#I love the aesthetic but have almost no practice with that level of detail

[doodling-robot]

Bastion in “Voiceprint”

Bastion was the first Overwatch character my brother showed me back when he first got the game. I like robots, I like birds, so a robot with a bird??? Perfect character. Amazing. Incredible design. No notes.

Bastion and Ganymede have had a special place in my heart for years and they continue to be among my top faves <3

[crazylittlejester]

Daily brainrot and today I've got a load of headcanons I've been mulling over because they won't leave me alone.

I know we've all done a college AU at some point in our lives, but I was up at like 3 am last night debating over which academia aesthetic each Link embodies because I may have spent way too much time on the aesthetics wiki recently. Did I procrastinate for an hour to work on this? Yes. I have no regrets. YOLO and all that.

Sky -- Definitely has light academia vibes. The man does not own a single dark piece of clothing, and everything in his closet is very soft and cozy. He double majored in aviation and environmental science, but he's debating transferring over to the biology department to pursue grad studies in ornithology.

Time -- He is not in charge of his own wardrobe, okay? Malon picks out his outfits. They match. It's always something tasteful and neutral with a little bit of color, but nothing that marks him as belonging to academia. He's part of the philosophy department and a strict teacher, but the students all love him because he genuinely wants them to do well and lets them know. Most of his work is writing for philosophy journals when he isn't teaching.

Legend -- Has more of a general/miscellaneous aesthetic that leans hard into gender non-conformity. He takes his work with him everywhere and whenever someone asks about it, it goes completely over their heads because they have no idea what he's talking about. There's an ongoing bet about whether his dissertation is about linguistics, sociology, or both.

Hyrule -- I don't think there's a word for his aesthetic, he just gives off "outdoors creature" vibes so hard. He's a cryptid and rarely in the classroom because he's always out doing field work. The most human contact he has is outreach programs with the environmental science and biology departments. No one knows exactly what his grad work is supposed to be because it's incomprehensible combinations of wildlife photos half the time and the other half the time he's off the grid.

Twilight -- This is what happens when cowboys and gothic academia have a kid. It's really freaking weird, but somehow he makes it work, so nobody questions it. He technically works for the agricultural department doing research and outreach programs, but he also haunts the English department and occasionally teaches 100 level literature classes online. The freshmen like him because he rounds grades up.

Four -- An unholy combination of academia and his unique color coding system. You don't know what you're getting until he shows up. He generally wears neutral stuff, but his socks and ties are color coded, much to everyone's chagrin. He's got multiple projects going at any given time and helps out the other departments when they get stuck on details. He's really cagey about his dissertation, but he practically lives in the science & engineering building, so he can't exactly deny that he's doing something in STEM.

Wind -- He tried being fashionable, but as soon as he decided to major in oceanography he was swept away by ocean academia. The amount of blue clothing he has is frankly horrifying, and Warriors is trying to get him to branch out into less garish shades of gray and stop wearing almost exclusively rubber boots as footwear. It's a work in progress.

Warriors -- I think he'd fall under general or queer academia because he'd be fashionable in a mostly-normal-but-also-queer sort of way. Stylish, and fruity. Definitely prefers autumn/winter because that's peak scarf season. He's the kind of guy who manages to casually slip representation into any curriculum you hand him and makes it look natural. He got an assistantship with the history department because the professors love him.

Wild -- 100% chaotic academia and doesn't even have to try. Everything is a mess, but it's his mess, he knows exactly where everything is, and to be honest it's not a safety hazard, so it's fine. Besides, he dresses appropriately for department events, and he's the only grad student that Flora hasn't scared off. No one actually knows which department he belongs to, but he knows something about everything.

IM SO FUCKING OBSESSED WITH THIS YOU HAVE NO IDEA

THESE ARE SO PERFECT AND YOU’RE SO RIGHT ABOUT THEM ALL I LOVE THESE SO MUCH IM SHAKIN EM AROUND LIKE A JAR OF MARBLES

[danses-with-dogmeat]

Day 20 -- Pickman

The (nsfw) details for Kinktober 2023, Day 20 are just below the cut!

Minors, please don’t interact.

Body Modification with Pickman x g/n!Sole

Ohhhhh, Pickman. What a strange, intriguing character. His dialogue makes for very fun writing, though. Definitely a killer aesthetic to go with the homicidal tendencies, lol.

Anyways, I hope you all enjoy!

Here is the link to my  Kinktober 2023 Event List so you can stay up-to-date, or re-visit these works as you please.

Included: Body Modification, knifeplay, non-explicit gore, blood, cutting, marking, masochism, painplay, scarring, all very consensual, just kinky, restraints, dirty talk? kind of? (mostly very flowery), oral sex, cum eating.

Words: 1.9k

--

“This one, I’m liking, darling. How much bigger were you thinking?” 

He spoke to them softly, in that painfully honeyed tone of his– the one where you could practically hear the smile on his face, whether or not he actually wore one.

Pickman wasn’t now.

He rarely smiled in the midst of his work; no, he was concentrating. Especially when it came to the canvas of his beloved. The myriad of scars upon them was faultless, due to the level of focus he always maintained throughout their carving. Despite his unwavering attention, those certainly furrowed brows he looked upon them with, Sole knew the way that this undertaking of his, it… excited him. The unmistakable bulge forming in the front of his worn, beige dress slacks told that tale of yearning. Loudly and with urgency.

Their gaze remained at his waist, as Pickman’s knife moved in small, careful increments over their collarbone and down to the left side of their chest. Sole was restrained. Their wrists, chest and forehead all held down against the firm table beneath them– it made it less likely for them to flinch away and perhaps ruin the intricate scrawl of their partner's blade over their once-smooth flesh. 

And it was more thrilling this way. 

Sole’s heart pounded in their chest, they felt sweat lingering on the surface, felt a heat of their own pooling low in their belly, with each spike of pain, it made their eyes roll back and their breath come out in increasingly fevered pants. 

They didn’t even need to hear Pickman’s smile, to know the way he wore one now, as he pulled the knife away to admire his work. 

He delighted in their delight. Relished their love of the pain he gifts them, and the art he makes of them.

“We were made for each other, you know.” He put their thoughts to words, almost as if he could hear into their mind. 

“And this… This is a reflection of that.” 

Their names, penned together with the keen blade and combined in an ornate, calligraphic inscription barely legible, but to the artist himself… It was a masterpiece. 

“In all my art pieces, we have never seen the like of this. None compare.” 

He etched another line, and Sole’s breath came out a whimper. 

“Shh, shh, my love. Nearly there. Don’t worry.” 

A sweet kiss planted on their forehead, and Sole leaned into it. 

“M’not.” They managed, despite the delectably overwhelming pain. 

“Hmm?” 

“Not worried. Take as long as you need.” 

They wished they could reach out and touch him, then. Reassure him that this was undoubtedly what they wanted, but that would be counterintuitive. They didn’t want to ruin his work by moving. 

Pickman pulled the knife away, grabbed the soft, thin rag off the table beside him, and wiped clean the blade, before dabbing the cloth on their skin, absorbing the excess scarlet so he could see what lay beneath.

“My, it’s… breathtaking, my dear.” 

“I’m sure it is.” They said with a small grin, “You are a fine artist, my love.” 

He hmm-ed happily at that, before they felt the cold metal against their hot skin again. 

He made a few more carvings, the sting of which shot up their whole arm, protesting within the survival portion of their brain, urging them to shy away, to stop the wounding in its tracks, but Sole closed their eyes and ignored it. Their mind went foggy, the pain all that they could focus on, and the last thing they could focus on, all at once.

A particularly deep cut made them shudder unwittingly, releasing a moan at the same such time. Between their legs, they felt a distinct reaction, and Pickman let loose another knowing hum. 

“Shall we take a break, then? Don’t want to… overwhelm you, dearest.” 

“Do we have to?” They croaked, and Pickman chuckled in response, letting the flat of his blade tap down their bare body in increments, before it clattered onto the steel table just out of their peripheral vision. 

“No, we don’t have to. But oh… it should be fun. I guarantee you’ll enjoy it.” 

Another kiss had Sole opening their eyes, straining to look down at his shining hair as Pickman set his lips over their neck, down their collarbone, and achingly close to the open wounds on their chest. 

“Would you like to stay tied?” He whispered between presses of his mouth over them. 

“Let me touch you.” Sole pleaded, adrenaline still coursing through them from the stinging in their chest, from that building heat within. 

“As you wish.” He kissed them square in the middle of his newest art piece, and Sole’s shoulder tensed. 

He licked his reddened lips as he pulled away.

Pickman then moved out of their sights, and soon the rope over one wrist was being cut. It snapped, and the pressure released. Pickman moved to the other as Sole twisted their wrist, flexed their fingers, feeling the blood return to their hand. 

He always secured them just a tinge too tight, knowing how that pain acted as an appetizer for what was to come. 

Another snap of rope released the pressure over their collarbones, which had been effectively holding their chest in place, and Sole looked down to see marks there too. Just the reddened rashes and imprints of the rope, but now with their forehead being set free of its bounds against the hard table, they let their head raise up to admire those, as well as the new scar-work over their heart.

“Beautiful.” They agreed, and saw the way their partner grinned, the appreciation for them shining honestly in their stark, grey depths.  

“Ah, like you.” He pulled a hand to his lips then, pressing another kiss there as he released the last of their bounds. “A masterpiece to match a masterpiece.” 

A blush heated their skin, and Sole looked away shyly, like Pickman didn’t spoil them with his poetic dictation on a daily basis. 

“Now, you wanted to–”

“Touch you.” Sole said easily, quick enough to interrupt as they shifted upwards and slid off the end of the table. 

Dark air surrounded them both outside the ring that illuminated Pickman’s work area. Crimson brick walls looked in from every side, and without preference, Sole chose one to push their partner into. 

Pickman yielded to their touch instantly, until his back rested against the bricks, and Sole had both arms wrapped firmly about his shoulders. His kisses were magnetic, as they pressed forward into him; they felt they could never pull away, not without another catalyst to force their lips away. His skin was soft, his lips no exception, and Sole– as they often did– asked themself how, in a world such as this, Pickman managed to keep himself so tidy. 

His hair was slicked just a certain way, that when they combed their fingers over it, it remained in place. He smelled of aftershave and starch powder, and tasted like spearmint toothpaste. 

It brought Sole back. 

How they’ve changed since then, they thought, as their hands explored him, as their fingers brushed over their own marked, scarred forearms– forever changed, by the man pressed against them. 

“My love,” Pickman mumbled into their mouth, before gently pushing them away. “I’m meant to console you. Remember?” 

Sole looked away again, like a dog being reprimanded for going after a food scrap they know they’re not meant to have. 

He tutted at them, drawing their gaze back to his. 

“Here, let us switch, dearest.” 

They did as he asked, moving like dancers as he grasped their hands and twirled them about until their back was resting against the cold brick. A shiver ran through them, but soon enough, Pickman became a distraction from that as well. 

He ran his hands, ripe with scars of their own, up and down their form, like he was trying to smooth out wrinkles. His touch was firm, but light enough not to ruffle.

One hand smoothed right down to their center on its journey, palming over their heat, feeling their pleasure, so evident against his touch. 

“Darling, you are perfection.” He kissed their lips again, savoring the sighs they released at his undulating contact over them. “To have my work displayed on you… it’s the greatest honor I can fathom.” 

All his words were heady whispers against them, as his hand increased its movement, as the other drew lines with his fingers over the path of raised scars he was responsible for. 

“The most perfect gallery.” 

Any words they wished to speak in return paled in comparison. Pickman’s natural pomp, his archaic charm had them swooning and leaning into his every touch, his every word. The feel of his hand over them, over the most sensitive of spots, just firm enough to thread the needle between intense and overwhelming. 

“I hope you can forgive my absence, here.” He said, a despondent look in his eyes, and Sole blinked as a question in their mind made their brows furrow together. “I’m needed elsewhere.”

With that and a distinct clench of Pickman's hand between their legs, his lips were descending their body. He paused only once, to press a handful of kisses over their newest linework, and then he was on his knees before them, lifting one thigh up to rest on his suit’s shoulder pad. 

Sole’s hands dove down to his hair, to the back of his neck, writhing their fingers over the skin there, until they could all but feel the goosebumps their touch, their gasps of pleasure, inspired upon him. The contact only seemed to encourage the artist, as he mouthed fervently over their heat, as though this were the only sustenance that could sate him. 

His noises became more carnal the further he buried himself between their legs, the more slick skin rubbing together, moans catching in his throat, breaths rattling in his chest as he opted to breathe them rather than the air. 

Sole’s fingers clung to him, nails digging into his skin as the back of their head dug into the brick wall behind them. Their muscles tensed, sweat stung their open wounds, and a moan escaped their straining throat as their partner relished in their pleasure, tasting all they had to offer him, and pleading for more with every lave of his tongue, every hollow of his pronounced cheeks. 

“Seems you needed this break just as I did.” Sole chuckled, and Pickman hummed out his agreement. 

“More so, even.” He pulled away to answer in a flash, before his lips were firmly back upon them. 

He tilted his head this way and that, dove forward and then released the pressure in rapid movements that gave Sole no time at all to recover. Their pleasure could only build as his teeth entered the equation, nipping over those sensitive places between their legs, scraping over the skin there until jolts of pain-infused bliss ran up through their veins. 

Pickman gave an answering moan as their hands clenched him all the tighter, as their leg tensed from its place on his shoulder and their hips thrust their heat against his mouth with each passing second. 

He carried on though, always one to see his work through to the end, Pickman ran a hand over them as his lips refused to relent, as he nearly bit into his tongue in the euphoric turmoil of their combined actions. 

Then, Sole was crying out their release, bursting onto his asking tongue as he pressed further into them, crazed and wanting for all they could give. 

It’s what he craved most about them. The way they gave themself over to him, his work, his craft. Let him mark them in every way possible, both physically and mentally, and let him love them in every way Pickman wished to display it. 

He was right, they both decided in tandem. 

They really were made for each other. 

[joycrispy]

So I've mentioned before that I've had a lot of arts n' crafts small creative projects on the go (and a few not-so-small ones, but that's another post), and I just kinda felt like talking about 3 of them.

SO I WILL.

1. Bookbinding

This is more of an ongoing learning process than any one particular book I'm binding --but the process is going very well. Pictured here is the latest attempt, and my most ambitious attempt in that it was mostly me going, 'huh, I wonder if that would work' and dicking around until I got some sort of result.

(Example: I dyed that cover black. Did not know if it would work. It...kinda does? Further testing required.)

The final book is far from perfect, but I'm actually very happy with it. It's like a prototype of the kind of book I've been wanting to make all along, the whole reason I picked up bookbinding. Old fashioned tomes are the goal here.

More on that in a bit.

2. DnD Character Journals

At the moment I am in three different ongoing campaigns (including one I'd been playing in for two years before Covid happened, now picked back up again, and another which is a sequel to a previously completed campaign. Exciting stuff. The third is a character I usually reserve for one-shots, but she got a whole campaign this time. Good for her!), and I have completed journals for two out of my three characters.

(If you don't know what a character journal is: it's basically just a Character Sheet, but way more extra and ~Aesthetic. Sort of a functional gaming scrapbook. I also design mine to make the game as accessible as possible to my very ADHD brain. I highly recommend it, as a practice).

Pictured here is the main stat page for my monk, Wormwood, who just reached level 5.

Speaking of DnD...

3. Campaign Journal

So anyone who has played with me knows that I take EXTREMELY DETAILED NOTES, but this time around I'm taking the notes, immediately converting them into readable prose recountings (as opposed to fast n' easy notetaker's shorthand, which only makes sense to me), and then sharing them as an editable Google document with the group. They can add anything I missed, or flesh out details I skimmed over, add their character's POV of a scene, or whatever they like!

(This also has the neat side-effect of generating material for the DM's World Anvil, which is nice. He's free to pick and choose what he wants, or ask me to write an article for him, etc.)

This makes it very easy for the group to refresh their memories between sessions, but also, when the campaign is finished...there will be a very thorough record of it.

Last year I had the thought that, with the way I take my notes, I could easily print out a campaign journal and bind it as a physical book, and then have that as a memento/give it as a gift to the other players.

That's an exceptional amount of work to do AFTER the fact, but doing it one session at a time, as they happen...that's very doable.

I mean. People bind novel-length fanfiction for their own personal collections. There's no reason I shouldn't bind a novel-length campaign, lol.

And I can personalize each book to each player, as well! No, yeah, this is EXACTLY the kind of thing I love to contribute to a game. The group's excited, I'm excited, lots to look forward to, here.

I have other projects, including two large ones that are each going to take the better part of 2024, which slows all these little ones down...but I'm consistently whittling down the daily to-do list into something more manageable.

And work is nice right now because my main job atm is something I'm really, really good at...

(charity fundraising: my location is 1st in the district and 7th in the country for donations, and almost a third of those donations were made through me. I'm very, very good at this part of my job)

(I tend to be good at things I care about --ADHD, like I say-- and our partner charity benefits local queer and disabled kids who need shelter and support, so, YES, I CARE ABOUT THAT)

...so it makes the days pass quickly and peacefully. I get to come home in a good mood to all my little arts n' crafts. It's been very fun.

I'm glad I have time to be on tumblr again, though.

[aestheticsrx]

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[3liza]

that's because the modern idea of modern minimalist industrial design is a macbook. Morris and his contemporaries were reacting to the industrial design typified in the 1851 Great Exhibition, which looked like this:

we don't have an equivalent, nothing we have in our modern environments even comes close to the insane level of frippery and ornamentation of the Victorian era, but this is what was being mass-produced (by their standards of industrial mass production) at the time:

and here's the Morris Chair, his most famous contribution to interior design (despite it having been stolen from an anonymous cabinet-maker by a member of his firm) and an item that is still being replicated for use today, by comparison:

compared to the stamped and gold-embossed consumer goods that were coming off production lines at the time, Morris interiors were positively Spartan, because he and his contemporaries associated the super-ornamentation of the time with a necessity for mass production: the level of useless decoration on basic objects meant that only things like industrial press stamping and cellulose molding and paste rhinestones and carpet looming etc could replicate that level of detail at scale and quantity. doing those kinds of filigrees by hand used to take a very long time, so they became associated with quality and expense, became popular and desirable because of those associations, and then became mass-produced items due to popularity. so Morris was simplifying forms specifically as a rejection of industrialism, and using big simplified shapes and block colors as an invocation of rusticism and medievalism because the simple designs could be handmade more easily than the ornamental designs.

now the opposite associations exist. this doesn't read to us in 2024 at all because for us, simplicity of form has been the "industrial" aesthetic since the 1940s. now we associate ornamentation with things being high quality, old fashioned, handmade and valuable, because everything that's designed in AutoCAD and comes off a production line is smooth and aerodynamic and monochrome. also, ironically, we're so brainwashed by the Victorian Sentimentalist Medievalism presentation of what "medieval" or "Gothic" is that we think those aesthetics are super-ornamental as well (which they are, sort of, compared to modern standards) but to Ruskin and Morris etc "medieval" meant pared-down, simple, almost brutalist (big stone megastructures etc).

here's Morris' own Medieval Times-ass bedroom:

and here's what the aspirational/ideal Victorian interior looked like at the time:

modern people don't perceive there being much of a difference because we've grown up in the Jetsons and ornamentation is basically forbidden since WWII, but his big sword nerd bed, typographic bed curtain embellishment, and only having one framed piece of art per wall would have seemed very odd and almost deprived to the average victorian, who associated clutter with wealth and big blank spaces with poverty and the peasantry. the arts & crafts movement is considered the origin of Modernism by many, despite Morris specifically requesting the opposite of modernity, but it had to go through Art Nouveau first, and even a lot of the Art Nouveau designers thought Morris was contradictory and regressive.

in conclusion Morris would have loved my shitty particleboard table because it represents the nobility of the working class and a humble striving for practicality and furniture that is above all to be lived with (I am lying this table is very ugly and represents none of those ideals. everything else I wrote is true. I do not agree with Morris' aesthetic ideals I like ornamentation). I wrote this post on the toilet btw

I scrounged a very nice hardwood table from outside and didn't notice until I set it up that's it's a foot taller than a dining room table should be. like it's the same height as my kitchen counters. very odd

[yostresswritinggirl]

@butterfly-mochi​ Rewrote this freaking thing thrice because it keeps getting deleted wth tumblr agjvahkfajkvk- I enjoyed writing it a lot tho and since I’m too weak to the characters I ended up writing for all of them (except for Sucrose, im sorry bb huhu, I ran out of brain power). This is my first time writing for so many of them in one go so please excuse me for any mistakes or blandness ywy thank you for letting me write for my baby Ganyu too hhhhh

Universe Reversal 2

Genshin Impact Character Reader and Modern Players with Zhongli, Childe & Ganyu (how they simp for you) (event masterlist / Part 1 / Part 3)

Zhongli the F2P

The most relatable out of the bunch because this man is still broke and can only rely on the primogems he can farm. And he had a LOT. The one thing he doesn’t have a lot on, however, is his luck.

So how did he manage to pull you?: Well after exhausting all his primogem on your banner with nothing but weapons and other characters, he has lost his resolve. But by some weird luck, there was a character bug that was fixed and in his email was the almighty consolation primogem. Enough for ONE pull. And by the Gods he FINALLY got you.

He’d nonchalantly post his screenshot of pulling you using a single acquaint fate in his friend group without any words and everyone else just loses their shit. “You got them in one pull?!” “Yeah” A riot.

This was partnered with the fact that not only is Zhongli an F2P player, but also barely has any five star characters.

He looks calm and apathetic over the news, but behind the screen he’s exhausted and relieved, silently livid.

He has no primogems left to squeeze for a constellation so you’re instead pampered with the best weapon suitable for you (because that’s all he keeps getting).

Zhongles spends most of his time farming for materials to quickly level you up, unlocking all your stories and voiceline, but he fucked up on your build (his artifacts are messy).

He follows communities, forums and videos regarding your character to know all the things he needs to perfect your build. You can barely make a dent against normal mobs, so he knew he was doing something VERY wrong.

Is the type of person to keep refreshing the page for new content, very updated.

Ask him a question about your character and he’s gonna bring you the word vomit that is his research. He’s not gonna stop- probably accidentally developed a copypasta for you.

Also follows your VA in both Tiktok and Twitter to indulge in every bit of content. He also has that screenshot of his pull saved and locked.

On his birthday, a friend of his gifted him a chibi plushie of you and he has treasured it ever since, treating and handling it like its a figurine.

“It is merely pure luck and grace from the gacha gods that I got this character, and I will make sure that they know I am very grateful for this fortune.”

Favorite Voiceline: Birthday Message

Childe The Whaler

This lucky wealthy bastard with no remorse for his money whales for EVERY character. He’s making a collection, which is to get all the characters, especially the five stars. So when your banner finally popped up, he’s gonna square up and trigger a whole ass meteor shower.

How he pulled you: Money. His luck with this games are actually not the best so he always compensates with money, he got you halfway through the first failed pity, almost giving him a heart attack that he might actually break the bank just to get you.

And then he pulls more to raise your constellation lol.

The first thing he does is look over your character info and read through it all; constellation infos, your base stats, artifact compatibility.

At the end when he’s maximized everything, he would then focus on playing around with your character *coughs climbing noises coughs*

He thought you’d just be another part of his collection but playing with your character was very enjoyable and in-line with his playstyle- oops 100 screenshots with the Kamera-

Any and all merchandise that he fancies would be his, and he’s definitely flexing it to the other sweetie nerds who call themselves simps. He’s fighting for the simping title, and he’s currently neck and neck with this fanartist in Pixiv.

Speaking of that fanartist, he definitely commissioned an expensive and detailed portrait of you, full rights and everything. No one else was allowed to use it but him.

Was also the first one with the audacity to call out your VA to create an account on Tiktok to create more content with your voice. He was successful.

His obssession also comes in the form of self-indulgent contents, and had been keeping track of the ship wars happening. During conventions, he cosplays as the character shipped with you the most (or the character he thinks should end up with you).

Silently scrutinizing those who cosplay you, only ever taking pictures with/of the best looking one, sorry haha

Definitely flaunts that you are his waifu/husbando and will fight for best girl/best boy during debates or polls. Has mobilized the community to vote for you once. He’s very persuasive.

“Hm? Why I’m just the best collector in the game, and I am more than happy to let everyone know that I am their number one fan haha, everyone who claims otherwise is definitely wrong!”

Favorite Voiceline: More About (Y/N) I-IV, (Y/N)’s Hobbies...

Ganyu the Employed

Ganyu, our dearest overworker, is one of the players in the older stage who actually has a job but still plays Genshin for their past times. The gorgeous sceneries and the music is her main focus in playing the game, not much of a try-hard but still decent in the combat mechanics.

How she pulled you: You came home within 50 pulls! And you appeared again after another 10 pull! Ganyu was so SHOOKT and so distressed because oh goodness, what does she do? She doesn’t know anything much about you!

Will rewatch your three trailers to try and understand your skills better, ended up saving the soundtracks from them because that was such a nice trailer music! Tnbee gains a new follower!

Ganyu will take a while before she can properly play or build you up because she’s so busy with work, she only ever plays when she feels fully done with her work.

During her break she plays with your character while multi-tasking on eating, earphones plugged in and sight on the phone as she farms materials and artifacts for you.

The moment she gets more help from her player friends tho, holy shit, you just ended up being so OP. She had so many good artifacts and weapons for you because she didn’t know what they were for before.

She loves how you’re so easy to use and can easily solo the enemies and even the boss fights. A huge breather, because now Ganyu can cheese the battles that takes a while, to give her more time to focus on the storyline and lores.

Since Ganyu plays for the story and aesthetic, she’ll find you almost always in her team. Still very proud of her pull, she makes the best screenshots of your fights or in the best angle through exploration.

Treasures you so much she starts talking to her phone- “Ah, no, please don’t fall.” “There’s violetgrass up there, let’s try and get it”

Blushes everytime you produce a sound when climbing, doesn’t change you anyways tho

Hums to your trailer music while working, and if permitted, would have the song on repeat while she buries herself in work. She finds it really refreshing and the time she spends in work miraculously flies by fast when she gets lost in the sound.

At one point, when she was given a day-off or if the convention was on her free time, she attends to look for cosplayers of you and take a picture. No one rejects her because she’s so adorable and cute when asking shyly.

Had brought a decent amount of merchandise, preferably the functional/practical ones like a phone cover, mug or keychain. Also has an earphones clamp with your little chibi self as the holder.

When asked, she would shyly announce that she likes your character the most.

“Their character theme and music really soothes me during work, it feels nice to have them, and I have not once regretted ever pulling for them. They are the best.”

Favorite Voicelines: Good Night/Afternoon..., About Us, Something To Share..., Interesting Things...

so enjoyable...

@moaa @zelos-simp @legionqueensav @dandelion-dreams @snackgod @rxsalinee

[crystalsenergy]

how to improve Saturn placements? - evolving our personality #1

the purpose of this text is to bring a possibility to improve negative points in us from other positions [which you may or may not have in your natal chart]. sometimes the potential for improvement is already outlined as a trend inside yourself. other times the potential will need to be created. but as long as you assume that you need to improve, you are already taking the first step.

I'm going to put positions according to this post here about the shadows of our personality, leaving from the assumption that what brings us more suffering may be precisely in these positions cited in the post.

SATURN PLACEMENTS

Saturn in Aries / Saturn in 1st house -> Jupiter in 1st house

in other words, you need to learn to have more self-confidence, a dose of trusting yourself more easily, being less afraid of starting things, getting to know something new, or picking up on something you've already started. you need more willpower, to notice more positive things about yourself. it's also important to note that you may have a tendency to be more closed in admitting your problems. the construction of awareness about your individuality needs to take place. you must be optimistic and less pessimistic about yourself and your potential.

Saturn in Taurus / Saturn in 2nd house -> Venus in 2nd house / Venus in Taurus

Saturn in Taurus or in the 2nd house brings the problem of lack of self-worth, of not being able to feel good enough for some situations. there may be a certain pessimism (not as strong as that of Saturn in the 9th house), but a "certainty" that things won't work out in the area of ​​finance and love. it may be that ppl feel bad about they value to someone, it may be that they have trouble finding satisfaction in things, they may have difficulty feeling loved enough and/or supplied by the things around them. thus, those who have this placement need to notice patterns in themselves of not valuing themselves, not feeling good enough for a specific goal or person. self-worth in the sense of beauty, aesthetics and value seen by others is something to be worked on, primarily from the inside. taking as an example Venus in Taurus, excellent position to notice where you need to improve, it is important that you see your value, know how to relax, enjoy small pleasures in life, learn to invest in yourself, see the value of money and your efforts, and always continue to be persistent.

Saturn in Gemini / Saturn in 3rd house -> Mercury in Gemini / Mars in 3rd house

considering what a native with Saturn in Gemini or in the 3rd house tends to feel, it's important that these people learn to incorporate some points, which necessarily need to include: self-confidence in speech and ability to express themselves without censorship. this can be helped especially by Mercury in Gemini and Mars in the 3rd house (or also Mars in Gemini). It's important that you understand the need to speak what you think, not unthinkingly - which I imagine would be very difficult to happen, knowing this position -, but in a more confident way, even a little impulsive in some situations (emphasizing: some situations). It's important to allow your head to function naturally with regard to your mental processes and thoughts so that you will learn to express yourself without so many internal limitations.

Saturn in Cancer / Saturn in 4th house -> Uranus in 4th house

in other words, you need to develop less emotional dependency. you must be more open about your inner life, and you must learn to develop a healthy dichotomy, not the duality that this placement tends to bring: Saturn in Cancer / in the 4th house brings a tendency to become more emotionally closed, conveying an impression to others that you are very well resolved and live well with almost everything in life. this is a need Saturn gives to people: need for control. but this control may not always be healthy, as it's most often. Saturn tends to create a strong possibility of extreme behaviors, due to the internal fear and rigidity that are generated. the person is constantly closing in, but she/he is extremely vulnerable. however, what must be learned from Uranus in the 4th house is another duality, a little healthier and more advantageous for those who have this position: that of being more open about internal issues, but also not being dependent.

Saturn in Leo / Saturn in 5th house -> Sun in Leo

there is no way for me to talk about improving this Saturn placement without mentioning Sun in Leo. bearing in mind that Saturn in Leo and the 5th house gives a tendency to ppl feel less able to express themselves, less able to show the world their potential, their abilities, or simply appearing, it's important that the opposite is nurtured by the native: it's necessary to understand that yes, you have an individual power, you have potential that can be worked, we all do. you have the capacity to achieve something, to ascend, to lead, if necessary. and it's also necessary to work on the idea of ​​self-esteem and on the construction of a less fragile ego (which exists in a healthy Sun in Leo).

Saturn in Virgo / Saturn in 6th house -> Mars in Virgo, Uranus in 6th house

two things need to be worked on at the same time: discipline and your ability to be less rigid. yes, it's quite dual, almost opposite. but that's what happens with Saturn in Virgo / Saturn in the 6th house, often the natives can't move because of an excessive concern with details, because they think too much about everything, charge themselves even before the task is started, which it brings an air of rigidity and discipline, but it's exactly what keeps them from moving out of place: excess. with regard to the excess rigidity that causes a person to freeze, Uranus in the 6th house can help, given the energy of more unpredictability and independence from patterns and the like. another thing that is also likely to occur with this Saturn placement is procrastination and wasting time on frivolous things, as well as an aura of laziness (which creates tremendous guilt). with regard to this problem, Mars in Virgo (or Mars in the 6th house) can help, as this placement of Mars is pure fuel to be practical, agile, diligent and organized.

Saturn in Libra / Saturn in 7th house -> Venus in Libra, Uranus in 7th house

this position generates in people a dichotomy of being closed to love and emotional situations, but, at the same time, being very dependent on loving relationships, for fear of loss, of being alone. to the point of a person who blocks too much from getting into relationships, Venus in Libra can help by bringing a desire to be with someone in a healthier way, from the idea of ​​sharing something with the other person, of living together and feel good from the company of other. on the other hand, as it's also necessary to take care of the dependency issue, Uranus in the 7th house is very useful, so that the person doesn't have an extreme need for the other to the point of getting lost in the middle of it and not being able to go out anymore. It's important to be open to love, but always understanding that a little independence, valuing the individuality of the other, can also be good.

Saturn in Scorpio / Saturn in 8th house -> Mars in Scorpio, Uranus in 8th house

these Saturn placements bring a great fear of change, an aversion to being psychologically open. here, there is a person who seems impenetrable because he/she hides his/her fears, traumas and problems. these people don't like to break taboos. for being somewhat conservative and closed minded to everything that the sign and the house placed means, it's very important that they know the need to be more open to different circumstances of life. it's important to understand that it's part of life: being intimate with others, knowing deeper and even 'dark' sides of yourself, understanding sex as something natural (Mars in Scorpio will help with these things); besides it's also important to understand that it's part of life to have psychological transformations, a greater openness to taboos and to understand human complexity (Uranus in the 8th house will help with this). thus, you'll be able to reach another level in your life.

Saturn in Sagittarius / Saturn in 9th house -> Uranus in 9th house

one of the marks of Saturn in Sagittarius is the issue of redemption to some philosophy or ready-made idea that aims to explain life. here, the native has a great fear of being impacted by the depth of knowledge - depth that marks the uncertainty of life and its ephemerality -, and therefore, the tendency of this native is to hide behind a philosophy or 'certainty' that supports and gives comfort. therefore, people tend to close themselves off and live in a tremendous comfort zone, or rather a bubble, in which only what they have decided to accept as the general premise of their life makes sense. it can also generate a lot of pessimism, a more closed and even prejudiced view of other people. thus, it's more than necessary to understand that life is much more than what you heard in some corner when you were child and that you share within yourself today, there are several truths, but none of them is absolute. and that's the grace of life, knowing more and more, and understanding the value of diversity and the impossibility of being sure of something all the time. open up to other philosophies of life, religion, get out of your comfort zone, question things and your limiting beliefs more. don't cover yourself so much in relation to higher education and have more autonomy when knowing a deeper subject, don't depend on someone for that. all of this can be learned through Uranus in the 9th house.

Saturn in Capricorn / Saturn in 10th house -> Mars in Capricorn

this position of Saturn is one of the least painful that Saturn can bring, however, on the other hand, it can increase in the dose of rigidity and vision totally focused on what is concrete, objective, earthly, forgetting other sides of life. and despite not being one of the worst positions to have on Saturn, it brings many difficulties with regard to career and achieving goals. either because the person feels incapable, having some internal blockage, a mistaken idea of ​​her/himself, of her/his potential, or because during her life the person ends up encountering many barriers to finally ascend professionally. in this situation, it's extremely necessary for the native to use all the energy she/he has in order to put the will and potential out. this is made possible more powerfully by what represents Mars in Capricorn, a placement of great ambition, but which represents the capacity that may be lacking in these placements of Saturn.

Saturn in Aquarius / Saturn in 11th house -> Venus in Aquarius, Uranus in 11th house

one of the things that these positions bring most difficulty to a person is the tendency for them to exclude themselves from others, either for fear of group acceptance, or for not feeling good about being with other people, preferring solitude. this positioning brings a behavior of being more independent, having few friends and being more closed to others. you may also be more closed-minded to try original, new, and surprising things, even if you have the creativity to do so. another problem to be faced is a strong tendency not to trust people. Venus in Aquarius and Uranus in the 11th house help with this because the first placement is more focused on living in a group, making friends, representing a more sociable person, and the second doesn't fail to cultivate people's independence, but still remains open to friendships.

Saturn in Pisces / Saturn in 12th house -> Sun in Pisces, Moon in Pisces

this is a dense, complicated position, which gives people a feeling that they must be completely rigid and closed to their inner life, their inner space, but the more people try to escape, the more they are led to face this side of their personality. this position represents problems with mental health, issues of closing oneself to deeper contacts with people, difficulty with empathy, altruism. the person can be made to think more often about life, and have existential crises. Moon in Pisces and Sun in Pisces can help with these strong sensations as the placements bring greater openness to introspection, which makes the person less tempted to close off from the inner reflections - which will arise!! -, making the person too able to be more selfless and to show her/his compassion and empathy for others more openly.

[47crayons]

so, you want to write a musician?

about me: i play viola and have experience in symphony orchestras, string orchestras, string quartets (+ a few other small ensembles), and solo performances. i've done some light composition, and have friends/family who play other instruments. while my musical history is extensive, by no means do i know everything or speak for everyone.

this guide will focus on classical music/how to portray classical musicians and things that aren't as easily researched.

quick overview of instruments in a typical symphony orchestra

upper strings (violin, viola), lower strings (cello, (double) bass; i've seen viola included here too, but it's more commonly classified as upper strings)

strings also technically includes harp and piano

woodwinds (flute, oboe, clarinet, bassoon)

depending on instrumentation, they may also have piccolo, english horn, bass clarinet, contrabassoon

saxophones are not traditionally in symphony orchestras due to it being a relative newer instrument! but this is changing because more contemporary composes are including sax parts

brass (trumpet, trombone, bass trombone, tuba, euphonium)

percussion (depends heavily on instrumentation, but common instruments are bass drum, timpani, snare, crash cymbal, xylophone, marimba)

some things you should research

where the hands are supposed to go!! i'd recommend you look at pictures of professionals in orchestra settings (ny phil, cso, berlin phil are all top tier). some musicians *coughs at yoyo ma* have less than perfect posture when they're performing solos (for the same reasons famous authors can break "rules")

necessary equipment including reeds, rockstops, different kinds of sticks/mallets, rosin, mouth pieces for whatever instrument you're writing

common misconceptions

loose/photocopied sheet music is not aesthetic—it's annoying and impossible to keep organized. folders and binders are fairly common especially when managing multiple ensembles.

original copies are often expensive and required to perform a piece (legally) for profit or otherwise (though i know a few people who have bent this rule)

not all performers are good composers (i myself have very little formal music theory training), but many composers have performance histories.

not all musicians can sing.

perfect pitch is both a blessing and a curse. notes can be slightly lower/higher but in tune with the context of the piece, which drives people with perfect pitch insane.

having perfect pitch does not guarantee someone will be a prodigy, and people don't need perfect pitch to be a talented musician.

drama in ensembles does exist, but it rarely gets in the way of rehearsal. same thing goes for good friends: if your characters have even a shred of common sense, they aren't going to be talking/messing around during rehearsal.

instruments (especially good ones) are extremely expensive. people very rarely store instruments on the wall or other displays for fear of falling.

instruments are very picky and require tuning every time. every time! it doesn't take long anyway. temperature and humidity can and will make instruments go out of tune or damage your instrument if not properly stored.

some people listen exclusively to classical music, but in my experience, that's definitely not the majority

like with anything, most musicians struggle with self doubt at one point or another.

musician culture

getting excited when we hear a piece we recognize

getting frustrated because we can't remember the name of the piece (after all, no lyrics to search)

being horrified when a non-musician actor is playing a musician. yes, we notice. yes, it's obvious.

if people are joking, it's likely to be about: violas (a quick search for "viola jokes" will tell you all you need to know) or trumpets (a reputation for being overly loud, playing and not)

putting stickers (places they toured, their orchestra, or just purely decorative) on cases is common, but not for everyone. same goes for pictures (of family, past concerts, or anything) on the inside.

scrambling for a pencil when the conductor says to mark something. pencils are a musicians best friend :D

asking (and forgetting) how to split double stops/two parts at the same time. sometimes one stand partner will play the top while the other plays the bottom, and sometimes this is split stand by stand.

this has NEVER resulted in a sexual top/bottom joke. please just. don't. also no g string jokes. it's just unrealistic.

awaiting the obligatory "it's one week before our concert, and you sound like this?!" lecture

not talking about music 100% of the time!!! they have lives outside of music (most of them, at least /j). especially to close friends, music is probably not going to be a conversation topic unless something is out of the ordinary (high stress, something funny from rehearsal, etc.)

bragging/talking about how often they practice is generally not welcomed. great, but other people don't need to hear it!

stages are hot and bright. there's no way a performer can see someone in the audience with the possible exception of the first row.

practicing

three words for you: love. hate. relationship.

slow practice (like really slow lots of people recommend half speed; good for focusing on the right notes, tone, phrasing, smooth transitions)

metronome practice (while playing, it's not annoying at all! it's helpful and requires a lot of focus; when NOT playing, it's annoying and loud because it needs to be heard over the playing)

drone practice (having a machine/website/another person play one note in the background; good for tuning and scales)

and too many more for me to detail

auditions

ensembles may have entrance auditions to determine who gets in and seating auditions to determine placement within the section.

adrenaline does not make us play better; it just makes us make mistakes. and then thinking about those mistakes causes more mistakes.

some instruments, especially those with less repertoire, have common excerpts that come up frequently (i can think of one in particular that i've played for three separate auditions this year).

stopping/starting over is not recommended ever, but if you do, it has to be 10x better. most audition judges aren't looking for perfection!! they want to see how your character can keep going after messing up.

sight reading (being given new music, having ~30 seconds to look at it, being asked to play) is never perfect. i don't care how talented your character is; if they think they nailed it, they aren't experienced enough to see all the phrasing/dynamics that they didn't incorporate. no one gets sight reading perfect!!!

perhaps most importantly, musicians are not all the same! they enjoy it for a number of different reasons and have diverse and interesting lives outside of music!!! more information about specific instrument groups under the cut :)

strings

callouses. with the exception of pianists, most string players (and especially professional ones) have callouses where they press down/pluck the strings. i also have one on my right thumb where i hold my bow. cellists and bassists might have them on their left thumb from playing higher notes in thumb position.

hickeys are also fairly common, though only some people get them. upper strings will get these by under their left jaw. cellists may have one from the wooden body resting on their sternum. some people (including hilary hahn and many many others) use a cloth for comfort and to prevent hickeys.

few people want a hickey, but it might suit a character who is constantly trying to prove themselves.

our fingers do not "glide" anywhere. you can get cuts/"string-burns" from pressing down too hard when shifting. cuts like those are the only reason someone's fingers will bleed, and it's rarer than you think.

upper strings are more prone to back/neck problems from the way they hold their instruments on one side. see also: shoulder pain.

finger cramps happen. they aren't too common, but most if not all strings have experienced at least one.

pianos require tuning every few years or else the chords will be out of tune. few pianists can tune their own instrument because of how complicated it is.

piano parts/accompaniments will have so. many. pages. a page turner may sit on the right of the pianist to turn the page.

woodwinds & brass

spit. so much spit. some instruments clean afterwards with a cloth; others have a spit valve which is as gross as it sounds.

proper embouchure, or how a musician uses the muscles in their face/lips, is tiring, and people actually get strong cheek muscles. they can also easily turn red, but it varies based on a person's facial complexion. see also: good lung capacity.

flute and piccolo are not dainty. piccolo requires as much air as a tuba. an old teacher of mine almost passed out playing piccolo when she was in college.

flutes and piccolos are high, but often not shrill depending on the level of the ensemble.

reeds last a few weeks (less if your character plays for hours a day) and can be expensive to buy.

keys and valves can get sticky especially on older instruments which can result in the wrong note or bad tone.

saxes, clarinets, flutes are more likely to "honk" on low notes.

oboes are more likely to feel "wispy" on high notes.

articulation comes from the tongue, especially for brass instruments, and conductors may ask for "tah" "pah" or "wah" sounds depending on the style of the piece.

percussion

callouses from the friction between hands and sticks/mallets.

there are so many types of sticks and mallets!!! make sure to take a look at what materials are good for what instruments/sounds.

cymbals, triangle, and bass drum are not easy to play, even though they look simple.

percussionists with the exception of timpani may play more than one instrument during a piece, and they're constantly moving around in the back during their rests.

percussion instruments are too expensive for most people to have everything they ever play. practice pads are very common in place of these instruments.

ability to play one instrument doesn't translate to different instruments. for example, many percussionists don't have experience playing set/drum set.

some of the things detailed here are heavily glossed over, so if you have any questions, i'd always be happy to talk about it with you; i may not have answers, but i will try to help as best i can!!!

since you read this far, have my favorite viola joke.

what's the difference between a violist and a large pizza?

a large pizza can feed a family of four :)

tagging some people who showed interest: @writing-is-a-martial-art @ashen-crest @kg-willie @owilder

[cancerjupiter]

🌱earth moons🌱

Those with earthy Moons react in a very grounded, matter-of-fact way. The reaction may be so self-contained in those with Taurus or Capricorn Moon, in fact, that others may wonder if there has been any reaction. Those with Virgo Moon, on the other hand, react rather quickly, mentally, and sometimes nervously to any stimulus in a way obvious to everyone, even if the person is trying to contain his or her emotional reaction. Just like the earth itself, those with an Earth Moon have a crust over their emotional reactions; and they prefer to present a certain form to the public rather than to reveal their vulnerabilities.

taurus moon

The Moon is extraordinarily happy in the comfortable, stable sign of Taurus, for the emotions are steady and the person has little self-doubt. Those with the Moon in Taurus are not easily perturbed, even by powerful attacks or shocking events that would strongly affect others. They are in fact amazingly resilient, bouncing back from any defeat, disappointment, or trauma. Perfect examples are politicians Bill Clinton and Joe Biden, and celebrities Demi Lovato and Lindsay Lohan; who, despite unmerciful attacks, still manage to have their shit together and maintain at least some degree of popularity.

The poise with which Taurus Moon people face life’s demands and unpredictability is remarkable, and they therefore have a steadying influence on others, who appreciatively value their reliability. Note that I said “reliability,” not necessarily readiness! This sign is known for being the slowest in the zodiac, moving actively only when they are good and ready and insisting on their own pace in everything they do in life. Their inner contentment and resistance to change can thus make them frustrating to deal with if their considerable stubbornness causes them to dig in their heels to resist what you want. The other side of the coin is their remarkable persistence when they are focused on attaining a certain goal.

Those with Taurus Moon are attuned to the rhythms of nature and the earth, and this gives them their particular pace of life and much of their strength. They are notably physical and sensual, and have a great need for the “pleasures of life.” And they insist on taking the time to enjoy them. This unique attunement leads to a trust in earthly life that enables them to accept others with few demands and to take life as it comes. They are pleased with life (generally) and rather pleased with themselves. This can of course result in smugness, conceited self-satisfaction, and self-indulgent laziness. As Grant Lewi wrote, the key to improving oneself for Taurus Moon is to “turn self-satisfaction into active self-confidence”.

Emotionally, those with this Moon sign are not at all cold, but neither do they readily reveal their feelings. They are good listeners and are usually warmly responsive and solidly supportive, but not gushingly effusive. They really prefer not to allow anything to affect them. Some comments from questionnaire responses add additional perspectives to this lunar type:

1. “Seems very positive, giving men good relationships with women. It also appears to give talent in crafts such as cooking and other home arts.”

2. “ … sensual, heightened sense of material/physical aesthetics (e.g., clothing, home, colors, etc.), wonderful sense of humor, stubborn, and sometimes impervious to what’s going on beneath the surface of things.”

People with the Moon in Taurus like to be touched, especially to be hugged. Also, I’ve noticed a certain resistance to change. This resistance ranges (in different people) between a reluctance to accept the moods of another and a reluctance to allow any out-of-the-ordinary spontaneity to enter their life (usually hate surprises).

virgo moon

Those with Virgo Moon need a sense of order in their own minds and in the environment to feel comfortable and secure. This leads to their instinctive analytical reaction to all life experience, sorting their perceptions and thoughts into categories and discriminating between them according to their personal principles or prejudices. This need for order also motivates their obsession with neatness and cleanliness. They likewise feel more secure by making definite improvements in their environment, in their scientific, artistic, or intellectual pursuits, or—something not always appreciated with this sign—in other people. In fact, as one woman wrote in a questionnaire, “Sometimes they can be busybodies, putting others’ lives in order with advice—usually not so tactful. They’re so busy organizing friends’ lives that they forget about their own”. This “workaholic” tendency can also manifest as a broad range of criticism from afar directed even at total strangers who, evidently, just don’t measure up to the Virgo level of perfection.

Being helpful makes them feel better about themselves and aids them in overcoming their habitual self-doubt and sense of personal imperfection. In fact, “perfectionism” is a keyword for Virgo, and their unavoidable awareness of their own imperfections leads often to excessive self-consciousness, sometimes of a type so severe as to render them unable to use their genuine gifts with any confidence. Their tendency to notice the imperfections of others, and to voice those observations far too often, frequently makes the other person feel uncomfortably and unproductively self-conscious. Those with Virgo Moon would do better to heed their deep need to serve and to help others or improve things in the outer world. By doing so, they can eventually gain a sense of having improved themselves—at least in the modest way they will allow themselves to acknowledge. Virgo is the most modest sign in the zodiac—one of the few, in fact. Virgo Moon people can seem shy and reserved.

Habitually nervous types with a tendency to worry, Virgo Moon people often find their personal tranquility and self-validation in work and compulsive “busyness.” Work also provides an escape from the unpleasant emotions or depressing feelings of guilt or worthlessness that so often afflict those with this Moon position. But, because emotions interfere with productivity, as Donna Cunningham points out in Moon Signs, they are conveniently put aside or suppressed in the routine of daily life. Hence, Virgo Moons are among the few people who love all kinds of petty, boring activities — even housework. A friend with this placement even admitted to dreaming about being a mother/grandmother, so she could do chores and serve her family all day (of course, she’s also a Cancer Rising).

Doubt and skepticism pervade their mode of thinking and reacting, and of course there is always something to criticize in any person, place, thing, or concept. The infinitely small is always available as a target! This constant mental tension and the sensitivity of their nervous system, and their hyper-attunement to hygiene and purity, make these folks fascinated by and eager for involvement in the areas of nutrition, biological sciences, natural therapies, the healing arts, and/or the medical professions. This natural affinity also, however, bends them toward hypochondria, at its worst, or at least to a sensitive digestive and/or intestinal system. The quality of the food they eat is of utmost importance, since it directly affects their nerves and mental state, not just their digestion.

Their talent for detailed work is without equal (except for those with certain other planets in Virgo), and they often get great satisfaction from employing their natural craftsmanship in the practical or fine arts. Because their mind can always find something wrong with any idea or plan, indecision often afflicts those with this Moon placement. Moral indecision as well is often observed, as their perfectionist and puritanical tendencies battle with their more practical or sensual needs.

capricorn moon

Those with Capricorn Moon, as is also the case when other major planets or the Ascendant are in Capricorn, seem unnaturally old and serious when they are young, but they can lighten up as they grow older. In their youth, they are unusually capable, disciplined, and conservative, taking the well-trodden path to their goals of worldly achievement or to follow a vocation. Their real confidence is late-blooming, as their sense of inner security develops over time and they feel that their age at least, if not their accomplishments, has earned them some respect they have always craved. Capricorn Moon people eventually learn to relax somewhat and to trust life and other people to a greater extent. The aura of melancholy that those with Capricorn attunement so often carry around with them can also slowly dissipate over time, sometimes helped by a more and more adventurous—but dry—sense of humor.

The fluctuating, responsive, emotional Moon is not at all naturally comfortable in a sign that is often rigid and distant, and prides itself on not revealing any sign of vulnerability or personal need. People with Capricorn Moon have instinctive reactions to life that are characterized by self-control and caution, and sometimes by a defensiveness or negativity that is almost shocking. They feel that they need to manipulate and control the world (and their feelings) in order to attain the power, authority, and recognition that they deeply desire. In fact, they are most secure within themselves when their identity is confirmed by a social role, title, specific duty, or mantle of authority. Even at an early age, Capricorn Moon people are comfortable assuming responsibility and feel perfectly at home in the role of provider, protector, or organizer. They are most relaxed and truly themselves when they are carrying some weight, or when others have to depend on them! Very hardworking, these folks share with Virgo first place on the list of people who absolutely love to work, which often ultimately results in professional success. They may not always be fun, but they will often get the job done.

Perhaps the most oppressive thing about this group occurs in those who become too obsessed with being recognized as important and having authority; sometimes, there is a persistent “one-upmanship” that pervades their personal and professional lives. The constant drive to be “on top” can cripple their capacity for any human intimacy and eliciting automatic distrust from others. As psychologist-astrologer Glenn Perry, Ph.D., wrote,

“The tight controlled responses often lead to loneliness and despair as it prevents the individual from flowing and responding to the changing mood of others. Moon in Capricorn nurtures by taking charge and giving orders. This dry mechanical approach to feelings is not sympathetic and tends to imply that the other is incompetent. Unable to respond directly to emotional needs, Moon in Capricorn gives the impression of being callous, hardened and unaffected by the tender side of life. (Aspects magazine, Fall 1981)”

If the emotional suppression and denial become chronically extreme and rigid, the result can be a person who others may respect but not love. However, from another view (from the inside, so to speak) of this Moon sign’s emotional nature, I quote here from an interview with a Capricorn Moon young woman who characterized herself to me as having “a seriousness about the emotional life, an interest in getting down to bare bones, an impatience with small talk, and a need to get to the core emotionally.” She continues:

“All Capricorn Moons I know (there have been a lot) have a certain gravity to them, an ability to take the emotional life seriously. The women especially are almost never giggly or flirty — we’re too serious to flirt much. The women are kind of ‘masculine’ I guess, sort of businesslike in their manner (men too actually… it’s not a placement I ever see that is friends with everyone and instantly, openly affectionate). I think ‘a few serious, long-term friendships’ sums up all the Capricorn Moons I know.”

A questionnaire reply from another woman also emphasized that women with this capable, ambitious orientation are liable to feel “ambivalent about their sexual identity,” although they have strong physical needs, and that women with Capricorn Moon have “a great need for appreciation to develop their self-worth”. Two other questionnaires confirmed the self-disclosure quoted above regarding the practical agenda underlying emotional commitments. The words they used were “cool in affections and looks out for self” and “very calculating—not necessarily bad—just a lot of planning, no spur-of-the-moment reactions.” Another quite thorough questionnaire reply from an experienced practitioner of astrology included the following:

“this Moon placement shows marked proficiency in handling the self in the material world, or at least a lot of concern over and attunement to material affairs. They are very shrewd in taking care of their financial needs. Very often they are involved in some secure structure, like working for the government, etc. They like a secure financial position. For all, they take things very seriously; they approach many things cautiously. This is also a very sexual placement in laid-back ways.”

In conclusion, the Capricorn demeanor of slowness, caution, and hesitation should never mislead you. They may be conservative in most attitudes, but they are actually very progressive and results-oriented in action. They just don’t like to make mistakes.

[the-royal-bat-snake]

ill take part relic for 500 please

Okay! The Part Relic is a Relic that has been split into parts, thus the name. What the full shape of this Relic was before it essentially shattered does not matter, it could just be a strangely sentient bowl. The point is, each part, when held or on a person, affects people in different ways.

Anyway instead of being cryptic and mincing my words let me be frank. Each part essentially gives different superpowers. This Relic is a superhero au, which is in opposition to a different Relic which is a villain au (more minor inconveniences than anything tbh).

There are 6 parts, all with wildly different power levels. They get passed between people as needed. Let's walk through them. In no particular order we have:

First we have one I call "double time" which essentially creates a clone of the person holding it, only as long as it is on them. They look almost exactly the same, with only a few differences. The more time they spend in existence the more they begin to differ from their creator, both in looks and in personality.

Next "Redstone" which allows technology manipulation. This is a real life au, with heavy caveats of course, so it isn't actual redstone, but! They can completely mess up the power grid as a treat. They won't though (lie)

Then we have "flight" and you'll never guess what this one does. Okay yes you will, it allows its holder to fly. The way of flight varies based on the person, because if there's one thing I can appreciate it's the aesthetic. For some it's wings, and for others it could be a jetpack. Either way, if they have it on them, they can fly.

Next we have "null" which gives the holder the ability, upon touching someone, to turn off other Relic affects. This one is fairly simple.

"Potions" this one is not simple. This one gives its holder personalized Minecraft potion affects. Fairly simple to explain, yes, but very complex in practice.

Last but very much not least "randomize" which gives every Hermit their own power. These also vary wildly in power, and I will not get into everyone's as this is already very long.

And that's the 6 parts! You may be asking "how are some of these not overpowered?" But you have to remember, only one person can be holding a part at a time, and that person can be literally anywhere in town.

We can continue this adventure in many ways, the world is your oyster. If you want basic options to ask about you can:

Go back and ask about a different Relic

Ask about any Hermit

Ask about how any part affects everyone or just a specific Hermit

Ask for more details on something if I did not clarify well enough

Just for some options! I like answering questions, and anyone is free to ask, or put there 2 cents in if they have a better ideas! Idk i just love collaborative aus and I would love to create one with y'all

[agent-cupcake]

just curious, what’s your favorite and least favorite character design? my least fav for sure has got to be female byleth for reasons i don’t want to get in to yep ok have a good day 😁

IOops this accidentally became a rant, sorry

Okay so, to preface this all, I’m not a character designer and I’m actually pretty bad at it, but my rule of thumb with really unappealing or fan-service outfits is whether or not it makes sense character-wise and how much it tells the player about the character. For example, I think we can all agree that there’s quite a bit of fan-service elements in Hilda’s design. Boob window. However, it’s not unrealistic to imagine Hilda picking out those clothes for herself. Her costume tells you almost everything you need to know about her character on a visual level. She’s confident, pretty, attention-grabbing, and high maintenance while the gloves and laced girdle give a nod to her Viking-maiden roots.

Taking it to female Byleth, I don’t think that her outfit works on either front. Her design is definitely my least favorite and it’s not helped by the fact that you have to look at her at all times. Whatever. The huge, solid mass of boobs, the buttoned bib, the big eyes, the feather hair, the bellybutton, the ripped tights, the booty shorts. She’s a merc out in life and death situations with an accessible, pale, tacky 2000′s “stab me” stomach cut out and a wedgie. Which could be excusable if, like Hilda, there was reason to believe that that her costume was character choice. But she doesn’t really have much character, and what there is gives the impression of a very stoic, dry, blunt person. I have no idea why they’d have gone that route when the sexual appeal of more “utilitarian” costuming (aka, form fitting armor that at least pretends to be functional) for characters like her is scientifically proven AND would say more about the singular personality trait she possesses. Okay, well, I know why they didn’t do that and I think it’s lame. This dysfunction of “character designer wanted a sexy girl but it’s kinda random and just shoved in the game without any thought” actually reminds me a lot of Xenoblade 2′s leading ladies, Hikari and Pyra. Although considering that their bad designs led to a lot of people hating the game for superficial reasons while accepting female Byleth’s design, I guess I’m just bitter. Jumping to a different comparison, then, look at 2B from Nier Automata. Her design is fine as hell which is kinda hypocritical of me considering that it's explicitly fan-service, but I think it also shows the most damning thing for female Byleth. Her whole look, despite having a dozen different element thrown in, is boring. Maybe it’s the colors (dressing her in all black and white would have been really interesting considering the colors of the three lords are so heavily emphasized as a part of their characters) or maybe it’s just the way the desperate elements come together. But, like I said, I'm not even slightly knowledgeable about character design and I know that despite Three Houses being mostly separate, they had to appeal to a larger aesthetic brand to which I have little experience with. And, ultimately, a lot of people find her cute or sexy which...To each their own, I suppose. I don’t pretend that fan-service doesn’t work on me (2B... Cloud’s arms in the remake... Seph's shirtless Smash skin...) but when it’s this obviously inserted in by the character designers rather than feeling organic in any way AND looks bad I'm just not super interested.

The other worst designs for me would be all four of the Ashen Wolves post timeskip. I don't think it's controversial to say that they didn't try with the clothes, even if I love their designs from the neck up (Yes, even Balthus. He looks like the type of guy that would let you sit on his shoulders at a rock concert so you could see the stage). While there are other designs I think are unappealing, those are for purely aesthetic reasons and so I can't maintain the opinion that they're actively bad or that I even truly dislike them.

As for favorite looks... I actually have a few so sorry you're getting all of them because despite the shit I'm talking, I actually really really love the character designs in Three Houses. 

Ferdinand's post timeskip is one of my favorite designs, if not my favorite. The hair, the coat, the armor, the spurs, the colors. You know exactly who Ferdinand von Aegir is just by looking at him. He’s wealthy, handsome, confident in his appearance, a hero, a princely type character, his battle form is mounted combat which is traditionally aesthetically reserved for nobility and leaders... I love it. The only reason I cannot say he IS my favorite is because of the three Lords. But before them, my honorable mentions include post timeskip Hilda, Dorothea, Lorenz, Felix, and Hubert. Granted, I could make a case for why I like almost all of the student’s post timeskip looks.

For the Lords, I obviously have to start with colors because, weirdly enough, Persona didn’t invent primary colors but are actually used as shorthand. Blue is the color of honor, loyalty, sincerity, sadness, and depression. Something I’ve always found very interesting is that blue is very rarely found in nature. To me, that’s always made it seem more lonely which, at least in this case, is thematically relevant. People call Dimitri boring pre timeskip and while I won’t defend his hairstyle (okay, actually, I probably would because he tucks it behind his ears and idk why but that’s one of the cutest things ever) I really like how unassuming he is. Bland. He’s supposed to be the plain shortbread cookie to caramel deLite Claude and strawberry meringue Edelgard. It is not in his character to draw attention to himself or stand out. To me, he kinda looks like an old Barbie prince, like he should have been named Dominic. Also I love the blue eyes/blonde hair thing and his more angular features. It really helps to sell him as the fakeout chivalrous prince type. Post timeskip, Dimitri's black armor is amazing. I love the fact that it’s a lot more intricate up-close with the different little shell-like pieces and the fact that his boots are furry. I love the big cape and the black and white fur around his shoulders. It’s really cool how they used his costume to change the shape of his in-game model to match the bodily proportions of the character art. It’s easier to see when you change his costume into the DLC ones, but the fur and cape build up his shoulders and chest look more broad while keeping that tiny little waist. The choice to give Dimitri an eyepatch is probably my favorite thing about this design. It’s genuinely inspired. Such a simple detail yet it tells the player everything they need to know about adult Dimitri when they see him post timeskip, in one frame the player can begin to understand the extent of his loss over the past five years. The subtle shadow under his eye in the first few Azure Moon chapters and the messy long-ish hair really help to sell the feral prince aesthetic as well, as it’s from those small cues the player gets that he’s exhausted (in more ways than one) and doesn’t maintain himself. None of these things are intentional choices by Dimtiri, they’re the result of what his character has been through.

Yellow is an intense, energetic color. Mostly, people think of it as being warm and inviting, the color of the sun and positivity. That intensity can be overwhelming, though, too visually demanding when compared to its primary counterparts. Don’t stare at the sun too long. Buuuut, it’s okay to stare at Claude. Claude not wanting to wear tight pants in either of his costumes is not only a mood, it is iconic. Pre timeskip, the softer lines of his silhouette makes him look kinda slouchy, kinda lazy. Like he’s not too concerned with appearances. But those adorably messy curls, the little braid, the clearly tended eyebrows, and earring make it clear that he DOES care about appearances and is very aware of his allure. And that’s before he even starts winking. It is honestly so in character that as many people picked him first on the basis of being thirsty, that feels like an intentionally Claude thing even if it was inserted by the designers. The contrast of his complexion with his seagreen eyes is gorgeous and instantly adds a kind of mystery and intrigue to him considering the setting... but it’s sf funny that nobody looked at bronze god Claude among a sea of white faces and thought something was up. Post timeskip, they used the same trick like they did with Dimitri to change Claude’s in-game model to match his canon appearance. The way they designed his uniform makes him not look as twink-ish, like he’s actually muscular and imposing and has the strength he’d need to shoot a war bow with a 120lbs draw weight. Also like Dimitri, you can instantly tell what Claude’s been up to. Like, he was very pretty pre timeskip but when he shows up in the Goddess Tower after those five years in all that gold, he demands your attention. Like a gentleman general with the excessive aesthetic ideals of the Alliance and details to imply his heritage. The quilted pants are amazing from both an aesthetic and practical standpoint. He’s a mounted unit riding a creature with scales, of course he’d want something on his legs for protection. And the chinstrap. I love that so much, it definitely makes him look more adult. He’s got such a cute soft baby face, it’s fun imagining him experimenting with different styles during the five years to get the most desired physical reaction to him as a leader. 

Frenchfries, meet forehead. No, actually, Edelgard’s design is really fantastic. Claude and Dimitri both have realistically colored eyes and hair and then there’s Edelgard. Dimitri shrugs off attention physically and Claude shirks it with a wink but Edelgard commands the players attention from the very start. Although I’m sure there’s a lot of things to associate with white hair and purple eyes, my first thought was Daenerys from Game of Thrones. Otherworldly beautiful by with an edge. Red, of course, is The power color. Strong emotions, love and hate. Red is also associated strongly with blood, which is very important to Edelgard’s plot. Granted, I think the red and black association is even more powerful than JUST red and red is the cheapest play to make in regards to displaying villainy (I mean, there are some pretty universally recognized associations with red and black and it led to people making some unfair comparisons between Edelgard and a famous dictator) but I think it was effective and well used and I genuinely enjoy its use in her case. Anyway, if I had a major complaint about her design it would be the weird ashy color of her hair whereas Lysithea’s hair is pure white. Which doesn’t even matter with the AMAZING hair horns. Ram horns can actually symbolize quite a few things, but their association with power and strength is pretty universal I think. They’re also used in demonic imagery. I love that THIS was her alternative to a crown. Edelgard views herself as a force of war and power before she thinks of herself as royalty. She also mentions that she isn’t super vain, but she loves to do her hair, so the hair being the most elaborate part of her look is entirely in-character. Edelgard’s ensemble is, like Claude, very militaristic. I love that they kept her in a dress that embraces femininity without showing skin as that wouldn’t really suit her Also, again, Edelgard demands your attention. She’s dressed all in bright bright red waving around a giant axe. She is a symbol as much as she is a combatant, someone to follow. I didn’t really mention their secondary lord costumes, but a girl in sexy armor is literally everything and I love that they had the balls to put their main sexy waifu girl in full body armor.

Okay I’m sorry I realize this was excessive and probably didn’t need explaining and I’m not sure I even articulated my thoughts properly but anyway I love their designs so here is the positivity I’ll put into the world.

[centrally-unplanned]

Allocating Your Aesthetic Budget: Sailor Moon Edition

Sailor Moon is a show that undoubtedly built a powerhouse of a visual brand. Should I even bother posting a screenshot of the sailor scouts, given that I am 100% confident anyone reading this can recall them instantly? I guess it won’t hurt: 

Anime is often really good at creating iconic designs like this, through repetition of the visuals. It is awkward in live action shows if characters just wear the same outfit every scene (what, they only own one outfit? Are they homeless/work in the tech industry?), but animation gives us enough aesthetic “distance”, an awareness that this isn’t accurate to real life, that you can buy into the conceit. By wearing the same outfit every time, it just becomes the character. Not to mention a studio can really save quite a few bucks by streamlining production with neat tricks like having only one character design to animate - when you are on a shoe-string budget, like pretty much every anime in the 90’s was, every cut corner counts.

What is interesting about Sailor Moon is that most of the time it doesn’t really use this conceit at all.

-----------

Episode 15 of Sailor Moon’s first season has, in its opening act, this shot of all of the Senshi (at the time) talking to the plot-of-the-day character, who clearly trains rock Pokemon in 16-bit caves in his off hours:

If you knew nothing about these three characters, you could probably infer about 80% of their personality just from their outfits. Usagi (the blond one in the middle, if that's necessary) is wearing:

Light pastel colours, with pink on top of that: girly, feminine, bubbly and breezy

Short-but-not-too-short of a skirt, and red heels: cares about fashion, wants to project an image of being a woman with a romantic hint to it

Long-twin tails w/ buns: Contrasting the shoes, she is still immature and childish. It also means she is the protagonist of an anime 

Rei (far right) rocks a very different look:

T-shirt and jean shorts, shoes over heels: sensible, practical, a bit sporty

Very short shorts, long black hair: Confident, a bit aggressive, and suggestive of a more overt sexuality

Ami (far left) settles into a more restrained vibe with:

Full, long, but sleeveless dress, bob-cut hair: Chaste, more conservative, but not to the point of prudishness; particularly with the length (and the hand posture, shielding her body) probably a bit shy

Monochrome blue colour in outfit & hair: reserved, serene, possessing a calm demeanor

I know I have seen the show already, but really none of these details are a stretch - this is just the language of fashion. And all of these outfits are outfits that the characters have never (or rarely) worn before up until this point. The cast of Sailor Moon, far from that animation conceit of “standard outfits”, change clothes all…

the….

time.

     I just randomly clicked on episodes to find these, it requires no hunting

And while it isn’t always as spot on as the top picture, they all in some way embody the language of visual design to speak to the personality of the characters. If you want to see more, check out one of the multiple tumblrs dedicated to the everyday clothing the Sailor Senshi wear, because of course those exist.

If this was a 2010’s Kyoto Animation show, pointing this out would be the end of it - every one of their shows has this level of impeccable detail. Sailor Moon is notable in that it is not at all that kind of show; the animation and designs in Sailor Moon take perpetual shortcuts to get the job done. I don’t think the transformation sequences need to be belabored - the way they permitted the team to recycle identical animation sequences, multiple times per episode, was surely a godsend to the production schedule. Yet not all of the budget limitations are so prettily masked:

     I’m sure they finished the background art in the...VHS release?

The show is filled with dirty animation, unfinished backgrounds, backgrounds that are a simple color gradient for no clear reason, and so on. It is clear that the Sailor Moon team did not have the resources for every detail - which is why the decision of what details they did choose to prioritize is so interesting.

----------

What is the point of Sailor Moon? I do believe that shows have “points”; and by that I don’t mean a message or theme but a core appeal to an audience, something specific that they will get out of the show. Almost every show appeals along multiple axes, and Sailor Moon is no exception, but I want to focus on one: aesthetic identification.

If you learn someone is a Sailor Moon fan, there is the obvious follow-up question you have to ask, namely “which Sailor Senshi are you?” It’s the which-Harry-Potter-house-are-you question of anime, a horoscope where you can choose your sign (in this case literally). The premise of this concept is not hard for media to execute on - it is just personality traits and aesthetics grouped together under a label, a basic building block of media and clickbait internet quizzes. Harry Potter, ironically, raised up its memetic question almost by accident, as its focus is so squarely on House Gryffindor that the others are almost forgotten; it was just so mind-bogglingly popular that it didn’t matter. 

Sailor Moon, however, takes this concept and allocates so much of its aesthetic budget into making it a centerpiece of the show. Sailor Moon herself is a klutzy, lazy romantic, Sailor Mercury is a shy, earnest bookworm, and so on, with none of them ever really becoming very complex characters. However, the show devotes itself to making you *feel* these archetypes as strongly and intricately as possible. All of those outfit changes are chosen because not only do real girls care about their outfits and can therefore identify more strongly with characters who do the same, but so they can constantly emulate their archetype in diverse, different ways. The show doesn't have the budget for intense action scenes, so after Sailor Moon engages in her hyper-serious transformation sequences, she proceeds to, nearly every time, bumble through the combat scenes like this:

Oh sure, the scenes are done this way because it is funny (and good comedy can be done on any budget - these shots are frequently still frames with motion lines!), but it is also done this way because Sailor Moon is a total screw-up, and if you identify with that it is validating to see someone “just like you” able to pull off wins despite it all. The transformation sequences are not only beautiful animation that showcases aspirational power, but are also crafted to highlight the personalities of the Senshi in question - unless you think aggressive, combative Rei got fire powers by coincidence. Half of the run-time of every episode is spent, not on the plot du-jour, but on light-hearted personal squabbles between the cast because those scenes are not just funny, but also allow for far more moments of character expression. 

All of that work pays off in building with the audience, not a connection with a character who reflects their identity in total, but a connection that reflects one aspect of their identity in an extremely deep (dare I say multifaceted?) way. I think if you were to describe Sailor Moon as a “shallow” show, you would actually be right to say so, in a sense. These characters will never have the true depth of personality, themes and so on of a more ‘adult’ show. But those adult shows have to spend their effort somewhere - for all that the themes of say Evangelion or Paranoia Agent are pristinely detailed and impactful, you aren’t ever going to be memorizing the moves of their transformation sequences. The way Sailor Moon committed so strongly to fleshing out the archetypes the Senshi stood for is, I think, one of the keys to how this cast of five became so iconic.

     Not even their school uniforms match! They had to spend time in-universe *justifying* this!

----------

A Final Note:

At least, everything I’ve said here applies to Sailor Moon at its peaks. The show, however, is not one without its stumbles, even in Season 1. This section doesn’t flow into the core essay too well, but I wanted to note it because if you were to watch Sailor Moon today, you might struggle to feel the dynamic outlined above. The biggest culprit here is the length - Season 1 is 46 episodes long, and sections of it most certainly drag. They also take a startlingly long time to introduce the cast - this choice builds tension around their arrival, but it also means the later Senshi get a lot less time to establish themselves. Sailor Venus in particular gets hamstrung by this - she is introduced and then immediately arc plot elements sweep the narrative, and so she is left as a hollow shell for some time. The pacing of the show is undoubtedly flawed.

I think Sailor Moon is a show that you do have to keep its time and place in mind for - namely, middle schoolers and anime nerds watching it on broadcast TV in the 90’s. As an adult you “get” the point of the show pretty quickly, and get satiated on it almost as fast. Watching it all in a few sittings only heightens this problem. For a younger audience, and one that is waiting for a week between episodes with no internet for plot reminders, all that extra time is needed to jog memories and build connections. And younger audiences just have that limitless commitment to the things they love! If you think no one could actually enjoy seeing the same transformation sequence for the 30th time, watch it with someone who would have died for this show when they were 10 and you will be disabused of that notion *very* quickly. 

Still, we can’t travel back in time - Sailor Moon is a show of its era. There are “filler-reduced” guides out there, though I caution that the plot of Sailor Moon is absolutely not the point of the show in comparison to the character dynamics, and so sometimes the filler is the best part (Cat-Rhett Butler is the best character in the show YOU KNOW I’M RIGHT). Certainly, however, some method must be used to cut down on its length. If you are going to be a first time viewer in adulthood, that reality should be kept in mind, and if you do accept it for what it is you can really appreciate its core appeal - and don’t forget to finish it off with a 1990′s era internet personality quiz to really wrap it up!

[vidalinav]

More House of Wind Headcanons: Rooms/Floors Edition

These actually help me a lot writing Queen of Queens, sort of like jotting down notes for your fic. So here goes!

There are four levels; the main (top), the first floor of bedrooms, where Cassian and Azriel stay, the second floor of bedrooms where Nesta stays and where there’s a private library, the third level that has the kitchen, and then the levels that start being the library. (This is canon-taken straight from the beginning of ACOSF) 

But there starts being more levels and rooms in between the actual house and the library, and NO ONE knows where they came from. Nesta very much thinks it’s the House; however, EVERYONE else thinks that it’s Nesta who did it unknowingly. Because if she’s not in the house, the rooms do not exist. They start thinking that maybe the House is siphoning magic from Nesta, but it is really just Nesta. Whatever she imagines in the house, exists. 

First Floor: 

Is just the main floor. Honestly not much of it changes, because of the formality of it being the floor that business is held. The House could change it and change it back, but Nesta thinks that’s a hassle, because then every time someone comes over she’s like do you need this room? And so she doesn’t bother with it. They really stop eating in that dining room anyways, so it becomes a stage house that is sort of the beware all who come here type of entrance. The only time it actually changes is during holidays, but they end up having a terrarium of sorts to the side of the house on the mountain outside so.... starfall eventually gets mostly held in there, because it’s also controlled by the House’s heart, but the only way you access that is through the third floor, so the top floor is again just for show. 

Second Floor: 

Ends up being Azriel’s floor and the floor for guests. The House/Nesta redecorate and it’s a lot more apartment-ish. One side of the floor is a large apartment for azriel and the other half is a hallway that leads to more rooms for guests. Each room is made up for specific people, just in case they stay over. All of them are soundproof. Nesta made sure of it. There’s like maybe six rooms. Emerie and Gwyn stay quite often, and Gwyn starts staying their way more often when she starts the process of actually leaving the library, but since she technically still lives there, Clotho is like well... if you just want to keep working here you can, which she does. Emerie stays there more often, because her winning the Rite starts making it harder for her to live in Illyria. Also winnowing back and forth for training is like more steps than necessary and she doesn’t like having to rely on anyone... except that Mor happens to winnow her often, which she appreciates. She still does live of course in Illyria, but her friends are in Velaris, so she struggles with if she wants to live there or not. Because that’s her livelihood, but Nesta is like do what you want and let the house know. Eventually she gives her a key, but that will be explained later in this long ass thread. 

Third Floor: 

This is Nesta and Cassian’s home which is so pretty and Nesta’s whole aesthetic. Again it’s more apartment-ish. Of course, there’s one hallway that you know has the stairs and leads to the terrarium/sunroom place and the small private library, but otherwise most of the rooms get combined to be just Nesta’s and Cassian’s. It really looks like a large house. Besides their room which has the biggest bed you’ve ever seen, there’s of course so many windows on this floor. Some are the balcony's carved out, some are just giant windows. There’s one window in the living room/ private library that opens, but is technically not a balcony, and there’s flowers along the window sill, which Nesta loves and of course she can see all of the city. The whole floor is very bright, cream and blue is the theme. A mixture of seaside and hygge. I feel which I have pictures of on pinterest lol. But there are maybe three empty rooms for when Nesta and Cassian decide to have kids. Nesta caps it at three. But actually one of these rooms gets filled in my fic, but not because of a baby that they have themselves. But I’ll let y’all unpack that one. The private library gets decorated on a regular basis with holidays and when they’re having small family gatherings or have a war meeting, they use this place. It has a large table in the middle for studying, so it’s a good place, and it’s just a way more comfortable, happier setting. There’s also cat fixtures that climb up the walls and cat doors that lead to the most obscure places for Bryaxis when he’s a cat, for those of you who’ve read that fic idea post. Maybe you haven’t. 

The Terrarium/sunroom place: 

This place has a literal pond in the middle. It is so large, and there are wild plants all to the side of it, even in the middle of winter, because it’s like a greenhouse. All of it is windows. It is tucked away, on the side of the mountain, you can only reach it from Nesta and Cassian’s floor and it is a gift from the House to Nesta and Cassian as a mating present... sort of. It’s mostly to Nesta. It has A LOT of poisonous, carnivorous plants. Which Nesta learns are useful... because she starts dabbling in her witchy magic and she learns how to make poisons. This place starts being like a lab almost. If she learns magic, she does it here, away from the House with actual people in it. But on Starfall, they do start having the celebration here, because it is the perfect view of the stars. It is the closest you can get without being splattered by star guts and the windows of course clean themselves. You can access outside through here, so sometimes they’ll just open up the doors and go outside to the porches that surround it. Elain will come here often, mostly because she does want to hang out with Nesta and Nesta is not keen on going anywhere, so at first she goes because she’s like well I can take care of your plants, and Nesta is like the House takes care of it, but if you want I guess... and she does take care of them, and actually while Nesta excels at all things magic, it’s really Elain who starts exceling at poisons. They kind of bond over it lol. 

What floor am I on? Fourth Floor: 

Is where the kitchen is. Nesta never goes here. Elain goes here every once in a while, especially when she tries to make Nesta things, but Nesta is very adamant that the House will do it for her, but at some point the House is like let your sister do something for you! So it withholds her desserts. Elain is very happy to oblige and most of the time, it is just Nesta sitting on a stool by the work table, warmed by the heat of the oven, her music playing from the symphonia, and Elain smiling softly as she works, perfectly content, while Nesta reads a book or talks about what she learned in the library this week or that. It is very hard to get Nesta to talk sometimes, so Cassian is actually immensely  grateful that Elain gets more pushy about communicating with Nesta and having her talk with her more. Not on a super deep level, but a companionship to have, because Nesta is mostly introverted, except for occasional instances, and if she can, she will avoid personal connection at all costs. It’s just a habit. There are certainly days where Nesta is more subdued that most, and usually he’ll give it a couple days, but if she’s still sort of off by the end of the week, that’s when Elain comes. She actually shows up by herself and Cassian’s always like how did you know and how did you even get here? And she’s like it’s a sister thing. Nesta and her get closer this way. 

So, on the Fifth floor: 

These are the floors that start being based off of whatever Nesta wants to see, because that’s how she unknowingly does magic. 

On this floor, there is a massive ballroom. I’m telling you there are fountains on the walls with cherubs, paintings on the ceilings that both look angelic and looks like clouds are in the sky and they’re moving. It’s bedecked in white and gold and there are crystal chandeliers hanging from the domed ceiling and it is so tall. It’s like a cathedral, and every time music plays which it does as soon as Nesta walks in, it echoes in there. Like loud, moaning sounds. Cassian thinks its creepy af, but Nesta loves that haunting sort of extravagances, and she swears she can see shadows dancing along with her. She starts taking private dance lessons in my fic, and this is where she practices. It has a lot of giant bouquets. 

But not only that there are two rolling staircases and when you go up them, that level is a theatre. Reds and velvet, and dim faelights that float in the air as if they’re floating on water. Think Phantom of the Opera. This “room” most of the time goes unused, but Nesta specifically starts being like well... I’m a big fan of the arts and music, so let’s start hosting things here. And it starts becoming a really big thing to be invited to these things. However, it’s mostly because Nesta still doesn’t really want to go out into the city, but she does want to hear a symphony. So it’s actually Cassian’s idea at first, to invite the orchestra to play at their home theatre for a surprise, and it just becomes a thing and citizens are invited, because it’s just a huge theatre to just be 2 people. However the stairs are a big problem, but we get passed that, but I’ll go into detail about that later.

Sixth floor: 

Is just one narrow hallway that leads to one door. But that door can lead you anywhere. And Nesta has a really hard time figuring out how to use it. Because one of the powers Nesta has, instead of winnowing, in my fic, is that she can open any door and go anywhere she wants, provided that there is a door, even one she draws. But she doesn’t figure that out until she figures out this door. So, for a while, she keeps opening the door and it leads to the riverfront estate, and Rhys is so freaked out that she just pops out of the closet, and she’s so freaked out too. But she closes the door and when Rhys tries to open it, it’s just a closet, and he’s like all looking through it like wth, knocking on the wood. But when Nesta opens it, it’s not even the house, it’s like a large dark abyss and some monster starts trying to claw it’s way out, so she shuts it really quick and the door keeps pounding and she’s like never again. And she gets very wary about opening anything, except many times the IC will ask her to use this door, so that they can find things. Similarly to scrying, where she knows the locations of things, she can open the door thinking of that specific object and she’ll end up being in that location. Nesta does not like this door, because she thinks it has a mind of its own, even though a lot of it is just her controlling where it goes. But because of this door, she learns that she can make any door a portal, so she ends up “drawing” a door at the base of the mountain outside which becomes an actual door which leads to the theatre. Also, she learns that there are a specific set of keys that the House gifts her, which unlocks and locks these portals she makes attached to the house specifically. Cassian and Emerie of course have one, but she gifts two also to Feyre and Elain on the premise that if they should ever need her and for some reason cannot fly up and obviously don’t want to climb the stairs or if they’re somewhere else entirely, they can visit her and be lead back by just unlocking any door they’re by and it will make a door to the House. Eventually she learns to have the door open to the seaside. And let me tell you, think Japan’s Hitachi Seaside park, with all the nemophilia (blue flowers), but all of it eventually coming to end at a beach or water striking the cliffside, still haven’t decided on that. 

I think that’s all the floors, but tbh, there might be more. I’m just super tired and I can’t think anymore or describe things. So for now, that concludes the House of Wind, Rooms and Floors Edition. Let me know if y’all have any headcanons or suggestions that you might want to see! Bye. 

[uthseikoashx-inflamedme]

Summer of 1899 fanfictions: with Philosophy, ancient Greek and Latin, foreign languages and a bit of Literature

(note: by “Summer of 1899 fanfictions”, I refer to the summer of Albus Dumbledore and Gellert Grindelwald’s meeting as teenagers)

(note: I am not a native speaker, so I apologise for the mistakes, inaccuracies, truly bad use of tenses and wrong phrases. I hope it won’t be too unpleasant. Let me know if something is really not understandable!)

What about philosphy, Latin, etc, but in 1899 fanfictions? (dark academia vibes, I know)

There are already quite a lot of fanfics about it but not enough - because it's so great, let me detail why it is (and expose my headcanons)

(the [1] and [2] are notes, check the end of the post to read them)

(tiny disclaimer: i am not at all an advanced scholar on any of the following topics, just studying that kind of subjects and loving to draw parallels with hp. i hope i won’t say too many wrong things, etc.)

Philosophy :

Moral philosophy

The theories and questions throughout the history of moral philosophy (as far as I know) fit so well with the concerns of our revolutionary boys.

Is there any moral duty? Knowing wizards and witches could solve an amount of muggles' problems, is this immoral for them to stay in the shadows? What about the means of the revolution - is this ok to kill for the Greater Good, to initiate injuries, doom and destruction to build a better world, which cost is acceptable? What about consequentialism, utilitarianism, moral of virtue, deontological philosophy, idk? What's good? What's fair?

More touchy question: the maj-people are able to perform marvellous things, so are they consequently more important than maj-people? Because of their capacities, should they be praised - considered as superior beings - as gods? But if yes, should they treat muggles differently than they would treat wizards? If wizards shouldn’t be considered as superior beings, are they equal to muggles anyway?

And what about the Hallows - is this moral to possess them, considering they mirror Gyges’ ring? Should Albus and Gellet keep them for themselves, use them for the Greater Good (yes they want to, it’s clearly exposed in DH)? Is the Quest important enough to justify sacrifices?

Also, what about Aristotle’s virtue system - being moderate and all, use our reason to be in the middle? Because I’m sure as hell Albus and even more Gellert would reject this idea: isn’t it a form of passivism? (no, but through their pov and situation, they might think that)

(by the way they both read passages of Bentham's and Mill's and Kant's and Plato's and Aristotle's books nobody can convince me otherwise)

(I never read Nietzsche’s extracts and haven’t even merely a define idea of his theories to be honest, except for a few uncertain glimpses of his philosophy - he disagrees with religious morality and is quite vehement about it, and praises an idea of a free human being, released from this moral of the weaks. And as far as I know, I’m pretty sure Gellert would agree with him.)

Political philosophy

I do have a headcanon: Albus and Gellert both read the Republic of Plato (initially because it’s well-known and they didn’t want to be ignorant about it and they surprised themselves being enthralled by Socrates reflexions) ; and quite a lot of their discussions about a perfect society instituted by themselves (and about what’s fair and what’s good) were underpinned by the book.

Is this ok to rule the world? Which system is the best - tyranny, democracy, oligarchy? Are the wizards just like the philosophers and, thus, are righteously meant to be the aristocrats at the top of the government? And are all the wizards as legitimate as Albus and Gellert to rule the world (no)? What’s the acceptable extent of power they should have on civilians? What’s the necessary authority they must be allowed to have on civilians? What about the freedom of the press, of speech (those themes are explored in the Republic and well-), of maj-people and non-maj-people?

Philosophy of desire, joy, pleasure, beauty, etc

Have you ever heard of Plato? (sorry, again, yes.) Well in several Socrates’ dialogs, themes of love and desire are developed (I particularly think about the Symposium) and Albus and Gellert could be convinced by it: the praise of relationships between men, of intellect, of beauty… but also by the myth of Aristophanes (people are halves and search their soulmate (more or less)). Besides, I’ll be quite curious about what Albus and Gellert may say about Alcibiades’ eulogy of Socrates and what they may think of their dynamics.

(long story short, Alcibiades is young and handsome and desires the ugly Socrates, is fascinated by his intellect and considers him as the most interessant man he knows, and can’t help but feeling inferior facing him and being deeply humiliated because Socrates rejects him (on top of that, Alcibiades is drunk and jealous - the parallels to draw between them and our revolutionary boys are bloody interesting but back to the point))

Also, I totally see Albus and Gellert as hedonists during their youth - justifying their immoral and unwise chase of pleasure and complaisance by an artificial sentiment of moderation, temperance, so not true hedonists, like they are not epicurean at all - and this is again something quite compelling, I must admit.

Ancient Greek and Latin :

Latin and ancient Greek at Hogwarts

Throughout the 19th century, the civilizations of antiquity increasingly fascinated the intellectuals - a phantasm around the topic grew and influenced artists and erudite persons, and was furthermore a mark of the cultural capital and level of education of somebody.

Although we haven’t any clue about the fact that Hogwarts changed the disciplines provided through the centuries, we know it is possible : Dumbledore himself almost dismissed divination studies and depending the demands of the students, 7th years can study alchemy (most likely thanks a teaching offered by Dumbledore himself).

And I do have the headcanon that Hogwarts was in the past not that far from studies dispensed in english colleges - or at least, proposed classes of British (magic) Literature, maybe Law (like an elitist subject but necessary to enter in the Ministry and consequently pure-blood kids are always following that course) and, of course, ancient Greek and Latin classes.

And it was necessary, because Latin is the language of spells and most of the magical essays written back in antiquity were in ancient Greek - furthermore, the more complex, ancient and ruthless spells and rituals were based on ancient Greek and not on Latin, more used in everyday, ordinary, common magic (it is again an hc).

(by the way, Arabic and Hebrew could be as well considered as ancient languages used in magic (again an headcanon, but it would underline how magic is complex and has multiple forms and is not just European-centred), but I have the slight feeling that the ideologies and culture of European countries combined with xenophobia and racism have excluded the study of those languages even though they are also vital in the history of magic you know)

Yes it’s based on nothing, but it would be so great and ask so many things about the Wizarding World back in the late 19th and early 20th century - especially about social and political struggle between the population - pure-blood families vs muggle born students, etc [1]. (And it would satisfy my dark academia aesthetic. But quite irrelevant here.)

What about Albus and Gellert then?

Durmstrang could also dispense Latin of Ancient Greek class, in my opinion, but I think (again, imo), it is a bit unlikely. But it does not change the fact that Gellert had always been attracted to Dark magic; so he could have learned the basis by himself in order to decipher ancient Dark ceremonies, etc.

That’s why I think both of them had learnt ancient languages. Maybe Albus took an interest in Celtic dialects (Merlin’s language?), and Gellert was familiar with Vicking Runes. It obviously helped them regarding a lot of their magical and academic performances. Indeed, the boys were able to understand old papers about the Hollows, but also ancient rituals, etc. And thus, had a wide access to a more dangerous, unstable, raw and primeral practice of magic: it was not like the average spells in Latin, but an intricate way to unleash their potential [2].

Besides, only few people - erudites - were as interested as the boys were in these old ways to use magic, and needless to say that neither of those persons were as powerful as Albus and Gellert were. Furthermore, the boys were able to keep a balance between the complexity of the enchantments and the instincts they both have regarding the expression of their magic. They accordingly thought of being more powerful than everybody else.

Foreign languages :

The languages in the schools

It is clear that Hogwarts is exclusively Anglophone. The school is quite small: 40 students per year, so 280 students in all, coming from Great Britain - England, Ireland, Scotland, Yales, so the isles. We could also think that the wizardkind living in the CommonWealth during the colonial age also studied in Hogwarts. (again a hc, but Henry Potter and his son Fleamont were both born in India, fight me)

Durmstrang, on the other hand, could host quite more nationalities. I imagine the school having three main languages: German, French and English. But in fact, English and French are more “officials”, used by administration and in some classes (French was quite important at the time, right? then it was English?). So the students most likely speak between them in German (Germany had been formed in 1871 and I think the Austrian-Ungarian Empire was also Germanophone?), Russian, Hungarian, Lithuanian… well, all the languages spoken in Easten Europe.

(and just to mention it, I believe that Beauxbâtons is a huge school, bigger than Hogwarts and Durmstrang, because we need logic at some point - anyway)

What about Albus and Gellert then, again?

Gellert was probably speaking German, English (obviously, he wrote letters in English, spoke in English with Albus and Aberforth…), maybe French, and maybe another language depending on his mother country. I headcanon him coming from the Austrian-Hungarian Empire, but he might as well come from Denmark (the country of Mikkelsen?) or a Balkan State (there were wars here at the end of the 19th century, it could be an interesting theme), etc.

However, I doubt that Albus knew Danish or Hungarian, but he definitely spoke French rather well (he exchanged letters with Nicolas Flamel) and perhaps the basis of something else (Italian? German?).

I do not mention magical foreign languages they could have been familiar with - we know Albus is fluent in Goblegedook and Mermish in 1994, but I doubt he already was in 1899.

(Also, Albus’ mother came from America, so she might be originally from the Native American community and thus know an another language and let Albus know as well, but the fact that she is Christian (most likely, regarding what is her epitaph) let me doubtful; but I’m not enough informed about the Native American history to build meta, headcanon and theories, so I won’t explore this idea more.)

All in all, they are quite familiar with a lot of languages, and they certainly had a few conversations in what was not English (a mix of Latin, Ancient Greek, German and French, perhaps?) to infuriate Aberforth and not let him know about what they were talking about. (headcanon, again)

Literature :

We do not have a lot of clues about fiction - novels, theater or poetry - belonging to the wizarding universe - except Beedle’s Tales, of course. But we can imagine it exists.

Nevertheless, I am more interested in what Albus and Gellert might have read in the muggle literature. Besides, I think it is funny to consider that some writers or playwrights are known by muggles but are in reality wizards and witches - especially Braham Stoker, Mary Shelley… maybe Poe and Shakespeare as well.

So, I imagine that Albus and Gellert would have heard of Goethe, Heine, Novalis for German literature; maybe Hugo, Baudelaire, Flaubert for French literature… most likely Dante (definitely Dante). Though I honestly do not think they were fond of novels and literature, they could have been interested by it sometimes, when it echoed to something in them - Shakespeare, but also the story of Verlaine and Rimbaud, or Oscar Wilde’s story and unique novel.

There is also the theme of Oscar Wilde, homosexual writer, and his trial at the end of the 19th century, which are recurrent topics in 1899 fanfictions - a quite interesting one, imo. Have you ever read the Preface of the Picture of Dorian Gray? Definitely Albus and Gellert vibes.

All in all, I don’t think they may have been interested in literature for literature itself, but rather for the political aspect of it. (except for Shelley, Shakespeare and Dante which are a witch and two wizards, and are interested by the references to magic in the works themselves, again hc)

To conclude :

Even though 1899 fanfictions are great - and I thank you, 1899 fanfictions writers, you are amazing - I quite love the idea of all of this aesthetic that could developed. It is somehow prompt ideas.

(also I an studying humanities so it might be why I see those themes in 1899 fanfics so well, yes)

Thanks for reading! :)

Notes :

[1] : I wrote about the conservative Wizarding World and pure-blood families here:  Why are the Weasleys poor? (eng&fr) (theories about pure-blood families, inheritance, etc) /  How can everyone find their true-love and still be in love after years in HP? (”magic-soulmates” theory and conservative society)

[2] : I wrote about Dark magic and rituals in 1899 here: What if Antonio (Gellert Grindelwald’s chupacabra) had been created in 1899? / What about a dangerous, complicated and a bit gore alchemical experience tried by Albus and Gellert secretly?

And I posted quite a lot of things about GGAD, check the Table of contents if you are interested! :)

[ndragoon]

Okay so because of the word limit and weird way the comments on posts are made, I've going to say this in full here:

You know how people try to act like they know what they are talking about when presenting their argument, but you know they either never looked into said subject or are intentionally playing stupid to only present the details that support their argument?

Yeah, that's what's going on when I see people complaining about 40k being introduced into a totally non-canon side product in Magic.

If you know anything more than absolutely basic surface-level information of the Space Marines - literally ANYTHING else at all - you'll know that it has a ton of magic. I cannot stress the word "literally" enough when I say that literally every other faction that is not the Space Marines uses magic in one way or the other. Even some Space Marines do. So to even claim the entire setting has no magic at all, you have to even completely ignore a sizable chunk of (and almost all the history of) the Space Marines!

But this is something I keep seeing in general about all games - whether video, board, card, or whatever else - people actually enjoy: there is always this very vocal minority who make a point of making an intense fuss about everything to make it sound like everyone hates whatever it is about when the vast majority of everyone is actually enjoying it.

Look at Neon Dynasty: it had the same exact things as Kaladesh did, but for some reason as soon as you use a neon aesthetic it becomes "all technology and has no place in Magic" despite the fact that we have two planes entirely devoted to machines, as well as one that is all about living machines that are modified and experimented on without magic being involved and spreads like a toxin. The main antagonist has a technological portal in his body that transports beings as if they were planeswalkers!

I hate to reduce it to such, but it sounds an awful lot like they are whining just for the sake of whining in the hopes they can cause something to happen. As if just enough of them write to his blog, Mark Rosewater will suddenly be like "Well, this extremely vocal 0.02% of the community really dislikes this, so we better just scratch it and move to the next set already".

.

.

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But as much as I hate to say it, this kind of behavior is one I see for e v e r y t h i n g nowadays. Any game that gets updates, you always have some sort of concentrated effort to whine about everything they can find. Warframe is a big one in this. It's gotten so bad I don't even bother with the forums or reddit because everything is just people whining about everything they can think of. People like this ruined Destiny because every time some weapon that they didn't use was any good, the pages were filled with "I was killed by X, nerf it". If you follow any game that reworks any class of items, it's always followed with all kinds of "well, the entire game is absolutely ruined, they never should have changed it".

It's honestly really annoying and I have practically written entire essays about this over the past decade and how it was bred by all these "hold hands and love each other" policies on forums where everyone who was obviously trying to cause issues weren't allowed to be pushed out. They had to be treated as if everything they were saying was legitimate and anyone who said anything even slightly negative was getting a ban. And now we are at this point where all these people who clearly only stuck around to flame everyone were given a platform to speak and feel empowered to throw what little weight around that they have and that's why we now have these entire groups across everything who do just this.