#Forms and Controlled Components

[cipheramnesia]

The reason I probably shouldn't be allowed to make movies is I have no impulse control and I would immediately make something called Revenge Of The Dead Tranny Hooker. It would be about a trans woman trying to break into acting, but no one wants to hire her for anything except playing a sex worker who gets murdered. Then one day she does an open casting call which runs her through a series of increasingly bizarre line readings, which it turns out are meant to summon an eldritch demon to grant the movie producer god-like powers.

The culmination is supposed to be sex on the casting couch, but she ditches at the last minute, destroying the ritual and splintering the extradimensional entity across California. She unknowingly receives powerful extradimensional blood, while the rest of the fragments seek out the powerful and violent people of the world. Meanwhile the movie producer uses his new powers to transform his PAs into henchcreatures, and sends them after the protag to finish her off. She discovers her new powers in the ensuing fight, which also seem to be gradually altering her body every time she uses them.

The rest of the movie is a steadily escalating game of cat and mouse between trans woman and movie producer. While the former transformers the fragments into powerful psychic weapons like chainsaws and spiked bats, the later uses fragments to make himself bigger and physically stronger. At first the fights are short and brutal, the protag outmatched and outgunned, but she gets more confident to the point of an anarchic battle of against the LAPD led by a demonic police captain, including a scene where she stands on the roof of a speeding police car and rips the driver through the windshield.

Her eventual form is some kind hyper sexual draconic mantid squid rippling with biomechanoid components. In the fight with the producer he thinks he's winning by tearing apart the last of her human flesh, but this just complete her transformation, letting her easily overwhelm him. It's implied from that point forward she plans to conquer the world.

[literaryvein-reblogs]

Writing Notes: Fire Development

Recognizing each stage allows you to describe with accuracy how a fire can quickly increase; later we will discuss fire characteristics, which will provide you with an opportunity to describe accurately the visual features of a fire scene.

THE 4 STAGES OF FIRE DEVELOPMENT

Incipient Stage

Also known as ignition.

This first stage begins when all 4 components have resulted in a fire starting.

Easiest to control and extinguish, and given the right circumstances, may possibly burn out on its own accord before it has a chance to reach the second stage.

Growth Stage

Shortest but most sudden of the 4 stages.

Combination of oxygen and any nearby combustible material will fuel the fire.

As it progresses, gases will rapidly increase in temperature, resulting in a build-up of pressure in the room.

Fully Developed Stage

When all the combustible materials have been consumed, the fire is at its peak and will be fully developed.

At this stage, the heat will be immense, and because the room will be engulfed in flames, there will be little hope of escape or survival.

Decay Stage

If the fire is left, then this final stage will be the longest, as the fire gradually finishes its consumption – think of a bonfire that is left to burn.

The heat still remains intense, and will do for some time, which is why firefighters remain so long at a fire scene even after the flames have been extinguished.

The fire may continue to smoulder and there is a risk of pyrolysis occurring, which may result in a secondary fire.

Source ⚜ More: Writing References

EDIT

Stage One: Ignition

When the 3 elements of the fire triangle (heat, fuel and oxygen) are involved in a balanced chemical chain reaction, a fire begins.

Can also be classed as the incipient stage if the reaction is unbalanced, leading to smouldering, low temperature fire with no visible flames. This type of fire still gives off toxic gases.

The fire easiest to control and extinguish, or as close to this stage as possible.

Stage Two: Growth

The fire begins to consume the available fuel in the area or compartment.

Heat rises rapidly, and in an indoor fire a smoke layer forms at the ceiling, descending as more fuel burns.

Where present, active fire protection systems such as sprinklers or smoke alarms will activate, and passive systems such as self closing fire doors will protect escape routes. An escape should be made in this stage, as the fire will reach lethal temperatures during the growth stage.

Once the fire reaches a hot enough temperature, a transitional event called Flashover occurs. Flashover is where the heat of the fire is enough that all fuel in the room reaches a combustible temperature more or less simultaneously, including the particles of fuel in the smoke layer.

Essentially, the room erupts into a fireball all at once and if you're still in the room when it does, you've caught fire too.

Demonstration of a "Flashover" [video]

Stage 3: Fully Developed

Now all fuel elements are combusting, the fire is at its peak and is considered fully developed.

At this stage, the heat is lethal without specialist equipment to survive it.

Stage 4: Decay

This final stage will be the longest, as the fire gradually finishes its consumption – think of a bonfire that is left to burn.

The heat still remains intense, and will do for some time, which is why firefighters remain so long at a fire scene even after the flames have been extinguished.

The fire may continue to smoulder and there is a risk of pyrolysis occurring, which may result in a secondary fire.

Sources & additional resources: 1 2

Thank you so much to @hypocriticalhypothetical for the added information and corrections!

[reasonsforhope]

"A team at Northwestern University has come up with the term “dancing molecules” to describe an invention of synthetic nanofibers which they say have the potential to quicken the regeneration of cartilage damage beyond what our body is capable of.

The moniker was coined back in November 2021, when the same team introduced an injection of these molecules to repair tissues and reverse paralysis after severe spinal cord injuries in mice.

Now they’ve applied the same therapeutic strategy to damaged human cartilage cells. In a new study, published in the Journal of the American Chemical Society, the treatment activated the gene expression necessary to regenerate cartilage within just four hours.

And, after only three days, the human cells produced protein components needed for cartilage regeneration, something humans can’t do in adulthood.

The conceptual mechanisms of the dancing molecules work through cellular receptors located on the exterior of the cell membrane. These receptors are the gateways for thousands of compounds that run a myriad of processes in biology, but they exist in dense crowds constantly moving about on the cell membrane.

The dancing molecules quickly form synthetic nanofibers that move according to their chemical structure. They mimic the extracellular matrix of the surrounding tissue, and by ‘dancing’ these fibers can keep up with the movement of the cell receptors. By adding biological signaling receptors, the whole assemblage can functionally move and communicate with cells like natural biology.

“Cellular receptors constantly move around,” said Northwestern Professor of Materials Sciences Samuel Stupp, who led the study. “By making our molecules move, ‘dance’ or even leap temporarily out of these structures, known as supramolecular polymers, they are able to connect more effectively with receptors.”

The target of their work is the nearly 530 million people around the globe living with osteoarthritis, a degenerative disease in which tissues in joints break down over time, resulting in one of the most common forms of morbidity and disability.

“Current treatments aim to slow disease progression or postpone inevitable joint replacement,” Stupp said. “There are no regenerative options because humans do not have an inherent capacity to regenerate cartilage in adulthood.”

In the new study, Stupp and his team looked to the receptors for a specific protein critical for cartilage formation and maintenance. To target this receptor, the team developed a new circular peptide that mimics the bioactive signal of the protein, which is called transforming growth factor beta-1 (TGFb-1).

Northwestern U. Press then reported that the researchers incorporated this peptide into two different molecules that interact to form supramolecular polymers in water, each with the same ability to mimic TGFb-1...

“With the success of the study in human cartilage cells, we predict that cartilage regeneration will be greatly enhanced when used in highly translational pre-clinical models,” Stupp said. “It should develop into a novel bioactive material for regeneration of cartilage tissue in joints.”

“We are beginning to see the tremendous breadth of conditions that this fundamental discovery on ‘dancing molecules’ could apply to,” Stupp said. “Controlling supramolecular motion through chemical design appears to be a powerful tool to increase efficacy for a range of regenerative therapies.”"

-via Good News Network, August 5, 2024

[taylor-titmouse]

now that cadogan and his little guys are their own things i can explore freely, i want to talk a little about how they're made. lore subject to change of course, but the general idea i'm working from atm...

the in-universe term for what they are is "chimeric homunucli", but for ease i usually refer to them as cadogan's servants. they are not familiars. familiars are different. the three most basic components a chimeric homunculi must have are bones, blood, and semen. other elements can be added to better determine the form of the guy, but you won't get anywhere without those three things. bones are the scaffolding on which the body is built, blood forms the flesh, and semen provides the spirit. all three of these will have some effect on the personality and behavioral traits, but that mostly comes from the blood and semen. the blood imbues instincts, semen imbues intelligence and creative thought.

cadogan prefers to use gnome bones as his base because they're easy to get and because they make his creations conveniently pocket-sized. it's easier and safer for him to only make them big when necessary, with magic. for one thing it would require Significantly more material to make a full-scale creature, which is difficult to acquire and properly prepare. for another, they're much harder to control when big. obviously. if they were big all the time he'd never get anything done.

madog's basic components are gnome bones, manticore blood, and goblin jism. the manticore blood is where he gets his aggression and territoriality, and much of his strength when big. the goblin jism gives him the ability to think rationally and understand commands, and also the ability to work as part of a group. you'd never think it, but he's very good at teamwork. altogether he's a dedicated, completely loyal servant who'll take to tasks with vigor and gusto. good for a brute fighter to send out in times of trouble. he'd defend cadogan to the death. he also has manticore hair and imp wing membrane. these don't have any real effect on his personality or behavior, and are purely functional. the hair is to give him his fluffy appearance, the wing membrane is so he can fly.

myrddin's components are again, gnome bones, but also sea serpent's blood and troll jism. the sea serpent's blood attunes him to the water, giving him his hydrodynamic shape and skill at swimming. it's also given him patience and the instincts of a hunter that rarely feeds. he's not overly quick to action. the troll jism provides a greater intelligence than the goblin jism, closer to the level of a human. he is a much more rational thinker than madog, able to slow down and think fully through a problem rather than rush in to meet it. his secondary components are serpent fin and mermaid hair. these are almost entirely aesthetic, but the mermaid hair Does make him silky smooth to the touch and keeps wild animals from attempting to eat him.

and that's most of what i've thought out! before anyone asks, human bones + human blood + human jism would create an undead abomination and We Don't Do That. human blood and jism are alright to use but human bones are a taboo that crosses into necromancy. human wizards care less about the personhood of tailed species, so that's more okay (though it isn't really)

[stellarwhisper]

Random Astrology Observation

The fact that Mars is in the first house suggests that confidence, physique, and self-image are highly valued. These people appear to focus their energy on keeping up a powerful, alluring persona. Being eager to give people more self-assurance points to a helpful and inspiring personality.

Mars's position in the ninth house presents an exciting and daring image. The love of adventure, philosophy, and travel fits very well with this placement's expansive character. Extreme sports fervor is indicative of a will to push limits and experience life to the fullest. A desire to disseminate knowledge and a broader viewpoint are reflected in the goal of education and teaching. Adhering to specific values gives their approach more depth and makes the journey lively and meaningful.

Sagittarius Mars traits indicate a great dislike for anything that restricts their freedom or stifles their independence. They don't like to wait around and value efficiency, thus being on time is crucial to them. They cherish their autonomy, therefore any attempts to limit or control them may encounter opposition. People in this role may also become frustrated by unreasonable responsibilities and rigidity.

The variety of characteristics that people with Leo moons exhibit, from a difficult connection with trust to creativity, forgiveness, and a craving for attention and giving. The knowledge of their inclinations, driving forces, and educational experiences deepens the comprehension of this lunar positioning.

Even though it can occasionally come out as judgmental, Virgo Sun people's honesty is valued for its directness. Their readiness to be open about their true emotions and to offer candid counsel is indicative of their dedication to truth and authenticity.

People with Jupiter conjunct Moon are described as having a strong and alluring emotional presence. They seem to have a significant influence on people around them if they can control emotions and use their auras to create a spell. Through their artistic or intellectual endeavors, individuals appear to have secret knowledge banks that open up when they communicate their feelings. The secret to revealing the depth and richness within is found in the allure of their bursting emotions.

In fact, the 10th house in astrology is frequently linked to one's profession and public life. It stands for a person's reputation, accomplishments, and career goals. The planets and signs that make up the 10th house, along with any aspects that they may form, can provide information about a person's attitude toward their work, public persona, and desired global influence.

The depiction of Pisces Mercury in a relationship creates a lovely image of profound understanding of their partner and nearly psychic communication since they have sensitive energy to sense whether something is off. When words are utilized they will use it to bring out the most understanding and sensitive parts of their partner, they love a connection that appears to be a source of consolation and healing. They want their friendship or relationship to take on a lyrical and inspiring dimension due to their appreciation of arts especially music and they have the possibility of writing or even dedicating songs for their loved ones.

Mars in the seventh house frequently denotes a forceful and proactive approach to interpersonal connections. People that have this placement tend to be direct, aggressive, and passionate in their relationships. They can be looking for a companion who can have lively conversations and is just as vivacious. They might have a strong desire to take the lead in relationships and relish the excitement of working together on projects. Direct communication and a desire to resolve conflicts amicably are two possible components of conflict resolution.

Venus in the Ascendant, sometimes referred to as Venus in the First House, frequently improves a person's attractiveness, charm, and relationship style. People that are placed in this position typically have a friendly and cheerful disposition. They could be naturally magnetic, capturing the attention of others with their charisma or beauty. Their identity is greatly shaped by their relationships, and they may place a high importance on harmony and aesthetics in their self-expression. A great desire to establish and preserve lovely relationships in the social and personal domains may be present.

[rubberizer92]

In the center of the pristine white room, he sits—a figure of absolute power encased in gleaming black latex. 🖤✨ The chair, almost throne-like, cradles his muscular frame as the mirrored sheen of his suit reflects every glint of light in the room. But it’s the device resting in front of him that captures your attention, a machine both mysterious and intimidating. Its glossy black components hum softly, connected by sleek tubing that seems almost alive. 🔥

This is no ordinary gadget. Its purpose is clear to those who dare to understand: to heighten obedience, deepen compliance, and awaken a state of arousal that borders on transcendence. ⚡ The rubber-clad figure leans back, his body relaxed, yet his presence is anything but passive. His gloved hand grips one of the tubes with an air of authority, as if ready to activate the device at will. His calm, commanding gaze peers through the helmet, daring anyone in the room to submit.

Behind him, two men sit, waiting—perhaps watching, perhaps craving. Their bare forms a stark contrast to the impenetrable armor of the one in control. They are present, yet peripheral, their roles in this unfolding scene unclear but undeniably submissive. 🫦 The device pulses faintly, as if responding to the energy in the room. Is it a tool of training, an instrument of devotion, or a gateway into a new world of connection and arousal? The answer lies in the silence that fills the space—a silence that demands surrender.

Would you dare to step forward, to let the machine take hold of your will and amplify your desires? Or would you remain an observer, captivated by the spectacle of obedience and power? Your fantasy begins here. 🔗

https://ko-fi.com/rubberizer92/commissions

[vindelllas]

a brief exploration of the amatyakarakas 🍸

🍸note: any information regarding amatyakaraka placements should be treated lightly, as a good portion of these celebrities do not have verified birth information. i calculated all of the following celebrities with unverified birth times assuming they were born at noon their time!

🍸the amatyakaraka does not share the immense physical focus of the atmakaraka, but serves as the knight (amatyakaraka) to the king (atmakaraka), as it controls much of the labor/work of the chess of life. it is a karaka designed to aid you in picking a field or hobby that can allow you to fully express the passions of your graha. It is the helpful hand that guides you to who you truly are, in this post i focus on the overarching lessons of this placement.

brihaspati amatyakaraka

🌾 aesthetic: the liberation of the femme fatale

🌾 key components: shares similar characteristics to the femme fatale archetype of brihaspati atmakarakas, but inwardly is garnished with the liberated qualities of brihaspati. this is a placement of timing, expansion, and immense growth in the lens of one's work ethic. this is ultimately why these natives are known for their adventurous (and sometime controversial yet successful) business ventures, e.g. kendall jenner's "818" brand and lana del rey's controversies throughout her musical journey, which are centered around intrinsic learning via the external public eye.

shani amatyakaraka

🪐 aesthetic: the theater of love

🪐 key components: it shares the sensual hollywood starlet aesthetic of shani atmakarakas but this karaka's lesson lies in what they pour themselves into. they excel at possessing the drive and willpower to succeed in their respective fields, but are not without controversy in their private lives. this is emphasized by megan thee stallion's wrongful sh*oting, selena gomez's ex, nicki minaj's infamous husband, julia fox's former partner kanye west, etc.. their incessant focus on their future and work, often leaves much instability in their personal lives outside of their everyday routines.

surya amatyakaraka

🌞 aesthetic: the intersection of promiscuity and materialism

🌞 key components: this placement is similar to the materialism noted in surya atmakaraka natives, but is further heightened by this karaka's penchant for promiscuity. this placement's immensely influential nature and general desire to lead/test others can manifest as a form of sex*al temptation of those around them. from professions of acting to involvement in adult industries to modeling, there is a great need to shine their rays onto those around them. the dichotomy agni (the sun) being of purification and knowledge and soma (the moon) being water and nourishment come into play here. the sun wishes to purify and empower those around them through lessons of spiritual teachings. the general focus of the mouth in the photos of surya amatyakarakas is reflective of the mouth being the vessel of soma/the consumer of water. to achieve the purification of agni, you must first be watered spiritually.

kuja amatyakaraka

☄️ aesthetic: the mysticism confidence

☄️ key components: drawing upon the lessons of kuja atmakarakas, a certain confidence is emphasized within this placement. this confidence lies in taking immense risks and undergoing challenging situations for the betterment of your career, talents, and desires. this is evidenced by amber heard's career-challenging court case and jennifer lawrence's recounts and statements about w*instein. this placement is not without its controversy, but it is a placement of willingness to endure immense controversy for personal gain often without the lesson-emphasis of brihaspati amatyakarakas which results in much healing being needed later on.

buddha amatyakaraka

🌑 aesthetic: the ubiquity of feminism

🌑 key components: learning from the misunderstood lalita, this placement emphasizes a certain call to seeking maturation of the self through a higher power and intellectualism. this placement is symbolic of the overt dichotomy of girlhood-womanhood, these natives personify this experience through their accounts of the male gaze, longings for more expansion within themselves, and consuming all the external rays of others for the purpose of bettering and finding themselves (as buddha does to surya).

shukra amatyakaraka

🍓 aesthetic: the languish of luxury

🍓 key components: this placement indicates a certain affinity yet boredom of the luxurious properties of shukra. it causes many celebrities who grow into financial success to possess a coupled, sometimes delayed, distaste of the spotlight/fame. think of selena quintanilla who grew popular with ease compared to her latina musician counterparts but continued to maintain a relatability to the public (similar to cardi b who is still considered "surprisingly relatable" despite being immensely wealthy compared to the general public).

chandra amatyakaraka

🌙 aesthetic: the insatiable pitfalls of revolution

🌙 key components: these women often serve as role models to individuals through their presence in the media, but often serve as a lesson to the pitfalls that come with being "revolutionary". recall alexis ren who revolutionized mid-2010's social media and fashion yet struggled privately with her eating d*sorder. additionally, kaley cuoco was popularized for her role in "the big bang theory" yet too struggled with her eating habits. this is why some vedic astrologers theorize chandra to be associated with eating d*sorders, as yes soma seeks to nourish, but this nourishment (coupled with the drive/talent/profession denoted in the amatyakaraka) results in a potential for restricting soma (nourishment) to feel in control of one's surroundings--that is one's profession or environment.

🍸all of these placements were found using astrotheme/.com and/or astro-charts/.com. it is important to note that some chandra (moon) placements may be off by up to 6 degrees and lagnas (ascendants/rising signs) as well, due to the fact that many websites do not have 100% accurate birth times for the given celebrities.

🍸i am additionally offering readings again for a limited amount of time! if you are interested in a reading, please privately message me. thank you all for all of your patience! please expect the color analysis post soon since it won the poll <3

xoxo,

angel 💋

[serpentface]

!!!!!RISKY POST INCOMING!!!!!!!!!!!!!! THERE'S ILLUSTRATED EXAMPLES

Erotic art forms in Wardi culture largely center around a variety of visual arts and poetry.

Visual erotic art falls under a wide swath of materials, purposes, and uses. It ranges from art that exclusively intends to be pleasing to the viewer (while not necessarily outright Arousing) to art with utilitarian ritual functions. While Wardi culture has very strict standards and regulations around interpersonal Acts of sexuality, Depictions of sex (including acts that are frowned upon or severely taboo if actually performed) are not considered inappropriate or something purely for a private setting, and are something the average person is entirely accommodated to. As such, erotic art commonly has a place in everyday objects- drinking vessels, plates, oil lamps, pottery, etc- and in decoration- statuary, frescoes, textiles, mosaics, etc. It's not a Predominant theme, but most well-decorated homes will have at least a few erotic art objects.

There isn’t really a concept of 'pornography' in the sense of uniquely explicit art exclusively for the purpose of sexual gratification, but there are (often subtle) measures that distinguish a sort of ‘highbrow’ erotic art appropriate for public viewing (either in literal public areas, or in common areas of the home where guests can visit) and ‘lowbrow’ erotic art that is reserved for private areas of the home (and sometimes brothels).

This distinction revolves less around the explicit nature of the sex act, and more around What in particular is shown. Actual depictions of a spread vulva in a sexual context tend to be ‘lowbrow’ (note the distinction of the sexual context- some of the most common apotropaic motifs directly depict or heavily invoke a spread vulva). Visible depiction of the human anus is virtually always ‘lowbrow’, and is very rare in erotic art in general. Both organs are conventionally regarded as ugly, though the vulva has highly positive connotations of abundance and renewal while the anus is, at absolute best, a hole you can stick a penis into.

Depiction of sex acts seen as taboo or disgusting, inappropriate, (mutually) emasculating, or otherwise undignified occupy an ambiguous middle ground- too lowbrow for common public spaces, but appropriate in certain semi-public contexts due to their usually humorous and entertaining intent. Depicting shocking or widely mocked sexual practices often (at least ostensibly) seeks to elicit a comedic response from the audience. (Some examples on a diminishing scale of perceived severity- bestiality, rimming, a woman penetrating a man with a dildo, a man masturbating with a dildo, mutual fellatio between men, a man performing cunnilingus.).

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The element of voyeurism is VERY significant to the Wardi concept of erotic art. Some art that wouldn’t even slightly be read as erotic by an outside viewer is squarely so by means of depicting people (usually women) in highly private domestic spheres which no one but close kin/spouses typically has access to. This can be evoked more easily and directly with women, who are expected to veil outdoors and in fully public settings, and to keep the hair braided everywhere outside of the private spaces of the home. This norm is strictly enforced among the upper classes and is followed fairly uniformly across class lines outside of the most extreme poverty (and some heavily rural settings). In a lot of instances, the only women any given person sees both without a veil and with unbraided hair on a regular basis (outside of their immediate family, or their wife) will be sex workers out in public. The depiction of a desirable, upstanding woman unadorned heavily implies the viewer's presence into a controlled domestic space (with undertones of sexual vulnerability), and has a distinctly erotic component.

It’s less the unbraided hair in of itself that is sexual (though this norm certainly leads to more people than average having sexual fixations on hair)- women in public with loose hair tend to be regarded more as lowly and unkempt than as objects of desire. The specific fantasy is that this is a woman of good standing in a private place and You are there, watching her.

In more explicit art, the hair being half braided during sex is a very common motif. It suggests that the process of the woman undoing her hair has been interrupted for sex, which can be compelling for viewers. It can imply her lover is so revved up that he could not wait once they both entered a private setting, as well as functioning as wish fulfillment in contrast to the tamer voyeuristic art- the viewer is no longer just looking in on the scene, but rather is invited to participate.

Depiction of a young woman noblewoman unbraiding and combing her hair, executed by a highly skilled pottery painter. While there is nothing overtly sexual in this image, this would be considered erotic art. The viewer finds themselves looking in on a highly private scene of an upstanding, sexually desirable young woman, in a physical state that would likely only be seen by a husband.

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Art objects depicting actual sex acts are common and come in great variety. The vast majority depict men with women, but all gender combinations Can be within the sphere of 'highbrow' public art.

More work from the same painter depicting an older man and a beardless youth, who (for the sake of keeping this post up) could just be in a charged, artistically nude embrace for all you know. The youth is heavily implied to be a sex worker- he wears a short haircut typical of a teenage boy, but the presence of full sideburns indicate that he is well beyond puberty, possibly shaving a beard and keeping his hair short to maintain a youthful appearance. This visual performance is very typical of male sex workers, as means of attracting clientele predominantly interested in very young men. Though on the older side of the 'beardless youth' spectrum, his body is still conventionally desirable for a male partner. Neither the presence or the older man's cloak around his waist nor the youth's distinct lack of arousal is a desperate attempt to keep this post from being nuked (though my choice of this subject matter to begin with is), and instead represents actual artistic conventions. The older man's partly clothed state serves to dignify him in comparison to his partner and emphasize their difference in status. An unmistakable clarity of power differential is common in depictions of male homosexuality made for a mass public audience, allowing the image to be conventionally pleasing and attractive. Similarly, squarely 'highbrow' depictions of male homosexual acts tend to imply no sexual gratification on the part of a receiver, as the position is emasculating and shameful and this act is often described as being exclusively pleasurable for the top. The youth's function in this image is mainly to be a desirable male body and to glorify his partner in comparison. Depictions of more amorous/more power-ambiguous male homosexuality are conventionally acceptable, but largely relegated to the semi-private sphere, and are often intended and/or received as humorous in nature.

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The above examples serve primary functions of pleasing the viewer with their imagery, but a wide swath of erotic art has simultaneous aesthetic and ritual/magical functions. Imagery in of itself is thought to have a degree of metaphysical power, and depictions of sex (and pregnancy/childbirth) on utilitarian objects often seeks to spiritually benefit the user in its use.

A decorative ceramic oil vessel featuring a coupling man and woman. The imagery of this vessel has, aside from the typical blank expressions, a distinct sense of tenderness, with the couple positioned close together and holding each other's bodies. The smear of white on their foreheads represents amenchalme, a sanctified substance used to give blessings. This heavily implies that this is a wedding consummation (as a full blessing of the couple occurs at the end of the ceremonies). The wife appears to be pregnant, which is unlikely to be an implication that she was married while already carrying (which is generally shameful outside of cases of remarrying widows), but rather intends to show the act and its successful result simultaneously. Lotus flowers (symbols of renewal and fertility) and a stylized version of the abundance character (here doubling as roots) decorate the body of the vessel. This is a multi-purpose erotic art object. It has aesthetic beauty but does not intend to be titillating. Its imagery evokes the hope for a happy marriage and the fertility of the couple. While not a specific ritual object, it may serve ritual and/or folk magic functions regarding fertility and childbirth in its usage. It might hold oil rubbed to soothe a pregnant belly, or to give in home offerings during prayers, all while imparting a sense of the blessings it suggests onto the user.

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Other erotic art serves entirely ritual functions, with no concerns for pleasing or titillating the viewer. Genitalia in complete isolation is almost always squarely apotropaic in function- the phallus is a symbol of masculine protection and transformation, the vulva symbolizes abundance and renewal, and imagery of both are thought to have protective natures.  

Some simple imagery depicting human or animal mating has a sympathetic magical function (especially in folk magic, but also in some doctrinal religious practice) intending to compel fertility, conception, healthy pregnancies, and safe childbirth. The folk magic variants tend to be made by everymen who are not technically sophisticated artists. The concern is not aesthetic quality, but the magical functions of what is being depicted. These objects are also usually not intended to be actually seen, as they will be buried or hidden in a relevant location to work its intended effects.

A pottery shard used for folk magic. The artist has little technical artistic experience and is partly literate. They have drawn their best representation of mating horses, accompanied by logograms that translate to 'horse' + 'abundance' and '(animal) fertility'. This will likely be buried within the pasture they graze their horses upon, in hopes of influencing more matings and healthy pregnancies in their livestock.

Clay figurine used for folk magic. It similarly hopes to encourage conception, this time for humans. It could be for a specific pair of humans (in which case it may have their mingled blood baked into the clay, or be tied with their hair), or intended to benefit many. Writing may be present at the bottom- depending on the artist's literacy, it may contain anything between common logograms broadly communicating their wishes or a very specific idea (ie: "May my beloved wife Tsimanse Hippinoube conceive a son by me, and not by my wretched dogcunt of a neighbor Odebidinai Jannes (cursed be his name), and may her pregnancy be healthy and her birth be swift and safe, Odomache protect her and give her strength").

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Wardi culture has a long history of poetic traditions, with its main two facets being epic and lyrical poetry (erotic poetry generally falls into the latter category). Being a talented lyrical poet is highly esteemed. Successful poets will have their works permanently recorded and disseminated for general use- read for entertainment at social events, weddings, ceremonies, and in private. Being a performer of poetry is its own field, and can be highly lucrative with skill, resources, and luck. Most professional performers are men, but learning to recite and sing poetry is a standard part of the education of most upper class girls as well as boys.

Erotic poems are generally a subset of love poetry, extolling the beauty of an object of affection or the speaker's desire (fulfilled or not) for them. Most erotic poetry revels in wordplay, avoiding direct descriptions of sexual acts in favor of cleverly implying them through careful wording and use of metaphor. These poems are considered entirely appropriate for public performance, though (unlike visual erotic art) the VERY high esteem of the poetic practice limits most conventionally accepted poetry to "highbrow" subject matter (it can be entirely explicit, but the acts and relationship dynamics it describes are relegated to cultural norms).

There's a separate subset of 'dirty' poetry (usually intended as comedic, though sometimes a form of invective poem), which mixes conventional flowery language with graphic sexual descriptions and heavy use of slang. Opinions are largely split on this variant, with the most socially conservative swaths of the population finding it to dishonor such a virtuous artform, with the less uptight response being "but its kinda funny tho"

The vast majority of successful poets are men, and most erotic poetry focuses on conventional targets of male attraction (primarily women, secondarily akoshos and beardless youths). However, erotic poetry can be one of the most accessible outlets to genuinely express un-socially accepted desires, especially due to the stylistic tendency to partly obscure its subject matter.

[d8tl55c]

physeng(write, file, "tco_physeng_breakdown.png");

to:compiler {file}

to:compiler {txt: "Internet and Outernet are full of StickFigures with similar body plans, so there are optimizations for rendering vector strokes specifically. it's way more efficient to use those optimizations than keep calculating perfect spheres for no aesthetic benefit."}

{txt: "btw why haven't heat issues been patched yet"}

{txt: "i fixed this years ago for the latest model. remember."}

from:compiler {txt: "Thank you. The avast! nodes will appreciate the credits. TheChosenOne.exe has been unreachable for some time."}

to:compiler {txt: "you mean OuternetPhysEng still won't update their programs"}

from:compiler {txt: "Yes."}

to:compiler {txt: "and still won't provide a specific location?"}

from:compiler {txt: "Do not allow them to bring up the moral argument again."}

to:compiler {txt: "OK. fine. yes. i will spare both of us"}

to:compiler {txt: "abridged or full docs?"}

from:compiler {txt: "Abridged. Please describe the acronyms."}

to:compiler {txt: "ofc"}

{txt: "

sel.per.filter: standard StickFigure component (src)*****. invisible membrane with special collision properties. protects mouthparts.

H2O scoop: avast! code. implements water retrieval from ambient air.

EIS: avast! code. destroys ingested materials identified as, "dangerous" before they reach internal systems.

SOS: avast! code. they only said this one was, "used for control."

ECL: avast! code. recycles some forms of contact energy.

THROUGHLINE: base code, initialization data, and processing space for vitals. found in some form in all StickFigure-type worms. following unique sectors noted: Black Hole Monitoring System, Basic Intake Threat Enum, Fly By Wire.

smaller points list other vital and peripheral systems.

"}

from:compiler {txt: "Thank you. That's enough."}

end(physeng());

@compressedrage as per my previous email /silly

related: pliable stick figure biotech

[dmbakura]

OK so I want to stress that this is NOT a slight against OP of this post or how they feel about the way the game presents certain options, but I've seen sentiments like this before and I feel like people still aren't quite grasping WHY the game doesn't allow the option to do a "slow burn romance where you can show him you truly care about him beyond sex" if you ascend him. So I wanted to take the opportunity to talk about Astarion's route and objectification, and the very intentional limitations of player choice regarding the ascension path.

Objectification is the act of degrading someone to the status of a mere object. It often involves a sexual component, but not necessarily. It's reducing someone to being a tool or toy, as if they have no feelings/opinions/autonomy of their own. In Astarion's case, his objectification is very much tied to his sexuality, but also his own views on power and control, and how that reflects on both him and his romantic partner.

I think people get too fixated on Welch's quote "it's reducing your relationship with him back to being a kink/form of gratification... it's very much admitting you failed to think of him beyond a sex object" and take this as commentary or judgment on the players choices, when it isn't actually that. It's quite literally the story that is baked into the route and Astarion's character as a whole. There are obviously reasons to ascend him that have nothing to do with how you personally feel about him as a character, ie you want stats, you think it's just more fun, or interesting, or you like the tragedy, etc but in regards to the story itself? It's actually more commentary on how Astarion views himself more than anything else. He is an intentional subversion of the seductive vampire trope. You cannot engage with his story without interacting with this aspect of his character.

Even if you had a dialogue option to try and initiate a romance with him without that first night of sex, Astarion wouldn't take it. If you had a dialogue option to "show him you cared and want to protect him" he would either scoff at it or get angry, as he does if you try and express similar sentiments about protecting him from Cazador. He doesn't want to be coddled. He doesn't trust mindless heroism or altruism. He initiates sex because he uses it as a tool for manipulation and insurance of his own safety. You can either play into that manipulation or don't (and he seems to respect you more if you don't, which says a lot about his self worth). You can't initiate a slow burn romance because Astarion is so distrustful of EVERYONE and has no ability to conceptualize genuine care at this point in the game due to his mistreatment as a vampire spawn. This is an incredibly important aspect to his character and to change the foundation of this is to rewrite his character entirely.

(There is ONE exception to this: Karlach. Karlach is the only character that can initiate more of a slowburn with Astarion and won't sleep with him the first night because she quite literally, physically can't. And Astarion doesn't immediately accept this either. He belittles Karlach, to the point of calling her frigid and basically defective, wondering if he's wasting his time, before she chews him out for being an asshole. Again, he has no idea how to approach a relationship without using sex as a transaction and it shows. He only goes along with it because he quite literally cannot do his normal routine. This is the only reason he won't start a relationship with Karlach using sex.)

So anyways, that choice at the start? The way Astarion's romance initiates on the first night? It intentionally parallels the way ascended!Astarion will offer you an ultimatum: become his spawn or leave him. At the start of the game, Astarion intentionally plays into the sexy vampire trope to get what he wants, is highly paranoid, afraid and distrustful of everyone. At the end of the game in the ascended route... he's intentionally playing into the sexy vampire trope, is highly paranoid, afraid and distrustful of everyone, only this time he has power to back him up. Nothing about his views has been fundamentally challenged if you ascend him; he's completely validated in his beliefs about power and control and entirely in the mindset that he has no value without becoming the ascendant.

It's not about whether you personally find him sexy or not. It's not about having sex at this point. It's not about you or your character. Astarion objectifies himself, fully playing the only hand he knows (as he himself puts it) because that is all he knows how to do. In the ascended path, he has been shown no other option. Your character, good intentions or not, has not given him the tools to see himself as anything else. There is no way too make himself see himself as anything else, except by not ascending him! Either you let this man degrade you as he degrades himself, or don't. That is the option provided, and anything otherwise wouldn't make sense without rewriting his character completely.

Do you value what he actually wants (freedom) or do you value what he says he wants (power, because he views it as the only way to get that freedom)? To me the game makes it obvious (ESPECIALLY with the newly added epilogue) that walking in the sun again or gaining the power of the vampire ascendant aren't the keys to Astarion's happiness. Stuff like that, while nice, doesn't magically grant him peace and it's not a substitute for character growth and self reflection. It honestly just feels like people want the personality and development of spawn Astarion but in the ascended Astarion path, which doesn't make any sense with the way the story unfolds.

Anyways, I just wanted to say that objectification can be more than just seeing someone as a sex object, and doesn't necessarily have to do with sex itself. It can tie into views about power and degradation and a lack of self respect. Furthermore, it's not the game telling you you're a bad person or some sex addled freak if you ascend him, it's asking you to engage with what Astarion's personal story can say about sexuality, cycles of abuse, trauma and recovery - for better or worse.

[nshi-ao3]

Thou art I and I am thou Wait, so you don't know? Personas and Shadows are the same thing. Shadows are the basest components of the human mind—suppressed thoughts given physical form. When people lose the strength to face the darkest parts of themselves, those parts break loose, free from all control. But in rare cases, people with a certain awareness are able to consciously tame their Shadows. That's all it is.

[literaryvein-reblogs]

Word List: Psychology

psychological concepts as reference for your poem/story (pt. 1)

Acute stress - Results from the sudden onset of demands or events that seem to be beyond the control of the individual. This type of stress is often experienced as tension headaches, emotional upsets, gastrointestinal disturbances, and feelings of agitation and pressure.

Barnum statements - Generalities or statements that could apply to anyone. A good example is the astrology column published in daily newspapers.

Core conditions - According to Carl Rogers, in client-centered therapy, 3 core conditions must be present in order for progress to occur: (a) an atmosphere of genuine acceptance on the part of the therapist; (b) the therapist must express unconditional positive regard for the client; and (c) the client must feel that the therapist understands him or her (empathic understanding).

Daily hassles - The major sources of stress in most people’s lives. Although minor, daily hassles can be chronic and repetitive, such as having too much to do all the time, having to fight the crowds while shopping, or having to worry over money. Such daily hassles can be chronically irritating though they do not initiate the same general adaptation syndrome evoked by some major life events.

Eye-blink startle method - People typically blink their eyes when they are startled by a loud noise. Moreover, a person who is in an anxious or fearful state will blink faster and harder when startled than a person in a normal emotional state. This means that eyeblink speed when startled may be an objective physiological measure of how anxious or fearful a person is feeling. The eye-blink startle method may allow researchers to measure how anxious persons are without actually having to ask them.

Frustration - The high-arousal unpleasant subjective feeling that comes when a person is blocked from attaining an important goal. For example, a thirsty person who just lost his last bit of money in a malfunctioning soda machine would most likely feel frustration.

Global self-esteem - By far the most frequently measured component of selfesteem; defined as “the level of global regard that one has for the self as a person” (Harter, 1993, p. 88). Global self-esteem can range from highly positive to highly negative, and reflects an overall evaluation of the self at the broadest level (Kling et al., 1999). Global self-esteem is linked with many aspects of functioning and is commonly thought to be central to mental health.

Hostile forces of nature - What Darwin called any event that impedes survival. This includes food shortages, diseases, parasites, predators, and extremes of weather.

Identity foreclosure - A person does not emerge from a crisis with a firm sense of commitment to values, relationships, or career but forms an identity without exploring alternatives. An example would be young people who accept the values of their parents or their cultural or religious group without question.

Inhibitory control - Ability to control inappropriate responses or behaviors.

Source ⚜ More: On Psychology ⚜ Word Lists ⚜ Notes & References

[lis-zhuk]

TDL & TCO - fusion

a comic-collaboration with @vulami-wantz-t0-sleep

So... yeah. They can merge for they are very simple organisms (plasmoids).

And while for Internet sticks merging can be dangerous - if they spend too much time merged, their innards and magic (even if they have little to no magical potential) meld into one, making two separated sticks into a creature with two cores; for Animated stickmen (or Hollowheads) it is hard. They mostly consist of magic and are active users of it (staring at you, Second) so they have a greater control over it and are more natural. Also, Hollowheads don't have cores - their cytoplasm is much thicker and membranes are almost impenetrable.

Note: fusions can happen between more than two sticks, but they are difficult to both perform and sustain, they lack stability and the new self is in constant pain.

So for Animated sticks merging is the question of syncing their flows and entering the state of mutual acceptance. Their mind stays two, but they enter a slow dance of balance that creates the third self - "us" of the two. It has consciousness and understanding of itself as two combined. It exists only in the fusion and proactively reacts to whatever its parts are doing.

In a way, fusion is a long magic exchange between two.

Note: Merging with someone can be seen in many ways, from weakness (too weak on one's own) to a making out session

In calm state it's collected and whole, either being a rough merge of the components' personalities and/or reflexes or a whole new person, having only the childish wonder and some critical memories of both of the sticks. When the parts become unstable the fusion feels pain, as their body becomes to split back into two forcefully.

(an old ref for TCL, previously - TOL)

(new TCL concept)

TCL likes being, just being in general. They presumably formed their personality from little bits of both TDL's and TCO's minds. They don't belong to Alan but aren't that different from a usual hollowhead. TCL has high stability and can endure the pain of Dark getting fascinated over a sunset from bird flight's height or enraged by some rando. They can channel all the excessive emotions of the parts into their own. For a short while after the first TCO's and TDL's merge they had halves of their hair swapped, exchanging some powers too. After that they had to force a mana exchange (Dark almost caused a local cataclysm while trying to go on a flight)

Note: TCL most likely uses a different name, like Cataclysm or Hazard. TCL is just a placeholder.

Usually, after the sticks divide, for a short while (while there is mana that didn't divide properly) they can hear their combined self in half-conscious space or have bits of other's memories. As hollowheads keep all the info throughout their whole body (okay im voting for the primitive colony structure, lis can't continue stating that they are unicellular with this stuff going on)

[starlit1daydream]

On the subject of Equius Zahhak: hypersexuality and patriarchy.

It's been a hot minute since I promised to write something like this, and I've been meaning to test a new writing style for these big posts anyways - so I'm going to try my hand at explaining my personal interpretation of Equius Zahhak.

Equius is one of my favourite side characters in Homestuck, and though the individual components of his characterisation are intentionally facetious and humourous, all of these components then come together to form a fantastic and deeply layered commentary, however unintentional.

Let's begin with the basics: our introduction to Equius proper.

The narrative makes it clear from the start how you're meant to feel about this guy for starters - he's a creep and a weirdo. Nepeta says as much in their very first interaction on-screen:

This is backed up by the narrator themselves exhibiting a discomfort with him, painting him as a cryptic and eerily observant loner:

Once again, he's making people uncomfortable. Discomfort is going to be a very common theme going forward, particularly once we tap into Equius' personal interests and the justification behind them.

The next sign is when we first see him properly on-screen, and the narrator is immediately mortified by the state of his room and advises us to move on with the story.

So, immediately, any cognizant reader knows what's up. This guy is a joke character. A punchline, a fool, a weird asshole with no redeeming qualities. This is, of course, the intended reaction.

...Which then brings us to the subversions involved with Equius' character. Every single off-putting and strange thing about him is subsequently repainted in a more flattering light by the conclusion of his screen-time.

What begins as an overcontrolling, possessive demeanour towards Nepeta becomes a genuine, albeit perhaps overbearing desire to protect his moirail from harm. The context of him being Vriska's neighbour helps us infer that he's very, very aware of the dangers of FLARPing.

What starts as a bizarre and testosterone-poisoned obsession with strength becomes more of a fleshed-out character flaw. It's an inherent fault that Equius cannot control that brings him more distress than anything else. We'll delve into that later.

This is not, of course, to say that Equius is without genuine fault. You are still meant to find problems with his behaviour, of course you are; the Aradiabot fiasco is an intentional violation of personal agency based around an unhealthy obsession. He allows himself and his moirail to die because of his refusal to disobey the vapid and classist hemospectrum.

Okay, so why is he like this?

I'm glad you've asked. This is where this delves more into conjecture, based around a few different things.

The state of the internet and online culture at the time of Equius' inception; and the ramifications therein.

What we know to be true about the aspect of Void, and how Equius interacts with it.

The added retroactive context of Hussie's handling of queer topics (as a non-binary person themselves!), particularly on the subject of gender identity.

Let's start with point one.

Equius and hypersexuality.

At the time of Homestuck's inception, it was a veritable fact that the internet was overrun with overt sexuality, oft for the sake of shock value as opposed to arousal. Screamers and shock sites like 2girls1cup, goatse, Mr. Hands... (that last one is particularly relevant).

I cite Mr. Hands in particular because therein we get to the use of bestiality as a gross-out punchline. This is what Hussie's invoking with Equius; you're looking at this guy and seeing a gross freak who hangs horse porn on his walls. It's appealing to the fact that:

Homosexuality was considered a funny punchline.

The furry fandom was considered a funny puchline.

Bestiality was considered a funny punchline.

And so, this thirteen year old child hanging gay horse porn on his walls is meant to be played for laughs.

But with the retroactive lens we're looking at this through now? It's not only deeply disturbing for reasons I don't think I need to explain, but it's also a portrait of unhealthy teenage sexuality and the ramifications of exposure to explicit content at a young age.

Because it's a veritable fact that Equius does not understand boundaries and has a deeply flawed relationship with his sexuality. It's the kind of hypersexuality induced by childhood exposure to sexual material, and I would go as far as to call it a kind of CSE.

Need more proof of this? Dave Strider. Bro's weird sex puppets and usage of pornography as a punchline undeniably fucked Dave up, and explains the way he so regularly uses sex, particularly gay sex as a source of humour. Dave is the same problem that Equius rises, played seriously at a point in the story wherein these things are no longer treated so facetiously.

Furthermore, it becomes clear that Equius does not actually understand what he is consuming and emulating. Pornography isn't pornography to him, it's fine art. He's uncomfortable and unhappy with his sexuality because he lacks a label for it and doesn't know what it is he's feeling. This is tied to his Aspect of Void; but more on that in just a second.

This is uncomfortable. It is meant to be uncomfortable.

Equius' toying with casteplay and power dynamics is a clear representation of this frayed relationship - and it also segues into our point about his lack of self-worth.

Equius, the Heir of Void.

The Void Aspect. The Aspect of irrelevance, secrecy, ignorance, simplicity and absence, amongst other things.

The Heir Class. The Class that indicates an overabundance of the player's Aspect that overwhelms them and embodies them.

Equius is he who inherits, becomes and is consumed by emptiness. Because Equius Zahhak does not have a sense of selfhood or self-worth. The inference brought about by his title as the Heir of Void is that Equius is overwhelmed by nothingness.

Combine this with his Dersite status and the consensus on Lunar Sway (Prospit indicating externalisation, Derse indicating internalisation) and you get a very clear image of how Equius' title translates.

An overwhelming, consuming sense of internalised absence and nothingness. This is where Equius' hemospectrum adherence comes in! It's a cover up to compensate for his purposelessness and lack of meaningful identity. He sees himself as being deficient in anything real or of substance, and so adheres to the system placed before him because it is the only thing he feels he understands.

Once again, this is uncomfortable and a real phenomenon amongst teen boys. We see it with Eridan, too; young and confused teenagers with no sense of purpose falling into harmful and bigoted pipelines because they have no sense of direction otherwise.

(In a roundabout sense this explains Tavros' role as well; The Page indicates a deficit in their Aspect throughout the session and so the trolls lacking Breath in the form of directionlessness fits fairly well).

It's almost like watching a young boy fall into the alt-right, or start feed into Andrew Tate-style snake oil bullshit. It's the exact same kind of exploitation on a much larger scale; because it's the whole of Alternian society orchestrated by Doc Scratch.

You know... the Doc Scratch meant to represent online groomers?

So, we've been over about all I can cover about Equius' sexual trauma, lack of boundaries and emptiness/lack of self. So, how does this translate? Particularly thinking on the last point, I'd like to give my two cents about a very interesting headcanon for Equius that's been circulating a lot lately.

Equius, and gender identity.

A transfeminine reading greatly enhances the content of Equius' character, and provides a narratively satisfying character arc and means of development for them.

(From hereon out, I will be referring to Equius by the pronouns she/her).

I've seen Nekropsii sum this up beautifully, and I'll paraphrase this interpretation to the best of my ability; Equius' manifestation of masculinity is akin to a poison to her.

It makes her into a grotesque, testosterone-poisoned freak that physically cannot interact with anything around her without hurting it. It is the metaphorical confusion and fury of dysphoria made literal. It is the emptiness and lack of self that I myself can corrobate as a trans woman myself.

Masculinity is a curse for Equius. Much like quite a few other Homestuck characters (Dave & Jake come to mind), Equius really fucking hates being a guy.

So, this ties into my final point.

How I personally would have developed Equius had she been given the screentime to keep being relevant to the story.

The transfeminine character arc seems obvious. I believe that, if a person would be willing and able to tackle the more obscene and deliberately uncomfortable components of Equius' character, you could make an incredibly raw and interesting portrayal of transition and identity.

What's more; this is corroborated by Equius' closest relationship. Nepeta Leijon, the Rogue of Heart. The girl whose role indicates the ability to share identity and selfhood. Nepeta could very, very easily function as a catalyst for Equius gaining her own identity and being helped through the transition process. It makes an already STRONG and stable moirallegiance all the more interesting and heartwarming to witness.

This is not to say that Equius should not have agency herself, of course; an important part of this development would be the formulation of an independent self without debilitating outside influence. It would be allowing herself not to be consumed needlessly by Void.

Equius, and further relationship dynamics.

Equius' relationship with Gamzee (which I have always read as a one-sided kismesis) is also very important to me. This is not healthy. Equius is using Gamzee as a vessel for her fantasies and lack of boundaries, and through her black feelings she vents out her frustration with her sexuality and intrinsic need to obey and serve someone of a higher caste.

I don't think I need to tell any of you how well that works out once Gamzee goes sober. (I'd rather not dwell on the topic of the Makaras too long; that's something for a wholly separate post - and one that I'm sure would end up being rather scathing towards Hussie).

Finally, Equius' relationship with Aradia. This is also one I feel is unhealthy and once again one-sided. It is the same principle as Gamzee; merely in the red quadrant as opposed to the pitch one. Equius is using somebody as a vessel to vent out her feelings of purposelessness and frustration, and deliberately ignoring the lack of reciprocation.

Both of these connections are similar; and both of them end with Equius getting her shit kicked in.

How one would retool and treat these relationships post-character development is up to them, but I personally think it would be healthier for Equius to step away from both of them. I don't think Aradia would want or need Equius' continued presence in her life, and Gamzee is notoriously terrible at relationships. (We know damn well how a reciprocated blackrom with him turns out, just ask Terezi).

Equius, in conclusion.

That's all I really have to say on this matter; a long-winded and ultimately self-serving wall of text that I'm sure will come off as masturbatory and stupid when I read over it again. That being said, I wanted to lay all of this down in one place.

tl;dr - Equius Zahhak is a complex and interesting character with commentaries on teenage hypersexuality and unhealthy masculinity, and reading her as a trans woman provides an incredibly interesting character arc for her in the long term.

[evenworsefreak]

The problem I have with the new ending.

I really don't understand what devs tried to accomplish when they wer making 'Your new world'. Like, the game is about accepting or rejeting change. On one hand we have a Shifting Mound. As an embodiment of change, she's is a key component to keep the reality flowing. So if you take her offer the cycle of death and rebirth of the worlds continues. If you refuse her, you're gonna stay in the same old universe forever. And it made sense!

But Your new world completely undermines the premice of the game by telling you tha you can create a whole new reality on your own, which lore-wise makes The Shifting Mound completely useless. As if she can't exist on her own while TLQ can. There's a clear power imbalance. Even before the Pristine Cut her position as a onmipotent diety was shaky, now she doesn't even seen as equal to TLQ. She doesn't have much agency even at her supposed peak form. She doesn't want to fight us, and even when pushed to do so, she's either getting slain or spared. There is not a singleinstance of her overpowering us.

Her faith is still in the hands of the player(ik it's a game and it's chracters have a will on their own but come on, I expected at least a sempblance of her being in control). We're practically bullying this woman into submission. I am so fucking mad.