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apollosgiftofprophecy · 1 year ago

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Statistics of Apollo's Lovers

I was wondering just how unfortunate of a love-life our boy Apollo had, so - as one does - I did the research, math, and writing of said love-life.

such is the life of an adhd teen :)

In total, there are 62 people on this list. I have them separated into eight groups; Immortal, Immortal & Rejected, Lived, Died, Rejected & Died, Rejected & Cursed, Rejected & Lived, and who were Rejected by Apollo

Disclaimer: I am not a historian nor an expert in Greek Mythology, I am just a very invested nerd in Mythology, and in Apollo's mythology in general, and got curious about what his rap sheet actually looks like.

Sidenote: There will be some "lovers" not on this list. Reasons being;

No actual literary sources behind them

Said literary sources are dubious at best

Not enough information is given about the nature of their relationship to make an accurate take

So if somebody isn't on this list, it's because of one of those three reasons. Although there is still a chance I missed somebody! :)

Also, no RRverse lovers include in this list. Sorry my fellow ToA fans.

*I am currently investigating the legitimacy of 2 more potential lovers. As soon as I have reliable sources, I will get them on here ASAP. Their inclusion, however, will not change the overall conclusion. 👍

(Edited 01/15/25 - ALL SECTIONS SOURCED)

Let's begin! :D

Immortal Lovers

Calliope: muse of epic poetry. Mother of Hymenaios and Ialemus (Pindar's 3rd Threnos) by Apollo.

Clio: muse of history

Erato: muse of love poetry

Euterpe: muse of music

Polyhymnia: muse of hymns/sacred poetry

Melpomene: muse of tragedy

Thalia: muse of comedy. Mother of the Corybantes (The Bibliotheca by Pseudo-Apollodorus) by Apollo.

Terpsichore: muse of dance

Urania: muse of astronomy

Boreas: the North Wind. The Boreads called Apollo "beloved of our sire" in Apollonius of Rhodes's Argonautica.

Rhetia: alternate mother of the Corybantes by Apollo. (Strabo's Geography 10.3.21)

11 lovers total here.

10 Female, 1 Male

Immortal & Rejected

Hestia: goddess of the Hearth (Hymn to Aphrodite)

1 Interest. Female.

Lovers Who Lived:

Branchus: mortal shepherd, gifted prophecy (Conon's Narrations 33 & Callimachus's Iambus)

Rhoeo: mortal princess, eventually married an apprentice of Apollo (Diodorus Siculus's Bibliotheca historica 5.62 and Tzetzes on Lycophron 570)

Ourea: demigod daughter of Poseidon, dated Apollo during his punishment with Laomedon; had a son named Ileus, after the city of Troy (Hesiod's Catalogues of Women Fragment 83)

Evadne: nymph daughter of Poseidon, Apollo sent Eileithyia & (in some texts) the Fates to aid in their son's birth (Pindar's Olympian Ode 6)

Thero: great-granddaughter of Heracles, described as "beautiful as moonbeams" (Pausanias's Description of Greece 9)

Cyrene: mortal princess-turned-nymph queen, kick-ass lion wrangler, and mother of two of Apollo's sons - Aristaeus (a god) and Idmon (powerful seer) (Pindar's Pythian Ode 9.6 ff. and Nonnus's Dionysiaca and Callimachus's Hymn to Apollo 85)

Admetus: mortal king, took great care of Apollo during his second punishment, Apollo wingmanned him for Alcestis's hand - basically Apollo doted on him <3 (Callimachus's Hymn II to Apollo and Apollodorus's Bibliotheca 1.9.15 and Hyginus's Fabulae 50–51, and also written about by Ovid and Servius)

Hecuba: queen of Troy, together they had Troilus.

It was foretold that if Troilus lived to adulthood, Troy wouldn't fall - unfortunately, Achilles murdered Troilus in Apollo's temple. When the Achaeans burned Troy down, Apollo rescued Hecuba and brought her to safety in Lycia. (Stesichorus's Fr.108)

Hyrie/Thyrie: mortal. mothered a son by Apollo. Their son, Cycnus, attempted to kill himself after some shenanigans and his mother attempted the same. Apollo turned them into swans to save their lives. (Antoninus Liberalis's Metamorphoses 12 and Ovid's Metamorphoses 7.350)

Dryope: mortal. had a son named Amphissus with Apollo, who was a snake at the time. Later turned into a lotus flower, but it had nothing to do with Apollo so she's still on this list. (noncon; written by Ovid in Metamorphoses 8 CE/AD and later by Antoninus Liberalis in his own Metamorphoses sometime between 100-300 CE/AD)

Creusa: mortal queen. had a son named Ion with Apollo (Euripides's Ion). Please check out @my-name-is-apollo's post for more details because they make some good points about what's considered "rape" in Ancient Greece. I expand on this further at the end of the post.

Melia: Oceanid nymph. Had a son w/h Apollo named Tenerus. (Pausanias's Descriptions of Greece 9.10.5–6)

Melia was said to be kidnapped, and her brother found her with Apollo. He set fire to Apollo's temple in an effort to get her back, but was killed. Melia and Apollo had two kids - but here's the interesting part. Melia was highly worshiped in Thebes, where her brother found her. She was an incredibly important figure in Thebes, especially when connected with Apollo. She and Apollo were essentially the parents of Thebes.

As I read over their story, it sounded like (to me, at least. it's okay if you think otherwise!) that Melia just absconded/eloped with Apollo.

Was kidnapping an equivalent to assault back then? Perhaps. But it's still debated on whenever or not that's true. However, one thing I've noticed reading up on these myths is that when Apollo does do something unsavory, the text says so.

It never says anything about Apollo doing anything to Melia. Her father and brother believe she was kidnapped, but, like mentioned previously, it seems far much more likely that she just ran off with her boyfriend or something.

But that's just my interpretation.

Moving on! :)

Iapis: a favorite lover. Apollo wanted to teach him prophecy, the lyre, ect. but Iapis just wanted to heal :) so Apollo taught him healing :) (Smith 1873, s.v. Iapis)

Aethusa: daughter of Poseidon & the Pleiad Alcyone. Mother of Linus and Eleuther. She is the great-great grandmother of Orpheus. (Apollodorus's Bibliotheca 3.10.1 and Pausanias's Descriptions of Greece 9.20.2 and Suida, s.v. Homer's Of the Origin of Homer and Hesiod and their Contest, Fragment 1.314)

Acacallis: daughter of King Minos. there's a lot of variation on whether or not she had kids with Hermes or Apollo. Some say she had a kid with each. (Stephanus of Byzantium, s.v. Kydōnia (Κυδωνία and Scholia on Apollonius Rhodius, 4.1492)

Chrysothemis: nymph queen who won the oldest contest of the Pythian Games - the singing of a hymn to Apollo. She had three daughters, and one of them is said to be Apollo's. (Pausanias's Descriptions of Greece 10.7.2 and Hyginus's De Astronomica 2.25)

Corycia: naiad. had a son with Apollo. the Corycian Cave north of Delphi is named after her (Hyginus's Fabulae 161)

Leuconoe (also Choine or Philonis): daughter of Eosphorus, god of the planet Venus, and mother of the bard Philammon. (Hyginus's Fabulae 161) She was killed by Diana for her hubris.

Melaena (also Thyia or Kelaino): mother of Delphos, member of prophetic Thriae of Delphi. Priestess of Dionysus. (Herodotus's Histories 7.178.1)

Othreis: mothered Phager by Apollo, and later Meliteus by Zeus. (Antoninus Liberalis's Metamorphoses 13)

Stilbe: mother of Lapithus and Aineus by Apollo. (Diodorus Siculus's Library of History 4.69.1 and Scholia on Apollonius Rhodius, 1.40 and Scholia on Apollonius Rhodius, 1.948)

Syllis (possible same as Hyllis, granddaughter of Heracles): mothered Zeuxippus by Apollo. (Pausanias's Descriptions of Greece 2.6.7)

Amphissa: Apollo seduced her in the form of a shepherd. They had a son named Agreus. (Ovid's Metamorphoses 6.103 and Hyginus's Fabulae 161)

(hey, has anybody else noticed that 'Apollo disguising himself' seems to only be a thing in Roman literature?)

Areia (or Deione): had a son named Miletus. Hid him in some smilax. Her father found him and named him. (Apollodorus's Bibliotheca 3.1.2)

Arsinoe: she and Apollo had a daughter named Eriopis. (Hesiod's Ehoiai 63 and Scholia ad Pindar's Pythian Ode 3.14)

Queen of Orkhomenos (no name is given): Mother of Trophonius (Pausanias's Descriptions of Greece 9.37.5)

(my fellow ToA fans will recognize that name haha).

Hypermnestra: Either Apollo or her husband fathered her son Amphiaraus. (Hyginus's Fabulae 70)

(sidenote: @literallyjusttoa suggested that Apollo was dating both Hypermnestra and Oikles, and I, personally, like that headcannon)

Manto: Daughter of Tiresias. Apollo made her a priestess of Delphi. They had a son named Mopsus. When Apollo sent her to found an oracle elsewhere, he told her to marry the first man she saw outside of Delphi. That man turned out to be Rhacius, who brought her to Claros, where she founded the oracle of Apollo Clarios. (Apollodorus's Bibliotheca E6. 3)

Later, another man named Lampus attempted to assault her, but was killed by Apollo. She is also said to be a priestess who warned Niobe not to insult Leto, and to ask for forgiveness. Niobe did not. (Statius's Thebaid 7 and Ovid's Metamorphoses 6)

(Dante's Inferno places her in the eighth circle of hell, and let me just say- what the FUCK Dante! What did Manto ever do to you, huh??!! Don't do my girl dirty!!)

Parthenope: granddaughter of a river god. Mothered Lycomedes by Apollo (Pausanius's Descriptions of Greece 4.1)

Phthia: prophetess. called "beloved of Apollo". Mother three kings by him; Dorus, Laodocus, & Polypoetes (Apollodorus's Bibliotheca 1.7.6)

Procleia: Mother of Tenes, son of Apollo, who was killed by Achilles before the Trojan War. Daughter of King Laomedon, king of Troy. (Apollodorus's Epitome 3. 26)

Helenus: prince of Troy. Received from Apollo an ivory bow which he used to wound Achilles in the hand. (Photius's 'Bibliotheca excerpts')

Hippolytus of Sicyon: called "beloved of Apollo" in Plutarch's Life of Numa. I don't think this guy is the same as Hippolytus, son of Zeuxippus (son of Apollo), king of Sicyon Pausanias talks about in his Description of Greece. That would be a little weird taking the whole family tree into account - though it's never stopped other gods before. *shrug*

Psamathe: nereid, said to be the personification of the sand of the sea-shore. (Conon's Narrationes 19)

She and Apollo were lovers, but never had any kids. When another man assaulted her, she had a son and abandoned him.

(He was found by some shepherds dw - wait, he was then torn apart by dogs. Nevermind.)

Back to her, her father ordered for her to be executed and Apollo avenged her death by sending a plague onto Argos and refused to stop it until Psamathe and Phocus/Linus (her son) were properly given honors.

(I really like how even though Linus isn't Apollo's kid, and that Psamathe wanted nothing to do with the kid, Apollo still considered him worth avenging too <3 )

Okay, in a previous incarnation of this post, I said there was a version where she is raped by Apollo...however, I can't find any sources to back it up😅 Even her wiki page doesn't mention rape, and Theoi's excerpt of Paunasias's Descriptions of Greece about her doesn't either.

So where did I hear about this supposed version? (Don't shoot)

Youtube. A youtube video about Apollo. Yeah...

Lesson, kids! Don't trust youtube videos on mythology! Yes, even if they dedicated lots of time to it! They can still get things wrong! In fact, don't even take my word for it! Do your own research <3

Hymenaeus: No, not his kid. This is a different Hymenaeus haha! This Hymenaeus is the son of Magnes, and comes from Megalai Ehoiai fr. 16, commonly attributed to Hesiod, and Antonius Liberalis's Metamorphosis. Legend states that while Apollo was preoccupied with Hymenaeus, baby Hermes stole his cows ;)

Euboia: Daughter of Macareus. Bore a son named Agreus. (Hyginus's Fabulae 161)

Alright. 36 lovers here.

6 Male. 30 Female.

35 are 100% consensual. Creusa is questionable, depending on who's translating/which tradition you go with.

Lovers Who Died:

Hyacinthus*: mortal prince. we all know this one, right? Right? one and only true love turned into flower (okay that's my bias speaking but AM I WRONG?) (Plutarch's Life of Numa, 4.5; Philostratus the younger's Imagines; Pseudo-Apollodorus's Bibliotheca 1.3.3; Ovid's Metamorphoses 10.162–219; Bion's Poems 11; and various pieces of art)

Cyparissus: mortal. his DEER DIED and he asked Apollo to let him MOURN FOREVER so he was turned into a cypress tree (Ovid's Metamorphoses X 106ff)

Coronis: mortal princess. cheated on Apollo w/h Ischys, who in Fabulae was killed by Zeus. mother of Asclepius. killed by Artemis. (Pindar's Pythian Odes 3.5; Pausanias's Descriptions of Greece 2.26.6; Hyginus's Fabulae 202; Ovid's Metamorphoses 2.536 and 2.596; Hyginus's De Astronomica 2.40; Isyllus's Hymn to Asclepius 128.37 ff.)

There is another version of Asclepius's birth given by Pausanias in Descriptions of Greece 2.26.1-7, where Coronis exposes him on a mountain and Apollo takes him in.

Adonis: yes, THAT Adonis. he's in this category because. well. he died. rip (Ptolemy Hephaestion's New History Book 5)

Phorbas: Okay so Apollo's lover Phorbas and another Phorbas sometimes get mashed together so this is what I was able to gather.

Plutarch's Life of Numa 4.5 and Hyginus's De Astronomia 2.14.5 cites Phorbas as Apollo's lover. The other Phorbas is said to be a rival to Apollo in the Homeric Hymn to Apollo. Personally, I separate the two because it makes more sense with Phorbas the lover's overall story.

Here it is: The island of Rhodes fell victim to a plague of dragons or serpents, and the oracle said to summon Phorbas for help. He defeated the infestation, and after he died, Apollo asked Zeus to place him in the stars, and so Phorbas became the constellation Serpentarius, also known more widely as Ophiuchus (a man holding a serpent).

FORGET ORION AND HIS ONE-OFF MENTION OF BEING DIANA'S LOVER HERE IS A CONSTELLATION TRAGIC LOVE STORY!!!!!

(*Hyacinthus was resurrected, as celebrated in the Hyacinthia festival in Sparta. Nonnus's Dionysiaca 19.102 and Pausanias's Descriptions of Greece 3.19.4 supports this belief as well.)

5 lovers.

4 Male. 1 Female. All consensual.

Sidenote: QUIT BURYING THE GAYS GREECE!!!!

Love-Interests Who Rejected & Died:

Daphne: do i nEED to say anything? Nymph. turned into tree to escape.

Daphne and Apollo actually go back a bit. Their story was used to explain why the laurel was so sacred to Apollo. It's in Delphi, Branchus planted laurel trees around the temple he built to Apollo, the laurel was even sacred to Apollo's historical forebearer Apulu, an Etruscan god! (I have sources to back this up :3 along with an Essay.)

Apollo & Daphne first originate from Phylarchus, but we do not have any of his work :( It's been lost to history...a moment of silence RIP. He was a contemporary in the 3rd century BC/BCE (first day of 300 BC/BCE and last day of 201 BC/BCE).

He was, however, cited as a source in Parthenius's Erotica Pathemata, written sometime in the 1 century AD/CE (sometime between 66 BC/BCE and the author's death in 14 AD/CE).

Then they show up again in Pausanias's Descriptions of Greece, written between 150 AD/CE and 170 AD/CE.

Hyginus wrote his Fabulae sometime before Ovid's because it's widely criticized to be his earliest work and Ovid wrote his Metamorphoses in 8 AD/CE.

The first two versions are roughly the same, and Ovid's shares similarities with the first in only the ending. Hyginus is basically like Ovid's but without Eros.

So in publication order, it's; Erotica Pathemata, Fabulae, Metamorphoses, then Descrip. of Greece.

In Erotica Pathemata, Daphne is the daughter of Amyclas and is being courted by Leucippus. She is not interested in any sort of romance. Leucippus disguises himself as a girl to get close to her, but his ruse is revealed when Apollo nudges Daphne and her attendants into taking a bath in the river. Leucippus is consequently killed.

Apollo then becomes interested and Daphne runs away, imploring Zeus that "she might be translated away from mortal sight", and is transformed into the laurel tree.

In Fabulae, Daphne's story is a bit more familiar. She's the daughter of Peneus, the river god, and Gaea is the one who transforms her into a laurel tree.

In Metamorphoses, Eros is added to the story and is the reason why Apollo is so enamored and Daphne is so repulsed.

(I would just like to say that in this version, it was 100% nonconsensual for both of them! And I don't mean with rape- Apollo never touches Daphne in any of these version. What I mean here is that Eros maliciously makes Apollo chase down a woman and makes sure Daphne would be repulsed by him. That is noncon behavior there on both sides.)

In Descriptions of Greece 10.7.8, Daphne is the daughter of Ladon and her and Apollo are only connected by way of why the laurel crown is the victory prize of the Pythian Games. However, in Descriptions of Greece 8.20.2-8.20.4, Daphne and Leucippus make an appearance here too, but Apollo is not the reason why they stop to take a swim and his ruse is revealed, resulting in his death.

Castalia: Nymph. turned into spring to escape.

First things first, Castalia was used to explain the existence of the Castalian Spring in Delphi. However, in the Homeric Hymn to Apollo, the spring is already there when Apollo was born. So there's that to consider first.

Anyway, to escape Apollo's advances, Castalia transforms herself into a spring. (Lactantius Placidus's On Statius's Thebaid 1.698. This was written between Lactantius's lifespan of c. 350 – c. 400 AD/CE, placing it firmly in Roman times.)

2 Interests.

2 Female.

Love-Interests Who Rejected & Cursed

Cassandra: mortal princess. Received the gift of prophecy from Apollo. Due to a broken oath, she was then cursed. (Aeschylus's Agamemnon)

It is only in Roman-era tellings where Cassandra is cursed for not sleeping with Apollo, and there was no oath made (Hyginus & Pseudo-Apollodorus). In Agamemnon, it was done so because of the broken oath- not the refusing to sleep with Apollo thing.

The version where she gains prophetic abilities by way of a snake licking her ears is not part of Greco-Roman literature, but rather by an American poet.

Nevertheless, even after the curse Cassandra still loved Apollo, and called him "god most dear to me" in Eurpides's play The Trojan Women.

1 Interests.

1 Female.

Love-Interests Who Rejected & Lived

Sinope: mortal. there are two different version of her myth.

In Diodorus Siculus's Library of History 4.72.2 and Corinna's Frag. 654, Apollo "seizes" her and they have a son named Syrus.

In Apollonius's Argonautica 2.946-951 and Valerius Flaccus's Argonautica��5.109, it is Zeus who abducts her, but she gets him to promise her anything and requests to remain a virgin. He obliges. Later, Apollo and the river Halys both try to charm her, but fall for the same trick.

Library of History was written between 60-30 BC/BCE, Apollonius's Argonautica between 300 BC/BCE and 201 BC/BCE, and Valerius Flaccus's Argonautica between 70-96 AD/CE, making Apollonius's version the oldest and Valerius Flaccus's the youngest.

Marpessa: mortal princess, granddaughter of Ares. Idas, son of Poseidon, kidnapped her and Apollo caught up to them. Zeus had Marpessa chose between them, and she chose Idas, reasoning that she would eventually grow old and Apollo would tire of her. (Homer's The Iliad, 9.557 and Apollodorus's Bibliotheca 1.7.8–9)

Bolina: mortal. Apollo approached her and she flung herself off a cliff. He turned her into a nymph to save her life. (Pausanias's Description of Greece 7.23.4)

Ocroe/Okyrrhoe: nymph and daughter of a river god. asked a boatman to take her home after Apollo approached her. Apollo ended up turning the boat to stone and the seafarer into a fish. (Athenaeus's The Deipnosophists 7.283 E [citing The Founding of Naucratis by Apollonius Rhodius]. The Deipnosophists was written in the early 3rd century AD, between 201 AD and 300 AD)

Sibyl of Cumae: mortal seer. promised to date Apollo if she was given longevity as long as the amount of sand in her hand. he did, but she refused him. (Ovid's Metamorphoses 14)

5 Interests. All female.

Okyrrhoe's story is the only one with any iffy stuff, although, when something iffy does occur, the text usually says so outright.

Rejected by Apollo:

Clytie*: Oceanid nymph. turned into a heliotrope to gaze at the sun forever after the rejection.

1 Advance. Female.

(*Clytie's story was originally about her affection for Helios. [Ovid's Metamorphoses 4.192–270; Ovid used Greek sources about the etymology of the names involved, meaning Clytie and Helios go back to Greek times] As Apollo got superimposed over Helios's myths, people have assumed it is he who is the sun god in her myth and not Helios.)

In Conclusion...

62 people total, and 35 of them have Roman-Era roots with (as far as I know!! Don't take my word as gospel truth!!) no relation to Greece except by way of shared mythology.

Here's the list:

Rhoeo

Thero

Hyrie/Thyrie

Dryope

Melia

Aethusa

Acacallis

Chrysothemis

Corycia

Choine

Thyia

Othreis

Stilbe

Syllis

Amphissa

Areia

Queen of Orkhomenos

Hypermnestra

Manto

Parthenope

Phthia

Procleia

Helenus

Hippolytus of Sicyon

Psamathe

Cyparissus

Adonis

Phorbas

Castalia

Sinope

Bolina

Ocroe/Okyrrhoe

Sibyl of Cumae

Rhetia

Euboia

Meaning, 56%- and really, it's more like 57%, because Clytie is not Apollo's lover at all- of the lovers listed on this post are not entirely Greek in origin (AS FAR AS I KNOW-)! That does not mean ofc that you have to ignore them. I, for one, really like the story of Rhoeo, and Manto, and Psamethe- I find their myths sweet (Rhoeo & Manto) and bittersweet (Psamethe).

Let's get to the calculations now, yeah?

62 people total (Includes Clytie)

50 Women (81%). 12 Men (19%).

18% were Immortal (Including Lovers & Rejected)

68% Lived (Including Lovers & Cursed & Rejected)

14% Died (Including Lovers & Rejected)

1% were Cursed

2% were Rejected by him

61 people total (Not Including Clytie)

49 Women (80%). 12 Men (20%).

18% were Immortal

69% Lived (Lovers & Cursed & Rejected)

12% Died (Lovers & Rejected)

in that 12%, one was apotheosized - Hyacinthus.

Meaning 10% died permanently, while 2% were resurrected.

2% were Cursed

0% were Rejected by him

Additionally, I left off three male lovers and two female lovers - Atymnius, Leucates, Cinyras, Hecate, & Acantha.

Atymnius has no references to being Apollo's lover, only to Zeus's son Sarpedon. (Wikipedia why do you even have him listed? You need sources smh)

Leucates is another male "lover" left off the rack - apparently he jumped off a cliff to avoid Apollo, but I couldn't find any mythological text to account for it- and no, OSP's wiki page is not a reliable source. There is a cliff named similarly to him where Aphrodite went (by Apollo's advice) to rid herself of her longing for Adonis after his death. Also Zeus uses it to rid himself of his love for Hera before he...well, commits adultery again. 🤷

Cinyras was a priest of Aphrodite on the island of Cyprus. He was also the island's king. Pindar calls him "beloved of Apollo" in his Pythian Ode. However, looking further into Cinyras's life throws a bit of a wrench into it. He's also cited to be a challenger to Apollo's skill, and either Apollo or Mars (Ares) kills him for his hubris.

(honestly, I kinda like the idea that Mars went into Big Brother Mode)

I did consider leaving him on the list, since technically you could argue it was a romance-gone-bad, but among every other source Cinyras is mentioned in, Pindar's the only one who puts a romantic label on him and Apollo.

Plus, he’s been described as a son of Apollo too, and I personally like that more lol

Hecate, the goddess of magic and crossroads, is said to be the mother of Scylla (like, the sea-monster) by Apollo, but Scylla's parentage is one of those "no specific parents" ones, so I left her off the list.

Acantha has absolutely no classical references. There's a plant like her name, but she's made-up, so she doesn't count. *stink-eyes the guy who invented her and claimed his “sources” were reliable when they really aren’t*

(Of course, I could be wrong about any of these. Again, I'm not an expert.)

With all this in mind, this means Apollo's love life actually isn't as tragic as media portrays it, and he isn't as bad as Zeus or Poseidon in the nonconsensual area.

Does he still have those kinds of myths? Yes, with Dryope and Creusa; though, we can discount Creusa because;

1) Depends on who's translating it; and

2) Ion is given different parentage in the Bibliotheca, which yes, came much after Ion, however Xuthus was traditionally considered to be Ion's father rather than Apollo. This means there was probably a different oral tradition on Ion's parentage that just wasn't written down as early as Euripides's was- in fact, it may even just be an invention of Euripides's.

(and honestly Apollo's characterization in Ion just doesn't quite match up with the rest of his appearances in the wider myths (in my opinion, at least))

So that leaves us with just Dryope, who comes from Ovid, a Roman poet, and Antoninus Liberalis, a late Greek one.

Now I'm not saying we should throw her out because of Ovid's whole "wrote the gods even more terribly to criticize Augustus" thing, but it is something to keep in mind. Political mechanics have been used to change myths before, and this is certainly one example of it.

Additionally, I have seen many people discard Dionysus's rapes in the Dionysiaca because of how late it was written, so this one can be given similar treatment if one choses too because of just how late Ovid and Antoninus Liberalis's work was.

You can, in fact, pick and chose if you wish, especially if it'll increase your enjoyment of literature. That's certainly what I do :)

So overall, I'd say Apollo has a rather clean relationship past. He's doing pretty damn good.

Also, I think we should all take note that even if Apollo had noncon myths, that doesn't reflect on the actual god. The Ancient Greeks did not see the myths as "canon" to their gods- in fact, some were not happy with the myths showing the gods in such a light.

That's something else to keep in mind. The gods of the myths are not the gods of Greece, and are more like parables or fables for the Ancient Greeks I'd say. Lessons on morality and such, and of course, warnings against hubris and the like.

This was quite the journey, and I really hope you all enjoyed reading and learning with me! This really makes me wonder- if Apollo's love life is this good, I wonder how misinformed we are on everyone else's? I have no plans on doing Zeus or Poseidon or anyone else (not for a LONG time lol, this took a lot of effort and research!), but if anyone has any idea, or gets inspired to do something like this for any other god, please tag me!! I'd love to see it! :D

And since this was on a previous reblog, here be a meme from a while ago:

[ID: Me Explaining Me. On the left is a girl with her hands up, fingers pinched together, like she's intensely explaining something. The text over her says "Me giving a detailed diatribe about Apollo's love life and how modern media has done him and his lovers dirty". On the right is the girl's mother, wrapped up to her chin in a blanket, with a look on her face that screams "absolutely done with this shit". The Mother is labeled "My family". /End ID]

suffers in I'm the only mythology nerd in the family

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that-ari-blogger · 18 days ago

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"Do It" (Destiny Part 2)

When you interact with a lot of similar media, you tend to notice patterns and recurring tropes. Most notably in this example is the final season darkest hour.

Typically, when a series wants to ensure that the stakes are higher for its final arc, it will end the previous in a very dark place. Avatar: The Last Airbender does this, and I just covered The Owl House doing a very similar thing.

But She-Ra has a lot more to it than just the singular convention. This is an incredibly cerebral series with a ton of moving parts. So, for the season four finale, I would like to examine a few of them, and what they do for the story.

Let me explain.

SPOILERS AHEAD: (She-Ra and the Princesses of Power, Marvel’s Cloak and Dagger, A Christmas Carol)

Context is important, and stories have an understated ability to draw together disparate elements into a cohesive entity through a consistent theme.

Here, that is twofold. The series as a whole has been about the cycle of abuse as portrayed through tragedy, specifically in its antonymic relationship with genuine love. But Destiny Part 2 zeroes in on the chronological geography of this. As in, there is a distinct sense of time in this episode, and a discussion of the past and future and their impact on the present.

Everything in this episode revolves around these two ideas, and so everything must be analysed through those lenses.

Starting with the runestones, which are an idea original to the 2018 reboot.

“It’s like…”

“…connection.”

Throughout this season, we have seen the princesses glow when they achieve camaraderie, and that glow is near identical to that of the planet balancing itself. Near identical. The runestones are shown to be more powerful than regular camaraderie.

We don’t actually know the origins of the Runestones, with the exception of them being native to Etheria. The Legend of the Fire Princess graphic novel has one in it that was created by the first ones, which implies that the others were not. But I am here to talk about the main series. (If you want me to discuss the book or any other supplemental media, my ask box is open).

As such, I find it important that the power of the Runestones, much like that of She-Ra, predates the First Ones, which means that it was not theirs to use.

In my previous post about She-Ra, I commented on the First Ones as colonialists, and this adds to that symbolism.

The First Ones co-opted something that was, by all accounts, sacred to the people of Etheria, or at least of significant cultural value. It was repurposed into a weapon that would, as a side effect, wipe out the planet. Cruel and uncaring. The First Ones viewed Etheria as a tool that could be cast aside when it was no longer of use, a worthy sacrifice.

In terms of our themes, this is most definitely abusive behavior, and that continues into the cyclical nature of that abuse.

I have also discussed how it doesn’t matter if the First Ones were the aggressors in their war or not. If the First Ones were under siege, then they felt the only way to defend themselves was to inflict more suffering on bystanders. The abuse they received turned them into the villains of this season. But I think the most important moment for this part of the episode is this:

In her desperation and powerlessness, Glimmer tries to destroy the Runestone.

The anger at being used has been turned against the First Ones, but they are using the culture of the people they have colonized as a shield. To get to us, you need to stab yourself.

It’s forcibly disconnecting the people from the symbol of their culture, metaphorically and literally breaking their connection and leaving them weak and in a place of vulnerability.

This wasn’t even intentional. I don’t think the First Ones sat down and schemed about how, when this master plan goes off, there will be one princess who tries to break the runestones. It was a side effect. All of this was a side effect.

The main role of this was to destroy a different force entirely, Etheria was never part of the equation. The First Ones were fighting a war with someone else, and Etheria was just a sacrifice that could be made.

Glimmer is technically surrounded by the corpses of her enemies here. That is the context for her statement that "we are the good guys". Yes, they are robots, but Emily is sentient, so...

Abuse is fundamentally selfish. To the abuser, it isn’t about the victim, it’s about the anger and often pain that needs to go somewhere. It’s about the power and control. The victim was just there. My feelings matter, my heart, my obsession, my anguish. You are a convenient scapegoat.

It is important to understand that this mindset is built on a misunderstanding.

There is a reason for it. Of course there is. Everyone has a reason for their behavior. That’s what the cycle of abuse is. You get so wrapped up in your own mind that other people stop existing, and you are left with empty shells around yourself. But having a reason does not make you right.

There are real people around the abuser and the abused. She-Ra is a series about those real people, hence why it is so human in almost every character. It is about the real people who are hurt by someone else’s drama, the real people who get burned by being too close, the real people who get caught in the crossfire.

The Runestones are symbolic of those real people en masse. Used as pawns, corrupted, and destroyed.

In that sense, they also relate to the episode theme of time. They are monuments of a distant past and a history even greater.

At the risk of oversimplification, Runestones in the real world are a Scandinavian concept that emerged before the Viking age but gained traction during it. The vast majority were dedicated to the fallen, but a fair few discussed everyday life and stand as monuments.

They also look nothing like those in She-Ra.

In She-Ra, the Runestones are aesthetically just gems and crystals that are big and look cool. So, why go with the name?

First and most obviously, it sounds magical. Runes sound magical and as any architect will tell you, a large part of any creation is the emotions it inspires. If you want a story about magic, saying “this is a glowing crystal called a runestone” is an easy way to do that.

Although, that does bring up an interesting meta question of why there is magic in this story? As in, what does it do for the themes?

I plan on delving into this question in more detail in a later post, so you have that to look forward to.

For the moment, however, the She-Ra has made a point of connecting magic to nature, and so the name “rune-stone” entangles magic to the ground itself. It is the bedrock of these civilizations.

The other reading is that the stones themselves serve as runes, which are in turn a form of written language and communication. They are the words of people long gone, although crucially, their descendants are still there.

This is how culture exists in a very real sense. Not merely through written words, but through the language and communication itself. Mythology and religion, history and philosophy. Word of mouth and art. Culture is not a static thing of aesthetics but a dynamic manifestation of shared ideas, and sometimes it dies out, but usually it just continues and evolves into new forms. It is everything that has come before and every word that is spoken.

I mean that literally. Every single word has a history and evolution that makes up its current form. The word "Silhouette" comes from a French who didn't like to spend money. Language is the manifestation of history and how it informs the present day. It’s part of everyday life, it is context.

The Runestones are that language as a physical manifestation that literally grants power, and the First Ones use them to destroy people. In this way, what the First Ones did was cultural appropriation, and I don't think my opinion is unpopular that this is, in fact, bad.

Moving on to Light Hope.

“Mara. Mara would not want me to… Mara was a traitor. She turned against her people.”

We have seen two sides of Light Hope. The one who Mara befriended, and the one whom has manipulated her way through half of the series. The weapon of war who couldn’t escape. The cycle of abuse come full circle.

We have seen Light Hope get humanised, and then cast that away. But as best we could tell, it was the system itself that overrode her free will.

This line, however, muddies the waters, because it reminds me of another in the same episode.

“People have hurt you, haven’t they? They didn’t believe in you. They didn’t trust you. Didn’t need you. Left you.”

Of all the people to draw a connection to, Light Hope’s dismissal of Mara is strangely reminiscent of Catra’s antagonism towards Adora.

The cycle of abuse hasn’t just happened before on a grand scale with the She-Ras themselves being destined for tragedy, but this specific plot has happened before, and look how it ended up.

Catra has spent the entire story addicted to power like a safety net. She craves being the highest ranked one in the room because it’s safer, but there isn’t much room at the top of the pyramid. You end up alone, and isolated, and with further to fall.

Catra has been trying to claim power like Shadow Weaver taught her, but has ended up like Light Hope. Alone in her tower, scheming, reminiscing, caught up in memory and spite.

This is a warning to Catra. Most obviously, change your ways. But just to be safe, don’t ever cut your hair and don’t ever start wearing white.

Once again linking back to the themes. The cyclical nature of this series is best exemplified by the threat of another season. This is a story that wants to end, to be free, but it keeps coming back to a song and dance.

I mean this as a compliment. This is the only series that makes me fear another season, but stay glued to my seat as I watch and love every moment. The screen protects me from what is happening inside, and the fact this is a story means that I can stop at any time. That isn’t a luxury the characters are given.

The aim of the series is to end.

And it will, that’s the key thing here. Everything ends. The cycle of abuse is not a true circle but a spiral that winds in on itself until disaster.

Light Hope and Mara are the emblems of a previous cycle. Their story ended in tragedy they couldn’t avert and that left naught but shattered people and places in its wake. Light Hope was Catra, she was someone who was happy. But now she is an instrument of the system that drove them apart, unable to understand or take comfort from Adora until the end, begging for Adora to "do it", begging for death. This is who Catra will be.

Don’t believe me? There is only one other person who uses the words “do it” in this episode. Can you guess who that is?

“What are you waiting for? Do it. Looks like we're both alone, Sparkles.”

There is, however one majour difference between the old story and the new. This rendition isn’t over yet.

I haven’t seen nearly as many Marvel films and TV series as I should have. I saw Infinity War and End Game, I saw Thor: Ragnarok, and I watched Moon Knight, but other than that, I mostly never cared for the series as a whole. I didn’t dislike the films, I just never cared that much.

Which is honestly weird, because I read comics on the regular, and got into comics through Marvel. I started with a Spiderman one shot in the Clone saga, and while I wouldn’t call myself a comic nerd by any stretch of the imagination, I was enough in the spaces to know who Jeff the Land Shark was before Marvel Rivals was a thing.

The reason I bring this up is to recommend a series I left out of the above list, Joe Pokaski’s Cloak and Dagger, which ran from 2018 to 2019.

I had read a few comics featuring the eponymous heroes before I saw the series, so I knew vaguely who these people were, but this was one of those series that got me at just the right time to leave a lasting mark on my psyche.

Most notably, this is the place from which I get the phrase “There’s always a point of no return. It’s called the end.” But there’s a little more to it.

The premise of this series is that Luisiana is always saved by two kids, and that one of them will always die in the process. Tyrone and Tandy (Cloak and Dagger respectively) spend the series trying to find a way to escape this cyclical tragedy.

The season one finale will always break me, because we see the moment when Tandy comes the closest to being the one to die, and it’s not in an overly violent fashion, it’s in a phone call.

The two are trapped in a surreal, timeless landscape, and Tandy is presented with a phone using which she can call her deceased father a moment before he dies. She picks up the phone, has a brief conversation, and then the line goes dead. She picks up the phone again and has the same conversation. Again, and again, and again. Just one moment.

Tyrone asks her to leave, she refuses, so he asks her how long she has been there, a question to which she has no clear answer.

If Tyrone hadn’t rescued her, Tandy would have as good as died there and then. Lost to a memory. Lost to the trauma of losing her father playing back to her over and over again.

Cloak and Dagger are played by Aubrey Joseph and Olivia Holt, and while Holt's performance as Tandy in this scene is the showstopper, it would be remiss of me to not mention Joseph's portrayal of Tyrone as he realises what is happening and tries to stop it.

There is always a moment of no return. It’s called the end.

You lose when all hope is lost. You lose when you give up. You lose when you let everything consume you. You lose when you stop trying to escape.

Cloak and Dagger keep getting told that one must live and one must die, and their response is “how about no?”.

Light Hope lost. She became the monster that created her. But that cycle ain’t done for the here and now, Adora and Catra can fix this.

This actually moves really nicely into the third and final element of this episode that I would like to discuss. The title.

Destiny and fate are funny things, aren’t they? They don’t actually mean anything. Not tangibly, anyway. Yes, yes, your fate and your future are one and the same. But that isn’t a fair metric, is it?

Is fate inescapable? Was I fated from birth to write this post? Was my future laid out for me? Or does it work slightly differently?

I am partial to the dichotomy between fate and free will. That being, a person with free will has the autonomy to make their own way in the world and decide their own fate, whereas everyone else is just pulled along by the strings of time. I think this is sweet.

In practice, I have found one way of writing destiny that I like. Nature.

For the record, I am including nurture within this. A person’s nature is just who they are, their history and goals, their fears and hopes.

Specifically, life experiences make up a person. If I find an arachnophobe and I give them a spider, I can be pretty sure how they will react. That is your destiny. It is the path set in front of you by yourself. There is freedom to wiggle within that, but everyone has a set of key components that make up their personality, and in the right circumstances, this can be manipulated.

I could go for the obvious here and talk about how God Of War: Ragnarök leverages this to talk about trauma. I could. It would certainly fit with She-Ra’s discussion of that concept through the cycle of abuse.

But instead, I am going to recommend you the video by Overly Sarcastic Productions (@comicaurora) about that very topic (link) and go further into the past with Charles’ Dickens’ A Christmas Carrol, or more photogenically, the Muppets film of the same name.

“Are these the shadows of things that will be? Or are they the shadows of things that may be only?”

A Christmas Carrol delves into themes of redemption and capitalism, and I will die on the hill that Charles Dickens had a wicked and very dark sense of humour that was brought about by the time in which he was writing. But for the purpose of this post, the book wields the future like a threat.

“Your chains are forged by what you say and do.

So have your fun, when life is done, a nightmare waits for you.”

In A Christmas Carrol, fate is just consequence. Cause and effect. The book is about three ghosts appearing to a miserable old man who thinks he is alone and unimpeachable and showing him multiple occasions when his life was directly impacted by others, for better and for worse, and the effect that his life is having on others.

It opens with a warning from the ghost of Scrooge’s business partner/partners. Cause: Greed. Effect: Chains. Easy one two punch.

It is crucial to me that when Scrooge finds his grave and asks if the future can be changed, the spirit gives no response. It doesn’t give him comfort, but it also doesn’t tell him his future is set. You can try and change your fate. Go for it. If you don’t you will end up here. Alone even in death, but still buried like every other man. There are no coins in your coffin, just memories.

The point of no return is called the end. You decide what that will end up being.

Adora and Catra have been thrust into this story by their natures, and they have been positioned in such a way that can only lead to destruction.

It was in Catra’s nature to take Adora leaving as badly as she did, because she has grown up being told that affection is exclusive and that a person can only care about one other person. She has been taught love in an incredibly dysfunctional way, and she is just a traumatised child, but she’s a traumatised child who is actively wrecking other people’s lives.

Similarly, Adora is a hero in the most self-destructive way possible. She has to save everyone, has to destroy herself for everyone else’s happiness. She is a pawn in a war and she will burn herself to the ground to feel any kind of warmth and it will kill her.

It is these two’s destinies which clash. The cycle of abuse is a spiral that leads to destruction. The tragedy is tragic. So, what do?

To change your fate, you make the decision to change your nature. An arachnophobe can overcome their fear, Scrooge could become a charitable man, Adora and Catra can escape.

If we lean back into the path metaphor. Your nature is a road that itself is moving towards a destiny. If you try and get off it, you will fall over. But you can reach the edge. You can break free. You can start moving in a different direction.

It is always possible to change.

Before I finish up, I want to discuss Horde Prime’s introduction, because he is fantastically incurious in a way that leans into what I have been saying about the inherent self-centredness of abuse.

“You have forgotten who you are. You truly think you are worthy to stand beside me, could be equal to me?”

If Horde Prime was reading Hordak’s mind, he would have seen the portal and the source of the energy reading. He would have been curious as to its use. But no, he projected.

It didn’t matter what Hordak did, it would never have been enough. The fact that he gave himself a name was sufficient to warrant animosity. Prime didn’t need a reason, he needed an excuse to show off his power to Glimmer, but also to himself.

Side note here, Horde prime is played by Keston John, who also plays Darius in The Owl House, and has a voice that can melt butter.

I say this because he turns that off like a switch as he shouts down the powerless Hordak. That grace and smoothness is gone for a horrible growl.

This tiny little gesture as Prime draws back his hand before he strikes. He's deliberately offering Hordak grace and kindness, deliberately making it clear that they were an option and he chose violence. He is giving hope so that it stings even more when he takes it away.

Which presents a question: Is Horde Prime actually put together? Is the snarling monster a tool that he uses? Or is it the real man? Does the distinction matter?

Prime has to be told about the weapon. He doesn’t think for himself, he just coasts off everyone else’s misery.

This man is a physical threat, sure. We have seen that in previous episodes. But here he establishes himself as a thematic force in the narrative. He is an abuser, he is a manipulator, he is selfish.

Horde Prime is terrifying.

Final Thoughts

I had meditations about Arcane and Shakespeare in this that I had to cut because this is one of the longest posts I have ever written.

I want to stress that She-Ra as a series didn’t go places. It didn’t cover new ground as it progressed. Episode two of series one shows a home destroyed by the trauma of a war and the psychological damage that the cycle of abuse can do to a person. She-Ra started here, it just got blunter as the characters got more and more wrapped up in their own heads. Eventually, the show literally wrote its themes on the walls.

This is a tragedy desperately trying to happen. That’s what’s so compelling about the final season yet to come. The character’s have one last moment to get their arses off that road to the end of the world.

Last chance. Last stop. The point of no return is called the end.

Next week we are diving straight into season five, so stick around if that interests you. Let’s do this thing!

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literary-illuminati · 14 days ago

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2025 Book Review #3 – Fifteen Dogs by Andre Alexis

My mother recently retired and cleared out my childhood home, part of which involved throwing out a lot of books. So I have come into possession of a lot of weird literature no one remembers ever actually buying, which is honestly pretty exciting. This was one of them, a tragic bit of literary modern fantasy about the titular canines being uplifted to human intelligence and it ending in general quite badly for them. Not at all light reading, but interesting and very affecting at points.

The plot concerns a wager between Hermes and Apollo, regarding whether a human’s intelligence is a blessing or a curse. To settle the matter, they gift all the dogs that happen to have been left in a random Toronto vet clinic overnight the power of human thought, and bet two years of servitude to the other on whether any of them will die happy. With occasional divine interludes, the story mostly then follows the dogs – first as a pack, and then tracing each life separately with occasional unhappy reunions – from uplift to death.

This is an incredibly high concept sort of book – coming in expecting anything like traditional urban fantasy or contemporary litfic and you will be deeply confused. It is literature in a sense, I suppose – the prose itself isn’t particularly adorned or eye-catching, but it is very concerned with interiority and subjective experience, and in any case there are fifteen different poems scattered throughout the book. But far more than that, it’s philosophical fiction – which is to say, very explicitly theme-first and contemplative of the Big Idea its turning around, with the actual story being basically in service to that.

That big idea if ostensibly about whether intelligence and self-reflection are a blessing or a curse, but it’s at least as much about the degree to which its possible to live a happy life in a world full of misery and where nothing but luck keeps everything you love from being taken from you in an instant. Few of the dogs live happily – they kill each other, they make themselves miserable attempting to regain the thoughtless purity of their prior existence, they become entrapped in toxic hierarchies of status and dominance. And on the other they starve, they’re hit by cars, they eat poison, they’re abused and neglected by the humans they relied upon. It is a book with a very tragic sensibility, all in all – even the dogs with the good luck and character to find happiness always live at the risk of some divine fit of pique. In this the use of the Greek Gods as characters fit very well – Apollo taking one of the dog’s sight and hearing in annoyance with him seems entirely of a piece with how the myths often go.

As for solutions – the book’s later parts focus a great deal on two dogs who have, more or less, good lives. It is, on the whole, very positive about love (at least, a specific kind – affection devotion and most importantly understanding between equals) - but equally concerned with how ruinous losing someone whose thread of life is intertwined so tightly with yours can be. It clearly thinks there’s something a bit noble and sacred to living as a monument to grief, but equally doesn’t think doing so can really be called a good life. Instead – and this is almost too predictable, simply because it’s written by the kind of person who writes elaborate philosophical fiction – the book presents a life dedicated to poetry and art, thought and self-reflection, to beauty however fleeting it is to be the best suited to appreciating life in all its miseries. It is, as I said, quite philosophical about it.

The book also accidentally fulfills any Canadian Content obligations I had for the year. It’s a book set in and deeply in love with the geography and character of Toronto (if often a jaundiced and teasing sort of love). Honestly it talks about the city in a way I usually only see fiction discuss New York or parts of California.

As an exploration of actual canine psychology, it varies between interesting and tiresome. I rather wish any of the female dogs had survived longer or gotten more focus, just for a bit of variety on all the oft-offered opinions about mounting and heat. The fifteen poems included in the book all being the result of a project to write poetry that listening to would have an affect for humans and dogs is, at least, a very cute bit of trivia.

But yeah, interesting piece of fiction. Read if you like these sort of meditations and can take lots of unhappy and dead dogs in your stories.

#book review #fifteen dogs #andre alexis #literature #cancon #2025 #21st century

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novlr · 8 months ago

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My MC loves rasing plants. Can you give any tips on how to incorporate that into the story?

Plants can serve as powerful symbols, metaphors, and plot devices, adding depth and richness to your stories, and are a great thing to include in your narrative! Whether you’re writing a lush, vibrant garden scene or a barren, lifeless landscape, incorporating plants into your writing can help you create immersive and memorable settings, but they can also serve to develop complex characters and worlds by considering your characters’ relationships with them or incorporating them into your world’s mythos.

The symbolic meaning of plants

Plants have long been associated with various symbolic meanings across cultures and traditions and can symbolise various themes and emotions. We have an introduction to the symbolism of flowers in this Tumblr post; however, here are some more ways you can think about how to incorporate the symbolism into your own writing.

Consider the real-world cultural symbolism you want to draw from. Symbolism that is common in one country, and one period of time may not be the only way to represent something.

Think about the health of the plants. For instance, wilted flowers can symbolise decay, loss, or the passage of time.

A character’s relationship with a plant can reveal aspects of their personality or emotional state, especially when combined with that plant’s symbolic nature.

The growth or decay of a plant can parallel a character’s personal growth or decline in line with the character trait that plant represents.

Consider researching whether a plant has multiple symbolic meanings and whether you can use that to give your characters depth.

Use plants to develop characters

Plants can also be used to develop characters by reflecting their personalities, backgrounds, or emotional states. For example:

A character who meticulously tends to their plants may be detail-oriented, patient, and disciplined.

A character with a neglected or overgrown garden might be struggling with personal issues or feeling overwhelmed.

A character who keeps a specific type of plant, such as a rare orchid, may have a unique backstory or quirk.

A character’s favourite plant or flower can reveal their cultural background, memories, or aspirations.

An allergy or aversion to certain plants can add depth to their personality and create potential conflicts or challenges.

A character’s knowledge of plants, such as their medicinal properties or cultural significance, can showcase their intelligence, education, or heritage.

Writing plants into world-building

In the setting of your story, plants can play a crucial role in world-building. Consider the following:

If writing genre fiction, create unique, fictional plants that have specific properties or uses within your world, such as a plant that glows in the dark or one that can heal wounds.

Use plants to create a sense of atmosphere or mood. A dark, foreboding forest can evoke feelings of danger or mystery, while a lush, vibrant garden can convey a sense of peace and tranquility.

Consider how the climate and geography of your world would influence the types of plants that grow there. A desert setting might feature hardy, drought-resistant plants, while a tropical setting would have more lush, exotic vegetation.

Incorporate plants into your world’s mythology or folklore. Certain plants might be sacred to specific cultures or have legendary origins.

Show how plants are used in daily life, such as for food, medicine, clothing, or shelter, to add depth and realism to your world.

Create atmosphere with plants

Plants can be powerful tools for creating atmosphere and setting the mood in your writing.

Consider the sensory details associated with plants, such as their scent, texture, and appearance.

Use vivid descriptions of plants to immerse your readers in the setting and convey the desired emotional tone. The presence or absence of plants can also symbolise the overall state of the world or society.

Use plants to create contrast between different settings or to reflect changes in the story’s tone.

If your characters are associated with plants, show how their stories develop and change by reflecting those same changes in the plants that surround them.

Plants as plot devices

Plants can serve as powerful plot devices in your stories. They can be used to:

Create obstacles or challenges for characters, such as a poisonous plant or a rapidly growing vine that blocks their path.

Provide clues or solutions to mysteries, like a rare flower that holds the key to a puzzle.

Serve as a catalyst for character growth or change, such as a character learning to nurture a plant and, in turn, themselves.

Represent the passage of time or the changing of seasons, mirroring the story’s progression.

They can be used to create suspense and foreshadow future story beats.

Serve as a symbol of hope or resilience if they survive and flourish despite harsh conditions.

Research plants for authenticity

When incorporating real-world plants into your writing, it’s essential to research their characteristics, habitats, and cultural significance to ensure authenticity. Things to look for might include:

Research the specific characteristics, growth patterns, and care requirements of the plants you include.

Consider the climate, soil type, and seasonal changes that affect the plants in your story’s setting.

Use reliable sources such as botanical gardens, gardening books, or online plant databases.

Incorporate sensory details such as the texture of leaves, the colour of flowers, or the taste of fruits.

Avoid relying only on stereotypes or generalisations about plants to maintain authenticity.

If you’re writing about a specific culture or time period, research the plants that were significant to that context and how they were used.

Visit local gardens, parks, or natural areas to observe plants firsthand and gather inspiration for your descriptions.

#writing #writeblr #writing tips #writing asks #writers #creative writing #writing community #writers of tumblr #creative writers #writing inspiration #writerblr #writer #writers on tumblr #writing advice #writing resources #writers and poets #helping writers

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olis-inkwell-symposium · 3 months ago

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As I develop my Pantheon and world of Sonoric Sorcery, I created a detailed guide for…

Geographical Creation by Divine Influences

Purpose and Cosmic Intentions

Start by determining the underlying reasons for the gods’ involvement in geographical creation. Did they shape the world to foster life, establish realms for their divine power, or create natural barriers for protection or punishment?

Establish how the divine will interacts with the world—whether it’s nurturing or harsh, collaborative among deities or singularly tyrannical.

Pantheon Influence and Divine Roles

Outline which gods or celestial beings are responsible for specific parts of the world. A god of oceans might have sculpted the vast seas, while a god of fire could be the origin of volcanic regions.

Clarify if these divine creators acted alone, in alliances, or through conflicts. Introduce rivalries where a god of order creates plains and structured landscapes while a chaotic deity disrupts them with jagged mountains and whirlpools.

Creation Myths and Narratives

Craft epic stories that detail the moments of creation. These myths might include dramatic events, such as titanic battles that split continents, tears shed by a mourning goddess creating lakes, or the laughter of a trickster god forming rolling hills.

Ensure these stories are not just tales but have religious and cultural significance, with ceremonies or pilgrimages tied to these narratives.

Unique Divine Marks on the Landscape

Highlight distinct features that could only be formed by gods. This might include:

Sacred Mountains: Peaks imbued with divine energy, often home to shrines or ancient temples.

Enchanted Forests: Woodlands blessed or cursed by gods, filled with mystical creatures or shifting paths.

Celestial Rivers: Waterways said to carry pieces of stardust, linking the mortal world to celestial realms.

Mythic Abysses: Deep chasms rumored to be gateways to the underworld or places of divine punishment.

Mortal Interaction with Divine Geographies

Explain how mortals view and interact with these divine creations. Do they see them as blessings or threats?

Are there rituals or traditions based around sacred lakes, healing springs, or cursed wastelands? Define the taboos or reverence attached to certain areas.

Divine Errors and Cataclysms

Introduce instances where divine actions caused unintended destruction or shifts. For example, an angry god might have triggered earthquakes that reshaped the terrain or split civilizations apart.

These cataclysms could be seen as divine retribution or warnings, shaping not just the land but the evolution of societies and their beliefs.

Cross-Pantheon Influence

Determine if the world’s geography shows the influence of multiple pantheons or opposing divine forces.

This can create places where magical energies clash or merge, resulting in areas that defy natural laws, such as floating islands, frozen deserts, or fire-fueled glaciers.

Residual Divine Power and Resources

Discuss the remnants of divine creation in the form of powerful minerals, crystals, or herbs that mortals seek for their magic or technological advancements.

These elements might carry divine essence, offering great power but at potential costs to those who use them.

Geopolitical and Theological Influence

Describe how these divine creations influence politics and power dynamics. For example, a city might be built around a sacred waterfall said to have healing properties, making it a pilgrimage site that brings wealth and influence.

Other civilizations might go to war to control such places, viewing them as conduits of divine favor.

Mystery and Forbidden Zones

Leave space for unexplored or forbidden areas said to be shaped by gods whose motives are unknown or feared.

These could be deserts filled with mirages, haunted forests, or towering monoliths etched with inscriptions no mortal has been able to decipher.

This template provides the framework to enrich your world with divine geographies, turning the physical landscape into a character itself, imbued with history, power, and profound cultural meaning.

tag list ; @slenders1ckn3ss @lucistarsfire @mai2themai @fond-illusion @p00lverinecentral

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danika-redgrave124 · 3 months ago

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Astralis Geography and Environment

Fauna

Starflame Phoenix

A majestic bird with feathers that shimmer like a night sky filled with stars. The Starflame Phoenix can emit bursts of cosmic fire that glows with a blue and violet hue. Its song is said to be soothing, capable of calming even the most turbulent emotions. These phoenixes are known to regenerate from their ashes, making them symbols of rebirth and immortality.

Habitat: Found in the Astral Mountains and floating islands of Astralis, they nest in high, secluded areas close to the stars.

Luminal Deer

Elegant, graceful deer with antlers that glow faintly, like the light of the moon. Their fur is silvery-white, and they move silently, blending seamlessly with the light and shadows of their surroundings. The Luminal Deer are gentle creatures, often associated with serenity and peace.

Habitat: These deer inhabit the Moonlit Meadows and Starfall Forests, where they graze on glowing grass and stardust-infused plants.

Nebula Wolves

Large, powerful wolves with fur that resembles swirling nebulae, shifting in color and pattern as they move. Their eyes are bright and piercing, glowing with the intensity of stars. Nebula Wolves are known for their intelligence and strong pack bonds. They are also capable of short bursts of teleportation, leaving trails of stardust in their wake.

Habitat: They roam the Ethereal Plains and Stardust Canyons, hunting in packs and often guiding travelers who are lost.

Astral Jellyfish

Ethereal, transparent jellyfish that float through the air as if swimming in water. Their tendrils are long and delicate, glowing with a soft light that pulses in rhythm with their movements. These jellyfish are harmless and often travel in large groups, creating mesmerizing displays of light in the skies of Astralis.

Habitat: They drift above the Starfall Seas and the floating islands, sometimes seen near the Dreamgate where they are believed to feed on residual dream energy.

Stardust Butterflies

Small, delicate butterflies with wings that sparkle like glittering stardust. Each butterfly's wings display a unique pattern resembling constellations. These creatures are symbols of transformation and are often seen fluttering around during celestial events, drawn to the energy of the stars.

Habitat: They are commonly found in the Celestial Gardens and Starlight Groves, where they help pollinate the cosmic flowers that bloom there.

Comet Foxes

Agile and cunning foxes with fur that shimmers in shades of orange, red, and gold, like the tail of a comet. These creatures are known for their speed and stealth, often moving so quickly they appear as streaks of light. Comet Foxes are playful and curious, but also fiercely protective of their territory.

Habitat: They dwell in the Firefly Fields and the rocky outcrops of the Astral Mountains, where they build dens illuminated by bioluminescent moss.

Cosmic Whales

Enormous, gentle creatures that glide through the skies of Astralis, resembling whales in appearance. Their bodies are covered in star-like markings that pulse with a calming blue light. Cosmic Whales are peaceful, often traveling in pods and singing hauntingly beautiful songs that can be heard across great distances.

Habitat: These magnificent beings traverse the skies over the Astral Seas and the higher altitudes of the floating islands, often associated with deep wisdom and the mysteries of the cosmos.

Celestial Serpents

Long, sinuous serpents with scales that glimmer like polished gemstones. Their eyes are luminous, and they can blend into their surroundings with ease, making them nearly invisible. Celestial Serpents are revered as guardians of ancient knowledge and are often found in the temples and sacred sites of Astralis.

Habitat: They are usually found coiled around the pillars of the Temple of the Eternal Night or within the Crystal Caverns, where they guard hidden treasures and ancient texts.

Radiant Fireflies

Tiny insects that emit a soft, warm light. Unlike ordinary fireflies, Radiant Fireflies can change the color of their glow, creating a dazzling display of lights that can be seen from miles away. They are often used by the Starborn as natural lanterns and are considered a symbol of hope and guidance.

Habitat: These fireflies are abundant in the Starfall Forests and Luminous Marshlands, where they create mesmerizing light shows at night.

Dreamweaver Moths

Large, ethereal moths with wings that appear to be woven from dreams themselves, shifting and changing colors based on the dreams of nearby beings. These moths are believed to influence the dreams of those they touch, often leaving behind trails of dream dust that can induce visions or lucid dreaming.

Habitat: They are most commonly found near the Dreamgate and in the Veilwood, a mystical forest where the boundary between reality and dreams is thin.

Flora

Starblossom Trees

Towering trees with silver bark that sparkles faintly in the light. Their leaves are shaped like stars and emit a soft, ethereal glow, especially during the night. The flowers of the Starblossom Tree are luminescent, opening only under the light of the stars and releasing a sweet, calming fragrance.

Habitat: These trees are commonly found in the Starfall Forests and around the Temple of the Eternal Night. They are revered as sacred trees, often used in rituals and ceremonies.

Moonvine

A delicate, climbing vine with silver leaves and flowers that resemble small, crescent moons. Moonvine blooms only at night, and its flowers reflect the light of the moon, creating a shimmering effect. The plant is known for its healing properties, particularly in calming and soothing spells.

Habitat: Moonvine thrives in shaded areas like the Luminous Marshlands and along the walls of ancient ruins. It is often cultivated in the gardens of healers and within the Temple of the Eternal Night.

Aurora Blossoms

These flowers bloom in clusters and display a mesmerizing array of colors that shift and change, much like the auroras in the skies of Astralis. The petals are soft to the touch and are known to emit a gentle warmth. Aurora Blossoms are often used in crafting potions and elixirs that grant temporary enhancements to magical abilities.

Habitat: Aurora Blossoms are found in the Celestial Gardens and the Ethereal Plains, where they add bursts of color to the landscape. They are prized for their beauty and magical properties.

Stardew Lilies

Elegant, water-loving lilies that bloom on the surface of Astralis' many lakes and ponds. Their petals are a deep indigo, speckled with tiny, silver spots that resemble a starry night sky. Stardew Lilies are known to absorb starlight, and their nectar is used in various potions and spells related to dreams and visions.

Habitat: These lilies are abundant in the Starfall Seas and the serene waters of the Veilwood, where they create a peaceful, reflective atmosphere.

Comet Ferns

Ferns with fronds that glow softly in the dark, each leaf tipped with a small, comet-like flare. These ferns are resilient and can grow in both light and dark environments, often seen in areas where other plants struggle to survive. The fronds of Comet Ferns are often used in protective charms and spells.

Habitat: Comet Ferns thrive in the Stardust Canyons and the rocky outcrops of the Astral Mountains, often found near the dens of Comet Foxes.

Lumina Orchids

Rare, bioluminescent orchids with petals that emit a soft, cool light. The flowers of the Lumina Orchid are highly sought after for their beauty and the calming energy they radiate. The orchids have a delicate, sweet scent that is often used in perfumes and potions for relaxation and mental clarity.

Habitat: Lumina Orchids grow in the Moonlit Meadows and the hidden corners of the Crystal Caverns, where they are carefully protected by the Starborn who cultivate them.

Celestial Clover

A type of clover with leaves that shimmer with a faint silver hue. Each leaf has a unique pattern that resembles a constellation, and the plant is considered a symbol of good luck and fortune. Celestial Clover is often used in crafting talismans and good luck charms.

Habitat: This clover is commonly found in the Firefly Fields and the open plains of Astralis, where it is often gathered by those seeking to bring good fortune into their lives.

Nebula Moss

A soft, velvety moss that glows with a gentle, multicolored light, resembling a nebula in miniature. The moss is often found covering rocks and tree trunks, creating a mystical ambiance wherever it grows. Nebula Moss is used in various magical practices, particularly those involving protection and concealment.

Habitat: Nebula Moss thrives in the Veilwood and the Crystal Caverns, where it creates an otherworldly glow in the dim light.

Dreamweaver Vines

Enchanted vines that seem to pulse with a gentle, dreamlike energy. The vines have leaves that are deep blue with silver veining, and they are known to influence dreams and visions of those who come into contact with them. Dreamweaver Vines are used in the creation of dreamcatchers and other items meant to protect and enhance dreams.

Habitat: These vines are commonly found near the Dreamgate and in the Veilwood, where they drape over ancient structures and trees, creating a sense of mystery and magic.

Starfruit Trees

These trees bear fruits shaped like stars, which are highly nutritious and have a sweet, slightly tart flavor. The fruits are often used in various dishes and potions, known for their energizing properties. Starfruit Trees have glossy, dark green leaves that glisten under the light of the stars.

Habitat: Starfruit Trees are found in the Starfall Forests and are a key part of the diet in Astralis, often used in the popular Starfruit Salad.

Radiant Roses

Roses that bloom in the dark, their petals glowing with a soft, radiant light. The Radiant Rose is a symbol of love and beauty in Astralis, often given as a gift to express deep emotions. The petals of these roses are used in love potions and spells, believed to enhance feelings of affection and connection.

Habitat: Radiant Roses are cultivated in the Celestial Gardens and are also found in wild groves scattered across the Moonlit Meadows.

Cosmic Cacti

Cacti with spines that sparkle like tiny stars. These plants store cosmic energy within their thick, fleshy stems, and their flowers bloom only once a year, releasing a burst of stardust when they open. Cosmic Cacti are known for their resilience and are often used in spells of endurance and strength.

Habitat: These cacti grow in the arid regions of the Stardust Canyons and on the floating islands of Astralis, where they withstand the harshest conditions.

@cosmichoney22 The Nebula Mist Blue Rose

A beautiful flower with the colorful array of the most vibrant nebula. They’re also the rarest and most sought after rose because they bloom every 500 years, and is incredibly volatile for many things ranging from food, to drinks, even medicine.

Habitat: The hidden corners of Crystal Caverns since the flower is sio rare, the likelihood of it popping up anywhere else in Astralis is very slim.

#twisted wonderland #twisted wonderland x reader #twst #twisted wonderland yuu #twst yuu #disney twisted wonderland #winx yuu #winx club x twst #winx club x twisted wonderland #winx club

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shadowqnights · 1 month ago

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can i ask what you have in store for the divine warriors 👀

writing the divine warriors for me mostly is because i love historical context and worldbuilding - most of my notes so far cover pre-divinity and childhood. i guess what i have in store in terms of changes covers what i feel the divine *could* have been. i don't necessarily want their stories precisely expanded on in canon because i think they can serve better as ideas n concepts n expectations for canon to live up to, but for me personally -

having pre-divinity context of the world and how ru'auni (prior to becoming ru'aun) functions. i am loving working on the ru'aun geography rn. rearranging the timeline of divinity + what in canon is the war of the magi, which actually gets shifted around and revamped. the wyvern conflicts happen first and have nothing to do with shad. connecting mystreet's zi'tah lore to early mcd and by extension that goes hand in hand with the newly designed continent that ties into zi'tah.

in terms of character:

sorry but i hate how 90% of everyone treats rewriting menphia. hell i hate how canon treats her. i have a lot in store to tie her into zi'tah, scholarship and witchcraft & and her relationship to irene and shad in particular - she's one of the divine warriors who's receiving not only a title change but a huge shift in canon direction, which wasn't much to begin with. she probably has the most Original content, since her homeland is the new continent and ties directly into my rewrite of zi'tah.

drawing esmund a little closer into o'khasian history - a duke's son that becomes a knight for his king & becomes involved in wyvern hunts prior to becoming faithful to irene. i want to bring more context into garroth's lineage and o'khasian history as a whole. he's the only divine warrior that serves the king for a time and acts out against the other divine prior to his abandoning the city.

i love kul'zac but also i hate him he has been a pain in my ass. he has revamped titles but his goings on are probably the loosest of the divine thus far - he's got one of the healthiest genuine connections to irene and whats in store mostly ties into falcon claw & my aaron rewrite! which was briefly touched on in loverman but is kept for my rewrite. i also plan to have him involved briefly with the sacred forest alongside hyria and irene's relationship.

irene & shad were also touched on in loverman but whats in store for them is truly just Extending on canon and fattening their stories up. irene is already an incredibly interesting character so i'm mostly just building out from canon thru her relationships, childhood and the rearranged timeline. whats in store for shad revolves around a big shift in spirituality before the divine warriors, how mages fit into the worldbuilding, nether worldbuilding & just making some of the canon notes more filled out.

enki is also not changing much, most of the separation from him and canon is simply to do with his relationship with the devourer (azriel, aka the demon warlock) and the gal'ruk worldbuilding. most of whats in store with him is actually just azriel JFDJKDKJF.

i'm not infodumping too much about each of them specifically unless asked but this is just a general idea of what i have planned for them to connect to in mcd!

#minecraft diaries #aphmau #by the light

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the-whatcherof-89 · 3 months ago

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Sir CyberKnife Herald of order.

CR 22 LG Medium Humanoid (Orc, Humanoid)

XP 614,400 (if used as npc for encounter)Advanced Half orc Bard(Negotiator)12 Paladin(Scion of peace)8

Lawful Good Medium humanoid (half orc)

Init +7; Senses Perception +39

AC 36, touch 25, flat-footed 29, (+7Natural, +5Deflect, +6Armor, +5Shield, +7Dexterity, +1Intuition) Hp 225 (12d8+8D10+148)

Fort +33, Ref +33, Will +36

Speed 30 ft. Melee Diplomat3+28/23/18/13 1D6+4, Spells. Ranged Bow of Artaphernes+32/27/22/17 1D8+8, Spells.

Racial Speed 30ft, Darkvision 60ft, Human-raised, sacred tattoo, Orc blood.

Traits Noble Savage.

Class features Hard bargain, Bardic performance(Counter-argument, Fast talk, binding contract, Distraction, Fascinate, Inspire competence, Suggestion, Dirge of doom, Soothing performance), Master of rhetoric 2/day, Well-versed, Jack of all trades, Rogue talents(Finesse rogue, Charmer, Ranged disarm, Slippery mind), Scion’s faith, Egalitarian, Aura of good, Detect evil, Smite evil3/day, Bonded eagle, Lay on hands, Aura of courage, Divine health, Channel positive energy, Mercy(Deceived, Riled), Consensus.

Spellcasting CL12(Bard) Daily 8/8/7/6 CL5th(Paladin) Daily 4/4 DC22.

Known(Bard): 0-Read magic, Mage hand, Prestidigitation, Detect magic, Repair, Message. I-Charm person, Hideous laughter, Grease, Cure light wounds, Animate ropes, Alarm. II-Cure moderate wounds, Calm emotions, Mirror image, Enthrall, Hold person. III-Haste, Good hope, Dispel magic, Charm monster. IV-Hold monster, Summon monster IV-Freedom of movement, Illusory terrain.

Prepared(Paladin): I-Bless, Lesser restoration, Build trust, Detect undead. II-Resist energy, Bull’s strength, Shield other, Zone of truth.

Str 12, Dex 24, Con 24, Int 24, Wis 22, Cha 34

Base Atk +17/12/7/2; CMB +13; CMD +20

Feats Scribe scroll, Combat expertise, Precise shot, Improved disarm, Deadly aim, Adept champion, Outflank, Leadership, Point-blank shot, Spell focus(Enchantment), Greater spell focus(Enchantment).

Skills Acrobatics+30, Appraise+11, Bluff+22, Climb+9, Craft(Calligraphy)+30, Diplomacy+46, Disguise+16, Escape artist+30, Fly+11, Handle animal+16, Heal+12, Intimidate+22, Knowledge (Arcana+29, Dungeon+15, Engineering+15, Geography+15, History+15, Local+21, Nature+15, Nobility+15, The planes+15, Religion+15), Linguistics+4, Perception+29, Perform(Oratory)+35, Profession(Ambassador)+15, Ride+11, Sense motive+45, Sleight of hand+15, Spellcraft+28, Stealth+15, Survival+10, Swim+5, Use magic device+33.

Leadership score (40)Cohort lv17th Followers I-135 II-13 III-7 IV-4 V-2 VI-2 (Special modifications due to the Kingstone)

Languages Common, Orcish, Giant, Abyssal, Draconic, Ignan, Aquan, Necril, Alko, Sylvan, Tongues(via the Kingstone).

Combat gear Diplomat3(Disarming blade+Diplomat’s traveling stick+ Defending rapier+4), Bow of Artaphernes(Adaptive Cunning Allying dispelling Longbow+5), 50+3 Arrows, Clod iron longsword, Uniform of Apollonius(Heavy fortification Iadran dress uniform+3), Ring of protection+5, Ring of tactical precision(Outflank), Amulet of natural armor+5, Quick-block buckler, Staff of bolstering, Headband of mental superiority+6(Escape artist), Belt of physical might+6(Dex, Con), Cloak of Diogenes(Cloak of the diplomat+Cloak of resistance+3), Inquisitor’s monocle, Bracers of steadiness, Bag of holding(Type I), Tome of leadership and influence+3(Used), Ioun stones(Lavender and green ellipsoid, Dusty rose prism), Potions of gaseous form(4), Scrolls: Haste(1), Heroism(1), (Summon monster IV(3), Bard’s kit, 373GP, The Kingstone(Artifact).

The Kingstone(Artifact) Aura(Strong enchantment) CL18th Description:

This artifact looks like a finely-carved marble sphere with runes of gold inscribed in various languages reciting poems of kings and rulers which changes every day. The stone can be carried by anyone but only those who are worthy can use its powers. Those deemed unworthy will have the stone turned into a cursed artifact known as a Loadstone. However, should one work to find a suitable user, the stone will guide the holder toward the “Ideal King” via prophetic dreams and other means granting the power to use Divine Favor upon itself once per day. Once the stone finds the “Ideal King” it will bestow its powers upon him which includes the following: 1)The user is constantly under the effect of of the following spells: Divine Favor, Tongues and Heroism. 2)All effect of auras, inspiration and Charisma-based skills, abilities and spells double the area which they cover normally, their other effects remain unchanged. 3)Finally, if the user manages to become a ruling figure of a kingdom or to be accepted as a king, the stone allows to the user to project an illusory image of the kingdoms and it will automatically know if there are enemies in the land(such as an invading army). This effect functions as the spell Sand Table. 4)All the authority bonuses increases by +3, furthermore, the user can summon an extra Monstrous Cohort of the appropriate level that serves him once per day for 1 hour which can be divided in 1 minute increments at his request(In this case it’s a Young Silver Dragon). If the cohort is killed, it disappears and can be summoned again after 24h. The more the user becomes famous, the more it becomes closer to turn into the “Ideal King” the ruler of all nations and kingdoms whom will unite all the world under a single banner. It is unknown if this is true or just a myth, but if the holder of the stone wishes to pass the torch of rulership it must find a replacement before giving it away. Common people will come flocking under the holder of the Kingstone seeing him as the true king (Regardless, such situation must be discussed by the DM). Destruction: To destroy the Kingstone it must be buried in the ground of the material plane in a land where no kingdom/nation has been established for at least 100 years and it must stay there for 1000 years untouched. When said time has passed, the stone turns into dust. However, the gods will not stay idle and a new Kingstone is sure to reappear somewhere, somehow to find a new candidate “Ideal King”.

Challenge rating modifiers +1 advanced template, Improved stats, PC equipment.

Background: Very little is known about the one known as Cyberknife(if that is his real name). From what little snippets of knowledge some attained, he was born in the Nether as all Piglins(Orcs) does. However, as it happens very rarely, the pig inhabitants of the red wastes will give birth to a hybrid: a Hal-feh(half-orc). Even more rarely, these hybrids becomes just better than the more run-of-the-mill gold-obsessed creatures. Of course, the leaders of the various clans will see these as “impure” and/or a danger for their leadership and will most likely try to systematically eliminate the threat before it becomes a real one. Cyberknife was one such case, but as he was about to be sacrificed in a ritual for their god, he succeeded at escaping by causing a Hoglin stampede across the bastion and escaping from an obsidian portal. Although, he did heard that if one of their kin does escape the dimension is turned into a zombie, he knew he was born DIFFERENT. As he left, he felt something change but he was fine; He found a vibrant world completely different from the lava-scarred caves he used to live. He walked the land, and although he had a rocky start(not being accepted by the inhabitants of this land) eventually things took a turn when he was accepted in a traveling circus where he discovered his talent for the bardic arts. He then enrolled into a bardic academy where he was the only one of his kind, not a good thing but he did not care for he had bigger plans in mind: He wanted to change the view the world had on the Nether and reestablish a peaceful relationships with the two dimensions. This was not an easy task but he was DETERMINED. After more years, he left the academy to look for fortune as an adventurer; and one day after a long expedition in an ancient tomb he found that stone: the Kingstone. After that day, it took him little to enroll as an advisor in a battlefield and even less to rise in the ranks and become a commander. With the glory of victory he entered the kingdom a champion, then, with the money that he attained, he founded a political campaign to promote the betterment of the kingdom. The opposition attempted to destroy him, but he was always able to thwart their efforts and won in a landslide. Cyberknife became the ruler of a nation at the young age of 22 and had no intention of stopping. After 10 years of turmoil he succeeded to quell the conflict between 3 more kingdoms and unite them under his banner. Now, from his massive palace he plans for the future… but what future?

First image - made with Heroforge.

Second image - Art by the fantastic Goatfella: https://www.tumblr.com/goatfellaa/693602368642809856/cyberknife-design?source=share

#minecraft #roleplay game #pathfinder #technoblade #heroforge #cyberknife #dream smp #minecraft fanart

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hauntedgardenking · 1 year ago

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In the grayness of whisky-pitched hip swing

I’ll no longer lull about; a tetrahedron widened

From forever and a day I’m still singing lord

For only the soles of my feet know geography

Sacred geometry inside of some 2014 hope

And I’ve had ample time to pray all temples

Crest the river banks and chorus of frogs

I’ve idolized my illiteracy and sank in dope

Junkies and thieves knew how to do the twist

The nostalgia of damp farmhouse air

Stings my nostrils as much as the poppy fields

We’d lay around in, hand in hand

#poetry #poets on tumblr #poetry on tumblr #life #love #nostalgia #spilled ink #poem #I just want to dance with someone to twee music #this is an invitation #come dance with me #I’ll let you choose the records #wear socks my tile floor is cold

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horizoncountdown · 10 months ago

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For those that are curious, this is the Real World Horizon location map that Count uses, done by jesuscuervo on Reddit.

See under the cut for more information.

Real World Horizon Map (Speculative)

The Embrace proper is just the valleys and lakes between Pike’s Peak and Cheyenne Mountain, the core of the Nora Territory. Here, I placed each village in a valley respective to the location of Cheyenne Mountain but moved a few things around so it would not be too crowded.

The Outer Sacred Lands – outside the Embrace proper – contain several outcast camps. I had the Nora Territory expand across the Grand Mesa and Gunnison National Forest. Brom’s Camp is located over the Black Canyon of the Gunnison as it is depicted in-game, while Rost’s Hovel and Grata’s Camp are located on the hills/mountains closer to the Embrace.

Valleymeet; the neutral land between The Sacred Lands and the Carja Sundom is based on Maroon Bells, CO in-game. However, I mapped it out to include all of the White River National Forest within Valleymeet.

Hunter’s Gathering the main settlement in Valleymeet would likely be would be located on the Roaring Fork Valley near Woody Creek. That is the largest open valley in the area and the path through which the present-day CO-82 passes could work as a main throughway between the Nora and Carja lands.

Shivering Watch, following CO-82 the mountains narrow into a canyon south of Glenwood Springs (not Glenwood Canyon). The canyon acts as the chokepoint and border between the formerly Nora lands and the Carja Sundom where Shivering Watch and The Daytower are located.

Two Teeth Camp is depicted as being on Maroon Peak in-game. However, it is built over the ruins of the Smuggler-Union Hydroelectric Plant, which is further south in Telluride, CO. I kept Two-Teeth in the southern location so it acts as a second buffer between the Sacred Lands and the Sundom.

The Carja Sundom; is where the game took the greatest artistic liberty. The game depicts the heartland of the Carja Sundom south of the Colorado River (Lake Powell specifically); however the real-world locations depicted within The Sundom, the area its geography is based on (Eagle Canyon, Arches, and Canyonlands National Parks), and the route Alloy travels through suggests the Sundom is actually located north of the Colorado River in the real world. Thus rather than having the Sundom’s heartland located in the Colorado Mesa, it would make more sense to place it in the already fertile Price and Green River Valleys in Utah. This way I was able to keep Meridian in Eagle Canyon and Sunfall in Bryce Canyon. Thus Sunfall is actually southwest rather than northwest of Meridian. The Carja Sundom would extend across most of the Western Slope in Colorado into most of eastern and southern Utah. With Shatter Kiln (Provo) as its northernmost boundary.

The Sun-Steps – are the first region of the Sundom that Alloy encounters on her journey. In-game it stretches from Arches National Park to what appears to be Horseshoe Bend. However, Horseshoe Bend is too far south for it to make sense as the border, so I have Morning Watch located further north on another bend. Since river bends can form anywhere it is not a stretch to think there is a new bend somewhere else. Over all the Sun-Steps correspond to the Grand Valley in CO.

Free Heap – located within the Sun Steps is Free Heap, an Oseram outpost set up to provide construction material for Meridian. If they are mining for industrial materials from the Old Ones, it would make the most sense for Free Heap to be located on or near Grand Junction CO, which is the largest settlement in the area today.

Gatelands – form the eastern half of the central Carja Sundom. Unlike the rest of the Sundom, this region is relatively easy to map out since most locations have an obvious real-world reference corresponding to Arches and Canyonlands National Parks.

Lone Light had to be relocated since Horseshoe Bend is much further downriver in reality. I placed it in a smaller bend upriver.

Gatelands Bandit Camp - I depicted the Bandint Camps as neutral/independent enclaves within the Sundom, the Gatelands Camp being the largest one of these and corresponding to the entirety of Arches National Park.

The Jewel – the central heartland of the Carja Sundom appears to be based on Monument Valley in present-day Utah and Arizona. However this location would be rather out of the way from Aloy’s journey and it doesn’t fit some of the locations depicted within the Jewel itself (mainly Meridian, which is located in Eagle Canyon). Thus, I thought it made more sense for it to be centered on the eastern Green River Basin along the present-day Carbon, Emery, and Wayne counties. This way Meridian remains in Eagle Canyon and the Spurflints in the San Rafael Reef. The Spearshafts would be a new formation (not present today) somewhere in Canyonlands National Park.

Rustwatch – in-game the Shadow Carja territory is north of the Jewel across from Daybrink (Lake Powell), however since The Jewel is no longer located south of the Lake, Rustwatch and Sunfall are now southeast of the Carja heartland. But Sunfall keeps its location in Bryce Canyon.

The Southern Frontier – in-game Kestrel’s Perch is defined as a fortress built by the fifth Sun King Zavarad as the Sundom expanded north of Daybrink (Lake Powell) into Rustwatch. However because in the real world, Lake Powell is south of what I’ve defined as the Carja heartland, this frontier is now south of Daybrink and Rustwatch.

The Mountain Frontier – Call of the Mountain doesn’t really give many references on where Rising Light and the main route of the game are located, except that it is mountainous and – for the most part – densely wooded. So I opted for the Sundom to have a “Mountain Frontier” along the Wasatch Range. Because the world of Horizon is likely set in a warmer and wetter Earth (due to rising sea levels), the Bonneville and Lahontan Great Lakes have been resurrected east of this range. The former of these acts as The Sundom’s western border and provides the precipitation and rainfall necessary to create forests and jungles in the Colorado Plateau.

Shattered Kiln – a bandit camp near the northern reaches of the Sundom, as in-game it is based on Provo Utah near Maker’s End (Salt Lake City).

The Daunt; the southwestern corner of the Carja Sundom corresponds to Zion National Park. However, Zion is relatively small to fit all the in-game locations. In-game, Zion National Park appears to be the same size as the entirety of Southern Nevada or the California Central Valley. To fit everything in, I extended The Daunt to include the entire Virgin River Basin in Washington County Utah.

Barren Light would then be located with St George, Utah where the Virgin River (and the I-15) cross Bloomington Hills.

Chainscrape and the Redhew Quarry, the Oseram settlement within the Daunt is located along a bit upriver from Barren Light.

The Claim; the Oseram territory is not depicted in-game, however, Pitch Cliff and Free Heap are two Oseram settlements near their border with the Carja Sundom. It is stated that their territory is north of The Sundom and west of The Cut, so it likely corresponds to Idaho, specifically the Snake River Basin.

Pitch Cliff is likely located along the Roan Cliffs, and possibly very near the border between the Claim and the Sundom.

The lands between The Long Roam, the Claim, and the Carja Sundom form an unclaimed region around the present-day Uintah Basin. Oseram traders travel through it and the Carja might have sent some raiders across it, but it remains mostly unpopulated. I shaded this area pink as the Carja might claim it but likely hold no direct control.

No Man’s Land - is the border between the Carja Sundom and the Tenakth Clanlands. No Man’s Land borders are not well defined in-game, but they seem to correspond to the northern shore of Lake Mead, specifically the area around the Overton Arm where the Virgin River meets the Lake. The overall location works for a real-world equivalent, but a few things get shuffled around for them to fit.

Jagged Deep; the eastern bank of the Virgin River was tenuously controlled by the Carja Sundom. What remains is Riverwatch, an abandoned fort on the banks of the Overton Arm, and Jagged Deep an abandoned mine that is now delved by Oseram adventurers. The Carja Camp on the west bank of the Overton Arm is the furthest west Carja settlement.

Eastern Lie & Deadfalls are the westernmost Tenakth settlements closest to the Cajra and Utaru borders, which have been taken by Regalla’s Rebels. In fact, most of the Tenakth side of No Man’s Land is occupied by the rebels.

Spinebreak; in-game Spinebreak is located on the southeastern border between No-Man’s Land and the Tenakth Clanlands proper and built under the ruins of a present-day highway tunnel. The issue is that there are no tunnels – or logical places to put a tunnel – between the Overton Arm and Las Vegas (the Stillsands). I thus place Spinebreak further north on the Virgin River Canyon acting as a second border between Barren Light and the Tenakth camps.

The Utaru Tribal Lands; the Utaru settled in the lands surrounding the Western Grand Array (WGA), which they named Plainsong.

Plainsong, although the WGA is based on the Very Large Array in New Mexico, the VLA is very far from Aloy’s path and the in-game geography. Furthermore just like the Nora take their name from the NORAD Facility and the Tenakth take their name from the Tenth Task Force, I suspect the Utaru take their name from Utah. Thus it is likely that the WGA is not the VLA but rather a new array built somewhere in Southern Utah, between the Carja Sundom and the Desert Clans. With this in mind, I placed Plainsong on the Cedar Valley and worked from there.

Stone’s Echo – Stone’s Echo is an Utaru outpost near the Stillsands, just past No Man’s Land. I placed it along the Meadow Valley Wash, which would likely be a tad more fertile than in the present day. Because we are dealing with what I expect is a warmer and wetter climate due to rising sea levels (and AETHER’s supercell storms going haywire).

Riverhymn – On the northern edge of the Utaru lands lies Riverhymn; the second largest Utaru settlement after Plainsong. In-game it is located in a fairly mountainous corner. So it is likely located near Frisco Peak with the river that passes through it being the Beaver River. However this river flows in the opposite direction that is seen in-game, rather than flowing south towards Plainsong, it flows north into the Sevier Lake.

·Due to the wetter climate, it is possible that the entire Bonneville Basin is once again flooded and Lake Bonneville acts as a boundary between the Utaru, the Carja, the Oseram, and Tenakth Desert Clans but the game map does not go that far north. Regardless I thought it be cool so I opted to depict it as such.

Tenakth Desert Clans; the Desert Clans inhabit most of Southern Nevada. Their territory reaches the present-day Great Basin National Park in the northeast and the Shining Wastes (Death Valley National Park) to the West.

The Stillsands; southwest of the Utaru territory, is another semi-contested region (it is within the Tenakth Desert Clan territory but both major settlement Camp Nowhere and Hidden Ember are Oseram). This is pretty simple since it corresponds to Clark County NV, with Hidden Ember clearly being Las Vegas. I originally had Devil’s Grasp be located in Barstow CA, but opted to place it closer to Las Vegas in Primm.

Dry Yearn; is the easternmost region of the Clanlands. It contains Arrowhand, the second largest Desert Clan settlement, and Restless Weald. It is fairly easy to place since Restless Weald is based in Caliente, NV. With this in mind, I placed Arrowhand over Crystal Springs, NV, and the Dry Yearn Camp just north of Restless Weald.

The Greenswell; is the northernmost region of the Desert Clanlands; it is also the least arid region of the Desert Clans. Part of this can be attributed to the supercell storms, but I also opted to have the core of the territory within the Great Basin National Park, which is a very green area within the Nevada desert, which further explains the area’s climate.

Scalding Spear; centrally located in the Nevada desert, the capital of the Desert Clans is located on the present-day Crescent Dunes Solar Energy Project.

Shining Wastes; is an arid mostly flat expanse of land, which for the most part corresponds to Death Valley National Park. The only problem is that Death Valley is not particularly flat. I included Death Valley, now filled in with a saline lake, within the Shining Wastes but placed the main settlements located further north within the Nevada Desert (which is mostly flat).

Runner’s Wild – a small region in the Desert Clan territory, Runner’s Wild corresponds to Mammoth Lakes in California and acts as a border between the Desert and Sky Clans.

Salt Bite – north of Runner’s Wild this region borders Runner’s Wild and the Greenswell, it is clearly based on Mono Lake in California and the geography easily fits into this location.

Memorial Grove; although the Tenakth are divided into three warring Clans (and Regalla’s Rebels), the Memorial Grove acts as a capital / neutral ground for all three. The Grove is located on a museum and military base – specifically an airforce base – south of Mono Lake. The base does not exist in the present day but could be located anywhere in the Owens Valley. I paced it on Independence, CA (fitting name). Like other areas on the map, the Owens Valley is also much more fertile than in the current day.

Tenakth Sky Clans; northwest of the Memorial Grove the Sky Clans make their home along the Sierra Nevada, specifically Yosemite Valley and the Sierra National Forrest. Not many changes here, but it doesn’t seem like their territory expands much further north than Lake Tahoe (unless it is not depicted).

The Bulwark; the capital of the Skyclans is based on Sentinel Dome in Yosemite Valley, I kept it here and based the rest around it.

Sheerside Mountains; are based on the Sierra Nevada, the region itself corresponds to the northern half of the Sky Clans’ territory. I took Sheerside Climb to be the pass from Mammoth Lakes to Yosemite and assumed Bonewhite Tear and the other settlements would be located along CA Route 120 and the Tuolumne River.

Stand of the Sentinels the southern region of the Sky Clans appears to be based off the Sierra National Forest. Its major settlements follow a pass from Mammoth Lakes to Tide’s Reach (possibly Fresno CA, see below). This suggests that the major settlements are located along the San Joaquin River.

Tenakth Lowland Clans; like the Carja Sundom, the Lowland Clans pose a huge conundrum. The Lowlands seem to consist of the foothills of the Sierras along Kings Canyon National Park and the Sequoia National Forrest towards a coast. This suggests that California’s Central Valley is flooded due to rising sea levels. If this is the case it helps explain why The Long Coast (Bakersfield) is a coast and not inland.However, if this were the case there should be a long peninsula formed from California's Coastal Ranges. But this peninsula is completely absent from the in-game map. Furthermore, Tide’s Reach appears to be based in Oakland, but it is geographically located at the foothills of the Sierra National Forrest. This should be impossible; Oakland would be located on the aforementioned “peninsula” between San Francisco Bay and the “Central Valley Sea”, but this peninsula is nowhere to be found on the map.

I tried my best to come up with a creative solution.

Raintrace – as in-game Raintrace is based on Sequoia National Forrest, Lowland Path and Fall’s Edge are located along CA Route 180 and King’s Canyon, which provide a direct route from the Memorial Grove to the rest of the Lowland Clans’ territory. Fenrise is further south on Isabella Lake where the Kern River valley provides a connection between the Desert Clans and Lowland Clans’ territories.

Tide Reach – I relocated Tide’s Reach to Fresno, CA which is now along the coast of the “Central Valley Sea”. I opted to have it based on Fresno since it provides another large present-day settlement where to base it, and more importantly, it is directly on the path Alloy would take from Stand of the Sentinels. Since Alloy can’t swim from Tide’s Reach to the Isle of Spires (San Francisco) it makes sense to place it further away from the island than Oakland. SF Bay is large, but not large enough for there to be a storm that wrecks Alloy’s raft. To make the route Alloy takes a bit more logical I also broke up the Coastal Ranges north of the Salinas River into an archipelago. I considered sinking the entirety of the Mt Diablo Range, to provide a direct route from Tide’s Reach to the Island, but I thought that would be too much.

The Long Coast – in-game The Long Coast seems to refer to the Pacific Coast, but as already mentioned it also refers to the ruins of Bakersfield CA. Thankfully a flooded Central Valley means we’ve gained a new coast. Thus the Long Coast now refers to the western coast of this inland sea. Thornmash, in-game coordinates suggest it is located near Tracy, CA. but I placed it a little further south on this coast so it forms a triangle with Tide’s Rach and Raintrace Rise and so it is not too close to San Francisco.

Cliffs of the Cry – as in-game the Cliffs correspond to Big Sur and the California Pacific Coast. I opted to have Raintrace West located on the Cliffs (close to San Luis Obispo) since you travel from it to the Zennith Base.

Isle of Spires; is straightforward San Francisco, which is now an island. Alva describes San Francisco as an archipelago, so this helped me further justify the breakup of the Coastal Ranges. Although I realize that such geologic shifts would likely destroy the city of San Francisco itself. This is the suspension of disbelief in a world that has a volcano appear on Yellowstone and New Zealand sink beneath the waves.

Zenith Base; originally I thought about having it located in Monterey however it is south of Tilda’s Mansion, which is in Big Sur. It then seemed fitting to place the Zenith Base in Vandenberg Airforce Base instead.

The Burning Shores; it is LA, which like San Francisco is now an archipelago due to tectonic activity and rising sea levels. This is pretty much explained in-game.

Fleet’s End is located somewhere in the Baldwin Hills, which are now the main island of the “bay”

Pangea Park / Londra Productions is described as being on a peninsula. Because it is partially based on Dinseyland (or Universal Studios) I’ve opted to keep it in Anaheim. To make Anaheim a peninsula I’ve flooded the San Gabriel Valley in the north and Newport Beach in the south.

#aloy and seyka #aloy x seyka #horizon burning shores #horizon forbidden west #countdown #my writing #countdownfic #horizoncountdown #field guide

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