#across all different media and in the original myths

[ummmlife]

realistic nanami's d analysis

warnings! ; nsfw (kinda) , headcanons (obviously) ; educational 🤓☝️

as a nanamin simp i've been reading and hearing about nanami's 9 inches manhood all over the internet and, honestly?, that doesn't sound accurate to me

something that happens to people who like nanami a lot is that they portrait him like a white man and, consciously or unconsciously, i feel that the 9 inch thing has been motivated by that current of thoughts

that's why i've decided to make a long research about the male genitalia comparing the average sizes all over the world, asia and finally, japan

of course, i did not give him a micro penis, but please don't expect the king cobra between this man's legs

i stress again the fact that this is my opinion and if you don't agree... well, there's not much i can do about it :)

context ;

for us humans, diversity comes in different styles of things, perhaps no topic elicits as much curiosity, speculation, and even anxiety as the dimensions of the male reproductive organ: the penis. from ancient myths to contemporary media portrayals, societal fascination with penile size permeates cultural narratives worldwide. however, amidst the myriad myths and misconceptions lies a scientific inquiry into the fascinating variations of penile size across different populations and ethnicities.

so, repeat after me: not every hot man has a 9 inches long d– / jk

in a comprehensive analysis conducted in 2020, researchers examined studies on penis size and determined that the typical length of an erect penis ranges from approximately 12.9 cm( 5.1 inches) to 13.9 cm (5.5 inches.) They suggested that the actual average tends to lean towards the lower end of this spectrum. (King, 2020)¹.

Another study indicated that the length for a flaccid penis was 9.16 cm (3.61 inches). (Veale et al., 2015)².

and that is what i’m basing my analysis (headcanons) on.

let's take a look on this chart (of dubious origin):

in this one we can see and compare the different sizes of the male reproductive system in different countries. if we look at it, japan has an average of 13.56 cm (5.3 inches).

investigating more in detail the male population, i managed to find that the average penis size in japan is about: 13.56 centimeters (5.33 inches), with a diameter of 3.53 cm (1.39 inches) at the head and 3.19 cm (1.25 inches) at the shaft when it's erect. (日本人の平均ペニスサイズが明らかに! | TENGA FITTING(テンガフィッティング), n.d.)³

knowing all of this, let's get into the heart of the matter that concerns us today.

his size ;

i'm using using this essay for a reference (since my humble self does not own a peewee) (男性器の大きさについて|大東製薬工業株式会社, n.d.)⁴.

to keep it simple:

erected :

length; 13.73 cm (5.4 inches) ~ 15.37 cm (6 inches)

girth; 11.73 cm (4.6 inches) ~ 12.73 cm (5 inches)

flaccid :

length; 9.73 cm (3.8 inches)

girth; 9.37 cm (3.6 inches)

the shape ;

i imagine it with a base a bit wider than the head (it gives fat dick ohohoho) and slightly curved up, the foreskin is still there and the skin is more pigmented there (#967a68). i can imagine a notorious vein coming from the base to the tip from below. his glans is paler than the shaft (#aa8483) and when it gets stimulated it turns into a #c96c60 shade.

nuts! ;

how do i say this?

they look heavy, somehow. also notoriously asymmetrical, the left one hangs lower.

is the carpet matching the curtains? ;

no, and this is my personal headcanon since I like the idea of ​​kento bleaching his hair since high school, from dark brown to his blonde tone he all see now. but if you don't think the same, it's alright, it doesn't affect anything.

he's hairy, everywhere, yes i'm also talking about his butthole!!

but he like to keep the hair trimmed and nice, not a crazy jungle of hair, since he also like to keep his face clean. it is a routine procedure that he does once every one or two months, always using an electric shaver.

so if you plan to give him head (or eat his ass, idk and idc), please expect to feel his pubic hair tickling your nose

+ his buns ;

his glorious glutes are made of 90% pure muscle, it also look squared shaped.

amazing, wow.

sources ↓

anyway, you don't have to take everything i wrote literally or personally, nanami is a fictional character and it doesn't really matter what his penis should or could look like. if you imagine him differently, great, i do too lol, my brain is never going to imagine him with some exact measurements or shape

hope you enjoyed my little essay on nanaken's penis :) it's the first time in my life that i talk so much about cocks lol

bibliography ;

1. King, B. M. (2020). Average-Size Erect Penis: Fiction, Fact, and the need for Counseling. Journal of Sex & Marital Therapy, 47(1), 80–89. https://doi.org/10.1080/0092623x.2020.1787279

2. Veale, D., Miles, S., Bramley, S., Muir, G., & Hodsoll, J. (2015). Am I normal? A systematic review and construction of nomograms for flaccid and erect penis length and circumference in up to 15 521 men. BJU International, 115(6), 978–986. https://doi.org/10.1111/bju.13010

3. 日本人の平均ペニスサイズが明らかに! | TENGA FITTING(テンガフィッティング). (n.d.). 日本人の平均ペニスサイズが明らかに！ | TENGA FITTING（テンガフィッティング）. https://www.tenga.co.jp/special/fitting2012/

4. 男性器の大きさについて|大東製薬工業株式会社. (n.d.). Copyright (C) 2015 更年期障害・勃起不全・早漏のOTC医薬品は大東製薬工 All Rights Reserved. https://daito-p.co.jp/essay/penil_size.html

[final-fantasy-as-literature]

Final Fantasy VII and a Failure to Properly Analyze Japanese Media by English-Speakers

Light spoilers ahead without revealing deeper context.

One thing that always gets me about discussions of the Compilation of Final Fantasy VII is that they're kind of poorly Eurocentric, but I don't think that's entirely the fault of players and journalists. The original game itself came into being in one of those moments where Japanese media was looking both inward and outward while reflecting on what was becoming the economic stagnation of what would become known as "The Lost Decade." There was a lot of outrospection, looking at media from as far as Europe and North America, but a lot of analysis from without Japan often weakly frames that borrowing to the point that it makes the cultural context of where those borrowings might have come from disappear. That's what I mean by "poorly Eurocentric" - these analyses rightfully detect a borrowing, but fall apart because of a lack of curiosity into their depth, origin, and meaning within a Japanese context that fails to center that context as distinctly Japanese or even distinctly of Tokyo.

I have no ill-will towards this author nor do I have any ill-will towards his work, but M.J. Gallagher's Norse Myths That Inspired Final Fantasy VII is kind of a case-study in this. This is not a takedown, callout, or assault of Gallagher, but an example of what I'm talking about. While reading it, I was somewhat struck by a series of claims made that encapsulate this poor Eurocentrism:

Final Fantasy VII’s Nibelheim is largely derived from the primordial realm of mist, and its name is very deliberate. ‘Nibel’ is the word for ‘fog’ in the Romansch language of Switzerland, cognate with the German ‘Nebel’, both of which share a Proto-Germanic root with the Norse ‘nifl’. ‘Heim’, on the other hand, translates most commonly as ‘home’ or ‘home of’. It can therefore be deduced that where Niflheim is the Home of Primordial Mist, Nibelheim is the Home of Fog. Closely related in form to ‘mist’ or ‘fog’ is ‘cloud’. Given that the series’ lead protagonist is Cloud Strife, it becomes apparent that Nibelheim was named quite literally for being the home of Cloud.

This etymology has generated some confusion among fans over the years who believed it to have been drawn from Richard Wagner’s celebrated opera cycle Der Ring des Nibelungen, which itself was inspired by Nordic mythology and the Nibelungenlied, an epic Middle High German poem dating back around 800 years. The terms Nibelung (German) or Niflung (Norse) have been used in different ways over the centuries, most commonly referring to a noble family or to dwarfs, neither of which are heavily associated with Niflheim."

I first want to point out that there is no in-text citation of any of these claims when one might expect even a pop-history novel like this to, but that isn't entirely important - the first major claim, that Nibelheim is named for Cloud, comes from word association across four languages. It has to, as none of the sources in the bibliography associate Nifl with 'fog' or 'cloud.'

Japanese itself cannot easily evidence a difference between these words to lay a hidden significance for a speaker who understands all four mentioned languages after transliteration. ニヴルヘイム, ニフルヘイム, and ニブルヘイム are all ways that Niflheim may be written in Japanese and would have all likely to have been pronounced 'Niburuheimu' and transliterated as Niflheim or Nibelheim depending on context. To somebody not writing on an explcitly Norse context, any of these might be as or more likely to be transliterated as 'Nibelheim.'

Japanese has no distinction between 'v,' 'f,' and 'b' sounds from loan words in its native phonemic inventory, and writing Niflheim as ニヴルヘイム is something that would not have been common in the mid-'90s. This is something that would have only become more common later as academic translations of works like those of Snorri Sturluson became available. These translations, though, would not have become common until the early 2000s, and the standardization of loaned words like Niflheim is recent enough that most articles about Niflheim in Japanese mention or use more than one of these forms.

This brings me to the second major claim, that the association of Final Fantasy VII's Nibelheim with Wagner's is misplaced when it ought to be attributed to Norse myth through word association. This is, to me, a baffling assertion when taken in context of the Compilation or the greater Japanese cultural context.

Setting aside that Final Fantasy VII (1997) is a Wagnerian spectacle at heart, the events of the Nibelheim Incident are even more reminiscent of a borrowing of Der Ring des Nibelungen than they are of Norse myth that would have been largely unavailable to the developers and relegated to university libraries miles and miles from Tokyo.

What would not have been difficult to access for somebody in Tokyo in the '80s and '90s would be the first and following performances of Wagner's Der Ring des Nibelungen in Japan as part of the climax of the Opera Boom, mostly centering on Siegfried and Götterdämmerung after their initial performances at the Tokyo Nikikai Opera. Japan was, in part, going through a kind of Wagner mania at the time as Marumoto Takashi points out in his writings on opera in Japan. It wasn't interest in Norse and German mythology that exploded interest in Wagner in Japan, but interest in Wagner that exploded interest in Norse and German mythology.

Knowing this, it is hard not to see Cloud braving the fires of Nibelheim in order to be there for an unconscious Tifa as reflexive of Siegfried conquering his fear to reach the unconscious valkyrie Brünnhilde through the ring of fire surrounding her in Siegfried. With the added context of Final Fantasy VII Rebirth in 2024 having both Cloud brave literal rings of fire while fighting an enemy named "Custom Valkyrie" with a woman he is explicitly the bodyguard of and a reference to Wagner's Götterdämmerung in the Götterdämmerung accessory instead of to Ragnarok, it almost feels like a dismissal of Wagnerian connections without knowing the content of Der Ring des Nibelungen or Wagner's influence in Japan in the '80s and '90s. It even excludes other possible readings of the work, like in Loveless where Alphreid almost appears as a portmanteau of two central names in Der Ring des Nibelungen - Siegfried and Alberich.

That's what frustrates me about discussions on Final Fantasy VII and the Compilation at large. When you combine that poor Eurocentrism that fails to notice the context of Final Fantasy VII (1997) with a clinging to the words and stated intent of the author, you get readings that might be fun but miss a lot of really cool stuff. Yeah, it is cool to look at Norse mythology, but Final Fantasy VII was made in a context of Wagner mania and the popularity of Western opera in the face of economic stagnation that peaked in the same year as Final Fantasy VII's international release with the founding of the National Opera.

I didn't cite any source here because I'm used to Tumblr hating outside links, but Marumoto Takashi's English work comes up rather easily on even just a Google search, and I'm willing to hand out links if asked. Most everything else was just language and looking at the works cited in the text itself.

[mdhwrites]

The Grimwalker as a concept was so weird. Mainly that Hunter was all 'ohhhh no we cant tell them im a spooky Grimwalker!' But... why would anyone care? The only reason given is that hes a reincarnation of a guy nobody even knows or cares about. Theres not even like, a spooky myth about Grimwalkers because its got such a vague ruleset and premise. He's barely different from a demon.

That COULD have linked to the demon discrimination plotline youve talked about, but there is none so it cant be that. Which i understand was partially because Dana wanted the gays to just exist, so she scrapped discrimination in general. But, a big part of forming cultures and identity is 'Otherness'. People compare themselves to others and define themselves by how theyre different. So scrapping discrimination ends up making the witchs and demons feel like nothing. They have nothing to compare their identity and culture against because theres just no conflict to spark comparison.

This lack of substance also means the fans don't care about Grimwalkers. See the moring comic where the Grimwalker was turned into ANOTHER way to say 'haha Boscha so cringe amirite? point and laugh because she has nobody who loves her.' even though the grimwalker is to reincarnate the dead.

OH MY GOD I'M SO HAPPY SOMEONE ELSE NOTICED THAT! *SCREAMS BLOODY MURDER* Like I know Mark just writes Boscha how the entire fandom sees her (which hasn't helped me enjoy A Hint of Blue, not that I think it's good regardless) but seriously what the fuck!? Why do that to her except just to be mean!?

*sighs* What were we talking about? OH RIGHT! Grimmwalkers.

So for why Hunter has anxiety, it actually is because TOH is doing a very basic clone/artificial human storyline with Hunter and those arcs are actually a lot more internally motivated than externally motivated. Clone lives a life believing they're their own person, then one day finds out they're not, perceives themselves as less because of this distinction but then in the end decides that regardless of their origin, they are their own person and so throw off their shackles, embrace who they are and become better for it. It has nothing to do with race and while it is baby's first clone story, I also still like it conceptually because, well, there's a reason why it's the default clone story. It especially is good for kid's media because while the clone can struggle with the anxiety of it, their friends never have to actually be bad or discriminatory against them because the point is loving yourself for who you are and not who you were made to be.

But I've talked before about how this basic framework actually has a Catch 22 built into it when it comes to Hunter... Which apparently Tumblr wants to tell me I've never done before. Thanks search function. The short version is that this template requires not only a rejection of what they were made for but for them to become distinctly different, usually opposite, to their purpose/original. For Hunter, he only knows Belos so this takes shape in trying to be the opposite of him. The problem is that the opposite of Belos... Is Caleb. Who Hunter mimics in every action he takes after getting away from Belos. There's literally no way to follow this template without adding complexities like him accepting his true origin and being okay/happy with that, something that was probably unlikely in general but especially wasn't going to happen with the shortening, which I will actually give people for. Because the Grimmwalker twist happens so late, they either had to cut it or had no time to actually do anything with it which like... Why not cut it? You did nothing with it and it actually made sure you didn't have the time to actually have Hunter reject Belos' morality so that his redemption doesn't come across as self serving and for survival more than an actual, you know, change to his beliefs.

As for how interesting Grimmwalkers are... They're just clones. Boilerplate, boring clones. Make a body based on another person, put memories in, BAM! Got yourself a clone. Doesn't get more classic than that. It's hardly even magical honestly besides the components, especially with how it actually doesn't give them magic despite those components, or have weird quirks since they're not actually made of flesh and blood, elements that the fans have had a lot of fun with that the show never does, though admittedly part of that is due to how late it happens. Then again, all magic in TOH is boring so it's not likely they would have anyways. Also, you know, a lot of shows will do a single clone episode and have more fun and magic to it than TOH does with one of their core cast members being one so *shrug*

Now, for the final part, I do want to also touch on the 'other' aspect because while discrimination is one way to do it, you can get this across in other ways. One such way is the core defining trait of the Grimmwalker from a tangible standpoint: He doesn't have magic. In a society that mostly has magic, him not having it is a big deal. It's literally what gives him and Willow their first connection as a couple, as insulting as that scene actually should be to Hunter.

And then Hunter is 'fixed' when he gains his magic. His 'other' status removed because he's a real boy now. *SIIIIIIIIIIIIIIIIIIIIIIGH*

I have so much more I could say about TOH and 'The Other' (made a blog about a lot of it between writing this draft and publish) but I'll leave it at that so it actually stays on topic instead of the half a dozen tangents I've deleted. None of this makes it good by the way and with how TOH tackles most subjects like this, it's incredibly unlikely that more time would have made it better. After all, being a Grimmwalker is only one of like a half dozen TANTALIZING character/arc concepts for Hunter that are never addressed. The fact that he is trained to kill witches and likely has. His relationship with the Isles because he doesn't have inherent magic. The fact that he is filled with such care for the nation and its government that it blocks out all else in his world. How a sheltered child reacts when they suddenly have freedom and are thrust into the wider world. Etc. etc. that are just footnotes to the writers more than anything to actually build a complete arc around or else they wouldn't have just keep adding to the angst bucket without actually resolving any of it.

So of course Grimmwalkers are bland while being a fine to good concept that's then made terrible by narrative implication or neglect. That's EVERYTHING to do with Hunter.

======+++++=====

Sidenote for this one: It is funny that Dana wanted there to be no bigotry in the Isles when her villains entire scheme is through religious persecution. You know, bigotry. Whole other blog I could go into.

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

[seasonalmoss]

Epic the musical Catifed: I remade Penelope’s Ref!

AAAAGHH DJDHFJRHJDHSHD OKAY OKAY, so Ive been meaning to redo her ref for quite some time now, and it happens that I’ve been stressed enough lately to draw her! She’s literally one of my very top comfort characters for me right now, to be fair all of my comfort characters are extremely important but for this situation I’m in right now the comfort I need is from people like Penelope or Willow (from Wings of Fire).

anyways this ref has really helped me decompress and calm down, drawing Penelope has made me feel so safe and secure, literally I love Penelope in Epic so much.

I looove how she is in Epic the musical? Idk I feel more drawn towards her and more interested in her then the Penelope in the Odyssey.

though I guess in general when I say “I love -insert character who appears in EPIC” I’m usually talking about specifically the interpretation of Epic. Though I do have a genuine interest in Greek mythology and I want to get into more media that’s about it, the specific characters I’ve grown attached to are the musical ones!

like- people need to understand that Epic isn’t just “the odyssey as a musical” it’s a transformative retelling! And in many ways is it’s own story.

like- I think everyone can Agree that Ody in epic is a lot more nicer and moral then Ody in the Odyssey,

they literally aren’t the same character, and I hate when I see people bash on Odysseus in Epic because of their opinions of him in the odyssey.

Don’t get me wrong I LOOVE LOOVE the Odyssey and Iliad and other Greek myths but that’s simply just not the fandom I’m apart of.

Yes, Epic is still based on the Odyssey and a retelling of it, but it’s still Separate, and people shouldn’t act like it isn’t or act like what happens in EPIC reflects onto the odyssey. Like- don’t say “oohh but Odysseus isn’t that bad because in Epic-“ Stop. Don’t say that.

if you see them as separate from eachother then it shouldn’t matter to you people’s takes of the characters in the Odyssey because they aren’t the same as in EPIC. And really that goes for everything?

I’ve seen people bring up PJO(somehow???) a lot or that Circe book (literally don’t know the name of it) in regards to Epic and say “but in this!” Like- dude they are literally different retellings and interpretations it’s not like every Greek mythology story is connected or idk- canon to the Original Myths??? And don’t get me wrong you can make crossover AUs! I honestly LOOOVE seeing all of the PJO x Epic things I see!

but anyways stupid ramble over, I LOOVE LOOVEE DESIGNING PENELOPE! AAGGHHDHDHD I wanted her to appear very regal and well kept, she is a queen after all. But further more Penelope in Epic is a character who isn’t much of a physical fighter, rather she stands back and watches with calculating eyes and prudence. She has an unwavering will and a strong composure in the face of 108 nasty Suitors. She’s wise and clever. With all of this I wanted to give her more lengthy and soft features, as Penelope is someone many don’t expect to expertly win a battle with wits. She simply just seems to be the face of royalty. But I also gave her a strong long/thick tail to show her strength, she absolutely can beat the shit out of you with that tail, but she won’t. Because she doesn’t need to, since she has other more “civil” methods of wits to break you down. but in general EPIC Penelope is more reserved and calm, she doesn’t need to gaslight you or manipulate you, she just needs to trick you. She’s understanding and gentle, yet serious and worried. she stands tall hence why I made her that height. she’s also one of Odysseus’s leading motives, and a major support for him. I wanted Penelope to come across as someone you turn to for guidance or you lean into to cry. She’s a sturdy yet soft shoulder to cry on, something Odysseus desperately needs. (also Penelope just HAS to be taller then Odysseus I’m sorry- if you don’t make Ody in epic shorter then practically everyone what are you doing? /j)

anyways thats my Penelope design!

[dailydemonspotlight]

Turbo Granny - Day 73 (Request)

Race: Foul

Alignment: Dark-Chaos

July 17th, 2024

Among the ranks of demons in SMT, there are quite a few that stick out as being funny in concept alone- demons such as the many Jack Frost clones that I've already covered, for example, Mara, or even the many direct homages to horror media such as Chris the Car. However, conceptually, none really come close to today's Demon of the Day, a Yokai that speeds down highways and taps on your windows- Turbo Granny, one of the strangest monsters to come from Japanese mythology. Even among the, ahem, 'star studded' ranks of Yokai, Turbo Granny stands out as an incredibly odd case, but how did this story come to be, and what even is it?

Originating, seemingly, as a mix of the phenomenon of 'Highway Trolls-' beings that one sees running alongside their car- as well as what's effectively a warning about literal traffic rules, Turbo Granny, also known as 'Turbo Grandma,' or 'Turbo Bachan,' is a simple Yokai with an even simpler tale- as it goes, when riding across the highway at night, one may hear a tap on the glass. Upon looking over, the driver may see an old woman running at the same pace as the car, having caught up. Upon looking, a variety of things may happen, according to the folklore, as there are many different variations of the Turbo Granny myth.

For starters, the most common interpretation is that she simply startles the driver, being simply harmless. Given that, according to most myths, she only appears to speeding drivers, however, it's also believed that, of all things, she may be a warning much like a boogeyman... except targeted at people who disobey traffic laws. As said in another common urban legend, those who drive on Mount Rokko at night and go above the speed limit may get an undue visitor. In these variations, Turbo Granny appears and attacks, ending up sending the car and its driver to an early grave if they look to the side and even dare to look at the old woman now running alongside them, tapping their window, and being a general annoyance.

Now, I know that was short, but there's not much I can work off of for this one, so how is she portrayed in SMT? Surprisingly, very faithfully- to the point that a lot of interpretations use her design from SMT as a base! Apparently, she also appears in Dandadan, but I know basically nothing about that series, so I can't touch on it. Overall, though, I just find this demon conceptually hilarious, I can't even lie. The concept of an old woman running alongside your vehicle and tapping on your window as some sort of twisted reminder to not break traffic laws is just as insane as I thought this demon would be, based solely on the name.

I can't be the only one who was kinda hoping it'd just be a regular old woman who runs at the speed of sound, though, right? I thought it'd be the same energy as that one Kimchi substory in Yakuza 7.

Ah well, whatever. A hilarious Yokai is as funny as anything else.

[klonoadreams]

Aammh… Klonoa?

Now that there was all this pokemon leak, and taking into account zoroark and Punch baby Akari, and all that… well… will they find out somehow about the original sin, Typhlosion, rapidash, slaking? . . . or you don't think to touch that, or it's not part of your pokemon stories…

will anyone think that way about her? or will some internet hater say that to Brie? (this last one because there are always haters and galar on very social media) or about anyone really, you specialize a lot in feral children

typhlosion is my favorite "cry" . has they gone from ghost type to fire type like that???

Alright I finally have enough time to actually reply to this, I was out and about with friends for a week before I came across the leaks.

And since then, more time has passed for more accurate translations that are not machine translated to pop up.

Regardless, I will say that all of these mythology stories actually made me happy from a worldbuilding standpoint. They're still noncanon because that's what happens to scrapped ideas, but I love it all anyways because there is so much to take from these tales.

And I mean this from a nuanced side that, unfortunately, gets thrown aside by people memeing and vieweing it as black and white.

Every tale is something I've seen in myths beforr. It is dark, but also a cautionary tale, like for one, the woman and her friends who harmed and killed Slakoth. Only for her to be cursed with the true pain of knowing what such actions have caused by losing her own child to her friends.

The Typhlosion and maiden who lived for years before a child is born, where the maiden's father kills his daughter's husband because of a break in a clear ritual. The real true villains in this mess are the villagers who rejected the maiden and her child, forcing them into the forest as Typhlosion, for a fate they had no control over. Probably where the inspiration for Hisuian Typhlosion came from.

Anyways you might get some haters for Brie who take the more "moral high ground" and it's just jealousy about uncivilized children running amock without a care for proper manners and all that jazz.

Brie gets judged already for talking to Pokemon, as it's seen as something only children do, whether or not people believe that children can communicate with them (they actually can). People want her to grow up, to be more "proper", to "fit in", because of jealousy and hate for what she can do, and others can't.

But she'll be okay despite it all, cuz she is not alone.

And fun fact, the mythology shared here, actually ties into some worldbuilding and headcanons that were already making use of the canon Canalave Myth that got censored overseas about Pokemon Marriage.

I am of the belief that humans and Pokemon are one in the same, that's how we get humans with various eye and hair colors. And how some can tap more into aura or their psychic abilities.

In each family tree, some families are more likely to have Pokemon in their bloodlines at some point.

There's a certain taboo to it now, but like, if you look further in, you will see those who take it seriously, because the point of it all, is that humans and Pokemon aren't that much different. They are both sentient beings, and each one has the capacity to give their consent over being caught in a Poke Ball and also whether they wish to stay or go. And a human is supposed to respect this, because Pokemon are creatures with abilities that can harm them.

Living together and battling, it's not that simple. And that's what makes Pokemon so fascinating.

Also, canonically, we had the human in Legends Arceus who married a Froslass. It has happened in canon too, and that Froslass did have children that turned out human.

So Punch Baby Akari finding this out may not be too strange for her, but it will be for Rei cuz he's all "oh fuck, so it wasn't just myths."

"Some myths are based on actual truths. Like the dangers of those that are all around us."

"Please don't be so ominous when I'm getting mindblown."

[earlgreytea68]

Writing Patterns

I was tagged by @shark-myths

Rules: list the first line of your last 10 (posted) fics and see if there's a pattern!

My stories often start with the first line in my head. Like, once I get a line stuck in my head, I know there's a story connected to it, and I can write it down, and everything goes from there. Not always, but often. So I'm really curious to look back at them.

On the morning that Megan Stump was scheduled to arrive at Wentz House, Peter, Marquis of Highleyton, could not get himself out of bed. --I Prefer Our Love (Watch You Work the Room) -- Part Two okay, believe it or not, I had this line written as the first line of the sequel and then realized that I couldn't start there, more had to happen, so I backed up, and then.......more did happen, an entire other fic more lol

Patrick is in over his head before he even meets Pete Wentz. --Like Christmas Morning (alliwantforchristmasisyou) I knew I wanted to do a they're-already-married story, and this felt like the perfect line to get across exactly how long this has been going on.

Patrick doesn’t feel like it’s a conscious decision on his part. --Longer. Schrodingerverse fics, you may have noticed, alternate POV, so I knew this one had to be a Patrick POV, so I had to start somewhere in Patrick's head.

Patrick doesn’t think witches should be showy. --The Witching Hour okay, I wasn't going to write a story about witches but this line sprang into my head and I was like, I WANT THE STORY THAT GOES WITH, and I'm so happy I wrote it lol

This is the kind of thing that only happens to Pete.--Complicated honestly didn't entirely know where this story was going when I started it, but this seemed like a solid line to start literally any FOB story with

Tennyson turns thirteen in the middle of the tour. --Perfect summer. I want this to be some kind of suave and purposeful line but this was me reminding myself of when Tennyson's birthday is and how old he is lol

Patrick is very aware – because Pete tells him constantly, he couldn’t miss this – that Pete thinks Patrick is perfect. --Two Guys, One Spotlight unusually, this fic started with the title first, so I had to figure out what story would go with that title...

“I can do it,” Patrick says. --So Good at Rhythm my original idea for this story was going to be Pete convincing Patrick to play the drums, and then I sat down and this was the first line I typed sooooo yeah, it turned out to be a different story

Pete finds the Magic 8 Ball at a farmers’ market. --Magic 8 Ball whatever, I think this sentence is just Truth lol

Pete Wentz has a problem. --Riff with Patrick another universally applicable beginning to any FOB story

I genuinely wasn't sure I would uncover any patterns but look at that! I really love starting with a one-sentence paragraph. BAM. Hopefully it makes you want to read the punchline that follows in the next paragraph. I didn't realize how often I do this and now it seems so obvious, SORRY I DO IT ALL THE TIME, GUYS. I think I like the in media res feel of starting like that, like we're already smack-dab in the middle of the story so I'm going to give you a second to absorb the proclamation before we move on. I also personally prefer to start writing right in the middle of the story, so I can figure out quicker what's going on with everything, so that's probably why I do start there a lot. The scene-setting, if I do it, tends to happen a few paragraphs in, when the POV character rewinds to catch you up on What's Happened So Far. Interesting, I literally never noticed how often I do this lololol

(Also I literally forgot how many fics I wrote over that Tourdust summer, wow...)

Anyway! I tag whoever wants to do this! It was really interesting!

[spacevixenmusic]

What's your opinion on the subject of filler and episodic television? Is it "dying" as some have bleated on about? Are stories that keep up plot momentum better or worse?

By "episodic," I don't strictly mean that there's never any continuity so much as the Myth Arc across a given season is flexiable enough so certain episodes can be ordered a certain way with enough care. By contrast, any given Netflix series may be episodic but with a set order that cannot be flexible.

First off, we have GOT to clearly define the word "filler" so people can stop misusing it. "Filler" occurs when a show is being adapted from a different original source (typically manga, games, or visual novels), but the studio ordered more episodes than are needed to complete the adaptation, and writers must create additional episodes full of stories NOT included in the source material in order to "fill" the episode quota. You can usually spot this in extremely long-running anime series when the plot catches up to source manga (Dragon Ball, One Piece, Bleach, etc) and the writers have to get creative while they wait for a new volume of source material to be released.

Anyway, what was the question again? Oh right, episodic shows.

Serial vs episodic: neither is better or worse, they're two different types of storytelling, and they work to different ends. I'm a fan of both honestly!

Episodic shows only seem to be "dying" because there's been a huge rise in the popularity of serial shows lately. If watching reaction channels has taught me anything, it's that modern audiences have started really undervaluing episodes that don't drive the plot forward or reveal new Lore or Character Development. And y'know, it's fine to have a preference for serial shows, I get that, but I don't understand the sheer disdain for light-hearted episodes or self-contained adventures that don't lead into something bigger. You can blame Marvel movies if you like, but I blame TVTropes and CinemaSins and Youtube comment sections personally. These places have fostered and created a generation of people who LOVE feeling they're somehow "smarter" than the show they're watching, rather than just, y'know, watching the show and coming to their own conclusions all the same.

I have a special fondness for episodic shows that take on a mini adventure every episode. A staple of my childhood was a show called Mighty Max, about a kid who fell into the possession of a magic baseball cap that could open hidden portals that took him all over the world. Every episode, he and his two semi-immortal guardians would be tasked with saving people from weird B-movie sci-fi and horror creatures, which required them to travel to foreign countries on the regular. Max would get a message that the world was in peril and have to find a portal located in some completely random location, - for example, the frozen food aisle of a local grocery store - that would drop him off in the middle of the wilderness in Sumatra or an ancient castle in Scotland or wherever. By the end of each episode, the world would be saved and Max would try to get home before curfew so he wouldn't get in trouble with his mom, and before the credits, would take a moment to talk about the geography and culture of the place he visited in that episode. No overarcing plot (just some occasional recurring villains), just a classic case of Putting A Guy In A Situation, and it played a huge part in my love of travel and culture and geography, which then led to my love other multi-cultural media, like Cowboy Bebop, The Fifth Element, and Adventure Time.

^ That's the sort of thing modern audiences seem to dislike though. Episodic shows aren't "dying" so much as people are just less fond of them than Serial ones these days.

[edward-cabrini]

My Sources of Inspiration

With my recent Character Focus posts, I've taken a bit of a deep dive into my core cast of characters and lightly touched on their various sources of inspiration. I think it's time we take a harder look at my sources of inspiration. In terms of media/Texts we have: Berserk, Dark Souls 2, Dragon Age: Origins, Kingdom Come Deliverance, Blasphemous, Mount & Blade: Warband, Archaon Books, various Irish folk tales & myths (Cú Chulainn & Fomorians in particular). One of these is not like the others... Mount & Blade doesn't really have a story, it's a sandbox where you invent your story as you play. With a 190hrs in it. I've yet to ever conquer caldaria as a lone mercenary warband. My last run came closest though. I dedicated my self to being an effective leader, I recruited the best companions, I worked for King Ragnar with the hopes of marrying into royalty to increase my legitimacy. Five years I worked under Ragnar amassing Fiefdoms and wealth as we wiped out the Swadians and pressed into the Kingdom of Rhodoks. Yet when the time came to leave Ragnar's service I was caught out by a Swadian war band, I lost everything... My companions fucked off to the four fucking winds and after a solid 60hrs I gave up I enabled cheats made my self damn near un killable with the strength to solo armies. I razed everything until I recovered my fiefdoms and then I disabled cheats and carried on as normal. However the damage was already done, that run was stained, marred by my weakness. Any way I deleted the save uninstalled the game and did a quick run of Dark souls 2 to cheer myself up. But it got me thinking... That was a grand adventure, and right up until the total collapse of my plans I was very happy. This was the first spark of inspiration for "The Curse of Want". If I remember rightly, I'd read the Archaon books for the third time maybe a year before this point. Archaon's fall is surprisingly the inspiration behind Lorcan's heroism and rise through the ranks. Ernin is almost, but definitely not, the same role as Giselle from the Archaon series. I think it wasn't until after I read all of the Berserk series (that was out at the time) that I resolved to start writing something. Not the "Curse of Want" just yet... Mostly I poured a needless amount of effort into a series of D&D characters. A lot of human fighter combat masters. Fight me, I just love the mechanics and being human.

It was actually one of my best mates and DM that introduced to Fomorians. I knew various Irish tales but not a lot about their history or that they were written in various cycles. The research rabbit hole went very deep very fast. By the time I finished reading up on the shit that Cromwell and the Church did to Ireland, Irish culture, and the Irish people. I was resolved to write "The Curse of Want" my own mythos inspired by the Fomorians of legend and the Church's rewriting of Irish myths. Book 1's plot isn't all that different from events wise the golden age arc of Berserk. Child soldiers led by a pretty charismatic child soldier go from battle to battle achieving ever increasingly impressive victories. Until they go to capture the last fortress. However, consider what that would look like from the perspective of the enemy. A near unstoppable force of humanoid devils tearing across the countryside, ripping and hacking apart your friends as they advance toward your families. Here at last we come to the Dragon Age: Origins & Kingdom Come Deliverance Inspiration. Though to write more about why these particular narratives inspired me would I think lead to some pretty major spoilers. So you'll just have to guess what inspired what and who in my works. The last thing to touch on is Blasphemous, the church and all it's evil and good are present through out the game. I think I'll leave you with this thought I had as I squared up to fight Escribar: The unknowable will of The Miracle, made manifest by the belief of the citizenry. It's divinity enforced by the church and it's preachers; spreading the word of it's miracles and punishing heresy violently and publicly. Time to kill it.

[usernamesuggestionsarefunny]

I accidently stumbled on your grant about The Lost Crown by Sarah Miller and honestly I agree a lot with what you say. I realize Miller was working with what was available then, but she really drank the Rappaport koolaid that Alix was a selfish pig who neglected her daughters. Rappaport vetted the manuscript and in "The Romanov Sisters" Rappaport thanks Miller for "many conversations about OTMA via email." Miller also promoted HR's book on TikTok recently. What bothered me most in TLC - retrospectively, since Helen Azar and Georgd Hawkins have disproved it - is the allusion to Rappaport's false claim Maria had a sexual dalliance with a guard and that her mom and Olga hated her, of course a PG version of this scenerio neverthless.

Hi! I am glad to know that there are people out there who share some of my thoughts and that I was not screaming into the void! Lol

Alix does come across that way in one scene that I remember, yes, the time Maria hurts her eye.

I am going to be honest with you though, and confess that I enjoyed what Miller did with the cake incident. Yes the cake incident as a whole has little to no basis in reality and the scandalous part of it all is most definitely a myth, but Sarah Miller handled it pretty well, the way I probably would if I wanted to make an OTMA novel based solely on facts and plausible enough events but also entertaining to the readers. That is what the scene was to me.

What is often portrayed in historical articles, shows, books, and media as a kiss or even more whilst completely ignoring the girls' real time period-typical moral and religious values, not to mention the impossible logistics in that crowded, small house with strict rules for the guards, Miller portrays as a relatively plausible innocent chat and laughing about the cake being dry that is instantly discovered by the superiors of the guard in question. There was barely any flirting, just a very romantic Maria internally gushing about the idea of guards wanting to marry her. Very in-character imo.

I didn't see it as Sarah Miller trying to make a PG version of the myth just to reference it and imply that it happened, or worse, that more happened. I saw it as a way for her to keep everything that happens in the story likely and true to the real historical characters (Though as I mentioned in my long post, she failed imo in many other aspects), while also making something entertaining for the readers.

There is also the idea that myths have their origin in some truth, so I assumed Sarah had thought something like "mhhmm, which of this could technically have happened, and what is logistically impossible/out of character for Maria/likely the murderers going by or making up hearsay", and she concluded that since some guards had a nice relationship with the family, it was not outrageous to imagine one of them could have sneaked a cake, which in a fictional setting could make for a cute little anecdote.

I also don't remember the girls ending up mad at Maria in the book like it happens in the myth, and I re-read those scenes recently. Olga even comforted her after the incident because she thought she had ruined the escape plan or something. Alix does come across as cold, though not too harsh, the way she is portrayed the whole book, really, I don't see much difference after the incident as it is in the myth.

Your comment did make me remember that the love between Alix and her daughters is not too well portrayed in the book, unlike the love between them and Nicholas.

[justfinishedreading]

Lore Olympus by Rachel Smythe Volumes 1 - 5

Oh god I’m hooked, I bought and read all 5 volumes over the course of a week! Oh where to start. I first learned about the Hades and Persephone myth a couple of years ago when it was mentioned in the TV series Harlots, a murdering aristocrat force feds pomegranates to a sex worker and calls her Persephone, they later share a genuine bond but it is ultimately doomed because… well he’s a murder. Over the years Greek mythology has come back into fashion, in particular with many YA and fantasy retellings, and the Hades and Persephone tale is one people adore, it’s the allure of a gloomy, scary king that turns out to be a softie. Before reading Lore Olympus, I had watched a show on Greek mythology, and was reading an old book I was given like a decade ago, retelling the myths for children, so I’m aware how the original myth goes in general; Hades kidnaps a young Persephone and takes her to the underworld, later she is rescued but she feels sympathy for Hades and agrees to spend half the year in the underworld and half the year above ground (she agrees but she is also forced to agree because she ate 6 pomegranate seeds and once you consume food from the underworld you must remain there. This myth explains why we have the seasons, in Autumn and Winter Persephone, the goddess of Spring is in the underworld.

When I heard about Lore Olympus it was on a YouTube video about society’s normalisation of older men with much, much longer women, and the reasons why such unbalanced, often abusive or controlling relationships are favoured by men and how the age gap portrayal in media excuses them. So not a great endorsement of Lore Olympus. I avoided getting it for a long time but still there was the allure, the promise of passion and melodrama, of gorgeous art and Greek mythology, in a seductive mix of modern and classical imagery. I picked it up in the bookshop several times, and put it back down again -the art looked promising but the layout of the book was awful. Now I’m a graphic designer so I care about these things, the comic was born as a webcomic and looking at volume 1 you could tell it wasn’t designed with a book layout in mind, the art was sparsely tossed across the pages. It was not good. So months went by and I resisted buying it. But in the end my desire for some romance with high emotion and angst won, and boy does it deliver. Within a week I’d consumed all published volumes, buying one at a time and devouring it and buying the next the following day. Happily the graphic design does get better from volume 2.

So here’s the good and the bad. The Age Difference, on one level this does not bother me because these are gods, in that old book I was reading about Greek myths I learnt that when the god Hermes was just a new born baby he escaped his cradle, stole Apollo’s cattle, sacrificed them to the gods, did some other stuff and then lied to Apollo when he came round accusing Hermes. The concept of age and knowledge and ability are not as we know them. The Greek myths were also OBSESSED with youth and beauty, so with the source material being already so problematic it isn’t a surprise that it bleeds through. However did the author NEED to make Persephone literally 19? She couldn’t just be a young women? The author went out of her way to specify that Persephone is 19, something that is so problematic that various characters and Hades himself acknowledges as being bad, he asks do you mean she’s 1919 years old? (Already a lot young than him if she were 1919 years old, him being thousands of years old) No?! Actually 19!?! I understand that the age difference is part of Lore Olympus’ appeal, the forbidden nature of it, but could her age have been left a little vague, perhaps even aged up a little? Because at the end of the day if we associate Persephone’s personality too much with her age… what happens to her and their relationship with Hades when she becomes older? Also the mention that her body will forever be that of a teenager is distasteful and sends the message that bodies older than teens are not desirable. I suppose since she is the goddess of Spring, to be forever youthful makes sense. 

On the good side, this series handles well difficult topics, it has examples of toxic relationships (not Persephone and Hades but Hades and a former lover) but shows why a person might fall into toxic behaviours, it also depicts well a case of rape and the victim blaming that follows, highlighting narcissistic personalities, and overbearing parents. The reason people love Hades and Persephone’s relationship in Lore Olympus is because they bring each other hope and joy in a world of both physical and emotional pain. 

Back to the bad, Persephone’s character is a bit of a problem, she’s the born sexy yesterday troupe, so young and naive but super overly sexualised, academically clever but clueless to the ways of the world. Of strong will… but easily led astray? Shown to struggle with prejudice but also given a lot of special treatment and privilege. That last point doesn’t bother me so much because at the end of the day the Greek gods were AWFUL people, they were forever throwing tantrums, meddling in the lives of humans, and causing havoc on a whim. The gods were the ultimate abusers of power and unpredictable moods. In that sense Lore Olympus is a good representation of the Greek gods, those guys were MESSY.

P.S Apologies that my photos have been so bad of late, my laptop died and my phone camera is really bad!

Review by Book Hamster

[cadaverousdecay]

Vampire lore dump gooooo

oh boy!

nearly every culture since the beginning of time had myths of creatures that feed on blood but the modern vampire as we know it has its origins in around the 1600-1700s where revenants were said to come back from the grave and feed off their loved ones these creatures were specifically undead humans that had come back from the grave there were cases of vampire panics where the public believed vampires were everywhere and would dig up graves to discover them, often in times of sickness especially tuberculosis or consumption cuz it seemed like the person's lifeforce itself was being drained away. the vampyre by john polidori is considered the first english vampire short story, although the idea of vampires had been around before then but this story turned them from these bloated ruddy corpses into suave byronic heros (literally, seeing as lord ruthven was based off lord byron). other notable vampire works include varney the vampire, a series of penny dreadfuls and one of the first cases of the sympathetic vampire, carmilla, a lesbian vampire novella, and bram stokers dracula, one of the most influential works of vampire fiction. as the book shows, vampires were often metaphors for fears at the time such as xenophobia and unchecked sexuality. vampires are very versatile in media which is one of the reasons i think vampires have been truly immortal throughout the years, there are vampires in every genre across years of books and movies. vampires keep reinventing themself as monstrous, sexual, attractive, horrifying, pitiful, enviable, and sometimes all at the same time. because they came from folklore and many different sources, there are no set traits for the vampire, other than their need for blood. are they appealing or appalling? can they cast shadows or reflections? do they have fangs? can they control their bloodlust or are they mindless slaves to it? do they care about the victims they kill or do they revel in the violence? it all depends. theres so much you can do with them, so many stories you can tell. they can be the heroes, the villains, the antiheroes. i love vampires so much

[elvisabutler]

⭐️⭐️

Politely asking for the director’s cut of Happy We’ll Be Beyond the Sea - what struck you to use a selkie instead of another more popular supernatural being, like a vampire or werewolf? Was there a specific piece of selkie myth or media that inspired you, or did a picture of Elvis spark the idea? And really any commentary you’d want to give, the whole fic was just really well put together and you could tell the research was there.

director's commentary post.

so. full disclosure the main reason i didn't do vampire or werewolf is that vampire elvis was supposed to be done at the end of october ( which...we see how that shook out ) and someone else in the fandom was supposed to be doing werewolf elvis. and i didn't want to step on any toes so i decided i was going to do a different creature au. and then i remembered that this god i think it was an interview about his death or his last days maybe? or something- i don't remember the exact thing but it basically had this weird running theme of hawaiʻi being almost a special place for elvis.

add in the fact that my theme with the vampire elvis fic (shout out to battie for the headcanons that inspired it always) really revolved around the international being a trap/prison then i thought about selkies and how if you take their skin you've trapped them. and we all know if given the opportunity that there's a definite possibility that the colonel would have done it. then i was searching for "wet elvis" and came across the pictures that i used in the moodboard. though i think i had before but didn't make a connection. the pic above though that was new from this search. but i really just mashed every selkie bit and bob i knew into one sort of melting pot and was like elvis is a selkie and everyone can fight me. and like- full disclosure, much like everyone else pink scarf did something to my brain and that's- part of where the scarf thing came from? like i always wanted to have them match jumpsuit to dress. but the scarf was sort of an addition i didn't plan on originally and one i still enjoy to be perfectly honest.

you have no idea how flattering it is to hear someone compliment it as much as you are, because i truly thought no one would enjoy it and as @blurredcolour will tell you i just enjoyed getting to call elvis a himbo because bless him in this fic he really is. it was also my longest one shot so realizing i hit 10k with it mildly startled me at the time. add that with the fact that truthfully? selkie aus and soulmate au's are honestly the aus that really i will read in any fandom. i love them to absolute pieces so to have brought selkie to this one and people like it as much as y'all do? never in my wildest dreams would i think that'd happen.

as for a tiny bit of extra commentary? so i'm really having to think about what i'm doing with the sequel because it's gonna be something simple and tiny, i think? that is the idea. but in- light of things- like a few other fics i'm having to debate if i'm reworking certain elements. but i've got something stewing tbh.

[sailoryooons]

hello!! i’m a new fan of your works and i’m currently obsessed with carved. not sure if you’ve already answered this in the past, but i’m curious on what kind of research/reading you do or have done for this fic because your world building is INSANELY GOOD!! i’m not religious myself but i found myself googling some of the terminology for more information and it’s just all so interesting!

also hope you get well soon from covid 🥺

Hi anon! Welcome to my absolute chaos. I'm so glad you like Carved - it is very much a labor of love so I always get excited to know that people enjoy it as much as I do.

The world building is definitely where I spend my most time writing/struggle the most when building Carved. To be honest with you, a lot of the actual ideas for the settings/scenes come from our world and I just make them really weird and twisted because Carved is sort of a thought piece on society so there's a ton of things like - in Faustsus' mansion when he has living statues of Vanir, that's kind of my take on the perversion of people constantly being on display on social media which is a stretch but that's where it came from.

As for the different theologies and creatures etc - I've done a little research on the theologies and histories that I'm unfamiliar with, but a ton of it is my own interpretation of various creatures, people, myths, religions across the world that I've either read about or I learned in college. History is one of my minors and I specialized in ancient civ. so a ton of this is the knowledge that I have from that, and then a little bit of research on the side to make sure what I'm writing isn't offensive and that where I'm taking it doesn't takeaway the meaning of the references I'm using.

One day when I finally finish this fic I really want to sit and write a mini commentary on why I chose the things I did because there are a ton of things in here that have a specific purpose - like why I assigned Yoongi as a kitsune and not a gumiho though the myths are similar but one is Japanese in origin and one is Korean - there's a reason for that and it's revealed later but anyway! Most of it comes from my brain.

I think the thing that I had to do the most research on was the different versions of the underworld across religions because honestly a lot of them bleed together a little bit and have different names so it can be confusing for me, since my experience in those theologies is limited to what I can read up on.

Feel free to ask me any question about a creature or myth or... well I mean I talk a ton about things like the Dead Sea Scrolls lmao and I can answer as best I can!

[musicindustry123]

Does Age Define Talent? A Deep Dive into Music Industry Perceptions

In an industry where image and perception are often as important as sound, does age matter in the music industry? The question arises frequently as young, fresh faces rise quickly in the charts, while experienced musicians with years of dedication find their own loyal followings. There’s a longstanding belief that youth is synonymous with marketability and innovation, but many legendary musicians have proven otherwise, showing that talent knows no age limits. This article delves into how talent transcends age in the music industry, exploring stories of artists who have found success at different stages of life, the evolving perceptions of audiences and executives, and the role of technology in allowing talent to shine regardless of age.

Debunking the Myth: Age-Bound Talent in Music

For years, a common myth has existed in the music industry that true talent is often discovered only in the early stages of life. This belief has been reinforced by the rise of pop icons and teen idols who reach stardom at a young age, such as Britney Spears, Justin Bieber, and Billie Eilish. Young artists are typically seen as trendsetters who understand the current cultural climate and can relate directly to younger fans. Many record labels and executives capitalize on this assumption, investing heavily in young performers with the belief that youth equals novelty, relevance, and popularity.

However, this myth has often been challenged by artists who have gained recognition later in life, proving that age does not determine musical potential or talent. Artists like Leonard Cohen, who released his first album in his 30s, and Susan Boyle, who shot to fame in her late 40s, are examples of individuals who reached widespread recognition after defying the age stereotype. These stories remind us that musical talent is not inherently tied to youth but rather to passion, dedication, and creativity.

The Role of Social Media in Defining Talent Across Ages

One of the most significant changes in the music industry over the past decade has been the rise of social media, which has made it easier for artists of all ages to showcase their talent without needing traditional industry backing. Platforms like YouTube, Instagram, and TikTok allow artists to build their followings and connect with fans directly. This democratization of exposure has empowered talented individuals of all ages to share their work, engage with audiences, and build loyal fanbases.

TikTok, for instance, has given young musicians the opportunity to go viral and has also opened the door for older musicians and late bloomers to connect with audiences they might not have been able to reach otherwise. By eliminating age-related barriers and focusing on talent and creativity, social media platforms enable artists to succeed based on skill rather than appearance or age. Fans on these platforms care about authenticity, relatability, and originality—qualities that can shine through at any age.

Legendary Musicians Who Defied Age-Based Stereotypes

Some of the music industry’s most beloved legends have defied stereotypes about age, achieving some of their greatest successes well into their careers. Artists like David Bowie, Aretha Franklin, and Tina Turner were able to continually reinvent themselves over decades, proving that age did not hinder their creativity or ability to connect with fans. Bowie, for example, produced influential work at every stage of his career, from his early days as Ziggy Stardust to his final album, Blackstar, which was released just days before his passing. His career demonstrated that reinvention, exploration, and innovation are not age-dependent.

Similarly, blues and jazz greats like B.B. King and Ella Fitzgerald continued to draw audiences and gain new fans, their music resonating with listeners across generations. Artists like them prove that talent grows, changes, and matures over time. Their work illustrates the idea that with experience comes depth, and with age comes a unique artistic voice that resonates powerfully with fans of all ages. The success of these artists sends a strong message: talent is timeless and can continue to inspire regardless of age.

How Generational Fans Respond to Age and Talent

Audience perception of age has a significant impact on an artist’s success. Traditionally, younger fans are drawn to artists closer to their own age, finding relatable themes and experiences. However, older fans tend to be more appreciative of mature artists who bring depth, authenticity, and a lifetime of experience to their music. These generational preferences mean that both young and older musicians have substantial opportunities to find their own niche and connect with fans who value their unique voices.

Recently, we’ve seen a shift in these dynamics as fans become more open-minded and willing to support artists of all ages. Younger fans now appreciate the depth that older musicians bring, and older audiences have started embracing the fresh perspectives of younger talents. This cross-generational support has allowed for a greater range of artists to thrive, from young newcomers to seasoned performers. The music industry benefits from this diversity, as fans are exposed to a broader array of voices and experiences, enhancing their appreciation for music as a universal art form.

How the Music Industry is Adapting to Changing Perceptions of Age

With the increase in age diversity among successful artists, the music industry itself is slowly adapting to shifting perceptions of age. Many record labels and streaming platforms are investing in talents across age groups, moving away from age-restrictive marketing strategies and embracing a more inclusive approach. Platforms like Spotify and Apple Music highlight artists across genres and ages, letting audiences discover music based on their interests rather than an artist’s age.

Additionally, the rise of independent music production has played a major role in supporting artists of all ages. Artists can now self-produce, distribute, and market their music without traditional industry support, allowing them to shape their careers at any age. The success of independent artists of all ages has encouraged industry leaders to reconsider traditional marketing approaches, focusing more on an artist’s unique talent and connection with audiences rather than their age.

Talent, Authenticity, and Audience Connection: Age is Just a Number

At the core of every successful music career is the ability to connect with an audience, and age rarely impacts this ability. Fans resonate with authenticity, passion, and originality, qualities that transcend age. Music icons like Fleetwood Mac, Paul McCartney, and Joni Mitchell continue to captivate fans not because of their youth but because of the honesty and artistry that define their work. Conversely, younger artists like Lorde and Billie Eilish have found success by conveying a vulnerability and relatability that audiences of all ages appreciate.

This balance between youth and maturity ultimately enriches the music industry. Young and older artists alike contribute unique perspectives, each bringing their own voice, experiences, and insights to their music. By embracing artists of all ages, the music industry benefits from a richer diversity of voices, leading to a broader and more inclusive music culture.

Conclusion

So, does age matter in the music industry? The answer depends on perspective, but as the industry evolves, it’s clear that age should no longer be a primary measure of talent or success. From young pop icons to seasoned jazz legends, artists of all ages bring valuable contributions to music, proving that talent and creativity are ageless. With the rise of social media, independent music production, and evolving audience perspectives, artists today are proving that age is just a number when it comes to passion and connection.

In the end, the magic of music lies in its ability to resonate with people, regardless of the performer’s age. Age should not limit anyone from pursuing a career in music or exploring their potential. What do you think? Does age truly define talent in the music industry, or is it simply one of many factors? Share your thoughts in the comments and join the conversation!

[annoyed-galaxy]

Fictober 2024 ~ 7

"follow me if you want to live"

Original Work There are many ways I have in my head about these two character meeting and this is just one of them. This is rare piece of media folks. A glimpse into the world I've been creating for about seven years now.

Dorian kept running and running. Sweat dripped down his forehead and his lungs started to hurt. He didn’t know how long he had been running. Could have been minutes, hours, days, who knew. In the forest, time could be fake. There was a reason only the foolish dared step foot in the Central Kingdom. 

The forbidden forest of the once great empire of Anelle lay at the center of the Rose Continent. The kingdoms surrounding the central part had many different myths and tales about the Central Kingdom. All were bad. 

And yet Dorian had foolishly entered the forest. Supposedly, it was the fastest way of traveling between the kingdoms. Fleeing from his own after the death of his mother and fall of his kingdom, he and his aunt fled south. Unfortunately, the time to travel around the Central Kingdom would take too long. His aunt sent him through the forest with a sword and talisman, hoping that it would protect him long enough to get out into the Southern Kingdom and warn the sultana of the fall of Skalnelle. Their kingdoms were closely united, allied with the friendship of his mother and the sultana, but separated by the two kingdoms who hated them. 

The Western Kingdom, simply known as Fel, hated anything to do with magic and considered the ancient elves akin to demons and the reason why the world was corrupted. Since Skalenlle was founded on elven culture and tries their best to keep elven history alive, naturally they would enemies with Fel. 

Then there was the Eastern Kingdom. Or the Eahnian Empire as their ruler so loudly declared. Skalnelle and the Empire had been at war for nearly a decade at the border, neither kingdom making any sort of push into the other lands. To be fair, Skalnelle was merely protecting their land, not wanting to expand further unlike the Empire. 

Then the attack happened.

And now Dorian was running for his life. 

His journey through the forest had started slow, cautious, and wary. He clutched the talisman his aunt gave him like a lifeline. He wasn’t sure if it was actually going to protect him, but he had to believe otherwise despair would consume him. 

But then he had heard a loud roar and something had begun to chase him. He had ran and ran and ran. He was supposed to get to the Southern Kingdom first, but would he get there at all? It would take about a week to go from north to south whereas his aunt and her retinue of soldiers would take more than twice as long to get there. But if Dorian was gobbled up by some horrid beast here in the forest, then it would be all for nothing. The heir to Skalnelle would be lost and dead and then there would be no hope for saving the kingdom. Unless his aunt, Zavier, decided to take up the throne, but she had swore off the wretched thing when she transitioned, wanting to be a soldier and general of the army rather than a queen. 

Dorian tripped over a branch, finally falling on his face. He skid across the ground, dirt and mud whipping up into his face. Once he stopped, he coughed and hacked, wiping the mud and dirt off of him. The forest was silent, only the loud pounding of his heartbeat in his ears ringing clearly. 

“Pss,” he heard from above. 

He looked up, unsheathing his sword, arms shaking and legs trembling with exhaustion. He saw a shape in the trees and a shimmer of what looked like cyan. An unnatural color, but in the Central Kingdom, unnatural colors were natural. Especially deeper within the forest. 

“Follow me if you want to live,” came a voice from the shape, with a strong and heavy accent with clipped ‘t’s. Then the shape scurried and moved, dropping down in front of Dorian. The cyan color was more noticeable on the top of the figure. 

It was hair. 

The color trailed down the shape in a long braid that swayed as the figure broke out into a run. Dorian sheathed his sword and mustered up the rest of his strength and ran after the figure. Should he have followed a mysterious creature of the forest? Probably not, but he had no other choice. 

He must have followed the figure for the rest of the day. The forest had begun to grow dark, the moon rising in the sky and occasionally shining through the forest canopy. Suddenly, the figure finally stopped and turned, facing Dorian. 

He skidded to a halt, taking gulps of air even as his lungs stung with pain. He coughed and felt iron in his mouth. He was thirsty, mouth so dry, and lips so cracked. The figure handed him a flask, and without even questioning it, he began to gulp the liquid inside down. It was water, thankfully, cold and so smooth down his dry throat. He felt rejuvenated and his body seemed to relax a bit, his muscles soothing themselves and his lungs cooling down, no longer stinging and burning. 

“Thank you,” he thanked, handing the flask back to the figure. Now that he had a moment to look, he studied the figure before him. And let out a gasp at the sight. 

The person stood extremely tall, almost two heads taller than him, who was already a pretty large fellow. Their hair was cyan colored and went down to their ankles in a braid. They had bangs that framed their face, which was frowning currently. They wore simple enough clothes, but what shocked Dorian the most, even in the dimly lit night was long point ears coming from their head.

“By the Divine Ones,” he gasped, taking a step back. “You’re an elf!” 

The figure crossed their arms and nodded gruffly. “My name is Lyn. And you are trespassing in my forest.”