#Successor artwork

[jeannereames]

Professor Reames, I was looking at the so called burial crown of Philip and I was wondering what’s the relation between that type of crown and the diadem?

None. They're two different things. First, "crowns" are typically made of plant stems woven together. Later, gold versions of this appear, like the crown in Royal Tomb II. (As you suggest with "so-called," that is probably not Philip's Tomb, whatever tags Greece or the media place on it. Why is a long, detailed story I don't have time to get into but there's literally years' worth of publishing about the identity of the bones in Royal Tombs I and II.)

These gold burial crowns are found ALL OVER the north/Balkan area by the Hellenistic period, but they show up before that (the ossuary of the Spartan general Brasidas at Amphipolis had one). This crown below is from the ginormous tomb of Seuthes III of Thrace, and looked to both Ann and I like a "I can do it bigger and better!" to the Macedonian vault tombs. It dates to the early Hellenistic period. The gold out of that tomb (found in the Kasanlak Museum) is impressive. But you'll see these things a lot. The one from Royal Tomb II is distinctive mostly by its size and attention to detail.

Crowns served lots of purposes. The four big atheletic Games in ancient Greece, including the Olympics and Pythian, were called "stephanic" because the only prize the winner got was a crown. (And not a gold one, either; it was either olive, laurel, pine, or wild celery, depending on the Contest.) It was the HONOR associated with the crown that mattered. (Stephanos = "crown" in Greek, if you or one of your friends is named "Stephen/Steven" or any variation.)

Anyway, crowns show up in all sorts of contexts from drinking parties (symposia) to burials--as with Tomb II. They don't imply anything royal, although they do usually imply some sort of honoring or "dressing up."

"Diadema" just means a headband. We see these all over, even before Alexander. It was designed to keep hair out of your face, often during sports, and might be made of leather or ribbon or some other flexible substance. The first image shows a guy tying one ... the ends are what he's holding in his hands. The pieces broke off the statue, so all that's left is what's around his head and what's in his hands. The second shows in marble the cloth back tie. Many statues had diadems attached in some other material that has since been lost. Remember, these statues were all painted and sometimes had "added bits" like semi-precious stones for eyes, or gold crowns, that later disappeared. So if you see an indention around the crown of a Greek (or Roman) statue? It's missing its diadem!

It was repurposed as women's jewelry too. See below. These start becoming prominent in the Hellenistic Era after ATG, but we do find them earlier, as noted. The diadem as a ROYAL symbol gets connected via Alexander, and then his Successors. (Coin of Antiochus below with his father Seleukos I's image in diadem.)

The diadem as ROYAL symbol seems to be specifically ancient near eastern. The Persian Great King employed it as sort of "action crown," different from the upright tiara that would fall off if he had to move around much (like fight). The Persian royal diadem was either white and blue striped or white and purple striped cloth, and was tied around the head so that the ends dangled.

Apparently, Alexander adopted it instead of the upright tiara (whether he really never wore the tiara is debated). Sometimes, he tied it around his hat (presumably the kausia, a special Macedonian hat that looked kinda like an ancient beret, but there doesn't seem much room on that for a band, so maybe a petasos, or floppy straw sunhat).

Anyway, the gold-covered silver circlet in Royal Tomb II at Vergina is a dressed up version, and one (of several) reasons people have argued it's not Philip's tomb. It's very unclear that the king used a diadem in Macedonia before Alexander. I'd argue they didn't, but admit we lack much evidence either way, except literary.

So while you wear both a crown and a diadem on the ol' noggin', these are two different objects. The later conflation of "crown" with "diadem" = a symbol of royalty, is medieval, or at most, late Roman.

[gummy-sharks666]

Mama, I’m chasing a ghost

I don’t know who he is

[sableeira]

My drops of tears I'll turn to sparks of fire.

or ode to new beginnings

[hawke-jpg]

I drew my Rook!

[scumbomcjumbo]

Various members of the zeta marines chapter, the terminator is Blaez Veisi of the first company, then there is Mavrc Fezi of the 6th company, the dreadnought Methusula and the last guy is just a template for their color scheme (:

The Zeta marines are successors of successors, born from the 2nd founding chapter the rampagers who themselves were born of the white scars, they send enemies to the grave with heavy weapons and a zealotry to the emperor

[laboitediabolique]

Artwork of the character Ruri Hoshino from the anime "Martian Successor Nadesico" illustrated by Keiji Gotoh. Commissioned for the cover and a pull out poster for the book "Keiji Gotoh Illustrations - The Art of Martian Successor Nadesico", Tokuma Shoten, August 1999. Scanned from my personal collection.

[elaraskirbyart]

On vacation and hyperfixating as usual

Zero is finally getting a redesign

Bonus: my cousin’s drawings on the back 🥹

[ernestdescalsartwok]

MUERTE-ALEJANDRO MAGNO-ARTE-PINTURA-BABILONIA-DISPUTAS-SATRAPAS-ANTICIPO-GUERRAS-DIADOCOS-ARTISTA-PINTOR-ERNEST DESCALS por Ernest Descals Por Flickr: MUERTE-ALEJANDRO MAGNO-ARTE-PINTURA-BABILONIA-DISPUTAS-SATRAPAS-ANTICIPO-GUERRAS-DIADOCOS-ARTISTA-PINTOR-ERNEST DESCALS- Con el cuerpo presente del Rey de Macedonia y nuevo Emperador del conquistado Imperio Persa, la muerte de ALEJANDRO MAGNO era muy reciente, empezaron las disputas por el poder, sus amigos, sus generales y sus ´satrapas discutieron con violencia verbal y tambíen física sobre quien tenía que ser su sucesor, Pérdicas, Ptolomeo, Seleuco, Casandro, Lisímaco, etc, todos ellos creían que reunían los méritos sufientes para llevar la corona, es el principio de las Guerras de los Diádocos, la codicia humana en una escena que he querido Pintar de forma explícita, la gloria imperial era motivo entre los posibles sucesores, aquello que había conseguido Alejandro se desmoronaba por el bajo nivel de los aspirantes, se demostró que ninguno podía ser como el forjador de la unión, muestras de las aspiraciones humanas de aquellos que no reúnen el necesario potencial. Pintura del artista Pintor Ernest Descals sobre papel de 50 x 70 centímetros, acuarelas que se nutren de la plástica creativa con temas históricos, el Arte que revive los momentos.

[dm-tuz]

Fear the Forgotten Foes coming to Kickstarter!

Fear the Forgotten Foes is joint effort between Ben Fleuter and me, a project that followers of my blog are probably very aware of.

Be ready for the official spiritual successor to my "Horrors of the Dark" (Darkest Dungeon Monster Manual) to bring you 150 new monsters each featuring high quality artwork and gripping lore!

Visit the prelaunch page and hit that follow button to be the first one to know when this project goes live!

[sleepytoycollection]

Barbie Dream Besties "Brooklyn": A review

Barbie Dream Besties is a newly released doll line by Mattel, and is a spin off of their main Barbie line. Looks wise, they seem to be a spiritual successor to My Scene, Ever After high, and the more recent Barbie Extra/Barbie Extra Minis. Also trying desperately to compete with LOL and Rainbow High.

They are $20 USD each retail.

I was interested in these for three reasons: 1) I liked Ever After High and My Scene. 2) They have much more quality outfits than I tend to see from modern Barbie. 3) @queenofsquids enjoyment of them made me hopeful I'd like them too.

So do I? Let's find out.

I choose the character Brooklyn as I like her face up the best.

Her packaging is the standard plastic clam shell that seems to be all over the doll aisle anymore. I can't say I love it. I miss the cardboard boxes, so much easier to open and so much less plastic.

This box isn't super great aesthetically either. There's a lot going on in the service of nothing.

Which is a shame, because I do really like the actual character art on the box. It's super cute and matches the dolls really well. It would pop even better if the rest of the box was a smidge simpler. Sometimes less is more.

The back of the box.

We get more of this delightful artwork, showing of the full set of characters available at the moment.

We also get a short character bio for Brooklyn. She wants to be a choreographer, loves making dance routines, video editing, and creative writing. Despite her favorite color being listed as pink, she has no pink in her outfit and only one pink accessory.

Here is the box without the cover. This is what I meant when I said the box design was doing a lot for nothing. Over packaging isn't just a problem with Mattel dolls of course, MGA is arguably worse, but it's still frustrating.

Brooklyn herself is very pretty though. I tried very hard to pick one without a wonky face, but the way she's posed makes it very hard to tell.

I think one of her eyes is slightly bigger than the other. It's not enough to bother me at least. That said, so many of these were VERY wonky at the store. I would not buy these online unless you can see the specific doll you're getting. The QC is all over the place.

Here are all the accessories she comes with.

I do appreciate that all her accessories tie into her interests and character. That said, these are hit and miss.

The purse is nice, and does open.

The dog is okay, but I don't really care for these types of doll pets. It looks more like an in-universe toy than what's supposed to be an animal.

I initially liked that the phone and case were separate, until I tried to put the phone in the case and it didn't fit. It will not go in there. If I force it in, it just pops right back out.

It's a shame because I liked the 80's Barbie logo case, but without the phone in it, it looks weird when the doll is holding it.

At least the phone fits into the ring light stand.

May I also say some of these accessories feel really flimsy? The phone and Ipad are VERY thin plastic.

The boom box in hollow and unpainted.

I wish instead of having seven mid accessories we could've had two or three really good ones. Or nixed all of them and given her a stand. The doll herself is nice enough to deserve a stand I think.

Let's look at Brooklyn. She's pretty darn cute. She stands at the standard 11", and has saran hair with tinsel.

Her outfit isn't my favorite though. Mattel stop giving your dolls ugly fur sleeved varsity jackets challenge. This could've been so cute as just a regular varsity jacket.

Despite being ugly, the jacket is made pretty well. Though a button was already falling off mine. That poor QC strikes again.

Though I suppose it's moot as I doubt I'll ever put this jacket back on her ever again.

Now that she's free of that ugly thing, you can see how nice the rest of her outfit is. I didn't realize how much I missed dolls getting to wear neutrals until I saw her plain denim skirt and white tank top.

It's simple, but she's dressed like a real person. Plus, I can easily pair these pieces with a lot of other outfits. Doll wardrobes need pieces like this for mixing and matching.

Body wise she's a bit smaller than Barbie, and her feet are a little bit larger. This body reminds me a lot of the current bodies for the Disney Princess line now that Mattel has it back, though those have larger feet. If I can find the one I have, I'll do a body comparison to those later.

Her sculpt in three views. The Ever After High comparisons are very apt, though the screening itself is more reminiscent of My Scene mixed with a little bit of G3 Monster High.

For comparison, here's an actual EAH doll next to her. Brooklyn's head is just a smidge larger, but balanced out better with larger eyes, thicker brows, and bigger lips.

After this, I got Brooklyn redressed with just a few changes...

I replaced her jacket with this vintage Barbie and the Rockers one, added a necklace, and hey! Now she gets to wear her favorite color.

Final thoughts?

It's a good doll, but the quality control issues, on top of the same BS Mattel throws on all of it's dolls anymore, is dragging it down.

The fact you have to look through every single one of the shelf to make sure you're not getting a crappy one is exhausting. Plus, kids don't do that. They're going to get home with their new doll and then realize as they open it something's wrong. Kids don't deserve that.

The accessories are mostly cheap and not special enough to justify their existence. The purse, phone with case, and ring light would've been enough if they were made a bit better.

The outfit is well made, and a huge improvement over what I see in the main Barbie line, even if I don't like all the design choices, but again, that's if you get one without QC issues.

The doll herself is super cute though, and screw it, I like the tinsel. Fight me.

Overall I really love this doll, I just wish picking one out wasn't a hassle. Hell, I even bought a second one already.

I got inspired enough I wanted to repaint one, so I purposely bought this wonky Renee because she had the worst face up out of everyone at the store.

So I think there's definitely potential here. If this line continues, I hope they can improve the way G3 Monster High has improved from it's first wave.

I hope this can be the start of Mattel revitalizing it's Barbie line as well. It needs it. See ya next time.

[city-of-ladies]

"The prominence of female divinity in Minoan culture might well have reflected the prominence of Minoan women in daily life. In Shang dynasty China, the authority of goddesses such as the Eastern and Western Mothers was echoed to some degree by the authority of women in elite society and even the army. Fu Jing and Fu Hao, wives of King Wu Ding, led men into battle before being honoured in death with monumental tombs containing the victims of human sacrifice, battle axes, knives and arrowheads. In Egypt, many of the images of Hatshepsut were destroyed or defaced after her death when her name was removed from the official list of rulers by her male successors, who sought to claim direct descent from her husband. It is possible that images of powerful Minoan women were subject to similar mistreatment.

While there is no evidence that Minoan women ruled in the same manner as Hatshepsut, or joined battle like the women of Shang China, the sheer number of artworks depicting them centrally placed and on a larger scale than men has prompted some historians to speculate that Minoan society was matriarchal or matrilineal. ‘Neopalatial Crete,’ writes one scholar, ‘presents the best candidate for a matriarchy – if one ever existed.’ There is nothing to say that the position of Minoan women was in any way secondary to that of men. 

Minoan women were certainly not confined to the weaving room. Sculptures show them playing lyres, flutes and zithers, sashaying in flounced chevron-patterned skirts and raising their arms in the air in ecstasy. In the ‘Grandstand Fresco’ from Knossos the women are more carefully delineated in paint than the men. Each woman has her own identity, her own style. The women appear to occupy the main rooms of the palace while the men congregate as an anonymous mass beyond. Women depicted seated – a sign of divinity or authority – are often being approached by men or animals. A highly enigmatic fresco at Thera (Santorini), for example, features a woman wearing large hoop earrings, a snake in her hair, and a neck-chain of ducks, sitting on a dais with a griffin beside her while a blue monkey pays her court.

 On a gold ring, a female deity, we may presume, is seated beneath a tree, where she receives flowers from two women. A smaller figure of a man with a double-headed axe over his head hovers between them.  By depicting the man beneath the axe, and on a smaller scale than the women, the engraver of the ring perhaps hoped to convey that he was a divine vision, almost a thought-bubble, originating in one of the female worshipper’s heads. Trees, as Arthur Evans recognised, were sacred in Minoan culture, and were perhaps believed to be capable of inspiring divine visions in those who honoured them. Such artworks contribute to the picture of Minoan women exerting considerable religious authority in the palace complexes and society more widely. 

Minoan women also played a crucial role in ritual. The early Minoans sometimes interred their dead twice by exhuming the bones of their family members and resettling them later in jars. The more usual custom, however, was to bury the dead in chamber tombs or stone beehive-shaped ‘tholos’ tombs, clay sarcophagi or, in the case of infants, under the floorboards of the home. The colourful paintings on a rare limestone sarcophagus from Hagia Triada, circa 1400 bc, show three men carrying young animals and a model boat to the deceased, who stands in front of his tomb, ready to receive his provisions for the afterlife. There are also three women present, the first of whom pours a libation into a cauldron placed between two upright axes mounted by birds; the second carries further vessels; the third – darker skinned like the men and thus possibly of lower social status – has a lyre. On the other side of the sarcophagus the women assist in the sacrifice of a bull on an altar. Other wall paintings show women involved in rituals of their own involving blood.  A fresco from Akrotiri features a group of women, one of whom sits beside a sunken room or ‘lustral basin’ with a bleeding foot. A tree also bleeds. It is possible that lustral basins were used for purification by women during or after menstruation."

The Missing Thread: A Women's History of the Ancient World, Daisy Dunn

[pixelglade]

These artwork are old, but I'm still really proud of them.

Castlevania SOTN was my first Castlevania game, and I hope we get more game easter eggs in the next season of Nocturne. Bloodstained ROTN was a good spiritual successor.

[gummy-sharks666]

Mama, I’m chasing a ghost

I don’t know who he is

[enchanting-chit-chat]

Beetlejuice's Backstory and the Black Plague 💚🕷️🥀💀 PART 3

Good evening! As promised, here’s Part 3 of my series on Beetlejuice’s past and movieverse. Today, we dive deeper into historical fashion, analyzing the outfits of Beetlejuice and Delores to uncover their personal stories.

If you missed the earlier parts, check out PART 1 and PART 2.

Warning: This post contains SPOILERS for ‘Beetlejuice Beetlejuice’ (2024)... and many, MANY speculations.

Quick recap: In Part 1, we discussed the Plague. In Part 2, we delved into Beetlejuice’s past, questioning the claim that he died over 600 years ago.

I wondered: is that really true? Why does his clothing reflect the Baroque style, then?

That's right! In Part 3, I confirm my previous point: there are several clues suggesting that Beetlejuice most likely lived during the Baroque era - a cultural movement that began in Rome at the end of the 16th century and faded around 1750. Here is the list of the clues I noticed:

The lace neckband around BJ's neck.

His three-piece wedding suit.

Delores off-the-shoulder neckline and puffed sleeves.

The bird masks used by Delores and the undertakers.

AliveBeetlejuice first outfit (when he's stealing from corpses): specifically, the pirate shirt and the type of shoes.

Keep in mind that most of these elements were revolutionary novelties of the 16th-17th century. Here is proof for every. single. one of them.

The Lace Cravat

A behind the scenes still of Michael Keaton in 'Beetlejuice Beetlejuice' vs. the portrait of Jacob de Witte, Lord of Haamstede (Netherlands). The artwork was made by Jan Mijtens in 1660.

The first cravat, the predecessor of modern neckties and bow ties, originated in France during Louis XIV’s reign as a political and fashion statement. (Although the early idea comes from the Ancient Roman focale, used around 200 CE). The King was inspired by a particularly eye-catching necktie wore by Croatian mercenaries as part of their uniform. The new article of clothing quickly became a fashion staple for high-ranking men across Europe.

In its use, it represented the evolution of the common handkerchief, already popular in the 1500s as a practical tool, a flirty decoration, and a status symbol. I believe the variant Beetlejuice is wearing in the picture is called ‘jabot,’ and is one of the older, simpler versions.

Lace, often used in cravats, highlighted the wearer’s wealth. Italian lace, especially from Venice, was highly sought after by the European elite since the 15th century, when ruffs and collars were in vogue.

This detail suggests two possibilities:

Beetlejuice might have been an impoverished aristocrat (or a rich merchant) clinging to his title until the end. This could also explain the ring on his index finger, symbolizing power or family ties. Or both.

Alternatively, he may have been someone who strongly wished to be part of the elite.

Jacket and Breeches

Aristocratic fashion, 1630 (Victoria & Albert collection) vs. What Beetlejuice wore in the wedding scene.

Another standout innovation of the Baroque period was the introduction of the three-piece men’s suit, known as the ‘Habit à la française.’

This ensemble included a tailcoat (a calf-length jacket), a coat (a long waistcoat), and knee-length breeches. Like the cravat, this fashion was adopted across Europe. As you can see, Beetlejuice is perfectly embodying this fashion, which evolved and remained popular until the 19th century. Interestingly, one shoe is missing.

Pirate Shirt

Originating in the 16th-17th century, the ‘poet shirt’ or ‘poet blouse’ remained popular through the Romantic era. These multi-purpose shirts served as both underwear and nightwear, featuring long tails that reached mid-thigh or knee. The body and sleeves were gathered at the collar and cuffs, creating a full, loose fit.

Delores' Outfit

For comparison, I’ve included an illustration of noblewomen’s fashion at the court of Louis XIII (died 1643). His successor, Louis XIV, made France a cultural and fashion beacon for the next two centuries.

In the movie, Delores wears two nearly identical outfits: long dresses with puffed sleeves ending just below the elbow, a corset, and an off-the-shoulder neckline. This style aligns with 17th-century trends when fashion became more comfortable and relaxed.

The black color suits her character’s personality and role in the film, possibly hinting at a connection to the late Renaissance and the Spanish Court.

In fact, during the reign of Charles V (1500-1558) and his son Philip II (1527-1598), Spanish aristocracy particularly favored the black color, as it represented austerity and power for both men and women. Additionally, a deep shade of black was particularly difficult to achieve with the dyeing methods of the time, making those fabrics quite expensive to make.

However, The Spanish style was quite the opposite to what France later proposed: it consisted in a severe and somber luxury, which increased in opulence as the time passed. As Spain happened to be the beacon of fashion before Louis XIV came along, it's only natural that black rapidly became quite popular all around Europe as well. The color was particularly appreciated by the members of the middle class in Protestant nations and, apparently, in Italy as well.

Finally, keep in mind that 'Delores' is a variant of the more common 'Dolores'. Both names have Spanish origins and means 'sorrows'.

So what do we think? Was Beetlejuice from a rich family? Was Delores a Spanish witch?

Who knows! But I’m willing to dream and speculate!

Until the big reveal from Tim Burton himself in the now teased but not confirmed yet sequel, have a fantastic week!✨

[immunetoneurotoxin]

ENTANGLEMENT | Part I, Chapter III

That woman — Caroline, curtailing the enigma of her past. They were both one and the same; forced into a position of power against her will by order of their full-blown egomaniac of a CEO. Old Aperture was a long-forgotten remnant in a time capsule sealed away from the era of a 1950s world, but Aperture’s legacy went on nonetheless, stretching out into the subsequent decades. Olympians, war heroes, missing astronauts, countless controversies, company rivalries, senate hearings. As Cave Johnson spiraled into mania and bankruptcy, lunar poisoning was the inevitable fate that took him in the end. Except, a man of his caliber would never leave this Earthly plane without leaving a successor in his wake.

A Portal/Half Life Universe Novel from Chell's Perspective > Where to Read: Archive of our Own > Chapters: 3/20 > Rating: Explicit > Overall Word Count: 39,824 > Artwork by: Narklos B:\> Back to the Beginning_

NEW OVERHAUL UPDATES: Fixed formatting errors in previous chapters, edited geographical mistakes, added interactive content on AO3 in previous chapters, and added in extra scenes.

[noirandchocolate]

It's the winner of my poll, so I hope you'll enjoy a nice big post about...

Yiga Clan Mask Culture and Traditions Headcanons!

History

The Clan adopted the practice of wearing masks fairly early on after their founding 10,000 years ago. Veils were already worn by powerful Sheikah monks as a symbol of martial prowess (being able to fight with hampered or absent sight), wisdom (being able to "see" what others could not, despite or because of a self-imposed "blindness"), and asceticism (being humble and near-anonymous). Those among the ancient Sheikah who worked as assassins, spies, guardians, and interrogators for the Crown also tended to wear masks covering at least part of the face. So, when the Sheikah who decided to defy the ancient King's genocide banded together to form the Yiga Clan, taking to wearing masks and veils to obscure their identities was a natural choice. The early Clan's face-coverings were among the first items they painted with the Inverted Eye that became the symbol of the group's defiance of their prior role as Hylia's chosen protectors and servants of the royal family.

The original Master Kohga, who had been the Chief of the Sheikah settlements around Satori Mountain, never actually wore a mask! (The practice of doing so had not fully standardized yet.) Instead, he took up wearing a veil to honor his grandfather, Monk Mogg Latan, and as a sign to those who would ask him and his people to shed their heritage, that he would not back down.

However, the First Master did provide the origin to one aspect of his successors' masks: While Sheikah who were considered masters in their chosen fields (including monks) traditionally wore a hairstyle featuring five long ornamental sticks, the First Master chose to wear six, as a symbol of a) his people's split from the Royal Family (cut an arrayed set of five sticks straight in half and you end up with six sticks--the formerly central one broken down the middle), and b) their continued claim to the power associated with the number three (note that the Sheikah monks found in Shrines (and Maz Koshia) all wear/display six golden bracelets). As you know, the current Master mask now features three horns on each side!

As time went on, in addition to providing protection and anonymity to Clan members particularly when traveling outside their main "hideout" base in Karusa Valley, the masks also became a unifying aspect of membership and family within the group. In other words, the masks are not only meant to hide one's face from outsiders, but to signal to insiders the bond between them. All within the Clan may don the mask, all may wear the same "face." All carry the symbol of the Inverted Eye. All are working together, all are playing their part. The Clan as a whole is quite a collectivist culture; the masks are one very obvious aspect of that.

The current mask designs have been in place for several millennia now, but it did take some time for the style to "settle" into this level of tradition and immutability. The Yiga have quite ancient scrolls and artworks depicting their ancestors wearing different styles of masks, including curved rectangular ones mimicking the shape of ancient monks' veils, and more complicated and demonic or deity-looking masks for Masters. During one period a few centuries into the Clan's existence, another Hylian monarch (this time, a Queen) sent troops across the kingdom to search for any remaining Sheikah (remember, Kakariko Village was "hidden" to most) to eradicate them. The Yiga began to appear "out of nowhere" to wreak havoc and sow discord among scouts and military camps, wearing masks painted with the inverted eye and large, red, smiling mouths. Quite unsettling!

How They're Made and How They Work

Masks are crafted of wood and, in the case only of the Master, an overlay of molduga bone. All those taking up the job of craft-work among the Yiga learn to make masks, but there have always been a few specially trained masters of the art who create masks and associated ornaments for the Master, Right Hand, presumptive Heir, and any spouse (Mistress or Consort) of the Master. These in particular are expected to be perfect, both in their specially-measured fit to the wearer's face and in their symmetry of shape and inlaid, painted design. And so, training to make them goes beyond the ordinary mask-maker's education, involving a great deal of practice but also meditation. A keen eye for detail and steady hands are paramount. These crafting masters are highly regarded, and often take on new names related in some way to their teachers', when they achieve their new position.

Yes, the masks are solid wood. Yiga are able to see "through" them using magic. The vast majority of current Clan members share a heritage that allows them to use magic (a subject for another post!) at least to some degree, and this Sight skill is one of the very first things Yiga are taught--whether as young children or as new additions if they join as teens or adults. As with many Yiga abilities (again, to be discussed in the future!), Sight has an accompanying rune/talisman that will keep it going perpetually. This is etched into an "active" mask when it is given to its owner. So, the owner puts on the mask, instantly starts the...for lack of a better word "spell," and then the rune keeps the ability "flowing" for as long as the user wishes.

Those vanishingly few Clan members who are completely devoid of magical ability must ask someone else to activate the rune for them. Unfortunately, their Sight through their masks is impaired by the fact that none of their own energy is being used to power the rune as it "flows." Such members do not take on/are not assigned to roles that will take them outside the Karusa Complex, as masks are absolutely required for such positions. Instead, they stay home, usually wear veils instead, and work within the Clan in other vital ways.

Current Designs

All Yiga masks save those for the Master and Right Hand share the same basic curved oval shape that contours around to cover the sides of the face, again for anonymity and conformity. Really the only difference about those two, too, is the addition of horns. All masks are marked with the Inverted Eye.

One other slightly different mask is that worn by the Heir, which is additionally marked by a curved slash of red down the sides of the face (most prominently visible in profile). This marks the Heir as one who is working to grow into leadership and one day wear a horned mask.

The horns on the Master and Right Hand's masks have that curved shape because they are meant to not only be horns, but flames. As in, flames of righteous fury against those who betrayed the Clan's ancestors, and the purifying flames of destruction they've hoped would purge the Kingdom of its ruling class! The red inlay of them of course matches the red of the Eyes, but also symbolizes the burning core of the Clan's intended vengeance.

The Master has three horns per side, and the Right Hand has one, so perhaps you've wondered: is there a two-horned mask? Why yes! I headcanon that there is! It is reserved for a Right Hand who is also the Heir. Which is not a very rare occurrence, since a Master would likely hope to rely on their Heir as their second-in-command, once they're of age and they've proven themself to be reliable, skilled, and powerful enough. (Great training to be Master themself one day!) Our current Best Guy Kohga remembers this mask as the one his father wore during his early childhood before his Nana died and Dad became Master. Kohga himself was also eventually given the two-horned mask when he became his father's Right Hand.

He was very proud to wear it.

He did not get to wear it for long.

The metal side ornaments on Yiga masks are meant to resemble fangs, and are meant to add an edge of ferociousness to the Clan's appearance. Even members who are not actively working in more martial positions wear them--a style similar to Footsoldiers', but with the subtle difference that the center ridge of their three-ridged design is red, instead of the top one.

Footsoldiers' ornaments are straighter and dagger-like, evoking their prowess with smaller, more concealed weapons and bows. The top ridge colored red indicates that they are in a martial position and their work--and if necessary, their bloodshed--protects the more "civilian" population of the Karusa Complex.

Blademasters' ornaments are curved and sharper, a show of their ferocity with larger, well, blades. Although usually hidden by their hoods when in they're in full uniform, their ornaments do still feature the three ridges with the top one in red.

The Right Hand's ornaments share the basic shape of the Blademasters', but are segmented more smoothly down their whole length, with the final, sharp segment at the tip in red. These show that the Right Hand is at the top of the martial hierarchy of the Clan, at the forefront of the Clan's protection and ready to stain their weapons ("fangs") with the blood of their enemies.

Finally, Master Kohga's ornaments' more hooked shape are similarly meant to represent curved fangs, but the more rounded, shiny red end-pieces are meant to evoke skill not only with weapons but with the special arcane techniques only a Master is trained in. The larger, round, red center of their five-ridged design shows that Master Kohga is the central figure for the Clan--not just the Chief or "top banana," but someone who lives among their people and keeps them together. Powerful, deadly, but also a unifying force.

Traditions Surrounding Masks

As suggested above, Yiga children start wearing veils and practicing using the Sight technique pretty young, so they're prepared for donning their masks when the time comes. Kids officially get their first masks at the very start of the year during which they'll turn eleven. Depending on the Clan's birth rate for a particular year there might be only a few getting masks or there might be a big group. Getting one's mask involves...

A trip to Satori Mountain with Master Kohga! The Mountain being a very important place for the Clan, it has been chosen for the children's (usually) first time leaving the relative safety of Karusa Valley. The Master takes them to the sacred spring among the sakura trees near the top, where they remove their veils and put on their first masks. This ceremonial part of the trip is fairly short, and involves a pledge to stay safe beneath the mask and to work to the best of one's ability for the Clan. Then, the kids get to have some fun exploring, doing some fun little tasks set by the Master--things like "pick four different kinds of mushroom" or "find the tree marked with the Eye." This is meant to give the children not only a chance to practice using Sight out in the open, but the opportunity to get to know the Mountain...and...well, to run around being kids rolling in grass and climbing trees, out in the world under the sky, using the basic tracking and stealth skills they've been learning through their childhoods. (This is truly another of the current Kohga's favorite days of the year. Man loves the kiddos.)

Once you've received your mask, you're also considered old enough to start doing more involved chores around the Complex and figuring out what jobs and roles you might want to start really training for. So it's a Coming of Age kind of event! Children's mask ornaments are again the same as footsoldiers' and civilians', but they have the lowest ridge painted red. Under the protection of everyone else. They'll have these until they turn sixteen--another milestone.

Clan members are expected to keep their faces covered or disguised even at home, once they have been given their first masks. I've said it before but it belongs in a post on this topic: one's true face is, after that age, reserved for one's very immediate family. Parents, grandparents, siblings, spouse, and kids/grandkids. So, when a child goes up Satori Mountain at the start of their special year, the moment between when they take off their veil and when they put on their mask may be the last time they see the real faces of their friends with whom they share an age. Honestly, it's quite poignant, a sort of shedding of one's childhood self and taking on of a new identity among the Clan.

After death, a person's final mask is kept for their family's area down in the Clan's ancestor shrine halls. Masks are cared for by family members as part of specific festivals and are brought out for various events like weddings and funerary rites within the family. Since so much of a person's energy flows through their mask over the time they wear it, it's believed to still carry a part of their essence. So it's felt that ancestors are especially "present" and watching over you, when you visit your family shrine, or when their masks are made a part of your special days.

Yiga masks are quite tough, and broken and outgrown ones are burned at home. Those who are assigned to jobs and missions outside the Valley must be adept at the disguise technique, but if one's mask is broken to the point it can no longer be worn and it is at all possible to break away from one's task, one is supposed to return home to retrieve a new one right away.

((Sooga's insistence on wearing his cracked mask is considered quite unusual and odd. It's honestly only permitted because he is the Right Hand and thus his horns and uniforms already make him stand out. He did have it reinforced and repainted after the incident. I gave his stated reasoning for keeping it in a prior post, but...it's also because he was initially ashamed at having broken the work of a master craftsman so shortly after he received it. To this day, years later, if pressed he will say that his mask is serviceable so there is no need to trouble anyone. Of course, now more than ever anyone would love to make him a new one, but...that's Sooga for you. T-T))

Married couples traditionally remove each other's masks on their wedding night, before shedding any remaining disguise. This is a profoundly intimate show of love and trust. Even within a marriage, consent must be given before taking off one's spouse's mask.

Once you turn sixteen, in fact, no one is allowed to remove your mask without your express permission. Even when you're disguised under there. That includes parents and romantic partners. It's considered incredibly rude and childish especially after that age, to grab at someone else's mask to try to remove it.

That said, poking at or rapping on someone's mask is just silly behavior between friends, and caressing a masked cheek is loving. Also, touching masked foreheads together is a gesture of closeness between family, friends, and partners. Especially with a romantic partner, it's like a masked kiss. Yes. It's true. Yiga bonk foreheads like kittycats. (/silly, not really)

Because Yiga tend to spend a lot of time with their faces--even their fake faces--covered up, as a culture they tend to be quite expressive with their bodies and vocal inflections. They don't have facial expressions to rely on for communication purposes all the time, so head-tilts and hand gestures and other body language are adopted from an early age to get one's point across. Of course this doesn't mean they don't know what facial expressions are and mean (don't be ridiculous)--they know those things too, for when they're using an unmasked disguise and for dealing with other races. Just...they tend to talk with their hands a lot and can tell another Yiga's intent or emotion by how far they're tilting their head or how they're leaning their body. In fact, not gesturing as much or using subtler postures is just as much considered "reserved" or "quiet" among the Yiga as simply keeping one's volume down. There's nuance in these things, that outsiders might not realize.

Yiga doing espionage have to sort of mitigate these instincts/learned behaviors; they can sometimes come off weird or unsettling, otherwise! Think of those travelers you may have seen on the roads...how they wave and call to you a little too enthusiastically, and smile just a bit too wide... But surely they're just friendly! You should go over to them and talk. If you're lucky, they might even sell you some bananas, at very fair prices!

And the last thing you see, will be the blood red of the Inverted Eye.

And there you have it! A whole bunch of headcanons about Masks! Hope you had a good time reading!