#and their styling has historically been better than this even if i still didn't like it before

[meanbossart]

Ask Compilation: Advice, influences and Misc.

Apologies for taking so long on some of these, admittedly I'm much more likely to entirely forget about asks that are about me and my interests 💃 Thank you for all the questions regardless! And thank you specially to everyone who just drops nice messages into my inbox out of kindness.

I'm brazillian and a native portuguese speaker!

I'll probably return to twitter eventually, but a) I hate that place and b) It didn't make much sense to me to turn it into a BG3 account out of the blue. I am considering making an Instagram or a new twitter just to have more places where people can follow in case they don't care for tumblr, but it's just been a very busy year so far and so that's kind of low on the list of priorities. If I ever do that I'll be sure to announce it here. Have a nice day yourself!

Sorry to hear that! I've gotten a few messages before about this issue, and the problem is that since I am myself not from the US, my options are also limited :( a lot of patreon alternatives don't work for me because they either don't go through paypal, take insane currency conversion fees, or just straight up block me from signing up.

Speak for yourself, I just assume everyone I speak to online has committed some sort of atrocious crime until proven otherwise. Except for me - of course. I have never done anything bad in my life.

I still have a lot to learn! But I will basically use whatever works for me at the moment, as well as make a sincere effort to learn about musculature and anatomy so I can understand those components and how they move, instead of only knowing what they look like when still - that's how you get better at drawing from memory. Volume mostly comes from coloring and understanding light, which is it's own beast but can very much be learned from similar reference materials and observing it IRL!

My favorite places to get reference are medical diagrams, weird pictures I take of myself, 3D software (often Virt-a-mate) and questionably phrased image google searches.

My favorite artists are Jason Shawn Alexander and Sean Murphy, but I'm not sure how much of it reflects in my art nowadays! I generally seek to pick up techniques from artists rather than to emulate style.

Honestly I love that you guys generally do the thing he would hate the most: take him very non-seriously LOL

I've been in a real Chelsea Wolfe and Amyl And The Sniffers kick lately! But usually you'll also find me listening to stuff like Boy Harsher, Swans, FWF, JK Flesh Lingua Ignota, Nick Cave, David Bowie, and so on. Music for the weird gays, basically.

I went insane and wrote a 23-chapter-long-and-still-ongoing fic in like four months. But also - I'm not that good, I'm just shamelessly pretentious LOL

Hm. That's a good question, but I'm not really sure. Sincerely not trying to be a edgier-than-thou here (in fact, this has made me a little self conscious at one time or another) but a lot of art that I don't mean to be horror-y in nature at all has been associated with the genre. So perhaps I don't know what I'm doing either, LOL.

I think just leaning on making things look slightly "wrong" or "ugly" on purpose is the way, but I also find that if you just seek to depict people as they are instead of idealized versions of themselves, you will arrive at that either way.

Thank you for reading! Honestly, I'm guilty of having not read much at all since I was in my late teens, and the style I'm employing for ANE is very different from the things I would call "influential" for me, or even that I used to enjoy reading at all before. I read a lot of Chuck Palahniuk as a youth (and, no slight to people who do like him still, but nowadays I'm not sure why I ever did. His stories don't speak to me at all anymore) as well a lot of weird experimental lit that I didn't even care to remember the name of. My last book stint from one or two years ago was composed solely of historical and medical literature, and last year I got really into Cormac Mcarthy thanks to the internet.

So, all in all, I'm absolutely all over the place LOL if you put a gun to my head and told me to list my favorite books, I'd say The Indifferent Stars Above and Blood Meridian.

(Consider the reading portion of the question to have been answered above) I really really liked Beau is Afraid and think it's a really great "horror" movie. Sue me.

[bowtiepastabitch]

Let's Talk Costuming: A Very Professional Midwife/Cobbler!

At last, the long awaited sequel to Avaunt! aka my post analyzing Aziraphale's (and by extension the other angels as well) costumes from the Job flashback!! I knew Bildad's robes reminded me of something but it has been hiding stubbornly in the back of my memories for weeks, and I was doing myself a little doodle and it came to me, so here we are, friends, buckle up.

For better or for worse (depending who you ask), Crowley's costuming for this bit does not mirror Aziraphale's Renaissance-inspired aesthetic. That is, he is neither buff nor naked, as demons are often shown, nor is he a fucked up little guy

Scene from Michelangelo's Last Judgment, Sistine Chapel altar wall fresco, 1534–41 (featuring buff, naked, fucked up little guys)

The historical evidence that we have for the clothing of ancient Israel is spotty to nonexistent. To my memory, there are no real descriptions of clothing in the Old Testament aside from the instructions for priestly garb. (Note that I'm using "Old Testament" simply because Good Omens is based on a Christian interpretation of religion) None of the art from the period and surrounding time/geographic region, of which there is very very little surviving, depicts clothing anything like what we see in this episode either.

And then it fucking hits me.

It fucking hits me like a sack of bricks.

Weirdly specific Children's bible that stirred up childhood memories so I stole a photo from Amazon; published in 1972

We had this one as a kid, as well as several others, and THAT my friends is what Bildad the Shuhite reminds me of. Modern illustrations of bible stories, especially those used in children's materials. Now Christians are god-awful about giving credit for art, so please forgive me when these don't have sources.

Goodsalt.com has a lot of this stuff labeled as 'religious stock imagery'

This is why the style felt so familiar yet unplaceable: I grew up expecting this as the default outfit for bible stories. If you grew up christian, you're probably at least a bit familiar with this weirdly specific style of art. (Side note: if you have any idea where it came from please let me know, but I can't find any older styles of religious art like it. Anything pre-20th century harkens more to Renaissance style than anything, which in turn is a refresh on Medieval) This is, more than anything, in fact best described as religious stock imagery. It bears a lot of resemblance to clothing worn still in areas thereabout the historical region where this takes place, but it has a distinctive flair that the costume is definitely emulating.

The stripes and colors both feel deeply reminiscent of that art style, and it makes total sense considering this is in fact intended to have the feel of a bible story more-so than any other flashback in Good Omens has. Even the odd floofiness of his beard and hair make sense when put into this context and compared against the beards in the illustrations!

We even see that 'illustrated bible' inspiration right in front of our noses, but my brain didn't even process that because again, this art style is so pervasive it doesn't feel out of the ordinary. It was everywhere in the church I grew up in: posters on the walls in the children's wing, in our bibles and our coloring sheets, all that jazz.

The cheery bright colors, which certainly would not be available as textile dyes for another almost 4500 years, add a definite stylistic flair that makes this not only inspired by modern imaginations, but historically impossible. This of course contributes to the larger theory of how the costumes betray the unreliable narrator which I explore in this post and will almost certainly expand on when the impulse strikes me. The angels can be excused as miraculous, but this is definitive proof that what's happening here is at least in part fictitious, and more importantly for our analysis, that its heavily influenced by MODERN biblical stylization.

Those reds and yellows would have been available sooner, though not 2500 bc soon, but that shade of blue wouldn't be achieved until the industrial revolution and the invention of synthetic dyes in the 19th century. It is, however, very popular in biblical illustrations.

And so, friends, lovers, countrymen, we come to everyone's favorite part. What does this MEAN?

When we talked about Aziraphale and his Renaissance-angel-drag-queen era, the biggest emphasis was on the accentuation of his angelicism and holy glory. He's set apart from the humans in a way we've never really seen the angels before, and he also fits in with the other angels in heaven, who are also dressed ostentatiously to the nines. Crowley, on the other hand, does not have his demonic nature highlighted but downplayed. Instead, he fits in among the humans *almost* flawlessly.

Aside from his incredibly amazing and goofy glasses, which I think are an obvious anachronism of memory, he's dressed in pretty much the exact style as the human people around him, a style hugely shaped by latter 20th century aesthetics of biblical times. From a storytelling perspective, it makes total sense for Crowley to be fitting in among the humans, since he's sympathizing with them and even passing himself off as a human midwife/cobbler right under the angels' noses. He even takes a human name!

From a meta perspective, the modernity of the stylings tells us that whoever is narrating is having their memories shaped by somewhat recent events. However much is true remains under question, and there's tons of fascinating time-fuck theorizing to go around, but whatever is being remembered here is being re-evaluated through the lens of the last fifty or so years max, a mere blink in the eye for our angel/demon duo.

Whether it's the not-pocalypse, the arrival of Gabriel, or something that happened we haven't seen yet, SOMETHING has caused our narrator to reshape these memories recently. The overall character arc of Season 2 belongs to Aziraphale, as he struggles with himself to bring to terms the part of him that sees his own good as an extension of his being an angel and the part of him that can see how awful heaven is, so I think the importance of Crowley being more human than ever while he is more separated from than ever plays a big role in the story we're being told and that will hopefully carry over into season 3.

[rangercorpstherapy]

There is a post about ableism in the sorcerer/siege of Macindaw books. I'm not going to reply directly to the poster because I don't necessarily think they're wrong, but there's a bigger problem I want to touch on without derailing their post.

The post by @bronze-oakleaf Sorry, but John Flannagan isn't an ableist for describing disabled people as disfigured, Will is. John, although in his usual hit-and-miss style, goes out of his way to show us that the people Will and others are afraid of are not monsters. It's been a while since I read these books, but I can remember there being a few backstories and instances in which it's made clear that Malcolm’s people are just very normal people who have fun, interests and hobbies and love each other deeply.

Will's apprehension of disabled people is very clearly presented as a character flaw. John is a children's author and cannot go into depth about how monstrosity isn't physical but something that manifests in the soul a la Victor Hugo's Hunchback of the Notre Dame. Still, I don't think any child (at least I didn't) finished reading Sorcerer and Siege thinking that disabled people were any less deserving of respect and love than others and Will kinda had a point there in the beginning.

I think the only example of bigotry where there is a high chance of it reflecting John's real-life views is the way he characterises Romani and Sinti in that horrible short story. Without going into depth the key difference here is that not a single person in the story thinks that Alyss and Will are doing or thinking anything wrong. Nuance, even if it wasn't much, visible in Sorcerer and Siege is missing.

Now I have that out of the way, this post is actually about character flaws. I'm not trying to be smug by pulling the historical accuracy card, but honestly, Will's views of disabled people are one of the few ways John established the world of Ranger's Apprentice as a Medieval society. I don't know how to say this without sounding kind of like an asshole, but if you want to critique Ranger's Apprentice flaws you also have to apply the same critique to the characters within Ranger's Apprentice. Separating art from the artists in this case doesn't really work because the art exists within the context the artist created. I don't think we have to be overly critical of characters because otherwise we're bad people and not woke, but viewing your favourite characters as flawed makes them inherently more interesting. I think viewing Will as an enforcer of feudal oppression (cop), extremely privileged (has an education and can bear arms) and classist with a very obvious disdain for those who are below him (this man should be nicer to farmers who can't read) is way more interesting than a perfect boy who fell victim his author's bigoted world view. Will, and all Rangers tbh, think they're better than other people. Rangers are smart they aren't like the uneducated masses who think wizards are real and the devil will claim your soul if you sleep lying down. But are they really?

Will is confronted with the fact he is like everyone else. He's also afraid of the “dreadful caricatures of normal people”, but why? The treatment of disabled people in Medieval society was very complex, and without getting into the nitty gritty, most of the cultural feelings towards them weren't because they were 'just ugly' but relied heavily on superstition. Will might be educated, but he still grew up in a society where disabled people were viewed as cursed, their ailment a deserving divine punishment. Him not being confronted with his hypocrisy in these books is the true moral failing of John to be honest.

Now to my final statement: pleasepleaselpleasepleaseplae let the Ranger's Apprentice characters be bad people. Because they ARE. I guess this post was a very elaborate way of saying Will isn't an UWU soft boy but a grown man with hairy balls. So are Halt, Gilan, Horace, Crowley (I didn't forget the time you enslaved a man king) and Duncan (Truly truly sick a twisted individual for sitting back and doing nothing as his daughter was sold into slavery because 'We need everyone here'. That wasn't a convenient plot point so Halt could save the day but misogyny). This doesn't mean Will isn't/can't be trans (because he is) or Cralt isn't canon (it is) for the sake of historical accuracy. I just want to say that these characters are all very privileged and classist individuals with many flaws thanks to the society they were raised in, which makes them more interesting. Remember be gay AND do crime.

[utilitycaster]

Wow your Orym tags really are an eye-opener. You are totally right and now I understand the bitterness about this character a little better. I've seen a lot of "...but C3 is supposed to be this and that" takes and I guess a lot of people think they are owed a certain storyline?

Yeah. People feeling as though they're owed a certain storyline is not new nor exclusive to Critical Role; it's been pretty common in fandom for years (see this excellent post that I still think about). But the particular blame being placed on Orym is a fun new twist on this theme.

I'm sure there's people who hate Orym for other reasons; shipping wank is another very common form of entitlement to a particular storyline. I must admit when it comes to Twitter I think some people just yell random lies out into the void to hear their own voice because there is no underlying logic to any of it. But I do think a large number of people who have been blaming Orym for everything for what is now the majority of the campaign are doing so because he has consistetly refused to entertain the idea that Ludinus makes any valid points from the start, and the narrative has pretty much only rewarded him for that.

A lot of people really thought that Campaign 3 "all bets are off" didn't mean like, messing with the narrative structure (they hate when that happens by the way. they acted like Downfall and the Solstice Split and the fact that this has been a very plot-driven campaign rather than one about character backstory are all fucking violations of the Geneva convention the way they carried on, and I say this as a person who can complain) but rather that Critical Role, a D&D-based fantasy, would shed those pesky two previous campaigns of canon (unless of course earlier canon helps them make a point. I truly cannot believe someone made like 5 alts and harassed me and all my mutuals for an entire evening over hypocrisy for...liking one ship more than another when these idiots exist) in order to become some kind of deeply pathetic "French Revolution Except Instead Of Kings It's Gods" historical re-enactment.

We're at the point where like, nothing has validated them and everything they've claimed the gods have done, Ludinus or the Weave Mind have done like, tenfold. As mentioned, the people who were like "oh my god STOP SAYING HUBRIS anyway obviously Bells Hells would NEVER see the gods as relatable" just watched Laudna and Imogen be like "wow, they're flawed and conflicted and a fucked up family just like us." I shit you not, I saw someone criticize FCG's relationship with the Changebringer because "he had to work for it" as if that's not like...how literally all relationships work if you're not an utter black hole of entitled self-absorption. The Kreviris Imperium wants to straight up colonize all of Exandria but they turn a blind eye. There's someone out there talking about putting Rashinna's head on a pike for being willing to endanger the poor Ruidusborn children that...Liliana (probably to some extent coerced by Ludinus to be fair) could have left alone to live out their lives on Exandria. People genuinely channel some anti-abortion "but What About The Disabled Children? Shouldn't Pregnant People Be Forced To Carry And Parent Them" style arguments at Alma's "hey, we have people delay birth for like half an hour so their children don't have The Psychic Migraine Disorder That Made Imogen Possibly Suicidal". The arguments have devolved into "well, canon isn't real" and "but the status quo" as if there aren't ALIENS FROM SPACE SPEAKING AT THE DRAGON VATICAN. How STUPID do you have to be to think that wouldn't change the entire world. Or, to get back to this ask, how desperate are you to maintain the illusion that you are going to get a wish-fulfillment campaign that never once existed? So yeah. They blame Orym because otherwise they have to blame literally the entire cast, and themselves.

[dresshistorynerd]

Favorite Historical Architectural Styles

Since I've done my favorite historical fashions, I thought it would be fun to do historical architectural styles too. I want to write more about architecture too, but I've started thinking should I do a separate blog for architecture and architectural history or should I just do it all here? I think it would be better in a way that I wouldn't have to worry if anything I want to write is too far from the actual topic of the blog, but then again, there is a lot of overlap, especially when it comes to Arts and Crafts movement (which I'm currently writing my thesis about and which I definitely will talk a lot about), and also I would have to manage yet another blog.

Anyway, I'll again do this from oldest to newest. I will limit myself to western styles (except when we get to Modernism all styles are very international), even though there's a lot of non-western styles I enjoy, but it's what I know most about.

Perpendicular Gothic

I love Gothic architecture in general and the several first entries will be my favorite sub-styles of it. I love the the way Gothic Cathedrals try and so often succeed to feel like forests. I love how the structural elements are used to create the aesthetic. I love the organic visual elements. I love that it's such a unique style in Western architecture. And I love the amazing craftsmanship that went into it.

I'm particularly a fan of English Gothic because of it's insanely beautiful and complex ribbed vaults. From English Gothic my favorite though is the Perpendicular style, which was basically the English late Gothic. It's characteristics can be seen in the second pic. It has the stretched arch and the very flowing and organic traceries. I do include here the rest of English Gothic too, since even though the Perpendicular style is my favorite of them, all if it is still one of my Gothic favorites.

German Late Gothic

As it's becoming clear I love Late Gothic architecture in general the most, and in the geographical axis I also love German Gothic. Early and High Gothic were mainly divided into French and English styles and the French style dominated in the continent, just being altered a little to the local building traditions outside of France, but during late Gothic it diverged much more strongly into different styles.

German Gothic also has beautiful complex faulting (though less insane than English) and it also has that same pursuit of massive height French Gothic has. Those combined with that Late Gothic's more streamlined flowing and organic aesthetic, some of the German Late Gothic cathedrals really sell that feeling of standing in a forest.

Finnish "Gothic"

I have a soft spot for the Finnish Medieval stone churches, which are not nearly as sophisticated or detailed as the other European counterparts, but still made with beautiful craftsmanship and they have some cool own features. It's very far from the European Gothic traditions, as you can see, but that's still the influence, hence Gothic in scare quotes. I love the simple outward appearance with the exposed thick stone walls, the details of the gable that worked as the calling card for the building master and the very steep roof. Like everywhere at the time, the roof in these has wooden structure, which is frankly super cool. It was not a simple engineering problem to make a roof that steep and massive at the time, but the structure works so well there's 600 year old roofs with the original logs still working perfectly well. I also really love the original medieval murals in them, which were painted over during the Reformation (you can't have color in a Lutheran church damn it), but thankfully some of them have been restored from under the paint.

Finnish "Renaissance" Log Churches

Renaissance also didn't land in Finland similarly as it did rest of the Europe. When Renaissance was going on in Europe, they still were building those "Gothic" churches here. These log churches were based on Scandinavian version of the Renaissance church, but they didn't really look like Renaissance churches, and were kinda it's own thing continuing a lot of the aesthetics from those Gothic churches. This is a highly specific style, but I just think they are so cool and pretty? Like they really made a CUPOLA out of log.

Arts and Crafts Movement

Arts and Crafts Movement didn't have exactly a style, rather a design philosophy that was more important than specific style. There's of course a lot of stylistic similarities in the works of the different members of the Movement, because they had overlapping sources of inspiration and were influenced by each other, so we can think of it as a style. I could, have and will talk about them for hours, but briefly now: It was a moment in latter half of the 19th century and early 20th century and their goals were reviving craftsmanship skills and professions, socialism, opposing industrialism and abolishing the hierarchy between fine arts and applied arts. They were very much influenced by Medievalism and Gothic art and architecture, though unlike Gothic Revivalist, they took more from the guiding principles than the aesthetics. They basically started Modernism and lay ground to all the Modernist architecture's main principles, like form follows function.

Art Nouveau

Art Nouveau was directly influenced by the Arts and Crafts Movement and was the first mainstream Modernist style. I especially love the more toned down Finnish Art Nouveau, or Jugend as it's called here, but I do love the style more broadly too. I'm not that into those almost Baroque style versions of it though, with barely any straight lines. I love the round doors, the stylized floral patterns and the use of light.

Organic architecture

This has to be my favorite modernist/post-modernist (?) style. It's direct successor of Arts and Crafts movement and it's also more of a design principle than a unified style. There is some stylistic similarities, but it is stylistically very diverse philosophy. It was most prominent during the 20th century, but it always stayed in the sidelines, though there are still architects who might be considered practicing organic architecture. Organic architecture is all about living in harmony with nature, taking inspiration from it, designing the building to fit the building spot and the surroundings, extra care taken in to preserve the nature already there, and using local natural materials when possible. My favorite architects are Raili and Reima Pietilä, who were most prominent organic architects in Finland. (I almost moved into apartment designed by them, but it was in pretty bad condition, so it wouldn't have unfortunately been worth the price.)

Brutalism

I know it's not for everyone and it's not easy to make it work but when it works, it really does. It was born in 1950s during the reconstruction era. Brutalism is not just concrete though. The point is to show the raw materials and the structural elements. Technically a lot of Gothic and Arts and Crafts architecture is then brutalist. Timber frame architecture? Also brutalist. I'm only half joking, of course the style itself is also very bare and, well, brutal, but I love it for the same reasons. I really love bare textures of materials and exposing the materials of the structural elements. And I do actually really like the texture of concrete. Though I will say concrete is destroying our world and we should use it as little as possible. But we should also protect old buildings and keep using them rather than built new ones, so I feel fine admiring the old brutalist buildings. The best brutalist buildings combine materials very intentionally and make works of art with the light.

Bonus - Favorite contemporary architecture: Traditional methods

As we're living in the post-modern times, there's not really unified and specifiable styles or architectural ideologies anymore. They all kinda flow into each other and architects don't organize themselves into clear groups based on style and design philosophy. So it's hard to put into words the style I like in contemporary architecture. There's been growing interest in studying traditional structures and methods, learn from their sustainability and incorporate them into contemporary architecture. They are techniques that have been developed through trial and error on the span of centuries, so we really don't have to reinvent the wheel here. Traditional methods of a given area have also been developed for that area and it's climate, from the materials available there, so they also push us to use local materials. Typically these traditional structures are very simple, often made from solid material, which makes them easier to built without construction error (a huge problem in modern structures), and easier to fix and maintain, when inevitably there is issues. Also they are beautiful, definitely more so that steel and glass. I love solid brick structures, log structures, timber frames, natural stone, rammed earth and all of them, especially when these beautiful materials are left bare.

[aelfgyvaa]

Period Drama Costuming - a (ranty) review

I love period dramas. I watch them like my life depends on it, and as a result, I have Thoughts. Period dramas are arguably where costuming becomes most important - here, costume isn't solely a storytelling device, it's a reflection of the specific place and time in which the narrative is taking place. Sometimes it's done well. Sometimes it really - really - isn't.

It's reductive to try and make any sweeping, general rules about how costumes in period dramas should be done. Every show has its own tone and style, and this is important to consider. However, some productions can take this in... interesting directions. We can really only judge each attempt at historical costuming on an individual basis, which - spoiler alert - is exactly what I'm about to do. Below the cut, I've had a look at some bad costumes, some good costumes, and some that don't really seem to fit in either category.

DISCLAIMER!! - This is simply an opportunity for me to rant about something I have a lot of (subjective) Feelings™ about, and is in no way supposed to comment on the overall quality of any of the pieces discussed. I'm also NOT claiming to be an expert on this topic. There are lots of people on here who undoubtedly know more about this than me, and if you're one of them, I'd really love to hear your thoughts!!

The Bad

Reign (The CW, 2013-17)

I've just gotta get this one out of the way. I made it through an almost-entire season of Reign before the atrocity that is its costuming got the better of me. If you'd shown me photos from this show without telling me it's about Mary Queen of Scots, I couldn't have guessed what period this might be set in. Reign's costume designer has stated "I wanted gowns that kept some kind of Elizabethan element, whether it was a nipped waist and extreme silhouette, or if it had a bit of a medieval feel" and uh. Yeah. By and large, that didn't happen. From what I can tell, a somewhat historical silhouette does begin to appear in the show's final season, but at what cost?

Perhaps Reign wouldn't have been as bad if the dresses were at least nice to look at. Instead, they're generally reminiscent of prom dresses - the fabric looks cheap, and the details look so tacky that I can't even endorse the costuming for this show from an aesthetic standpoint. Sorry to any Reign fans out there, but this is almost certainly going to be my most scathing review of the lot.

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The Musketeers (BBC, 2014-16)

I love The Musketeers. I really do. But what the costume department was thinking - especially when it came to the women's costumes - I really have no idea. I mean, a Peter Pan collar?? On the Queen of France??? IN THE 1620S???? Truly something. Constance always looks like she only half-finished getting dressed that morning (why is her hair down. she's married.), and Anne sports some of the most outlandishly ridiculous collars I've ever seen. I don't even want to get into what Marie de' Medici is wearing. It's belts - as a necklace apparently! She also appears to be hiding some kind of gourd under her hair, but alas.

Yes, the men wear pleather. Yes, it does upset me.

The Musketeers' costumes perhaps wouldn't sting so badly if they didn't dress numerous background extras in significantly more accurate clothing. I've spent too much time watching this show and sighing in despair because Noblewoman Number 3 has a more accurate 1620s dress than the literal Queen.

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The Spanish Princess (Starz, 2019-20)

I haven't properly sat down to watch The Spanish Princess through to its conclusion yet, but I do intend to - when she's not fawning over Richard III, Philippa Gregory adaptations can still be good fun, despite having about as much historical authenticity as the Fiji mermaid.

Nevertheless, no one in this show seems aware of what time period they're in, with dress styles spanning from early 14th-century surcoats to some fairly Elizabethan-looking silhouettes. The fabric choices are all over the place, and similarly - although not quite as egregiously - to Reign, often don't even manage to look good. Even from a modern standpoint, this show is colour- and pattern-clash galore. There is also practically no layering whatsoever, with the dresses going on as single pieces without a panel in sight. Admittedly probably easier from a production standpoint, but still.

Don't even get me started on the headdresses. Weird, pudding-cap-esque padded crowns and tiny scraps of fabric like the ones seen on Mary Tudor (an attempt at a French hood? I shudder) are fairly constant, although I have spotted a few passable attempts at a Gable hood.

They do get points for giving Arthur Tudor a fuck ass bob. Thanks.

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The Buccaneers (Apple TV+, 2023-)

When I first started The Buccaneers and saw what its costuming had to offer, I audibly sighed. If you're a fan of visible back-lacing, cheap quality fabrics, and poorly fitting bodices, this is the show for you. The 1870s look is not a difficult one to emulate, and yet The Buccaneers fails rather miserably with its main characters, half of whom appear to be walking around in their underwear, with untied hair and single-layer dresses. Poor Nan only seems to own about two outfits that aren't visibly too big for her.

But by far the greatest crime committed by The Buccaneers' costume department comes in the decision to have multiple instances in which characters appear to be wearing corsets as tops. Yeah. I had a rough time with that one too. Mabel seems a particular victim of this - in both of the images above she looks as if she's been rushed out of the house before she got the chance to even button up her dress. A State of Affairs indeed.

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The Good

Becoming Elizabeth (Starz, 2022)

Although I was slightly underwhelmed with the execution of Becoming Elizabeth's story, this was absolutely overshadowed by its costuming, which is probably one of the most historically accurate depictions of Tudor clothing I've ever seen. With the same costume designer as Shardlake (which is also very well done - a big day for fans of Anthony Boyle's codpiece), it's remarkably clear how much research went into the pieces worn on this show, with some directly recreated from portraits, and others visibly inspired by surviving clothing from the period.

I won't pretend that Becoming Elizabeth's costuming is without flaws - I'm not a fan of Elizabeth's hunting/riding clothes, and she wears her hair down far too often (Catherine Parr appeared at times to have access to a Dyson Airwrap). However, the positives definitely outweigh any gripes I have. We have dressing scenes in which we see the separate layers and panels that comprised Tudor dresses, and the French hoods actually have hoods, as opposed to simply being the semi-circular headbands we see far too often. The royal women wear ermine fur on their sleeves, and I was also a fan of the jewellery.

The care that went into the costumes for Becoming Elizabeth is so clear - I truly wish I'd enjoyed the plot more, if just so that I could spend more time staring at those dresses.

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Emma. (Autumn de Wilde, 2020)

I adore Emma, and its costuming is honestly perhaps the biggest part of that love. The waistlines! The hairstyles! The bonnets! Emma's costumes are proof that you don't have to sacrifice historical accuracy for the sake of stylization - it's by far the most zany and colourful of any direct Austen adaptation, and yet its visuals remain strikingly faithful to the Regency period.

Like Becoming Elizabeth, many of the pieces worn in Emma bear a striking resemblance to surviving pieces and fashion plates from the era. The only problem I've noticed in this was the alarmingly strange detachable ruff-thing Emma is shown wearing in one scene, but frankly, it still manages to fit the tone of the piece.

I'm usually not a huge fan of the Regency fashion depicted on television - I find it rather dull - but the costumes in this movie are gorgeously distracting in every scene. Turns out historical accuracy actually can make things better - who knew!

Is this enough to make me forgive Alexandra Byrne for the costumes in Mary Queen of Scots (2018)?

No.

(I do not forgive ANYONE who worked on Mary Queen of Scots for making Mary Queen of Scots.)

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Firebrand (Karim Aïnouz, 2023)

Firebrand hasn't even been released outside of Cannes yet, and already I am so, so down with everything it's giving. This movie could end up being the dullest two hours of my life, but I'll still sing its praises for one very simple reason - CHIN. STRAPS.

THAT'S RIGHT FOLKS!! The French hoods FINALLY have chin straps!!!! It's only been in virtually every well-known painting of them ever, no big deal.

Although we only have one trailer and a few promo photos to go off of, the costumes in Firebrand look fantastic, with enough layers, fur, embroidery, and hoop skirts to keep me happy for perhaps the rest of my life. We'll see how the movie itself turns out, but it already has a lot going for it in my eyes.

Also shoutout to Henry VIII's absolutely manky leg ulcers in the trailer. That's what I like to see.

────────────

The Outliers

Right. Here is where the hypocrite accusations are about to come flying. But frankly, I said it myself at the start that every period piece deserves to be judged on an individual basis, and the tone and intention of each piece is important in how its costumes are perceived.

That being said, if you think any of the 'bad' costumes deserve to be in this section - maybe they should've tried not being ugly, idk.

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Bridgerton (Netflix, 2020-)

Bridgerton's excuse for its inaccuracy comes not from its lack of effort, but rather from its deliberate rejection of the historical narrative in any form whatsoever. We have two Real People™ in Queen Charlotte and King George III, but even their spin-off opens with a disclaimer that their story will be utterly fictional. Bridgerton does not present an issue like some of the other pieces on this list because it is actively opposed to being historically accurate to a degree that few other period pieces have arguably ever achieved.

Literally nothing about Bridgerton is consistent with history, so it does not disappoint when its costumes aren't either. The clothing does take visible inspiration from the Regency silhouette, but even then it is not consistent, with Queen Charlotte's costumes still firmly Georgian-esque (and honestly, marvellous wigs aside, they're not... bad?). Bridgerton is a historical fantasy before it's a historical drama, and as such it's easy to just sit back and enjoy the costumes for what they are - even when what they are is garish.

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The Great (Hulu, 2020-23)

The Great is first and foremost a dark comedy, not a historical piece. Yes, Catherine the Great and Peter III were real people, and yes, much like in the show, Catherine did overthrow her husband in real life, too. But the similarities end here, as none of the characters in The Great have any intention of resembling their real-life counterparts.

Set roughly in the 1740s, the costumes in The Great are clearly far from reality, but they still resemble the silhouettes we know and recognise as 18th Century. The show is a satirical means of poking fun at the opulent aristocracy, and as such every costume conveys a distinct appearance of luxury. Every single item of clothing worn by the nobility looks absurdly expensive, and the exaggerated ridiculousness of many of the looks we see onscreen are an intentional way of conveying how utterly disconnected the people at court are from reality. From Peter's leopard skin jacket to ladies wearing powdered wigs as hats, The Great's costuming is purposefully elevated from its historical source material, and that is precisely what makes it so good.

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The Favourite (Yorgos Lanthimos, 2018)

Sandy Powell's work on The Favourite is perhaps one of my all-time favourite pieces of costuming. Similarly to The Great, The Favourite utilises clearly recognisable aspects of 18th-century fashion - with ermine fur trim, half-length sleeves, and periwigs - but stylised so that everything conforms to a solidly black and white colour palate.

The Favourite's costumes are gorgeous and evocative of their time period - with well-portrayed mantuas, riding habits, fontanges etc. - all while conforming to Lanthimos' characteristically off-beat style. The shared colour palate really puts the three leads on equal footing in a visual sense, which is key in exploring the relationships that Abigail and Sarah are able to manipulate Queen Anne into developing. Had the colours and fabrics been historically accurate, I believe the movie would have risked making Anne too visibly above the rest of her court, but the striking congruence among the cast successfully solidifies their ability to exploit one another, regardless of status.

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I don't know if there are any conclusions to be drawn from this, I just love talking. If you've made it this far - thank you for reading! I hope you found at least some of this interesting.

I'm always open and eager to discuss this topic, so please do let me know your thoughts - What are your favourite period drama costumes? What piece of costuming made you go OH JESUS WHAT IS THAT???

Anyway, thank you for going down this little rabbit hole with me - my asks are always open! <3

[isfjmel-phleg]

Vacation adventures, a summary

Stayed with my friend whom I hadn't seen in three years. She is amazing and I can't believe that a) she's a real person and b) she is in fact voluntarily friends with me, even after all this time.

Made it on to the commuter train despite both of us sleeping through our alarms. We were stuck in the vicinity of a woman who was bent on loudly telling the world the Painful Story of Her Life, but still. a train! It was exciting.

Took the subway to our destination and emerged into Historic City, which is beautiful. Flowers on the lampposts. Buildings with character. We wandered through parks and gardens and saw statuary and geese and absorbed atmosphere.

Went to the public library, which is full of murals and has a courtyard with a fountain. Imagine working in a library like that.

Went to two art musuems (one with an unattainable beautiful courtyard, an image which has been following me through life) and wore our legs out wandering among wonders. I got to see the Little Dancer, which made my younger self very happy.

Went to church with my friend and survived a social event she had to go to with church people. It went better than I thought; they actually said more to me in an evening than most people at the church I currently go to have in over a year and a half.

Went to a vintage-style dress shop and bought a dress with a book print.

Ate lemon curd ice cream with lemon bars in it while looking out over the water near a picturesque town.

Watched three movie versions of Little Women over two nights and critiqued them as prepration for when we...

Went to Orchard House. Fantastic experience, loved getting to know more about the Alcotts through this tangible means. We also drove past some other houses in Concord where they lived.

Bought sandwiches and had a lowkey picnic near the town visitor center.

Went to a charming used bookstore where, when I told the lady that I was buying a map as a gift for my dad in a faraway city, she took the trouble to find a flattened box to encase the map in for travel. (There were a lot of nice people in this area.)

Tracked down the Alcott family's gravesite and left a pencil on Louisa's headstone alongside the many other pens and pencils left there.

Tried to go to Walden Pond but it was too happening a place for any more people to be let through. Maybe next time. But the surrounding area and what I could see through the trees was gorgeous.

Prowled my friend's town while she was at work. The library is so very grand for such a small place, and there's a lovely lake too.

Took a bus on a whim despite the lack of a clearly marked bus stop and went to a bookstore in another town.

Went to another bookstore in the afternoon and sat outside reading until my friend got off work and I walked to meet up with her.

Explored the pond that contains deep below its surface an animatronic white whale leftover from a long-defunct amusement park. The whale isn't visible, of course, but we found the tracks used to move an animatronic rhinoceros that was part of the ride, and the ramp that was used to launch the whale into the water. It was like extremely hands-off archaeology, if archaeology consisted of hoping you'll bump into relics of the past with no effort (the pond is in an office park, and we didn't want to get in trouble for meddling with the property).

Took the bus again and went to a comics shop and raised comment by systematically going through an enormous unsorted $1 bin for literally hours. Worth it.

Took my friend to dinner at an Italian place built into the side of a hill with no apparent parking space and a grand total of three dining tables inside. The food was delicious.

Talked a lot, listened a lot, hugged a lot. I haven't been so not stressed out or not simmeringly angry in a long time. It was very refreshing and exactly what I needed and I am so glad and grateful that it worked out.

[ak319]

Unveil

(Gp actress x fem reader)

(Scene# 01)

(your name is Fairoz in the story)

Aman Dagon, the enigmatic, handsome and alluring actress that everyone drooled on. Who wouldn't? Her tall height, black soft, silky hair that one desired to touch, including her co-stars but her cold and mysterious personality intimidated them not to. She was famous for her villain roles especially the ones in which she was in a historical drama playing a distraught, arcane yet passionate lover oh, and how can we forget her iconic mafia lady role. It was her debut role that caused the wave of enchantment among women and men. People also know about her softer side for the heroines as she always acted gentlewomanly around them. This caused her female fans to fall in love with her more. She was always surrounded by paparazzi and everyone wanted to know more about her personal life. Her family owned many different businesses which she also took care of when she was not busy doing movies or dramas.

People were more than shocked when they found out that she was engaged. It all started when a fan made a TikTok about a ring on her finger that seemed different from her usual style and that she began to wear on more than one occasion. The internet went wild and even though her PR team was ecstatic to see that, they were tired of seeing and trying to control baseless and atrocious articles. It was after a month that the team was finally instructed by Aman to confirm that she was engaged. Aman didn't have any socials, which had made her fans more agitated as they had little source material to do research from. People were already jealous at her wife and few were genuinely happy for her. Even her co-stars were shocked as Aman's behavior didn't give the slightest hint about her engagement.

The real truth was that this marriage was hell, to begin with.

(2 months ago)

"Aman ma'am -- what? I mean didn't we already decided the amount to be 5 million? How come you are changing this now?" The director, Usama looked at Aman stunned.

"Mhmm , so you are saying you can't do it? Is that it?" Her deep voice , although calm , still sent chills down Usama's back. Not to forget her father was quite influential in entertainment industry.

"I am - sorry but yes , the contract had been signed prior , you remember right?."

"Do you know I can buy this company of yours and actually don't want your money . I didn't have any interest in doing this movie too but .....I did not do it for money or any of your shit." Yes , this is how she talked when she was annoyed . Her die hard fans would refuse to believe that she can be this egoistic but she was , and she was good at hiding it as well.

"But you do know if I sue you for forging a fake contract and paying me less , you will loose everything ....not to mentions my fans , they will make sure you can't do shit after this. So , all of this can be avoided if you hand me over , oops , haha. I meant , give me the hand of that girl you brought on set one day to me in marriage."

Mr. Usama nearly fainted right there. The girl she just talked about was her niece who was still in college. He couldn't believe his ears. Marriage of Fairoz to a woman like her, this is ...a nightmare.

"Earth to my favorite director" Aman snapped her slender fingers in front of his face, startling him. " I know it's hard to digest. That's why I will give you some time to decide and discuss this with your family and by that I mean ......a date for our engagement pronto.."

"She is my niece and what you are asking for is---I am sorry but --not possible."

"Not possible? Mhm. it has been forever since I have heard that word. Or you can say I am not used to hearing it ." She paused to let out a sarcastic chuckle. " Let me give you even a better one, I hate when people say it to me." Making the man gulp with her slow steps cornering him, she continued "I don't get what is impossible about a marriage? Isn't that the best thing you can get in your whole life? Me as your niece's wife. Pft. Never knew you to be so ungrateful."

Usama pondered over her words . Maybe she is right. What if she is a bit arrogant , that is a pitfall of being in the industry. 90 percent of people Usama had worked with are like her. If only focusing on the pros momentarily , the proffer doesn't sound terrible. Especially in the long term. Fairoz , if this goes well , may live a fruitful life. Just like her parents wanted and if Aman is proposing herself that must mean that she likes his niece.

Heaving a breath in , the words "I'll have a talk with my family . Sure." flowed from his lips which made the taller woman smirk.

"I am looking forward to a cordial response." Usama very well knew that she definitely won't take anything other than a cordial answer anyways.

Little did Aman know that the girl she was probing after would change her life in ways she hadn't had the slightest inkling about.

Unveil part 2

[answrs]

( an attempt at fluff(?) - i hope things get better or at least easier for you soon. virtual hugs, remember that you've got a lot of people in your corner <3 )

Ingo writes a book when he's in Hisui.

Okay, wait. It's not really a book, and he didn't really write it, he would object. It's more of a very very long pamphlet, and he got a lot of help from Zisu and the Survey Corps. It was written for them, after all: it's a primer on how to befriend, train, and raise Pokémon, for the Security Corps and the rest of the Galaxy Team and really anyone else who wants to learn, because he doesn't have time to teach everyone directly but he so badly wants as many people as possible to have the chance to learn.

So it takes a while to put together—not just all of the information, but presenting it well, with graphs and diagrams so that even people who can't read, or can't read the language it's presented in (which is a fair amount of Jubilife tbh) can still get something out of it. Rei and Akari help him make some copies, even, so more than one person can look at them at once.

And then, when he's just about finished—so before he has the chance to see how it's received—he goes home.

To Unova. And he's happy! His memory is still pretty fuzzy, but he knows for certain that this is where he wants to—where he should be, even. It just feels right. But that doesn't mean it isn't also bittersweet, leaving his home of so many years in Hisui behind.

But when he gets back home—to the one he couldn't remember but missed anyway—he finds a book waiting for him on a table.

It's pretty worn-out, like the owner has read through it quite a few times, and he sort of recognizes it, however vaguely. It's a book about Pokémon training and strategy, so old it's nearly out-of-date by this point (if the topic weren't so universally consistent, anyway) but it's still interesting to read, and the foundation is solid, so it's one of the first books he—they picked up. When they were just starting out as Trainers.

And the foreword, written by a modern-day scholar, confirms what he remembers: this is a very old book, that's survived in modern times mostly by virtue of the fact that it was so widely read and copied and (later) translated and added to. There are definitely better references today even for beginners, and most of its value is historical, records of old training methods and "move styles" and an insight into how people of the past viewed Pokémon and... wait a minute.

This is his book. As in, it's the one he wrote.

It doesn't take long, flipping through it, to confirm. Oh sure, some details have been lost in translation or edited out, and there's newer commentary in a few places, but the structure is so familiar that there's no other explanation. He really hadn't expected it to be anything other than a reference for a few people in Jubilife, maybe something a Ginkgo Guild member took with them once if he was lucky—but now, so, so many years later, it's been passed on and reprinted and rewritten and translated into so many languages—because he was right. People and Pokémon were meant to work together, and that one wish of his resonated with enough people that now it's almost impossible to imagine the world working any other way. And this little book (not even really a book, at first) made it all the way around the world and back to him, without him even realizing.

But it's weird—the note at the front also mentions an afterword, and he doesn't remember writing one of those. And it does say that it does seem to be from a different source than the author of the rest of the book (clearly passionate, but elusive in the text itself, a fact which is apparently deeply frustrating to historians, whoops-) but also doesn't talk about it as if it's a later addition from another copier, either. It might have been written by many different people, it says, and there's even been some conflict over whether it should be included in reprints at all, but most people have apparently come to the conclusion that it should be treated as another part of the original book and kept in.

So he flips to the back, to see... and realizes almost immediately what it is.

Just in case you need telling again, because I’m sure you will—you take care of yourself out there. Then we can all rest easy. Our ‘dex is missing a valuable contributor—and ourselves, a good friend—but I’m certain that your destination, as it were, has been dearly missing you for long enough already! And so long as this testament to our shared work lives on, we are never truly gone from each other. I told you I’d keep an eye out for you, whenever I leave, and I’m still doing that. But just in case we don’t wind up with the same home after all, and this does get to you, I wanted to say thanks again. For guiding me, and listening, and helping even when you didn’t need to. It helped a lot. We figured out how to do that thunder barrier thing you were talking about the day after you left, and I’m really mad that you didn’t see it. So you’d better at least be reading this! Oh yeah, and thanks for all the advice. But mostly, I’m really glad that stupid barrier trick didn’t end up in this copy, because if I can’t show you I should at least get to brag to everyone else, and I can’t do that if everyone knows about it. The highlands are doing just fine. Just in case you thought we needed you! My own capable hands are more than enough!

They're... goodbyes. Not just from the other people who worked on the book, but from... everyone. Who, like him, had no way of knowing where this book would go once it left Jubilife—but took the chance anyway, sending these notes on their way to be read and reread a thousand times by a thousand hands... to find him again. As a physical goodbye—not as ephemeral as words or memories, but something able to persist.

But then, if they'd gotten even his fellow highlands warden to leave his own note, what was this last one that was so much longer than the rest...?

Any meeting in this vast world is something to be grateful for, but I am more grateful for one than most. The fullness of our space and time has more potential than I ever dreamed, and I do not know if my eyes would have opened were you not there for those first steps. Dear warden, friend, and guide, on behalf of all of us—I hope you were able to call us your home, at least for a while. And the almighty knows we have asked more than our fair share already, but if we may make one last selfish request of you—

…ah.

—please, for all of us, be happy.

AASDFHJKLCMIASCNNGHHHH SWIFT ;O; IM BLUBBERING IT'S SO GOOD AND SWEET AND GAAH MY HEART. LEAVING THE MESSAGES DESPITE NOT KNOWING WHO IT'S FOR, EVEN WHEN IT WAS FOR, BUT THEIR WORDS SURVIVING THROUGH THE AGES PASSED DOWN FROM TRAINER TO TRAINER AND SPREAD ACROSS THE WORLD IN SO MANY LANGUAGES. AND IT'S NOT A MESSAGE OF MOURNING BUT A MESSAGE OF H O P E, AND I JUST.

MY HEART

[dr3smile]

This is gonna be a very long post and I'm sorry for it.

The reason why so many people are comfortable talking like this about Daniel is because of Zac, Andrea, Jenson, and all the 'big names' that openly and harshly criticized Daniel.

The moment Zac started trash talking Daniel in front of the media he opened the door to the nasty and jealous assholes to follow in his steps.

You don't hear anybody from Alfa Romeo taking about Bottas the way Zac talked about Daniel, I don't remember anybody from Alpine trash talking Fernando every time he DNFed, and he did a lot, or when he refused to do PR or him not being able to win even though he's a 2 time world champion.

Nobody is criticizing Nico because no one at Haas said a word about his performance.

It all started with Zac and Andrea, after that the boundaries that exist between criticizing a driver for not being good and publicly harassing and insulting a human being that you don't know we're broken.

I'm a huge DR3 fan and I can admit that Daniel didn't perform as expected while he was at McLaren but to put the blame solely on him is ridiculous for the simple fact that if he was the problem McLaren now would've been fighting for 4th in the championship not for p17. They've been having problems since Jenson and Fernando, then they had one ray of hope when Carlos got his first podium with them and thought that they are now back at being the historical team they once were completely ignoring that they need to rebuild the whole team from scratch, and instead they laid all of theirs and their fans unrealistic expectations on Daniel, who just drove for Renault and put them higher in that season's championship.

Daniel become then the face of the team, promises were made by Zac and Andrea but instead of backing him up and giving him a car that fitted his style to give him a chance to show his abilities they fucked him up.

One thing that Daniel is and will always be known for is his late breaking yet his car at McLaren not only was not adequate but it penalised him every time he broke later making him go slower. So people started saying 'oh Daniel Ricciardo is exposed because he can't adapt to a new car' but how can someone change their entire composition, mentality and a decade of knowledge on how to drive fast cars that are able to win 7 Grand Prix and multiple podiums? Isn't it the job of a team to follow the style of their drivers? Yes drivers have to adapt but to demand a full 180 from someone because you're not arsed to changes is delusional.

So in conclusion is not that people have more faith in Nico and believe that he's somehow better than Daniel is that so far no one from Haas have yet giving them a reason or the permission to criticise him.

I hope this makes sense and apologize for any mistakes but English isn't my first language.

OMG Thankyou for this. This explains everything so well. You put everything into words I couldn’t come up with.

The whole braking thing at Mclaren is still an issue to this day so it’s clear they didn’t take any feedback Daniel gave them into action. They just blamed it all on him. Who are they going to blame this season? They’re not going to blame the golden child and they can’t blame a rookie. It has to fall on management.

[unholyverse]

waterparks // alternative press spring 2023

(full article text under the cut:)

TO THE MOON

With their new album INTELLECTUAL PROPERTY, WATERPARKS are diving deeper than ever before. The result is an exorcism of deep trauma and the sweet afterglow of catharsis.

STORY: Alessandro DeCaro • PHOTOS: Jawn Rocha • Styling: Josh Madden

Between international flights, jet lag and no days off in between, it is a miracle that Awsten Knight isn’t face down in a pile of pillows. For the past two weeks, Knight and his band Waterparks have been head down in a run of massive shows throughout the U.K. supporting British rockers You Me At Six as well as a series of intimate appearances at record stores with some of the band’s most die-hard fans. It was a landmark run for a group who have hit the road relentlessly the past year-and-a-half, with sold-out North American and European headlining tours, a top slot at the 2022 Sad Summer Festival and even a “bucket list” opening slot for My Chemical Romance. Their latest milestone? They played to 10,000 people — their largest show in the U.K. region — at London’s historic Alexandra Palace. Exhaustion should be Knight's baseline, but instead, he's as chipper as ever when he hops on Zoom back home in Los Angeles. There's only one problem. The bandleader has been on vocal rest for days leading up to this very interview.

“Dude, my voice feels so shot,” Knight confesses from his living room couch. “We did 12 performances back to back, then combined with really short cut-up sleep on the flight, 1 just feel, ugh.” Sleep deprivation aside, Knight is almost at a loss for words (not from the vocal rest) but because the experimental pop trio he formed 12 years ago have unlocked another level of fandom where new listeners are still flocking by the droves. “It turns out there are a lot of people [in this world].” Knight quips, referring to his newfound fans. But in reality, global domination doesn’t really seem too far off.

Knight barely has time to slow down. The band are set to release their fifth studio album, INTELLECTUAL PROPERTY (out April 14 via Fueled By Ramen). But the self-professed workaholic has never known any other way. “It's a really hard mentality to shake,” Knight reveals. “When we were a local band, we didn't have any family connections in the music industry, and no one cared, so you had to take on every role. Even though we are not local anymore and get to play arenas with our favorite bands, if I'm not actively doing stuff to push the music, then I don’t know if anyone else will."

In some ways, Knight fears downtime or stillness because that's when he feels like his brain will start to turn on him. He admittedly functions better when he's working on something creative, whether that’s writing a new song or simply designing streetwear for his clothing brand hii-def. “It's not necessarily the most healthy thing in the long run, but people have worse coping mechanisms,” he laughs nervously.

But Waterparks remain his main focus. The trio, which initially formed in 2011, began to truly put the pieces together the following year when Knight enlisted his now-best friends, guitarist Geoff Wigington and drummer Otto Wood, to round out the lineup. “Otto loved classic rock and bands like La Dispute and Touché Amoré, whereas Geoff was all about EDM," Knight recalls. “We all had different tastes, but at the core of it, it's guitar and drums.” Their individual musical backgrounds helped craft the genre-less sound they have now cultivated.

"THE BIGGEST REASON I didn’t want that pop-punk label is that I know exactly what we are capable of." - AWSTEN KNIGHT

It wasn't until 2016 when Waterparks finally released their debut album, Double Dare — an intentional choice. “I always felt like if no one was looking at us, why put out a large body of work? I wanted to do cool shit as opposed to oversaturating and waiting until enough people [actually] wanted to hear it.” There is a common adage that you have your entire life to write your first record and six months to write your second, to which Knight agrees, and from there, the band began making records like clockwork.

With those albums came carefully curated eras — a moment in time with a clear aesthetic, theme and overall mission statement. While always writing music from a subversive and experimental perspective, it was when the band released both FANDOM (2019) and Greatest Hits (2021) that they began to stray from the confinement of genre and inaccurate labels. Knight himself spoke out vehemently about being boxed in by the term “pop punk. “I learned [during that time that] you can’t control everybody, and you can only frame the narrative so much,” Knight explains. “Obviously, we grew up loving and still loving blink-182, Green Day, Sum 41 and Good Charlotte, so it’s in our DNA to a degree, but I just don't want that label because it’s so synonymous with the past and what cynical dickheads or mega naysayers say is just for preteens and kids. However, the biggest reason I didn’t want that label is that I know [exactly] what we are capable of and what our output is.”

Take, for example, the breakbeat madness of the FANDOM single “Turbulent” or the distorted experimentation of “Numb” from Greatest Hits. Nothing is off the table for Waterparks. The group join a cohort of other trailblazing acts like Bring Me the Horizon and Paramore, who both successfully pivoted away from the late Warped Tour circuit in favor of mainstream appeal without losing any substance. “There's a song for everybody, and I once tweeted that anyone who doesn't like Waterparks just doesn't like Waterparks yet,” Knight says confidently.

If you have yet to be on board with the band's music, you've at the very least been entertained by — or seen — Knight's fiery social media presence.

It's undeniable that Waterparks’ meteoric rise has stemmed from the bandleader’s unofficial side hustle as a social media celebrity. And at times, his online presence can feel truly monolithic in scale, something Knight has attempted to analyze over the years in many songs, including the aptly titled “You'd Be Paranoid Too (If Everyone Was Out To Get You)" When asked if his status as an extremely online figure has influenced the band’s latest album, INTELLECTUAL PROPERTY, Knight isn't entirely sure but reveals that he has had to set boundaries nonetheless, as someone who's regularly met with constant praise and vicious internet trolls. “I try not to let it influence things too much [lately], and with therapy, I've learned that you can only control yourself. However, that doesn’t mean I'm not still vulnerable in the music that I write.”

He tackles the subject on INTELLECTUAL PROPERTY with closer "A NIGHT OUT ON EARTH" and parts of the song “RITUAL,” where he recalls when he felt things were “caving in" around him due to the pressures of constant attention. “There are people who listen to Waterparks who aren't on Twitter. and then there are those who view the band in this bubble where it's just them and the people who reply to the tweets,” Knight resigns.

But beyond the topic of social media, Knight gets admittedly “introspective” on the record. When asked to discuss the overall lyrical themes and concepts behind INTELLECTUAL PROPERTY, he takes a deep breath and delivers a warning: Things might get a little turbulent.

“There is a love story throughout the record that is expressive to and for other people, but the album itself has to do with overcoming, unlearning and growing past religious guilt,” Knight explains. “It's something that I've struggled with for a long time.” On “FUNERAL GREY," he delivers the punchy line “baptized in my spit,” which is a playful twist on a weighted subject. The theme of religious guilt doesn’t just apply to the overall lyrics of the record but also extends to the album's striking cover art, which at first glance appears to be an image of a blue frog over a red backdrop; in actuality, it possesses a much more poignant meaning.

“Frogs have always been one of my favorite animals,” Knight reflects. “However, when I learned that frogs were seen as dirty and unclean in a biblical context, it was interesting to me that something that I saw as so good, natural and beautiful could also be seen as a bad thing through a biblical lens.” In other words, the concept of shame plagued the charismatic bandleader for as long as he can remember, and INTELLECTUAL PROPERTY was the moment for Knight to finally face his trauma head-on and “come to terms with himself” once and for all. That explains why a majority of the new songs possess “hypersexualized” energy — a conscious rebellion against a conservative past. “Growing up in church, you're taught that everything is so wrong and bad. I always felt like shit, so [this album] is the breakaway from that specifically.”

By overcoming his religious guilt, Knight was able to tap into an evolved sense of self-worth that he’s since applied to his very own love life, which he details on the album's stripped-down ballad “CLOSER.” “My concept of love has changed throughout the years, and that song is about [looking at the past] and realizing that when I was younger, it was maybe more of an obsession. Now I'm taking it apart and learning more about love and the way I present the current version of myself to other people.” Inversely, there is the alt-radio-ready anthem “BRAINWASHED,” where Knight admits that he still wrestles with the idea of true love, constantly making sure that he’s not just wrapped up in the “honeymoon phase.” Knight jokes that this track and “FUCK ABOUT IT” which features a guest vocal spot from blackbear, are “polar opposites,” as the latter couldn't be further from the “hyperfixation” he details in “BRAINWASHED.," once again proving that he feels the most comfortable when inserting juxtaposition wherever he can.

"I've learned that you can ONLY CONTROL YOURSELF. However, that doesn’t mean I'm not still vulnerable in the music that I write." - AWSTEN KNIGHT

Beyond the emotional clarity that Knight gained during the creation of INTELLECTUAL PROPERTY, it's the album's sonic risks and exploration that he is the most fired up about. Though Knight wanted the band to return to their more guitar-driven and organic roots for certain parts of the LP, much of the record ventures into eclectic territory, with hyperpop, trap, synthwave and even subtle elements of hard rock and nu metal. “RITUAL, ‘A NIGHT OUT ON EARTH, ‘REAL SUPER DARK’ and ‘ST*RFUCKER' are the craziest instrumentals we have done ever,” Knight exclaims. “I love the idea of taking something like a guitar or my voice and making it sound entirely like something else” “A NIGHT OUT ON EARTH,” however, is what Knight describes as “the biggest production flex,” and it most definitely shows. “There's fucking elephant sounds in there and weird Batman villain-sounding horns — it's evil and heavy, and not to mention, the outro is just game over,” he says.

Beyond production, Knight pushes his voice and stretches the idea of what constitutes a strong hook on INTELLECTUAL PROPERTY. With “END OF THE WATER (FEEL),” Knight is at his most “bombastic,” in a “cartoon-like” state, weaving falsetto melodies that are meant to shock. “I always make a mental note when I hear a song that makes me go…" He pauses, imitating an explosion. “For me, that's when I hear some high-ass vocals that I'm not expecting.” Even on the first day of demoing “END OF THE WATER (FEEL)” in his home studio, Knight was already so confident in the song that he called longtime producer and collaborator Zakk Cervini and “essentially” forced him to come over to his house right then to help finish it. “I also want the record to show that I had a mustache [during this time], too,” Knight laughs.

With collaboration on the brain, Knight is the first to admit that for many years, he was precious about his art and was hesitant to work with others. However, during the COVID-19 pandemic and quarantine, Knight changed his mind, which was evident on Waterparks’ previous album, Greatest Hits. This time around, Knight, who's an outspoken fan of the U.K. boy band One Direction, finally got a chance to live out one of his dreams by working with esteemed songwriter Julian Bunetta, who co-wrote beloved One Direction classics like “Olivia,” “Infinity” and “Best Song Ever,” among others. “I flew to [Julian's] place in Nashville, and we ended up making five songs together, two of them being ‘FUNERAL GREY" and ‘BRAINWASHED,” Knight recalls. And while he still plans to keep the majority of his music close to his chest long term, he won't rule anything out. Knight would undoubtedly jump at the chance to work with everyone from Post Malone and Damon Albarn to Donald Glover and Toby Keith.

"I'd rather make the coolest f*cking thing, RATHER THAN HOLD BACK and make something that wasn't that good." -AWSTEN KNIGHT

Now, with the band's new LP incoming, there raises the question: Does Knight feel a sense of relief after both exorcising his deepest traumas and inviting listeners on his journey to self- discovery? "I still feel pressure with it," Knight concedes. “It would be a lot easier if only strangers heard this, but everyone in my whole fucking life is going to hear this album, so that's what makes it strange." But he's never let any awkwardness or controversy hinder the artistic output. "I wasn't not in trouble when I put out a song like [2018's] 'TANTRUM' where I listed a bunch of dudes I wanted to kill, calling out by name," Knight acknowledges. Though his lyrical choices have sometimes resulted in strong reactions, even within his close circle of friends, Knight can't help but accept that he is meant to be unapologetic. "At the end of the day, I'd rather make the coolest fucking thing, rather than hold back and make something that wasn't that good."

Pressures of lyrical vulnerability and transparency aside, INTELLECTUAL PROPERTY is Knight's attempt to "normalize” the catharsis he finds within songwriting, which ties into the album title itself. "Intellectual property is the mental space you give to something in your head. The 'property' may be the thing that you are struggling with. By materializing it and giving it its own world, it's actually a great way to express it and then, eventually, expel it,” he explains. "I want this album to go to the fucking moon." ALT

[sapphire-weapon]

I just wanted to say that as a person in their early 20s who only just got into resident evil after re8, it was so fun finding your blog and scrolling through all the little blurbs you’ve got. fandom elders always have the best resources and lore and make spaces a million times better, so thank u for mentioning all the little game details and fandom notes that would’ve been forgotten or missed otherwise to newcomers!!

on another note, i wanted to ask if you had any amusing/chaotic tidbits relating to the re fandom in its earlier days, whether it be speculations of scenes or character directions or interactions that people were so sure were going to happen in later re games that absolutely did not happen, fics that were really influential, insane fanwar stories, memes that used to be rlly prolific and now don’t really come up, etc. it’s something i love to discover about fandoms because it rlly is a “you had to be there,” type of information that people don’t document the way they would with canon developments that you can easily find on wikipages

Anon... I'm gonna fucking cry. 😭 This is exactly what I wanted this blog to become once I realized I was falling back into RE hell. Anything that I can do to make this canon more accessible to new people, I want to do it. I think I've said this before, but I literally cannot imagine what it must be like getting into this series this late in the game, because RE is terrifyingly huge and abstract and very old by video game standards.

As for the second part of your ask... Man, I have so many stories. I won't tell all of them, because if I try to, it'll be weeks before I can post this LMAO so let me just break this up into sections and I'll tell whatever the first stories that pop into my head are.

FAN THEORIES

So, historically, RE fandom was never big on fan theories. Fan theories and meta were something that Silent Hill people did, not so much RE people.

BUT there is one that refuses to die, and I have seen people scream about it as recently as Revelations 2.

People are convinced that Steve Burnside is going to come back. This drum has been getting banged ever since the original Code Veronica released in 2000, and even though it has literally never been hinted at at any point in the 23 years since then that Capcom even remembers that that was a possible thing that was set up, the fandom is still waiting for it to happen.

And it's all because Wesker stole his body and fucked off with it and was a complete asshole about it when he did it. That's it, that's the whole reason.

But then that also ties into the fact that there are still people who are convinced that Wesker didn't actually die in RE5 and that he's gonna come back any day now, guys, really -- and that's just a whole level of death denial I've never seen before. Dude got hit with two rocket launchers in the middle of an active volcano. YOU LITERALLY DO NOT GET MORE DEAD THAN THAT.

INFLUENTIAL FICS

Surprisingly, none. RE didn't have an "I Know What's Beneath the Snow Fields" or a "Walk This World." There were influential authors, though. I won't name them because I have no idea where they are now or if they're still around, but. I will say that there was one very influential fic writer in Cleon fandom who utilized literally so many headcanons in her fics that her characters were utterly unrecognizable. Some of the headcanons blatantly contradicted canon, even. But her writing style and her prose were so, so, so fucking good that it didn't matter. For a while, Cleon fandom almost became like a cult around her fics -- and, as someone who only dabbled in Cleon because my friends shipped it, but I had no personal stake in the ship myself -- it was really, really weird to watch this go down.

INSANE FAN WAR STORIES

I was going to go off on a huge thing about the Aeon vs Cleon wars, but seeing as how they're still fucking happening for some god forsaken dumbass reason, I decided not to.

So, we'll forget that. And while this isn't a war story, exactly, I do need to give a special shoutout to the Wesker wives of old.

If you are at all familiar with the stories of old school Final Fantasy VII fandom of girls who convinced themselves that they married Sephiroth on the astral plane -- guess what. RE fandom had those girls, too, and we called them Wesker wives.

There was one really prominent one on LiveJournal back in the day who used to get art commissioned of her and Wesker together, and she would post pictures of herself "in uniform" for him, and like. Would legitimately write as though she was actually married to the fictional character Albert Wesker. She'd answer questions from people and shit.

And she was really, really pretty, so everyone was just kind of stunned by this, because this girl very clearly took care of herself and worked out and knew how to do her hair and makeup -- she always looked really good -- and it was just like... how did someone like you fall so far off the reality wagon?

And then it slowly started to come out that she maybe had some nazi ideology behind her and kept referring to Wesker has her Aryan king or someshit, and that was about the point where my Jewish ass backed away from that whole trainwreck and stopped paying attention to it, so I don't actually know how this story ends.

MEMES

So, uh. If you've been on the fandom side of the internet long enough, you'll at least have heard of the "it's over 9000" meme, even if you're not into Dragon Ball or ever seen an episode of it in your life.

Well, the same guy who started that meme also left his mark on RE fandom, too. The whole "Jill sandwich" thing was always a meme in its own right, but "Hope this is not Chris's blood" was added onto it thanks to this video. So, "Hope this is not Chris's blood" was a big, big meme in the late aughts that I really don't see around anymore. It was used as a sort of... shitpost response to a shitpost, if that makes sense? Like, your friend sends you some obviously stupid bullcrap or a dumb meme and you just respond back "hope this is not chris's blood."

This cap from Code Veronica was a huge meme for a long time, too, and I DO NOT FUCKING KNOW WHY

And then.

There was this masterpiece. Do not watch this with other people in the room unless your willingness to let others bear witness to your own cringe is very high. It's also NSFW. And, actually, this video might be the single oldest meme in RE fandom history. The YT link I provided here is not the original source of it. It was some stupid fan edit that was making its rounds on Kazaa, and I'm not joking. I want to say this edit is no younger than OG RE2 (so 1998).

And I would negligent in my duties as a fandom historian if I did not introduce you to the glory that is Resident Evil 4 Days of Our Lives. I STILL QUOTE THIS SHIT, TO THIS DAY.

Like, this is me on plurk referencing this stupid fucking shit as I'm liveplurking my very first playthrough of RE4R:

There was a part of me that was honestly kind of upset when the two cops at the beginning of RE4make didn't actually say to Leon, "I hear no one listens to you. Is that true, Captain Cubscout?" because that is unironically the single greatest line of dialogue that was ever written to be said by any character to Leon Kennedy, and it was written by some fuckin college kids back in the mid aughts.

And that's all I can think of for right now.

Thank u for indulging my old person desire to ramble on about "BACK IN MY DAY........." I appreciate u.

ETA: ok like i know i said i was only gonna mention shit that i could think of at the time that i responded to the ask but there is one more meme that i would be remiss to not mention

[serious-ancient-slavery]

This the cover of the first part of my slave-trilogy, a historic fantasy, transmitting the past to the present. You can get it for your e-reader on Amazon for just $7,99. The preface, containing my ideas about the apparent attractiveness of old style slavery in film and fiction, and about the conception of my novel, you can read there for free. From now on, I will regularly publish the next few paragraphs from the text of that preface here each time. If you don't want to wait for that, you can go to Amazon for the rest of it straight away, as for the book itself.

PREFACE TO THE HORNY AND EXCITED READER

EPISODE 1

Slavery.

It is one of the great taboos in (at least western) present society: slavery, the dreaming of slavery.

Although slavery, human bondage, the fact that some people are the propriety of others, since ancient times for centuries had been inherent to nearly all cultures, and especially the higher developed ones, it nowadays is regarded as the absolute opposite of the fundamental values of modernity, based on the 18th-century Enlightenment: that all men are created free and equal.

To nearly nothing therefore the rest of the world during the last years has reacted with so much abhorrence than when the IS-Caliphate in the Middle-East reintroduced slavery officially, as being in accordance with the Koran. Well, indeed, it will be difficult to find arguments that the Koran is explicitly against slavery, as it is the product of a 7th-century society of which it was an obvious part. As is the same with the Bible or all other holy scriptures of the distant past.

They might have criticized its excrescences sometimes, but neither Judaism, nor Christianity or Islam has opposed slavery from the beginning in a strict, principal, uncompromising way. On the contrary, in the past religious authorities several times have legitimized it for incorrigible heretics and nonbelievers. Hence since the later Middle-Ages Christian captives ended up on Ottoman galleys, unless they converted, and Islamic captives ended up on Spanish galleys, unless they did the same.

In the France of Louis XIV the galleys were partly filled up with condemned protestants, who therefore even by a legal process were turned into slaves for the rest of their lives. Later on, especially in the Americas racial arguments were used to legitimate human bondage and make it hereditary, and those racial arguments partially referred to certain passages in the Old Testament, like those about the progeny of one of the three sons of Noah, the doomed Cham.

Anyhow: while most western people now are looking back with shame to this aspect of the world of their ancestors, for ages slavery has been worldwide a completely normal and accepted part of life. And not all slaves in that case were in the lucky position of being a house-teacher of some rich patrician, as several enslaved Greeks were during the Roman Empire, to put it mildly.

Ten thousands of slaves worked the latifundia of the old Romans as they later worked the plantations of the Antebellum South in the United States. They rowed the galleys - although seldom already those of the Romans, contrary to what the famous film and novel Ben Hur tries to tell us - as they toiled day after day in the copper-mines and stone-quarries of quite a lot of great Empires of the past.

Most people at the time didn't know better than that this just was, as things were. As normal as were, for example, public executions or corporal punishments, which nowadays are regarded as detestable practices of a barbarian past too. Although they not only were revived temporarily by IS, but are also still practiced without interruption in countries like Iran and Saudi Arabia.

To be continued......

[protect-daniel-james]

kinda nsfw niche funky idea including Unai Emery and the Aston Villa stadium, and yes, I will elaborate. Read more at your own risk if you know me. (all is a work of fiction etc.)

(I blame @longeyelashedtragedy for this, for - and I quote - saying "he seems like the type who’d fuck his stadium at midnight")

Anyway. Unai is... special. Different. Probably neurodivergent, if we like throwing these terms around. He's a bit of a mess, but also in desperate need to have things under control, to micromanage everything. His long talks and motivational speeches are legendary - and it's no secret that not all his players bought into his style of speaking and describing and demanding stuff, especially considering how he looks and how intense and passionate he can get when speaking about his one true love, football. I mean, imagine how kids behaved towards the one nerdy guy who would make a 20-minute-long presentation about his very niche topic of interest at school and struggled a little bit with getting some points across although it was obvious he was passionate. What a weirdo! I doubt some of the big egotistical star players have a lot of time for someone like that.

So maybe at times, Unai struggles to feel a connection with the players. Or maybe he does, but as always, he wants more. He desperately tried to build the connection with Villa fans, which so far has been a great success - they love him. Maybe he wants even more, he wants to understand the DNA of the club etc., all the usual stuff, but Unai means it, in his own weird way.

He is el enfermo de futbol, "sick for football", he's been laughed at (in a joke-y way) that he fucks football. maybe he doesn't quite do that, but he "experiences everything very intensely", and even his feelings about football are not all that... normal? with his obsession with details, planning, and micromanagement, he loves all of that - the smell of grass, getting out the cones before training, the material of the seat in the dugout, his beloved clipboard with papers with tens of different scenarios that he wrote by hand presumably during long night work sessions.... And these things are like the physical representation of football. Don't forget he started at 3rd division of the Spanish league, doing everything himself, and kinda retained that approach and mentality until today. He is the custodian, he is the "protector", he is the one responsible for the club. Sometimes it didn't work out. Now everything seems to be working out.

Enter the stadium, the place of magic. "This is really a home, not only a Stadium."

utvaddiction? For him, definitely. He's addicted to work, to progress, and to football. And the stadium represents all of that - the possible future, the dreams, the historicity of the club. Don't forget Unai co-owns a historic club Real Unión in Basque country, where his grandad used to play! He knows what history means in football. He spoke about this in an interview with Michael Calvin about how you can smell the football in England at the stadium with the crowd, and I don't think he was exaggerating. He wants to smell it, he wants to touch it, he wants to feel it. Not the round ball used for playing but the abstract football, but that's only possibly through its physical representations.

Basically, he wants to fuck the idea of football.

Where better than at a stadium, at midnight, probably after a winning match, when the memory of the crowd and the smell of football is still present?

Lets say the cameras don't work at night. Or he - of course - knows which spots around the stadium are hidden from cameras. It's basically jerking off in an empty stadium - but in a very frantic manner, with all the reasons described above, it's not just about rubbing a quick one out lol, it's intense and deep and maybe he gets to rub himself against a seat. Or, if there are really no cameras, he would probably want to get on the pitch actually. While being very respectful and fearful, almost afraid to lay his hands on the sacred grass but - I mean he's religious. He fears and loves at the same time, right? Does the same there as well. A football pitch is a sacred place and he worships it in the best way possible, knowing that this is the most intense and for him a lasting way to build and have a connection with the club that nobody else can understand.

Thanks for coming to my ted talk, you can unfollow now.

[kriegsgeist]

My guide to understanding my alternative English orthography style

As suggested by the title, this post exists to explain why I do what I do, to teach what these various symbols and practices mean, and how/why I'm using them.

General Stuff

I'm not attempting to create a phonemic spelling alternative to standard English orthography. Some of my changes are purely cosmetic and I've kept many things the same as in standard English. For example, I've kept the "ou" in words like "thou" even though I think "au" would be better, as they do in German. This is because I think a total spelling conversion to a more phonemic style would take too much getting used to for the average reader, and I'm already asking for quite a lot as is. Some people might like it, but I'd like to make at least some attempt to meet people where they are, so I'd prefer not to make things even harder than they already are. Maybe someday I'll explore some more changes in that direction, but not yet.

I am not attempting a version of Anglish (A project that seeks to imagine what English might have looked like had the Norman Conquest not happened), though I am interested in Anglish, so I still use words of Latin and Greek origin, but much of what I do does take influence from much of the work done by Anglishers.

I would also like to clarify that this is very much simply a hobby of mine and I have no illusions of this being more important than it is. It's just for fun.

Old Letters

Æ/æ (Ash)

Ash is a letter used in Old English to represent the "a" sound found in words like "cat" (In General American English). It is also used in some older spellings of words of Latin or Greek origin. In the past I would use it liberally by simply replacing any instance of "a" whenever it made the "cat" sound, but now I generally only use it for words that derive from Old English words that used to use it or for words of Latin/Greek origin which used to be spelled with it.

Œ/œ (Ethel)

Ethel is a letter generally used in some words of French, Latin, or Greek origin. Though it is still used in French, it is only rarely used in Contemporary English. I cannot find any readily available histories about Ethel, but it does not appear to have been used too far back in the history of English. In my research, I've found that Ethel has been used in English with all sorts of words with many different kinds of pronunciations, so it would take a bit too long for me to go into detail about that, but generally when it appears in a word it is still recognizable, such as in "phœnix" (phoenix) or "œsophagus" (esophagus).

Ð/ð (Eth) and Þ/þ (Thorn)

Eth and Thorn are two letters used in Old English to represent a "th" sound. Historically, in Old English, they were used interchangeably with each other before Thorn eventually won out in popularity. There is a misconception that Thorn and Eth represent particular kinds of "th" sounds, but it appears that Thorn is generally preferred for initial instances of "th" while Eth is generally used elsewhere. There is also a misconception that in Modern Icelandic, Eth and Thorn supposedly take on unique sounds, but that isn't true for Icelandic either, but as I am not too well-versed on Icelandic, I will not go too much into detail there.

Ƿ/ƿ (Wynn)

Wynn is a letter used in Old English to represent a "w" sound. As some might know, the letter "w" didn't exist in the Latin alphabet until centuries after the collapse of the Western Roman Empire, so before the introduction of "w" in English, Wynn was used. Obviously, Wynn looks a lot like a "p" in many typesets, so most people don't like it for that reason, but a few don't mind it.

Ȝ/ȝ (Yogh)

Yogh was used in Middle English to represent a few sounds, such as "g," "gh," and "y". It evolved from the Insular G (Ᵹ/ᵹ) which was used in the scripts used in Ireland and England. The letter survived a bit longer in Scots than English. I don't use it very often because in most typescripts it resembles the number 3, so whenever I do, I typically restrict its use to replacing the "gh" found in words like "enough" and "night," so for me it's purely a cosmetic spelling change rather than a change that represents a particular sound.

Shakespearian Stuff

Thou and Thee

The difference between thou and thee is basically the same as he and him. It's always "I see thee" and never "I see thou." Likewise, it is always "Thou seest me" and never "Thee seest me."

Verbs paired with thou always take either the -st or -est endings. For example, for present tense "Thou makest a sword" and for past tense "Thou didst make a sword." Another example, for present tense "Thou hast a sword" and for past tense "Thou hadst a sword."

For the verb "to be", the conjugation for thou is "thou art" for present tense and "thou wert" for past tense.

The -eth ending

The -eth ending is for third person verbs. For example, "He runneth."

Thy and Thine

Thy and thine are used like "your" and "yours". If a word begins with a vowel then you can use thine, such as in "thine eyes." If it doesn't, then you can use thy, such as in "thy sword." If it's a situation where you'd use "yours", such as in "It is yours" then you would say "It is thine."

Runes

I use the Anglo-Saxon Futhorc runic alphabet rather than the Younger Futhark or the Elder Futhark because I think it makes more sense to use an alphabet that was designed with English in mind rather than Old Norse. I generally restrict the use of runes to proper nouns, such as names and titles. If you want to learn more about how to use runes for Modern English, I recommend this guide here. This isn't an authoritative guide by any means, so you can always feel free to make changes. Please keep in mind that runes are not a 1:1 replacement of the Latin alphabet, so please don't make the mistake of assuming that you can just replace each letter of the alphabet with a corresponding rune, because it doesn't always work that way. You can get away with this for many letters but not all. For example, there is a specific rune for the "ing" sound, so you would use that rather than using three runes to represent all three of those letters.

Roman Numerals

I use Roman Numerals whenever I have to use a number. There are many guides to Roman Numerals available on the internet already so I won't link any particular one.

Other Changes

Replacing C with K

I will generally do this whenever C is making the same type of sound as K. If a word has CK in it, I use two Ks. This is because most modern Germanic languages prefer K over C and my guess is that English probably would have followed the same trend had the Norman Conquest not happened, and also because I think K looks cooler than C.

Replacing S with Z

I do this whenever S is making the same type of sound as Z. Unlike English, Dutch and German do a bit more in their languages to make a distinction between these two sounds. Obviously the Z in German is used differently than in English and Dutch, but, still, German recognizes the differences between these two types of sounds and makes an effort to deal with that in their orthography. Another big reason for using Z is, of course, because I think Z looks cool and I think it deserves to be used more.

Writing "Of" as "Ov"

I do this because "of" has a "V" sound, not an "F" sound, and, most importantly, because it looks cooler.

Grave accent

The grave accent is rarely used in English, but occasionally used to indicate that a usually silent vowel is meant to be pronounced. For example, in the word "looked" you usually would not pronounce the "e", but if it is spelled with the grave accent, as in "lookèd", this indicates that the "e" is meant to be pronounced.

[platoniccereal]

decided to do the thingy and check whatever theories i believe/like according to this iceberg. honestly, da fandom should make an ask game out of it. there are some thoughts on it under the cut. i was reminded of it bc of this video, give it a shot, it's v interesting and well-made.

ok i checked everything in the first tier, but honesty, i'd like to give andrastians some crisis of faith and make their god a spirit and their prophet an elf or a dwarf. and most definitely she must be a mage. that would fit so nicely morally. don't like maker being a demon though, it would be too far stretched and gotcha, and the maker didn't seem malevolent.

i didn't check dwarf andraste because i don't remember the explanation behind it, but honestly, it's still curious.

i prefer skyhold being the place where solas created the veil over the solasan temple because i believe it would evaluate skyhold's significance beyond being just a fortress for a main character with some shady shit here and there.

i didn't check sandal being connected to a titan for pretty much the same reason i didn't cross stuff like sandal, or solas, or dumat being the maker, or andraste being connected to flemeth, or her straight up being mythal. connections here and there are interesting, but i don't enjoy over-connected plot points. they're fun for fucking around, but it's always better to have multiple complex scenarios and characters than to load this weight on a great few. leliana as the descendant of andraste, shartan anyhow connected to solas are also in this category. there were history and historical figures, i don't feel like it always needs to be associated with whatever figures thedas has now.

i crossed qunari being a result of the experiment, though i'm not sure about the implications because it may go even deeper into the selection stuff. ew. i'm even more not sure about that the qun might really be something to restrain their nature, it's just an unsettling theory with even worse implications. it would turn whatever the player was saying to the iron bull on its head, because suddenly qunari would be beasts that need to be controlled. as to their origin? i think it's still interesting that kossith were very different from modern qunari, and they could have been created by someone out of someone different and may have gone through the process of alteration due to the dragon-related stuff.

my understanding of the older lore is pretty common. evanuris are the actual old gods or at least have some type of a bond, the remaining two are the twins, so there would be a double blight. evanuris are captured and hidden in the sealed black city. since they'd hunted down titans, the latter created the blight and darkspawn, yada yada yada. i'm also not opposed to the idea that the taint ascended from the void. so it was something discovered by andruil. or she rather discovered titan's blood + the taint, i.e. red lyrium, since the taint doesn't cause the same symptoms as the red lyrium.

i like the idea of halla being sentient descendants of elves turned into them long time ago. it's even more sick if they're still not quite animals. it's not my canon, but that's cool. beings with consciousness suffering from their silence? yeah, definitely cool.

sera=andruil is also a pretty common one. i have a headcanon that solas is a creator of tarot cards as well, it seems to be quite in his style, and the boy loves drawing, too. considering that, sera's card would be an intentional thing.