#Etho has a blue red and yellow one for TIES :)

[bear-fangs]

Etho as a bunch of alien designs :> + endermen ramblings in tags lol. I have so many hcs for end society/endermen and this gives me the perfect excuse to ramble about some of them lol

[gammagoop]

[ID: Three iterations on an art meme template, all drawn digitally. The template contains three boxes labeled ‘Canon’, ‘Fanon’, and ‘My design’ for an artist to draw in.

The first iteration is of Grian. In the ‘Canon’ box there are drawings of his Minecraft skin and channel icon, as well as a drawing of what he looks like in real life. He is smiling and looking towards the viewer. In the ‘Fanon’ box, Grian is drawn with fluffy, dirty blonde hair and a loose red turtleneck. He has goggles on his head and is smiling as he gives the viewer a peace sign with one hand. His eyes are long rectangles, similar to how they appear on his Minecraft skin, and he has parrot wings coming off of his back, as well as smaller ones where his ears would be. In the ‘My Design’ box, he is drawn with light brown hair and square glasses that make his eyes appear as dots. He has stubble on his chin and is smiling and waving at the viewer. He is wearing a red sweater with a white button-up underneath it, and his sleeves are rolled up to his forearms.

The second iteration is of Geminitay. In the ‘Canon’ box there are drawings of her Minecraft skin and channel icon, as well as a drawing of what she looks like in real life. She is smiling and facing the viewer, but looking off to the side. In the ‘Fanon’ box, Gem is drawn facing slightly to the right and smiling. She has a dear-like nose and pointed ears. Her hair is ginger and in two braids down her back. She also has deer-like antlers and yellow flowers in her hair. She is wearing a white button-up and a brown vest with ties in the front similar to that of a corset. In the ‘My Design’ box, she is facing the camera and smiling with one hand on her hip. She has reddish brown hair in two braids down her back and yellow flowers behind her ears. Her nose is similarly dear-like but now with more fur up the bridge of her nose, and she has antlers that are a lighter color than the previous box. She also has deer-like ears that stick out to the sides. She is wearing a green button-up shirt with a yellow handkerchief tied beneath the collar, and brown overalls. Her arms, chest, and chin are hairy.

The third iteration is of Ethoslab. In the ‘Canon’ box there is a drawing of his Minecraft skin with handwritten text that reads “Who is this guy….” underneath. In the ‘Fanon’ box, Etho is drawn wearing a blue-green jacket with a big fluffy collar. He is giving two thumbs-up and is facing towards the camera. He is also wearing a dark blue headband as well as a dark blue mask that covers his nose and mouth, and dark blue fingerless gloves. He has white hair that is long enough to fall over his face after being pushed up by the headband. He has two light blue arctic fox ears and a red right eye with a scar across it. In the ‘My Design’ box, he is drawn with shorter white hair and a warmer green bomber jacket. He is facing slightly to the right but is looking at the viewer with one hand in his jacket pocket. He is wearing a dark blue headband, mask, and gloves, as well as yellowish wrappings around his forearms where his jacket sleeves are pushed up. He has acne on his face and a red right eye with a scar across it. End ID.]

side note: i’m just learning how to write proper IDs so if there’s anything i could have done better please let me know !!

i did 3 of these because i couldnt decide on just one :P very happy with how they all came out though! (the template is by @/sunnydionysus!)

[mar-im-o]

“The unfortunate side-effect to soul-binding is integration,” Ren explains.

Which, as far as he and everyone else on the server is concerned, makes sense. Soul-binding isn’t new. When they awoke on this plane and looked off into the world, they were well aware of what the thread fading off into the distance meant.

It was an old practice, born with the Old Gods of Ruin, where rituals could be cast to tie beings to one another. It tended to occur towards the end of life as a method of ensuring people may stay together after death. It was sweet. Romantic, some may even say.

But they don’t do it much anymore.

Not because love or faith is dead but because of the side-effects.

-

Impulse and BDubs noticed it first. Perhaps it was because they found each other first, or because they were so eager to be together that they hardly let one another out of sight, but they were changing. Impulse noticed it in the sprouting horns upon BDubs’ head. BDubs noticed it in the way Impulse has become suddenly protective of the clock.

-

“Think of it a bit like equilibrium, right?”

Ren’s lounging on he and Big B’s front yard (no matter the fact that said “front yard” is accompanied by an unfinished base). He’s picking off pieces of a cookie he’s been nibbling on, seemingly unaware of the fact that, as a dog, he should not be able to eat chocolate like he currently is.

But he currently is.

And Big B tries his best not to emote such a recognition through his newly-appeared ears. “Like, balancing?”

“For sure,” Ren says. “Two souls tied together, well they don’t want to be. So you get them trying to even out. Tryna become one soul.”

“That seems...”

Bad? Rough? Horrifying? He isn’t sure.

-

Grian and Scar notice it next.

Maybe it’s because they’ve done this before, even if unknowingly. A man swearing himself to another for the sake of righting a wrong, proclaiming that his life is theirs to share.

Scar’s back has been killing him, not in the usual aching but in the pricking, clawing pains he can’t seem to ease. He can feel his back wet with blood, can feel something tearing from the inside out. He relents and rips off his shirt, asking Grian to take a look and, well...

Feathers. Rainbow feathers growing where two wings would be.

And maybe, Grian realizes as he looks upon his flightless-friend’s down, that explains the green in his eyes and the fact that he’s suddenly become quite fond of the Jellies.

-

“So is there a cure? Can we undo it?”

Ren snorts, a thoughtless shrug matching it. “Maybe? Maybe not? We might just have to ride it out, man. I doubt it lasts outside of this server, but until we beat the game...”

“We become more and more like each other...”

“Pretty much.”

-

Cleo sits by the water that feeds their crops when she’s certain Scott’s still sleeping. A insect dances across it, tracing ripples, and she swats it away so the water might still. When it does, she can see the streak of yellow weaving through her hair. It’s gotten bigger. Harder to hide. She tucks it behind her ear anyway.

Inside, Scott’s reflection has become unfamiliar. Antenna sit amongst his hair now, fluffy and twitching with every new sound or movement. With a grumble, he gives it a flick, and hopes Pearl can feel it.

-

Big B sighs and collapses next to Ren, the sound foreign and loud amongst new ears. “I’m really not tryna turn into a dog, man.”

“Eh, you get used to it. The tail’s fun.”

“I do not want a tail Ren.”

-

Pearl stares at her reflection in the glass, unfamiliar blue eyes blinking back.

Martyn grimaces as an arrow in his back knocks dead skin loose. He’ll add “learning to stitch” to the list of things this server has asked of him.

-

“I’m not really sure the green streak suits me,” Etho says, pulling at the addition to his hair.

Joel snorts, owlish red eyes tilting towards Etho. “Right because you’ve got it the worst between us.”

“It’s not my color--”

-

Tango spins, chasing after the small, golden wings that have appeared on his back. “Can you even fly with these things? They’re so small...”

“Rude!” Jimmy says, but he’s not looking at Tango. He’s squeezing his eyes shut as if he can rub away the red now in them. But when he opens them again, the world is still foreign and changed and-- “How many colors can you see man?”

-

Big B drums his fingers against a chest, head dipped in careful consideration of the world around him. His ears twitch towards the east and wow Ren can hear far...

“We’re not the only ones,” Big B reports. “Seems like everyone’s woken up changed.”

“Figured. This is gonna be an interesting season.”

[ethotv-archived]

Would love to hear about the playlist

i love you. im going to put this under a cut bc it will get VERY LONG so. here it is. ultimate ethubs playlist autism (and heres a link to the playlist if you want to listen to it :3)

fair warning a lot of these songs are. love songs. which leads to a more romantic leaning interpretation but you can ignore those parts if you want, i didnt make this playlist with a platonic OR romantic version in mind i just picked songs

OBVIOUS BLASÉ: yeah this song is in the playlist twice FOR GOOD REASON. its the life series etho song of all time you will never find another one like it (it even fits dl but i wont mention that here. sorry). its first in the playlist bc its about ethos feelings on 3rd life because the entire song is about fire and literally playing with matches. i wont go on a 3l etho rant but yeah its very important. the playlist title comes from it! im not gonna bring up specific lyrics here bc they have more impact LATER in the playlist

THE LIGHTHOUSE: bringing back the fire lyrics YAYYYY ^_^ i think this might be the least connected song in the entire playlist but i had to include it bc i love it. just read the lyrics here i dont have a lot to say on them but i really needed to put a song in before bdubs turns red so this one is about them not knowing if this alliance will work out but going for it anyway <3

PARADISE LOST: oh my god ethubs song soooo so so mcuh i have to go through this with specific lyrics because i have to go indepth. this one is right after bdubs goes red for reference

obvious connections here - theyve knwon each other for so long they end up teaming and running in circles around eachother they cant stay away. also "yellow fades to blue" is a reference to a different song but to me if you replace blue with red its about them having the same dynamic as always until bdubs going red messes with it

do i have to. explain this. "cant bring myself to cut ties i know you better than anyone" i cant say anything more. themcore. they cant escape eachother no matter what and they DONT WANT TO

ok almost done with this song but THIS is about how etho is the boogeyman when bdubs goes red. also "will i survive its so hard to tell" screams and cries forever. etho keeping bdubs in the snow fort was "selfish" int hat he SHOULD kick bdubs out but he desperately doesnt want to but also it helps protect him from reds AND gave him a way to get a boogey kill

CLEAN CUT HEALS: im sorry for putting so many songs from one album in a row like this it just. worked out so well? another song about the snowfort split yeah yeah im predictable

they both KNOW they need to split but they dont want to even if it hurts more like this. i dont really have much more for this song EXCEPT the bridge. because while this song is etho pov the BRUDGE.

^ bdubs pov. right in the middle. im too reckless baby..... not much to say. but i had to bring it up so everyone knows

WITH ME TONIGHT: BDUBS SONG. BDUBS SONG. hes trying to win etho over to the red side hes wants it so badly but it isnt working. ignore the parts about it being unrequited it IS ok it is but not every song is perfect. i think it could be taken as bdubs exaggerating to make etho feel bad though

i wish they had killed eachother at least once so i could make this fit even more but.. well im glad they didnt also. + foreshadowing in that last line about how wanting to be with etho will kill him. i would just put screenshots of more lyrics here too but i dont want to reach image cap by adding things just to look at. listen to the song

EMPTY WITH YOU: [dies][dies][dies]

bdubs song begging etho to go red with him. hes bargaining so much by appealing to how much fun they can have as long as theyre TOGETHER. they could take down the whole server! soooo them so so so them. have cried listening to this one

COME UNDONE: "skeppy this is the third song about bdubs wanting etho to go red" ok and. they fit. theyre good. this one ESPECIALLY because it has ties to 3rd life (on yellow, i couldnt do anything. but now thats im red- im a weapon). also connects to etho being boogey

he wnats etho to go red but hes constantly turned down despite being able to TELL etho wants it too. also fire motifs. endless fire motifs. youll be seeing a lot of songs from this album bc its the most redlife bdubs album ever written

GREENER WITH THE SCENERY: cycles and loops and endlessly going through the same situations without seeing an end.... this song is etho after bdubs goes red for the 3rd time.

etho is frustrated that no matter how hard he tries to get bdubs back on yellow he isnt able to stop him going red again and again but he knows he'll keep trying. also do you know how much i would kill for an ethubs lifeswap that couldve made this so much more impactful but WHATEVER. its still good

BLOODY NOSE: bdubs is back!!! we've reached the river confrontation and life exchange deal.. yeah theres a lot of songs about this too because i feel a lot about it. bdubs knows he isnt going to survive this mission but he also knows its his only chance and he cant back out now because he will NEVER get etho down to red with him, even if he'd prefer being red together than yellow

he LIKES being red and how it feels to have that, even if hes going to die. also the dancing reference to fuel my personal insanity that i might go into some other day. + this song has "even on my worst nights i never stop the sunrise" which i take as a little nod to his sleep thing on hc

MEN ARE ALL THE SAME: oh my god. oh my god. bdubs after coming to terms with the fact he'll die here is bitter towards etho but also doesnt want him to be mad that he couldnt make it back. im going in depth on the lyrics here bc i REALLY LIKE THIS SONG AS A BDUBS ONE

obviously we start with the 3rd life reference because who am i if not a 3l etho insanitybot. hes reminiscing on their weird relationship in 3l and their weird fighting but not fighting thing they had. hes asking etho not to question why he likes being red so much and why he couldnt stay yellow for him and THEN the ultimate hit of the last 4 lines - if you love it then let it go (let bdubs prove himself and win a life back) but he knows etho likely wont be able to find out the full circumstances behind his death. (also a meta reference to how bdubs footage got corrupted. lol). but dont blame him for not being good enough... this song is so much. so much. hes bitter but hes scared and hes resigned

bdubs knows etho isnt going to win this on his own despite being known for his isolation. its easier to leave on a suicide mission than to continue trying to win etho over knowing itll never work

sorry i said some of the songs are explicitly romantic but you can take it figuratively - he never gets to say a true goodbye, forced to pretend he'll come back (isnt it a trope that people who leave on dangerous journeys wont say goodbye because "theyre coming back"? yeah. that)

TAKE IT AWAY: etho doesnt want bdubs to die he DOESNT. he wants to get him back no matter what but he isnt willingly to risk his own safety for it, because he hasnt fully processed that if he doesnt help bdubs hes out forever (i thought we would be together and everything would be ok again). FIRE MOTIFS ARE BACK!

i dont have coherent thoughts on this. take my hand take my life.. also unrelated but even the little intro sample thing fits because to me its etho questioning what he'll do without bdubs

MEANT TO DIE: [bursts into tears] bdubs... song..........

hes dead and hes out forever and he DIDNT WANT THIS he knew he was going off to die but he still tried his best his last words were crying out to etho. yes he made bad decisions as a red and bit off more than he could chew but he TRIED.

OBVIOUS BLASÉ (AGAIN): so. how do you feel now.

it is so hard for me to put how i feel about this song into words. while after 3l its his regret at not winnign and all that hes lost by this point it has entirely new meaning. "ghost, tell me that youll stay" is AGONISING bc bdubs DOES stay as a ghost, the only person in the series to do that. etho knows bdubs would prefer him with that bloodlust. and he knows its HIS FAULT that bdubs is dead, for not just giving him the life right there

they both knew it couldnt end well and they did it anyway. while in 3l etho was LITERALLY playing with fire and got burned in turn, this time merely pairing with bdubs was enough to doom him since they would never stay together forever and now he has to try get over that while still winning. bittersweet... (i didnt win it for you but you didnt win it for me either). yeah take this song away from me

ALL THAT IVE GOT: just. just. look at this. please ignore the gay sex implications the song isnt even about gay sex

i dont. i dont know what to add here really. etho struggling after bdubs dies and not knwoing what to do without him.. he forgets bdubs isnt with him and he just. doesnt know how to cope. this song is a lot but i cant even articulate it just LOOK AT IT. oh my god. its all that he can do

WATERED DOWN: we made it. finally. this took so much of my time. i actually dont have a lot of specific lyrics for this one because its just. more vibes than anything? just finishing off the playlist with more etho not knwoing how to live in ll without bdubs and then. like dying i guess. at this point im very tired listen to the playlist. how are you this far without listening to it please do

[luffysbasement]

Synesthesia is wild, mate. I didn’t realize people didn’t associate colours with words until my sophomore year of Highschool. I tend to have a really good memory because everything has a colour. Like my locker number was orange, red, yellow = 786. So I think of my locker and my brain is flooded with those colours. But sometimes it really fucks with me. Anything that starts with the same letter/number is the same colour and are essentially the same thing to my brain. Or sometimes I’ll refer to a number by its colour and no one knows what I mean and I don’t realize I’m doing it. And when a colour is tied to a word that is not the same color I associate with it I can not cope. I had to read a speech and highlight all of the examples of logos as purple, ethos as orange, and pathos as pink. However, I associate logos as orange, ethos as green and pathos as purple. I kept highlighting logos as orange by accident and my assignment was a disaster. I absolutely despise certain songs just because I associate orange/yellow/brown with the sounds. And certain names I can’t stand the colour of. But it’s hard to imagine other sense associations like taste with colour. So I dunno fluff, interesting nonetheless though. The cool thing those is that I associate green with g and blue with D. So dream and George are blue and green 💙💚

-chaotic anon

:00

[writing-the-end]

LoL Chapter 38- Potions

Masterpost

A Wizard Hermits tale (AU, designs, ideas belongs to @theguardiansofredland)

Redland, the capitol city of magic, where the hermits hope to gather the supplies they need if they hope to survive the Hangman’s Playground. While Etho and Stress are gathering potions, they meet unlikely allies- with closer ties than they expect.

______________________________

Redland stretches to the sky, the quirky nature of magic on full show even in the architecture of the city. Towers peaked with rotund pinnacles, painted bright and distinctive colors. All levels of the city are full of the bright, baubled roofs. The main street and busy sections of the city are perfectly manicured, hedges with vibrant flowers and verdant greens, but when the hermits look down calm alleys and quiet streets, nature has settled against the brickwork and grown between the cobble, nature filling in with it’s own eccentric accents. 

The hermits wander through the city, an eclectic town full of wandering walkways, silent speakeasies, and unique universities. The schools of magic sit across from each other, students of offensive magic having lunch with students studying performance arcana. Bright banners wave in the breeze. Shops are full of any and every kind of item, a bazaar of the magic and mundane. Some shops boast large inventories, enchantments made enmasse and sold to large crowds- glamors were a favorite. Others host the antique and unique. No rhyme or reason what they hold, useless lamps next to powerful staffs.

TFC turns to Xisuma. “Can you divvy up the gold? We can cover more ground finding supplies for our mission if we separate.” 

“What I wouldn’t give for that sky kid’s magic right now.” Xisuma sighs, digging out the gold and handing it off to various groups of hermits. 

Stress and Etho glance at one another. “I think we’re gonna look for some potions firstly. If we go to the alchemy academy, I’m absolutely positive we’ll find somethin’.” 

“And if not, we can… convince a student to help us get what we want.” Etho pats his back, feeling his kusarigama tucked in his light, silent material. 

“Don’t forget to ask about the ingredients!” BDubs shouts as the two walk away, towards the bright green and yellow tower that holds the school of potion brewing. “Silvershade is not the same as Shadesilver!” 

Stress shakes her head, and challenges Etho to a footrace through the city. He accepts with a grin, and they take off down the main avenue. She laughs, feeling a sense of freedom in how strong the magic is in the city. Redland embodies everything magic is. It’s natural, it's eclectic, it’s bright, it’s unique. And every flower blooming in between the cobblestones, every shop full of mysterious wares and magical amulets, is full of that spirit. 

She turns her head, calling back to Etho from over her shoulder. “I’m gonna win, try an’ catch me!” 

From beneath the midnight blue mask that covers Etho’s nose and lips, a coy grin appears. He’s given Stress the lead, only to shock his friend when he wins. His mismatched eyes glimmer with mischief, and he turns. Running straight into a tree. 

Straight into a tree’s shadow. He leaves the plane of existence, and skids on his feet as he enters the shadow realm. Grey, calming mist dances through shadows, and his feet tapping through puddles of water across the floor. In all the time he’s spent in this realm, he can never truly understand it. He doesn’t know why it’s so misty, impossible to see more than a few meters in front of him. Or where the mist comes from, dancing in the darkness. Why it’s damp, like a rain had just occurred. He’s never seen it rain here. He also has no clue why it smells funky in here. Like a wayward explosion matched with rotten fish. Is there even anything more than a puddle around here? 

No matter. Etho’s winning this race. He takes off in the direction he and Stress were running, feeling himself pass through buildings, hedges, even people in the other realm. It’s a tingly feeling in his belly. Once he’s sure he’s made it to the alchemy school, he casts his magic, tossing it in front of him to reenter the mortal realm. 

He passes right through it. He stumbles and crashes to the floor, not so ninja-like. “Dammit, no not now!” 

There’s no discernable shadows for him to jump through. The sun must be tucked behind a cloud. Too big a swath of darkness for him to use, too general. He paces, tossing a circle with every turn of his heels, running through each time. He did this to beat Stress, being a badass and a bastard. He specializes in that delicate balance of the two.  But instead, he’s stuck in the stinky shadow realm, and worse he lost the footrace. 

His spell casts again, but when he walks through this time, he’s met by the blinding bright light of the sun. And Stress’s gleeful cackle. “You cheated! None of that magical stuff!” 

“What does it matter, it didn’t work.” He states, but he’s smiling all the same. Etho runs his hand over his white hair, tugging it away from his face so he can see the alchemy tower in full. “Should we check the shops first? What are we even looking for?” 

“Queen Erlea said we’re gonna need some healing potions and deterrents for the forest. I can assume mental and emotional potions are in that category.” Stress counts along the street full of potion shops, before spinning around and letting fate decide where they search first. A bright green shop, the window filled with potted plants and chaotic cats. Stress squeals at the sight of the kittens and bolts to the shop. Etho follows behind, grabbing the door before it can slam back to it’s jamb, without disturbing the sunbathing felines. 

They peruse this store. And the next. And the next. Finding healing potions was easy, and with Etho’s aggressive bartering they’re even discounted. Bottles of bright pink liquid, bundles of travel sized form- gummy chews easy to pop into one’s mouth-, and tiny tinctures full of potent life saving potions. 

But no matter what store they enter, how many times they ask or persuade, no one sells mental potions. Some say they’re pseudomagic, others that they’re too hard to create. And after being kicked out of another alchemy shop, Stress and Etho are sitting on the sidewalk, bouncing ideas across each other. 

“Maybe we don’t need them? Maybe the others will find supplies that can do the job?” Etho offers. 

“Or perhaps we can search Joe’s library to find something else.” Stress flops back, ignoring how she blocks the sidewalk as she stares up at the sky. “Where can we get mental barrier potions but Redland?” 

“Why not try making them ourselves?” Etho looks over, gazing at the Alchemy tower. “I bet that school has every book, ingredient, and setup ever invented. We’re clever and smart, we’re hermits after all. If no one makes them, we’ll make them ourselves.” 

Stress reclines up to her elbows, squinting her eyes. “Yer right, Etho. Think you can get us into one of them potion rooms of the school?” 

“Do I think I can? I know I can.” Etho snickers. They walk through the open doors of the school, bustling past students young and old, human or kipling or insectia or even bacca, boy or girl or otherwise. Etho pulls down his mask to fit in with the crowd, though his hair always sticks out. Stress keeps close to him, glancing around the halls. For a second, she swears she sees someone looking at her, but she ducks her head and keeps moving. They turn a cornerl, following the signs for potion labs. Listening for one room to be empty. Etho stops at the doorway of one. Closes his eyes, and walks through a shadow. 

But he returns from where he entered. “No, no it’s all dark in there! Why don’t they have anything boiling, any lamps or anything! What kind of lab is this?” 

“My lab, and what do you plan to do with my laboratory?” A strong, clear voice cuts through both hermits like a knife, and they both freeze. Maybe if they don’t move, the voice will move on. But instead, another voice rises up. 

“You’re hermits, are you not?” A younger, sharp voice drawls. “I was told about you. Didn’t expect two of you bitches to be sneakin’ into my professor’s lab.” 

Etho makes a bolt for the nearest shadow, but he passes right through the shadow and back into light. Stumbling down the hall, he’s dragged back to the professor and student combo, while Stress is turned around to face them. Etho taps his fingers. “We were just… looking around! Trying to find the bathrooms.” 

The student looks up at the professor, eyebrows rising from a serious face. He nods, clasping his hands behind his back. The student grins, tucks a lock of black hair behind an elongated ear, and snaps her fingers. 

“We’re sneakin’ inta the lab to make potions!” Stress claps her hand over her mouth. She didn’t mean to say that. Why did she say that? “No one makes what we need to enter the Forest of Memories!” 

“The Forest of Memories? Red said you were batshit crazy, but that…” Etho picks up his head, vaguely recognizing the name. 

“Well, you could have just asked for my keys.” Sylaeus shrugs, producing a ring full of mismatched keys and dangling chains. “Selene, be a dear and get these two my Encyclopedia of Potions. I’ll start up the burners.” 

Shock registers on both hermits faces, but Selene dutifully saunters down the hall, turning and entering a large door in the passage. Stress walks into the lab, admiring the collection of jars, half finished potions, and ingredients kept in the room. But Etho no longer has the inclination to enter. “Why are you helping us? We just tried to break into your lab.” 

“If you need a potion that badly that you would try to break into my office, you must need it for good reason. Adventuring into the Forest of Memories is one hell of a reason at that.” Sylaeus ignites a flame beneath a long, complicated series of funnels, tubes, and flasks. He tempers the flame, fire glimmering of his intense gaze. “Besides, it means I get to teach more about potions.” 

Selene returns with the book, hefting a tome as large as her torso and twice as thick. “So what the hell kind of potions are you guys going to make?” 

“Potions that will negate our fears and dampen the effects of the forest?” Stress tries her best to repeat what Queen Erlea suggested. “Maybe some repel potions as well?” 

The long eared mage hauls open the book, flipping through the pages with intense, glaring eyes. She stops, turning it around for Etho and Stress to see. “You had to request the most difficult potions to fucking make. It’s a damn good thing I spent the past month gathering more than enough supplies for you to use.” 

And with the guidance of Sylaeus and his student, Etho and Stress get to work. The careful art of alchemy came naturally to both hermits- Stress’s attention to detail let her see exactly when the right shade of amber for the potion appeared, while Etho’s perceptive training and patience guide him through finding just the right mixture of Silvershade and shadesilver. Even Sylaeus complimented his new students on their fine work. 

“While we’re waiting for the mixture to cool, would either of you like a drink?” She waves her hand, and four cups appear before them. The professor grins, swiping a drink and guzzling the never ending cup down. 

“My student’s finest mixture.” Sylaeus grins, patting his apprentice on the top of her fluffy, long mane of hair. 

“Is it a healing potion?” Etho questions. “Or maybe a stamina potion?” 

“Lemonade. Sip sip bitch.” Selene retorts, deadpanned. 

“Miss Selene, are you a multi-mage? You used telekinesis to drag Etho back before, but now you used summoning magic.” Stress takes a drink, shocked to watch that her cup is never ending. “A-and some kind of spatial magic?” 

“Selene here is my best student for more reasons than one. Not only can she brew better potions than even master alchemists, but she also spent years studying magic until she gained power of her own.” Sylaeus sees the confusion on the two’s face, and lets Selene fill them in. 

“I was born without magic.” She states. “It’s rare, but it happens. I wasn’t ready to give up on myself yet. I spent days and nights, studying every book I could get my hands on, watching the other kids use their magic. With enough time and dedication, I found the power within myself. Whatever magic I study, I can create.” 

Stress has tears welling in her eyes by the time the story is over. “What a lovely tale, an’ look at you now! All that persistence and never givin’ up paid off!” 

“I’m sure Selene could have lived her life without magic, or have chosen a darker route to gain power. But it’s her own magic, and she’s a proud S-Class wizard!” Sylaeus beams like a father, a teacher proud of his student.

The potion behind them starts to rapidly shift colors, and all four descend upon it to add the last ingredient- prismarine shards shed from a guardian. Etho wonders where Selene got such a prized ingredient, something most kiplings aren’t willing to part with.

 In a puff of smoke, the potion stabilizes. Selene corks the bottle, writing in scrawling handwriting of it’s intention, and hands it off to Stress. She also guides them out, an orb of soft white light guiding them down the halls of the academy. 

Etho’s reminded of one other person who had seemingly unlimited types of magic. “You know… Magistrate Dolios claims to be a multi-mage, but his magic is a lot like yours.” 

“Watch it, asshole.” Selene growls, opening the door and letting them out of the Alchemy tower. “I think we both know that the magistrate lies about everything. Perhaps that includes how he got his magic.”

[gogtopia]

[id: digital art of martyn, scott, and etho from last life, with scott standing in the center. martyn has blond hair tied over a black headband and pointed ears with a black stud in it. he’s wearing a green tunic with a buckle over one shoulder and holding a spyglass as he sadly looks to the side with yellow eyes. etho has white hair and a black headband. he’s wearing a fur-lined jacket and a black facemask with a yellow heart on it. his eyes are closed and he looks regretful, arms crossed over his chest. scott stands in the middle, looking toward the front. he has blue hair, red eyes, and pointed ears. he’s wearing a green cloak and his fingers with black painted nails are sporting rings. he has some scarring on one side of his face and looks to be somewhat sat. there are floating red diamonds of light floating around his head. /end id]

something about being loyal to the end, and still being the one to lose everything.

[fenzodigital]

What Colours Are Right For Your Brand?

Have you thought about how colours affect you? Do you tend to feel uplifted when you see the colour yellow?  It is what it is because colours reflect light and symbolise energy, and interplay with the state of mind. As a business owner, understanding colour psychology is paying it forward! 

How are colours important? 

Research (colourcom.com) reveals that people make a subconscious judgment about an environment, or a product within 90 seconds of initial viewing and that up to 90% of that assessment is based on colour alone.

Colour also increases brand recognition by 80% (quicksprout.com). Brand recognition is directly tied to consumer confidence.

Data aside, let’s dive into 3 reasons why colours are important! 

1. Colours evoke an emotional response

Colours are everywhere you look, and in nooks and crannies that you don’t venture. It has an impact on mood. It influences perceptions, and it can arouse desire, engender sub-conscious feelings and prompt decisions. 

2. Colours have a persuasive effect on consumer behaviour

According to Neuromarketing, “If a good colour sells, the right colour sells better”. Colours have a bigger impact, more than words and visuals, when it comes to piquing your audience’s interests, creating a positive or negative experience, and improving conversion rates. 

3. Colours influence how customers perceive and relate to your brand.

Understanding colour psychology helps you predict how your audience will react to your marketing copy or messages, and hence enable you to adjust your copy pre-emptively.

Despite the above, it’s important to remember that colours are not universal. It is culture-specific. In Latin America, yellow represents death and mourning, while in Germany, it represents jealousy and envy. 

What colours are right for your brand?

 We love to give you an answer. But, the reality is, “It depends”.

The right colour is interactive and context-dependent

We all heard this at one point: dressing for success. Put on a snatched outfit and you instantly feel like a new person. Just as colours interact with body shapes and skin shades to conjure a flattering hue, Matching the right colour for your brand purpose can be the difference between standing out and blending into the crowd.

 Questions to help you decide: 

Is the colour appropriate for the service/ product you are marketing, and taking into account your brand personality? This is called the notion of     congruity.

What would  be your audience’s reaction when they see the colour on your brand?

In colour psychology, orange represents creativity, adventure, enthusiasm, success, and balance. Universally, blue is often taken to symbolise harmony, peace, calm and trust. Translating this to colour branding, if you’re an active wear label, you may like to go for orange. But, if you are a yoga brand, then blue may be more appropriate. 

The right colour accentuates your brand personality

 Colours have cultural connotations, and can evoke different emotions depending on colour pairing. There are, however, some trends in the colour choice based on industry: 

Food: Many food businesses prefer warm colors that draw attention and evoke appetite,such as red, orange and yellow. But, if you are a wellness brand, blue or green may help to denote clean consumption, promote connection with nutrition and holistic well-being.

Fashion/Beauty: This industry may opt for pink as this colour resembles love, tenderness, and feminine appeal. Or, go for black and purpose for sophistication and glamour.

Entertainment: Mega brands like Disney and Pixar love having a unique set of colors. Disney’s princesses, adventurers, and villains all have a designated colour scheme meant just for them. 

 The right colour isolates your brand

A distinctive visual structure makes your brand stand out and gives it higher recall among competing brands. Misty jade, Dusty pink, Provence and Cornhusk are innovative shades of green, pink, blue and brown as we traditionally know.

You may want to step apart from your competition by relying on a blend of mostly primary colours. Google, Microsoft and eBay are well-known rare exceptions to the unwritten rule that a mixture of colours can dilute or harm your brand image. Some have said that this is a nod to the brand’s ethos of non-conformity and diversity. 

Create your unique palette

Keep in mind that no one colour works best, and it’s best to experiment before deciding. But, once you choose the colour scheme, be sure to carry it through all your platforms.

We hope the above principles give you some ideas to think about which colour best suit the personality you want to establish for your brand, and convey the message to your audience. Stick to your true colours and we are more than happy to help your construct your unique palette! 

Sources: https://fenzodigital.com/blog/what-colours-are-right-for-your-brand/

[jeremystrele]

An Architect’s House That Melds Traditional Japanese And Ukranian Ethos In A Modern Shell

The Shkrub House is a project by Sergey Makhno Architects, for the family of Sergey Makhno himself. Located in Kozyn, a village in the suburbs of Kyiv, Ukraine, the unusual home measures in at 370 square metres. It was here that Sergey Makhno began his architectural journey more than 15 years ago, before he chose to live here. The new house design is evolved from two distinct aesthetics, one being a contemporary Ukrainian style sprung from old traditions, and the second being the Japanese philosophy of wabi-sabi that finds beauty and harmony in imperfection. A modernised take on a thatched roof overhangs wooden wall slats across the exterior, building character, though nothing compares to what lies within…

Sergey Makhno reflects on the journey of his home design: “Thanks to Japan, I learned to love Ukraine. When I went to Japan for the first time and saw how they appreciate their heritage, I understood that Ukrainian culture is extremely rich but we rarely rate it highly. Japan has given my country back to me. It has opened my eyes and, most importantly, my heart to the wealth I have always had–my homeland. Even if I wanted to do Japanese design–it would not work. Because I’m Ukrainian. I create Ukrainian design transmitted through the lens of Japanese perception of beautiful”. A sculptural figure, “Rain” by Nazar Bilyk, gazes up at the family home, guarding the family.

A Zen garden springs up around the modern exterior. Much of the garden flourished without human hand, growing on wasteland around the site over the course of a few months–apt to the Japanese belief that the stone itself must choose where to lie. The natural habitat drew in squirrels and nightingales to live amongst it. An awesome window breaks the interior open to the outside.

The home is almost completely surrounded by a minimalist concrete enclosure. It has two entrances, one from the façade and another from the courtyard that the family have fallen in love with. Entering the home via the courtyard walks you past an attractive terrace that is illuminated with designer lamps created by Sergey Makhno.

A stone path enters the garden gallery through Japanese maples and cherry trees.

Thatching and wood are architectural materials traditional in both Ukrainian and Japanese cultures, and so became a fitting choice for this melded design.

Japanese zen gardens characterise each corner of the site.

250 Tons of stones, and several perspectives shape the garden.

A giant rockery provokes layered foliage.

Majestic garden statues and traditional Ukrainian zoomorphic pottery is viewed amongst fragrant conifer and freshly mown herbs.

A stone doorstep continues the Zen garden theme.

The front entrance of the house stands strong like a fortress, with thatched turrets turned on their heads.

Solar panels perch on the rooftop.

The family wanted an interior that felt like home, rather than a show home. The main focus of this design was not the color of the flooring or the like, but beautiful kids’ noise. Whichever way you plan a modern interior to disguise the craziness of life with kids, life with kids prevails in all its glory. Everything inside this place means something dear to the homeowners, right down to the rug pattern, which was created by middle son Hikaru before he turned 2 years old.

The interior clay wall effect is executed in an ancient technique used in Ukraine for traditional hut building. The wall and ceiling are decorated with wood sourced from eleven old abandoned houses, which is not only uniquely beautiful but wonderfully ecological.

A rustic coffee table is sympathetic to the organic shape of the walls, and to the massive antique ceramic jug collection that fills one wall from floor to high ceiling. Makhno found a love for Ukrainian ceramics as a child, whilst playing in the yard of his grandparents’ house in the village. He found his very first ceramic jugs here, cleaned them up and enthusiastically searched to expand his collection that includes clay products from Trypillia, 5–2nd Millenium BC.

The cool clay walls absorb phone signals and all the worries tied along with.

The living space is divided into three parts, which includes an open plan kitchen, dining area, and a lounge.

Accents of red and teal add to the warmth of the natural decor.

Huge windows bring the garden inside.

The two floors were united, giving the gift of space and light.

An open fireplace heats the huge expanse.

The simple yet warm dining area is the family’s favorite place. Every seat at the table offers a great view, either to the living room, garden or terrace.

Japanese tea ceremonies hold a special place in the heart of Sergey Makhno, and in this home it is the teacup that reins supreme over the wine glass.

The dining area on the terrace is another special spot, filled with unique pieces.

A colossal dining table pendant lamp hovers above chunky modern dining chairs.

A live edge dining table meanders toward a lesser wall of pottery.

Sunlight plays over deeply textured walls.

Intriguing artwork stops footfall at every turn.

The house is actually equipped with two kitchens. The minimalist kitchen that stands in open plan with the living room is furnished with a contrasting wooden table that was a flea market find.

Several generations of Hutsul have dined at this 1935 table, which now stands in lieu of an island in this modern kitchen.

Sleek furniture contrasts against a rugged canvas.

The second kitchen is a closed space that was designed according to Ukrainian traditions.

An authentic “mysnyk” is mounted above the table, which is shelves for dishes.

Sergey Makhno ceramic tiles colour the backsplash. An exit to the garden gives a feeling of free-flowing energy.

The name of the house, “Shkrub”, is a fictitious word that Sergey and his wife Vlada affectionately call one another, which simply put means love. “It is respect and patience. It is home. It is sons. It is 10 years together”. It is how they are named in each other’s phone books.

Years of memories paint a personal touch around the home.

The staircase to the second floor is edged with glass balustrades.

The red and teal touches thread through the entire interior.

Ginger “Tetrapods”, a designer tile by Sergey Makhno Architects, mark the ascent to the second floor. These attention grabbing tiles were inspired by the massive concrete tetrapods that are installed on coastlines to resist wave impact and prevent beach erosion.

Upstairs, a gallery hall leads to the bedrooms. 16th century ceramic tiles provide decor up here, and guardian angels watch over the doors of the children’s bedrooms.

As Sergey’s parents are frequent guests in this house, one of the bedrooms has been dedicated to their stay. The connection between grandchild and grandparent is strong, and in Ukraine it is believed that grandparents love grandchildren more than children. Decor in the grandparents’ room is very simple and restrained. A low Japanese style bed skims the floor, beneath plain yet strong bedroom pendant lights.

Sculptural tiles fill the headboard wall, accentuated by ambient light.

Separate zones make up the master suite: The relax and recreation area, a study, a shower room and bathroom. Here the headboard wall of a tatami bed represents a clay cliff, symbolising primeval beauty, in a unique technique implemented by the Kelsis studio.

Cobalt blue artwork powerfully disrupts the naturally neutral palette of the room.

The study area in the master bedroom has a window that looks down over the living room and into the garden.

Metal lamps designed by Sergey Makhno Architects studio.

This dramatically dark bedroom scheme belongs to Sergey’s eldest son, Ivan, who is away studying in Italy with a view to continue his father’s business.

A Sumi-e-style monochrome art piece depicts distant landscapes at the head of the bed, which is traditional in the wabi-sabi philosophy.

500 year old oak covers the floor.

Kaws figurines and ceramic art-toys DIDO decorate Ivan’s room, which were created by his father.

Low bedsides wing the tatami bed.

Sergey Makhno Architects lights softly illuminate the moody black decor.

Wallpaper in the shared kids’ room was designed by Sergey Makhno, with chaotic blues spots dashed onto craft paper. Ukranian animals were then painted on by famous Ukrainian artist and ceramist, Serhii Radko.

Mustard yellow wall paint contrasts brightly with the blue mural wall.

The animals in the wall mural symbolise family.

Moving into the final kid’s room, a bespoke storage wall has archways built into it, where special toys can be kept out on display.

The biggest archway arcs over the bed, with book nooks recessed into each side.

Kid’s spaces were designed to encourage amazing imaginations and free creativity.

A walk in closet looks like a high-end fashion boutique.

Quirky accessories colour a monochrome bathroom…

… But it’s the unique bathtub and sink that stand out as hero pieces.

Another show-stopping bathroom basin puts a splash of teal up against a bright yellow tile wall.

This creative use of copper is designer tiles by Sergey Makhno, which decorate the guest bathroom.

Two versions of “Grass” and “Earthquake” tiles fill the walls around the vanity.

Thatch detail.

Ground floor plan.

First floor plan.

Perspective drawing.

Recommended Reading:  A Terraced Japanese Garden House Filled With Sculptural Art

Related Posts:

A Terraced Japanese Garden House Filled With Sculptural Art

Wood Slats Add Texture and Warmth to These Homes

Simple Open Plan Living

Kiev Apartment Showcases Sleek Design with Surprising Playful Elements

Minimalist Japanese Prefab House

Japanese Style Interior Design

[drewebowden66]

An Architect’s House That Melds Traditional Japanese And Ukranian Ethos In A Modern Shell

The Shkrub House is a project by Sergey Makhno Architects, for the family of Sergey Makhno himself. Located in Kozyn, a village in the suburbs of Kyiv, Ukraine, the unusual home measures in at 370 square metres. It was here that Sergey Makhno began his architectural journey more than 15 years ago, before he chose to live here. The new house design is evolved from two distinct aesthetics, one being a contemporary Ukrainian style sprung from old traditions, and the second being the Japanese philosophy of wabi-sabi that finds beauty and harmony in imperfection. A modernised take on a thatched roof overhangs wooden wall slats across the exterior, building character, though nothing compares to what lies within…

Sergey Makhno reflects on the journey of his home design: “Thanks to Japan, I learned to love Ukraine. When I went to Japan for the first time and saw how they appreciate their heritage, I understood that Ukrainian culture is extremely rich but we rarely rate it highly. Japan has given my country back to me. It has opened my eyes and, most importantly, my heart to the wealth I have always had–my homeland. Even if I wanted to do Japanese design–it would not work. Because I’m Ukrainian. I create Ukrainian design transmitted through the lens of Japanese perception of beautiful”. A sculptural figure, “Rain” by Nazar Bilyk, gazes up at the family home, guarding the family.

A Zen garden springs up around the modern exterior. Much of the garden flourished without human hand, growing on wasteland around the site over the course of a few months–apt to the Japanese belief that the stone itself must choose where to lie. The natural habitat drew in squirrels and nightingales to live amongst it. An awesome window breaks the interior open to the outside.

The home is almost completely surrounded by a minimalist concrete enclosure. It has two entrances, one from the façade and another from the courtyard that the family have fallen in love with. Entering the home via the courtyard walks you past an attractive terrace that is illuminated with designer lamps created by Sergey Makhno.

A stone path enters the garden gallery through Japanese maples and cherry trees.

Thatching and wood are architectural materials traditional in both Ukrainian and Japanese cultures, and so became a fitting choice for this melded design.

Japanese zen gardens characterise each corner of the site.

250 Tons of stones, and several perspectives shape the garden.

A giant rockery provokes layered foliage.

Majestic garden statues and traditional Ukrainian zoomorphic pottery is viewed amongst fragrant conifer and freshly mown herbs.

A stone doorstep continues the Zen garden theme.

The front entrance of the house stands strong like a fortress, with thatched turrets turned on their heads.

Solar panels perch on the rooftop.

The family wanted an interior that felt like home, rather than a show home. The main focus of this design was not the color of the flooring or the like, but beautiful kids’ noise. Whichever way you plan a modern interior to disguise the craziness of life with kids, life with kids prevails in all its glory. Everything inside this place means something dear to the homeowners, right down to the rug pattern, which was created by middle son Hikaru before he turned 2 years old.

The interior clay wall effect is executed in an ancient technique used in Ukraine for traditional hut building. The wall and ceiling are decorated with wood sourced from eleven old abandoned houses, which is not only uniquely beautiful but wonderfully ecological.

A rustic coffee table is sympathetic to the organic shape of the walls, and to the massive antique ceramic jug collection that fills one wall from floor to high ceiling. Makhno found a love for Ukrainian ceramics as a child, whilst playing in the yard of his grandparents’ house in the village. He found his very first ceramic jugs here, cleaned them up and enthusiastically searched to expand his collection that includes clay products from Trypillia, 5–2nd Millenium BC.

The cool clay walls absorb phone signals and all the worries tied along with.

The living space is divided into three parts, which includes an open plan kitchen, dining area, and a lounge.

Accents of red and teal add to the warmth of the natural decor.

Huge windows bring the garden inside.

The two floors were united, giving the gift of space and light.

An open fireplace heats the huge expanse.

The simple yet warm dining area is the family’s favorite place. Every seat at the table offers a great view, either to the living room, garden or terrace.

Japanese tea ceremonies hold a special place in the heart of Sergey Makhno, and in this home it is the teacup that reins supreme over the wine glass.

The dining area on the terrace is another special spot, filled with unique pieces.

A colossal dining table pendant lamp hovers above chunky modern dining chairs.

A live edge dining table meanders toward a lesser wall of pottery.

Sunlight plays over deeply textured walls.

Intriguing artwork stops footfall at every turn.

The house is actually equipped with two kitchens. The minimalist kitchen that stands in open plan with the living room is furnished with a contrasting wooden table that was a flea market find.

Several generations of Hutsul have dined at this 1935 table, which now stands in lieu of an island in this modern kitchen.

Sleek furniture contrasts against a rugged canvas.

The second kitchen is a closed space that was designed according to Ukrainian traditions.

An authentic “mysnyk” is mounted above the table, which is shelves for dishes.

Sergey Makhno ceramic tiles colour the backsplash. An exit to the garden gives a feeling of free-flowing energy.

The name of the house, “Shkrub”, is a fictitious word that Sergey and his wife Vlada affectionately call one another, which simply put means love. “It is respect and patience. It is home. It is sons. It is 10 years together”. It is how they are named in each other’s phone books.

Years of memories paint a personal touch around the home.

The staircase to the second floor is edged with glass balustrades.

The red and teal touches thread through the entire interior.

Ginger “Tetrapods”, a designer tile by Sergey Makhno Architects, mark the ascent to the second floor. These attention grabbing tiles were inspired by the massive concrete tetrapods that are installed on coastlines to resist wave impact and prevent beach erosion.

Upstairs, a gallery hall leads to the bedrooms. 16th century ceramic tiles provide decor up here, and guardian angels watch over the doors of the children’s bedrooms.

As Sergey’s parents are frequent guests in this house, one of the bedrooms has been dedicated to their stay. The connection between grandchild and grandparent is strong, and in Ukraine it is believed that grandparents love grandchildren more than children. Decor in the grandparents’ room is very simple and restrained. A low Japanese style bed skims the floor, beneath plain yet strong bedroom pendant lights.

Sculptural tiles fill the headboard wall, accentuated by ambient light.

Separate zones make up the master suite: The relax and recreation area, a study, a shower room and bathroom. Here the headboard wall of a tatami bed represents a clay cliff, symbolising primeval beauty, in a unique technique implemented by the Kelsis studio.

Cobalt blue artwork powerfully disrupts the naturally neutral palette of the room.

The study area in the master bedroom has a window that looks down over the living room and into the garden.

Metal lamps designed by Sergey Makhno Architects studio.

This dramatically dark bedroom scheme belongs to Sergey’s eldest son, Ivan, who is away studying in Italy with a view to continue his father’s business.

A Sumi-e-style monochrome art piece depicts distant landscapes at the head of the bed, which is traditional in the wabi-sabi philosophy.

500 year old oak covers the floor.

Kaws figurines and ceramic art-toys DIDO decorate Ivan’s room, which were created by his father.

Low bedsides wing the tatami bed.

Sergey Makhno Architects lights softly illuminate the moody black decor.

Wallpaper in the shared kids’ room was designed by Sergey Makhno, with chaotic blues spots dashed onto craft paper. Ukranian animals were then painted on by famous Ukrainian artist and ceramist, Serhii Radko.

Mustard yellow wall paint contrasts brightly with the blue mural wall.

The animals in the wall mural symbolise family.

Moving into the final kid’s room, a bespoke storage wall has archways built into it, where special toys can be kept out on display.

The biggest archway arcs over the bed, with book nooks recessed into each side.

Kid’s spaces were designed to encourage amazing imaginations and free creativity.

A walk in closet looks like a high-end fashion boutique.

Quirky accessories colour a monochrome bathroom…

… But it’s the unique bathtub and sink that stand out as hero pieces.

Another show-stopping bathroom basin puts a splash of teal up against a bright yellow tile wall.

This creative use of copper is designer tiles by Sergey Makhno, which decorate the guest bathroom.

Two versions of “Grass” and “Earthquake” tiles fill the walls around the vanity.

Thatch detail.

Ground floor plan.

First floor plan.

Perspective drawing.

Recommended Reading:  A Terraced Japanese Garden House Filled With Sculptural Art

Related Posts:

A Terraced Japanese Garden House Filled With Sculptural Art

Wood Slats Add Texture and Warmth to These Homes

Simple Open Plan Living

Kiev Apartment Showcases Sleek Design with Surprising Playful Elements

Minimalist Japanese Prefab House

Japanese Style Interior Design

[zeroviraluniverse-blog]

what makes Barcelona vs. Chelsea so special

Visit Now - http://zeroviral.com/what-makes-barcelona-vs-chelsea-so-special/

what makes Barcelona vs. Chelsea so special

Barcelona vs. Chelsea isn’t a “European Clasico” simply because every time they meet, the pitch is decorated with some of Europe’s most sumptuous talents. For a fixture to truly sizzle and fizz in the days and weeks before it is played, there needs to be some degree of a revenge or bad-blood narrative, a rivalry that turns an infrequent continental match-up into the kind of “must win at any cost” derby like Milan vs. Inter, Rangers vs. Celtic, Manchester United vs. Liverpool or Madrid vs. Atletico.

This one has all that and more, a fact that can be traced back to an overnight flight back from Moscow to London in early November 2004.

Jose Mourinho’s “Blue Machine” had just guaranteed qualification for the knockout round after only four months of his reign and four straight Group H wins. This was when the Special One truly was special. He had back-to-back European trophies with Porto while Chelsea had tripped up, inexplicably, on the verge of the Champions League final the previous season.

Jaunty Jose had the Midas touch, in word and deed. Earlier that night, Damien Duff had set up Arjen Robben for the 1-0 win over CSKA Moscow that guaranteed Roman Abramovich’s new European force would reach the last sixteen. Duff, a huge admirer of the modern Barca school, takes up the tale.

“Right from the first moment, Mourinho wanted the draw to pair us with Barca,” recalls the brilliant Irish winger. “We were flying back from winning in Moscow and the lads were all just having a bit of fun with Jose.

“We knew we were going to top our group so we were saying: ‘Who do you want in the next round boss?’ He immediately goes: ‘Barcelona!’ Our instant response was: ‘Are you for real?’ But Jose just told us: ‘It’s simple: We stop them playing and they let us play.’ Simple as that as far as he saw it.”

Mourinho knew two things. Barcelona, although on the rise, were still the wobbly-legged Bambi of European football. Reborn, but shaky on their feet having not won any trophies for five years and no UEFA title since 1992. They were ripe for a football predator to rip into them.

Secondly, Mourinho knew that in 2004, there was still an ideological war being fought within the Camp Nou. Nominally, Joan Laporta, fueled by his ultra-Cruyffist beliefs, was in charge. But the president had enemies within his board, most notably vice president Sandro Rosell and current president Josep Maria Bartomeu. Those latter two, among others, wanted Barcelona to be pragmatic, mirroring Chelsea by signing big, strong, athletic footballers and to dump Frank Rijkaard so that (future Chelsea coach) Luiz Felipe Scolari could take over.

Mourinho viewed Rijkaard’s Barca, where the Ronaldinho-Samuel Eto’o partnership was young but promising and Andres Iniesta had recently been the subject of a hugely fierce debate about whether he should be played or loaned out, as not quite ready to repel his brand of footballing fire and fury.

Sean Dempsey – PA Images/PA Images via Getty Images

Essentially, Mourinho was correct. The desire that this quixotic, remarkable, talented and ruthless man has had to inherit the good life as Barcelona coach stemmed from the coaching duties he undertook as understudy to both Sir Bobby Robson and Louis Van Gaal in the late 1990s. And it was evidenced most starkly in the “clasico wars” of 2010-11 when he was Madrid coach in opposition to Pep Guardiola’s Barcelona.

But the first time Mourinho caught a whiff of him being able to power his way past a “Cruyffist” Barca and potentially leave himself as the top candidate when the job became vacant was when this rivalry took bitter root back in Spring, 2005.

What followed over the next four matches was a flow of simply extraordinary events, landmark in fact, which set the tone for years of battles between the new, emerging Barca philosophy and the modern Premier League ideal which blended traditional English football beliefs with many of the best imported coaches, players and ideas. A battle that will rage again this week.

Back in 2004 the tone, belligerent and streetwise, was set immediately. Before the match, one Catalan journalist goaded Mourinho about his past as “merely a translator” at the Camp Nou under Sir Bobby Robson and he “bit his head off,” nailing what was, quite clearly, a false reputation. Then Mourinho offered to finish the press conference in remarkable style: by naming all 22 players who’d take the field the next night.

First he (correctly) listed the Barca XI before carrying on, “giving away” his Chelsea starting lineup. The move was aimed at taking charge of the pre-match psychology, to tell Barcelona’s staff and players “you have nothing I’ve not anticipated: I’m the boss.”

It was fun at the time but better still in the knowledge that he actually fooled his own players.

“I remember Mourinho telling me I was definitely starting but then he played a few ‘mind games’ with the press,” said Duff. “He’d taken me aside and said: ‘You are in the team tomorrow but I’m going to give them a different lineup in the press conference. I think he announced Eidur Gudjohnsen was playing instead of me.

“When I saw him name the team on TV, I started believing it and had to wait 24 anxious hours to discover that, lo and behold, I was in it.”

Of course, the fun stopped there. Chelsea significantly out-strategized Barcelona: Duff forced Juliano Belletti’s own goal and also crossed the ball for the moment when Didier Drogba’s challenge on Victor Valdes brought a second yellow and, thus, red card. Eleven men duly beat 10 but Mourinho’s accusations of collusion between Rijkaard and referee Anders Frisk led to death threats for the Swedish referee and his retirement out of fears for his family.

The return leg epitomized two schools of football. Barcelona, still delicate and pretty rather than streetwise and the steely competitors they’d become, were blown away by one of the most superb 25-minute power-plays you could ever wish to see.

“Barça were world-class even then but not a patch on what they are now,” said Duff. “We gave an incredible performance and it was down to us believing Mourinho when he said that we cold stop them playing.”

What about the unpenalized foul Ricardo Carvalho committed on Valdes so that John Terry could head home the winner from Duff’s cross once Ronaldinho’s hip-shaking goal that shook the world had put Barca in a winning position on away goals?

“Just a little nudge. The dark arts we learned under Mourinho,” is Duff’s verdict. The fact that Chelsea merited going through back then isn’t in much dispute.

Sean Dempsey – PA Images/PA Images via Getty Images

Exactly one year later, when paired again, the story was different, but similar. Barcelona had wised up. In winning 2-1 at Stamford Bridge they gave one of their most determined and most impressive away performances ever. Asier Del Horno’s horrific lunge with studs extended hasn’t prevented Lionel Messi seeing the birth of his third son this week, but it might have done. It was that badly judged, as were Mourinho’s words about Messi’s reaction being “theatrical.”

Then there was born the genesis of what makes Wednesday’s tie important not just to discover which previous winner (three of the last seven) emerges, but because it will form a new part of an epic modern dynastic rivalry.

Barcelona and Chelsea had four ties between 2005 and 2006 with two red cards, three own goals, one of Ronaldinho’s all-time sublime moments of creative invention, the birth of Messi as a great European power, Mourinho goading the Spanish media and Barcelona as a club, the ultra-controversial retirement of a top quality referee, a total of 14 goals, an owner (Abramovich) who coveted the admiration that went hand-in-hand with beauty of Barcelona’s play and Camp Nou board members who coveted the “bigger, stronger, faster” ethos when it came to Mourinho’s transfer market outlook.

We, the neutral football lovers, are the beneficiaries of the way this meeting of two ideals has become a European clasico. But I’d also argue that Barcelona have benefitted from Chelsea repeatedly being a thorn in their side.

Can anybody really argue that, over the years, Barcelona signing Eidur Gudjohnsen, Thierry Henry, Eric Abidal, Gerard Pique, Yaya Toure, Seydou Keita, Zlatan, Ivan Rakitic and Luis Suarez hasn’t been evidence of the Camp Nou club trying to blend what they cherish most — technique, passing, control — with what they fear most, namely pace, power, height, competitive aggression?

Roll up, roll up, roll up: On stage on Wednesday night, the umpteenth episode of a bitter, intense but beautiful and thrilling European clasico. Don’t miss a moment.

[ibta-alexia]

Lifeline Outline

The Title of my LIFE LINE PRESENTATION: Jubbly

A PICTURE of my LIFELINE: 10

My LIFELINE PERFORMANCE PITCH: 25

My aim for my lifeline performance is to tell a hidden side of myself that not many people expect from me as I present myself as a public and extroverted person. This, I feel, will strike my peers more so than other audience members because they have a view of who I am and an idea on who I am to them. The performance itself will be the story of my childhood and “coming of age” through different mediums to replicate the phases I have been through in my life and the complexity of my inner-thoughts. The minimal set will mirror the minimal costuming and highlight the vivid lighting and the abundance of symbols throughout.

MIS EN SCENE ELEMENTS:  50

Lighting:

The lighting would vary depending on the scenes, however regardless the lighting would be the most elaborate part of the the mis en scene. In scene one, would be a gold wash of the stage to emphasise the yellow/youth in the scene whereas scene three would have soley the projection as the lighting and therefore creating a set within a set. The more simple lights would be scene two and four, as scene two is a standard spotlight and scene four would simply be a simple wash, much like the opening.

Set:

The set for the performance would be very simple, with props as opposed to elaborate set pieces as to adhere to the minimalist design. The staging will facilitate the majority of the set design as the stage would be a black-box space with the audience on the same level as the actress. The simple props would be onstage the whole time and the actress would simply be handed on by her “helpers” for whenever she wanted. These props would include; her collection of toys, a chair, her marker and a rag.

Costume:

The costuming would be fairly simple, the main character (Jubbly), would wear for the majority of the performance overalls over a simple white dress and a white underdress. The only time that the other layers were shown are in the final scene when she rids herself of her innocence and childhood. Her “helpers” would be dressed in drama blacks however, and have their hair tied up as to draw as little attention to themselves, to neutralise the characters within her “helpers”.  

symbols/props/motif:

Each scene has its own motif and symbolism; the first scene’s symbolism is the toys that Jubbly plays with, the second scene revolves around the actual melody of the song and the marker, the third scene uses the light of the projection to create a space within the set and the fourth scene uses the removal of makeup and clothing as a symbol for become intimate and brief with the audience.

Color Palette:

The colour palette would be blues, browns and golds.

Music/Sound:

The main sound effect would be the audio of childhood videos for scene three, these would be actual audios of my childhood home movies, to give an element of realism. In addition, the voice overs of the male voices in the home videos would be the voices of people in the community, these voices are both familiar and foreign to the audience and therefore create the same overwhelming effect that the tapes have on Jubbly on the audience.  

MY SCRIPT  25

Scene 1:

*Jubbly comes from a British saying; “Lovely Jubbly” which means good or wholesome.

In the first part of my lifeline, Jubbly or myself, is a young child in her childhood bedroom and explores my childhood.

Jubbly: Being an only child, I was always obsessed with toys. As if I was in my own little world and that world revolved around these objects. And when I had enough of one… I’d get a new one. (runs to pick up a barbie)

When I was 6, I got my favourite barbie. She was beautiful and she looked like… me. I didn’t think about it too much but I had something so perfect that looked just like how I wanted to be when I was 16. I could block out anything when I had her.

(Sound effects of; people arguing, mum telling me to eat, aunt telling me to do better, teachers asking her to stop talking, all the while the girl keeps playing with her barbies and making sound effects herself) And then I made her meet him, (pulls out male barbie).

His name was… Benny. And I would play with her and Benny like how at school Benny and I would play. I took them everywhere, and I hoped that eventually Benny would love her like I loved Benny in real life. And so I started to have Benny treat her just like Benny did me… The same clothes, the same gestures and even the same words. “Lovely Jubbly” “High School Musical wasn’t that good” “You’re different.” “She drinks too much coffee that’s why she looks like that” “There isn’t anymore room here” “We’re not even friends!”… (Jubbly suddenly stops playing with her barbies)… I don’t want to play with you anymore (Throws away Benny), and you… you’re too ugly to play with anyway. (Throws away girl barbie).

Scene 2:

In the second part of my lifeline, Jubbly or myself, is slightly older performing a traditional ballad, Scarborough Fair and slowly begins to unravel.

(Singing Scarborough Fair) That’s not right. Yeah… I know this is important. I won’t embarrass you. I promise… (stands in the middle of the stage determined) “Are you going to scarborough fair…” (Looks around as if someone is there even though she is alone) “..Parsley, Sage, Rosemary and Thyme.” (people chuckling) “Remember-Remember me to the one who lives there…” (Takes our marker and looks at it) “Then he’ll be a true love of mine”…

(Begins to mark herself with the marker and works herself into a frenzy) “Tell him to make me a cambric shirt-“ Yes mom, I promise… “Parsley sage-“ I was 11. (Shakes head) “Parsley Sage Rosemary-“ I was 11. No. Yes. I didn’t say anything. I didn’t tell him to stop- I won’t disappoint you mom. I promise. “And Thyme” WHY DIDN’T YOU BELIEVE ME! You said you’d protect me… You promised… You- I won’t disappoint you, I promise. “Without no wool or needle work” (tugging at clothes) I was 11- I was ele-I’ll show you on the doll-  didn’t say stop- I didn’t know- I won’t disappoint you- I was 11- (scream) I’m sorry, mummy. “He once was… a true love of mine”

Scene 3:

In the third part of my lifeline, Jubbly or myself, is unhinged and seeks refuge in reminiscing on her childhood  innocence, as she denies the loss of how things once were.

(Jubbly is already sitting on a chair upstage centre when the scene opens, while across her and in the background are a rewinding VCR, while the audio of her childhood home videos are heard. She sits on a chair looking straight out at the audience, not saying a word. She laughs slightly at the videos of her childhood that she finds amusing but does not speak. She mouths along the quick one liners. She bobs her head along to the melody her mother sings to her in the audio. But a man’s voice is heard saying she is “pretty and talented” and she suddenly starts to feel uncomfortable and begins to breath harshly, another man says the same thing and another and another until it layers over each other and all sound the same, all the while the innocent giggle of the childhood girl remain. She begins to hyperventilate and screams but nothing is heard. Eventually she stands up and turns off the audio and stands in the darkness and lets out an agonising scream and wails. A sudden spotlight appears on her, she looks out confused)

Voice:  “You don’t have to do this alone”.

Scene 4:

Jubbly: (With a few other female cast members, she walks centerstage) It isn’t easy. I don’t have toys to hide behind. Melodies lose their meaning. And sometimes those voices don’t go away…

(Takes out ribbon, naivety, from her hair and hands it to one helper)

Jubbly: I am different. I am sad. I am happy. I am… Alexia Hope. (Stops and then removes her overalls, innocence) I am entitled to feel confused. I don’t have to smile all the time. I am alone, but not lonely. I am not the person I want to be…. But I am trying. (Takes off her shoes (vanity) and hands them to her helper) I am not the barbie I thought I would be at 16, but I am happy. I am not a supermodel, but I can look at myself in the mirror. (Taking off one half of her makeup, eyes mainly) I am confused. I am allowed to wake up and want to not wake up the next day. I am allowed to put on my red lipstick just to smudge it on someone else’s lips. (wipes off her lipstick) I am free to dance like nobody’s watching even though I know people can’t not look at me when I dance. (Help her out of her overdress, leaving her “underdress” on only) I am a best friend, and I will continue to be one.  (Slowly the helpers return to their seats) I am a cousin, and will continue to be one. I am a daughter, and will continue to be one. I am an ex-girlfriend, and will continue to be one. I am a mother to someone who is not born yet, and I will be a damn good one at that. (She is left alone on stage, raw and exposed) I am… me.

INFLUENCE OF ANY OF THE FOLLOWING REPRESENTED IN MY PERFORMANCE:  25

I was definitely influenced by Eduardo’s workshops especially the work with body tension and physicality in the second and third scene, as well as the playback device; “chorus”. For the last scene I wanted to experiment with the idea of having Jubbly’s “helpers” act in unison, as one force.

Initially in the planning process of the life-line performance, I tried to incorporate relationships of power into my performance which was definitely influenced by the National Theatre’s Hedda Gabler. However, the theme of power did not work out into becoming the primary theme of my lifeline and therefore the idea was scrapped. Although a hint of power being swiftly taken away and crippling a character is mirrored in the second scene.

In addition, Peter Brooks’ minimalist ethos carried through into the set design and costuming for my performance.

What I hope the AUDIENCE WILL EXPERIENCE AS THEY WATCH MY PERFORMANCE:  10

As the audience watch my performance, I hope that they experience a new level of emotional complexity that I had felt many times in my life. When an emotion is not singular, like “happy”, “sad” but a multitude of emotions and thoughts happening all at once and that pure mess of emotions can be traced to a single moment… a trigger. I would like the audience to be able to experience a freefall that follows an event in someone’s life with radical empathy.