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vidavalor · 20 days ago

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Hi! Hope you’re having a great day! When Crowley said that both he and Aziraphale speak every language in the world, how do you think that would work? Like, do they have the potential to? Or do they just switch to a language by default? Do they kinda have to spend some time around a certain region to speak those languages? Thank you for your answer!

Hello there! Hope you're having a great day yourself. *all the chocolate cake for you* 💕 What a cool question! Sorry it took me awhile to get back to you. I'm flattered to have a bit of a backlog happening here 😳 & I also was taking some time to mull this one over as it's a really fun topic.

What might it mean for Crowley and Aziraphale to "speak every language in the world?" and how might that work?

I've got a couple of ideas that also involve a look at Aziraphale's halo and the "one big avocado" joke while we're at it...

I think that this question contains a bit of chicken-and-the-egg. To show you what I mean by that, I want you to look again at the scene in the gif below but, instead of looking at Muriel, Crowley, and Saraqael in the foreground of it, look at Michael and Uriel in the background:

If you look at the scenes of Crowley and Muriel watching the footage of Gabriel's trial, you'll notice that Heaven's Zoom things-- that are somewhere between a skyscraper and a computer tower in appearance-- are marking information in what are known as ideographs.

An ideograph is a symbol or a picture that stands for a word or a concept. The foundations of every language on Earth are all rooted in different forms of ideographs that, along with some basic sounds, are believed to have evolved towards letters and words and into the modern spoken and written languages we use today. Some of the most well-known ideographs that we know of include things like ancient Egyptian hieroglyphics, the Phoenician alphabet, and the runic alphabets.

[I did a post on Crowley's use of "ngk" that talks about its origins relating to the Greek alphabet and touches on ideographs a little, if you're interested in more on this topic.]

These same symbols in the "Heavenly Zoom" screens alongside Michael and Uriel in the Gabriel trial video are also being shown as the timestamp/data markers on the video Crowley and Muriel see of Gabriel riding the lift/elevator down to Earth when he ran. Runes are also part of the markings of the magic circle in the bookshop floor that Aziraphale uses to connect to Heaven.

He and Crowley cover up that foundational circle with a rug decorated with lotus flowers, symbolic of Eastern spiritual influences and trauma recovery, and appear to more commonly use the spot that can be used to contact Heaven as a meditative spot. It's also where they do the Gabriel miracle, seemingly as a way of calming and focusing themselves to be able to perform it.

Visually, the series is using ideographs in the floor & the rug to reflect evolution in Crowley and Aziraphale's life from the runes in the floor evoking Heaven to the lotus flower rug which, while also symbolic in ancient religions like Hinduism and Buddhism, also have more relevant and modern symbolism reflecting the journey towards enlightenment and the persistence and ability to transcend obstacles born from trauma.

It's symbolic of the idea that, in their World of Carpets that they've made together, Crowley and Aziraphale are very much like a lot of people with Christianity-based religious trauma and other issues whose spirituality has gone a bit Buddhist, if at least in using tools like mindfulness in a secular way (see also: the breathing in the sushi and the magic shop scenes, etc..).

The Angel of The Eastern Gate, ya know?

Anyway, the point is that the foundations of all Earthly languages are ideographs and we've seen a few scenes show that Heaven uses those in internal documentation. This, as The Voice of God would say, proves two things:

All of the characters on our show share the same foundation of languages. It all comes from Heaven and the language of the angels. The demons were angels so this is their foundational language, too, and it's the same as many early human languages, which means that, just as the angels and demons pre-dated the humans, the foundations of what we think of as our human languages actually, in the Good Omens universe, come from the angels and demons, and...

Heaven is still sending internal emails and documenting files using this picture stuff from over six thousand fucking years ago. 😂

It's symbolic of how slow evolution in Heaven is and how they do not view evolution as actually a good thing.

Relevant to this is that, in the Ineffable Bureaucracy flashback, Beez and Gabriel sum up one of the big themes of the story really succinctly when they talk about how both the angels and the demons are both living for Armageddon-- "if you can call that living," as Beez puts it.

You can't. Gabriel and Beez agree that it's not.

Like Crowley and Aziraphale, they have seen the truth of things, which is that the ones who are really living are the humans. The angels and demons are socialized to believe that they're superior to the humans-- magical, quasi-immortal, not in need of any of the revolting trappings of humanity, like food and love. Our main four characters, though, have figured out that this isn't true and that the ones who are really living are the humans. Not coincidentally, then...

...Crowley, Aziraphale, Beez, and Gabriel-- the four characters who have made an effort to spend time on Earth during its evolution-- are also the four most linguistically adept supernatural characters on the show.

What we're saying is that, since the angels created Earth, it means that the beginnings of language on Earth in Good Omens actually comes from the angels, which means that all humans, angels and demons share in common the same foundations of languages. This is where human evolution of language comes into play and we can see more then what it might mean to speak all the languages of the world.

Language is not a passive thing. It is constantly evolving. The evolution of language is a collective effort by all of those participating in it by speaking that language. It carries the weight of the past in the history of its words but it also is sometimes how people, consciously or unconsciously, seek to evolve from that past.

We first learn to talk by mirroring the vocabulary and speech patterns of those around us and we keep doing that, in different ways, throughout our lives. Slang becomes popular by people picking it up from one another and spreading it. Words take on new meanings and evolve or fall out of fashion in accordance to the times. Why we say what it is we say and how we came to say it and what these words mean now and used to mean and their relationship to other words is known as the study of etymology and Terry Pratchett's novels, including both Good Omens and the Discworld novels, are love letters to this field of study.

The figurative language of both is developed off of a love of word history-- Aziraphale's discus halo, for example, is the same etymological joke that is why Pratchett's novel series is called Discworld. The word halo was originally not a religious term but a scientific one and described the disk of light visible around objects in the sky. As a result, halo, in its earliest origins, was also a word used to describe many disk-shaped things on Earth-- the discus and the sport named for it chief among them.

Also, disk-shaped platters (the "go on" temptation trays of food in Good Omens and dinner plates). Halo was an early word for some gardens and the original term for what evolved to be knowing as a threshing floor-- a space into which oxen were penned to process grain.

The original halo, as we mentioned, was light *around* an object in the sky, which is different from how it evolved to be light *above* a religious figure in art work when the word was basically stolen from scientific circles by religious people. A visual reference to this is the contrast between Aziraphale's halo in S2 versus the human performance artist dressed as a human-like angel with a halo above her head when Gabriel is jogging in the park in S1.

In Good Omens, the definition evolution is also there in Aziraphale, a religious figure (an angel) with perfectionist issues having the halo around his head and not floating above it. He's a deity in the way that the humans would draw it in art but his halo doesn't reflect perfect, pure, godliness-- it reflects his humanity and the pressures of trying to live up to what others say reflects God but which he doesn't truly believe does. Aziraphale's halo is symbolic of his mental health struggles and the pressures we put on ourselves-- it's crushing his head in and causing the anxiety attack we're seeing him fighting as he takes it off.

Good Omens is a Discworld-adjacent novel and The Discworld?

It is about us and our own halos.

We're all the objects in the sky and we've got a complicated ring of light around us. We're amazing, celestial beings but we're also so very human.

The story is in the etymology: Halo = Discus. Discus = Disc. Us.

Discus is also the root word of what we can do to help us manage our halos-- discuss stuff. Get out of our same daily rounds and talk about our frozen peas. Put on some round records or some compact discs and dance on the heads of our pins. Maybe to some disco, so we won't discorporate.

The other word related to halo and that comes from discus is desca, the origin of the word desk.

It originally just meant any table. If you've got a table or a desk, you've got a mind, you've got a life you're trying to lead. Doesn't matter if you're borrowing it or sharing it or if it's yours or if you've got one or more than one. Doesn't matter if it's clean or cluttered or what's on or in it-- if you're using a table of any kind, you're writing something, making something, eating something, doing something, thinking about something.

You're living life in the Discworld.

In Good Omens, one of Heaven's few material objects are desks because the supernatural characters are members of the Discworld, too-- they just mostly like to pretend that they're not.

Aziraphale's discus halo is both an etymology joke and etymology-based figurative language in one. It's what the Discworld is, in a visual pun. So, what does this all have to do with speaking a language?

Well, for one thing, it shows how language-history-driven a story Good Omens is. It also helps to show that the characters who are the deepest into understanding what it is to be a part of the Discworld are the ones who are letting themselves live.

*cues up the Queen* Ooh, you're making me live...

And what is a big effect of letting yourself live in Good Omens? What is one of the most notable by-products of these characters who do, namely Crowley and Aziraphale?

Their more adept language skills.

It's the humans, by and large, who are living so it's the humans who have evolved language from its Heavenly foundations. Heaven still using the ideographs symbolizes how they have struggled to evolve because evolution isn't seen as positive there. They think themselves superior with nothing to learn and have no curiosity about how their relatives on Earth are living. They think they know everything and should be inflicting their lunacy onto the humans, who are the ones really doing the work of figuring out the Discworld.

Crowley and Aziraphale have been living on Earth since its beginning and so they are basically walking, talking etymological dictionaries. They came into it knowing the foundations of all languages and then they have become a part of its evolution alongside the humans.

Several historically anachronistic scenes also indicate that Crowley and Aziraphale themselves are responsible for contributing various words and phrases throughout history. That alone would be its own meta but part of the enjoyment of language in the series is seeing our main characters use words that were definitely not otherwise in use in the eras in which they are in during any particular scene-- like Aziraphale using "America" in 3400 BC and "restaurant" in ancient Rome and Crowley being "down with" something in 1827 on the same night he's originating the "you say potato" at the heart of a song that wouldn't be written for another century to come. Crowley's first lines in the series in 1.01-- "well, that went down like a lead balloon"-- are historical anachronisms and absolutely hilarious, as here's the first human beings, basically naked and shoeless, just leaving the Garden of Eden, and thousands of years away from understanding concepts like lead and inventing balloons, let alone inventing an idiom connecting them.

When you think about it, Crowley and Aziraphale would be contributors to human language just by living on Earth for so long because that is how language evolves. We pick it up from one another. The popular fan theory that humans began using "angel" as a romantic pet name after hearing Crowley call Aziraphale that is this same sort of thing-- and the show suggested that it's true in S2 by having Nina adopt it for Maggie after hearing Crowley use it to describe Aziraphale. Also seems like an opportunity for my favorite linguistic historical anachronism in the series:

Crowley and Aziraphale's ability to know human language better than the other supernatural characters reflects that they have been living human lives, which the show has argued is what living is.

Basically all of the humor with regards to language in Good Omens comes from where the angels and demons seem to have not been on Earth that much or have not been updating their internal language computers and are therefore confused by ways in which language has evolved.

Everything from Shax's toast/toste to Hastur's ciao/chow confusion... from Gabriel's "keep the status quo static and, uh, quo-y" to Michael's humorless inability to understand Crowley's shuhite/shoes homophonic joke... from "surrender the angle" to "transferred from another human settlement"... are all jokes that reflect that the angels and demons are missing information regarding where humans have taken language.

There's even a joke that is about the supernatural characters struggling to understand language evolution and that's the "one big avocado" joke from both the book and the show. It's a joke about the inability to understand wordplay enough to tell a joke that is actually funny. Part of the humor of this joke is that it is just fucking terrible the way that the characters tell it 😂-- not terrible in a so-bad-it's-good way but just terrible-- but what also makes it funny is that it could have been very funny if only they were able to piece together the elements sitting right there that make it amusing. They are so close to having a decent joke here but they just can't quite get there. Making matters funnier? They lack both the knowledge and the self-awareness to actually see the puns sitting right there in their own conversation.

The humor is that Famine (in the book) and Eric (in the show) are essentially trying to make a pun but they don't quite get wordplay. They can see some potential in the fact that the end of the world is apparently going to happen in a place that also grows avocados. They sense something of note or meaning in that but they don't know what to do with it. They can see that it's all weirdly absurd and they can feel something there but they don't know enough about words to make something out of it. It reflects that they don't know enough about Earth to see that Armageddon is not a foregone conclusion and that it is really about all of them and their own personal Armageddons. The best they can do is just say it with verbal italics-- that Armageddon? It's gonna be one big avocado-- but they're mainly just mimicking a humorous tone here without having the words there to justify the tone and make it actually funny.

They've basically understood the human need to go at life with some dry, absurdist, gallows humor but they aren't sure how to replicate that themselves beyond tone. In the novel, the "one big avocado" joke is a conversation between The Four Horsepeople of the Apocalypse who have gathered to ride but are talking about how they are surprised that Armageddon is taking place in this village called Tadfield. The joke is in none of them actually knowing the etymology of one of the most well-known etymologies of any word on Earth in history-- Armageddon, which is derived from the name of the ancient city of Megiddo. They are The Four Horsepeople of The Apocalypse and they don't know the origins of Armageddon, which is their entire purpose for existence. 😂

Famine gets closest to the etymology by saying that he thinks that Armageddon is "somewhere in Israel" from what he understands but also admits that he "always meant to look it up" and isn't totally sure. Pollution thinks Armageddon is in "Pennsylvania or Massachusetts or one of those places", apparently equating it to places associated with the beginnings of the American Revolution.

[There is, believe it or not considering some of the city names in the United States, not a single town or single city in America named Armageddon. Not just in Massachusetts or Pennsylvania but in the entire country. I know because, unlike Famine, I looked it up when I first read the book.]

Thematically, Pollution is close but no cigar and doesn't have a clue how close they are to getting the themes of freedom and autonomy that are associated with the positive aspects of the complicated old duck that is America running throughout the story, which are reflected in the tv series through things like Gabriel, The Them's "39 flavors of ice cream in America" scene in S1 and, of course, Give Me Coffee or Give Me Death. Pollution ain't smart, though-- and for A Character Who Is Actually A Concept, they're amusingly terrible at, well, getting concepts... which is so to help us better see that by seeing what it is that they aren't understanding.

Both of them are showing that they have no idea what Armageddon means because they don't understand how the word came to be. The joke both suggests that it's important to the story to consider that Armageddon has different meanings in it and that the word choice in the story is very specific and looking at word origin, in general, is key to story comprehension. All of this is obviously true in life outside of Good Omens as well and one of the messages of this story and, I've found, running throughout the novels of Discworld that I've read.

Eventually, Megiddo is brought up and Famine is surprised that Armageddon would be what it was known for (despite Armageddon as a word being literally derived from the city of Megiddo 😂) because he "thought that was where they grew avocados."

Death-- the only one who kinda knows what's up with the words here-- finally chimes in to answer Famine by saying, in response to the avocado-growing place, that that's "MOUNT CARMEL."

Death means Mount Carmel, California, which is known for growing avocados, and which also shares a place name with the mountain range that encompasses Megiddo, the place whose name formed the origin of the word Armageddon. They do grow avocados in Megiddo but if you lined up everyone on Earth and asked them to describe The Velvet Underground tell you a place famous for growing avocados no one-- no one-- would say the fields of Megiddo. One of the top three answers, though, would be the mentioned region of California.

Famine replies to this as Eric does in the show-- that Armageddon then is going to be "one big avocado"-- and the humor, on one level, is in his inability to make a decent joke because he can't understand words enough to pun. On another, though?

If we're a little more word-savvy here and applying these guidelines the story is suggesting to the story as we go? If we get that the story is Armageddon but that Armageddon is really about a person's own mental health crisis and struggles in the Discworld and the whole destruction-of-planet-Earth thing is plot but more metaphorical than anything else? Then, our next question might be what the deal is with involving avocados in the joke about Armageddon's word origins and the inability to play with words being what humorlessness is.

Is there additional humor in that, beyond the actually funny Mount Carmel part of the joke that the characters don't get but that the reader/viewers can? Is there a level of this that is funny in a way where the characters making this terrible joke ironically don't realize that they have, on some level, actually said something funny? There are in a couple of ways...

One is that avocados are sometimes euphemistic in English for balls (in the testicular sense, obviously). It also originally had the alternate names of the alligator pear or the avocado pear, which is homophonic for pair... which can be used to refer to balls, as in look at the pair on him, etc.. Word-wise, avocados are actually, ironically-- pardon the fruit pun-- perfectly ripe for punning.

Knowing literally any of this would have meant that Famine or Eric could have actually made a very funny, punny, dirty joke out of the avocados simply by referring to two of them instead of the "one big avocado." This is all without even adding in the element of Armageddon and destruction as sexually euphemistic and the innuendo potential there...

If you were talking with Crowley about avocados being grown where Armageddon was scheduled to take place, he could instantly come up with about twelve dirty puns off the top of his head and be grinning within seconds, having fun with Aziraphale being faux-scandalized (and then the angel being just as filthy in response 😂). It's because Crowley canonically loves word history and has a special fondness for homophony, which would be a big part of avocado-related humor ("So I am. Bildad the Shuhite... need any shoes?"). He loves to play with words. So does Aziraphale. They would be flirting about avocados and Armageddon effortlessly whereas characters like The Four Horsepeople, Hastur, and even Eric (who at least appears to be trying) are lacking in living enough on Earth to really be able to develop a sense of humor through understanding language.

The avocados are also obviously tied to the use of pair/pear/pare in Crowley and Aziraphale's private language, too. (And the related appear/disappear being used euphemistically for an orgasm.)

Finally, there's another little joke in there with the avocados-- one that's more for us than anything else. Avocados bringing up pears and pear being homophonic for pair means that Armageddon-- which is the story of Good Omens-- going to be "one big avocado" means that the novel was predicting that Good Omens was likely going to produce "one big pair."

It did and still does: Crowley and Aziraphale.

Those two fruits have spent the last couple of decades being one big avocado, have they not?

So, the story is saying that fluently speaking a language is best reflected by a person's ability to play in it. Crowley and Aziraphale, we have learned, know how to play with words using every language in the world not just because they knew the foundations of those languages but because they have been participating in the evolution of those languages as humans of Earth for the last six thousand years.

To be fair to these supernatural characters who aren't so hip to words, though? Plenty of humans are missing this stuff, too. That's a big part of the joke, as well.

A lot of us don't know what it is we're saying when we choosing the words we're choosing to say or how it came to be that those words exist in the first place. The discovery is part of the process of living. No one's going to know everything, all of the time. The point is to be curious and ask questions. Those who do at least have that going for them because their mind is open to new information.

And, even if you've spent six thousand years steeped in the evolution of human languages with your equally word-horny partner, you're not going to get everything. The two of you could have written some of the most analyzed passages of Shakespeare and poetry and influenced some of the most popular music ever made but you're still never going to know everything. Things are going to slip by you unnoticed, like your hellcat of an old pal, Jane Austen, having written books, or the fact that some English-speaking women have developed this linguistic habit of insisting that they are not crying when they are, in fact, obviously sobbing.

So, how does a supernatural person like those in Good Omens keep up with all the evolution of language? If they originated it back in the days of written language being pictures-meaning-stuff and we're now in the year 2023 in the series? Can you imagine barely being on Earth for thousands of years and just getting like magical equivalent to bad software updates on language and then coming to the planet from time to time and trying to navigate it? You'd be completely and utterly fucked. They're all actually impressive to be able to speak as well as they do.

I kind of don't blame Shax for confusing toste with toast or Hastur for not being able to tell the difference between an Italian greeting and slang for food. They're not doing half-bad with this, in my book, especially when you consider that they have to understand every language on the planet while most of us know far fewer. Most humans struggle to keep up with language evolutions within their own lifetimes just within their primary language or languages, let alone be able to deftly play in every language of the world.

Hastur raising his hand during Crowley's presentation and asking what a computer is? It's one of the funniest punchlines in the series because it emphasizes how clever Crowley is with words to a point that he's absolutely running circles around the other demons, especially with this word-nerdy Odegra presentation... but it's more than that.

It's also showing that Hastur actually has a quality that many of the others do not: he's curious. He is willing to ask questions. It matters more to him to understand what a computer is than it does for him to admit that he doesn't know. That might well be the most (and maybe only? lol) admirable thing about Hastur but he isn't the only one with that promising interest in learning more.

Books are books and they are also, symbolically, people, as Muriel pointed out-- "like people, only portable." We learn language from both reading it and speaking it-- from both literal and figurative books. Not only does Muriel pick up pleasure reading in S2 and all the language (and countless other) benefits that can have but they are one of the examples of how we mirror the language of others around us and are collectively evolving language together.

Music is language, too, as Beez shows by evolving their and Gabriel's private language to include a song written by a human that they then use to discuss how they feel about one another and which becomes a part of not just their own world but those of the people around them when others later hear them singing it.

Muriel adopting Aziraphale's "jolly good"; Nina taking Crowley's "angel"; Crowley and Aziraphale so mirroring one another's language that the show is incorporating our biological tendency to do so and how that informs language into its storytelling.

Living beings will mirror the languages of those around them, as it's actually how we learn to speak in the first place. You speak to babies so much in order to teach them vocabulary through repetitive connections being made between the physical and the linguistic. As older kids and adults, we still can and do still pick up the words and speech patterns spoken by those around us-- for better or worse-- and some word evolution can happen from hearing them incorrectly or misunderstanding what was said.

One of the funniest jokes in the series is an example of a human doing just that, in a way that shows what a dirtbag he is:

The humor here is coming from both the fact that Glozier hears the name of a company or a product-- Betamax-- as the name of a person-- Peter Max-- because he sees people as something you can buy... but also from the fact that he has been spending so much time with German-born Nazis like Greta and Harmony that he's begun to process all language as if it's coming to him spoken by someone with that accent-- even though both he and Aziraphale are English, so there should not have been an issue. Glozier's gross and also, in his case, treasonous, affiliation with the Nazis in this moment is humorously shown through his de-evolving language skills.

The idea, then, is that while you can have knowledge of the basic tools to speak a language and get through enough to be understood by knowing those tools, it's through engaging with the world around you that you really and truly speak a language.

The angels and demons are so isolated that they might have originated language but they now have huge gaps in their linguistic knowledge because of humans being the ones who are really living. Their repression is shown in their inability to fully and effectively communicate.

What the show does with Crowley and Aziraphale, then, is take two beings who have been on Earth since the beginning and who also happen to both be very into words and show their ability to understand and navigate life on Earth as reflected by their much, much deeper understanding of language by comparison to others around them-- those from Heaven and Hell and, often, from some of the humans of Earth as well. The story also shows how imperfect they are with it, though... reflective of how human these supernatural people are and how imperfect we all are here in the Discworld.

So, the point is that language evolution is reflective of human evolution. We create and evolve words to express ourselves in the current moment and, often, to contrast with what came before, or to be aspirational for the future.

Some words are stubbornly impervious to time; others are almost instantly dated. It's messy and it's organic. It can reflect the worst of humanity and the best of it-- sometimes, in the same damn word. Some words will disappear into other words, forever obsolete. Some words will disappear and then return, riding waves of social change. Words will be warred over between different groups; they can be derided and then reclaimed. They can have intense, divisive histories, or they can have completely batty and silly ones. We're all changing languages every day with the words we are choosing to say. It's humanity's collective project so it's a great choice for reflecting what living is in a story that is really, fundamentally, about the business of living.

The extra-funny part about the mention of Crowley and Aziraphale speaking every language in the world is that they are so adept at language that they are able to play in it and have, as a result, invented a private, hidden language of their own.

One of the founding principles of that hidden language is that the words being spoken are not just the ones on the surface but the words that are hidden within those very intentionally chosen words. Crowley is actually using that language when he says that he and Aziraphale "speak every language in the world." The word he's saying that is not heard on the surface but that is heard as Nightingale Speak to Aziraphale is the word peak.

Peak, as in to excel and reach the top of a field and, also, peak, as in a top, a summit, or a climax.

"You speak every language of the world. We both do." is a statement of fact on the surface. It's also an example of them excelling at language and being word nerds because, in the hidden language they developed not just to mask their speech for safety from outsiders but to romance one another, it's also saying:

"You get off on words. We both do."

#good omens #ineffable husbands #crowley #aziraphale #aziracrow #good omens meta #ineffable husbands speak #etymology

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cripplecharacters · 7 months ago

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hi, I saw one of ur posts talking Abt things that shouldn't be done for vitiligo rep, and one thing u mentioned was the like connect to animals that r black and white. I was wondering about kinda like, the reverse of that? The reason is I have a character I was designing who's kind of similarish to a mermaid, and I wanted to base some of his design off an orca. I was considering doing the black/white coloration, but I was wondering if that would be too similar to vitiligo. Personally his design is very early with regard to animal motif stuff, so I can put the orca elements into his design in other ways, but I also wanted to ask what you feel might be preferable handling with similar cases (like zebra centaurs, panda or cow humans and other animals who naturally have black/white coloring or similar contrasting colors)-

The main question is if u think the characters actually bringing up that they don't have vitiligo, but rather have common patterns, like saying "most of us have skin/hair/etc color variation bc it's just how our pigment works by default, but ppl with vitiligo have it bc of autoimmune reasons + (giving details on it and maybe mentioning a diff character in story w vitiligo)"

having the variation only affect specific things, for example black/white hair (like an orca mermaid having white eyebrows that mimic orca eyespots) without the skin pigmentation being affected (potentially also bringing up vitiligo to make it specific they aren't connected)

Or just trying to avoid having any animal based color choices that evoke the image of vitiligo, which is totally understandable if u feel the prev examples are still linking vitiligo to animals in a way that's ultimately harmful ppl w vitiligo.

Mostly I wonder if explicitly stating it's a different thing would actually help to combat the idea, or if it's just one of those things that is better to completely avoid doing

Hello!

I think it depends on how far it goes is the determining factor. A zebra centaur who has the zebra coloration on their horse part isn't a problem and doesn't evoke a vitiligo connection, the same way that a gray horse part wouldn't evoke argyria. I would say that the same goes for hair coloration, in media the hair color is kinda "anything goes" either way.

But if you want to make a mermaid who has an orca bottom half, and vitiligo on the upper half, that is an issue. The problem is that readers, and people in general, just don't see the nuance and end up linking animal coloration with vitiligo anyway - I mean, it's not like cows in real life have it, but people still get compared to them. The visual is enough, even if there are in-universe explanations, in my opinion. Vitiligo is still dramatically misunderstood, and it's very much a case of "if it looks like vitiligo, it is vitiligo" when it comes to design choices like this.

In short; animal part with black/white coloration: cool, hair/eyebrows/etc: cool, skin: not cool. It just hits too close to the real life condition.

With that said, I don't think there's an issue having a character with vitiligo who's part animal if you're not trying to link the two. A catfish mermaid with vitiligo on her human part would be cool :-)

And for other ideas when it comes to mermaids and disability - a lot of people with limb differences that I know would enjoy a clownfish mermaid with an upper limb difference, the term "lucky fin" exists for a reason:-)!

I hope this helps!

mod Sasza

#mod sasza #trans-leek-cookie #vitiligo representation #fantasy species #tropes #fantasy tropes

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novlr · 2 years ago

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ok hello first time sending in an ask but how would you go about writing a longing for your own romantic partner? if that makes sense like you love them so much that you start to feel almost hungry for them

How to write longing

Writing about deep emotions can be challenging. One of the most complex emotions to write about is longing. Longing is a powerful emotion that can tug at the heartstrings of readers and leave them wanting more. So let’s explore how to write about longing in a way that captures the essence of the emotion and engages readers.

Behaviour

Behaviour is a key factor in portraying longing in your writing. When a character is longing for something or someone, they may exhibit certain behaviours that can include:

Constantly checking their phone

Waiting by the window

Becoming restless and agitated

Daydreaming

Obsessively thinking about the thing or person they desire

Putting themselves in situations where they may encounter the object of their longing

Going out of their way to please or impress the person they desire

Silent crying

Interactions

Interactions with other characters can also help to show a character's longing. If the character is longing for someone, they will exhibit certain behaviours when with that person, but also around others. These may include:

Nervousness or stuttering

Trying to impress the person they long for

Engaging the one they long for in deep conversation to prolong their time together

Avoiding eye contact to hide their true feelings

Becoming jealous when the person interacts with others

Making grand gestures to show their affection

Becoming emotional when the person mentions leaving or being with someone else, or when others talk about this prospect.

Physical Signs

Physical signs of longing can vary depending on the character and the situation. Some common physical signs of longing can include:

Racing heart

Sweaty palms

Lump in the throat

Shortness of breath

Muscle tension or trembling

Flushed cheeks

Loss of appetite

Difficulty sleeping

Weakness or fatigue

Visual cues and imagery

Visual cues can help to set the scene and create a visual image for readers. When writing about longing, visual cues and narrative imagery can include things like:

The setting sun to illustrate melancholy

An empty bed to illustrate loneliness

A picture of the person they are longing forto illustrate their constant presence in the character's mind

A heart or other symbol of love to represent the character's feelings

A locked door or closed window to represent obstacles preventing the character from fulfilling their longing

A clock ticking loudly to emphasize the character's impatience

A scent associated with the object of their longing to immediately evoke emotions in the character and the reader.

Internal thoughts

A character’s internal thoughts allow readers to get a sense of the character's desires and motivations, as well as adding depth to their personality. Some ways you can represent their internal lives include:

Reliving memories or staring off into the distance

Focusing on small details such as the sound of footsteps or a certain smell

Being lost in thought or feeling detached from their surroundings

Having imaginary conversations with the object of their longing

Writing letters or messages they never intend to send

Having metaphor-filled dreams

Suppressing their emotions to protect themselves from potential disappointment

Rationalizing their longing as something that cannot be fulfilled

Feeling conflicted about their feelings and the potential consequences of pursuing them

Reliving memories or staring off into the distance

Body Language

Body language is always a compelling way to show, not tell your character’s inner longing. This can include:

Fidgeting

Biting their lip

Looking away when talking to or about the person they are longing for

Sighing or slumping of their shoulders

A deep gaze towards the object of their longing

Fidgeting with personal items such as jewellery or clothing

Clenching their fists

Wrinkling their brow

Tearing up or crying

Unconsciously smiling when talking about the object of their longing

Leaning towards the person they desire or those talking about them

Standing still or frozen in place when in the presence of the person they long for

Internal Feelings

Internal feelings are perhaps the most crucial aspect of representing longing. When a character is longing for something, they may feel a range of emotions like:

Sadness

Frustration

Anger

Envy

Hopelessness

Desperation

Restlessness

Obsession

Depression

Anxiety

Attitudes

Attitudes to represent longing will depend on the type of character your are writing. They may have a pessimistic or optimistic attitude towards their situation, and attitudes can shift and change with time. You can play around with variations of these attitudes, depending on where a character is on their personal journey:

Resigned due to unrequited feelings

Determined in their pursuit of the object of their longing

Guilty for longing for someone they shouldn’t

Resentful of others’ attentions

Ambivalent to everything outside of the one they long for

Jaded by former bad relationships

Vulnerable when with, or thinking about the object of longing

Defensive when speaking about their desire, or when the object of longing is criticised.

Positive outcomes of longing

When a character finally gets what they have been longing for, it can be a rewarding and satisfying experience, which translates to a satisfying relationship resolution for readers. From the character’s perspective, it means they will have an increased motivation to emulate positive traits for personal growth and find happiness and fulfilment as they progress their relationship.

Negative Outcomes

On the flip side, longing can also have negative outcomes. If the character is unable to obtain the person they are longing for, they may become depressed or despondent. It changes the nature of a narrative resolution as well as their relationships with other characters.

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doshmanziari · 3 months ago

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Shadow of the Erdtree: Some Reflections

Well, folks, since no one asked, here are some thoughts I've had while exploring Elden Ring's add-on, Shadow of the Erdtree.

The existence of an alternate shadow realm has solidified my conviction that what Elden Ring is depicting on micro and macro scales is the phenomenology of etheric bodies -- extending even to the moon, the double of which is visible from the Moonlight Altar plateau (this is reflected by Rellana's Twin Moons spell). Each of these bodies possess a regulating function. Although each might be generally described as doppelgänger, the occult scientist Rudolf Steiner wrote of the Doppelgänger proper as its own sort of body, responsible for the tension between aspiration and temptation. It's interesting to me that this is such a major preoccupation of the game, because it indicates a layer of esoteric involvement, on the part of Elden Ring's narrative conceptualizations, that I don't think anyone in the so-called lore community has picked up on yet. The shadow realm helps explicate the otherwise inexplicable Godefroy the Grafted, too.

Various details have also strengthened my impression that the revolt against Nature we see in Elden Ring is a revolt against motility -- motility being the ultimate enemy of utopia: a human conceptualization reliant upon infinite stasis. In the base game, I think we see this revolt most profoundly in the narrative of Ranni, who first abandons her own flesh and then strives towards the realization of an Age of Stars, that "thousand year voyage under the wisdom of the Moon." Although the Seedbed Curse represents its own revolt against Nature, it remains within the organic order. Ranni's vision is of the inorganic and remote. And I don't think it's unrelated that, in certain esoteric cosmological systems, the moon stands as most distant from the Absolute.

The colors of the landscapes and sky are amazing: vivid, autumnal, and strange. These palettes have only made me dislike the game's rain effect all the more, which does not deepen the arboreal colors (as it should) but drains all surfaces of color and sets them into a depressing, bland grayscale. To say that the rain is a part of why I consider Raya Lucaria to be Elden Ring's low-point in the realm of major level design could be seen as a trivial complaint, but visual drudgery will wreck even the best schemes; and Raya Lucaria is as far as you can get from that anyway. FromSoftware has done fine with types of snow (see, e.g., the Frigid Outskirts or Painted World of Ariandel), but I think they've yet to figure out rain, among some other graphical technicalities.

The forges are among my favorite instances of discrete level design, even if, or maybe because, they tend to contain only two or three enemy types, feature no bosses, and severely scale back the level of challenge. I happened upon one yesterday that I did find a little dull, but the other two were wonderful, brief, atmospheric knots, quiet sequences of colossal architecture, that sort of evoked shades of Stonefang Tunnel from Demon's Souls. On that note, I'd call special attention to the forges' theme music. The only other piece of music from the DLC that's gotten my attention is the theme for Belurat.

Plants are People, Too.

Torrent is just... a terrible inclusion for this game. It's maybe obvious enough to not warrant being said, but -- any design decision has to be evaluated on what it contributes to the system it's been set into, and Torrent adds nothing outside of the occasional, brainless convenience. I could maybe see an argument for Torrent's presence if he had some emotionally charged narrative integration, maybe like what Shadow of the Colossus did. Without this, Torrent is nothing but a tool which perpetually problematizes the overworld's scale (a bit too big, yet no fun to traverse at high speed) and trivializes all of its gauntlets on a potential and actual level far worse than anything the Spirit Ashes could ever do. Better to me would've been if the only way to use a mount were by defeating a mounted knight without killing their horse and then sneaking up to the runaway to gain ownership of it.

I'm finding the map much more engaging than that of the base game because of how it plays with abstractions and builds anticipation through that. One part of the map, for instance, shows a bunch of trees with red leaves. Reaching this place reveals these "trees" to be enormous red flowers. Another section shows pink, purple, and orange specks. What are these? And what are the gray, finger-like lumps erupting from the mass next to it? I've also found it tough to figure out how to progress from one plane to another because of how densely stacked and knobby the continent's features are, so consulting the map has been helpful in a way I rarely experienced with the base game's.

Love how much the Ancient Ruins of Rauh resemble The Elder Scrolls IV: Oblivion, from the explosion of verdure, to the crude, architectural naivety defining the pseudo-Gothic structures.

With Shadow of the Erdtree, I keep coming up against an unresolvable simultaneity like the one mentioned above regarding the overworld. There's a lot of good level design to be found here among the dungeons, castles, and forts, yet the abundance and enormity of it all seems to have deprived the game of significant contrasts, and those special spatial moments, which I found much easier to locate and reflect upon with, say, Dark Souls or Bloodborne. Sure, the sky-piercing spiral of Enir-Ilim is a sight to behold; but soon enough the sequences of grand staircase upon grand staircase, great bridge upon great bridge, creates a perpetual climatic grandiosity that diminishes the very effect of a climax (and I'm not even sure that Enir-Ilim is the DLC's intended final location). Anor Londo or the Nightmare of Mensis could feel special because the qualities and features of their spaces stood apart from everything else. Elden Ring, I think, has gotten itself into a predicament by trying to one-up its internal material and all prior FromSoftware games through the enormity of its scale -- and challenge. More and more, I've been craving a new project from them that resets these terms of engagement, even while enjoying the consistency of the material at hand.

That's all for now! In time maybe I'll turn these thoughts to an essay for my Substack page, perhaps with a focus on the first two points.

#elden ring #fromsoftware #shadow of the erdtree

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danika-redgrave124 · 3 months ago

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Umbra Witch Yuu Weapons

Lucky Vintage

Appearance: The Lucky Vintage slingshot has a classic cartoon design, with a black and white color scheme reminiscent of old-school animation. The handle is crafted from dark wood, giving it a sturdy and vintage look, while the sling is made of elastic with a classic black and white striped pattern. The slingshot’s overall design is simple yet iconic, evoking the playful yet mischievous spirit of Oswald.

Combat Style

Cartoonish Explosions: The Lucky Vintage fires explosive projectiles that not only deal significant damage but also create cartoonish effects and sounds upon impact. These projectiles cause enemies to be disoriented, adding an element of surprise and chaos to the battlefield. The explosions are accompanied by exaggerated sound effects, such as classic "boings" and "pows," enhancing the nostalgic feel of the weapon.

Retro Shot: This special ability taps into the whimsical power of vintage cartoons, allowing Bayonetta to unleash a barrage of explosive projectiles. When activated, the slingshot fires rapidly, each shot exploding with comical and exaggerated effects. Enemies caught in the blast are not only damaged but also disoriented, as the cartoonish sounds and visuals throw them off balance. Additionally, the slingshot can create a cloud of vintage cartoon smoke, a swirling black-and-white haze that obscures vision and provides cover for Yuu. This smoke enhances their stealth, making it easier for them to evade enemies or set up for a surprise attack.

Stealth and Evasion: The Lucky Vintage excels in scenarios where Yuu needs to outmaneuver their enemies. The vintage cartoon smoke creates a perfect cover, allowing them to slip away undetected or reposition herself for a strategic advantage. The smoke also confuses enemies, leaving them vulnerable to Yuu's follow-up attacks.

Tactical Versatility

Crowd Control and Disorientation: The Lucky Vintage is particularly effective against groups of enemies. The explosive projectiles can hit multiple targets at once, dealing area-of-effect damage and causing chaos among enemy ranks. The cartoonish effects disorient enemies, making it harder for them to coordinate or defend against Yuu's attacks.

Stealth and Surprise: Yuu can use the Lucky Vintage to blend in with the chaos, utilizing the cloud of vintage cartoon smoke to disappear from sight. This makes it easier for them to ambush enemies or escape dangerous situations. The weapon's playful design belies its effectiveness, making it a powerful tool in Yuu's arsenal.

Finishing Moves

Classic Capers: In a Climax attack, Yuu uses the Lucky Vintage to summon a wave of classic cartoon mayhem. The slingshot fires a giant, oversized projectile that explodes in a burst of vintage animation, complete with exaggerated visuals and sound effects. The explosion causes enemies to be thrown into a comical frenzy, bouncing around the battlefield as if caught in a cartoon. As the dust settles, Yuu emerges from the cloud of smoke, ready to finish off any remaining foes with style and flair.

Royal Baton

Appearance: The Royal Baton is designed with a vibrant yellow and pink color scheme, reflecting Daisy Duck's iconic look. The baton features intricate floral motifs along its shaft, with vines and blossoms winding around the handle. At the top of the baton is a sparkling, gem-encrusted orb that glows with magical energy. The orb emits a soft, radiant light, symbolizing Daisy's lively and elegant spirit.

Combat Style

Magical Energy and Floral Petals: The Royal Baton harnesses the power of nature and magic to create a dynamic combat style that blends offense and support. With each strike, the baton releases bursts of magical energy accompanied by a flurry of floral petals. These petals not only damage enemies but also provide healing effects to Yuu and their allies, making the baton a dual-purpose weapon.

Floral Burst: The baton’s special ability, Floral Burst, taps into its full magical potential. When activated, the baton releases a series of powerful energy bursts that radiate outward, damaging enemies in their path. These bursts are accompanied by a cascade of petals that swirl around Yuu, healing them and any nearby allies. The healing effect is instantaneous, providing a quick recovery in the heat of battle.

Field of Flowers: The Royal Baton can also summon a field of magical flowers. This field blooms around Yuu, creating a safe zone that offers various buffs and status effects. Enemies caught in the field are slowed and take continuous damage from the thorny vines that emerge from the ground, while Yuu and their allies receive increased defense, faster health regeneration, and enhanced magical abilities.

Tactical Versatility

Offense and Support: The Royal Baton excels in scenarios where Yuu needs to both attack and provide support to their allies. The combination of damaging energy bursts and healing petals makes it ideal for balancing aggressive combat with strategic healing. The field of flowers adds another layer of versatility, offering both offensive and defensive capabilities.

Area Control and Buffs: The field of flowers created by the Royal Baton is a powerful tool for controlling the battlefield. It creates a zone where Yuu can dominate, forcing enemies to either fight within the damaging area or retreat. Meanwhile, Yuu and their allies can enjoy the benefits of the buffs, turning the tide of battle in their favor.

Finishing Moves

Regal Bloom: In a Climax attack, Yuu channels the full power of the Royal Baton to create an explosion of floral energy. The baton’s orb glows brightly before releasing a massive burst of energy that engulfs the entire battlefield in vibrant, swirling petals. Enemies caught in the blast are overwhelmed by the energy, suffering massive damage as thorny vines entangle and crush them. Meanwhile, Yuu and their allies are fully healed and empowered by the burst, ready to continue the fight with renewed strength.

Shield Gauntlets

Appearance: The Shield Gauntlets are bulky and robust, designed to resemble Goofy's iconic look. They feature a green and brown color scheme, with large, round shield motifs integrated into the forearm area. The shields are decorated with subtle Goofy-themed details, such as his signature hat design and his iconic "G" emblem, embossed on the surface. The gauntlets themselves are reinforced with metallic accents, giving them a durable and protective appearance.

Combat Style

Defensive Capabilities: The Shield Gauntlets excel in providing Yuu with strong defensive options, allowing them to block and counter incoming attacks. The integrated shields are designed to absorb damage, protecting Yuu from both melee strikes and projectile attacks.

Goofy Guard: The special ability, Goofy Guard, enhances Yuu's defensive prowess. When activated, the shields project an energy barrier that amplifies Yuu's blocking capabilities, reducing damage taken from powerful attacks. Additionally, the shields can reflect incoming projectiles back at enemies, turning their own attacks against them.

Shockwave Punches: Despite their defensive nature, the Shield Gauntlets are also equipped with offensive capabilities. When Yuu lands a punch with these gauntlets, the shields generate powerful shockwaves that radiate outward, knocking back and damaging nearby enemies. These shockwaves can be charged for even more powerful strikes, creating a large area of effect that can disrupt groups of enemies.

Tactical Versatility

Defensive Strategy: The Shield Gauntlets are ideal for a defensive and strategic approach to combat. Yuu can use the shields to block incoming attacks while waiting for the perfect moment to counter with a shockwave punch. This allows them to control the pace of battle, absorbing damage and retaliating with precise, powerful strikes.

Crowd Control: The shockwaves generated by the gauntlets are particularly effective for crowd control. By knocking back enemies and creating space, Yuu can manage large groups of foes more easily, preventing them from overwhelming them. The ability to reflect projectiles also makes these gauntlets valuable against ranged enemies, turning their attacks into an advantage for Yuu.

Finishing Moves

Goofy's Justice: In a Climax attack, Yuu channels the full power of the Shield Gauntlets into a devastating combination of defense and offense. They blocks a series of incoming attacks with the shields, building up energy before unleashing a massive, double-fisted punch that creates an enormous shockwave. The shockwave knocks all enemies in the vicinity off their feet and deals significant damage, while Yuu remains protected by the shields' energy barrier.

Bow Crossbows

Appearance: The Bow Crossbows are designed with a strong emphasis on Minnie Mouse's signature style. Each crossbow features a large, red bow-shaped handle with white polka dots, reminiscent of Minnie's iconic bow. The limbs of the crossbows are adorned with similar polka dot patterns, and the entire weapon exudes a cheerful, yet formidable, energy. The bowstring glows with a soft pink light, adding a magical touch to the design. Small, star-shaped accents decorate the crossbows, enhancing their whimsical appearance.

Combat Style

Ranged Capabilities: The Bow Crossbows excel at ranged combat, allowing Yuu to strike enemies from a distance with precision and flair. The crossbows fire rapid volleys of arrows, each imbued with magical energy that creates unique effects upon impact.

Polka Dot Barrage: The special ability, Polka Dot Barrage, unleashes a flurry of arrows that create explosive bursts of red and white polka dots on impact. These bursts deal area-of-effect damage, charming and disorienting enemies caught in the blast. The charm effect briefly distracts enemies, causing them to hesitate or even fight for Yuu, allowing them to take control of the battlefield with style.

Protective Stars: Beyond their offensive capabilities, the Bow Crossbows also offer a defensive option. Yuu can create a protective field of sparkling stars that surrounds them boosting their accuracy and speed for a short duration. This star field not only enhances their combat effectiveness but also adds a layer of defense, deflecting minor projectiles and slowing down enemies who try to get too close.

Tactical Versatility

Precision Strikes: The Bow Crossbows are perfect for players who prefer a tactical, ranged approach to combat. Yuu can take out enemies from a distance with pinpoint accuracy, using the explosive effects of the arrows to control the battlefield. The charm effect adds an element of crowd control, allowing them to disrupt enemy formations and turn the tide of battle in their favor.

Speed and Agility: With the Polka Dot Barrage ability, Yuu's speed and agility are temporarily enhanced, allowing them to move quickly and evade enemy attacks while maintaining a steady barrage of arrows. The protective field of stars further enhances their mobility, making them a difficult target to hit while they gracefully maneuvers around their foes.

Finishing Moves

Minnie's Whirlwind: In a Climax attack, Yuu channels the power of the Bow Crossbows into a devastating final strike. They leaps into the air and fires a massive volley of arrows in all directions, each arrow leaving behind a trail of sparkling polka dots. As the arrows rain down, they create a dazzling display of explosions that charm and damage all enemies in the vicinity. The attack ends with a burst of stars, enveloping Yuu in a protective aura that boosts her speed and accuracy for the remainder of the battle.

Mystic Staff

Appearance: The Mystic Staff is designed to evoke Donald Duck's classic nautical outfit, featuring a sleek blue and white color scheme with golden accents. The staff is adorned with maritime details, such as rope-like engravings along the shaft and a golden anchor symbol near the grip. The top of the staff is shaped like Donald's signature sailor hat, complete with a golden star-shaped gem that glows with magical energy. The staff exudes a whimsical yet powerful aura, reflecting Donald's dual nature as both a lovable character and a formidable spellcaster.

Combat Style

Elemental Magic: The Mystic Staff is imbued with potent wind and water-based magic, allowing Yuu to unleash a variety of elemental attacks that can control the battlefield and overwhelm enemies.

Storm Surge: The special ability, Storm Surge, allows Yuu to tap into the staff's full potential, unleashing a barrage of wind and water-based attacks that mirror Donald's tempestuous personality. This ability can be used in various ways, depending on the situation:

Wind Blasts: Yuu can create powerful gusts of wind that knock back enemies, disrupting their formations and creating space for her to maneuver. The wind blasts can also deflect projectiles and send smaller enemies flying, giving her a tactical advantage.

Water Jets: The staff can summon high-pressure jets of water that slice through enemies and push them back, dealing damage and keeping foes at a distance. The water jets can be used to create barriers of water that slow down approaching enemies or extinguish fire-based attacks.

Magical Storm Cloud: The most devastating aspect of Storm Surge is the ability to summon a magical storm cloud above the battlefield. This cloud rains down lightning bolts that strike enemies with pinpoint accuracy, dealing massive damage and stunning them in place. The storm cloud can also create localized rainstorms, drenching enemies and reducing their visibility and mobility.

Tactical Versatility

Crowd Control: The Mystic Staff excels in crowd control, allowing Yuu to manage large groups of enemies with ease. The wind and water attacks can be used to keep enemies at bay, knock them down, or push them into vulnerable positions. The lightning strikes from the storm cloud can be targeted to take out key threats or disrupt enemy formations, making it a versatile tool in battle.

Environmental Manipulation: The Mystic Staff also allows Yuu to manipulate the environment to their advantage. The water jets can create slippery surfaces, causing enemies to lose their footing, while the wind blasts can blow away obstacles or debris. The rainstorms can douse flames or create muddy terrain, further complicating the battlefield for their enemies.

Finishing Moves

Tempest Fury: In a Climax attack, Yuu channels the full power of the Mystic Staff to unleash a massive elemental assault. They spins the staff in the air, creating a vortex of wind and water that pulls in enemies from all directions. As they are drawn into the vortex, the storm cloud above intensifies, unleashing a torrent of lightning bolts that strike down with devastating force. The attack concludes with a massive explosion of wind and water, scattering the remaining enemies and leaving Yuu standing in the eye of the storm, ready to continue the fight.

#twisted wonderland #twst #twisted wonderland yuu #twisted wonderland x reader #twst yuu #umbra witch yuu #twisted wonderland x bayonetta #twst x Bayonetta #twistedwonderland #twisted wonderland x yuu #bayonetta x twisted wonderland #bayonetta x twst #bayonetta

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ngdrb · 5 months ago

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The Significance of Presidential Health and Public Perception: Analyzing the Use of Medical Bandages in Political Contexts

In recent public appearances, former President Donald Trump has been observed wearing a large bandage on his ear, sparking curiosity and speculation among the public and media alike. The presence of such an ostensible bandage, attributed to a minor injury caused by a shard of glass, prompts questions regarding the choice of medical treatment and its implications in the realm of public perception.

Firstly, the decision to use a sizable bandage rather than a more discreet adhesive strip raises eyebrows. One might argue that a smaller bandage, such as a band-aid, could adequately cover a minor injury caused by a superficial graze from glass. This raises the question of whether the choice of a larger bandage is strategic in nature, aiming to draw attention to the injury and elicit sympathy or concern from the public.

In the context of public figures, especially political leaders, the portrayal of health and physical well-being can significantly influence public perception. A visible bandage can serve as a visual cue, potentially humanizing the individual by showcasing vulnerability and mortality. This tactic is not uncommon in politics, where the strategic use of personal anecdotes and health-related incidents can sway public opinion. By visibly displaying an injury, a politician may seek to garner sympathy or deflect attention from more contentious issues.

Moreover, the phenomenon of 'milking' a minor injury, as suggested by some observers, underscores the delicate balance between authenticity and calculated image management. While it is natural for individuals to seek sympathy or understanding after an injury, public figures must navigate the fine line between genuine disclosure and strategic exploitation. The perception of authenticity in such matters can significantly impact credibility and trustworthiness, crucial elements in political leadership.

Furthermore, the media's role in interpreting and disseminating such incidents cannot be overlooked. The coverage of a prominent political figure's injury, especially when accompanied by a visible bandage, can become fodder for speculation and analysis. Journalists and commentators may scrutinize not only the circumstances of the injury but also the messaging and symbolism behind its public display. This scrutiny underscores the broader implications of personal health narratives in shaping public discourse and political narratives.

From a psychological standpoint, the public's reaction to a leader's visible injury can evoke empathy and solidarity, reinforcing the bond between the leader and their supporters. Conversely, critics may view such incidents through a lens of skepticism, questioning the authenticity and motives behind the public display of vulnerability. This dichotomy highlights the inherent complexities of political communication and the strategic calculus involved in managing public perception.

In conclusion, the choice of a medical bandage over a band-aid for a minor injury sustained by a public figure such as Donald Trump invites reflection on the intersection of health, symbolism, and political strategy. Whether intended to garner sympathy, deflect attention, or convey authenticity, the visibility of such a bandage amplifies its significance in the eyes of the public and the media. As observers, we are challenged to dissect the motives and implications behind these visual cues, recognizing their potential to influence narratives and perceptions in the realm of public discourse.

In navigating the delicate balance between personal health disclosures and public perception, political figures wield a potent tool in shaping their image and narrative trajectory. The strategic use of medical symbolism underscores the intricate dance between authenticity and manipulation in the arena of public opinion. Ultimately, the significance of a bandage transcends its physical function, serving as a metaphorical lens through which we scrutinize and interpret the complexities of leadership, vulnerability, and power in contemporary politics.

Therefore, the choice of a bandage over a band-aid for a minor injury sustained by a prominent political figure like Donald Trump encapsulates broader themes of image management, public perception, and the strategic deployment of personal health narratives in the arena of political communication. By dissecting the motives and implications behind such choices, we gain insight into the evolving dynamics of leadership and the intersection of symbolism, authenticity, and influence in modern politics.

#politics #donald trump #joe biden #potus #scotus #democracy #heritage foundation #trump #democrats #republicans #supreme court #us news #news #government #president #vote democrat #vote blue #vote biden #election 2024

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puppetshcw · 8 months ago

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STUPID CUPID, a dynamic force in the music industry, made waves with their latest release, the 10th mini album, TRUE VALENTINE (LET'S TALK LOVE!). this captivating collection of seven tracks, launched in may, showcases the group's unique concept and musical style.

kicking off the excitement was the electrifying pre-release single, MANIAC, which garnered widespread attention and anticipation. a carefully planned four-week promotions kept fans engaged and eager for more, setting the stage for the full unveiling of TRUE VALENTINE.

as the MANIAC promotion drew to a close, STUPID CUPID seamlessly transitioned into the promotions for TRUE VALENTINE, igniting further excitement with teasers that lit up discussions and buzz across various digital platforms.

album analysis & content.

the concept of a true valentine is portrayed through the lens of obsession, the lyrics and overall theme of the album takes on a more intense, possessive, and potentially darker tone. obsession in a romantic context can be complex, often involving a heightened sense of desire, longing, and an intense focus on the object of affection. the notion of a dark cupid and an obsession-themed true valentine introduces a more mysterious and intense perspective on romantic connections. in the shadowy realm of dark cupid, where love takes on a more enigmatic form, the concept of a true valentine becomes a captivating and potentially dangerous affair.

PASSIONATE VER. — ( this version focuses on the intense and passionate aspects of love, featuring vibrant colours and dynamic visuals that evoke a sense of fiery desire ) … photo booklet + folded poster ( fitting the album ver. ), sticker sheet ( 1ea ) + accordion lyrics poster + handwritten letter + member photocard ( random 2 out of 5 ) + flame-shaped charm ( distributed randomly )

OBSESSION VER. — ( reflecting the album's theme of obsession, this version delves deeper into the darker and more intense elements of love, with edgier aesthetics and visuals that convey a sense of possessiveness and longing ) … photo booklet + folded poster ( fitting the album ver. ), sticker sheet ( 1ea ) + accordion lyrics poster + handwritten letter + member photocard ( random 2 out of 5 ) + lock-and-key charm set ( distributed randomly )

ROMANTIC VER. — ( this version emphasizes the traditional notions of romance, featuring softer hues and dreamy visuals that evoke a sense of classic love stories and heartfelt emotions ) ... photo booklet + folded poster ( fitting the album ver. ), sticker sheet ( 1ea ) + accordion lyrics poster + handwritten letter + member photocard ( random 2 out of 5 ) + heart-shaped locket charm ( with a group photo inside — distributed randomly )

track list. ( analysis cr. to /plasticflwrs )

CRUSH (YOU) ... the album intro declares the unexpected attraction of the cupids to someone, hinting at a shift in mindset and lifestyle. the lyrics suggest a celebration of the exhilarating experience of falling for someone, emphasizing playful flirtation, genuine emotions, and a desire for a meaningful connection. the song conveys surprise, excitement, and vulnerability in the face of newfound romantic feelings. ⠀⠀⠀⠀⠀ — ( written by GLOOMY & CHESKA, prod. by GLOOMY )

MANIAC ... the pre-release shows a twist in love and explores the intense and unpredictable nature of it. the lyrics convey a sense of chaos, obsession, and passion that can often characterise a relationship. MANIAC delves into the complexities of a love that is intense, chaotic, and almost addictive. it explores the rollercoaster of emotions, confusion, and the simultaneous desire to both embrace and let go of this passionate connection. ⠀⠀⠀⠀⠀ — ( written by H.EUI, prod. by H.EUI )

MELTING LOVE ... the cupids express confidence and a bold attitude, daring someone to reject them. there's a playful challenge in the tone, suggesting a desire to enchant and captivate the listeners. the song uses sensory imagery, comparing the speaker to a "pink light," expressing the idea of melting like ice cream and asking for a lighter touch on the lips. these images evoke a sense of warmth, sweetness, and intimacy. the playful and seductive tone, along with the elements of innocence and vulnerability, contribute to a multifaceted portrayal of the cupids' emotions and intentions. ⠀⠀⠀⠀⠀ — ( written by PANDORA & 2MIE, prod. by TOKKI & GLOOMY )

SMART ... the song revolves around determination, ambition, and resilience in the pursuit of success. it celebrates the power of strategic thinking and hard work in overcoming obstacles and achieving one's goals. setbacks are seen as opportunities for growth, and the lyrics emphasize the importance of confidence, optimism, and unwavering determination in the face of challenges. overall, the song encourages listeners to believe in themselves, work hard, and persevere in the pursuit of their dreams. the song seems to be a break between the toxic love being shown through the rest of the songs. ⠀⠀⠀⠀⠀ — ( written by ASTER, prod. by RE:INA & PANDORA )

OUR SECRET ... the song delves into the theme of passionate and intoxicating love, capturing a moment of intense attraction and desire between two individuals. describing a single kiss as a symbol, the lyrics highlight its ability to captivate and mesmerize, leaving the recipient utterly consumed and lost in the experience, as emphasized in the chorus. ⠀⠀⠀⠀⠀ — ( written by PANDORA & AIMEE, prod. by TOKKI & H.EUI )

GIMME KISSES ... the song's theme centres on the transformative power of love, overcoming obstacles and building a deep connection. the lyrics illustrate a journey of navigating challenges, breaking down barriers, and expressing hope for lasting affection. the repeated phrase "GIMME X-O-X-O" underscores the desire for intimacy, emphasizing the positive impact of love in overcoming difficulties. ⠀⠀⠀⠀⠀ — ( written by RE:INA, prod. by RE:INA & PANDORA )

LOVE WINNER ... the song articulates a profound, unwavering love and commitment to someone special. the lyrics convey the anxiety of losing this person and the unimaginable thought of life without them. the cupids liken their bond to the vulnerability of a lost child, underscoring the deep emotional connection. in essence, the song beautifully communicates an overwhelming love and devotion, affirming a readiness to make any sacrifice for the cherished individual. it highlights the robust emotional attachment and a firm resolve to stand by them, regardless of the challenges that may arise. ⠀⠀⠀⠀⠀ — ( written by GLOOMY, prod. by TOKKI & ASTER )

era notes.

♡ ⠀⸻⠀ the promotions for this album were the longest the group ever had. MANIAC was promoted for four weeks before the album dropped out while MELTING LOVE for five weeks. SMART originally wasn't going to be promoted on music shows, but because of its popularity, they decided to extend promotions for another two weeks. a special music video was also released a week before the promotions for the title track finished. ♡ ⠀⸻⠀ by the end of the promotions, STUPID CUPID received thirteen awards in total — four during MANIAC, five for MELTING LOVE and four during SMART. ♡ ⠀⸻⠀ the music video for MELTING LOVE received a whopping 80 million views in the first 24 hours! SMART also reached similar numbers after its official release. ♡ ⠀⸻⠀ a lot of fans were thrown back during this era, mainly because the group is known for their cute and artsy music style, so watching the MELTING LOVE music video changed their views drastically. what confused them more was up to the music video release, their teasers have consistently been shown in a softer way. ♡ ⠀⸻⠀ their tiktok was ACTIVE! the girls posted dance challenges non-stop, either with other idols or with their staff! you could not scroll through the fyp without seeing at least three different videos from this era. ♡ ⠀⸻⠀ the group released a lot of content, both on their youtube channel and various other ones. they teased an interview with WIRED, as well as a possible world tour, that may or may not happen soon.

era style.

⠀⠀⠀⠀⠀ ( MELTING LOVE — SMART )

#ficnetfairy #⩩ ♡⃗ heart attack .ᐟ ⠀ ⠀ ⠀ ⠀ 〳 ⠀ ⠀ ⠀ ⠀ tunes ‵#kpop oc #kpop au #fake kpop group #fictional oc community #fictional idol group #idol oc #idolverse

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yvetteheiser · 7 months ago

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Yvette Heiser - Elevate Your Photos: Capture Elegance and Viral Attention

In the age of social media and digital storytelling, the impact of captivating photography cannot be underestimated. Whether you are a professional photographer, an aspiring influencer, or a business owner aiming to boost your brand's online presence, the ability to capture elegance and attract viral attention through your photos is a valuable skill. Yvette Heiser discusses this in Yvette Heiser - How to Go Viral with Your Photography? approaches to enhance your photographs, simultaneously maximizing their capacity to attract widespread attention, thereby amplifying your online presence and influence.

The Power of Visual Storytelling

Photography serves as a powerful tool for visual storytelling, allowing you to convey emotions, messages, and narratives through captivating images. By mastering the art of visual storytelling, you can effectively elevate your photos and engage your audience on a deeper level.

Crafting Compelling Narratives

Emotional Impact: Infuse your photos with emotions that resonate with your audience. Whether it's joy, inspiration, or nostalgia, emotional resonance can make your images more memorable and shareable.

Consistent Brand Narrative: Ensure that your photos align with your brand's narrative and values. Each image should contribute to a cohesive story that reinforces your brand identity and messaging.

Authenticity and Relatability

Genuine Moments: Candid and spontaneous shots often capture authentic moments that resonate with viewers. Embrace authenticity in your photography to establish a genuine connection with your audience.

Personalized Visuals: Tailor your photography to reflect your unique personality or brand identity. Incorporate elements that convey your individuality and create a relatable experience for your audience.

Strategies for Viral Attention

In the digital realm, the viral potential of photography can significantly amplify your reach and influence. Yvette Heiser’s-Capturing Elegance: A Glimpse Through Heiser’s Lens emphasizes this, showcasing how strategic approaches can enhance the likelihood of your photos gaining viral attention and widespread sharing.

Engaging Visual Content

Interactive Elements: Incorporate visually engaging and interactive elements in your photos to captivate viewers' attention. Creative compositions and thought-provoking visuals can encourage sharing and engagement.

Story-Driven Imagery: Craft visuals that tell a compelling story or evoke curiosity. A narrative-driven approach can pique the interest of viewers and prompt them to share your content.

Social Media Optimization

Maximize Your Hashtag Potential: Harness relevant and popular hashtags to broaden the exposure of your photos across social media platforms. Thoughtful and strategic hashtag usage can enhance the visibility and accessibility of your content.

Craft engaging and shareable captions that perfectly complement your photos, prompting your audience to actively interact with your content and distribute it within their social circles.

Emotional Resonance

Evoke Emotions: Aim to create visually impactful images that evoke strong emotions in your audience. Emotionally resonant photos are more likely to be shared and leave a lasting impression.

Conclusion

Elevating your photos to capture elegance while also attracting viral attention is a multifaceted endeavor that blends the art of visual storytelling with strategic approaches to maximize reach and engagement. By mastering the art of crafting compelling narratives through photography and implementing tactics to enhance the potential for virality, you can significantly elevate your online presence and influence. Embrace the power of visual storytelling, infuse your photos with authenticity and relatability, and capitalize on the strategies to optimize your content for social sharing. Through these efforts, you can elevate your photos to new heights, captivating your audience and expanding your digital footprint.

#yvette heiser #photography #camera #moments #photographer #pictures #wedding #childphotography #photographytips #event #florida

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santoschristos · 3 months ago

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Evocation: A Deeper Exploration

Evocation is fundamentally about externalizing the presence of spirits or deities, making it distinct from invocation, which focuses on internal synchronization and communion with a deity. Through evocation, the practitioner seeks to summon a spirit into a defined external space, allowing for direct communication, visualization, or interaction. This often involves negotiation or forming pacts with the entity, typically through a ritual framework where value is exchanged—whether that value be offerings, devotion, or the practitioner performing certain tasks.

1. Key Principles of Evocation

Summoning into the External

Evocation is the process of drawing a spirit or deity from their higher-dimensional plane or archetypal space and bringing them into the physical or astral realm—making their presence perceivable through the external environment.

Unlike invocation, which works primarily on an internal level, evocation involves creating a tangible manifestation—one that can potentially be seen, heard, or felt externally. The entity does not enter the mind but rather is called into a defined sacred space.

The Circle and the Triangle

In traditional Western occultism, particularly the Goetia, evocation often requires two main elements:

• The Circle: The circle is drawn around the practitioner as a form of protection. It represents their safe space, where they can conduct the ritual without the risk of the evoked spirit harming them. The circle is also symbolic of the practitioner’s connection to the divine and their intent.

• The Triangle of Manifestation: This is where the spirit is summoned. The triangle is a containment area that ensures the spirit stays in a defined boundary and cannot influence the practitioner directly unless agreed upon. Symbols are drawn within the triangle to act as an anchor for the spirit's presence.

The Value Exchange

In evocation, there is always an exchange of value. The spirit is not a servant or tool—they are entities with their own goals, desires, and needs. The practitioner needs to offer something in exchange for the entity's cooperation.

• This exchange could be:

- Offerings: Traditional offerings such as incense, candles, food, blood, or other symbolic items related to the spirit.

- Devotion or Work: Promising to carry out a specific task, worship the spirit, or dedicate future rituals to them.

- Knowledge or Assistance: Spirits may provide insight, wisdom, or practical assistance, but expect a reciprocal exchange of energy or action.

The Pact

A pact is a formalized agreement between the practitioner and the evoked entity. It can be seen as a contract where both parties outline what they are willing to give and what they expect in return.

This pact may be made verbally, but it is often beneficial to write it down to create a tangible representation of the agreement. Some practitioners even sign the pact with blood as a symbolic gesture to seal their intent and seriousness.

2. The Ritual Process of Evocation

Evocation rituals often follow a structured format to ensure the practitioner successfully evokes the entity and conducts the communication safely. Here is a general overview of the process:

Preparation and Planning

• Research and Understand the Spirit: Before attempting to evoke an entity, the practitioner must study the spirit's attributes, nature, and inclinations. Spirits have personalities, strengths, and weaknesses, and understanding these is essential for forming a proper pact.

• Set the Intent: Be clear about why you are evoking the entity. Clarity of intent helps establish a focused connection and guides the entire ritual.

The Ritual Space Setup

• Sacred Circle: Create the circle using a ritual tool like a wand or athame. The circle acts as a boundary, protecting the practitioner from unintended spiritual influence.

• Triangle of Manifestation: Place the triangle at a distance, with symbols or sigils of the entity inscribed within it.

• Symbols and Offerings: Arrange items or symbols that resonate with the spirit—these could include sigils, herbs, candles, or any relevant items that help anchor the spirit to the space.

The Evocation Process

• Enter a State of Gnosis: This involves deep meditation or trance, allowing the practitioner to elevate their consciousness into a state where they are more sensitive to non-physical influences. This is crucial for establishing contact with the spirit.

• Recite the Conjuration: Traditionally, conjurations (specific verbal formulae) are recited to summon the spirit. The conjuration must be delivered with conviction and authority, and often repeated multiple times until signs of the entity's presence manifest.

• Manifestation: The spirit’s presence may manifest through visible changes (such as a mist, shadow, or even a full apparition), audible sounds, or simply a felt presence. Depending on the practitioner’s abilities, this manifestation may vary from internal imagery to perceivable external phenomena.

• Communication: Engage with the spirit by stating your intent, presenting your offering, and negotiating the terms of the pact. Communication may be verbal, telepathic, or based on intuitive impressions.

• Formalize the Pact: Once terms are agreed upon, formalize the pact either verbally or in writing. State clearly what is being asked and what is being offered in return.

Closing the Ritual

• Dismiss the Spirit: Once the communication and pact are complete, formally dismiss the spirit. This must be done politely but assertively, signaling the end of the evocation.

• Close the Circle: After dismissing the spirit, the practitioner should close the circle, ensuring any remaining energy is properly grounded and there are no open spiritual connections.

3. Practical Applications of Evocation

Evocation serves a variety of purposes, depending on the spirit evoked and the needs of the practitioner:

• Knowledge and Insight

Spirits such as Paimon or Marbas (from the Goetia) can be evoked to gain knowledge in fields such as science, philosophy, or even occult topics. These spirits act as teachers, providing insights that may not be available through traditional means.

• Assistance in Worldly Affairs

Spirits like Bune or Buer may be evoked to bring about material gain or help in practical matters like healing. These entities have specific attributes that make them suitable for assisting in specific areas of life.

• Influence Over Others

Spirits like Astaroth or Dantalion can be evoked to help influence thoughts, emotions, or even the actions of others. This can be dangerous territory, as manipulating others can generate negative karma or lead to unintended consequences.

• Protection or Offensive Magick

Spirits like Andras or Marchosias can be evoked for protection or even to engage in offensive actions against adversaries. This type of evocation requires strong grounding, as it can create backlash or karmic debt.

4. Risks and Ethical Considerations

Evocation, being an advanced practice, comes with significant risks. It requires proper grounding, respect, and adherence to spiritual laws.

• Miscommunication and Deception

Spirits may mislead or trick the practitioner if not approached with proper authority and respect. It’s crucial to be clear, firm, and respectful during evocation.

• Mental and Emotional Impact

Evoking powerful entities can be mentally and emotionally taxing. Spirits can reveal truths or create experiences that are difficult to process, leading to mental strain, paranoia, or even psychosis. Hence, proper emotional resilience and grounding are essential.

• Karmic Consequences

Engaging in pacts or asking spirits to interfere in worldly matters can create karmic entanglements. For example, using a spirit to influence or harm others will generate negative karma that the practitioner will eventually need to resolve. It’s important to approach these situations with ethical awareness.

• Incomplete Dismissal

Spirits that are not properly dismissed can become attached or create lingering energy that disrupts the practitioner’s life. Always close the ritual properly and ground all energies that were invoked.

5. Integrating Evocation into Theurgy and Other Systems

Evocation plays an essential role in many theurgic and magickal traditions. It’s not limited to demonic evocation as seen in the Goetia but extends to:

Theurgy

• Theurgy is the practice of using ritual to establish contact with divine beings—often with the intent of elevating the soul and aligning it with higher spiritual forces.

• In theurgic evocation, the practitioner may evoke beings like angels, archangels, or divine entities to gain spiritual insight, guidance, or blessing.

• Unlike the transactional nature of Goetic evocation, theurgy often focuses on cooperation with the divine for spiritual ascent.

Kabbalistic and Hermetic Practices

Kabbalistic magic involves evoking angels from different Sephiroth to understand the divine qualities and align with them. Each angel corresponds to a different aspect of the divine tree, and their evocation allows the practitioner to draw upon these aspects for personal transformation.

Elemental and Nature Spirits

Elemental spirits such as salamanders (fire), undines (water), sylphs (air), and gnomes (earth) can also be evoked to establish harmony with the natural elements. This is common in Wicca and druidic practices where practitioners evoke these beings to aid in rituals, healing, or manifesting changes in the natural environment.

Conclusion: Mastering Evocation

Evocation is a powerful practice that requires discipline, respect, and a deep understanding of the nature of the spirits being worked with. It differs from invocation by externalizing the entity, allowing for more direct interactions, and often involves the negotiation of value through pacts.

To safely practice evocation:

•Study and Prepare: Learn everything about the entity being evoked.

•Ground Yourself: Ensure emotional resilience through practices like meditation or yoga.

•Protect and Respect: Always work within a sacred circle, and approach the spirit with respect while maintaining a strong sense of authority.

•Know Your Limits: Evocation is not a practice for beginners—it requires grounding, focus, and an awareness of the potential dangers.

Post: thermo/DionysianAgent Image edit: Mahaboka

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