#and 2) wanted to do something with a more visual element first

[universalitgirlsblog2]

🧼✨️GLOW UP GUIDE🧼✨️

🧼PHYSICAL GLOW UP

This is inspired from Glow up blueprint video by Dear peachie. Dear peachie will help you to achieve the ultimate physical glow up

.First of all, get to know your features. People who have facial features with accurate facial proportions , stronger symmetry ,brighter colours , defined lines look better in the static image whereas disproportionate facial ratio , poor symmetry , dull complexion , uneven structures can affect how one looks in static image.

Look at the glow up pyramid. Every level is interrelated to each other and is equally important . The elements at each level serves as the foundation which steps towards a higher level. The overall aspects may get affected if insufficient attention are given to fundamental levels.

Celebrities always appear gorgeous and sophiscated because they play attention they have invested a fortune and massive efforts in the detail that ordinary people never thought of.

There is a Chinese sayings which says one can recognize a beauty from 10 meters away. From a 10 meters distance, we cannot see the beauty looks like , her facial features and make up is blurry. However , we can see her body shape , posture , hair , clothing style. If we maintain 2 to 5 meter social distance , the focus point is skin , face shape and overall proportions. Body type , posture , clothing , hair , skin , face shape and overall proportion forms the impression of the body.

( A) Skin

- maintain a balanced diet

- good quality of sleep.

- stay hydrated lol ( common advice but it works )

- avoid smoking and eating too much sugary foods.

- Build a skin care routine which suits you the best.

- Visit a dermatologist regularly.

- Rub ice on face

- Do facial yoga

- Less is more

- The most simple way - just affirm that you have clear skin .

( B ) Body

- Workout !

- Maintain a healthy diet , don't starve yourself please !

- We can enhance our body proportions by wearing clothes which suit our body type.

- Love your body , don't abuse it by starving yourself or criticising it.

( C ) Posture

- You can do exercises to get a good posture.

- Try to maintain a good posture even if you are doing your daily tasks.

- Walk with a good posture , you will appear more graceful and elegant.

(D) Hairstyle

- Hairstyle is a great way to express oneself. You can choose different hairstyles which suit you.

- Healthy and beautiful hair can enhance your appearance so give some time to yourself and do hair care .

- A suitable hairstyle can draw visual attention towards your best features. For example : Long face framing bangs reduce impression of high cheek bones.

( E ) Body shapes

- Get to know your body type and dress up according to your body type.

👛🧁I didn't go into details , dear peachie has made videos for topics like posture, body shapes , hairstyles etc. I will make notes on those too . Those posts will be more detailed and in depth👛🧁

MORE TIPS BY MOI !

- Try mewing, you will get high cheekbones and sharp jawline.

- Get regular trims and hair scalp treatments.

- Yoga is so beneficial for both physical and mental health.

- Accessories to spice up your outfits !

- Develop a good fashion sense , you can take inspiration from celebrities too .

- Apply Vaseline on eye lashes .

- If you want to appear taller and slimmer, then wear high waist jeans and crop tops . ( This tip may vary from one body shape to another )

✨️MENTAL GLOW UP

- DEVELOP SELF - LOVE. I recommend you to check out these posts - how to love yourself , self-love affirmations by me , self- love affirmations by Alanna Foxx, songs for self-love. Also , read these posts - click me and click me !

- Be disciplined. Care for yourself . Cherish yourself. Love yourself no matter what.

- Listen to Guided Meditations and Podcasts

- Adopt the " OK and ? " or " So what? " mentality . They were talking behind your back , OK and ? They don't like you , OK and ? You tried something new and failed , So what ? They left you on seen and ghosted you , So what ?

- Adopt the " You are You , I am me " mentality.

- Listen to the wizard liz , Tam Kaur , Simone or Alessia.

- Watch good content. You are what you consume. You have control over it. Don't watch videos which are full of drama and negativity . Watch productive and educational videos.

- Meditate ! You will become more mindful and self- aware.

- Become selfish! No , don't use people for your own benefit but put yourself first. Posts you should read to understand it better ! - click me , click me !!

- STOP BEING A VICTIM ! YOU ARE THE CREATOR OF YOUR REALITY !!! YOU CONTROL YOUR REALITY , NOT THE OTHER WAY AROUND !!!!

- Don't seek validation from others , don't listen to other's opinions . Others opinions are irrelevant.

- Watch documentaries. Read books .

- Cut off toxic people ! This is so important. If someone drains you , puts you down , always nitpicking or complaining about you or other things . Distance yourself. It doesn't matter if you know them in real life or if it's online friendship. It doesn't matter if you knew them for a decade .

- You don't need to share everything with your Close friends.

- Say affirmations out aloud while doing skin care infront of mirror or in your mind.

- Act like the person you want to become.

- Don't chase , attract

- Know you are the main character.

- Don't allow others to use you or treat you like a doormat.

- Be more organized.

- Don't compare yourself with others.

- Don't depend on others for your happiness .

- Journal.

- Try shadow work

- Have hobbies

🍥ACADEMIC GLOW- UP

-Being intelligent is hot. Prioritize your education.

- Find a reason to study. Do you want to top your exams ? Do you want to make your parents proud ? Do you want to be the smart kid ?

- Find a role model . It can be a fictional character or celebrity . Check this post to find some inspiration - click me !

- Your reason to study should be bigger than your distractions.

- Watch fayefilms and studyquill , they always have the best study tips.

-Teach your friends , family or even pet . You will be able to revise the concepts better. If you get stuck while explaining , you would know that the topic is not clear to you yet.

- Use Mnemonics

- You can use the SQ3R method. SURVEY. QUESTION. READ . RECITE . REVIEW.

- Romanticize being smart. Romanticize studying.

- I would recommend you to read these posts , I hope they help you to study well !! - click me , click me , click me , click me , click me , click me, click me , click me

I hope this post helps you too - click me !

[physalian]

What No One Tells you about Writing #3

Opening this up to writing as a whole, because it turns out I have a lot more to say!

Part 1

Part 2

1. You don’t fall in love with your characters immediately

But when you do, it’s a hit of serotonin like no other. I’d been writing a tight cast of characters for my sci-fi series since 2016 and switched over in a bout of writer’s block this year to my new fantasy book. I made it about ⅓ through writing the book going through the motions, unable to visualize what these new characters look like, sound like, or would behave like without a ‘camera’ on them.

Then, all of a sudden, I opened my document to keep on chugging with the first draft, and it clicked. They were no longer faceless elements of my plot, they were my characters and I was excited to see what they could accomplish, rooting for them to succeed. Sometimes, it takes a while, but it does come.

2. Sometimes a smaller edit is better than a massive rewrite

Unless you’re changing the trajectory of your entire plot, or a character’s arc really is unrecoverable, sometimes even a single line of dialogue, a single paragraph of introspection, or a quick exchange between two characters can change everything. If something isn’t working, or your beta readers consistently aren’t jiving with a character you yourself love, try taking a step back, looking at who they are as a person, and boil down what your feedback is telling you and it might demand a simpler fix than you expect.

Tiny details inserted at the right moment can move mountains. Fan theories stand on the backs of these minutiae. One sentence can turn a platonic relationship romantic. One sentence can unravel a fair and just argument. One sentence can fill or open a massive plot hole.

3. Outline? What outline?

Not every book demands weeks upon weeks of prep and worldbuilding. I would argue that jumping right in with only a vague direction in mind gives you a massive advantage: You can’t infodump research you haven’t done. Exposition is forced to come as the plot demands it, because you haven’t designed it yet.

Not every story is simple and straightforward, but even penning the first draft with your vague plan, *then* going back and adding in deeper worldbuilding elements, more thematic details, richer character development, can get you over the writer’s block hurdle and make it far less intimidating to just shut up and write the book.

4. It’s okay to let your characters take the wheel

I’ve seen writing advice that chastises authors who let their characters run wild, off the plan the story has for them. Yeah, doing this can harm your pacing and muddy a strong and consistent arc, but refusing to leave the box of your outline greatly limits your creativity. I do this particularly when writing romantic relationships (and end up like Captain Crunch going Oops! All Gays!).

Did I plan for these two to get together? No, it just happened organically as I wrote them talking, getting closer, getting to know each other better in the circumstances they find themselves in. Was this character meant to be gay? Well, he wasn’t meant to be straight, but you know what, he’d work really well with this other boy over here. None of that would have happened if I was bound and determined to follow my original plan, because my original plan didn’t account for how the story that I want to tell evolves. You aren’t clairvoyant—it’s okay if it didn’t end up where you thought it would.

5. Fight. Scenes. Suck.

Which is crazy because I love fantasy and sci-fi, the actiony-est genres. Some authors love battle scenes and fistfights. It comes naturally to them and I will forever be jealous. I hate fight scenes. I hate blocking and choreographing them. I hate how it doesn’t read like I’m watching a movie. I hate how it could take me hours to write a scene I can read in 5 minutes. I hate that there’s no way around it except to just not write them, or put in the elbow grease and practice.

Whatever your writing kryptonite is, don’t be too hard on yourself. It won’t ever replicate the movie in your head, but our audience isn’t privy to that movie and will be none the wiser of how this didn’t fit your expectations, because it’s probably awesome on its own. It could be a fight scene, sex scene, epic battle, cavalry charge, courtroom argument, car chase—whatever. Be patient, and kind to yourself and it will all come together.

6. Write the scenes you want to write first

And then be prepared to never use them. It can be mighty difficult working backwards from a climax and figuring out how to write the story around it, but if you’re sitting at your laptop staring at your cursor and watching it blink, stuck on a tedious moment that’s necessary but frustrating, go write something exciting. Even if that amazing scene ends up no longer working in the book your story becomes, you still get practice by writing it. Particularly if you hate beginnings or the pressure of a perfect first page is too high, you’re allowed to write any other moment in the book first.

And with that, be prepared to kill your darlings. Not your characters, I mean that one badass line of dialogue living rent free in your head. That epic monologue. That whump scenario for your favorite character. Sometimes it just doesn’t work out anymore, but even if it ends up in the trash, you can always salvage something from it, even if that’s only the knowledge of what not to do in the future.

7. “This is clearly an author insert.” … Yes. It is. Point?

No one likes Mary Sues, because a character who doesn’t struggle or learn to get everything they want in life is uncompelling. The most flagrant author inserts I see aren’t Mary Sues, they’re nerdy, awkward, boring white guys whose world changes to fit their perspective, instead of the other way around—they don’t have anything to say. I’m not the intended audience to relate to these characters and I accept that, but I don’t empathize with the so-called “strong female character” who also doesn’t have flaws or an arc either.

A good author insert? When the author gives their characters pieces of themselves. When the “author insert” struggles and learns and grows and it’s a therapeutic experience just writing these characters thrown into such horrible situations. They feel human when they’re given pieces of a human’s soul. They have real human flaws and idiosyncrasies. I don’t care if the author wrote themselves as the protagonist. I care that this protagonist is entertaining. So if you want to make yourself the hero of your book, go for it! But make sure you look in the mirror and write in your flaws, as much as your strengths.

[felassan]

The Art of Dragon Age: The Veilguard preview pages Part Two, under a cut due to spoilers. Preview pages come from Google Books.

[Foreword]

[Part One]

In Inquisition you had your advisors in the war room. We liked the idea of bringing the whole team in with you and the opportunity for friction it provides.

Part Two: Joplin

Top: Solas continues to taunt you and guide you through dreams. Middle: The suggestion of romance at sea. Bottom (1): Solas is nearly triumphant, but you reveal that you know about the last elves. Bottom (2): A stealthy, aquatic infiltration in Tevinter. Text: Story Art – After Dragon Age: Inquisition shipped, and all the DLC was complete, we focused our full attention on the sequel. It was going to have a fantasy spy theme, which was eventually modified to “covert commandos”. We were travelling to a new part of the map to hunt down the most dangerous man in the world. The beat boards continued. As the story started to take real shape, we asked if the artists could be moved into the same room as the writers. We could then get real-time updates to the story and create quick storyboards. Previously, most people working on the game didn’t know the full story until all the pieces had been put together in a take-home build (months from shipping the final game). For the first time ever, we could show the whole team what the story was intended to be near the beginning of the project, rather than the end. The biggest benefit of this was that the story could received feedback from a wider cross-discipline audience and could then be iterated on more than ever before. This also helped unblock the art team in an unprecedented way. Being able to look at the whole story in one glance meant that we could begin to prioritize our efforts. For example, we could tell which locations would feature most heavily, so we could spend more time designing their architecture, props, and clothing. It also forced us to do quick first-pass designs without overthinking, knowing that later we could come back and refine things if they changed. This method also takes a lot of pressure off and prevents things from feeling “overbaked”.

Top: The team is at its lowest. Middle: Sparking an uprising. Middle (2): Ghilan’nain is defeated. Bottom: In a dream, Solas is furious with you.

Top: You meet with the Archon of Tevinter. Middle: You stop Solas’s ritual, but something (or someone) escapes. Middle (2): Elgar’nan. Bottom: The patchwork team doesn’t get along at first. Bottom (2): Exploring the Anderfels.

Top: Solas reconstructs the lyrium dagger from the idol. Middle: The team discovers the body of Elgar’nan’s Archdemon. Middle (2): Ghilan’nain. Bottom: Tranquilizing himself, Solas recloses the Veil around himself and the Blight.

Top: This sequence was an early fail state. Solas succeeds in his ritual, life as Thedas knows it comes to an end, and the ancient elves return. Middle: Storyboards had played a critical role in the development of Inquisition. We wanted to integrate them into our process even earlier. To that end, we created an interactive storyboard. Starting with the early drafts of the story, we sketched it all out, including any major choices. These boards were then stitched together into a playable choose-your-own-adventure-style game. It meant that years before the real game was up on its feet, an early draft of the entire story could be played from beginning to end. This was invaluable in receiving early feedback from the team and planning out what visuals would be needed to support the game. Bottom: A rather covert entry into Tevinter remained a consistent element in the story right to the end.

Top: Rook and a team track a mysterious idol to a black-market auction. Middle: You’re not the only team that has been tracking the idol. Bottom: The remnants barely escape. Text: While we worked quickly, these sketches helped reveal where to best spend our efforts later. It turned out we spent far more time in particular locations. Some factions were over- or under-represented. In one case we discovered a unique creature that would have taken ages to build but would have only appeared for ten seconds before disappearing forever (it was cut).  

Middle: These quick sketches are often used to approve new ideas as fast as possible. In this case, exploring a “hidden in plain sight” meeting place in a Thedas nightclub. Bottom: Icons from the interactive storyboard, where you could decide whether your Inquisitor had disbanded or preserved the Inquisition, and whether they stood opposed to Solas or not.

Top: Solas reaches out to Rook in dreams. Middle: Exploring new sections of the Deep Roads. Bottom: With the help of the Wardens, you defeat Elgar’nan. Text: After a round of feedback, the story was revised. For the next batch of drawings, we added more polish. This helped us design the game before designing the game. At this stage, we weren’t too precious about anything, so we could make visual design decisions quickly, purely to tell the story. Many designs made during this stage remained largely intact.

Top: A version of the deserts of Nevarra. In this case, trying something with very high contrast: white ash and sharp black obsidian.   Bottom: The eastern Tevinter town of Ventus. This Tevinter location is a little less oppressive than the megapolis of Minrathous. You can see the hanging gardens, and in the background are magical statues keeping Arlathan Forest from encroaching any closer.

Top: Another fail state was that if you couldn’t find a way to block Solas from your dreams, he would be able to kill you remotely. Bottom: Solas lures his greatest threats to one location and wipes them off the board.

Top: Some visual backstory for Solas’s cut “bad cop” right hand, Reva. Middle: In disguise at a fancy Necropolis ball, waited on by the undead.   Bottom (1): As you sneak into the ball, you sneak into the host’s office, only to find Reva one step ahead of you. Bottom (2): Reva reports back to Solas.

Top: In one draft of the story, Solas manipulated Tevinter and the Antaam into open war, with the goal of performing the biggest blood-magic spell since the creation of the Veil.   Bottom: Rook would have to covertly approach both sides of the conflict to plead for peace. Should Rook fail at diplomacy, Solas also planted magic-collecting orbs around the battlefield. Sabotaging them would be Rook’s last option.

Top (1): Solas’s magical ritual in Arlathan Forest has already begun. Top (2): Elves loyal to Solas’s cause stand in your way. Middle (1): You finally reach Solas, just as he plunges his lyrium dagger into the Veil. Middle (2): Reva reveals a monstrous ��Dread Wolf” creature. Bottom: Solas is stopped, but you begin to learn that you’ve unleashed something far worse. Bottom (2): The biggest advantage to working like this is turnaround time. You can show someone a drawing and say, “Like this?” and then quickly revise it.

Top: Imshael, having previous joined Solas, turns out to be a loyal double agent. Middle: Kal-Sharok dwarves perform a ceremony in the grip of an ancient Titan. Bottom: Solas tranquilizes Ghilan’nain (above) and, as his last act, performs the same procedure on himself.

Ghilan'nain reveals herself to the world.

[no caption]

Top: A final message from the Inquisitor. Bottom: Defeated, Solas enters the Black City alone.

Top (1): Team members betray you. Top (2): A sacrifice opens the Black Eluvian. Middle: A happy ending with your love interest. Bottom: Secret instructions from Charter.

[no captions]

The ship was a great backdrop for the interpersonal conflict of the team. We enjoyed thinking about how to make it unique, like including the collection of curiosities seen above. We also liked including the idea that Isabela procured it for you, but as a fixer-upper. Nothing like a scrappy but lovable ship to call home.

Preview pages end here.

[pinkrosealice]

A non-exhaustive list of art, pieces of media, franchises, authors, and thinkers that I really need my fellow Cultsim/BoH/Secret Histories fans to get into and discuss with me and between themselves.

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(WARNING A LOT OF THE FOLLOWING RECOMMENDATIONS COME WITH A LIST OF CONTENT WARNINGS AND ARE SOMETIMES CONNECTED TO CONTROVERSIAL ARTISTS AND PUBLIC PERSONS. THIS LIST IS NOT A ENDORSEMENT OF ANY PROBLEMATIC IDEALS OR STATEMENTS MADE BY ANYONE MENTIONED IN THIS LIST AND IT IS HIGHLY RECOMMENDED THAT ANYONE WHO LOOKS INTO ANY OF THE MENTIONED WORKS OF ART DO THEIR DUE DILIGENCE AND THOROUGHLY CHECKS FOR DISTURBING / TRIGGERING CONTENT AT THEIR OWN VOLITION)

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Film Recommendations:

1. Dario Argento's Three Mothers trilogy, especially Suspiria & and especially especially the 2019 remake of Suspiria. Very Dancer DLC-coded, very Sisterhood of the Triple Knot and Thunderskin.

2. The Magic Lantern films of Kenneth Anger, who was a practicing Thelmaite* for many years. Lantern Principal is obviously what comes to mind when you hear of the name of the series and the dreams that were mystical experiences that inspired and were expressed in art, in this case films is very much akin to stuff we see in Cultist Simulator.

(* As shown in later parts of this recommendation list I argue that the games of Weather Factory become even more interesting and artistically impactful if you learn more about late 19th and 20th century occultism and movements like Theosophy and Thelma.)

3. Hereditary and Midsommar are obvious recommendations but even more so I would recommend the original 1970s The Wicker Man. Folk Horror in general is a great source of what the arts of The Bosk would look like in real life. They were definitely worshiping The Low Red Sun on Summer Isle.

4. A Dark Song, a 2016 horror film that actually revolves around the performance of a very famous and important real life occult ritual. I think a lot of the visual imagery in that film can give some inspiration for the kind of Rites our player character in Cultist Simulator is performing.

5. The Lair of The White Worm is a movie loosely based on a Bram Stoker story and is also very much a Gods of Stone overthrown by forces associated with humans raised to Divinity and the powers of the Sun and Apollonian principles type of story. Plus the whole Worm/Wyrms thing going on. I also recommend it because it's one of the more light-hearted and comedic entries on this list and I want some variation in tone. Also its psychedelic visuals compliment a lot of the surrealist elements that are tied to things like the Moth Principal.

6. Black Swan isn't explicitly supernatural but it is very Dancer Coded.

7. The Hellraiser movies, but only the first second, fourth, and the reboot. Leviathan, being associated with pain and pleasure and having the name of a mythical sea monster is probably very similar to whatever the hell The Tide was before The Red Grail vored her. The Cenobites are Long with Grail, Knock, & Forge as their Principals.

8. Pan's Labyrinth, for the Woods and the Bounds appreciators. I also think there is something to be said about the fascist subtext that underlines much of the Edge Principle, especially in The Colonel that can be explored and appreciated in this film and its reckonings with the evils of Spanish fascism.

9. To compliment the recommendation for the Magic Lantern films, also check out the short film The Wormwood Star, you can find it easily on YouTube and it's another piece of art heavily influenced by Thelma and stars Marjorie Cameron who I will talk about more later in this list.

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Game Recommendations:

1. Hollow Knight, it might as well be a story set in the era of the Carapace Cross. Sentient bugs, mighty Wyrms and dream gods with the powers of light but not necessarily moral goodness. Even the Void in Hollow Knight, and it's antagonism to The Radiance is very similar to The Nowhere and it's relationship with the established hierarchies in The Mansus.

2. The Silent Hill games, particularly the entries that revolve around The Order; like 1,3, Origins, and Homecoming. Dream worlds, Sun worship, the Dark Feminine and female psychics/mediums with deep associations with blood, birth and menstruation. Valtiel is totally a Name. Even the fog and mist of Silent Hill is giving The Bounds and it's Forge smoke meets Woods darkness type energy.

3. Vampire The Masquerade Bloodlines, it's basically playing a Grail Long.

4. The tabletop games Geist: The Sin Eaters and Wraith: The Oblivion line up really well with the Ghoul / Medium DLC. *

(basically most if not all of the World of Darkness and Chronicles of Darkness tabletop games contain some themes, elements, or bits of World building that should appeal to anyone interested in the games created by Weather Factory)

5. The video games created by Korean studio Project Moon. Lobotomy Corporation has a lot of timers and simulation elements that have many similarities to those found in Cultist Simulator, and as the title implies Liberty of Runia takes place literally in a paranatural library just like Book of Hours even though the game play between the two is very different.

6. Fallen London and it's related media. The reasons why should go without saying. The controversies around AK aside, Echo Bazaar and Secret Histories are blood siblings and I desire more intersection and interaction between the respective fandoms.

7. The Bayonetta games have a surprising amount of real mythological and occult influence in their world building. The Solar Lumens juxtaposed with the Lunar Umbrans definitely has some resonance with Church of The Unconquered Sun and their on again, off again antagonism and allyship with The Sisterhood of The Triple Knot. The Apollonian natured House of the Sun contrasted with the Dionysian Woods & House of the Moo, and the Nowhere being connected to all three but being distinct; is not all together that different from the division of the Bayonetta universe into Inferno, Paradiso, the human world and Purgatorio between all of them.

8. The Shadow Hearts series of JRPGs are a Gothic, urban fantasy, historical fantasy, lovecraftian adventures around late 19th / early 20th century Europe and Asia. It has a lot of comedic elements and its world building and cosmology are not all that similar to the ones in Weather Factory games (barring their shared history as being inspired by Lovecraft). But if you want Lovecraft in video game form without the racism associated with his writings and you found Cultsim/BoH to fill that niche, then I recommend you give these games a try as well.

9. Secret World Legends, a functionally dead MMO but still incredibly fun to play and I think one of the best examples of urban fantasy / soft Lovecraft or post lovecraftian media in existence. Absolutely fantastic & memorable fully voiced NPCs and characters, really intriguing and rich world building and takes on mythology and folklore. Also given that you play as a quasi immortal with a deep association with bees and an ancient techno-organic goddess you're basically a Long.

10. To compliment the Lobotomy Corporation recommendation and the later SCP mention I think it's only natural that I also recommend the urban fantasy games of remedy entertainment like Alan Wake 1 & 2 and Control. Artists channeling / being used by Eldritch Forces in other dimensions and government institutions related to keeping a control on the supernatural are the most obvious similarities to stuff in WF games.

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Visual Artists:

1. Francisco Goya, especially his Black Paintings, his insights into the witchcraft and folkloric traditions of the Basque region and elsewhere in the Iberian peninsula should be very appealing to fans of The Twins and The Thunderskin. Plus all of the Catholic imagery brings to mind The Mother of Ants.

2. Austin Osman Spare, Rosaleen Norton, and Marjorie Cameron. All three of these people were heavily influential occultists and illustrators/painters so their work is definitely a great representative example of the kind of occult art that you are making when you Paint in Cultsim.

3. Salvador Dali is also a relatively obvious, but I think very appropriate all the same recommendation. Surrealism is by and large the big big tonal influence on Secret Histories in my opinion. He also did a tarot deck so that brings in the Lucid Tarot connection

4.Erté, absolutely the kind of art and fashion you would find in Cultist Simulator's 1920's. Art Deco for days but also his works in particular show a more flowy and organic influence that we would more stereotypically associate with the Art Nouveau of decades prior.

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Comic Books:

1. Alan Moore's run on Swamp Thing and Grant Morrison's run on Animal Man. DC's Red and Green (plus all the other elemental forces) are a deeply underappreciated and underexplored element of the setting, and I think they have a lot of similarities with the Principles we find in Secret Histories.

2. Related to the above, Alan Moore's Promethea and Grant Morrison's The Invisibles for an exploration of 20th and 21st century occultism. Despite the two authors general distaste for each other, their works are often very complimentary.

3. The Hellboy franchise doesn't have a lot of one-to-one parallels with Cultsim & Co. but they draw from the same artistic influences of gothic fiction, weird fiction, mythology and folklore and the occult. So I feel very strongly that fans of one would and should find the other to be enjoyable. Both fandoms need to be more active on this hell site and though there are a handful of quality hidden gems of fanfiction for both franchises I desperately need more people to be writing & reading fan fiction for both. Plus I do strongly believe that Mike Mignola' s art style would really excel at illustrating characters and settings from Secret Histories. His non Hellboy work is also recommended especially the works that fall under his Outervers setting, like Baltimore and Joe Golem.

4. Although I will admit that I am not up to date on it, and that there has been a considerable amount of discourse around the quality of its storytelling (especially within the past few years) I would recommend the webcomic Gunnerkrigg Court to fellow Cultsim fans. Alchemic imagery, interesting reinterpretations of folklore and a setting and tone that is quintessential British urban fantasy / science fiction, Gunnerkrigg is in my opinion a work that has a lot of appeal for fans of WF's games and stories.

5. Lackadaisy Cats is an awesome Webcomic and animated web series. 1920s/ 30s gangsters and bootleggers in the form of anthropomorphic cats! And absolutely beautiful Art Deco illustrations! What's not to love.........

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Anime & Manga:

1. Any of the anime directed by Ryūtarō Nakamura especially Serial Experiments Lain and Ghost Hound(this one is seriously underrated in my opinion.) Surrealism is the name of the game as I've said earlier.

2. Le Chevalier D'Eon, both it's manga and anime even though the two are very totally different and have divergent takes on a similar premise. Historical fiction that reinterprets 18th century historical events through an occult lens is so very very Secret Histories. Plus both works have interesting explorations of gender and the nature thereof. It helps that as far as we know the French monarchy's Secret Histories equivalent are associated with the Hours, my personal headcanon is that Louis XIV was Lantern Principal aligned, and Louie XVI had Knock as his Principal. Also the manga version of the story has a lot of its magic system based around the Tarot.

3. You can't recommend D'Eon without recommending it's biggest inspiration (apart from Rose of Versailles of course) and that would be Revolutionary Girl Utena. Edge Dyads for days with that one. Utena and Anthy are totally The Twins. And the whole show and it's movie are full of surrealist pseudo occult imagery practically to the bursting.

4. Baccano! , a light novel / anime series that's about a bunch of immortal Mobsters in the 1920s and 30s. I mean that's basically The Exile DLC right there.

5. xxxHolic and Legal Drug / Drug & Drop, by CLAMP. A shop that grants wishes and a pharmacy that handles the paranormal are both the kind of businesses that I could see existing alongside Morland's, Oriflamme's Auction House & The Ecdysis Club. Plus both manga are hella gay and I will push my Weather Factory games are inherently Queer pieces of media agenda till the day I die.

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Theater, Operas, Music and Albums:

1. Jimmy Page's unused soundtrack for Kenneth Anger's Lucifer Raising. Definition of Occult rock and role.

2. Kiki Rockwell, especially her two most recent albums Rituals on the Bank of a Familiar River, and Eldest Daughter of an Eldest Daughter.

3. Stravinsky's Rite of Spring might just be the closest we will ever get in real life to an occult ritual in the form of an entire ballet like we see in Cultist Simulator and Book of Hours. Definitely a skill that could fall under the Wisdoms of Birdsong and The Bosk.

4. On that note, Mozart's Die Zauberflöte is also full of Hermetic Elements, Lunar / Solar antagonism, mystical initiation and ritual deity impersonation. Mozart was a Freemason so the fanfic of him as a Heart Adapt practically writes itself.

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Literally Fiction:

1. The webnovels Pact and Pale by wildbow. A magic system that revolves around incredibly hierarchical relationships between humans and mystical beings, where magic fundamentally requires discarding one's humanity and transforming into some kind of mystical being yourself is very similar to the Adapt to Long pipeline we follow in Cultist Simulator.

2. The Rivers of London series is one that I'm still familiarizing myself with but it's another example of wonderful British urban fantasy (that isn't the wizard books that shall not be named) The fact that the main characters of the series are magic police officers gives it a certain Suppression Bureau appeal.

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Nonfiction- Philosophy and Occult works and Authors:

1. Georges Bataille!!!!!!!! If you only pick one thing from this list to investigate further let it be the philosophical works of this man. His theory of religion as it relates to concepts such as economy, sacrifice, and eroticism you literally completely change how you understand The Hours and The House Without Wall.

2. Aleister Crowley, and any of his students, especially Kenneth Grant. He really is the quintessential modern English occultist, whether or not AK and Lottie intended it, the DNA of his beliefs or those of his Golden Dawn contemporaries, or his students is all over Cultsim and BoH. The Red Grail is like, so blatantly Babalon it's kind of ridiculous.

3. The Book of English Magic by Phillip Carr- Gomm & Richard Heygate, is a good introductory source of information on the history of magical practice and occultism on the British isles.

4. Occult Paris by Tobias Churton is a fascinating insight into some of the mystical practices that were en vogue in Europe just a few decades prior to when Cultist Simulator takes place.

5. Atlas of Cursed Places by Oliver Le Carrer. I could totally see some of the places documented in this book as being locations you could send your Followers to in Cultsim.

6. Please read everything you can that is academically critical about Greek magical Papyri. There are tons of resources for reading translations and analysis of these documents that are some of the most foundational examples of what real historical magical belief and practice actually looked like.

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Web Original Content, Podcasts, YouTube Channels and Tiktok Recommendations:

1. Greedy Peasant over on Instagram and tik tok does fascinating content related to Catholicism, medieval history and art, and other related topics. If you like all of the interesting reinterpretations of Christian religious iconography into sun worship that happens in Book of Hours I highly recommend his content.

2. The last few years have really seen an incredible ecosystem of academic scholarship on religion, mythology, occultism and esoteric philosophy develop on YouTube. Channels like Esoterica, Angela's Symposium, Let's Talk Religion, Religion for Breakfast, Jackson Crawford, The Modern Hermeticist, The Archaeology of Ancient Magic, and others are just overflowing gold mines of accessible and easily digestible but still academically critical and pseudoscience and conspiracy theory free information about mysticism historical occultism and esoteric religion and mythology.

3. There are also a number of great YouTube channels that aren't academically critical but are run by actual practicing witches and occultists and they offer fascinating and interesting insights into these same topics but from a lived more personal perspective which is just as important I think to learn about as the academically critical sources. Great channels include Benbell Wen, Maevius Lynn, Marco Visconti, & Nordic Animism.

4. In terms of fictional internet media, SCP is so broad that there's a lot of stuff that is completely different in appeal from what is enjoyable about Secret Histories, but there's also so much overlap. I need crossover fanfics and fan art more than air!!!!!

5. Lastly this is a fiction podcast so it's a little incongruous with the other nearby recommendations but, I cannot stress enough......... The Mangus Archives and Magnus Protocol!!!!!!!!!!!!! There are a lot of key differences between those two podcasts and Weather Factory games, but there are so many similarities that I have to write an entire three other posts about how similar the settings are and how I want to write a crossover/ fusion fic. I've seen like, one or two pieces of fan art and fanfiction that was related to both series but in my humble opinion it's not nearly enough. I really really really really really need Cultsim fans to talk more about Magnus and I need Magnus listeners to play these games soooooooo badly!!!!!!!!!!

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Well that mostly concludes this piece of propaganda for the time being, will probably make another post with further additions in the not so distant future. Feel free to reblog this with any other pieces of media that you think would also be appealing to fans of Cultist Simulator and Book of Hours.

[cabi-leodrann]

Cabi! Big fan Joffrey here!

I wanted to ask, every time I see your art not only am I stunned by the quality, but also by the sheer uniqueness in style and character design. I've never seen a lamb designed quite like yours, it's so perfectly yours. What went into the inspiration behind the characters design, especially facially? Did you try and mimick a real lamb, or was there a more fantasy-element that you veered toward?

I can't specifically put my finger on it, but it gives me vague Warframe vibes. It's such a beautifully odd design and I can't get enough.

Love your work, love everything you do, can't wait to see what's next!

Hope you're well, stay safe, take care!

First of all, your ask is one of the biggest compliments I ever had in my life, I will keep it forever. You're an absolute chad! Second of all, those are very interesting questions, and I will be very happy to answer to them!

It started more or less with this drawing I made *look at the date* 2 years ago apparently. Way before I even thought of an AU- I didn't had much in mind, beside doing something that looked cool tbh.

I was very happy with the flow of it, and how it came out. And when I drew the Lamb again, I would try to nail THIS design.

The thing is, with time, I had a really big problem: Lamb looked way too young when I thought of them more as an adult. I had too much of the original game design guiding me, making a Lamb that was too cute and childlike for what I wanted. (And also, the head did not go well with the rest of the body holy shi-)

Came those drawings! I was happier with the look, Lamb was older! And I found the colored design quit nice! (I used a sheep picture as reference, but I don't think I used it well, compared to now. I used the reference for details, when I should have gone for overall shape first.) I still wanted something simpler to draw tho. The colored design was nice for an illustration, a one time gig, but I got pretty annoyed pretty fast at trying to nail the face every time. And from those attempt, you get the sketches on the right. (I also wanted to get away from other artiste's interpretation of Lamb, and at the time of those drawing, I didn't felt like I was away enough)

From those previous sketches, the idea for THaB started to emerge. I also still had problem with Lamb's design. Especially the hair. I was inspired by black hair, which is usually not a problem, but I was never happy with how it looked on Lamb specifically. I can draw black hair, I can draw black characters, but this mother-fucker would never feel satisfying to draw or finish 👀

And one day, as THaB was solidifying in my mind, I made a series of sketches that I posted! And one of them was the most important in Lamb's final design. This lil guy! (this design didn't came out of nowhere tho, Lamb was evolving into this as I kept trying. But I wont show those sketches, because those are spoilers =3)

And soon after, I made a comic that was supposed to only be a one shot, just a POV of Lamb and there reaction to Nari' telling them to die for him. But you know, things got out of hand lol

As I continued the comic and doodles on the side, I finally made myself a reference board, with real life images that were close to the vibe of this head drawing. (And I cannot stress enough how those references solidified Lamb's design as a whole. Draw with references, it is life changing. The more reference you get, the more your visual library will get diverse, and the more interesting detail and shape you will add to your art in general.) (I'd also add this: understand what you are drawing, make research and stay curious for every bit of info on everything. You never know when these nuggets of knowledge will help you as you create)

As I kept drawing the Lamb, they evolved! Things changed, slowly, like the shape of the nose, the shape of the eyes, how the hair flowed. You see those change at the face, but also on the body! As the idea of THaB's Lamb got clearer, the design got more specific. (I also got better at drawing! This comic make me draw way more often then before, and it shows)

Something before I finish: the other Cult of the Lamb character's design are way more inspired by their animals, when Lamb is more in the human spectrum. I thought of changing Lamb at some point, to make it fair/coherent, but I loved the design too much to change it again. This AU is something I do for fun, and even if it would have been more logical to change them... I don't want to-

As for the vague Warframe vibes: I play the game! And I found the character design absolutely stunning. So I am definitely influenced by the game without knowing it lol

Thank you very much, again, for your kind words! I also wish you the best, and see you next post =D

TL;DR: Lamb design, at first, wasn't inspired by much, beside the game and my style at the time. But as I retried to make them, added more intent, they got more refined. What really nailed the idea was to have real life references on the side.

[heavenlymorals]

The Vampire and the Stag: A Look Into the Symbolic significance of Dutch Van Dir Linde and High Honor Arthur Morgan

Warning: This post has spoilers for Red dead 2

Symbolism is one of the most important visual and literary elements used to push the narrative of Red Dead Redemption 2. The game is chock full of biblical references, animal symbolism, and references to other famous works. Hell, I might've even found a Blood Meridian reference via that Judge Meredith Holden letter, but that might be a reach. In any case, this game uses symbolism to push the story further and I want to do a short little retrospective on my two favorite characters of this game and what they represent in the literary sense.

Let's start with Dutch.

Dutch Van Dir Linde is many things. He's a violent idealist, a romantic, a gang leader, a notorious outlaw, and a legendary gunslinger in his own right.

He's also an allegory for the vampire, and by vampire, I mean the European literary symbolism of the creature.

Let's start off with looks. Right from the get go, Dutch is differentiatued from the rest of the gang members by his luxurious and eccentric appearance, something that the vampire usually has. He had gold chains, personalized gold rings, one with a D and another with a lion. His jacket seems to be velvet, he smokes cigars rather than cigarettes, and his hair is done up in ringlets as we know his actual hair texture is straight rather than curly (Guarma, epilogue, RDR1).

His color scheme is also very stereotypical of the more modern vampire. While other characters usually have a more diverse color scheme, Dutch is suited in reds and blacks the entire main game.

The nature of the undead is also with Dutch via his horse, the Count. First of all, there is just the name the Count that gives off vampire energy (Count Dracula) but there is also the fact that Dutch's horse shouldn't exist. Foals born with albinism, which is the coat the Count is said to have, die because of lethal white syndrome. The Count should have died long ago but it's still alive somehow- he cheated death like a vampire. That's also not mentioning death in the sense that death comes riding on a pale horse.

Vampires in classic literature are never just about vampires as these charming blood sucking creatures almost always exist to convey a deeper meaning of consumption. In the 1800s, this idea of consumption, with the most famous visualization of it being the older vampire man sucking the blood of young, usually virginal women, is often an allegory for selfish sex and defilement. Vampires in old media could very well be a criticism of wealthy men taking advantage of younger women, taking their virginity, and then tossing them aside and being virtually fine while the women lose everything from respect to family to even lives, which can also be the case with Dutch and Molly, but overtime, the vampire became less an allegory to write sex without outwardly writing sex in the 1800s, and became more a symbol of personal consumption at the expense of others.

The wonderful Professor Thomas C. Foster puts it best: "That's what this figure (the vampire) really comes down to, whether in Elizabethan, Victorian, or more modern incarnations: exploitation in its many forms. Using other people to get what we want. Denying someone else's right to live in the face of our overwhelming demands. Placing our desires, particularly our uglier ones, above the needs of another. That's pretty much what the vampire does, after all." - "How to Read Literature Like a Professor"

Dutch is basically that. He consumes people for the sake of his own goals, his own dreams, and his own delusions of grandeur. He will believe in people as long as those people believe in him, but their belief in him is more important to him than his belief in them.

Dutch seems like a Messiah to the disenfranchised, a Jesus figure of sorts. He seems charming, empathetic, cultured, and different from other men, like the vampire. People are enthralled by him, become obsessed or loyal to him, like the vampire's victims. However, these people, like Arthur, John, Molly, Bill, Javier, etc., are used and Dutch, the vampire, doesn't return the favor as he only consumes for his own favor.

And in the end? People suffer or they die and Dutch moves on to his next victims, even if he did love these people.

Dutch is the embodiment of the vampire in every possible way except in the most literal way, which is the blood sucking.

Now let's move on to Arthur Morgan.

Arthur and the stag are one in the same when it comes to Red Dead's symbolism. If one were to mention a stag in the Red Dead universe, more likely than not, people would think of high honor Arthur Morgan. The Stag is Arthur's symbolism, but let us dig a little deeper into what the stag could symbolize beyond just high honor.

When it comes to animal symbolism, stags are almost as iconic as male lions with what they are meant to represent. All throughout various cultures, the stag usually represents a noble creature. It can represent honor (duh), strength, virility, grace, and regeneration, amongst other things, but I want to focus on interpretations of the stag from a few cultures and how they ultimately relate back to Arthur Morgan.

Considering that Arthur has Welsh heritage, or so we assume, let us start with the interpretation of the stag in Welsh culture and mythology. The stag has a huge presence in Welsh culture and mythology, with even some gods and higher beings taking the image of a stag. However, I would like to focus on the stag as a messenger, a messenger between worlds, which is what Arthur becomes in a sense to John Marston.

John's world for such a huge part of his life as the gang. The gang raised him, fed him, taught him to read, taught him morals, taught him many skills, and gave him a purpose. The gang is his world and for such a huge chunk of his life, it was the only world he knew. Sure, Abigail gets pregnant because of him, but she was a part of that world too.

Arthur was able to see other worlds. Mary wasn't a girl who was downtrodden like Abigail and thus would take on well to the life they lived. She was a normal girl and he was not a normal man. Eliza wasn't part of his gang life either, and neither was Issac. They lived in a different world, in a world of civilization, in a world where they didn't or shouldn't have had to keep one eye open to stay alive. Arthur would jump over to their worlds, even if just for a short amount of time, and then back to the gang- he has seen and experienced both of those worlds.

Arthur then gives John the message that he should leave and be a man and provide for his wife and protect his child by leaving the gang life that destroyed the both of them. Arthur becomes a messenger from one world to another- from gang life to normalcy. And with that message, John experiences a change- a change of character and motives.

The Stag is a messenger and Arthur is a messenger. A messenger to not only John, but to everyone else he tried to get out of there for he experienced two worlds and one is better than the other.

Another interpretation of the stag is the selflessness of sacrifice, which can be shown through the Greek culture of story and mythology and explained perfectly in the story "Iphigenia at Aulis" by Euripides. Iphigenia goes to her father and tells him that she will offer herself as a sacrifice to the goddess Artemis. Sacrifices must be made to keep the gods happy and the people alive and happy. Iphigenia offering such a thing shows her selflessness, her want of wanting others to be safe and sound, even at the expense of herself.

Sound familiar?

Reminds me of a certain dark romantic cowboy.

By the end of the story, Iphigenia's selflessness was rewarded by the goddess, and as Iphigenia's father was about to slit her throat, the girl got replaced by a stag while Iphigenia was escorted to live amongst the gods for her selflessness.

The deer becomes the sacrifice and in a way, Iphigenia and the deer become one and the same. The deer is sacrificed for the sake of others- the stag becomes a symbol of noble selflessness, much like Arthur. Arthur sacrifices himself in order to save John, Abigail, and Jack- a noble cause, a noble sacrifice.

The stag being a noble sacrifice is also associated with certain Native American cultures (I cannot for the life of me think of which tribes they were exactly, but once I find them, I will edit this post). The stag must be killed for people to eat, thus the deer is a noble creature. The consumption of the stag is an allegory of people living better lives or having better days because of the sacrifice of a person. Because of that, the stag is a heavily respected creature.

And given that Dutch's vampire is all about consumption, Arthur's symbolism of being a stag is perfect for their dynamic since the deer is all about sacrifice and nobility and the vampire is all about selfishness and despair.

In any case, the deer represents many things across many cultures, from being a messenger to being a sacrifice, but one thing for certain is that the stag is synonymous with honor and nobility- the person that Arthur tried to be in the end.

Yapyapyapyapyapgodifuckinglovesymbolism-

[loreleismusings99]

Late Night Repairs

In which the quiet becomes a bit too much for Mark to handle.

Hi folks, I'm back for a little bit because I really wanted to participate in #spookyseasoninthebarrens2024 by @jmathesonandsiblings so I wrote this quick little thing for my baby girl, Mark! :3

This is for prompt 6: Haunted House

Happy Halloween, y'all 👻

Warnings: isolation, auditory/visual/tactile hallucinations, grief, fear/anxiety, hopelessness, brief discussion of sleep deprivation, description of someone suffering/dying from suffocation/asphyxia, discussion of death, eye horror, blood, missing loved ones, angst (technically). Please, please, please let me know if I missed anything that should be added to this list.

The soft beeps of the CO2 scrubber’s emergency alarm are deceptively loud and make Mark jump as it cuts through the impossibly still silence that comes with the night. One thing he still hasn’t gotten used to after being here for 23 days is how dead nighttime is on Mars. The increased thermal energy that comes with the sun usually yields soft winds that lightly rustle the HAB canvas and make small clouds of sand hit the airlock door, making it sound like he’s inside a rain stick. Once the sun sets though, an eerie silence creeps in with the sunset’s cold, blue, Mie-scattered light. 

Maybe he’s just really missing having his crewmates with him, but he’s quickly started to hate the stillness that comes with living on a dead planet by himself. The more unsavory side effects of his isolation are much more unbearable--there’s something about not knowing when his solitude will end that makes the emptiness of his surroundings so much worse than the isolation training module he went through back on Earth. For the past few nights, every other corner he turns has an extra shadow he didn’t account for; the occasional puff of wind feels just a little too much like a hand and the whirring of the water reclaimer and heating unit running sounds devastatingly like a murmur. It was easier to ignore the first couple of nights--filling the silence as best as he could with episodes of Happy Days and Commander Lewis’s disco. Sometimes though--when he needs to charge his iPad or when he hyper-focuses on his work and forgets to turn something on to fill the space with more than the sounds of his breathing and the rustling of tools--his mind fills the void for him. Sometimes it’s a persistent ringing in his ears, others it’s a convincing recreation of Martinez’s laugh muffled by the walls of the HAB and his memory, making him tear through the HAB trying to find his friend only to be met with nothing but his loneliness. 

He finishes typing out his log for the day, outlining the maintenance tasks he completed to keep his tragically high-tech tomb operational (if he’s gonna die here, he might as well do so warm and breathing clean air), and stands up out of his chair with a strained groan. Scratching at the stubble growing on his cheek, Mark walks across the main room of the HAB bubble to the complaining machine and takes off the white panel hiding the ducts, intake valves, and pumps of the robust Four Bed CO2 scrubber. The mechanical engineer takes some time listening to the motors and pressure-driven sounds of the machine, trying to locate a clue as to what part of the damn thing is blocked up this time. A soft whistle coming from the interface between the pre-cooler and a pipe connecting it to bed A-2 catches Mark’s attention, and he sees a small chunk of ice growing around the collar keeping the pipe in place at the valve. 

“Well there’s your problem,” Mark utters under his breath as he turns the apparatus off using a panel immediately to the right of the box containing it and slips on a pair of cryo-gloves before touching the parts surrounding the cooling element, lightly dusting off the collection of ice crystals surrounding the collar before carefully removing it and cleaning the ice clogging the mouth of the duct. He re-mates the duct and the valve, torquing it back to a satisfying tension, and turns the machine back on, the pumps chugging away happily now that the blockage is gone. 

Mark nods and puts the cover back onto the front of the scrubber’s casing before turning around to append a record of the repair to the end of his log. Or, he would if he wasn’t frozen in place staring out the porthole in the airlock door across the room from him. The scene outside is dark and barely perceivable due to the small diameter of the window and the contrast of the bright LED lights, but your piercing stare is something he’s profoundly accustomed to seeing--just… not outside the HAB’s airlock. He tries to move but the muscles in his legs merely twitch uselessly with the idea of walking towards the glass of the porthole. He tries to blink, but an impending sense of doom prevents him from attempting to break the unexpected eye contact. His heart clenches agonizingly in his chest, and he can feel the beginnings of a sob bubble up from his chest. Logically he knows this is a hallucination--likely made worse by stress and sleep deprivation--but that doesn’t stop him from calling out to you in a horse, pitiful squeak. His knees buckle slightly before the lights above him flicker and shut off, plunging him and the phantom image of you into near-full darkness.

 Your face is now only dimly illuminated by a light that didn’t go out at the center of the room, but it’s enough for Mark to see angry red petechiae begin to bloom across your face, lips, and the delicate skin surrounding your now blood-shot eyes. The warmth drains from your face and his ears begin to ring as he watches you open your mouth, frothy and bloody fluid pouring beyond your lips. He’s shaking now as he watches you scream silently at him through the fluid pouring down your chin, pins and needles accosting his hands and feet as he finally musters the strength to turn away from your dying, angry visage and squeeze his eyes shut.  

“This--this isn’t real, there’s no one there…” he mutters to himself, tears streaming down his cheeks as he tries to calm his breathing down. He opens his eyes again to discover that the lights either turned back on or were never off in the first place and he starts to lower his hackles, the muscles in his neck and shoulders beginning to relax. Slowly, Mark turns back around and looks through the porthole to find nothing staring back at him. Mark lets out a relieved, shaky breath before running a hand down his face and walking back to his chair to update his log. Typing the details of his repair with shaking hands he begins to properly sob and has to pause, scooting the chair back and winding an arm around his middle, the other raised to clasp his hand over his mouth to try to stop himself from screaming in grief and fear at both what his brain just conjured up and the very real possibility of never seeing you again and leaving you behind to mourn him. The force of his anguish makes him fold in on himself and he continues to sit there, trying to calm himself down at least for long enough to finish his log and get to bed. 

After a bit, he feels the temperature drop and a shiver shoots down his spine. He goes rigid and his sobs stop abruptly and a soft, high-pitched, and short-lived whistle coming from somewhere else in the HAB commands his attention. The same feeling of dread oozes back into his chest as he listens to faint taps sound from behind him, getting louder as whatever is creating them gets closer to his chair and stops, letting emptiness fill the soundscape of the main lab space. In the silence, Mark can hear the blood rushing in his ears and his shaky breathing. With his eyes closed it almost begins to feel like he’s in his space EVA suit back on the Hermes. The sound of his breathing tapers off as he quiets enough to hold his breath and try to listen for either the sounds of the HAB or anything that would alert him to the presence of… something, anything behind him. He’s about to let out his held breath when he feels shockingly cold fingers lightly wrap around the back of his neck, causing a terrified wail to rip out of his lungs as he stands up out of his chair and sees… nothing behind him. 

Mark continues to stand and stare silently at the false wall behind him, raising a hand to touch the warm skin of the back of his neck and feeling goosebumps bloom across it. He basks in the violently loud silence before the tension is broken by the sound of the HAB’s temperature control unit letting out a shrill, piercing tone alerting him to a new malfunction in its system.

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Thanks for reading!

works referenced:

4 Bed CO2 scrubber

The Martian Fan-Made Timeline

Wind on Mars

Sunsets on Mars -> Mie Scattering experiment!

Pathology of Asphyxial Death MAJOR CW: death, and suffocation both described in text and shown in images.

[lightandfellowship]

My first draft of a Halloween Town Vor design. Just a doodle while I try to figure it out. (She's a fairy and a sphinx).

Though this probably won't be the final design, and I may even change my mind about the creatures I picked, here's some design notes to explain my current thought process:

Nomura has stated that his Halloween Town designs for Sora, Donald, and Goofy mix two different creatures together to create a more unique design (Goofy is Frankenstein's monster and a werewolf, Donald is a mummy and an invisible man, Sora is a vampire and an imp) so for the sake of pursuing authenticity, I wanted to make sure that my design incorporated two creatures as well.

Though a fairy may seem like an odd choice at first and something that would fit Christmas Town more (sugar-plum fairies and all) I'm thinking of the more traditional concept of a fairy that is mischievous and a little bit dangerous. (Though certainly if Vor were to visit Christmas Town, I think her design would become that more benevolent and cutesy kind of fairy.) Which I think fits Vor pretty well: she seems small and sweet, but don't underestimate her.

I wanted to balance the mischievous side of Vor with her observant/wise side (she's named after a wise Goddess after all), so I thought a sphinx would work there. Thus the lion paws and tail. In addition, the sphinx is known for asking people riddles, which I felt made for a nice reference to the Magic Mirror that's so important to Vor's story in the game, since it, too, speaks in rhymes and riddles. The sphinx also has eagle wings along with their lion body, which I think allows her sphinx and fairy side to be incorporated together well enough, since both creatures share the design element of wings. (Also, the big rope bow on Vor's back in her original design kinda resembles wings already). I tried to do something sort of similar with her ears, giving her the long ears of a fairy but adding fur to the tips to give it that cat-like appearance. Again, trying my best to marry two different creatures together that have vastly different visual aesthetics. Could be better, though? It's kind of hard to mix them together and make it look good/cohesive, I think.

I noticed two things about Sora's Halloween Town design that I felt were relevant and important for Vor's design: one, though Sora's design is drastically changed from his default KH1 design, the silhouette and shape of his clothes is mostly the same. And two, Sora's crown charm still exists on his Halloween Town design, it's just been changed from a necklace to a brooch on his bowtie. In light of these two things, I tried to keep Vor's clothes relatively the same shape with just some minor changes here and there (such as simplifying her big collar and making her shoes look more whimsical and fairy-like). And much like Sora's crown, I kept her "Terra's Mark" emblem (that's the canon name for it apparently), and just changed the ribbon around it to be more curly and Halloween-esque.

Vor has two different prints/designs on her original design: a column of circles on her sleeves, and curved rows of circles on the bottom of her jacket. I changed the sleeve design so the bottom-most circle is a yellow cat eye, which I think feels appropriately sphinx-like and Halloween-y. As for the design on the bottom of the jacket, I'm not quite sure I like it. I just changed it to a simple spiderweb design, because (1. I thought it would look nice there and (2. Sora's Halloween Town design has the jack-o'-lantern mask, so I felt like a more "cliche" Halloween motif was needed somewhere on Vor's design; the eyes just wouldn't cut it. If I end up refining this design more, the cobwebs may be exchanged with something more fitting.

And finally, the most obvious and simple to explain change...her color palette is now much more desaturated to match Halloween Town's gloomy, dark atmosphere. Though I did depart a bit from Nomura's approach here: for Sora, Nomura made his color palette almost completely black/grey/white. For Vor, however, I felt her original purple and gold color palette already lends itself well to Halloween, so I decided to keep her color palette relatively the same, just desaturating it heavily. I also simplified her palette in areas, such as making her belt a plain blue instead of its usual brown/gold/white, and removing the gold from her shoes.

[xenocorner]

Art Resources 01 [Facial anatomy]

Hi! First post of the Art Resources thing I mentioned a while back :) Figured I'd start with something people generally want to know more about- or something people think they already know about but could still used some lesser known tips!

Resources, break downs and tips under the Keep Reading thing :]

1. The Basics

There are thousands of methods to constructing the face. The most popular one is the little circle with the cross in the middle, and sometimes a few more lines for the jaw. While that can be a useful guideline, if you're just starting to learn the ropes it might be better to use a method that has more structure decomposition and land marks to help guide you. Here I'll leave two methods of deconstructing the face that I believe are the most useful to draw faces in different angles and perspectives as well as identify where exactly should each element be placed.

REMEMBER: All of these methods are just guidelines. In order to get different facial features, you can adjust proportions for each of these and play around with sizes.

1.1 The Loomis Method

A structural approach to drawing the head, based on first: simplifying general forms and second: identifying landmarks for the face elements. Pretty good for beginners, helps you understand the head from a more tridimensional stand point to be able to draw it from different angles.

1.2 The Reilly Method

Also a structural approach, but this one is based on understanding the rhythms of the face (proportions, harmonies, and even some general muscular anatomy). It can be a bit harder to understand and use as a building block for beginner artists, but it can serve as a way to check your proportions after an initial sketch.

Here are other two methods, a bit less known, but that go a bit more in depth about the head. If you're a beginner, I'd recommend watching the Loomis method first before diving into these other two methods. Note: these are playlists covering each method, and the videos are longer, but worthwhile.

1.3 The Michael Hampton Method

1.4 The Steve Huston Method

And here's a hybrid of a visual and structural approach too if you're interested! (Again, this one is recommended mostly if you already have a good grasp of the general structure)

Having trouble finding that reference of the head from that specific angle? Here's a 3D model that can be used as reference from any angle. Bonus: It has a built in light feature that allows you to understand which planes of the face the light would hit!

There's also a version with more feminine features.

Here's a website that lets you pick a head angle and then searches for reference images with that angle too. Allows you to pick age, gender, and other features like glasses, facial hair, etc.

2. Understanding What's Below

When drawing the head and face, what most people think of is what we see everyday: the skin. However, there's more to the head and face than just that: there's a whole structure laying underneath that builds up everything on top. Understanding that structure can lead to better execution of skin level facial anatomy.

And what's that structure? Well, bones of course. And muscles. Even if (most of the time) we don't draw them, knowing they exist and how they are placed on top of each other can help with building what we do draw. Understanding the building blocks of the face will make it easier to avoid, say, making one eye bigger than the other. Or a forehead that's too small. Or ears that are too high. Or side profiles that cut off the brain.

Something I recommend for this is making study sheets of the bone structure, muscular structure, and skin structure. For this it's important to name the main bones and muscle groups. Not because you need to commit them to memory, but because if you name them on your practice sheet, it's easier to remember later on that they EXIST (even if you don't remember the name).

Here's a 3D model of the skull

Useful guide for the names of the bones of the skull

Here's a 3D model of the face muscles with names

3. Elements of a Whole

So we now understand the general structure of a face and some useful guidelines to build it. Good! But now, a face has a bunch of individual elements with their own individual structure and stuff to look out for. Those are, of course:

Eyes

Noses

Lips

Ears

3.1 Eyes

It's important to note that the eye has a volume of its own- it's not just a sticker laying on top of the face. It can be helpful to think of the eyeball inside the eye socket when drawing it (taking into account the bone structure we learned before). When understanding the eyeball as a sphere, it becomes easier to place the skin above: the eyelids. This can help with drawing the eye from any angle.

This can also help when drawing the dreaded Other EyeTM, specially if you are still a beginner artist. If you start by constructing the eyes with spheres and approach it from the perspective of "placing" the skin above that sphere, it's easier to get sizes and proportions right.

3.2 Noses

Again, spheres can be your friend.

3.3 Lips

Spheres part 3

A funny thing with lips that often gets over looked when one is just learning the ropes of anatomy is that it also wraps around the volume of the face. Just like the eyes aren't stickers laying on top, the lips aren't either. It's important to take the curvature of the face when placing the lips from different angles and expressions. For example, when we thing of a smile, its usually this idea that comes to mind:

Which yeah, that's fine! ...As long as your subject is facing straight to the camera.

But when we have even a bit of perspective, the way the mouth looks changes, and we often don't think of that and just draw what we think the mouth looks like... which can lead to odd looking mouths, like they're pasted on. So, it's important to keep in mind the volume of the face:

This is true for all features of the face: keeping in mind the volume. But, it can be more noticeable on the mouth.

3.4 Ears

Spheres part- no.

Even if the ear is one of the "flatter" parts of the head, it doesn't mean they don't have volume. Depending on the angle of the face, it'll change how much of the ear is shown- or which parts.

All ears are different and have their quirks, but they all can be divided in three major segments, colour coded in the image. If you deconstruct the ear in these three major parts, keeping in mind they have their own volume, it should be easier to figure out which of those parts will be seen depending on the angle of your face.

4. Expressions!

Now that we understand the elements and construction blocks of the face (bones and muscles), we can play around with them a bit more. So, time to make expressions!

When playing with how the skin moves, it's fundamental to understand the muscle groups of the face and how they move, relax and tense depending on the expression. Knowing that these muscles exist and how they interact with the skin above will help you know where the eyebrow should furrow, where wrinkles would form.

A BOOK I widely recommend is Anatomy of Facial Expression, which you can find here for purchase

Or here as a PDF

This book also covers skull anatomy, so it's a useful tool to study the structure talked about in 02.

There's also an ArtStation account that uploads a bunch of useful 3D model resources for anatomy (facial or otherwise).

Scott McCloud's book, Making Comics, has a section dedicated to facial expressions too (great book in general, not only if you're interested in comics!). You can find it in PAGE 80 (or 88 in the document).

Another thing that can be helpful is studying from life! You can do that by making different expressions in front of a mirror and pay close attention to which muscle groups tense and relax, where wrinkles appear, how your skin moves. Or, if you're like me and hate staring at your face, you can also study from video references.

Here's a link to a PLAYLIST containing various videos of people making different expressions.

The previous playlist contains real people, thus, REALISTIC ANATOMY. It's important to note that even if your drawing style is heavily stylised (like anime, cartoon, etc), it's still fundamental that you understand real world rules so you later know how to bend and break them properly to implement those to your own style.

However, that doesn't mean you can't study STYLISED EXPRESSIONS too! It's actually a great idea to see how other people exaggerate certain anatomical aspects to their own work so you can also understand how to do it in yours. Here's a list with various videos of EXPRESSIONS IN MOTION for animation tests. Study them the same as the previous ones: paying close attention to how the face and muscles MOVE.

Pause the videos you study as needed! While all of this might seem more useful for animation, it's also incredibly useful in illustration, and studying things in movement can help with understanding them better, thus putting them to paper (or tablet) becomes easier.

Finally, here's some videos in a sort of CLASS FORMAT that can help with walking you through drawing expressions more effectively than a text post could lol

[astroenchanter]

Alright so, my little game design major ass keeps getting dark premonitions of what might happen in the bachelor route. And instead of desperately trying to explain to my friend who does not play, I figure I might as well elaborate here. First off this one is just a neat horror mechanic I hope they bring back and flesh out. One of my favorite things in the OG bachelor route that I haven't seen done in other games before, but to me was supper effective was the way they had you trapped in horrifying dialogue implying things where happening to you and Daniil's responses also implying what was going on around him, to an unsettling degree. Like on day 2 when you're talking to that infected woman and she goes "I'd scream, but I don't want the children to hear..." and "I keep hearing children's voices... The girls are crying, and the boy is laughing... We mustn't scare them... Don't tell them and don't let them in here..." And when talking about her sisters: "Just... Don't kill us-don't kill them if they ask you for help... Their mind is clouded with pain... They can't even find each other... They're only praying... Don't come close to them... And step away from me too." And Daniil Has to Either tell her she's delusional or when referring to her sisters goes " Make them stop following me then! Why are they constantly at my heels? They are supposed to be lying down!" Or in the conversation with Peter on day 10 where you're having a conversation unsettlingly close to a fire and you're trying to talk Peter down from incinerating himself and get the Polyhedron blueprints, and Daniil can just keep going " Peter, this heat is intolerable. How can you stand it?" and getting ignored so that Peter can go off talking about the Polyhedron. I think that with more time if they decided to keep that element in the new bachelor route they could do that in an even more effective way, time stops during dialogue and wont start until you end it. They could use sound design or fuck with the dark backgrounds in dialogues to make you even more worried about what they're saying. Like imagine the mechanic build up of time stopping in dialogues, you're used to the format from the haruspex route, and then after a while the sound effects and visuals are making you think something is different and you read the dialogue and shit is progressively getting more and more fucked up and you can only respond with more horrifying descriptions. It could trap you in that same kind of suspense as watching a horror movie or reading a short story where you aren't able to directly impact things, but you still have input in the dialogue and have to participate, IMAGINE THE TENSION.

All I'm saying is if IPL don't use that idea, I'm stealing it if I ever get around to making a horror game after my current project.

[azure-cherie]

PAC : Messages from ancestors ✨

Meditate and choose a pile with your intuition take what resonates and leave the rest since this is a general reading, none of the pictures belong to me , creadits to the original makers ✨ , please don't plagiarize my content, i hope this helps you ✨

Pile 1:

Hello my dear pile 1 💛, your ancestors are urging you to look within yourself for guidance, you are confused about something probably some goals and stuff you should do next year they advise you to sit down in silence and write what you feel , or in a way they could also ask you to channel their advice as you ask for guidence on what is bothering you , they see that you have been taking the lead and trying so hard to keep everything together and everyone together , yes you are chosen to break generational curses but that starts with you, you have done enough for your elders it's their duty to deal with their own shit, you should now move on your path , choose what are your new disciplines what you want to focus on , someone here could get married soon they are sending their love and best wishes and they are very happy about this romantic connection 🥺 , you should also look through the old stuff of your grandmother or some lady who has passed away , you are likely to find a journal or a book either of cooking recipes or spells maybe , they will help you in the continuation of protection and prosperity of your lineage, give gifts to your younger ones . Wear orange and pinks more often and take care and hydrate well . They love you see you and guide you .

Pile 2 :

Hello my dear pile 2 💛, your ancestors want to let you know that you're not alone first of all , they will always be at hand whenever you need something, eat well sweetheart, you don't have to compromise so much, things have been rough, but it was all to teach you , look at you now wiser smarter , but beware who you feed what you have learned, knowledge is a weapon make sure that they don't use it against you , take your pet to walks and spend time with your pet , take care of your mom , plant some plants in your garden , probably petunias or chrysanthemum, if you're worried about the magic you lost it's all yet to be rediscovered, get in touch with your old hobbies , what you liked to do as a child do you still love doing it , then do it , don't let things that you love go . You should start studying little by little , they know you have been facing problems but as you bring more focus and discipline in your life this problem will be solved . And definitely definitely speak up for your needs don't be guilty to take what you deserve, you are here for a beautiful reason , embrace normality and embrace greatness whatever makes you happy.

Pile 3 :

Hello my dear pile 3 💛, your ancestors adore you so much 😭 you're being addressed as a sugar plum babe 😭💛 you guys are definitely so adorable, the life the light everyone finds inspiration from ,you're a muse , you're an artist , they appreciate your creativity and want to see more of it , especially they love it when you do your traditional dance , you look so beautiful, they say you were brought into the family as a blessing a boon and you've been the reason to so much prosperity, you will be blessed with something soon , at times you may feel lost because you have been there for everyone but who has been there for you , you have learnt to stay alone but you can open up to the right people , go out roam around maybe you will find someone or something worth your love , do you guys cook or something do it more you're great at it and even if you're a beginner you will be give it more practice, you could also go watch sunsets near beaches , you feel a deep sense of familiarity with water, someone in your ancestry could know how to work with elemental water to gain knowledge and memory, i get a visual of a women in blue dress very tall , one second she reminds me of African orisha Yemaya and Oya as well maybe someone down your line used to work with them, they will always look after you , 😭💛they wanna say go little rockstar it's so cute ah 🥺💛.

Thank you so much for reading, kindly leave a feedback if you resonate, have a great day / night 🧡🧡

[thewriteadviceforwriters]

Hi, I just wanted to ask an advice for a story I want to write. It's something that has always confused me since I firsr heard it (in my life) in 2010 when watching “Gossip Girl” but kept hearing more and more in 2018/19 (the most) until now so... What is an “It girl”? And how do I write an “It girl” character without making her a Mary Sue (I guess)?

How to Write an 'It' Girl Trendsetter in a Fiction Novel

From your question you've probably read a novel or watched a TV show and fallen in love with a character who effortlessly exudes style, charm, and influence. That character is often referred to as the 'It' girl, a trendsetter who captivates readers with her magnetic personality and impeccable taste. As a writer, you may wonder how to create such a character who becomes an icon in the world you've crafted. In this blog post, I'll help you explore the art of writing an 'It' girl trendsetter and discover the key elements that make her captivating and relatable.

Creating an 'It' girl isn't just about describing her physical appearance or listing her accomplishments. It's about developing a character who embodies a unique blend of charisma, confidence, and authenticity. Our journey begins with understanding the core traits that define an 'It' girl and then delving into the steps to create a multi-dimensional and memorable trendsetter in your fiction novel.

The Essence of an 'It' Girl

Before we dive into the specifics of writing an 'It' girl, let's first explore the essence of what makes her so captivating. An 'It' girl is someone who effortlessly stands out from the crowd, drawing attention wherever she goes. She possesses an undeniable charm, a magnetic personality that makes people gravitate towards her. However, it's important to note that an 'It' girl isn't just about looks or popularity; she also possesses a strong sense of self and authenticity.

One crucial element that differentiates an 'It' girl from other characters is her ability to set trends. Whether it's fashion, lifestyle choices, or even social movements, the 'It' girl is at the forefront of what's hot and happening. She has an intuitive understanding of the latest trends but also has the confidence to break away from the crowd and make her own unique mark. This combination of trendsetting and individuality is what sets an 'It' girl apart and makes her a captivating character for readers.

To truly bring your 'It' girl to life, it's essential to infuse her with a sense of relatability. While she may possess an aura of mystique and glamour, readers should still be able to connect with her on a personal level. This means giving her flaws, vulnerabilities, and inner conflicts. By adding depth to her character, you create an 'It' girl who is not only fascinating but also someone readers can empathize with.

Crafting an 'It' Girl Trendsetter

Now that we understand the essence of an 'It' girl, let's delve into the process of crafting one for your fiction novel. The following steps will guide you through creating a multi-dimensional character who embodies the spirit of an 'It' girl.

1. Define her unique style: The 'It' girl is known for her impeccable taste and unique sense of style. Dig deep into her personality to understand what makes her fashion choices stand out. Is she bold and daring? Does she have a penchant for vintage pieces? By defining her style, you create a visual identity that readers can connect with.

2. Develop her passions and interests: An 'It' girl is more than just a pretty face. She has a plethora of interests and passions that contribute to her trendsetting nature. Whether it's art, music, or even niche hobbies, these interests add depth to her character and help shape her influence.

3. Give her a strong voice: An 'It' girl must have a strong voice, both figuratively and literally. She is unafraid to speak her mind and has a way with words that captivates those around her. Develop her unique speaking style and let her words carry weight and impact.

Bringing Your 'It' Girl to Life

Now that you have laid the foundation for your 'It' girl, it's time to bring her to life within the context of your novel. Here are some tips to ensure she shines brightly in your story:

1. Show, don't tell: Instead of directly telling the reader that your character is an 'It' girl, show her in action. Let her effortlessly charm people, make bold fashion statements, and lead the way in trendsetting. Through vivid descriptions and engaging scenes, allow readers to witness her 'It' factor firsthand.

2. Surround her with a strong supporting cast: The 'It' girl cannot exist in a vacuum. Create a supporting cast of characters who are drawn to her charisma and who help amplify her influence. These characters can be friends, admirers, or even rivals, each adding their own dynamics to the 'It' girl's world.

3. Explore her vulnerabilities: While an 'It' girl exudes confidence, she also has vulnerabilities and insecurities. Explore these aspects of her character to make her relatable and human. Let readers see her struggle, doubt herself, and overcome obstacles. This journey of growth adds depth to her character and makes her more than just a one-dimensional 'It' girl.

Conclusion

Creating an 'It' girl trendsetter in your fiction novel requires a delicate balance of charisma, authenticity, and relatability. By understanding the essence of what makes an 'It' girl captivating and following the steps to craft her character, you can create a memorable and influential trendsetter who leaves a lasting impression on your readers. So, go ahead and unleash your creativity to bring your 'It' girl to life, and watch as she takes the literary world by storm!

[ancientcraftnoccultism]

Beginner Class - Introduction To Spellwork

Introduction to Spellwork

___

By KB

Introduction

Welcome to Chapter 5 of the beginner Class! Woo-Hoo!! Only 2 chapters to go. We're diving head first into the world of spellwork! Today, we're going to be discussing the key elements and underlying foundation of any spellwork in order for you to begin casting your own spells confidently.

Ultimately, spells serve as intermediaries that unify entities through concepts. Though there are infinite ways to create a spell, there are different types of spells based on how entities are joined. These patterns of connection demonstrate the different ways a spell can create — or break — a bond.

Intention

We've all heard this a thousand times, I'm sure. Spellwork requires focus of intention. While this isn't necessarily the most important part of spellwork, it does play a major role in helping direct energy. Your intention is your reasoning for casting a spell. The important part about intention is to hone in on this as specifically as possible. When your mind is focusing on your intention, it gives less of a risk for scattered or unwanted energies to interfere with your work. It allows you to focus all of your personal energy into one facet, rather than having a hand in every cup. This is one of the most important factors within preparing for spellwork. It's also important to remember to keep your correspondences in association with your intention, as it will help keep your focus.

Raising/Gathering Energy

When you actually begin to cast your spell, you must know how to raise and collect energy in order for it to carry out your intent. Allow yourself to get in a relaxed state of mind until autopilot takes over. You know this feeling - it's when you're so focused on something you're absolutely immersed in the work without even realizing it. You're not thinking about what you need to do, what could happen, or anything else for that matter. Once you have achieved this state of mind, it's time to raise and gather this energy. There are multiple ways of going about this, so let's go over some of the most basic.

Chanting/Mantras

By repeating your intention, you are speaking it into existence, thus raising the energy of your intention. You begin to forge a connection between your mind, your reality, and the intention itself.

Sensory Immersion

Using our biological human senses can be more valuable than you'd like to think. This somewhat ties into correspondences, but if you surround yourself that naturally raise this energy within you - you'll have a much easier time gathering the energy you need to direct.

Visualization

Personally, my favorite way to raise energy is through visualization. Symbolism and imagery has a profound effect on the human subconscious. When you're able to visualize your intentions and symbolism that is directly linked to your intention, it will significantly raise the energy levels for your spellwork.

I'm sure there are several other methods of raising energy, such as drum circles, dancing, activity, and even more, but these are the most common within spellwork. The main thing is to keep your mind focused on your intention. You will begin to feel the energy levels rise through your method of choice. Once you have reached the "crescendo", it is time to move to the next step.

Now, this could take anywhere from 5-10 minutes, to several hours. It depends upon the practitioner, the spell itself, and several other factors. Experiment with raising energy in different methods to find your jam.

Direct & Release

Directing is nothing more than keeping your mind focused on your intention. I know this is a bit repetitive, but human mind's are funny, especially those who are neurodivergent. It's very easy to get distracted - but it is essential that you don't! We don't want any energies that don't align with your working to interfere with anything at all.

As far as releasing goes, there are several ways to do this as well. Burning, breaking, or tearing objects seem to be the most common method, but you could stomp, shout, or use any other motion if it feels right. Sometimes people infuse their spells into food or drinks - in which you would eat or drink in order to release this energy. Once you feel you have released the energy you raised in the initial phase, it is time to "seal" your spell.

Again, there are several ways to seal a spell. Some like to seal it with a phrase such as "so mote it be", others may opt to draw a sigil with an athame or wand in the air, or just a simple gesture. This is all very personal, so just go with what feels right for you. Once you have finished, it is EXTREMELY important to take care of your energy levels. Ground out, eat a good snack, and go outside to let Mother Earth absorb your excess energy.

Create A Channel

This is essentially creating a connection to flow freely between you, your intent, and the worldly energies swirling around. This is the action you must take in order for your work to come to fruition. For example, if I cast a spell to meet new people, I may choose to volunteer at new places, create a profile in a new online space, visit the dog park - anything that puts myself in a position in which the energy has potential to manifest. Without putting action behind your intention, remember, that's just "wishcraft".

[darth-kote]

Star Wars Fanfiction Request Guidelines

Hi! I wanna try to write more each day, even if it's just small blurbs or pairing I might not typically write or think about (: I still reserve the right to say no, of course, but to make it easier, I wanted to compile a list of what I won't write/am willing to write. My ao3 -> darthkote

Below are the guidelines to help you craft a prompt that aligns with my writing preferences.

Content I Am Willing to Write

Stories rated GA to E.

Pairings of any gender or sexual identity. If you would like narrator/characters to use varying pronouns than those used in Canon, mention it!

Violence, gore, smut, where appropriate for the plot/prompt.

AUs grounded in realism within Star Wars Canon or Legends.

Canon compliant stories (I'll do my best to stay away from fanon if you so wish!)

Clone-shipping

Hurt/Comfort, angst, whump.

Polycules. Platonic, romantic, etc.

X reader. Won't use "y/n"

Content I Will Not Write

Underage characters in sexual situations.

Modern AU. Just not into it, I'm sorry.

Basically, feel free to request anything that falls into these guidelines. If something not listed makes me uncomfortable or disinterests me, I will address it directly as it arises.

Critical Details for Prompts

When submitting your prompt, consider the following elements to help guide the story:

1. Core Concept

What is the central idea or “what if” scenario?

2. Characters

Which characters are the focus?

Are there specific relationships to explore (e.g., romantic, platonic, familial)?

Any characters you’d like excluded?

3. Setting and Timeline

Where does the story take place (e.g., a specific planet, ship, or environment)?

When does it occur in the Star Wars timeline?

Note: I haven’t fully explored the Imperial Era or beyond yet. As I watch more, I will remove this note to reflect that! I am currently on TBB s3 e9. I am progressing in timeline order in my own time. + Have watched the og trilogy.

4. Tone and Themes

What kind of tone should the story have (e.g., lighthearted, angsty, hopeful)?

Are there specific themes (e.g., redemption, survival, found family) to explore?

I worked for hours with chat gpt to compile a plethora of SFW and NSFW tropes in SW fanfic. Click here for SFW and here for NSFW.

5. Plot Details

Are there key events or plot points you'd like included?

Should the story be action-heavy, dialogue-driven, or a balance of both?

6. Relationships

Specify the type of relationship dynamics (e.g., slow burn romance, mentor-apprentice, camaraderie).

Include whether relationships are romantic, platonic, or unrequited, etc.

7. Style and Structure

Do you have a preferred POV (e.g., first-person, third-person limited)?

Length preference (e.g., short drabble, one-shot, multi-chapter epic)?

8. Canon and AUs

Should the story adhere to Star Wars Canon or Legends, or can it diverge?

If AU, how far does it deviate?

9. Visuals and Atmosphere

Do you have specific imagery or sensory details in mind?

Example: “A dreamlike sequence during Obi-Wan’s meditation.”

10. Dialogue or Scenes

Any specific dialogue or moments to include?

Example: “Have Cody reflect on his scars during a quiet moment.”

11. Avoidances and Triggers

Are there topics, elements, or scenarios you’d like avoided?

12. Inspirations

Share any inspirations: quotes, songs, other fanfics, or Star Wars media.

13. Ending

Specify what type of ending you envision (e.g., happy, tragic, open-ended).

Note:

These are just guidelines—you don’t need to include every single detail when making a request. However, please keep in mind my personal boundaries.

[dyemelikeasunset]

Hello sorry to bother but today I went through the mor and dom tag and I can’t help but notice how good you are at designing tattoos! Both for Dylan and Mor, there’s just so much detail there!

I was wondering if you have any tips on your process for designing them? I have a lot of ocs I think would look good with some but just don’t know how to go abt it. Love your art and again sorry for bothering and have a good day!! :]

Oh thank you so much!!

I've had experience designing tattoos for friends and commissioners before, so I think that helps me a lot. But here's some advice off the top of my head:

Research tattoo styles! There are so many types out there, from blackout tats, to classic nautical styles, watercolor, quotes and number tattoos etc. the world of tattoos is HUGE and there are constantly new styles being created by artists. Finding the specific style that fits your character is really helpful

Understand the tattooing process. This is important if you want your ocs' tats to look more realistic. Everything from pain threshold and placement, to how much certain colors or styles need upkeep, to how realistic specific details would be on specific areas of the body-- these can help a lot with choosing design elements as well as learning where to put the tattoos on the character's body. (My biggest advice for this on the drawing/design side: always prioritize the black ink first! Figure out areas where you can have the negative space/underlying skin be part of the design)

Placement, then design! I think of tattoos for OCs in two steps: 1) where and 2) what. I usually figure out placement first, and draw blocks of color on the body parts I want tattooed. Then I'll isolate the shapes and work on each design until I'm satisfied. As you've seen in my characters, I often make a tattoo sheet for them (which I'll copy and paste onto them as needed)

Personality! For characters, it really comes down to what the tattoos say about them. This doesn't necessarily mean all the tats need to be loaded with meaning, bc there are definitely people who get things for fun or for cheap. It's all about reflecting what your character is all about: are they the type to get really meaningful tattoos and only have a couple that are very symbolic for them? Are they the type to wanna be covered head to toe? Maybe to a character like that, each tattoo meaning isn't as important as filling in the space! Maybe it's a character with one really important tattoo but a lot of other random ones. Does one character have to have them in discreet areas for work? Tats that do mean something to your OC will probably say something important about them, while the visual style of the casual tattoos will say a lot about their style or fashion sense

[maybevillage]

what are your shadowbringers thoughts so far 🥳

too many.........! i mean it like a lot. more than i get to in this post. also i did the final trial of post-shb ytd actually so spoilers for both shb and post-shb (up 2 the end of that fight)

i think it was different from what i was expecting from the pre-shb parts... like i really enjoyed what immediately happens after the yotsuyu trial where alphinaud plans to go to garlemald and gets stranded in the burn (one of the coolest locations in the game) and the really dire feeling from your friends falling unconscious around you and a voice calling to you in this urgent but poetic way; i was really into the feeling of this unknown threat closing in all around wol. when finally alisaie falls (i liked the development she was getting and how blunt she is abt caring abt her loved ones) and wol gets transported to the first i was like whooooaaaa but then i actually think the story kind of lost me for a bit bc it loses that pre-shb momentum setting up the first as a location. not to say the opening parts of shb aren't well-written or interesting bc they def are but i found myself kind of wanting to go back to that intense direness (rather than the resigned-to-danger feeling of life in the first after the flood) and also i had this idea of shb being this visually darker expansion probably bc of the title and the garlemald cutscenes so its funny its the exact opposite. i rmb i also thought the shadowbringers would be the ascians but they really made you think that on purpose smh bc the shadowbringers are actually.....you....! (i think)

still i really like the idea of overwhelming light and how it just leads to stasis of all things. shb has some truly weird ideas but in a really fun way like the idea that the echo is something that can be evoked within sundered beings by having them experience a starshower like how the fuck do you come up with that. just some truly esoteric things like elemental imbalances and the shattering of the source into thirteen shards and all that like im genuinely a big fan of the ffxiv world lore. it was cool how all this stuff was set up pretty well too with the warriors of darkness from post-hvw like i really liked how they put those guys back into the story. and i always enjoy when the driving force in a story is like a hunt for mini-bosses (the light wardens). i think what was kind of making my interest fray at times though was again just establishing a new setting which i was less interested in than the overwhelming light plot stuff. particularly eulmore, probs bc i went there first fresh after all the urgent things were winding down but also bc it's so detailed a location it feels almost separate from the game to me so i felt a bit distracted. i really wasn't expecting that initial confrontation with vauthry to extend into him and his army becoming such a large part of the story, but i did like it regardless, like that cut-scene with kai-shirr where you save him from vauthry was so dramatic its even giving me chills remembering it. the fatphobia regarding vauthry's character was weird but im just. like ok. well i just had to say it

i really like the new locations too like il mheg definitely was made for me to spend hrs in there wishing it was real but everywhere too was really fresh and unique. i like mord souq a lot and i liked seeing the beast tribes be incorporated into the societies as opposed to whatever eorzea is always doing wrong. i also liked the attention put into things like developing relationships w ppl from the diff areas like helping with the trolley and the talos at twine--i always like stories where places are revitalised. like smaller-scale hopes being restored amongst the larger actions like bringing back the night and showing how these small things can be equally as important. i liked the effort that went into establishing the unique lifestyles of denizens of the first also. and seriously everything aboug il mheg plus urianger hanging out with fairies is one of those things that feels directly plucked from the self-indulgent recesses of my brain. i was actually sad when you lifted the mist bc the place felt a lot more enclosed (i like enclosed things i love an enclosed atmosphere which is why i wanted shb to feel less like it was opening up a story) and dreamy but oh well i can always just ng+ the game and never find urianger's house and frolick in misty il mheg forever

going back to how each area is really fun i also really like that idk thing stories do where you encounter a diff person at every diff location. like that all your friends were at different places on the map idk how to explain but i thought that was a fun way to have wol explore novrandt that makes sense. and how these new places recontextualise the scions who have been with you since arr was interesting like seeing them in a new light. i do feel like the game doesn't develop urianger and y'shtola as much emotionally compared to the others (THANCRED IS THE MAIN CHARACTER OF THIS GAME?) bc idk they're smart or smth so they're usually playing Mr. Exposition roles but i was grateful that at least you finally FINALLY spend a lot of time together as a party and build your relationship. probs one of the things i enjoyed most about shb. like you obvs don't see them in hvw bc they're all missing--just generally urianger isn't hidden away in some library thancred isn't skulking around some imperial stronghold somewhere y'shtola isn't being placed in a coma for the millionth time and the twins aren't otherwise engaged with logistics/combat. like everyone was finally together and striving towards the same things together. i could finally feel the bond between the scions rather than be told they're close thru sparse interactions they have with wol individually.

i also really like what they did with ardbert, the moments w him all felt so poignant. i used to find him silly in post-hvw calling himself the warrior of darkness and smirking at me all the time until the moment he goes back to the first w urianger's help..then i was like my bad i wasnt aware of your struggles.... i like how they complicated his char a lot and his narrations were so fun. his char is a good example i think of how shb did a good job of being both heartbreaking and pretty dark without being hamfisted or unnecessarily cynical

i feel like im going to have to spend so much time processing shb bc i blasted thru it but also bc i was so distracted by the crystal exarch like the moment i saw him i was like is this not just g'raha bc of the male miqote mouth (and that he has you go to the crystal tower but mostly the mouth) and this like proceeded to distract me to an insane degree up until the very second his hood flew back at the climax of the game and revealed it was actually him. i was even telling my sister like i hope he doesn't reveal his face himself i hope some stray wind or w/e blows the hood down...so i won that interaction. idk how i managed to avoid spoiling that considering i used to see fanart of him often bc he's so popular but i am not ungrateful bc even if its obviously him that would have sucked bc needing to know it was him like being right was possessing me

uhh what else............ regretfully emet-selch is now one of my fav characters. in the whole game. which is crazy to me.... i used to see his name around as well but what i rmb specifically is this one time i saw like a tweet complaining abt ff fans who are really into the imperialist ideals mention him and i was like eww guess im never gonna like this emet-selch guy if i play hahahaha. and i had this weirdass vision of him in my head as this brooding black robe-wearing guy w mid length grey hair or smth (just the impression i got from his name idefk) bc i had no clue what he looked like. and then solus shows up for the first time and i was like wow this guy is really interesting like whenever he shows up the plot really starts gripping me bc i just find the shit to do with the ascians soooooo super interesting. like the fact that they're very openly present but such a large threat. it's interesting to me that as enemies they make themselves so known to the main cast and could be anywhere at any time--i find that sort of impasse really fun. like a tense atmosphere nobody on either side breaks until the final moment bc they're not sure what the retaliation will be. also when emet-selch admitted that as ascians they'd all been tempered by zodiark like HUHHHH THATS SO INTERESTING

i think definitely the part after mt.gulg trial was where i was really understanding why i see a lot of ppl say that shb is the best expac bc how much the plot ramps up the stakes all of a sudden compared to the level of danger you get used to is crazy. and it really gives you things to think about beyond wuhhh good and evil bc like after you incoporate all that light into you, you're the threat now...? like what do you do? when you open the windows and the light has come back to the world after you gave everyone this hope the night sky could come back... that level of fucking up really surprised me. and the whole time emet-selch is shadowing you really only feels at most like a vaguely concealed threat and i feel like i don't usually get caught like that but i was genuinely shocked he was such a serious threat all of a sudden. like i genuinely forgot even though all of his interactions felt like being on the edge of a deal w the devil. and it was well done too i like when everyone is honest abt their intentions more or less the whole time but theres still a lot of intrigue -> danger

i usually roll my eyes at ig simplistic overtures about sympathizing with or even at least understanding your enemy but i have to say i really was unfortunately taken in by the fact that emet-selch was very genuine about his interest in the main party, and it was even better to me bc of how precarious their interactions were. i just love weird and hard-to-put-into-words relationships between ppl who know of each other but are essentially strangers. and compared to the other ascians you've met so far how he makes his appeals more human/emotional rather than with the stiff otherworldly-being logic of his comrades i find interesting, and again it doesn't come off as simplistic or try to provide any thoughtless concrete answers to me bc although the main party at least feels enough towards him to feel pity/considerate/betrayed, which i like bc that's just what ppl do, they just can't accept him (obviously) and they remain at that standstill. like they understand each other but they will never agree. not getting into how he invites wol who is turning into a monster personally to his underwater lair bc i want to seem normal secret recesses of my mind i just always like characters that seem cool or capable or operate in a way that seems very (almost "nobly") focused but its actually something of a farce, and they're really being spurred on by some intensely personal emotion. like shinobu from kny or sekigahara from 13 sentinels who are some off my fav characters. i did feel like the way he was rejecting the party at the end (before you fight him) was kind of excessive, like they were playing up his villainy a bit so it would make more sense you have to kill him or smth, but in my mind it's like of course you have to kill him no matter what. and i don't mean all of this in some woobifying way where i feel bad for him like nooo poor emet more like i just like when someone is really driven by emotions idk lemme try to find the words. the way the grief like bleeds out of him... like he creates a giant city of memories that he wants someone to understand so bad. i like that kind of mishandled pain...like an inability to contain something.

but as much as what the ascians strive towards/how they go about it/most things to do with them fascinate me i do have an iffy feeling about smth very specific that i think really solidified itself with amaurot. i find the conflict that is the sundering really interesting but how it's conceptualized is really................hm....the ascians having a normative standard of what it means to be a "proper" or fully-fledged or whole being = being worthy of life, so that killing the "malformed" beings that are the non-ascians doesn't count as killing.... that they have this idea of a "true" type of person. does that not seem like couched in really blatant ableist (and other things but im just a fool on tumblr) thought about what it means to be considered a person. i was just fascinated bc they're the villains so I GUESS it's meant to be "wrong" the way they think, but theyre still also sympathetic chars (and imperialists) so ok. this is also the acting logic of eorzea disposing of the ixal and the kobolds and the sahagin etc etc like killing beastmen is like swatting flies. the beast racism. like you know the amount of stock ppl put into worthless concepts like "reason" as if its some immutable law and not socially constructed and thats whats good and virtuous and deserving of life. it was just interesting? (HAHAHAHAUUUGHH) to see that represented in this hyper-rational and streamlined city/society of the ascians. the hard edges and the carefully tended charmless cement rows of tree plots and organized lines for licenses and taking pleasure in an organised and rational debate with my fellow ascians at the debate hall. like the perfect and complete world the ascians are killing themselves to bring back is bureaucracy???????? i actually was so stunned i wanted to laugh. idk it just makes so much sense to me that the way square enix apparently pictures some lost utopia "lesser" beings cant achieve would be in this sort of fake-conflictless way. it feels otherworldly of course in comparison to the rest of the worlds and i enjoyed that section of the game a lot but. like good lord

i had like no thoughts about g'raha until post-shb for some reason maybe bc idk what i could say the game hasn't already abt his personality but i'm like fascinated with how taken he is with wol bc i almost don't get it. i actually kind of mostly enjoy it in a really one-sided way where he is enamoured with wol as a fantasy figure out of his reach and it just stays that way forever. he interests me bc it feels like he's not really alive....and i said in my post about stormblood that i really like characters who feel like they can't see a life for themselves in the future beyond some goalpost they strive towards..but g'raha feels a bit different, he doesn't feel dead inside or empty he just feels like. he's not alive like he's not living. idk like he's not a human person but a symbol (the crystal exarch). ig it's his solitary focus on salvation bc even though he bakes lyna a cake for her bday and it turns out badly i like struggle to imagine him doing anything mundane or anything that isn't crystally or exarchy. i have to rotate him more idk. how he's also self-serving despite thinking so lowly of himself is interesting to me too. and i like how all of this is symbolised by how he'll have to reconcile this current version of himself with his past self, that is reimagine himself as a living flesh and blood person, in order to get out of the crystal vessel (symbolism?) hes currently inside of. whether he does idk yet im still playing post-shb so plz dont say.

i think im running out of space rip my thoughts on elidibus and the final hades fight (they should have just made it emet-selch, hades carries too many preconceptions so it felt random to me but maybe im just greedy and i've spared too much thoughts abt this guy already)

oh shit i also wanted to talk about how the more i learn about the ascians the more i'm convinced the imperialism in this game is just a waste of space and time and effort in this game but well. huge tangent. i genuinely just pretend its not there

last thoughts i'm convinced the finality of so many of the events is like.... was this supposed to be the final part of the ffxiv story..... the cinematic fight with hades/ how you beat him using the power of friendship/the heroes gauntlet duty where everyone you've helped in the first comes to your aid/fight against the original warrior of light....? etc. like it definitely all feels so final. why are there expansions after this......................like why bother.......shb did it all