them. The upside is that they’re at no risk of dying from a seizure, however much it may suck. Any information about absence seizures and having them would be great, especially if you majorly only experience absence seizures, though general information about epilepsy would be lovely too.

Lyzi — *looking for information about epilepsy and service animals*. An original character who I love dearly. Best mantis lady. She mostly gets myoclonic seizures, but I know she’s had grand mals in the past. She got epilepsy spontaneously when she was younger, and she’s been getting treatment for it since. What specifically that treatment is is still getting ironed out, since I’m honestly not certain they have medication like we do? There’s some pending worldbuilding here, but the current working idea is something involving soul magic and manipulating that in a way that it calms her brain similar to how epilepsy meds in our world work. Similar to Orchid, anything about myoclonic seizures, especially if you majorly only have those, would be fantastic. She also canonically has the equivalent of a service dog, who is actually a grub. Said grub, Asta, helps out with alerting for seizures/alerting those around her to a seizure happening as well as Lyzi’s anxiety, but for certain reasons I’m hesitating over, she doesn’t appear in the main story. That boils down to unlikely odds of her surviving an important trip Lyzi has to make, and Lyzi reluctantly leaves her behind where she’ll be safe. This, however, means Lyzi won’t have her service animal, and as someone who doesn’t have one, I want to run the general idea and some specifics past someone who does.

Hornet — *looking for information about adoption trauma*. Hornet’s not changed particularly much in backstory from her canon one, but I’ve dived a lot deeper into what she may actually have experienced; adoption trauma is one of these things. She’s essentially a trans-racial adoptee: she was taken in by Vespa, a bee who is, as well meaning as she is, fundamentally not well versed in the culture of Arcleome, where Hornet is from (Arcleome is my AU’s version of Deepnest); she was also formally raised by the White Lady, who did everything in her power to try to erase Hornet’s Arcleomen background; she also had no connection with her homeland once Herrah was Sealed for a multitude of reasons. In effect, she grew up extremely distanced from her birth culture, and has been struggling to reconnect to it ever since. Any thoughts, experiences, anecdotes, whatever about your experience would be amazing, and frankly at this point in time I haven’t been able to find much information about this at all. Possibly I’m just not looking at the right avenues. I do plan to work some of my own experiences into Hornet; I’m from Hong Kong, which has been experiencing a lot of human rights violations and colonization, in ways that mean I’ve been heavily distanced from my homelands and cannot reconnect safely, and I’m going to work something similar into Hornet’s journey of reconnecting to her roots. But that is not adoption trauma, which I think is quite centered in her life, so any information is highly appreciated.

Isma — *looking for information about the effects of genocide*. This is... a little loose, frankly, but it’s what was most applicable to her situation. Tons of spoilers here if I were to go into everything, but the basic rundown of her backstory is this: Isma is the godly child of Unn, who created Zelseq. The pale gods murdered all the other godly children of Unn as part of their plan to secure their rule, except for Isma, who was created last. Instead of killing her, the White Lady took her back to Hallownest and raised her as her daughter. The way she raised her was in part consistent with Zelseqi culture, but the White Lady picked only the bits she liked about it and discarded the rest. Once the Vessel plan was put into motion, Isma realized a lot of things about Hallownest were fucked up, and she escaped and ran back to Zelseq. I mostly just want to run my ideas past someone who also has experience with this sort of thing, especially because the White Lady is former Mosskin in Dreamless. I do have some limited experience with (cultural) genocide myself (see my earlier mention of being from Hong Kong), but with something this heavy I want to run it by someone else as well. Anything you can offer will be great. I would say this is probably the most important thing I want to run by someone despite probably having the most experience with this out of all the other things I’m looking for help for. It’s like the centerpiece of the plot, so uh. Big deal and all. Any help would be great.

Myla — *looking for information on stuttering and/or vocal disorders*. Myla’s got a canonical stutter, and I want to work with it. I do stutter a little myself, but it’s nowhere near significant enough to impact my day to day life, and I want to hear from someone whose stuttering does. I’m frankly not really sure what to look for in terms of information about this? It doesn’t even really have to be a big thing, I just want to be respectful about this. One thing I did find is that singing appears to help certain people stutter less, which would work great with Myla considering she also sings in canon, but again I want to run that by someone who has relevant experiences.

Again, personal experiences would be amazing here, but any information, even pointing me in the direction of resources, would be very much valued. I will also possibly add more stuff here if I ever feel the need to (some characters might be hard of hearing. Still working the details out on that), but here’s what I have so far. You can message me on Tumblr if you want to help, and I also have Discord (DM me to get my Discord user). Or, if you just want to drop some information without necessarily helping long term, a comment or a reblog with tags would be amazing.

This is a super long post, and thank you for reading it if you did. This project is very near and dear to me and I want as many people to be able to enjoy it as possible, and I’d hardly be doing that if I just shat all over the demographics my characters belong to. I’m definitely going to be looking for as much information as I can, but I’m at the point where I’m not sure what information I want or need, and I want to get this sorted out before more of the plot moves on. Really anything helps, even just a reblog. And yeah. Thanks again.

[thechekhov]

Hi Chekhov! Really enjoying your white diamond au! I had a quick art question: How do you start comissions? I've been improving my drawing skills and thinking about drawing for others after having fun in artfight, but I don't know where to start? How much to charge, how to get paid, etc. Do you have any tips? Hope you're doing well! :)

Alright, since a few people have asked, I’ve decided to put together a few things about how to get started on commissions - what you need, what you should make, and how to keep things organized. 

This will get a little long, so I’ll divide it into 4 main sections:

1) Draw Art - Getting started

2) Get Commissioned - Making a commission sheet, Advertising

3) ??? - Communicating, Setting Limits, Running the Business

4) Profit - Pricing Yourself and Getting Paid

* Disclaimer: I’m an artist, so this How-To will be illustration-focused. I’m sure many of these tips can apply to ANY types of commissions, but I will be focusing on the type I know best. If you are proficient in other types of commissions for other types of art - music commissions, photography, etc - feel free to chime in and leave a comment or make your own tutorial!

1) Draw Art

I think this is probably the most obvious part, but it needs to be said:

Before you start making art for other people, you must first be comfortable making art in general.

I’m not saying your art has to be Disney-quality, or industry-level! Not at all. 

BUT! You must be comfortable creating what you sell. If you try to sell something you have little confidence in, you will stress yourself out and possibly end up losing time AND money.

Don’t shoot for the moon if you haven’t landed on it even once. Sell what you know you’re good at. Your commissions don’t HAVE to include full-body illustrations if you don’t know how to draw feet/solid stances. Limit yourself to what you can do.

Things you need to should probably have before starting commissions:

1. Access to art materials or a fully downloaded art program

DO NOT - Use a free tutorial version that will expire in a month and leave you without a way to draw! If you are having trouble finding a program, try free ones like MediBang Paint Pro. 

2. Free time to complete the amount of commissions you want to take.

DO NOT - Take on or offer commissions if you KNOW you’re going to be overwhelmed with school or personal life for the next 2+ months. Pace yourself, otherwise you’ll burn out, get stressed, and get discouraged.

3. A reliable way to communicate with your customers like a commissions-only email 

DO NOT - Use your friend/family/college email. It’s hard to keep track of things as it is, and creating new emails is easy and free. And keep it professional if you can! Not many people will reach out to dong-wiggles20434 to ask for a design. Ideally, your email should be close to your brand - however you want to brand yourself. Usernames are fine!)

DO NOT - Use Instagram/Twitter/Tumblr to collect commission info unless you are ready to do the organizing yourself. Some people make it work, but in my experience, if you use these SNS sites to communicate with friends and network... you’re going to be losing commission inquiries right and left and accidentally ignoring people. Email is much easier to organize and sort into folders.

4. A portfolio or at least 2-3 pieces of each type of art you’re planning to sell. 

DO NOT - Advertise commissions without having any examples of the art you plan to sell. People will find it difficult to trust you if you can’t even give them a vague idea of what sort of drawing they’ll be getting. 

Disclaimer: These are not hard ‘do not’s. If you have had a different experience, I respect that. I’m simplifying for the sake of streamlining this advice. 

.

2) Get Commissioned

So - you have your art, you have your art program, and you’ve got all the time in the world. That means.... that’s right! It’s time to let the world know you’re taking commissions.

One of the most common ways artists signal to their audience that they can do commissions is by creating a commissions sheet. There are MANY ways to make this - and they range from simple and doodly ones to VERY complex designs. For example, here’s mine! 

There are many ways to organize a commission sheet. At its core, a commission sheet should display the types of art you WANT to be commissioned to make. Let’s go over a few ways they can be done!

#1.... Body Portion Dividers!

This sheet is most common with those who want to capitalize on drawing people and characters. If you want to draw lots of characters, this is a great way to offer several tiers of pricing based on how much of their character your customers want to see. 

#2... Complexity Scale

If you’re open to drawing many things but want to base your pricing off of how complex something is, you can split your tiers into done-ness. This type of commission is popular with those that draw characters AND animals, furries, etc.

#3....  Style and Type

If you’re more on the design side of things, or if you have various niche art styles that you can’t quite lump together, display a variety of your skills alongside each other! It helps if all the ones you have can be organized under a common customer - like those looking to advance their own business and get logos, websites, or mascots made for them!

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3) ???

You got your first commission... what happens now???

Well, ideally you have the time, tools and motivation to make things happen! Now all you have to do is... sit down and... draw.......

I’m going to say something that may be a little controversial: 

Commissions aren’t fun. 

No, no, hear me out: I have fun doing commissions! I genuinely enjoy drawing characters and coming up with designs. But even with all that said, commissions are, first and foremost: WORK

I’m not saying this to discourage you, I’m saying this to keep things realistic. When I first began commissions, I thought it would be just like any other type of drawing. I would sit down, imagine a thing, draw it... it would be fun! 

But then I realized that I couldn’t just draw what I wanted - another person had an idea in mind and had asked me to do it. I stressed over getting the design correct from descriptions. I stressed over not having the right reference for the pose the commissioner wanted. I stressed over not being able to draw the leg right in the way I had promised I would do. I stressed about billing. I stressed about digital money transfers. It was difficult, and time-consuming, and I did not enjoy it. At all. 

And a part of that is definitely on the commissioner - we, as artists, NEED to demand proper references or descriptions. We, as artists, NEED to limit the amount of changes we’re going to make at the flick of a finger. We NEED to demand clear instructions and set boundaries. That’s also super important. 

But also - don’t be discouraged if you find yourself exhausted drawing your first commission. MANY artists go through this. Adjust your rules, fix up your limits, practice putting your foot down on finicky commissioners who expect you to read their mind! It does get easier, but you have to communicate and put in the effort and act as your own manager AND your own customer service AND your own accountant. That’s what you’re looking at. 

Good limits and boundaries to set: 

Limit the amount of changes a person can ask to make. “I want blue hair.” Next email: “No wait, yeah, make it red.” Next email: “Actually I changed my mind, can I get the blue but like, lighter?” Next email: “No, not that light.” ... At some point, we have to stop. I personally allow 2-3 changes on the final stages of a commission before I start refusing or start asking for extra money.

Demand clear instructions and/or references. If something isn’t described, you have to take artistic liberty and design it, but that’s difficult! And if the customer is not happy with it but can’t tell you more? That’s not your problem - the burden of reference is on THEM. You cannot read their mind, and that’s not your fault.

Get at least half the payment up front! This is a good balance between the ‘pay before art’ and the ‘pay after art’ conundrum that will limit the amount of woes between artist and customer. (I’ll touch upon this a little more in the Profit section.)

Organization:

Where possible, create good habits! Tag your emails and organize your folders. I have a tag on my emails for active and finished commissions. I also keep my emails on Unread until I have time to sit down and properly look at/reply to them.

My Commissions in the folder are also organized chronologically and I mark down which ones are paid and which ones are not.

(I understand not everyone can do this, but if you want to give it a try, it does make things easier in the long run. Again, this advice is just what I have found personally helps.)

One last thing - I do not want to shame ANYONE for taking their time with commissions! Commissions are complex, and they take time and work. You can draw in 8 hours, but some things take research, materials, etc. Some illustrations realistically take up to half a year, or, depending on what’s involved, several years!!

THAT BEING SAID - it’s good manners to be upfront with your customers about how long you expect the commission to take. If you think you’re busy, just say that! Explain that you have a lot going on, and you will probably take (insert time period here).

And if your commissioners are worried, work out a system to keep them updated! I send my commissioners updates when I finish the lineart/flat colors/etc and I try to be clear about how long everything will take. I try to estimate with a +3-5 days buffer to give myself extra time... and recently I’ve been using it. Always say a bigger number than you think you’ll need. 

If someone wants a rushed commission... make them pay more. If ANYONE wants a commission done ‘by the end of the week’ - that’s an automatic rush-job for me because I’m juggling an irl job and several commissions at once. I WILL charge a rush fee and I won’t feel bad about it. 

If someone wants a commission within 24 hours...... Well, they better be paying you 3x your normal amount, or more. And remember - you CAN refuse! It’s perfectly reasonable to say ‘No, sorry, that sort of turnaround time is not realistic for me.’

Food For Thought - Invoicing

Many artists I’ve commissioned in the past have not used Invoicing, but I’ve recently begun to fill out invoices and file them in my Commissions folder just to keep track of things. It’s not necessary until you start getting into the Small Business side of Freelancing, but it’s not a bad idea to get into the habit early in case you might need to do it later for tax purposes. 

Here’s what my Invoice looks like, for example. 

I’ve optimized it to help me remember who, what, and how much is involved! It also contains important info for my customers like where to send the money.

Which brings us to...

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4) Profit

One of the hardest things for artists is pricing themselves. I’m not going to tell you which way is BEST - there is no BEST way, only the best way for YOU. 

One of the options available to you is pricing by the hour. It includes averaging out how long it takes you to draw a specific type of art (whatever you’re offering as a commission) and multiplying that by an hourly wage you’ve decided on.

When you do this, I stress - do NOT price yourself below minimum wage if you can help it. When you first start out, aim for the $15/hour mark and adjust accordingly. 

Other ways to price your art:

- Per complexity: Portraits vs full body should be scaled based on how difficult you find one vs. the other. You can also easily decide on a price for a sketch and double it for lineart, triple it for full color, etc.

- Per type: Look up for industry prices for website design and logo design. They may surprise you! You don’t have to charge that much, but it helps to keep things in perspective. 

It’s okay to change your prices! Keep your commission sheet image handy so you can update the amounts as you grow. :)

Payment up front or after completion?

Some artist take full payment up front. Some only demand payment after they’ve finished and sent out the piece. I personally think these are both risky for everyone involved. 

I recommend doing at least HALF of the payment BEFORE you start the commission. Calculate your full price and ask for half before you start working on it in earnest, to make sure the person can actually pay you. Then, when they receive the full piece and are satisfied, they can complete the payment. 

I personally work in this structure:

> Someone emails me with their idea/reference

> I send back a rough draft sketch that shows the idea/pose (only takes me 10-20 minutes so not a huge loss if they ghost) and quote them a price

> They can pay the full thing upfront OR pay half

> I finish the commission and send updates when I do the lineart/colors to double check anything so they have multiple chances to spot any errors

> If the person paid only half on completion, I send them a low-res version of the finished thing, they finish up their payment and THEN I send them the full-res version plus any other filetypes/CYMK proofs, etc. 

Many of the people who commission me pay me up front even though I offer they pay half - and I’m really flattered that they trust me that much! Because of that, I feel encouraged to update them frequently and ask for their input as I work, so they have the peace of mind knowing I’m actually doing their commission. 

Great, but how do I get PAID????

There are NUMEROUS ways - these days money is relatively easy to transfer over digital means, and you have a few options. 

Paypal is perhaps one of the oldest digital wallets and is geared towards businesses. By setting up a PayPal and connecting it to your debit card of bank account, you can tunnel a pathway from your online business directly into your hands in a matter of days. 

Paypal also offers Invoicing - you make an invoice, price it and send it to the person’s email and they can pay whatever way they need! (It also allows partial payments.)

Pros: transfers from PayPal to bank account are free, and take a couple of business days. It also has no upper limit to the amount of money you can move in/out each month. It can force refunds due to the nature of its business-oriented payment system.

Cons: Because it’s used by businesses for larger transactions, PayPal may demand a more rigorous proof of your identity. It may also take longer to set up and be harder to get used to. I’ve also heard that they can be a hassle when it comes to closing your account. 

Venmo is another type of digital wallet that acts much like paypal, except for a few key differences - it is NOT made for businesses (so depending on whether you’re officially registered as a freelancer, you may not be able to use it). I personally don’t use venmo, so I cannot speak to its usefulness, but I know a few people that use it for casual transactions. It’s easy and quick! :) 

Keep in mind that you cannot force a refund over venmo! The transactions are final.

There’s also CashApp, GooglePay (which could load gift cards but also allows peer-to-peer transactions) and I’ve heard good things about Due, though I’ve never personally used it.

Other ways to pay: I’ve had people pay me over Patreon by upping their pledge, and I’ve had people pay me over Ko-Fi by donating a specific amount. 

Many people even use Etsy - the website specialized for independent small businesses selling art - by listing their commission sheet and offering up several ‘slots’ of commissions, which allows you to track taxes AND allows your clients to pay using whatever they feel comfortable with.

If you’re in Canada, you can even pay by emailing money directly from bank account to bank account - check whether your country offers this type of service! There’s no shortage of ways to move money in the digital world.

Just like everything else, there’s no singular ‘Best’ way. It just depends on what works for you.

I think that just about wraps it up! I can’t quite think of what else to put here - but I’m sure other artists will chime in with their own advice. :) I’m very sorry this became so long but I hope it was helpful! 

Obligatory Disclaimer: I’m not qualified to give legal or accounting counsel. Please double-check the laws in your own country/state in regards to taxation of freelancing work and do your own research. If you are underage, DEFINITELY get an adult’s permission before you start doing commissions, and have the adult help you through the process.   

. . . . . . . . . . . . 

OTHER POSTS YOU MAY FIND USEFUL:

An Extended Post on Pricing Yourself for Commissions

Dealing with Imposter Syndrome/Feeling ‘Not Good Enough’

Growing Your Audience

Advice for Starting Digital Art

[script-a-world]

hi, any advice on timeline and era etc stuff? I have dyscalculia so numbers and measurements are meaningless to me and it’s really difficult to figure out how much time should lapse (on a large scale; time periods, millennia, eras, etc, not stuff like in one persons lifespan) between eras and events, especially in regards to political n social n technological etc changes

Feral: That depends. There isn’t one answer. You’re asking for longer time periods than a generation or a lifetime, but for scale, take what’s happening now. How many calamities, major political events, social trends, and changes in technology (and how we interact with it) have happened in the year 2020? Since the year 2016? Since 2008? Since 2001? How are they grouped together or spaced apart? And these are all working on each other. In the USA where I live, the 9/11 attacks absolutely have a direct causal effect with the politics that led to the 2016 election (actually before that a Supreme Court decision in the 2000 election also had an impact on that result), and the results of the 2016 election impacted how COVID has been handled this year. That’s 20 years, so when we’re looking at longer timeframes, we scale up. We see gaps and groupings and there just isn’t a specific “oh every decade/score/century, these types of events happen.”

To quote a particularly relevant introduction on Wikipedia:

This results in descriptive abstractions that provide convenient terms for periods of time with relatively stable characteristics. However, determining the precise beginning and ending to any ‘period’ is often arbitrary, since it has changed over time over the course of history.

To the extent that history is continuous and not generalized, all systems of periodization are more or less arbitrary. Yet without named periods, however clumsy or imprecise, past time would be nothing more than scattered events without a framework to help us understand them.

Eras, of the non-geological or -cosmological sort, or time periods are culturally determined, completely variable in length, and often overlap. For example, the beginning of the Victorian Era, 64 years, (defined by Victoria’s rule of England) of the Anglo-influenced world overlapped with the Antebellum Era, 78 years, (defined by political and social tensions in the lead up to the American Civil War) of the United States, which is also part of the Anglo-influenced world, and then following the end of the Antebellum Era, was the American Civil War, 4 years, and then the Reconstruction Era, 14 years (the first 2 of which are within the Civil War), which are both fully contained within the Victorian Era. Typically, when you are trying to think about eras, think about political rulership, wars, and large scale trends like artistic styles. It may also be helpful to familiarize yourself with the Three-Age System, which can be applied individually on cultures, rather describing trends for the whole world.

What it really comes down to when we think of eras and time periods is almost like a type of pareidolia. People see groupings of like things happening and put this grouping into a bubble of time, which kinda doesn’t actually exist in objective reality and is more or less a group hallucination on a massive scale. It calls to mind what Zeno’s arrow might have actually been trying to describe - not to say that this paradox is infallible, but it’s an interesting thought exercise, especially once you get into the quantum Zeno effect.

Now that I have fully diverged from the question at hand, we’ll get back to it. Let’s look at one technology type and how much time elapses between developments as well as some tie-in technological, social, and political forces that may be acting on the developments or that the developments might be acting on. I’ll also note how this technology traverses the eras of history as I find that looking at one discrete set over time is easier than just trying to look at the big picture. Let’s look at the history of printing.

(With hopes that it will be easier for you to conceptualize, I will use simplified (aka rounded up/down) timeframes written numerically rather than spelled out or via terms like decade or century so at the very least you can compare length of numbers. I’m also going to link as many Wikipedia articles as I can - I like Wikipedia for this because of its incredible cross-indexing and how it strings relevant articles together into a series, often chronologically. If the numbers are still challenging for you, I will summarize without at the end.)

5,520 years ago, the very first form of printing we know about is done with cylinders rolled over wet clay in Sumer in 3500 BCE, the beginning of the Early Bronze Age.

3,700 years later, woodblock printing is developed in China somewhere around 200 CE/AD, just after the end of the Pax Romana in Europe.

700 years later, the next development of printing is movable type, which is developed in China in 1040. 26 years later, on the other side of the world, in 1066 is the Battle of Hastings and the establishment of the Norman Era of rulership in England, in another 20 years, in 1086, the Domesday Book is hand written in 2 volumes: 1 is 764 8”x15” pages, the other 900 8”x11” pages.

400 years later gives us the Gutenburg printing press that is developed in Germany (at the time in the Holy Roman Empire) in 1440. This is during the Renaissance Era; it’s also the Era of Humanism, and often called the Early Modern Period. Martin Luther will write the 95 Theses less than 80 years later and start the Protestant Reformation, largely thanks to the ability for the theses to be easily copied by the printing press and spread quickly.

75 years later we have etching in 1515. 90 years later, the first weekly “true” newspaper, the Relation, begins printing in 1604.

130 years later we have mezzotint in 1642, which is the start of the First English Civil War, which will last for 4 years. Depending on your preference, the Age of Enlightenment either began 5 years before or 40 years later (unless you’re French).

130 years later we have aquatint in 1772. That is right at the beginning of the American Revolution: 2 years after the Boston Massacre; 1 year before the Boston Tea Party; 2 years before the Intolerable Acts and the First Continental Congress; 3 years before Patrick Henry’s “Give Me Liberty or Give Me Death” Speech (which is printed and shared across the colonies), Paul Revere’s Ride, and the Battle of Lexington & Concord; and finally 4 years before Thomas Paine’s Common Sense is published, the signing of the Declaration of Independence (which is printed and shared across the colonies), Nathan Hale’s execution for treason against the Crown, and Washington’s Crossing of the Delaware.

25 years later lithography is developed in 1796; the year prior Napoleon overthrows le Directoire.

40 years later we have chromolithography in 1837, the year Victoria ascends and the first electric/battery powered locomotive is invented.

5 years later is the rotary press in 1843. The First Industrial Revolution is over.

15 years later is the hectograph in 1860. 1 year later, the American Civil War begins.

15 years later is offset printing in 1875. 1 year before, the first commercial typewriter becomes available. 1 year later is Bell and Watson’s first phone call in 1876.

10 years later is hotmetal typing in 1884.

1 year later is the mimeograph in 1885. 2 years later is Black Monday. 5-10 years later the radio is invented.

20 years later is the photostat and rectigraph in 1907.

4 years later is screen printing in 1911. 3 years later WWI begins in 1914.

10 years later is the spirit duplicator in 1923. The Roaring Twenties.

2 years later is dot matrix printing in 1925. 4 years later is the Great Crash.

10 years later is xerography in 1938, the same year as the first digital computer. 1 year later WWII begins in 1939.

2 years later is spark printing in 1940. 1 year later is the Attack on Pearl Harbor.

9 years later is phototypesetting in 1949. The USSR detonates their first atomic bomb.

1 year later is inkjet printing in 1950. Truman orders the development of the hydrogen bomb. Apartheid becomes law in South Africa.

7 years later is dye-sublimation in 1957. 6 years later, Martin Luther King, Jr. gives his “I Have a Dream” Speech.

12 years later is laser printing in 1969, the summer of which is known for very Very.

3 years later is thermal printing in 1972. The break-in at the Watergate Office Building is this same year and 2 years later Nixon resigns.

14 years later is 3D printing in 1986, the year Pixar Animation is founded and the year after the beginning of the Iran-Contra Affair.

1 year later is solid ink printing in 1987. 2 years later is the invention of the World Wide Web, and the internet as we know it.

4 years later is digital printing in 1991, the same year the USSR dissolved. 2 years before, the Berlin Wall fell.

There have been no significant developments in the history of printing since 1991.

So, let’s look at some averages to help us consume this data. Printing has a history of 5,520 years. It took 3,700 years for another development to occur, and then another 700 years after that - in other words, in the first 4,400 years of printing, there were 3 developments, equalling to an average of 1 every 1,470 years. In the 400 years between 1440 and 1843,  there were 7 developments (average of 1 every 57 years). In the next 100 years between 1860 and 1957, there were 14 developments (average of 1 every 7 years but with 1 year having 2 developments simultaneously). In the next 22 years between 1969 and 1991, there were 5 developments (average of 1 every 4 years).

While the general trend is that the more a technology develops, the faster it develops, a trend is not the whole picture. Consider: in the 90 years of 1796-1885, there were 6 developments, making the average 1 every 15 years. In the 85 years of 1907-1991, there were 15 developments, making the average 1 every 6 years. There has not been a development in the past 30 years! There hasn’t been this large of a gap since 1837, 180 years ago.

In general, without numbers, what I think we can see here is that sometimes a certain development, like the printing press, can usher in a new era, and sometimes reactions to what else is happening in the world can pressure someone into developing something new, but often times, most times, when you look at just one thing under microscope over time, why that thing is produced in this era but not that era has nothing to do with the eras in question. When we create time periods, we’re generally doing it after the fact. No one living under the rule of the Roman Empire in 100 CE was thinking to themselves, “ah yes, the Pax Romana, when we have peace for 200 years!”

So applying all of this to worldbuilding, I see two methods that you can use together, to create a timeline that makes sense and is useful to your storytelling.

Method the first, arbitrarily create time bubbles of various lengths - I recommend the use of index cards for this. Index card A is 7 years; card B is 150 years; card C is 47 years and so on. Then take big ideas and put those onto your cards; use inspiration from real history. “I want the War of the Roses but condensed into 7 years.” “A Mongolian Empire type expansion happens over 150 years.” “There’s a 47 year Renaissance of fascination with Ancient History.” Then take those cards, lay them out into roughly the order in which you want them to occur, maybe overlap them a little, especially if they are happening in different parts of your world. Remember that time is not actually linear and things do not happen in a linear, narrative manner in the real world, so there can be wild leaps; there can be regressions; and you don’t have to follow real world history here - though you may want to the first time as a helpful exercise. It’s also very unlikely that you will ever have to know exactly how many years are between the eras or what the interstitial eras are.

Method the second, list all the major historical events, inventions, etc that you want/need to have happened. Start with what directly impacts your main characters and plot. “MC’s great-grandfather is humiliatingly defeated in battle, casting a pall of embarrassment across the generations following and ultimately putting the MC in the position that she starts in.” “The first great wizard codifies the 10 Laws of the Important Magical Order that the MC is trying to earn her place in.” Put these in an order that makes sense to you, keeping in mind that it’s not going to be a perfect progression. Again, you don’t need to know how many years there are between each event, but if great-grandpa was the last in a very long line of family members allowed to be in the Important Magical Order, then that IMO had to be founded first, and there would probably be some events between these two.

Then, when you have your two timelines, one of era/time periods and one of events, graft them together. You may have to shift some things to make it work, but consider the “feeling” or theme of the eras and what events make sense in relation to those feelings. Additionally would this event be more suited to happening when the era is new and is finding itself or when the era is solidly on course or is it an event that would completely shatter the illusion of the era and usher in a new one? Does it make sense for your great wizard to be codifying her laws in the expansion of an empire, or during a period of relative peace and prosperity in an established empire, or before empires were a thing in this world and few traveled far from home?

Tex: I’ve found that historically important events are caused for roughly two reasons - one, an invention that others capitalize on for an exponential growth into other inventions/social uses, and two, someone got sick of someone else’s crap and did something about it. Natural disasters will happen with enough frequency to be noted (see: the Little Ice Age, the Black Death, and the 1883 eruption of Krakatoa), although there’s little prediction for them because of the lack of observable build up in activity.

To pull from Feral’s timeline of examples, writing is popularly attributed to being invented in Sumer, 5,520 years ago - it’s our oldest found example, at any rate, though I’ve learned to never say never on archaeological discoveries.

What prompted this invention? Things rarely occur out of the blue, and rarely without interaction from other domains - where could writing have come from? Maybe art? What about from the creation of a tool, a reuse of certain skill sets? Something else we haven’t thought of yet?

So that’s one half of the question. But what about the other half - what did people around the inventor (multiple inventors?) think of this new thing? Deliberately associating a particular sound with a particular object - even a 2D object like pressing shapes into a piece of clay - and then standardizing it, is no mean feat. How did this agreement even happen? Were there arguments about how to do these graphemes, how best to shape them? What about which phoneme to each?

I doubt Sumerian cuneiform was created in a day, and likewise I doubt that language popped into existence on a whim. To keep pulling from this example, language composition has a strong effect on how we interact with our environment (University of Missouri-St Louis Libraries), but it conversely is also deeply affected by the environment its users create (Nature).

Because of this, I think it’s easier to work from a different angle - figure out what your major events are, and what eras you’re covering. If these major events also define an era, that’s even better! Working out how long everything each thing takes is ultimately a bunch of minor details, so it’s up to you how much your plot actively needs them, rather than decoration to your story meant to amuse you more than your audience.

[p-j-o-herewego]

Some headcanons for Percy's birthday

He's Latino and has dark green eyes.

He's a far better musician than he gives himself credit for.

Him, Nico, Thalia, Rachel, and Piper start a rock band called "Not Your Christ" for which Percy's the lead vocalist. They have a YouTube channel.

Percy's also a tattoo artist. He's good.

He loves playing with clothing and dressing in "women's" clothing.

He's openly bi and polyamorous (duh, I ship Perachabeth)

His playlist is made up of rock music spanning the decades, interspersed with songs Annabeth introduced him to.

His favorite song is Sweet Chil O' Mine by Guns 'n Roses.

He's 6'4"

His hair is very long and thick. He takes very good care of it.

He's actually kind of proud of his hair. He decided to grow it out some after Gabe's death, and realized he wanted it long.

Fredrick Chase was not impressed Percy introduced himself as Annabeth's boyfriend. Neither was Mr. Dare when he introduced himself as Rachel's boyfriend.

After BoO, he gave Nico a garbage bag full of old clothes and jewelry because, "You've been wearing a bloodstained Hawaiian shirt and bloodstained pants for three days. These don't fit me. Take them."

He's slowly and surely adopted Nico and Hazel as younger siblings.

He taught Hazel a trick for getting glitter nail polish to be darker.

He has the Statue of Liberty dressed like a zombie somewhere on his body. He doesn't regret the decision.

He got a blue cookie shaped as an anatomically correct heart on the upper part of the forearm without the SPQR tattoo.

Instead of wedding rings, when Rachel, Percy, and Annabeth got married they had an orange, purple, and pink fox (Annabeth), a blue and purple and black tiger (Percy), and a red, green, and purple snake (Rachel) all snuggling together tattooed on the outside of their left shoulders.

Percy's favorite movie is Into the Spider-Verse.

He doesn't much care for The Little Mermaid, is alright with Finding Nemo, and liked Moana. He prefers to watch non-water related Disney movies, however, because, no, he doesn't like the jokes. They get old.

He will not watch Aquaman for the same reason.

Sally is a legacy of Venus, which is why she has clear sight, and why Percy can speak Latin. It doesn't much affect them, the only thing they get from the godess specifically is that they're both particularly attractive people.

Anyway, Percy has a high tolerance for hot and cold. He knows when something is hot or cold, but neither particularly bother him unless you pretty much dump in lava or freeze him in a block of ice. He does have preferences, but generally speaking, he's That Guy walking around in a tee shirt while it's snowing.

He doesn't bother with oven mitts, because his hands don't burn, again unless you stick them in lava.

His favorite thing to do is tell people the truth about where he's been and what he's done with the most deadpan, sarcastic voice ever, and have you think, "That's a boldfaced lie."

When he, Rachel, and Annabeth have their first baby they name her Melodia Josephine. They think it's odd enough to belong in their house, but can be shortened or otherwise made to sound normal enough that she won't be the butt of jokes.

They name their second daughter Natalia Kairi after Annabeth's aunt.

They have twin boys. Ian Kester and Kyan Jeremiah.

His middle name is Alexander.

He didn't go to college. He graduated highschool and said, "Fuck it. I'm done with school. I'm applying for a job."

He taught all of his kids their first swear words. All separate incidents. All on accident.

He's a lean, mean, cooking machine. He'd never want to do it professionally, but in his own home? Pass him the cutting board, please.

Ik a lot of people say this, he takes showers to calm down (mood), and thought that that was a normal reaction to stress for the longest time.

He has a prosthetic leg.

And his left middle finger is bent at a weird angle from a freak accident with a door.

[soveryanon]

Reviewing time for MAG183!

- I’m not sure I can manage to put it into words quite right but: sounds-wise, this episode’s domain didn’t feel mind-blowingly new, it wasn’t something that felt “Oh! I’ve never heard something like this before!”? But the echoes, grinding and scratching were timed so well, giving so much strength and gravitas to the conversations, that it perfectly scratched an itch. I could hear that there was something close to Jon and Martin, that it was big, and mostly deserted, that it stood eerily in the overall wasteland, that they were two people alone against a whole world, a whole machine with gears and a mechanism ready to crush anyone?

- I LIVE for artist!Martin giving his commentary and overall throwing shade at the Fears’ taking of artistic licence liberties:

(MAG183) MARTIN: Oh, bugger off! ARCHIVIST: Everything all right? MARTIN: Oh, no, what e–, what e–, what even is that? It, it’s like Escher ate a bad cathedral and threw up everywhere.

He had shown interest in the Stranger’s carousel upon learning that the statements had been a poem, but shots fired for that tower, uh.

- Jon and Martin were so cute starting the episode! Their quick banter was adorable!

(MAG183) ARCHIVIST: It’s a building. A tower. … In a sense. MARTIN: Oh yeah? A–and what sense might that be? ARCHIVIST: [FAINTLY OMINOUS] … The Tarot sense. MARTIN: [SPLUTTERS WITH LAUGHTER] Really? ARCHIVIST: Wha–? No? Sorry, it… felt like a good line…! MARTIN: No, no, it was, I just… I dunno, I… [FOND EXHALE] You did the look, and…! It’s fine, sorry.

Martin being IN LOVE and appreciating Jon’s cuteness! The return of Jon showing that he’s an occult/horror nerd! We had seen in season 2 that he was generally very knowledgeable about anything related to the supernatural, and in season 4 that he was into Neil Lagorio’s movies, I’m happy to get another trace of it!

(MAG076) MELANIE: So I came here to dig a bit deeper. ARCHIVIST: Really? Our… our library is extensive, but it’s hardly focused on the Second World War. MELANIE: No, but the most detailed description of the crash that I could find came from the report of a man called William W. Hay. And later in life William Hay… ARCHIVIST: Became a noted occultist, whose memoirs and researches were only ever published in a heavily edited form. And we have unexpurgated copies. MELANIE: Exactly.

(MAG136) ARCHIVIST: [INHALE] Statement ends. Hm. Neil Lagorio… You ever see any of his work? DAISY: No. Not really into films. ARCHIVIST: Oh, they were… Well, let’s just say that it’s not a complete shock there was something unnatural to them. Didn’t know we had copies in the Institute, though; let alone original cuts. [CHUCKLE] Records indicate they [PAPER RUSTLING] ended up in… Artefact Storage. DAISY: Probably best that they stay there. ARCHIVIST: … Yeah. Yes, of course.

But SOB x2 since:

* Tower-in-the-tarot-sense meaning ominous stuff… and change. (While Jon knew they would soon come face to face with the choice to take the route through Martin’s domain.)

* Crying over the fact that we’ve seen and learned quite a few outside-of-the-job aspects of Jon this season, comparatively to the previous ones? He’s cute! He’s making jokes! He mentioned his student days a bit in MAG165, and visiting Upton House as a kid in MAG180! And this is happening when the world has been forked over and Jon&Martin certainly won’t survive together past MAG200, which means they have at most seventeen episodes together remaining. Martin, and we alongside him, are seeing so many different, more casual aspects of Jon, and it’s at the end of things…

- I really like how information bounced around in this episode? It felt even more dynamic than usual, quickly shifting depending on some reaction, or going from an association to another:

(MAG183) MARTIN: What, what’s the deal, though? Parts of it almost look like– ARCHIVIST: The Institute. MARTIN: Yeah…! ARCHIVIST: Yes. [INHALE] It makes sense, after all it was… built on the ruins of what Robert Smirke constructed…! MARTIN: Smirke? … What, no! But, but, surely he’s– ARCHIVIST: Dead, yeah, I mean, yes. [CHUCKLING] Very much so! This place is… an homage, shall we say. A monument. To him, and those like him, who tried to… categorise the world with themselves at the centre. In so doing, constructed the architecture of its suffering…!

Ohohoh about Martin feeling like the tower looked a bit like the Institute, and Jon drawing similarities through Smirke – the Institute being built on the ruins of a Smirke building, and the current domain being dedicated to people like him. The Institute is coming closer and weighing on their minds, isn’t it? I really like that Martin immediately worried about Smirke potentially being alive-ish, since:

(MAG138) MARTIN: “The Eye has marked me for something, of this I have no doubt. My… humble hope is that it may be a swift death, an accidental effect of your own researches, which I once again implore you to abandon. It is likely too late for me, but I will not…” [PAPER RUSTLE] Uh… [INHALE] The, hum… The letter ends there. Uh… Ap–apparently Robert Smirke was found collapsed in his study that evening, dead of, uh… [FLIPPING THROUGH PAPERS] Apoplexy. Mm. I–I don’t know how the letter reached the Archives, I mean… Well, I can guess, but…

… he had read Smirke’s last words before he died. (But Martin has seen enough by now to know that there is always a risk for people to not have actually died; on that front, we’re safe, Jon confirmed! Loving Jon’s chuckle: ah yeah, no, Smirke, “very much so” dead from Jonah.)

(Also loved the “[those] who tried to categorise the world with themselves at the centre” shade: yep! That’s West-Eurocentrism and Smirke’s little gang for you!)

- About the way the world works now since the Change, I’m curious about Jon’s wording as “the architecture of [the world’s] suffering”, since it’s echoing the title of Smirke’s statement, “The Architecture of Fear”: my understanding is that right now, the world is mostly running on a loop of people’s fears => feeding and shaping the landscape => which hurts people by turning those realised fears against them => squeezing the fear out of them => feeding the landscape, etc.

What is quite curious is the status of Smirke’s taxonomy in the current world. Jon went off on a rant about how Smirke and people who attempted to classify had been wrong all along because it was meant to fail… while he himself has persistently been using the very same classifications during this very season:

(MAG166) ARCHIVIST: Look, we can talk about it later, we’re– coming to a… “domain of The Buried”, and [STATIC RISES] I would really rather… […] God, I hate The Buried. [DEEP BREATHS] … End recording.

(MAG172) ARCHIVIST: [SIGH] “Knowing”, “seeing”… i–it’s not the same thing as… understanding. Every time I try to know what The Web’s plan is, if it can even be called a plan, I see… a hundred thousand events and causes and links, an impossibly intricate pattern of consequences and subtle nudges, but I–I can’t…! … I can’t hold them all in my head at the same time. There’s no way to see the “whole”, the, the point of it all. I can see all the details, but it doesn’t… provide… context or… intention. I suppose The Web doesn’t work in knowledge, not in the same way.

(MAG173) MARTIN: That’s the avatar for this place? ARCHIVIST: Callum Brodie, thirteen years old. He guides the children through their fears of The Dark.

(MAG174) ARCHIVIST: I’m not entirely sure what you were expecting, it’s The Vast. The clue is in the name! MARTIN: Yes, all right…!

(MAG176) MARTIN: … Besides, I thought The Hunt was meant to make you go faster. ARCHIVIST: Depends on the type of pursuit. [INHALE] Besides, the chase isn’t… really the point of this particular place.

(MAG177) ARCHIVIST: [SIGH] Bad therapists. Let’s just say it’s the fear of bad therapists, filtered through The Spiral. BASIRA: That’s… a lot more nuance than I’ve gotten used to since everything went wrong. ARCHIVIST: Yes, well. The Spiral is nothing if not insidious. […] You just heard what The Spiral does to people, you can’t… trust her.

“constructed the architecture of [the world’s] suffering” kind of implies that they did manage something, even if it doomed the world? Is it specifically about Jonah using the division into 14 in his incantation? We’ve seen that that one had limitations, since The Extinction also got there anyway… But at the same time, true that at this point, we would still force-apply Smirke’s labels to anything anyway.

- Loved Jon sounding awfully pedantic and (fake-)poetic at the same time:

(MAG183) MARTIN: [SIGH] Bit of a mouthful. ARCHIVIST: Would you prefer I described it as a… “cascading recursion of shifting arrogance and hubristic dead-ends”? [STATIC RISES] [THE DOOR CREAKS OPEN] [CONSTANT HIGH-PITCHED FREQUENCY] HELEN: I would. [FOOTSTEPS] [THE DOOR SHUTS] [STATIC FADES] MARTIN: [SIGH] Hello, Helen.

AND HELEN HAVING THE BEST ENTRANCES. It also cleared up something for me (unless I had already realised it and forgot about it since then): the high-pitched sound we hear when she’s around is the mark of Helen and Michael, not of the corridors – if the door is open or characters are inside of the hallways, we’ll hear some of the usual crackling static, but we heard it rise when Helen arrived and fade when the door shut behind her (and same thing with her departure, it was briefly heard when she opened the door).

- Shots fired, MARTIN PLEASE:

(MAG183) MARTIN: [SIGH] Hello, Helen. Might have guessed you’d be into weird architecture. Very much your area of expertise, no? HELEN: Hmm, depends! Would you describe “petulant poet” as your area of expertise? I am weird architecture.

And Helen went equally incisive on that one, but also UUUUUH WAS IT A SPECIFIC REFERENCE TO PETER’S COMMENT ABOUT MARTIN…

(MAG158) MARTIN: I’m… saying no. I refuse! Game over. [KNIFE CLATTERING ON THE GROUND] PETER: Martin, this is not the time for petulance; there are bigger things at stake, here.

This was the only time someone referred to Martin as (acting) petulant… I mean, Helen not missing one second of MAG158 wouldn’t be surprising (she did tell Jon at the end of MAG157 that she would be enjoying the show), but ;; Little chilling when remembering Elias-Peter-Martin in the Panopticon and Martin refusing to kill Jonah there…

- I was right to suspect that Helen might have been unable to know where Jon&Martin were over their stay at Upton House, and that she wouldn’t be pleased about it!

(MAG183) HELEN: Anyway, where have you been? I’ve been looking for you, but you both just vanished. ARCHIVIST: Aaah… Right, I see…! HELEN: I was so looking forward to catching up after that whole Basira and Daisy thing, but then, pfft! You both disappear. I’d be very keen to know how you managed that little trick. MARTIN: Why, it caught us by surprise too, I mean, we, we actually ended– ARCHIVIST: [FIRMLY] We found somewhere to rest. That’s all. MARTIN: … Oh, yeah. Ah, yes, hm. HELEN: Fine. Be like that. I can appreciate the particular pleasure of a kept secret. ARCHIVIST: I’m sure you can.

* Salesa’s zone seems to be protected as long as you don’t physically find it? I wonder how Annabelle managed to find it, still, since Jon only become aware of that blind spot when they arrived nearby; how did she become aware of it in the first place? Did it feel like a hole in the world’s web?

* Awww for Jon keeping the secret and conveying to Martin that they should keep quiet about it ;w;

* AHAHAHHAHA for Jon’s “aaah”, which was absolutely a mischievous grandpa sound. Jon ready to cause trouble, with a smug smile on his face.

- … I love how Helen could observe that the dynamic of the exchange was slipping out of her control (Jon&Martin knew something that she didn’t, didn’t feel threatened by her, and Jon was amused to keep it out of her reach) and immediately tried to go for the throat again:

(MAG183) HELEN: Anyway. Such a shame about Basira and Daisy. I was really rooting for them to make up. MARTIN: [SPLUTTERS] Since when? What happened to– I mean, how did you put it… a, “a quick shot to the back of her head, and then back in time for tea”, or whatever?

Martin: Forgive and forget? NO, RESENT AND REMEMBER AHAHAHAHAH.

Direct reference to the fact that Helen indeed ~offered her door to Basira~ to quickly get to Daisy and execute her:

(MAG177) HELEN: I can offer a shortcut. Take you right to that murder machine you call a partner. MARTIN: Basira… Jon can’t go through Helen’s doors, we, we couldn’t come with you. HELEN: Basira is a strong, independent woman. She doesn’t need you two holding her hand. Anyway, it’ll be dead quick. Two minutes, door-to-door, quick shot to the back of Daisy’s head, and we’ll be home before you know it!

Laughing that Martin added the tea mention (Martin, you single-track minded tea-aficionado), but I’m glad that he remembered it full well to throw it in her face; it wasn’t even a personal attack towards Martin, it was something Helen tried to do to Basira, I’m glad that Martin is still absolutely offended about it ;w;

- I felt like Jon and Helen had two definitions of “what we want”: Helen potentially talking about quick, short-term wants (even if they turn out to be self-destructive), while Jon was more about well-thought decisions and choices?

(MAG183) HELEN: [EXASPERATED SIGH] Oh, give over. I was obviously just prodding her, trying to make a point. She didn’t want to kill her. ARCHIVIST: What we want doesn’t matter much these days. HELEN: Oh, [RASPBERRY NOISE], nonsense. What we want is the only thing that matters these days. And Basira wanted to join Daisy. ARCHIVIST: She made her choice. HELEN: With your assistance. ARCHIVIST: It was still her choice. HELEN: [SIGH] What a waste. ARCHIVIST: No. [INHALE] It wasn’t.

There have been a lot of discussions about “choices” and “wants” throughout the series (with big moments in MAG092, MAG117 and MAG147), so it felt a bit nice that Jon seems to have reached a point where he could draw a line between both? Jon, Martin and Basira didn’t want this world, don’t want the way it operates and what it inflicts on them; it doesn’t mean they can’t weigh options and make specific decisions – Basira, to honour her promise to Daisy and kill the monster she had become; Jon, to not smite for revenge (and Martin, to face his own domain).

I LOVE HOW JON WAS FIRM ABOUT BASIRA’S CHOICE MATTERING ;w; It once again reminds me of Martin’s line to Simon: “I think our experience of the universe has value. Even if it disappears forever.” (MAG151); the little things, the individual existences and choices, their own stories, still having value in the expanse of the universe…

- Martin! It’s a delight to see him so firm, having faith in Basira although he’s been so worried for her:

(MAG179) ARCHIVIST: Martin, this is what she needs. MARTIN: No, no! I–it’s…! BASIRA: It’ll… MARTIN: It’s completely– […] … We’re not doing this. BASIRA: [SOFTLY] Martin. Please. [SILENCE] MARTIN: … [SIGH] You’d better look after yourself. BASIRA: I will.

(MAG180) ARCHIVIST: How are you doing? About… MARTIN: Yeah, yeah. Yeah. I’m… I don’t know. I’m–I’m not sure how to feel; just… pressing on, you know? ARCHIVIST: I do. [SILENCE] MARTIN: Do you think she’ll be okay without us? ARCHIVIST: Oh, she’s made it this far. MARTIN: … Yeah. I just worry.

(MAG183) MARTIN: Basira is… She’s going to be okay.

And then pointing out that he was involved in the discussion too and that he wanted to know what the other two knew already and not be kept out of the loop:

(MAG183) HELEN: Oh. Is she? Do you want me to tell you what she’s been up to while you were “resting”? Where she is right now? ARCHIVIST: You don’t need to. I already know. MARTIN: I don’t. [STATIC RISES] ARCHIVIST: She’s currently moving through, uh… “The Void.” [STATIC FADES] Hungry shadows drifting in the dark. She’s been there a long time now, struggling to find the path. MARTIN: But she will? ARCHIVIST: I think so. HELEN: Yeah, she does always seem to manage, doesn’t she? It’s impressive. Although a little bit… tempting at times.

I’m not absoooolutely sure about Basira’s status: is “the void” a space between domains, or is it a Dark domain that Basira is having trouble finding the exit of, since unlike Jon, she can’t just “know” the paths? I suspect the latter but I’m not 100% certain. If it’s indeed The Dark, that’s a close to home one for her, since she had a few brushes with it over the course of the show – the Section 31 expedition to save Callum Brodie, leading to Rayner’s death and Basira’s decision to quit the police, her research to find out more about the People’s Church of the Divine Host (as shown in season 3) and her overall worry about them, which allowed Elias to convince her that they would attempt another ritual in Ny-Ålesund, leading to her discovering what “Rayner” was and travelling there with Jon, finding Manuela and the Dark Sun mid-season 4…

;ww; for Jon having faith in Basira, too… And the fact that once again, Basira has it a bit rougher than Jon&Martin (Jon had already told Martin that it had been a difficult journey for her, before they reunited). Helen does have a point that Basira seems to manage to find her way out in general: she had successfully escaped The Unknowing on her own, she had survived The Flesh’s attack on the Institute, she had pursued Daisy in the apocalypse… Basira has already gone through Helen’s corridors (offscreen at the end of MAG143, to return to the Institute), I’m YIKES about Helen implying that it would be “tempting” to grab her. (… But at the same time, why hasn’t she done it already, if she is capable of doing it? It might be a bit more complicated than that?)

- … I love Martin, I love that he was RIGHT to point out that Helen had just waltzed in to try and steer chaos:

(MAG183) MARTIN: Look, Helen, what do you even want? Okay, you keep turning up like a bad penny and, honestly, it, it seems like it’s… it’s just to be a dick! HELEN: Gasp! I am trying to be friends, Martin. Forever is a long time. And I occasionally like to have some company that isn’t… screaming. MARTIN: … What do you even think friendship is? HELEN: I dunno, do I? The only personhood I have is from someone I ate.

It feels like Helen has REALLY tried hard to make up for the weeks(?) she couldn’t find Jon and Martin? She went extra-hard on them: first with Basira, then implying to Jon that he had manipulated her into killing Daisy, then pointing out that Basira was not safe at the moment and still at risk of falling prey to other Fears (including herself), then trying to mock Martin about his domain, trying to guilt-trip Jon for not having told him about it yet, and when she finally managed to get Martin shocked and upset… job done, byebye.

Is it that she’s trying to get Jon so riled up he ends her? “Helen” used to like Jon and to turn to him (MAG101: “Helen liked you so… there’s a lot to consider. But I will help you leave.” / MAG115: “Before, talking to you made Helen feel better.”), before she was absolutely Down With Doors And Murders (MAG146: “We do what we need to do when it comes to feeding, don’t we? … Don’t we, Archivist?”), is it a remnant of that? Or is it really just an attempt at confusing Jon and Martin further, feeding from them Spiral-style?

- More about Martin’s domain later, but the reveal was BRUTAL, and yet not coming out of nowhere; we knew he had one, we knew he had almost been trapped in the Lonely house in MAG170 and the question was whether or not it had been (/was still) his domain once Martin got freed from it, but there was also the question of how Martin was able to walk in the apocalypse unharmed (was it due to Jon’s proximity, Martin’s connection to The Eye as an assistant, etc.), and Basira’s own status after Daisy’s death… so, yay! Answers and clarifications, and as usual, nothing feeling like a plot-twist, just things that make sense, and that we already had most of the information about!

(MAG183) ARCHIVIST: Martin… MARTIN: Are there people, Jon? ARCHIVIST: What? MARTIN: Are there people in my domain? ARCHIVIST: Not many. [SILENCE] MARTIN: Do you need to do your… your thing? Make a statement about whatever’s going on in there? … I could use a moment to think. ARCHIVIST: Sure thing. Yeah, I–I’ll… [INHALE] Yeah. [EXHALE] [BAG JOSTLING] [DEPARTING FOOTSTEPS]

Sobbing a bit about Martin’s priorities (“Are there people, Jon?”) and Martin asking for a quick me-time. It wasn’t ice-cold, Martin turned it into something useful for both of them (expecting that Jon would have to give his statement anyway), but aouch, he sounded absolutely shattered inside while blank on the surface…

- Yes, yes, yes, reminder that Smirke’s categorisation is arbitrary and just like the Doctor’s theory, sometimes just doesn’t work, because it’s trying to force-apply rules and a classification over something that resists it (and because the classification is not perfect from the start), but hey, that’s most theories and classifications out there anyway, so: Escher reference, the functioning of the Tower reminding me of the Great Twisting, and the reasonings sometimes reminding me of Gabriel’s work (MAG126), plus Helen popping by – it was Spiral stuff, right?

Well! I felt like it looks like Spiral, but the Doctor’s fears by themselves:

(MAG183) ARCHIVIST: “But it is not the fall that terrifies him, not the pain of the impacts, but the fact that none of them should be there. That it doesn’t make sense, and it must make sense, there must be a system, there must be, because if there isn’t– [THE BODY LANDS WETLY] He lands with a heavy smack onto rough limestone, and lies still, his body twisted and broken. He knows it will knit itself back together, slowly, painfully, as it always has before. But the thought of starting over, of composing yet another theory, fills him with a deep dread.”

… are more something I would identify as Eye (fear of a truth) and Hunt (fear of having to return to the start, to have to elaborate a new theory from scratch, again and again, of being trapped forever)?

It was really reminiscent of Smirke thinking back over his life, his hubris and the pride of being the one who would have found the answer, to the point where he would reject reality if it didn’t match his taxonomy (refusing to, well… do what you do with a theory: change, or evolve and perfect it when its flaws are pointed out):

(MAG138, Robert Smirke) “I believed then, as I still believe now, that these places I saw were the Powers themselves, expressed in their truest form, far more entirely than any ‘secret book’ can claim. And if, as I came to believe, the Dread Powers were themselves places of a sort, then surely with the right space, the right architecture, they could be contained. Channelled. Harnessed. So yes. Hubris. Not simply in that, I suppose, but in believing that those I brought into my confidence shared my lofty goals. […] Would you have me separate The Corruption between insects, dirt and disease? To, to divide the fungal bloom from the maggot? No. No, I… stand by my work. And thus, we must conclude that the only explanation is a new Power, created from what was once others, yet also distinct. And if such change is possible, how then can any “true balance” be achieved through immutable, unchanging stone…?”

(MAG183) ARCHIVIST: “If they are feeling very confident, they may lean down and stretch a curious tongue beyond their chipped teeth and rotten gums, desperate to add another sense to their observances – more evidence to support their declaration of what the world must be. […] They must simply study and learn, if they are to escape the labyrinth. They will be the first to escape. The one who sits in the central chamber cannot remember his name. But he knows that people called him “doctor”. He made sure of that; to ignore it would have been the greatest disrespect, and he will not be disrespected. […] He knows, for a fact, that this is the central chamber because he is the one sat here. […] They’ll all remember him forever, the first to escape the Monument. His name will be hallowed with the greats: Doctor, uh… Doctor…”

Same old pride, Leitner knew that well too (MAG080: “But I think, in my heart, I dreamed of my work becoming known. That ‘The Library of Jurgen Leitner’ would stand as a symbol of courage and protection. Hubris.”) and Gerry didn’t have many nice things to say about it (MAG111: “Flamsteed, Smirke, Leitner. Idiots who destroyed themselves chasing a secret that wasn’t worth knowing.”). Loved how the statements came for Smirke’s life and was absolutely ruthless about it – but maayyybe a bit too ruthless, even? Jon didn’t express much sympathy for “fools like Smirke” either, and this is a rare case in season 5 where I find that the statement was a bit lacking in empathy for… people who were technically victims. I mean! Insufferable pedantic academics sure are a type, they’re really not having the worst life out there, but it makes me feel a bit weird, with season 5’s overall tone, that the episode had that vibe of “serves them well, they’re insufferable” about people who were technically still trapped in a domain and suffering from it?

… I still laughed a lot about the Doctor vs. Professor rivalry and how they solved their argument:

(MAG183) ARCHIVIST: “The doctor that lies on the floor has recovered, just enough to laugh. ‘You’re still working on mineral theory? How painfully outdated.’ A flash of genuine fear crosses the face of the professor at this dismissal, before he picks up his chunk of granite, and begins to smash the doctor’s head in, yet again.” [SOUNDS OF BRUTAL PEER REVIEW]

Academia unleashed.

(- OKAY, I HAVE TO CONFESS that when the character could only remember his title as “Doctor”, with Smirke having been mentioned earlier, my mind just jumped to Doctor Fanshawe… ;; He had left a strong impression on me, okay.)

- ;w; Over the fact that Martin got his me-time and that it was enough: he was clearly tense, but he came back with direct questions and knew what he wanted cleared up…

(MAG183) MARTIN: Finished? ARCHIVIST: Yes. MARTIN: Good. … I need you to explain something to me. ARCHIVIST: All right.

- I can’t believe that Martin Global Heartthrob Blackwood made The Eye FALL FOR HIM too:

(MAG183) MARTIN: How do I have a domain? That doesn’t make any sense. ARCHIVIST: It’s like I said. [INHALE] Everything here is either watcher, or watched. MARTIN: [SIGH] Subject or object, yes, I know, we’ve been over this. ARCHIVIST: Well, you’re a watcher, Martin. You worked for the Institute, you read statements, The Eye is… fond of you. You’re not getting thrown into your own personal hell, which means…

Jane, Peter, Simon, Elias, Salesa, Annabelle, now Beholding – do you have any limit, Martin.

!! I’m excited over the fact that Martin’s entanglement with Beholding stuff was acknowledged! Comparatively, Melanie had read 2 statements (MAG086, MAG106) and Basira 1 (MAG112). Meanwhile, Martin had read 12; plus, although Tim, Melanie, Martin and Basira had taken (… or tried to take) one live statement each in MAG100, Martin had also taken 3 additional full statements:

MAG084, Adrian Weiss (Corruption) MAG088, Enrique MacMillan (Buried) MAG090, Ross Davenport (Flesh) MAG095, Luca Moretti (Slaughter) MAG098, Doctor Algernon Moss (Dark) MAG100 (live), Lynne Hammond (Desolation) MAG104 (live), Tim Stoker (Stranger) MAG108, Adonis Biros (Lonely) MAG110, Alexia Crawley (Web) MAG134, Adelard Dekker (Extinction) MAG138, Robert Smirke (Eye) MAG142 (live), Jess Tyrell (Buried, Eye) MAG144, Gary Boylan (Extinction) MAG149, Judith O’Neill (Extinction) MAG151 (live), Simon Fairchild (Vast) MAG156, Adelard Dekker (Extinction)

With Simon highlighting that Beholding had compelled him through Martin:

(MAG151) SIMON: Hm! No wonder I’m so sympathetic to The Lonely. You know: this really is a place for self-discovery, isn’t it? [CHUCKLE] “Statement ends”, I suppose! MARTIN: Uh… I’m sorry? SIMON: Oh! Nothing, just my own hubris. I should have known. When I came here, I said to myself: “Simon,” I said, “you’re going to answer this young man’s questions, but you’re not going to give The Watcher a statement. You’re better than that.” But it’s a hard one to resist, isn’t it? You get in the flow of talking about yourself, and it all just… tumbles out. MARTIN: Mm, does seem like it.

Elias might have been eyeing him as back-up Archivist, too (although since then, we’ve learned of his bet with Peter which would have already been running at the time – it might have been that Elias mostly wanted to ensure that Martin wouldn’t die during the Unknowing because he’d be needing him afterwards):

(MAG116) ARCHIVIST: [SIGH] What about Martin? MARTIN: What about me? ARCHIVIST: He should stay behind. MARTIN: What?! ELIAS: Really. MARTIN: Why? ARCHIVIST: Too many people might attract attention. MARTIN: No, no, I can help, I’ve been reading the statements! ELIAS: … Quite right, er, probably best he does stay behind. BASIRA: What, so you have a backup if Jon doesn’t make it? ELIAS: I’m sure that won’t be necessary.

Martin did a lot of research, read these statements aloud, took live statements, was hinted as a potential replacement; tape recorders have spawned around him like they do with Jon, even outside of statements, and Martin had been exceptionally kind towards them on multiple occasions; there had been that little moment of Martin somehow knowing that Jon was alive back in season 3 (MAG088: “It’s the not knowing, you know? I mean, Jon’s still alive. Not sure why, but I’m sure of that. But Sasha, I…”), shortly before we had learned about Jon’s own Knowing powers developing; we don’t know why and whether that was Beholding or The Web or something else, but Martin had been able to know how to get Jon out of the Coffin in season 4:

(MAG134) PETER: What does puzzle me, though, and I mean that genuinely, is… why you were piling tape recorders onto the coffin, while Jon was in there. [PAUSE] It’s a question, Martin, it’s– it’s not an accusation. MARTIN: I don’t know. And I just… felt like it might help. He’s always recording, I thought… it–it might help him… find his way out. PETER: Interesting. Were you compelled? MARTIN: [SULLEN] … I don’t know. … M–maybe? I–I, I definitely wanted to do it… PETER: But? MARTIN: I’m… I’m not sure where the idea came from. PETER: You should watch out for that. Could be something dangerous. MARTIN: Sure.

… And Peter’s whole plan relied on the fact that Martin was initially touched by Beholding:

(MAG134) PETER: [BREATHES] I’m still working out some of the kinks. But I believe I have a plan. However, it requires this place, and it requires someone touched by The Beholding. Elias was, perhaps unsurprisingly, unwilling to help.

(MAG158) PETER: It’s quite simple, really…! I want to use the powers of this place to learn about The Extinction: what it’s doing, where it’s manifesting. Then we can stop it. MARTIN: And you need me for this? PETER: Correct! Without a connection to The Eye, any attempt to use it would likely end… very messily indeed! But thankfully, it just so happens that you hold such a connection. MARTIN: So that’s it… Both “lonely” and “watching”. PETER: You must admit you’re the perfect candidate. MARTIN: I suppose I am.

Beholding baby!! Now coming in an additional Lonely flavour.

- Mmmmmmmm… The way Jon put it, it seems that Beholding is consciously rewarding its servant and:

* It could be Jon trying to make sense of something else, that he doesn’t understand? Gertrude didn’t think that the Fears were able to “think” at all (MAG145: “Sometimes, I think They understand us as… little as we understand Them. We don’t think like They do.” “I’m not actually convinced they “think” at all.”); reward&affection could be primitive enough feelings for a blob of terrors to work out (Martin fed Beholding as an assistant by reading statements => Beholding grants him things in the hope of getting fed even more?), but I don’t know, I can’t help but wonder if this is just Jon humanising the Fears a bit too much? It’s curious that Beholding got “fond” of Martin precisely when Jon himself fell in love with him – could Jon’s feelings have influenced Martin’s position in the apocalypse, could Jon be having a bit more power over the landscape than he realises?

* … If Beholding is rewarding its servants, that doesn’t bode well for Elias. WELL, no, I mean: it might mean that Elias is having a Great Time as a Beholding acolyte, which means it doesn’t bode well for my desire to see Elias get absolutely wrecked and wrong about being the “king of a ruined world”. I want him to have miscalculated, damnit! x’D

- I’m having so many feelings over Martin himself being unsure of what he wants, whether it’s better to know or to remain ignorant…

(MAG183) ARCHIVIST: It’s like I said. [INHALE] Everything here is either watcher, or watched. MARTIN: [SIGH] Subject or object, yes, I know, we’ve been over this. ARCHIVIST: Well, you’re a watcher, Martin. You worked for the Institute, you read statements, The Eye is… fond of you. You’re not getting thrown into your own personal hell, which means… MARTIN: [QUIETLY] That one of them belongs to me. But that’s… Ho–how can I be a “Watcher”? I, I didn’t even know it existed! ARCHIVIST: But you’ve suspected for a while now, haven’t you? MARTIN: Maybe? But that’s not “watching”! ARCHIVIST: Do you want me to tell you about it? MARTIN: No. … Yes. N���no, no, I don’t know, I don’t know. [SIGH]

Is it a remnant of his discussions with Tim in season 3? He’s basically gone the reverse of Tim about it:

(MAG098) MARTIN: Y’know, I think he thinks that the distance keeps us safe, you know? Like, like, if he just makes sure that we’re not involved, we’re somehow fine. TIM: He’s an idiot. Look, we didn’t know what that door was, and it still trapped us. Ignorance isn’t going to save anyone. MARTIN: No, I mean, you’re right, I guess.

Martin has seen enough to know now that ignorance doesn’t protect anyone, but also that knowledge can be used as a weapon – that the horrors are just made to hurt. I feel like, in his situation, noping out of Jon’s statements was one of his only ways to assert his boundaries (which had been denied from him — and from others — for a long time)? But here, the situation is different; it’s about Martin’s own involvement, he knew the knowledge would hurt anyway… but it’s also his load to bear? To at least face what is happening, since he’s benefitting from it, since he’s been made complicit (without ever wanting to)? It still goes perfectly with the exploration of exploitative and oppressive systems: Martin, unknowingly and unwillingly inflicting hurt, still being in a better situation than others… while not being directly responsible for it, not wanting to benefit from it. It really makes me want to see Jon&Martin find a way to reverse or improve things, to get people out of the domains or giving them the keys to escape them, and I don’t know if I can even hope something about this ;; (On the Jon&Martin front, things are so good; but it still feels so unfair for… everyone else.)

- Martin having a domain and being classified as a “watcher” finally explains why he hadn’t been impacted by the apocalypse since the Change! He had been able to get out of the domains’ grasp even when he wasn’t around Jon (he had fallen behind at the end of MAG163, he wandered around in the Web’s theatre, he left Jon alone for most of the statements), and there was still the question of… how he was still surviving without eating, and at the same time wasn’t (at least as far as we knew) trapped in a domain:

(MAG161) MARTIN: [MIRTHLESS HUFF] What about food? ARCHIVIST: What about it? When’s the last time you thought to eat, o–or even felt hungry? MARTIN: [FAINT] What…? Wha… Uh… I don’t know. ARCHIVIST: No. Whatever is sustaining us now doesn’t need us to eat. MARTIN: That… that can’t be possible– ARCHIVIST: It’s a new world, Martin, the natural laws are whatever they want them to be. And I suspect they don’t much care to keep humanity fed and watered.

I was wondering if it was Jon’s influence, or Martin being “trapped” in Jon’s domain, and Jon had also alluded to the possibility that they were themselves trapped in their quest towards the Panopticon:

(MAG169) ARCHIVIST: “Free” doesn’t really exist in this place. MARTIN: Apart from us. ARCHIVIST: I suppose. I–in a sense, though… [CHUCKLING] how much of that is because we are trapped in our own quest to– MARTIN: Okay, let’s, let’s not dive into another… ontological debate right now, not here. ARCHIVIST: Fair enough.

And Jon had even specifically told Martin that he had a domain, shortly before Martin got almost imprisoned in the Lonely house:

(MAG167) ARCHIVIST: We all have a domain here, Martin. The place that feeds us. MARTIN: Oh. [PAUSE] Where’s yours? ARCHIVIST: [MIRTHLESS CHUCKLE] I mean, we’re… traveling towards it. MARTIN: Oh! Right, obviously. [CHUCKLING] Duh. Hum… What about me? ARCHIVIST: … Would you… like me to… ? MARTIN: No, no. Don’t tell me. I don’t want to know. ARCHIVIST: … Okay!

(MAG170) ARCHIVIST: I, I didn’t want to… look too ha–, I–I–I promised I wouldn’t… know you, and, and with the fog in all–all the rooms, I’ll, I just, I lost y–, I… I–I’m sorry. MARTIN: It’s okay. ARCHIVIST: … No, I… I tried to use the… to know where you were, but… it was… You–you were faint. It was so strange, i–it took me so long just to find you…! [RUSTLING OF CLOTHES] MARTIN: Jon, it’s… okay. I promise it’s okay. This place tried, it really did, and honestly I… I wanted to believe it. But I didn’t. ARCHIVIST: This… “place”, i–it… [STATIC] My god…! […] I, I just… I wanted to make sure that you knew what this place was. MARTIN: It’s The Lonely, Jon. It’s me. ARCHIVIST: [INHALE] Not anymore. MARTIN: Hm! No. [LONG INHALE, EXHALE] No…! Not anymore.

And alright, that finally answers it: the Lonely house wasn’t his domain, wasn’t meant to be (but he was susceptible to it, got almost trapped in it as a “watched” although he eventually managed to reject and break free from it). His own domain was elsewhere, and Martin himself was amongst the “watchers” all along; Martin is living a bit like Helen in this apocalypse, having a fixed domain, but able to navigate elsewhere.

Aouch for Martin, since he had been encouraging Jon to smite domains’ rulers as soon as he discovered that Jon could do it; it was already murky territory for Jon himself (if the “avatars” and “monsters” just deserve to die, what about Jon?), it was awful with Callum (Martin himself drew the line at smiting a kid)… but now, we know it was directly including him, too, and that he had been fed through people’s pain all along. No wonder Helen had encouraged the smiting so hard, if she already knew they were kind of neighbours…

… Double-aouch for Jon, because he had offered twice the option for Martin to stay elsewhere, permanently:

(MAG170) ARCHIVIST: M–Martin, if you… did; i–if you wanted to forget… a–all of it, stay here and just… escape. I… I would understand. MARTIN: … N–no…! It’s comforting here, leaving all those… painful memories behind, but… It’s not a good comfort, it’s… I–it’s the kind that makes you fade, makes you… dim and… distant.

(MAG181) ARCHIVIST: I’m sorry, I… It would have been nice to stay. MARTIN: [WISTFULLY] Yeah… I’d almost forgotten what it was like, you know? A bit of peace, eh! ARCHIVIST: I mean, you could have… MARTIN: No, don’t say it, Jon. You know I never would. I–I can’t just “forget” about all the people out here! Besides, I’d rather be trapped in a post-apocalyptic wasteland with you than spend one more moment in paradise with her.

And Jon probably didn’t know what Martin’s domain was exactly, back then, since we heard the knowing static kick in when he described the domain in this episode? But he probably knew, already, that Martin having a domain didn’t mean that he belonged to it as a victim, but as a ruler, and that it would hurt Martin so much. (“No one gets what they deserve. Not in this place. They just get whatever hurts them the most! … Even me.”, indeed ;;)

- I AM HAVING SO MANY FEELINGS OVER THE DESCRIPTION OF MARTIN’S DOMAIN…

(MAG183) [STATIC RISES] ARCHIVIST: It’s a small domain. A swirling mix of The Eye and The Lonely. Inhabited by a few lost souls whose fear is not of their isolation or their agonies, but that no-one… will ever know of them. That they shall suffer in silence, and be mourned by nobody. That’s why you can’t really see it. It’s why even if we do travel through it, you won’t be able to see… any of the people trapped there.

… It reminds me so much of what Martin probably experienced in his own flat, when Prentiss besieged him for two weeks and Martin was unable to contact anyone, and nobody came to check on him? Did Martin’s domain grow from his own old fears…?

It also reminds me a bit of Naomi’s brush with The Lonely:

(MAG013) NAOMI: The fog seemed to follow me as went and seemed to swirl around with a strange, deliberate motion. You’ll probably think me an idiot, but it felt almost malicious. I don’t know what it wanted, but somehow I was sure it wanted something. There was no presence to it, though, it wasn’t as though another person was there, it was… It made me feel utterly forsaken.

Overall, the description is extremely… typical from what we’ve seen of The Lonely: there was Naomi’s misadventure, Ethan disappeared and nobody even claimed his backpack (MAG048), Yetunde Uthman had “disappeared a year ago. And nobody noticed” (MAG150)…

(But from that description alone, it doesn’t sound very Beholding, despite what Jon said? I’m curious about the Eye aspect of it…)

- Can’t believe that Martin canonically turns out to be the Lonely Eyes love(hate)child, gdi. It really was a custody battle in MAG158.

- Extra-sad that Jon warned Martin that there was meaning in the fact that Martin didn’t know anything about his domain, and wouldn’t even be able to see people in there… It’s just so cruel, both for them, and for Martin, to learn that he’s been unknowingly contributing to their misery (because they fed him and he didn’t even know about them)?

Pretty sure that Martin will stay with Jon to hear that statement, at the very least ;; (Or could he ask for something more? We’ve seen Jon extracting Breekon’s statement in MAG128, I wonder if he could put something into someone’s head like Elias had done, allowing Martin to give that statement himself…)

- I’m wondering about Jon’s own domain, too, now! He said they were heading towards it, so it’s either the Panopticon, the Institute or the Archives, or a mix of those… or something close to it, on their way to it. If Martin’s domain is a mix of Lonely&Eye, is Jon’s pure Eye? A mix of the 14/15? A Web&Eye mix, given Jon’s own personal fears?

I know that Jonny (lovingly) called out the obsessive classification in this episode through Jon, who went off on a rant about the “neat little boxes”, but he’s still using the Smirke classification this season:

(MAG183) ARCHIVIST: It’s a small domain. A swirling mix of The Eye and The Lonely.

(AND IN THIS VERY EPISODE… Jon…)

- On the one hand: feeling directly called out by Jon’s rant about how the divisions between avatars/monsters/humans/victims wasn’t and isn’t working, that reality escapes that division because it’s much more complicated than this:

(MAG183) ARCHIVIST: [HEATED] Avatar isn’t a thing, Martin, it’s not–! It’s just a word. A word used by… fools like Smirke to try and sort everything into neat little boxes, to reduce the messy spray of human fear into a checklist: Human, avatar, monster, victim. Only now, now, there’s a binary. There’s finally a clear dividing line and… [SIGH] Well. I’m sorry you’re not happy with which side you’ve ended up on.

(It felt especially relevant with Callum Brodie: could we really tell that he was an “avatar” when he was still a freshly wounded kid, even if a tormentor himself?)

On the other hand, well, that was still a useful distinction to have to identify servants, and mostly, I’m not extremely convinced by Jon arguing that there is now a Clear BinaryTM in the new world, between the “watchers” and the “watched”, since:

1°) Helen herself explained the dichotomy to Martin (MAG166: “And so, there are now exactly two roles available in this new world of ours: the watcher, and the watched. Subject, and object. Those who are feared, and those who are afraid.”). Given that she mostly tries to confuse them… that’s a red flag.

2°) Despite Jon defending that binary, we’ve run into plenty of examples of things… not fitting into that new classification. He himself acknowledged that Basira’s status wasn’t established yet; we’ve seen Salesa, protected by his camera from the chaos; Jon has been unable to know about Georgie and Melanie, only hypothesising that they might in what-used-to-be-London; Martin, a watcher, could still have fallen prey to another domain… That’s already a lot of special cases around that “clear dividing line”…

3°) Somethingsomethingsomething about how it’s in Beholding’s best interest that Jon believes in a clear, unchangeable, dividing line which serves Beholding’s own interests. If things feel fixed and unchangeable, then there is no point trying to fight against it or find a loophole, right?

Given that a Watcher can get trapped in another domain… does that mean that it could be the case for Jon, too? We got a threat of it in MAG172, when Jon began to give the statement of the following act – if Martin hadn’t interrupted him, would Jon have ever been able to stop?

- Confirmation that Daisy had “trapped” Basira in her Hunt! I was suspecting it since Jon’s first wording:

(MAG164) MARTIN: Is Basira alive? ARCHIVIST: [INHALE] MARTIN: Is she… in… o–one of these places? [STATIC RISES] ARCHIVIST: She’s alive. Out there, not… trapped in a–a hellscape, but… moving. [STATIC DECREASES] Hunting. She’s… she’s looking for Daisy. She’s a few steps behind.

(MAG183) MARTIN: … What about Daisy? Or Basira? ARCHIVIST: Daisy carved through the domains of others. Basira… well… In a very real way she was a sufferer in Daisy’s domain. Maybe the only one. Hunting, following, hurting. Now Daisy’s dead, she’s… free. Sort of. She’s inherited something of Daisy’s ability to move through the other domains. For now, she’ll… feed off what she sees in them. As to whether the Eye ultimately gives her a domain of her own… I don’t know yet.

* And now, Basira seems to have a peculiar status… Is it because she killed Daisy? Is it because she killed the ruler of her domain? Jon explained that a ruler’s death didn’t change much for the domain itself, but maybe it operates differently if a victim kills a ruler (… they become the new ruler?)

* Another reminder that Jon cannot see the future.

* Big Eyeball didn’t immediately give Basira a domain, but Martin got one. I see that favouritism, uh. (Joke, it does make sense given how Martin recorded a lot of statements and had worked at the Institute for years and years.)

- I love how Jon managed to explain why he hadn’t told Martin everything, and how Martin… indeed agreed that Jon had been mostly trying to respect his wishes about not knowing ;; It’s true that Martin had been adamant about not hearing much of the horror:

(MAG163) MARTIN: J–Jon, enough! Enough! [STATIC FADES] … Please don’t tell me these things. ARCHIVIST: I… I’m sorry, I– There’s just so much! There’s so much, Martin, and I know all of it, I can see all of it, and I– It’s filling me up, I need to let it out! MARTIN: I’m sorry, but tough. Okay? Tha–that’s not what I’m here for. [VOICE IN THE DISTANCE: “No… No!”] MARTIN: I can’t be that for you, I–I just can’t.

(MAG167) MARTIN: Oh! Right, obviously. [CHUCKLING] Duh. Hum… What about me? ARCHIVIST: … Would you… like me to… ? MARTIN: No, no. Don’t tell me. I don’t want to know. ARCHIVIST: … Okay!

(MAG183) MARTIN: You didn’t tell her any of that. ARCHIVIST: I didn’t think the metaphysics of her place in the fear ecosystem was something she’d be particularly interested in at that moment. MARTIN: Fair. But you seem very reluctant to tell anyone any of this stuff. ARCHIVIST: [SIGH] I did try, right at the start, but y–you didn’t seem to want to talk about it, so I didn’t push it. It’s hard, I have so much knowledge but… how do I decide what people want me to share, and what they never want to know?. MARTIN: I guess that makes sense.

But Martin seems to acknowledge that indeed, Jon had been trying his best about it…

(And now, I wonder if there is still other stuff that Jon hadn’t told Martin, in the same vein…)

- First choice for Martin:

(MAG183) ARCHIVIST: [SIGH] I was going to bring it up at the crossroads. Inside. I only just realised we would be going this way. […] MARTIN: I guess that makes sense. … So what did you mean about the crossroads? When you were talking to Helen. ARCHIVIST: It’s a maze in there, something between a, a Rubik’s Cube and a Magic Eye picture. I can find us the way through easily enough but… well. For us, there are two ways out. Two paths to London. MARTIN: What are the choices? ARCHIVIST: One would be a long, winding route, we’d see a lot of horrors, but remain… personally untouched. MARTIN: And the other is my domain. ARCHIVIST: Eventually. It’s a shorter path, with faces we know along the way. Including Helen. MARTIN: I thought Helen was her domain, wi–with all the doors and that? ARCHIVIST: She is, but she has a… position within this pseudo-landscape, like any other. MARTIN: O–okay. [INHALE] So, so, I mean, I suppose we’ve got to do that one, right? ARCHIVIST: We don’t have to, w–we–we could just– MARTIN: What, what? We could, we could dodge around it? Take the path of denial? I guess, but… what is it you keep harping on about? “The journey will be the journey”? [SIGH] I mean… It’s pretty obvious that this one is my journey.

! Glad that Martin didn’t hesitate and immediately understood what it was about – that it mattered to do it that way, that Martin had to face it, that this is how this world works. No hesitation about it. He got a demonstration with Basira, but still, he was quick to accept it.

I’m expecting a few episodes before Martin’s domain, so… with the overall rhythm of the season, they might reach the Institute by MAG189? And Hill Top Road during Act III?

- Since Jon mentioned that the path Martin ended up choosing had:

(MAG183) ARCHIVIST: Eventually. It’s a shorter path, with faces we know along the way. Including Helen.

I wonder about those “faces we know”, since we’re running super-low on ~avatars~. Different options:

* Institute staff. Rosiiiie?

* Melanie&Georgie. A bit unlikely, given that Jon had trouble knowing what was the deal with them, I feel?

* Since Helen will be there, people who gave live statements to Jon and were trapped in his nightmare zoo. I’m mostly thinking about this one, especially since Jon’s “No one gets what they deserve. Not in this place. They just get whatever hurts them the most! … Even me.”… (And if it’s about an internal and metaphorical journey, I feel like having to face people that Jon hurt, first unaware (he didn’t know about the nightmare zoo when he signed to become the Head Archivist), then partially unwilling but still doing it (he felt guilty about it but still hid it, still chose self-preservation instead of warning the others about it), would have its place…)

- In the same fashion, who is trapped in Martin’s domain? Unrelated people? Live statement-givers? (;; I’m thinking of Jess, who had the misfortune of being compelled by Jon and of giving a statement to Martin…)

… Given that it’s confirmed to be a “journey” for Martin too, I can’t help but squint at Jon’s wording, because. “Faces we know”. The only thing we know of Martin’s father is the fact that he looks like Martin… (MAG118: “The thing is, though, Martin: if you ever do want to know exactly what your father looked like… all you have to do is look in a mirror~ The resemblance is quite uncanny. The face of the man she hates, who destroyed her life, watching over her, feeding her, cleaning her, looking down on her with such pity–”)

- I’ll be having Annabelle’s words stuck in my head (ha) for a long time but:

(MAG181) ANNABELLE: Don’t worry, Martin. We’ll meet again. Hopefully when you’re feeling a little bit more… open-minded…! MARTIN: I wouldn’t count on it. ANNABELLE: I would. MARTIN: [SIGH]

… Was it a reference to Martin learning about his own domain and about how the world operates, his place in it? I think that Martin might be even more resolved to turn the world back at whatever cost, now that he knows that he is himself sustained by fear…

(LISTEN, THIS IS ABSOLUTELY HOW WEB!MARTIN CAN STILL WI–)

- !! Footage of Martin saying “I love you” for the first time ;w; I love how it was the thing he was certain about, both a slight decompressing joke and a true statement, a reminder that he has faith in Jon, that he has something to cling to?

(MAG183) ARCHIVIST: If you’re sure. MARTIN: … I’m sure I love you. [FOOTSTEPS] ARCHIVIST: I love you too. [FABRIC RUSTLES] Let’s go.

(He had mentioned that he was “in love” in MAG170, I’m happy to hear him telling Jon, too!) And the fabric RUSTLED, SO LONG AND SO HARD, AND AT LEAST TWICE!! I love how the tension from right before and after the statement had faded by the end of the episode ;w; Rollercoaster of little emotions…

MAG184’s makes me think of something Leitner had said (more lore about the Fearpocalypse?), and of Vast and Corruption… with very different vibes. If Corruption, and keeping in mind that Jon has announced that they will be encountering “faces [they] know along the way”, it cooould contain Jordan Kennedy, the exterminator from Pest Control…? Especially given that both Jon and Martin had met him (Jon took his live statement, and Martin pleaded offscreen for him to get them the jar of Prentiss’s ashes to comfort Jon).

(Yessss, I am absolutely aware of the irony of still using Smirke’s categorisation after another episode in which we were told again that it is bollocks, but if Jon himself still occasionally labels the domain as one of the 15, so can I ♥)

[f-nodragonart]

Vertebrate Wings, PART 2: Membranes and Feathers

Return to main post + TOC >>HERE<<

Membranes and Feathers TOC

  Membranes

  Feather Arrangement

  Feather Layering

  Feather Shape

  Combinations

Membranes

A common question I see in relation to bat-like (and sometimes pterosaur-like) wings: Can a creature fly if the wing membrane only attaches to the armpit of the wing? Can massive wings make up for the lack of membrane?

Short answer: No.

Long answer in the form of a numbered list of problems with these sorts of wings:

 1)      Wing membranes (and feathers) need to SUPPORT and STABILIZE the whole animal’s body in the air. Without membrane attached along the length of the body, the torso is left to dangle limply and awkwardly below the wing shoulders. This couldn’t work because:

    a.      As I explain in more detail in the Full-body Integration section, flight is a ~primarily~ horizontal affair (the obvious exception being hoverers, but I cover this in the Flight section). A limply-hanging body would increase drag and air resistance to an absurd degree compared to the typical streamlined body position of a flying bird or bat. While flight is primarily driven by the wings, it really is a full-body affair.

    b.      The weight of the ENTIRE creature would be localized to the wing shoulder, which would make for excruciatingly painful flight at the VERY least. The membrane helps distribute the weight of the body over a wider surface area so that no one centralized point is pulling too much weight. (again, hovering flight is an exception to this, but this is largely due to the tiny body weight of a typical hoverer)

 2)      ~Generally~ evolution is lazy. The theoretical length of the wings necessary to make up for the lack of membrane would use up a ridiculous amount of energy—energy that evolution isn’t likely to waste. Especially considering that the length of these theoretical wings would have to be accomplished through lengthened fingers, which are more complicated and use up more developmental energy than simple membrane extension.

 3)      These lengthened wings would theoretically be freakin’ MASSIVE to make up for the lack of membrane. I can only imagine they’d be too heavy and/or too long to realistically function. They’d more likely drag uselessly along the ground as the animal attempted to use too-long muscles and tendons to lift them up.

 4)      “The creature wouldn’t be able to flap their wings when flying. Wings act like a lever; the less wing membrane you have close to the body, the further out lift and air resistance act on them and the more force you need for each wingbeat. If you attach wing membrane at the armpit, then so much force would be needed that the dragon would have difficulty moving them on ground, never mind during flight. Adding more arm strength to overcome it is not an option because there’s only so much muscle you can add without running into many more problems,” thank you Rahjital~

This all applies to feathered wings as well—bodies need support during flight, and these sorts of feathered wings aren’t gonna provide any.

The back edge isn’t the only important part of the membrane—the front edge is highly important as well! This section of the membrane is known as the propatagium.

It provides a smooth, sloping curvature to the front edge of the wing (something the bare arms could not provide on their own), and helps stabilize the position of the wing through the tendon connecting the shoulder and wrist (or thumb/pteroid, depending on the wing).

This structure is present in ALL vertebrate wings—bats, pterosaurs, and yes, even birds.

It’s simply not very apparent in birds because this membrane is covered by feathers. Remember kids, bird arms aren’t rounded noodles—it’s the propatagium that gives bird wings their smooth outline!

Bats wings have hair-thin muscles across their membranes to help tense and otherwise manipulate the wing shape as needed. I actually had a hard time finding good diagrams of these muscles, sans this one EXCELLENT reference for the muscles and major veins (+skeleton) via edited versions SammyTorres drew of photo of a museum reference.

(had to cut it off to preserve image quality, but u can see the original reference photo at the link)

As for pterosaur wings, there’s still debate over how exactly the membranes were structured, but there is at least agreement on the existence of multiple layers of actinofibrils embedded in the membrane. As quoted from exdraghunt, “Pterosaur wings were stiffened with unique fibers called “actinofibrals”. These fibers can be thought of as being like the wooden battens of a paper fan, or the quills of bird’s feathers. They allowed the wing to spread out to full span, or to fold up tightly against the body, while keeping the membrane stiff enough for flight. These fibers became shorter and less regular closer to the body, so that the membrane closer to the body of the animal had more flexibility compared to the parts out at the wingtip. The fibers start out perpendicular to the arm, and shift to parallel with the wing finger out at the wingtip.”

(via)

This made pterosaur membranes much stiffer than bat membranes, but still more flexible than bird feathers in terms of delicate maneuvering and camber-control.

Also, here’s a cool diagram dissecting the layers of pterosaur membrane~

Feather Arrangement

The first thing we need to get straight here is that the main flight feathers of a wing—the remiges (singular: remex)—sprout EXCLUSIVELY from the “hand” and lower arm sections of the skeleton.

The shoulder may be the source of thrust in the wing, but the “hand” and lower arm are the actual “paddle” used to beat against the air. As we can see in the below diagram, the tertiaries (which are embedded in the FLESH of the upper arm, NOT the bone) simply fill in the space left between the remiges and the main body.

In my own research (of Googling reference photos), I’ve found that the secondary remiges tend to gradually decrease in length closer to the elbow, tapering down until the tertials are able to fill in the gaps. This may not necessarily be true for all wings, but this is the trend I’ve picked up on.

idk what the deal is, but there are almost zero references for the underside of a bird wing, so I took the liberty of making my own reference, traced/edited from these photos of crow wings. (“edited” in that I emphasized a few feather bits that aren’t quite as “pronounced” on actual crow wings, but were drawn in for the sake of illustrating their general position. the axillaries, for example, were referenced from plovers.)

The coverts (when it comes to flight) exist to smooth out the transition from arm to remex, covering the entire arm/hand section and then some.

It’s important to note that the lesser/median primary coverts DO EXIST on the dorsal side of the wing, they’re just reduced compared to the much longer greater primary coverts, so the lesser/median coverts are usually covered by the alula (this is another detail I emphasized/edited in the above ref—the lesser/median primary dorsal-side coverts aren’t actually visible with the current position of the alula on a crow wing). I don’t have references for why the feathers in this section are sized/arranged in this manner, but I think it may be due to the presence of the alula. Either way, you can usually get away with not including the lesser/median primary coverts in most wings/positions, but it is important to know they exist for those special occasions they do make an appearance.

(via^)

The alula is the section of feathers that sprouts from the “thumb” of the underlying skeleton (this can be seen in the remex skeletal of the wing I posted higher up), and helps to increase lift by smoothing out air flow over the primaries. The feathers of the alula are situated on the topside on the wing, over the primary coverts and under the secondary coverts.

As a side note, the wing reference I drew is just a BASIC guide to feather arrangement. Depending on the shape and flight style of the wing, the feather “sections” can vary quite a lot, as can be seen below.

The reference I drew is just a guide to help you identify these sections of feathers in other wings more easily, even if they look quite a bit different than the wing I drew.

Feather Layering

Now for the information I’m sure you’ve all been waiting for—the detail that artists the world over struggle desperately with: feather layering.

I could just tell you all that the LEADING edge of the remiges is seen on the TOPSIDE/DORSAL view, while the TRAILING edge of the remiges is seen on the UNDERSIDE/VENTRAL view, and that will be correct.

(via^)

HOWEVER, I find that I much more easily retain design information if I know WHY a particular structure is designed that way in the first place. So, here I leave you a very informative analysis of remex arrangement and how it effects flight.

While I do highly suggest watching the whole video—especially for the helpful animations—I understand that it's a long sit with dry delivery, so the main takeaway is this:

Remiges are arranged as they are in order to minimize drag on the upstroke by allowing air to filter through the feathers and under the body, thereby pushing the body up in the process.

If the remiges were theoretically arranged opposite from this, they would filter air AWAY from the body on the upstroke, thereby sucking the body down and rendering the thrust on the downstroke null.

Now, it’s important to keep in mind that this reasoning applies more strictly to the remiges compared to the other feathers. While it’s incredibly important for the remiges to be in proper arrangement, the coverts are a little more lenient, considering they just smooth out the wing. The median/greater coverts do follow the arrangement of the remiges per which side of the wing they sprout from (and lesser coverts are layered in a more-or-less “shingles” pattern), but real-life coverts tend to be a lot messier than “ideal” coverts.

Covert arrangement (particularly that of lesser/medians) can be “goofed” a little without too much problem; It’s remex arrangement that can make or break flight.

Also note how this feather layering effects the layering of wing “sections” when the wing folds up (which will be discussed in more detail in the Positions section).

Feather Shape

Feather shape is also a critical factor in wing design (and even full-body design), BUT to tackle shape, we must first understand some basic feather anatomy.

There are quite a few bits here that I’m not rly gonna get into (mostly because I myself understand feathers more in the greater scheme of a wing/body than individually), but it is important to note a few specific features, here.

The shaft is the base upon which the barbs sprout from, and where the feather itself connects to the body via the calamus(quill). Note that the barbs (at least in the pennaceous portion) ALWAYS sprout from the shaft at an outward angle. They do NOT point at a 90 degree angle straight out from the shaft, nor point backwards towards the quill, but FORWARDS towards the feather tip. This is most likely a mechanism for both reducing drag and creating a more stable interlocking of barbs.

The pennaceous portion is what’s visible to the open air, so the barbs must be designed to handle what is required, such as a relative stability/stiffness for the remiges of the wings, a drag-resistant design for feathers of the body, etc. etc.

The plumaceous portion is typically hidden beneath other feathers, so isn’t necessary to draw in most designs. It’s just important to know about the fluffy plumaceous bits that exist underneath for those occasions that the feathers are lifted apart.

*note-- not all feathers have an afterfeather/shaft as shown in the first diagram-- this is most common to grouse, and is kind of like having extra down.

This is just a basic rundown of feather anatomy I’d reason to be useful to artists, but if you’d like a more in-depth discussion of feathers, I suggest this page.

Now knowing this basic feather anatomy, we can look at the diverse shapes and forms feathers can take. As has been shown in the feather types above, feathers can vary quite a lot depending on their purpose. The primary remiges, in fact, have a unique set of anatomical terms to help describe the shapes they can take.

(via^)

It’s important to note, here, that at least part of the reason that the primary remiges in particular are so diversely shaped is due their being the “flight manipulation” feathers of the wings. While coverts smooth out the wing and secondary remiges provide ample surface area, it’s the primary remiges that really determine a bird’s particular style of flight (I’ll get into some of these basic flight types more in the Flight section).

It’s also important to note that the “drag direction” for any feather—remex or otherwise—is essential in planning their shape (it’s just much easier to identify in remiges). See how the barbs on the leading side of these primary remiges is much shorter than the barbs on the trailing side?

(via^)

This is because the leading side, as can be assumed, must meet air resistance head-on, so the shorter barbs provide a stiffer, more stable surface to push against oncoming air currents. The trailing side, on the other hand, provides the main surface area of the feather, so the barbs can be longer.

This asymmetrical balance of barb length changes depending on where the feather is on the wing, so it’s no surprise that the primary remex barb lengths are much more asymmetrical compared to the secondary remex barb lengths, since these barbs don’t directly push against the air on either side of the feather.

(via^)

Though keep in mind that the shafts still “lean” more towards the leading edge here, so as to properly tilt against the air on the upstroke.

This feather diversity doesn’t just apply to different feather types—even the exact same feathers of the exact same basic type can vary DRASTICALLY when compared between different species. Just look at the differences between the above wood duck primary remiges and the primary remiges of a sharp-skinned hawk below.

(via^)

Thus, when designing the feathers (particularly the remiges/rectrices) of a creature, you need to understand the creature’s specific form of flight, and the purpose of certain sets of feathers.

(The USFWS Feather Atlas provides EXCELLENT scans of the remiges and rectrices (main tail feathers) of TONS of different bird species, if you’d like to see more scans like these.)

Combinations

Combination feather/membrane wings are somewhat popular, and while they’re improbable I wouldn’t say they’re impossible. Improbable, because evolution would likely choose one or the other for a full wing (taking into account the energy available during development, as we’ve discussed). Or, at the very least, make the feather bits more fur-like than the rounded, complicated designs of typical coverts.

The only impossible combo-wings I could think of are webbed wings that have ALL the wing feathers—remiges included. Remiges are meant EXCLUSIVELY for flight—if the wing already has a membrane (a membrane which takes up much more energy to build than feathers), then there’s no need for additional remiges. In fact, these lengthy feathers would detract from what makes the bat wing so practical—its ability to “collapse” and otherwise bend and stretch in precise movements. Remiges would only block the bat wings’ ability to properly bend.

Not to mention, these feathers would break up the smooth/streamlined quality of these wings if they were to reach that far out over the membrane. Think about it—bird wings only have one layer of remiges, creating one smooth surface, and bats only have one layer of webbing, also creating a single smooth surface. Webbed wings with remiges on BOTH sides (or even on ONE side) would create multiple surfaces that would somehow need to lay flat against each other (but likely wouldn’t due to their nature). And that isn’t even to mention that remiges need a stable bone base to properly attach to, which the bat wrist/hand couldn’t provide, considering it already must support the fingers themselves, let alone primary remiges.

Covert feathers, on the other hand, are mainly there to create a smooth transition from the front edge of the wing to the remiges (and are embedded in flesh rather than bone). Thus, I could see their potential use in bat-like wings for the same reason, so long as they aren’t large enough to interfere with membrane/finger flexibility.

-Mod Spiral