#Derive >> Set of Rules

[branwinged]

every day someone here makes a post about a version of asoiaf in their head which is a lot more leftist than the series actually is. and that's fine because he's not writing a political pamphlet, he's writing a story which just sincerely investigates the realities of a lot of fantasy tropes while still using those tropes. the series is more about aristocratic conflict and how power can be exercised responsibly within that hierarchy and not the dismantling of said hierarchy. that would've been a very different type of story with very different pov characters. even dany's egalitarian streak is more out of noblesse oblige ("Why do the Gods make kings and queens if not to protect the ones who can't protect themselves"). the iron throne happens to be a symbol of stasis in a series building up towards change (a dream of spring) which is why it has to go, but once it's gone there's still going to be a king in his castle and his true knight.

[dead-salmon]

thinking ob lb2 again and i'm still so sad that it was messed up so badly when the initial themes were really great

like skadis & odin's (which skadis 2nd interlude elaborates on) selfish love, wanting the world and beings they love to continue living even if it's a cruel existence for them. the way you can compare it to surtrs selfish feelings he has for ophelia, or the love sigurd and brynhild have for one another

skadi & ortlinde being unable to understand their loved ones decisions until it's practically too late. the inability of ophelia, skadi and ortlinde to actually take action until it's much too late. napoleon serving as a symbol of hope in that regard, the rainbow finally spurring ophelia into action.

the from lostbalt manga scene of ophelia admitting that she truly had different wishes in life than where she ended up, apologising for not doing better. skadi grieving over this, over ophelia, as a mother who is in the exact same spot of being unable to leave the duty that was placed on her.

lb2 had potential man, skadi's character has so much potential. it just pisses me off that both the game and fandom reduce her to moe scathach when there's so much that could've been done with her character

[berryblu-arts]

Pt 2!!!

Some glow stage doodles, mainly Nat/firefly + Ara with a lil cat ^^, I was honestly having kind of a bad art day on these hahah, but eh, might as well post em :3

Some Iris sibs ^^, they're actually Akemi's neice and nephew, that family is a disaster lmaoo

[willosword]

honestly the best thing i can say about sonic prime is that it just. feels SO sonic-y. like this show captures exactly what i think of the sonic franchise

[evil-jennifer-hamilton-wb]

Long have we who need to discuss the third derivative of something several times in the same paper been oppressed by an inability to use the god-given terminology. Must one be seen as immature for the maximum acceleration of jerking at 0?

masturbation is evil not for any puritan anti-fun reason but because it has permanently claimed so many verbs

[writers-potion]

The Pirate's Glossary

Ahoy - an interjection used to hail a ship or a person, or to attract attention.

Arr! - an exclamation

Avast! - a command meaning stop or desist

Aye (or ay) - yes; an affirmation

Becalmed - the state of a sailing vessel which cannot move due to a lack of wind

Belay - (1) to secure or make dast by winding on a cleat or pin (2) to stop, most often used as a command

Bilged on her anchor - a ship holed or pierced by its own anchor

Bilmey! - an exclamation of surprise, short for "God blind me!"

Blow the man down - to kill someone

Boom about - when a ship turns in the wind the boom can swing violently enough to injure or kill a person on board. "Boom about" may be shouted to warn others the boom is about to move.

Bring a spring upon her cable - to come around in a different direction, oftentimes as a surprise maneuver.

Careen - to take a ship into shallower waters or out of the water altogether and remove barnacles and pests such as mollusks, shells and plant growth from the bottom.

Chase - a ship being pursued, or the act of pursuing a ship.

Code of conduct - a set of rules which govern pirates behavior on a vessel.

Come about - to bring the ship full way around in the wind. Used in general while sailing into the wind, but also used to indicate a swing back into the enemy in combat.

Crack Jenny's teacup - to spend the night in a house of ill repute.

Crimp - to procure (sailors or soldiers) by trickery or coercion, or one who crimps.

Dance the Hempen jig - to hang

Davy Jones' locker - a fictional place at the bottom of the ocean. In short, a term meaning death.

Dead men tell no tales - standard pirate excuse for leaving no survivors.

Deadlights - (1) strong shutters or plates fastened over a ship's porthole or cabin window in stormy weather. (2) Thick windows set in a ship's side or deck. (3) eyes.

Fire in the hole - a warning issued before a cannon is fired.

Furl - to roll up and secure, especially a ship’s sail.

Give no quarter - the refusal to spare lives of an opponent. Pirates raise a red flag to threaten no quarter will be given.

Handsomely - quickly or carefully; in a shipshape style.

Haul wind - to direct a ship into the wind.

Heave down - to turn a vessel on its side for cleaning.

Heave - an interjection meaning to come to a halt.

Ho - used to express surprise or joy, to attract attention to something sighted, or to urge onward.

Letter of marque - a document given to a sailor (privateer) giving him amnesty from piracy laws as long as the ships plunders are of an enemy nation.

List - to lean to one side

Long clothes - a style of clothing best suited to land. A pirate, or any sailor, doesn't have the luxury of wearing anything loose that might get in the way while climbing up riggings.

Marooned - to be stranded, particularly on a desert isle.

Me - My

No prey, no pay - a common pirate law meaning a crew received no wages, but rather shared whatever loot was taken.

Overhaul - (1) to slacken a line (2) to gain upon in a chase; to overtake

Parely - a conference or discussion between opposing sides during a dispute, especially when attempting a truce, originating from the French, "parler," meaning "to speak." The term was used in "Pirates of the Caribbean: The Curse of the Black Pearl" as part of Pirate law.

Piracy - robbery committed at sea.

Quarter - derived from the idea of "shelter", quarter is given when mercy is offered by pirates. Quarter is often the prize given to an honorable loser in a pirate fight.

Reef sails - to shorten the sails by partially tying them up, either to slow the ship or to keep a strong wind from putting too much strain on the masts.

Run a shot across the bow - a command to fire a warning shot.

Sail ho! - an exclamation meaning another ship is in view. The sail, of course, is the first part of a ship visible over the horizon.

Scupper that! - an expression of anger or derision meaning "Throw that overboard!"

Sea legs - The ability to adjust one's balance to the motion of a ship, especially in rough seas. After walking on a ship for long periods of time, sailors became accustomed to the rocking of the ship in the water. Early in a voyage a sailor was said to be lacking his "sea legs" when the ship motion was still foreign to him. After a cruise, a sailor would often have trouble regaining his "land legs" and would swagger on land.

Shiver me timbers! - An expression of surprise or strong emotion. In stormy weather and rough seas, the support timbers of a ship would "shiver" which might startle the crew. The phrase may have been less common during the Golden Age of Piracy than it had become later in fictional works.

Show a leg! - A phrase used to wake up a sleeping pirate.

Sink me! - An expression of surprise. Many pirate exclamations used exaggerated imagery to highten a point. Ye might say the sailors were punchy or a bit melodramatic after a lengthy stay at sea.  

Smartly - quickly

Take a caulk - To take a nap. On the deck of a ship, between planks, was a thick caulk of black tar and rope to keep water from between decks. This term came about either because sailors who slept on deck ended up with black lines across their backs or simply because sailors laying down on deck were as horizontal as the caulk of the deck itself.

To go on account - A pleasant term used by pirates to describe the act of turning pirate. The basic idea was that a pirate was more "free lance" and thus was, more or less, going into business for himself.

Warp - To move (a vessel) by hauling on a line that is fastened to or around a piling, anchor, or pier.

Weigh anchor - To haul the anchor up; more generally, to leave port.

Ye - you

If you like my blog, buy me a coffee☕ and find me on instagram! 📸

Reference:

https://www.pirateglossary.com/

[writingwithcolor]

Sri Lankan Fairies and Senegalese Goddesses: Mixing Mythology as a Mixed Creator

[Note: this archive ask was submitted before the Masterpost rules took effect in 2023. The ask has been abridged for clarity.]

@reydjarinkenobi asked:

Hi, I’m half Sri Lankan/half white Australian, second gen immigrant though my mum moved when she was a kid. My main character for my story is a mixed demigod/fae. [...] Her bio mum is essentially a Scottish/Sri Lankan fairy and her other bio mum (goddess) is a goddess of my own creation, Nettamaar, who’s name is derived from [...] Wolof words [...]. The community of mages that she presided over is from the South Eastern region of Senegal [...] In the beginning years of European imperialism, the goddess basically protected them through magic and by blessing a set of triplets effectively cutting them off from the outside world for a few centuries [...] I was unable to find a goddess that fit the story I wanted to tell [...] and also couldn’t find much information on the internet for local gods, which is why I have created my own. I know that the gods in Hinduism do sort of fit into [the story] but my Sri Lankan side is Christian and I don’t feel comfortable representing the Hindu gods in the way that I will be this goddess [...]. I wanted to know if any aspect of the community’s history is problematic as well as if I should continue looking further to try and find an African deity that matched my narrative needs? I was also worried that having a mixed main character who’s specifically half black would present problems as I can’t truly understand the black experience. I plan on getting mixed and black sensitivity readers once I finish my drafts [...] I do take jabs at white supremacy and imperialism and I I am planning to reflect my feelings of growing up not immersed in your own culture and feeling overwhelmed with what you don’t know when you get older [...]. I’m sorry for the long ask but I don’t really have anyone to talk to about writing and I’m quite worried about my story coming across as insensitive or problematic because of cultural history that I am not educated enough in.

Reconciliation Requires Research

First off: how close is this world’s history to our own, omitting the magic? If you’re aiming for it to be essentially parallel, I would keep in mind that Senegal was affected by the spread of Islam before the Europeans arrived, and most people there are Muslim, albeit with Wolof and other influences. 

About your Scottish/Sri Lankan fairy character: I’ll point you to this previous post on Magical humanoid worldbuilding, Desi fairies as well as this previous post on Characterization for South Asian-coded characters for some of our commentary on South Asian ‘fae’. Since she is also Scottish, the concept can tie back to the Celtic ideas of the fae.

However, reconciliation of both sides of her background can be tricky. Do you plan on including specific Sri Lankan mythos into her heritage? I would tread carefully with it, if you plan to do so. Not every polytheistic culture will have similar analogues that you can pull from.

To put it plainly, if you’re worried about not knowing enough of the cultural histories, seek out people who have those backgrounds and talk to them about it. Do your research thoroughly: find resources that come from those cultures and read carefully about the mythos that you plan to incorporate. Look for specificity when you reach out to sensitivity readers and try to find sources that go beyond a surface-level analysis of the cultures you’re looking to portray. 

~ Abhaya

I see you are drawing on Gaelic lore for your storytelling. Abhaya has given you good links to discussions we’ve had at WWC and the potential blindspots in assuming, relative to monotheistic religions like Christianity, that all polytheistic and pluralistic lore is similar to Gaelic folklore. Fae are one kind of folklore. There are many others. Consider:

Is it compatible? Are Fae compatible with the Senegalese folklore you are utilizing? 

Is it specific? What ethnic/religious groups in Senegal are you drawing from? 

Is it suitable? Are there more appropriate cultures for the type of lore you wish to create?

Remember, Senegalese is a national designation, not an ethnic one, and certainly not a designation that will inform you with respect to religious traditions. But more importantly:

...Research Requires Reconciliation

My question is why choose Senegal when your own heritage offers so much room for exploration? This isn’t to say I believe a half Sri-Lankan person shouldn’t utilize Senegalese folklore in their coding or vice-versa, but, to put it bluntly, you don’t seem very comfortable with your heritage. Religions can change, but not everything cultural changes when this happens. I think your relationship with your mother’s side’s culture offers valuable insight to how to tackle the above, and I’ll explain why.  

I myself am biracial and bicultural, and I had to know a lot about my own background before I was confident using other cultures in my writing. I had to understand my own identity—what elements from my background I wished to prioritize and what I wished to jettison. Only then was I able to think about how my work would resonate with a person from the relevant background, what to be mindful of, and where my blindspots would interfere. 

I echo Abhaya’s recommendation for much, much more research, but also include my own personal recommendation for greater self-exploration. I strongly believe the better one knows oneself, the better they can create. It is presumptuous for me to assume, but your ask’s phrasing, the outlined plot and its themes all convey a lack of confidence in your mixed identity that may interfere with confidence when researching and world-building. I’m not saying give up on this story, but if anxiety on respectful representation is a large barrier for you at the moment, this story may be a good candidate for a personal project to keep to yourself until you feel more ready.

(See similar asker concerns here: Running Commentary: What is “ok to do” in Mixed-Culture Supernatural Fiction, here: Representing Biracial Black South American Experiences and here: Am I fetishizing my Japanese character?)

- Marika.

Start More Freely with Easy Mode

Question: Why not make a complete high-fantasy universe, with no need of establishing clear real-world parallels in the text? It gives you plenty of leg room to incorporate pluralistic, multicultural mythos + folklore into the same story without excessive sweating about historically accurate worldbuilding.

It's not a *foolproof* method; even subtly coded multicultural fantasy societies like Avatar or the Grishaverse exhibit certain harmful tropes. I also don't know if you are aiming for low vs high fantasy, or the degree of your reliance on real world culture / religion / identity cues.

But don't you think it's far easier for this fantasy project to not have the additional burden of historical accuracy in the worldbuilding? Not only because I agree with Mod Marika that perhaps you seem hesitant about the identity aspect, but because your WIP idea can include themes of othering and cultural belonging (and yes, even jabs at supremacist institutions) in an original fantasy universe too. I don't think I would mind if I saw a couple of cultural markers of a Mughal Era India-inspired society without getting a full rundown of their agricultural practices, social conventions and tax systems, lol.

Mod Abhaya has provided a few good resources about what *not* to do when drawing heavily from cultural coding. With that at hand, I don't think your project should be a problem if you simply make it an alternate universe like Etheria (She-Ra and the Princesses of Power), Inys (The Priory of the Orange Tree) or Earthsea (the Earthsea series, Ursula K. Le Guin). Mind you, we can trace the analogues to each universe, but there is a lot of freedom to maneuver as you wish when incorporating identities in original fantasy. And of course, multiple sensitivity readers are a must! Wishing you the best for the project.

- Mod Mimi

[blackmagictrait]

anyway

"When you contribute UGC [user generated content], you grant to EA, its licensors and licensees a non-exclusive, perpetual, transferable, worldwide, sublicensable license to use, host, store, reproduce, modify, create derivative works, publicly perform, publicly display or otherwise transmit and communicate the UGC, or any portion of it, in any manner or form and in any medium or forum, whether now known or later devised, without notice, payment or attribution of any kind to you or any third party. You also grant to all other users who can access and use your UGC on an EA Service the right to use, copy, modify, display, perform, create derivative works from, and otherwise communicate and distribute your UGC on or through the relevant EA Service without further notice, attribution or compensation to you." - ea terms of service "Mods must be non-commercial and distributed free-of-charge. Mods cannot be sold, licensed, or rented for a fee, nor can Mods contain features that would support monetary transactions of any type." - official sims 4 policy on mods

free cc resources:

my free cc tag

** all sfs folders

dollhouse mafia * telegram group (instant messaging app), requires phone number to sign up but you can set your # to private. 100% safe and my most used resource (read the rules!!!)

ts4rebels > direct link to vault * new site, new link

paysitesmustbedestroyed * it's back bby!!

simsgalaxy * vk page, requires account but is free (**good for sl conversions)

kemono.party (for patreon/boosty releases) * use an adblock on this one!!

losts4cc * not a pirating site, just an archive of cc that's been deleted/lost

verycursedstuff * for curseforge stuff!!

🏴‍☠️🏴‍☠️🏴‍☠️

[prokopetz]

So, you've mentioned before that TTRPGs always have an expected "mode of play", that is, the basic concept from which the gameplay loop is derived. I admit I have little experience with this kind of thing, but I'm having trouble wrapping my head around the mode of play of Lasers and Feelings. Like, what's the unifying thread between Lasers and Feelings, Radical Catgirl Anarchy, and Lily is Girls With The Ability? Or between L&F and something like Speeding Bullets, for that matter? Is it just that they're all rules-light shitposts? Or is it based on, like, the tension between the two different ends of a dichotomy?

One-page games can be tricky in this respect because they just don't have the bandwidth to explicitly state many of their assumptions. They necessarily depend on the players (and the GM, if present) bringing the "correct" set of assumptions to the table regarding how the game ought to be played.

Still, there's enough there to draw certain conclusions. For example, in a typical Lasers & Feelings hack, rolling the dice gives a pass-or-fail outcome (with optional complication) for a discrete physical, mental, or social task. This frames a session of play as a sort of narrative obstacle course: the story consists of overcoming a series of well-defined obstacles in order to arrive at a particular goal. That might seem like a fairly banal observation, because that's how a lot of tabletop RPGs frame a session of play, but we need to make that explicit to contextualise the next step.

That next stop, of course, being the approaches.

One of the baseline assumptions of any tabletop RPG is that you're going to use it to tell the kinds of stories about which the rules have something to say – indeed, a tabletop RPG has to assume this, because if you're not telling the kind of story about which the rules have something to say, you're not playing the game!

To that end, a Lasers & Feelings hack is usually going to give you a pair of approaches to roll against, each consisting of a set of ways of conceptualising the obstacle in front of you. I'm not using the term "conceptualising" just to be fancy here; in Lasers & Feelings, the GM (if present) describes the obstacles, but it's on the player, not the GM, to decide "this is the kind of obstacle which can be overcome with [insert approach]", and nobody gets to tell them they're wrong.

Thus, a Lasers & Feelings hack assumes that the story of your game is going to consist of a series of obstacles (see above) which can usefully be conceptualised using at least one of the game's two approaches. A game where your approaches are "the power of friendship" and "the power of unimaginable violence", for example, probably isn't one that you'd want to use to play out a scenario inspired by Jane Austen's Pride and Prejudice, because those approaches aren't useful ways of conceptualising the kinds of obstacles such a story is likely to present – and if you used it anyway, the story would rapidly stop being a Pride and Prejudice pastiche.

All that in mind, it might be more accurate to state that Lasers & Feelings as a framework presents meta-expectations; the framework provides a set of mechanisms for a particular hack's chosen approaches to direct play, but you have to look at what that hack's chosen approaches actually are to pin down what that direction is.

[beta-therapy]

Female Sexual Freedom = More Sexless Men?

By all metrics, female sexual freedom is at an all-time high in Western society. In this discussion, female sexual freedom / liberation / empowerment is a general term used to describe women’s

-openness to casual sex,

-average number of sexual partners, and

-ability to be sexually promiscuous without social repercussions.

We see today’s women, in large numbers, going out in revealing outfits that draw attention to their sexual features. We know that the typical modern woman does not have the same hesitation toward casual sex that women had 30 years ago. Rather than hide her sexuality and treat it as sacred, she wears it like a crown, unapologetically. She flaunts it on social media.

This is just one effect of a broad scale cultural change in the developed world. As we become more scientifically and technologically savvy, there is a large movement to depart from the ancient wisdom encoded in religious principles, and instead, to derive our values from rationality.

And this is the result. A population of free, empowered women who live with a focus on fun and pleasure. They reject religious dogma (it’s just a bunch of arbitrary rules!). Since there aren’t any objective values and everyone can pick their own, this leads to the feminine tendency to be inclusive and tolerant of everyone (except when it comes to sexual selection, of course. There’s no inclusivity there, but it’s just biology so you should respect women’s decisions).

Now here is the paradox. Sexuality has become a lot more public. Women are much more open to engaging in casual sex. Hookup culture is widespread. We’ve never lived in a more sexual society. So it should follow that your everyday, average Joe is getting a lot more sex, because the barrier to sex is so low, right?

Actually, the opposite is true. The average guy experiences a barrier to sex that has never been higher. It is fair to say the average man today is invisible to women. Check out the standards females set for men today. Check out the statistics on male sexlessness. The number of sexless men has been rapidly increasing every year in this digital age.

The culture is becoming extremely sexual, but here’s the catch: the only men who get to participate are those in the top tier (the men who women actually want to have sex with).

Therefore, instead of saying we live in a hypersexual society, it’s more accurate to say that women are no longer beholden to traditional values, so they can freely express their deepest desires, and instead of getting shamed, they are accepted. We are letting their true colors shine through!

And what did those true colors turn out to be?

Women love sex! But not with an average guy.

In plain, honest terms, what women want is to chase the man with value. The man who could get any girl. She wants to seduce him. Make him fall in love with her. That’s the female sexual fantasy that we’re watching play out. It has nothing to do with giving out sex to an average guy.

This paradox is an example of the tug-of-war between freedom and equity.

Society has removed much of the stigma on sexual promiscuity, substantially increasing our ability to freely make sexual decisions without getting judged. We’re taking down the barriers on sex and sexual behavior, so it’ll be more accessible to everyone!

But the effect is the complete opposite of “more sex for everyone.” Women’s freedom to act out their deepest desires without apology has resulted in the strongest social caste system of men, because those deep desires only pertain to alphas. Some men fuck hundreds of girls. For other men, the only way to have sex is to pay for it.

The same consideration applies to every item of public policy. The laissez faire capitalist system is attractive because everyone is free to make their own decisions. But since consumers are naturally going to select the best products available, the system is prone to monopolistic takeover. The result is that everyone buys from the same few companies, and your average Joe cannot enter the playing field because he has no ability to compete.

We know one thing for certain. Freedom is key! We should all be free to pursue our highest potential. That’s equality of opportunity. You can’t control the outcome without infringing freedom. Some of us will achieve at a high level and reap all the rewards, but most of us will never come close no matter how hard we try. At the end of the day, we accept the rewards if we’ve won, and if not, we don’t complain when we see the spoils awarded to others.

[lennjamin-o7]

i don't think i have it in me to watch philza minecraft's too many hours hardcore streams, so I'm just curious- how does he do lore for his hardcore series?

I can give you the info I know, and I am 100% certain there are people who can give more thorough explanations and/or correct me. @rakkuntoast is someone on tumblr who I know is much more informed than me about Philza lore.

Most of Philza's hardcore streams are him building these massively cool builds. But, the Lore of the series is that he is more of an archeologist or historian, discovering these locations and the story behind them.

A lot of the Lore is delivered by him explaining and narrating the story of the world as he builds. Occasionally, he will go through the whole story of the world for new viewers who don't already know. And sometimes, happy accidents or jokes just become a part of the story.

The main lore is this.

The Enderking, a God who ruled the End, was greedy and thought he deserved to be in control of everything, so he set about stealing everything for himself.

He tried to pull in parts of the Nether, but was stopped by the Blaze Empress, goddess of the Nether. Part of the Nether is still affected by this tussle, seen in the Nethervoid build. Also, during this clash, two of the Blaze Empress's BEST warriors known as He and She were separated. They were in love, but never confessed to each other their feelings. Now they are just lava pools, separated forever. (He and She were added because Kristin convinced Phil to put a smiley face in a lava pool and the Lore sprung from there).

Then, there is Flowerfall. Flowerfall was the home of the Ocean Overlord (Affectionately called Ocean Himbo by the Crows and I had to actually google what his title was because I couldn't think of it other than Himbo). The Ocean Overlord was a god of, well, the ocean. He lived in this massive underwater palace. When the Enderking was stealing parts of the world, the Ocean Overlord was asleep. He was asleep through the whole War, actually. And the Enderking nearly ripped his house out from under him! It was only another deity, Rose, who stopped the Enderking from stealing the Ocean Overlord's house.

The Gods (Minus beloved Himbo) fought against the Enderking and kicked him out of their realms. I'm not remembering exactly, but I think that in this tussle and the return of the Ocean Overlord's home, the sea flooded the End, creating Endlantis (someone correct me on this, if its wrong). The Enderking was slain (however, he's a god so he's not REALLY dead). His corpse lies underneath Endlantis, always possible that he could return.

There are a ton of details that are added onto this, but those details are really only fleshed out in one-off moments within Phil's streams. Like, Phil adding a tree at Spawn where the Blaze Empress and Rose send each other gifts and messages because they are such good friends (Crows know they are gal pals, even if Phil doesn't confirm it). Others are derived from accidents like the Battle of Endlantis, which was where multiple dragons were accidentally spawned, and Phil had to kill them off. Or when Phil lost his trident in the void, he made it big and existant in the newest season as if it had transcended dimensions.

There are other gods that we haven't been introduced to, as well. I think there are 2 more that he hasn't named. However, yeah, its kind of hard to keep up with all of the Lore if you aren't able to constantly watch it. I know there is a really good video of Philza explaining his Hardcore Lore to, I THINK, Slimecicle? But I couldn't find it. If anyone knows where it is, please link yes!

Anyways, I hope that answered your question 💚💚💚💚

[evangelinesbible]

11H AND WHAT TYPE OF FAMOUS SINGER YOU'D BE

If we use the method of derivative astrology then the 11h should be able to tell you what type of famous singer you'd be.

2H = Singing Voice

10H = Fame

10 houses away from the 2H is the 11H.

PSST- you can look at the 11H ruler and what it tightly aspects too. And if you have a planet that has multiple sign rulers you can look at those descriptions too ;)

SUN/LEO

You naturally gain attention as a singer. You have a lot of confidence in yourself as a singer. You might be seen as the type of singer that can’t help but shine when they perform. A singer with a big personality when they sing to others. Some of the attention you get can be overwhelming and you might feel like the spotlight is on you all the time. You’ll be famous for your very bold and creative ideas as a singer. Famous singer who makes an “All eyes on me” statement with their music and is seen as royalty. When it comes to your singing voice you might be known to have a powerful one, like a lions roar. (Moving forward know that other aspects in your chart can possibly effect what your voice is also known for)

MOON/ CANCER

As a singer you’ll be famous for your emotional vulnerability and honesty. You’ll sing about what you truly deeply care about. When it comes to your voice it’s distinctly feminine, soft and also nurturing. Life lessons involving your childhood might been seen a lot in your music. Since cancer/the moon is also a luminary fame and popularity is very natural for you to gain. It may manifest a little differently than Leo but you might also feel like all eyes are on you. You may be known as a singer who uses music to connect to your inner child and use music to heal yourself and others.

MERCURY/GEMINI/VIRGO

You’re the singer who is very critical of how you perform. You might feel like everyone, including yourself is watching your every move and judging you. You might be your worse enemy. Since mercury rules quickness you’ll be famously known for getting tired of what you do/make as a singer very quickly and you’ll be known to go through a lot of phases. You might also be known as a singer who can sing or even rap really fast. You’ll be famous for your well thought out musical eras, clever lyricism and messages involving change.

VENUS/ LIBRA/ TAURUS

Famous singer who’s specifically known for being very artsy and having a beautiful/“pretty voice”. You are a singer who is known for your sensuality and femininity. You will typically be known for singing about love, relationships and how you like to be pleased. Similar to moon there’s a softness to you this people will love, even if you had a bad girl/boy era people will still see you as sweet and soft. You might also sing about material things, wether it’s a commentary on materialism or flaunting it.

MARS/ ARIES

As a famous singer you’d be known to be very sexual and/or aggressive in your music and performances. You are a very passionate performer/singer and you may be very blunt and upfront about what you sing about. You’ll be known to be assertive and very confident in your singing abilities. When it comes to your singing style you’ll be famously known for singing very loud, aggressive, and bold. And even when you’re singing softly there’s still a dominance in your voice that people pick up on.

JUPITER/ SAGITTARIUS

This placement can also indicate gaining popularity very easily as a singer. You’ll be famous for your big personality and it might shine through your music/performances. You’re a singer who gains a lot of money in the industry. You’re a singer who will be famously known to spread messages and personal wisdom through your music. You might use your music to spread awareness about issues you deeply care about, especially about equality and justice.

SATURN/ CAPRICORN

The singer with a very long lasting impact/career. The singer who might set a certain standard in your work. When your famous you’ll naturally gain a lot of respect in the industry. When it comes to your voice people might perceive it as perfect, well crafted and again the standard because of your consistency. (Even if you are not a perfect singer or technical vocalist) You might gain more praise or notoriety as you age and mature. You’ll be famously known for making a lot of achievements as well as going through extremely challenging situations that you may involve with your music. You may be known for your perfectionism because you might doubt the way you perform as a singer.

URANUS/ AQUARIUS

You’d be famous for challenging the norm and staying fiercely independent. A singer who’s famous for being a trend setter and bumps the curve. As a famous singer every one expects you to do something unique, technologically advanced, something completely new and never seen before. In your field you will be seen as one of a kind because it’s very hard to replicate who you are. You might have copy cats but they’ll never reach the level you will reach because your uniqueness as a singer is authentic. When it comes to your voice you might be known to do a specific thing with it that you’re known for that nobody else can replicate.

NEPTUNE/ PISCES

You’ll be a famous singer known for singing about your self destructive problems, addictions and/or delusions. You might involve themes of spirituality as well. When your famous you’ll be glamorized, including what you sing about (which can be good or bad). You as a singer can be confusing or aloof which gives you some mystery. People might find you very confusing because you might contradict yourself through music. When if comes to voice you might be famous for your dreamy and/or almost drunk like cadence and tone. You may be known for your creative melodies and musical production

PLUTO/ SCORPIO

You’d be famous for the power you have being a singer. Wether if that’s with your voice, your lyrics, or just with your presence. And you also gain power through singing. When you’re famous you might transform into a completely different person, maybe even multiple times. You might potentially transform something in your industry. You’ll be seen as extremely magnetic so people might naturally be obsessed with you and copy what you do. Of course you might be a very sexual singer as well and you might constantly talk about themes of sex and intimacy. When it comes to your singing voice you might be known for a sultry tone and a powerful one as well. It might also be known for its deepness.

What’s your 11H? Mine is Cancer Saturn with 11H ruler being Sagittarius Moon 💋

-⚜️💫⚜️

[inky-duchess]

Etiquette of the Edwardian Era and La Belle Époque: Tea

This is a new set of posts focusing on the period of time stretching from the late 19th century to the early 20th Century right up to the start of WWI. I'll be going through different aspects of life. This series can be linked to my Great House series as well as my Season post and Debutant post.

Today will be focusing on the rules of tea with this time period.

Tea was a staple in society, not only as a comforting beverage but as a social gathering beset by strict rules. Etiquette at tea is not only important for guests but is a sign of respect to one's host.

High Tea vs Afternoon Tea

You're reading both terms and you're thinking high tea is the formal version and afternoon is informal. In fact, no. It is the opposite. High tea was actually served far later, about 6pm/7pm and focused on more savoury, substantial dishes. High tea was more of a lower class tradition, designed to fill the stomachs of hungry workers. The word "high" is derived from the tall tables used. Afternoon tea is served at 4pm, designed to fill the gap between lunch and dinner. Afternoon tea is served at low tables with all the guests seated and involve a lighter meal, more nibbles than anything.

Hosting and Attending Tea

Tea is an event that happens every day, it's not an excuse for a snack, it's a ritual. One can have tea served in one's own home or at the home of a friend. One must be invited to tea, one can't just show up and expect to get fed. Tea was typically served in libraries or drawing rooms and done times outside in the gardens if weather permits. One had to dress for tea usually in comfortable but appropriate clothing. Men would wear suits, women would wear tea gowns or a simple gown - keeping their hats upon their head, if they are visiting. Tea was not poured by the footman but by the host or if it is a large party, by one assigned guest. The hostess or designated tea pourer would serve themselves last.

The Tea Set

Tea sets are highly coveted and much remarked upon at tea. One would usually inherit a service (that's what the collection was called) or be gifted it at one's wedding. Services would all match and most households had different kinds, the best usually reserved for important guests.

Teapot: the tea pot held the hot water and tea leaves was was usually made of china and decorated.

Cups: the cups were generally low, shallow.

Saucer: a small plate for the cup to rest on

Tea cannister: where dried tea leaves would rest until needed.

Sugar bowl: was a small container made of china with a cover to protect the sugar from moisture.

Milk jug: a container for the milk

Slop basin: was a porcelain dish used for disposing tea leaves left behind with the dregs of tea.

Tea spoon: small spoon used to stir tea

Side Plate: small serving plate used for food.

As you might have noticed, other than a tea spoon, cutlery is not listed. There would be a spoon for jam and a knife for a scone, most food was designed to be eaten with one's hands.

There is also one instrument not listed here and it's the most recognisable thing at afternoon tea.

The Tiered Tray

The tiered tray is a set of trays stacked upon one another holding on each one, a different course. Sandwiches and savouries were served on the bottom (Favourites include smoked salmon, cucumber, cress, egg salad sandwiches), scones on the second and sweeter delights served on the top (sponge cake, macaroons, pastries etc). One would begin ay the bottom and work one's way upward.

Making the Perfect Cup of Tea in the Edwardian Era/Belle Epoque/Gilded Age

Disclaimers: Let's make one thing clear. Tea is not prepared one way for all. Tea is culturally important across the world and every culture has their own rules about how tea is consumed and served. There's no one right way.

I will be discussing the English way of brewing tea in this post.

As mentioned before, tea is held in a cannister before use. Tea leaves were added to the hot water and lightly stirred.

Controversially for most people, milk was commonly added first.

One would then set a strainer in one's cup, tilting the pot. The strainer will catch the leaves and leave your cup almost tea-pulp free.

With the tea added, one could add in sugar. The trick is not to make a show about it or be too loud. One simply should gently turn your spoon from the 6 o'clock position to the 12 o'clock position. Also, the spoon rests on the saucer when not in use and doesn't stay in your cup.

When drinking your tea, put your pinky down. That's an American myth. Simply lift your cup to you, lifting the cup to your mouth by the handle. Saucers are not lifted unless your cup is far away. Don't slurp it, there's plenty more where that came from.

Etiquette at Tea

Afternoon tea is for light conversation, do avoid heavy topics.

Listen attentively when being spoken to.

Don't talk with your mouth full or stuff your mouth. Typically everything should be polished off with 2-3 bites.

Gloves should be removed at tea because one is eating with their fingers.

If one is leaving the table to go to the bathroom or a breath of air, simply turn to your neighbours and excuse yourself. No explanation needed.

Napkins should be removed from the table and set across one's lap when one is sitting down. When finished with tea, set it beside your plate before you rise.

Also you daub, not smear.

Don't cut your scone but break it.

Don't lick your fingers.

Don't bang the spoon on the side of the cup.

Also there's no dunking biscuits into your tea. It's just not done at afternoon tea.

Never thank the staff for fetching anything - or at very least, don't be overhead doing so.

Always say your goodbyes to the hostess and compliment the tea, even if you had a rubbish time.

Also most importantly, never criticise somebody else's manners. That's the height of rudeness.

[highlighter-goblin]

Ok I have more headcannons for the ✨hatchetverse✨

Number 1:

All the men in the Lipshitz/Mathews/Goldstein family have a middle name that’s a derivative of Jon. Paul, Gary, and Jerry have jon, John, and Jonn respectively, Trevor has Jonah and Richie Jonathan, and other men in the family tree also have one of those middle names, something similar, or the same with different spelling.

Headcannon B:

Some of Lauren’s characters are cousins. Specifically Emma, Ruth, and Brooke, their mothers are sisters, hence the surname differences. This little tidbit is relevant to another headcannon coming up.

Part III:

Richie introduced Paul to anime. Paul was babysitting and Richie put on sailor moon, now Paul likes anime, specifically magical girl anime. Because it was his first, his favourite is sailor moon, and he’s a crystal truther (like me) and has seen the original anime but dislikes all the filler that wasn’t in the manga that crystal excludes to cut to the chase of the plot. And the precious little simp sees him and Emma as Mamorou and Usagi, Endymion and Serenity, Tuxedo Mask and Sailor Moon, he thinks he is her fate destined saviour (he is) and simps for her in the same lame way as the dumping in the show.

4rd:

None of the nerdy prudes can drive. Ruth can’t safely drive because her headgear is considered a distraction, Richie is an ambulatory mobility aid user and legally can’t drive, Peter can’t drive because his eyesight is so bad in one eye that he’s legally blind and also legally can’t drive, Grace’s parents don’t let their little girl drive and she doesn’t want to go against her parents, Steph can’t drive because she lost her licence for reckless driving (she gets exited a bit too easy on the road)

(Edit/update: I should have probably mentioned that Pete’s situation is being based off of the road laws of Victoria, Australia, where from my knowledge if you have poor vision in one eye and are legally blind in the other you can’t drive, so I might be wrong when it comes to American road rules)

Fifth:

There was a comic convention “incident”. Ruth and Richie wanted to set up Paul and Emma, because the little nerds are friends and they wanted to set up their uncle and cousin respectively because they were seeing ✨signs✨ that their loved ones had a crush on each other. There was a comic convention in Clivesdale or some other close town to the island and Ruth and Richie wanted to go and found it as a way to set them up. Ruth asked if her favourite adult cousin could chaperone her to the convention, and hey there might be some stoners to test product. Richie told Paul there would be sailor moon and also he can’t drive and come on uncle Paul you get me the most. Ruth and Richie withheld the information for each other’s attendance to their respective adults and “coincidentally” found each other at the con, and Paul and Emma were befuddled and smitten, and now the 4 of them go to at least 1 con a year for the sake of family and saving gas money (and so Paul and Emma can flirt)

Ok sorry if this is long these have been brewing for a while. (This took me 40 minutes to type)

[utilitycaster]

okay watched Cloak and Dagger and here are my thoughts in brief

I don't think showing Ripley's backstory is bad. Part of why Ripley is an interesting character to me in a way that, to use my favorite punching bag, Otohan, is not, is because we had hints of what made her this way - fleeing the Empire; a list of names on Animus that included Bertrand Dwendal. Part of why I mock Otohan relentlessly is because she is a one-dimension villain, and Ripley never was that, which is why she's an interesting villain. Tragic backstory, in my opinion, enhances one's villainy, rather than reduces it: what sort of monster suffers and decides to do the same to others, rather than is driven to work to improve the lot of others? That's essentially why Caleb is in the end a heroic character and Ludinus is the culminating BBEG more so than Predathos.

Glintshore is one of my favorite battles of Campaign 1 and it also would not, in my opinion, translate well to animation. There was a great line in the Midst Messages from Xen in reference to Moonward about how in most rules-heavy TTRPGs, when you enter a big battle, time stretches out significantly, but in a systemless game like Moonward, it goes very quickly, which gives it a very different vibe and makes players make very different decisions. The emotional weight derives largely from how the party enters combat already heavily drained and never regains their footing, and how the cast is well aware and the sense of dread (and belief that Percy might be permanently dead and Taliesin will have to roll up a new character) sets in long before the battle ends. [long tangent about good parasocial vs bad parasocial in actual play put off until I have time to actually read Watch Us Roll, but this is Good Parasocial]. It's actually an interesting test of the challenge we face for the finale of the series: you are not going to get as efficient an emotional punch as Sam saying "Nine" in a show that doesn't have a concept of spell levels. I had struggled with how one might recreate the Glintshore battle and the answer is "you don't".

Ripley's speech was great no notes, love her being fucking awful and consumed with vengeance to the end. I think just as the theme of "your resentment will destroy you" is an enduring one throughout Critical Role, so is "every mortal is in theory someone who could change and become better, but if you shoot the hand that's trying to help you, well, get rekt lol"

The music over Percy's death is corny as hell. However, I am already on the record as someone who mutes It's Thursday Night for being corny as hell and who pokes fun at Matt's more purple prose and I seem to have stuck around regardless. I have made my peace with the fact that a good chunk of the cast spent their formative years just absolutely immersed in anime, and given the Extreme Anime Vibes of Percy in TLOVM I can't say I love it, but I also can't say it's not sort of fitting. Please do cut that scene with different music though, because it would be funny as shit.

I need to watch episodes 8 and 9 (going to now!) but much as I love the glintshore fight, you know what I love more? Episode 1x69 (nice). Real Tragedy Enjoyers know the proof is in the aftermath. If 8 and 9 also suck then I'll be back here in like an hour but if they're good then it's whatever.

Grog is always on some level experiencing a Sitcom B Plot and if you ever find yourself disliking a TLOVM episode, remember you're watching a sitcom where Grog is dealing with a Bird that is Very Here (metaphorical).

[talenlee]

3e: Winners and Losers In Lawful Space

Planescape is a silly place.

Dungeons & Dragons is a wholeheartedly silly game, and it’s important to remember that what makes it silly is an expansive growth out of a particular root. It is a tree of many branches but thanks to the way that it encourages people to build their own things on top of it, it has become a sprawling kind of folk narrative and generally accepted consensus material that then a company comes along and tries to augment and supplement. Still, as much as a corporate mind is at the head of what gets published, what gets handed to that corporation is going to derive from the mind of a dork who likes D&D. To that end, D&D’s lore is a constant push-pull between the kinds of nerds who like organising lists and the kind of nerds who like to invent new types of dragons they want to have sex with and they’re all trying to integrate one another’s material because that’s how nerds demonstrate mastery over a topic.

The result is that D&D lore is composed of parts that neatly and smoothly fit together and parts that should be airbrushed on the side of a van, and all subjects exist in a space between those two points, on a spectrum. And nowhere is this more evident than in the way that 2e’s setting Planescape introduced elements that 3rd edition tried to hide.

Planescape, as a setting, exists very close to the ‘airbrushed on a Van’ side of things, and it’s extremely obvious when you look at its roots in 2nd Edition. In this space, much of what makes Planescape Planescape was codified. For those of you unfamiliar, Planescape is a setting made up of the idea of ‘planes’ as distinct, discrete universes with their own rules separated not by time and space, but just by barriers or magical boundaries. You know how Narnia is supposed to work, with the wardrobe? It’s like that, but there are a lot more wardrobes and they all go to different places. Think a sort of multi-level Isekai scheme.

Anyway, it’s a setting with like, multiple whole universe-sized worlds, that may or may not have planets inside them, some of which follow a very narrow set of identifying rules, like the elemental plane of Fire, which is full of Fire, or are just like ‘here, but a bit weird,’ like Bitopia, which is a whole plane that is mirrored vertically at a certain height. If you look up in Bitopia, you see another whole country up there – that’s why it’s called that. Also everyone there is bisexual.

Planescape sought to build out more of that structured universe and then in each structured space, fill it with interesting notions. But the structure is a little odd, in that it’s hard to make an infinite number of chairs organise neatly, someone is always putting out one more where they shouldn’t. That means there are tidy diagrams of the Planar cosmology, and then you look inside any of the bubbles in that diagram and find it’s full of gibberish.

It was in 2e that, as far as I know, we were introduced world-wise, to the characters of the Modrons.

There’s a whole writing form that involves referring to Modrons in deliberately obtuse ways, with Modrons being the individual, plural, categorical, and utility terms for this people, but what you need to know about them is that Modrons are weird lil guys that are made out of a basic geometric shape – pyramid, cube, dodecahedron, all the way up to sphere (or down to sphere, depending on who you ask). They are truly perfect Lil Guys, a byproduct of a plane of true law and order which doesn’t in any way cohere to what humans (the people playing the game) necessarily assume about law.

They make a lot of sense in a storybook kind of way where you don’t need to have big answers for what they are or how they work or even how their philosophical bias towards pure lawfulness works. In the world of 2ed, where sometimes things that sound like they should be well explained, clear rules are kinda yada-yada-yada’d in a space that you might imagine is flavour text, the Modrons left a bunch of questions unanswered and seemingly, that was good. It was good that they were heavily ambiguous because what was the life cycle of ‘an orb?’ Any answer made them less mysterious and pushed them away from the oddness that they represented.

Anyway, 3e was an attempt by a serious company to do serious things and that’s why when they went back to talk about the Creatures That Lived In The Lawful Planes, they came up with the Inevitables.

Inevitables are the demons of small minds, writ large. Literally, the point of an Inevitable is to be a Lawful Neutral version of a Demon, an entity that exists purely based on rules, coalesced out of a world made of rules, and with nothing holding them back from expressing that. Each of the Inevitables is meant to respond to a rule in the universe and then enforce it. They are self-appointed near-immortal construct cops, and they’re meant to oppose things and people that break the rules that they, specifically, are meant to care about.

These rules are completely out of whack, though, because one of them is meant to enforce say, justice, another the inevitability of death and another, the way the desert is a fixed ecosystem that nobody should try and change or interact with. And in that case, there are a bunch of plants that the Inevitables are going to have issues with, that don’t seem to be capable of forming complex political allegiances.

There’s a really interesting distinction between Inevitables and Modrons, to me. Modrons are weird and interesting but also, there’s nothing they can do that answers a question. Inevitables are a fun challenge that’s supposed to be present to oppose players or potentially be recruited into an adventure, but not for too long. But Inevitables, the 3e attempt to populate Lawful Planes with A Kind of Guy, sort of fell apart and are now more of a trivia question while Modrons have endured into 4th and 5th edition.

I don’t think there’s some greater, better reason for it or anything. I don’t think that Inevitables failed because they were Bad Design or something. But I do think that for me, the way that Modrons represented Weirdness was much more interesting than the ways the Inevitables sucked weirdness away with their simple, clear consideration of certain things as being part of natural reality.

After all: Inevitables would hunt down people who extended their lifespans because ‘everyone must die.’ But Inevitables were immortal. That’s a pretty interesting thing to juxtapose and maybe a character could struggle with that.

Or maybe they could make a big speaking trumpet and demand that everyone else refer to them as a Spokesmodron which is, in my opinion, much funnier.

Check it out on PRESS.exe to see it with images and links!