#Tula Flowers

[kazeharuhime]

Tula Flowers

Thought to be a sky variant of Varia Maria, Tula Flowers can be found growing in patches in Sky Buddy World. The flowers are primarily decorative and grow wild on small clouds. Though the petals can be added to tea, they don't add much in terms of flavor. They are often the inspiration for floral patterns among sky-dwelling Fashion Buddys, and are sometimes used for dye or pressed flowers, but aren't preferred for thread production, as they tend to make thread curl like their stems when they come in contact with it.

[mintcrows]

dios mío las creaturas

[unlikablefemaleprotagonist]

not me reading the wikipedia page on stoats, getting to the "parasites and diseases" section and seeing this sentence:

tularemia is also known as "rabbit fever."

what is brennan up to. i don't trust the mind behind evan kelmp or knickolas pnackleless hob as far as i can throw him

[thisisnotthenerd]

why does brennan make his d20 characters assless. like truly.

we just got confirmation of evan's today, with:

"I just need to point out, with how I'm imagining Evan's musculature and body, his butt cheek is sort of an amorphous leg to back zone." ~ Misfits and Magic II, Episode 4, "A Change of Plan"

then you have raphaniel. i believe the phrase was:

"I don't think you've ever seen legs connect to lower back and have a butt hole in the middle. And be like, there is no butt. It is legs to back with a butt hole in the middle and no ass." ~ The Ravening War, Episode 4, "The Light and the Shadow"

captain hob is ass out all the time, but has digitigrade bugbear legs and a little deer tail and enough fur that you cannot tell how much ass he has, if he has any.

"So, immaculate military uniform, no pants, because his legs are digitigrade like a cat's, like a cougar's legs, and he's got a little deer tail that's white on the underside to help communicate danger to my comrades in arms!" ~ A Court of Fey and Flowers, Episode 1, "A Bloom to Remember"

the only one who has an ass, canonically, is tula, and she's a stoat, with a quadrupedal body plan.

(Tula): "Everyone relax. Mama keeps it tight, but we don't have to talk about that right now." (Viola): [holding a hypothetical badonkadonk] "Look at this butt! She's had this butt since she was a child! Look at that thing, golly!" ~ Burrow's End, Episode 8, "Five"

like what is the source of this. why is he like this.

to be clear: nothing wrong with assless men. why is it the majority, and why the distinct mention of it. the phrasing legs to back is used on two separate occasions.

[anthony-burchs-dog]

oh brennan lee mulligan and your making characters that are so deeply intensely loyal and don’t hesitate to use up all of their abilities all of their selves for others. you get me 💙

[cryptic-corvids-blog]

i wonder what all of my favorite d20 characters says about me. we’ve got adaine, ayda, riz, tula, liam whilemina, evan kelmp, antiope jones, k.p. hobb, skip and honestly so many more

[iiitsnotbase]

Iyengar and the Portrayal of Class and Power in her Games.

Since its origin in 1974, Dungeons and Dragons has been used to tell multiple types of stories, all depending on the players at the table and the dungeon master at the head of it. Most of these games (and other Tabletop roleplaying games, of course) tend to have a central theme in common, which is the theme of power. Whether that be a power over the world, for example, a king or nobility or dragon terrorising the nation, or the gods having power, or anything in between those, power always comes into play. Especially when it is commonly argued that one person at those tables, the dungeon master, or the game master, has the majority of the power over the table (excluding dice rolls, obviously. Dice rolls are left to the whims of fate.). 

There is one Game Master who portrays power in not only her games, but her characters, and she portrays it well. Though at times the way she portrays this power is often subtle and un-noticed, it is there; As intrinsic to her characters as the fact that they are alive, as threaded into the worlds she builds as the people (or even stoats!) that live in them. The way is not too heavy-handed, but it is not so subtle that you cannot see it, it is a delicate balance that she always manages to strike. I am of course talking about the Game Master of (most recently, at the very least) Candela Obscura; Tide and Bone, Aabria Iyengar. Though Candela Obscura is her most recent project (as of writing, 30/2/24), she is also known for her work on Dimension 20’s A Court of Fey and Flowers, Burrows End, The Ravening War, Pirates of Leviathan, and Misfits and Magic, as well as her appearances on Critical Role and being a main cast member of World Beyond Number. She is also widely regarded in all of these fandom spaces as (jokingly) ‘One of our own’, due to her frequent appearance on fanblogs. This is also sometimes colloquially referred to as ‘getting Quiddied’. Although Iyengar’s portrayal of power is always there, it is never more obvious than in Dimension 20’s A Court of Fey and Flowers.

Whatever you are imagining for A Court Of Fey and Flowers, times it by 10, add much more court drama, secrets, espionage, and one single, drugged-up, horny Grandfather who is all the worst parts of birds, and you might have something somewhat close. The table for this season of Dimension 20 includes frequently famous fliers (bird pun fully intended) such as Emily Axford (Lady Chirp Featherfowl), Brennan Lee Mulligan (Captain K.P. Hob), and Lou Willson (Lord Squak Airavis), as well as newcomers such as Surena Marie (Gwyndolin Thistle-Hop/BINX Choppley), Oscar Montoya (Delloso de la Rue), and Omar Najam (Prince Andhera), with Aabria Iyengar at the head of it, controlling all of their fae fuckery (both literal and metaphorical).

A Court of Fey and Flowers is Bridgerton on steroids, with magic and dice and eating feathers, and it is exactly as insanely wonderful as you think it would be. Interwoven with the romance inherent to the regency genre (BINX/Prince Andhera and Delloso de la Rue/K.P. Hob), there are themes of class and social standing, not only among the general population of the courts, but among their peers. This is there right from the beginning, in fact, as across the series illegitimate marriages, secret engagements, and whole secret children are revealed. Being the Game Master of this season, Iyengar portrays these struggles with a gentle touch and an ice-cold grip, never letting you forget that they are there, waiting to be shown, in the background. 

In the very first scene we have with Axford and Wilson’s characters, we learn both must marry for power, which tips many off to the way this society works. Their Grandfather (portrayed by Iyengar), demands they marry for power. This move, on Iyengar’s part, is a masterful portal of class, and hints at the social standing the characters have in the show. Unlike every other character mentioned, these two do not belong to a court. The implications of needing to marry well so they are not tarnished and banished from future social events do not go unnoticed by the players or the audience. Axford and Wilson would both later go on to reveal their already secured, entirely inappropriate matches, and cause many issues for their Grandfather. 

Another, darker moment of power is the power that the parents have over their children in this world. ‘Parents’ is a strong word for what some of these relationships are, ‘maternal’ being an even stronger word, so we will, for the purposes of this essay, say they are the people who watched over these characters as they grew and now hold power over them. Starting with the positive parental relationships, Marie’s character is shown to have a very unique relationship with their parents and family.

Unique in the fact that they are dead, and still holding power over her (in a somewhat positive way). Marie’s character’s grief spurs her to action on multiple occasions, at one point almost causing the end of her life through a power more powerful than grief. This is also down to Marie’s performance as BINX, her grief is interwoven with her character, holding court on her seat with her. Iyengar, several times, uses the care Marie’s character shows to her old family against her; Particularly in Episode 10, when she brandished a weapon for the first time against Najam’s Characters sister. The scene is incredibly impactful, as Iyengar cuts across to use the moment BINX (Marie) removes Andhera’s (Najam’s) shard to show Suntar (Andhera’s sister, Iyengar) losing the little power she had over Najam’s Character. 

Though Suntar is not the only person who held power over Najam’s character, his Mother, the Queen of Air and Darkness (again, Iyengar) is shown to terrify them. In fact, the power The Queen holds over her son is so deeply rooted into his character, it is a part of his design, a shard shoved into his neck that rains on him when he gets upset, or any strong emotion. This allows Iyengar to offer reminders to the cast, even when Najam is portraying the emotions, that there is always someone more powerful than the main six out there, waiting. This impact is made even heavier by the fact Najam plays one of the most powerful characters at the table himself, a Prince of a court that is widely well known and highly regarded. There is a case to be made about how he might play the most powerful character at the table, because while Marie’s Character is the leader of their court, that court is diminished, and Montoya’s character still answers to other people. 

Speaking of Montoya’s character answering to other people, The Chorus are some of the most prominent threats despite never being explicitly stated as villains (like characters such as Prince Apollo (Iyengar) are). They run one of the most powerful courts, The Court of Wonder, and help put together the entire event the story takes place in, The Bloom. The power they have over Montoya’s Character (Delloso de la Rue) is never unnoticed. It is integral to the character, given that they wore a glamour (a magical illusion to make them look like a green-skinned elf) every single day, to hide the fact they really are an owlbear, which are typically considered monsters. The Chorus only really exert their power once in a threatening way, but just because something is not said does not mean it is not felt. For example, Wuvvy (Iyengar) is a member of the Court of Wonder, and although she is Delloso de la Rue’s assistant, she is still a member of the Court of Wonder, which means she also answers directly to The Chorus if she is asked. Though all the examples mentioned so far are subtle in their power, one court likes people to know they have power, perhaps because the people in it are so very tiny. 

Mulligan portrays Captain K.P Hob of The Goblin Court, which holds the most explicit power in the season. Before we have even learnt the name of Mulligan’s character, we learn he is a Captain, which might mean something in another, kinder universe. This ties back into the Goblin Court holding all the power, K.P is a captain of their court, and this is so important to him we don’t learn his first or second name until much later. Iyengar and Mulligan work together to portray the court gaining and losing power rapidly, and using its members with significant ranks to find and hold that power. This is shown when the Viscountess Grabalba marries the Head of the Trickster Court after her previous engagement is called off. It is shown, in a much more solemn light, when K.P Hob is promoted to Major and ordered to marry for the court, which he does. 

There is also power in the way the cast chose to do their romances in this world, which Iyengar facilitates with several events throughout the ten-episode season, such as a Masquerade Ball and a Hedge Maze. There is power in the way Axford’s character has her own, secret family, in the way Wilson’s has a lover in every court, in the way Marie and Najam’s characters find each other, and in the way both Montoya and Mulligan’s leave their old lives behind for love (in Montoya’s case, in an almost direct parallel to Wuvvy). You could write an essay on the romances in A Court of Fey and Flowers, but this is an essay about power, and while love does have power, I would next like to discuss another Dimension 20 season headed by Iyengar and featuring Mulligan that heavily plays on power. 

Dimension 20: Burrows End is Chernobyl (the TV show) meets Chicken Run (but replace the chickens with stoats) meets Peter Rabbit (but they are stoats) meets 1984 (but with stoats). There are a lot of stoats in this season. Almost every character is a stoat, with exception of the two named humans (one of whom is secretly a stoat). Again, this cast includes some frequent flyers, such as Brennan Lee Mulligan (Tula), Isabella Rolland (Lila), Siobhan Thompson (Jayshon), and Erika Ishii (Ava), as well as the transition of Rashawn Nadine Scott (Viola) from Play It By Ear to Dimension 20, and 3 Black Halflings’ Jasper William Cartwright (Thorn Vale). All in all, this cast is best described as a powerhouse. 

Iyengar portrays class and power in this season in a subtler, more intimidating way. It is not so obvious at the beginning, as all the power seems to be in the hands of Cartwright’s Thorn Vale, the leader of an exclusive cult that worships The Blue. There is an argument to be made here that The Blue is the one with the power, despite not being a technical character in the season, it holds its place by being constant, whether that be through Cartwright and Scott’s character’s cult, or whether that is through forcing the beating of Mulligan’s character’s (Tula) heart. In this, the force which holds all the power is not a character at all; It is similar to what holds all the power in our world, which is simply nature. 

When the main six reach a location known as Last Bast, or The Last Bastion of The Light, or Warren Peace Nuclear Power Plant (we’ll continue to refer to it as Last Bast), some of the first characters there that they meet have the least power. They meet the working-class of stoats first, before anyone else, and thus begin to see Last Bast from their perspective. They meet these working class stoats when they are dying, when it is implied they are expendable because they have no power. In reality, they have all the power, being the ones to provide the food for the rest of Last Bast, and being the ones to provide the food, which keeps the area going. In reality, as much as the ruling class don’t think the working class have any power here, they have all the power. 

One of these working class stoats (as a reminder, these are all stoats) is an outspoken adolescent named Sybil, who loses her brother in the first meeting with the main six. Though initially she is portrayed as weak and powerless (literally being dead in her first appearance), we learn that she is resourceful, and if she is not strong in the literal sense, she is strong in the mental sense. She is also used to show the power that the leader, The First Stoats, have over their people, when they kill her in front of the Main Six to prove a point. Her death is explicitly described as being “The price of treason,” (Iyengar). Though Sybil is often argued as just simply being ‘a narrative device’, could the same not be said for all the characters in this story?

Sybil is also used to portray the idea of love conquering all, an overused trope but a trope for a reason. One of the most popular phrases in Last Bast, and a phrase used to guide other stoats towards it is “Follow your instincts towards the light.” Sybil takes this extremely literally, following her brother and breaking rules for her family, such as saying Curtis’s name even after he died (an act forbidden by The First Stoats).

Which brings me nicely onto the next point, the way The First Stoats attempt to hold power over death. The first way this is shown is through the disallowance of names for the dead, for the people who don’t technically exist anymore. This furthur shows their dictatorship and need for power and control; The way they cannot control death so they outlaw the names, taking away the family’s process of mourning and grief. The second way they do this is through Sybil’s aforementioned execution by them. They capture and kill her, showing again how they have the level of power and control that other stoats in Last Bast do not have. 

Candela Obscura; Tide & Bone is not only a masterclass in relationships and trust between players at the table, but a masterclass in power. The cast includes Sam Riegel (Oscar Grimm), Noshir Dalal (Professor Rajan Savrimuthu), Gina Darling (Madam Cordelia Glask), Ashly Burch (Dr Elsie Roberts), and Liam O’Brian (Professor Cosmo Grimm). This cast includes Critical Role old and new friends, all voice acting powerhouses in their own right, and is headed, as all these tables are, by Aabria Iyengar. 

Tide & Bone does not only choose to focus on the power of human emotions, but on the power of nature, and the freakish things we cannot control even when trying our best. To understand the portrayal of power in this game, we first need to understand the characters and their relationships to each other, since one of the long-standing themes across the circle is what power, and how much power, do our emotions have over us?

This theme is most obviously portrayed through Burch’s performance as Dr Elsie Roberts, a young Doctor with Cullet and a panic disorder that materialises as a terrible monster when she gets too stressed (take it literally), and Dalal’s performance as Professor Rajan Savrimuthu, a professor with a hive in his chest. I highlight these two not because they are the only people to portray the theme of emotions holding more power than they are worth, but because they are the most obvious. It is well stated that the professor and the doctor were together (romantically), “For a time.” (Burch). 

The scene that highlights this the most is the opening scene to Episode 3, Candles in The Dark, where it is revealed to the audience that, for an unknown reason, Professor Rajan Savrimuthu spent the whole night outside Dr Elsie Robert’s bedroom door, after him leaving in the previous episode. This scene, or the opening to it, shows how people are easily manipulated by their emotions, especially people such as Professor Savrimuthu and Dr Roberts. 

This theme is further explored later in the scene with the line “(Oscar) is interesting. He has certainly earned your trust.” Said by Dalal as Professor Savrimuthu. Oscar Grimm is one of Dr Robert’s best friends, and the only person to have ever seen her transform into the beast outside of herself (“I would have seen it before, right? So I know.” (Reigel as Oscar Grimm, narrating his internal monologue.)). This is further questioned by Dr Roberts, when she wonders why exactly ‘Raj’ is choosing to bring up this moment now, when they are about to go on the run, saying Elsie’s internal monologue is asking “Is this an inopportune moment of jealousy? What’s going on here?”.

However, romantic emotions are not the only emotions shown to have power over people. When Dr Roberts transforms into The Beast for the first time on-screen in Episode 1, it is not Professor Savrimuthu who comforts her through it, it is (one of) her best (and only) friends, Oscar Grimm. ‘Comforts her through it’ is a generous term to say ‘he is the one who takes the fall, not only for Elsie but for the rest of their circle, as she kills him’. Oscar Grimm cannot die, but he can still be killed, and he is. As he is being killed, though knowing she cannot hear him, he whispers, “It’s ok. I’ll be fine.” and then promptly dies and comes back.

This is another way that Iyengar portray’s power in this story; The power of death, and those who defy it, through Oscar Grimm, Empress Iomene, and Cosmo Grimm. While many other themes are ran rampant throughout their story, the main one is death and mourning, and finding power over those things.

For Oscar, the man who never dies, death is not something to fear. He cannot comprehend or remember what happens when he dies, and though he is often not alone, he dies far more than any one person should. Both him and his son, Cosmo Grimm, have power over death in separate ways. Whilst Oscar does not actively seek death, it seeks him, and he keeps coming back, whereas Cosmo actually seeks death and does not find it. The constant death for the elder member and the constant undeath for the younger one make this duo interesting and give them some of the most power in this circle. 

The last character to explore power in a unique way in this circle is Gina Darling’s Madam Cordelia Glask. She shows us the power of the gods, who took her entire family from her. Darling also, during her portrayal of Glask, holds a necklace like a rosary, showing how she still has faith in the gods that raised her and ripped her family from her. This point also further proves the power that our childhoods hold over us, even when we are in a different location, as Glask is. 

There are then the themes of communal power that are portrayed in the story, most obviously the power of names and titles. In Newfaire, there is a literal divide between the Eaves and the rest of the city, the literal divide being the staircase into the Eaves. This is evidenced in the circle by the fact that only one of them is not titled in any way shape or form; That person also being the eldest in the circle, Oscar Grimm. Whilst all the other characters are titled somehow, with either Professor or Doctor, offering academic achievements, or Madam, offering social achievements. This creates a divide in the circle, which is particularly emphasised when you realise that Oscar works for Madam Glask.

In conclusion, although power has multiple meanings, somehow Iyengar is able to portray all of them across the games she leads. This essay only covers the elements of her games, it mentions nothing of her characters, the ones who destroy themselves for power (Suvi and Laerryn) and the ones who let power destroy them (Karna). Power, as most things are, is a storytelling device that can often be overused. Iyengar does not do that. Iyengar’s take on power is refreshing, and in so many words (3410 to be exact), oddly comforting.

[hellishfig]

i know i made the brennan pc polls

and i respect people's opinions, and i love all of the pcs

but tula is beloved in my sight

and the fact that she's losing makes me So Sad

i get that the evan kelmp love is strong

and k.p. is not far after

but people! tula is an incredible character! love her!

[knottyroseswrites]

I regret to inform you all that I’ve gone down bad for Brennan Lee Mulligan. Tula and Hob are my babies, I will love them forever and ever, and therefore I’m in love with their creator. I should have known this would happen

[supermarket-goblin]

I am currently writing a 'this players PCs meet fic' where Evan Kelmp, KP Hob and Tula meet and despite all having very similar vibes, Tula is so tiny compared to the lads. So tiny. Also, is it not possible, that all three of these worlds exist in the same universe?

[aro-wan]

It's strange to have a generally neutral-positive relationship with romance depicted in media that suddenly shifts to a hard negative-very slight neutral relationship with romance in media. All of this especially with a character that you adore and feel connected with and then see them be forced into the role of love interest and see other characters push for that romantic pairing that comes from no where and has no right involving this blorbo. Like, romance between characters is for fanfiction. Romance is for the five other main characters in the cast. Leave this one alone.

[deconstructthesoup]

I'm 100% certain that K.P. Hob is the only one of Brennan's D20 PCs who's escaped this curse

BRENNAN. WHY.

[justsalpals]

"I hope wherever you're going is soft and full of flowers. I hope the sun is warm, and I hope there are places to rest."

Tula froze to death in the snow.

[dimension20npcofalltime]

Round Four (Semi-Final) - Bracket Two [Dimension 20 NPC of All Time Sidequest Edition]

Wuvvy vs Stacy Fakename vs Meatwolf

Propaganda under the cut (May contain major spoilers for A Court of Fae and Flowers, Mentopolis and Burrow's End)

Wuvvy - She/Her

Campaign: A Court of Fae and Flowers

Who is she?

Wuvvy is Delloso de la Rue's close friend and former assistant.

Why is she the NPC of All Time?

She's a champion who left her court to become an assistant. She regularly exchanges 'I love you's with her crush, who only sees her as a friend. She is hurt by them but challenges their love interest to a duel instead. She ripped up the letter. She's devoted and messy and angry. Love of my life, NPC of all time.

She deserves better. Queen shit.

She's worked so hard. She deserves this

Wuvvy is a loyal freind who will cut a bitch if necessary

Cited by both Brennan and Aabria as one of their favorite NPCs of all time, and the only NPC that Brennan has ever wanted to sideline a campaign to follow. For a good part of the campaign, she provides the emotional depth that isn't present in the rest of the campaign, and creates conflict that matches the theme and genre of the campaign. One of the most intriguing and compelling NPCs of all times, side quest or not, and also a perfect girl who should be allowed to commit crimes because she deserves it.

Have you seen her?? beautiful prey turned predator. part of the most heart wrenching love triangle

Stacy Fakename - She/Her

Campaign: Mentopolis

Who is she?

Stacy Fakename is the personification of flight, one of Elias Hodge's reflexes.

Why is she the NPC of All Time?

It’s such a good bit with such a good payoff

Meatwolf - He/Him

Campaign: Burrow's End

Who is he?

Meatwolf, or The Wolf of Theseus is a wolf that was experimented on by the First Stoats to make it a weapon.

Why is he the NPC of All Time?

The goodest boy with the goodest name. Was supposed to be a scary but was turned into an adorable ball of totally non-horrific hugs thanks to a bit of kindness from Tula.

[jat-a-fan-of-stuff]

Thanks to popular demand, i came up with a creations guild sona/oc !!!

(Sorry for the bad quality im in an airport rn)

Some lore i have so far!!

- Koru uses they/them pronouns !!

- they are an earth genasi

- they live in and take care of the castle gardens! Gricko likes to go there from time to time bc they get new and interesting plants

- Koru also has a flowlbear (a flower owlbear) named Tula! She and Hootsie are friends!!

- Tula has problems with her right eye

- Basically once in a while Gricko goes to the palace gardens to hang out with Koru and talk about plants, while their owlbear daughters play in the garden.

- Koru is a Master Gardener, similar to Gricko (only Koru is like. A bit more high class i guess)

Thats all i have for now!!

[talonabraxas]

Quetzalcoatl: The Feathered Serpent

The name of the deity Quetzalcoatl comes from the Nahuatl language, and it means “Precious Serpent,” which is a reference to the serpent that is associated with the god. Quetzalcoatl was a prominent deity in the Aztec pantheon, as he was related to various phenomenon such as the planet Venus, the wind, and the sun and was also the patron of the Aztec priesthood. Aside from these, he was also associated with other gods such as Tlaloc, Huitzilopochtli, and Tezcatlipoca.

In ancient Mesoamerica, Quetzalcoatl was one of the most important gods. He was known for his role in the creation of the world and its inhabitants. His name combines the Nahuatl words coatl and quetzal. From 1200, Quetzalcoatl was regarded as the patron deity of merchants and priests in Central Mexico. He was also known for inventing the calendar and was associated with various animals, such as the opossum and also the Morning Star Venus. He also discovered a mountain full of seeds and grains.

Following the arrival of Nahua-speaking tribes in the north, Quetzalcoatl’s cult underwent significant changes. During the Toltec era, his temple was the centre of ceremonial life in the city of Tula and the culture emphasises war and human sacrifice.

Physical Traits Aside from being a plumed serpent, Quetzalcoatl was also known as a man with a beard. He was depicted as Ehécatl, the wind god, and he wore a conical hat and a mask made out of tubes.

Quetzalcoatl was also known to have a flower, a black and yellow feathered fan, jade earnings and spiral shells inside a hat-band holding sacrificial implements. He was also known to wear a cross section of a pectoral that was made from a conch whorl which was in fact a wind jewel called Ehecailacozcatl. He is often black, wears a red mask like a duck’s beak and has long canine teeth. As a god of the cardinal directions, he was associated with various colours representing each of the directions.

Family There are various stories about the life and times of the serpent. In one story, a virgin named Chimalman is said to have given birth to Quetzalcoatl after the god Onteol appeared to her in a dream. In another story, Chimalman conceived Quetzalcoatl after she swallowed an emerald. In another story, a man named Mixcoatl accidently shot an arrow into her womb and nine months later, Chimalman gave birth to a child who would later be called Quetzalcoatl. One of the stories states that Quetzalcoatl was the child of the god Coatlicue, who had hundreds of children.

According to another version of the myth, Quetzalcoatl is one of the four sons of Ometecuhtli and Omecihuatl. The four Tezcatlipocas, each of whom presides over one of the four cardinal directions are White Tezcatlipoca (Quetzalcoatl), Blue Tezcatlipoca (Huitzilopochtli), Red Tezcatlipoca (Xipe Totec) and Black Tezcatlipoca (Tezcatlipoca). It is also suggested that he was a son of Xochiquetzal and Mixcoatl.

Other Names He was known as Kukulkán to the Maya, Gucumatz to the Quiché of Guatemala, and Ehecatl to the Gulf Coast Huastecs.

Powers and Abilities Quetzalcoatl was regarded as the patron deity of merchants, priests, and scientists. In the Nahua tradition, he is also the creator of the universe and the creator of humanity. Quetzalcatl was regarded as the creator of the calendar and books as well as the protector of goldsmiths and other craftsmen. He was said to have gone to Mictlan with Xolotl to obtain the remains of the dead and was also the symbol of death and destruction. Those bones he anointed with his own blood, giving birth to the men who inhabit the present universe.

In an alternative form of creation, Quetzalcoatl and Tezcatlipoca worked together to form the first man, the rain gods, and the sun. When they were created, they transformed into snakes and ripped apart a reptilian creature known as Cipactli.

Quetzalcoatl by Talon Abraxas