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coldwind-shiningstars · 5 months ago

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Dungeon Meshi is obviously primarily about food, eating, and crucially survival through eating, but it's also focused on other aspects of survival. Sleep, rest, social ties and social exclusion. There's even extensive commentary on things like personal grooming (Marcille’s hair, Toshiro becoming depressed and no longer shaving), clean bathrooms, and other things. When it comes to disability these things are referred to as instrumental activities of daily life (IADLs), which are more complex things like shopping, housework, and cooking, which people need to do to survive, and activities of daily life (ADLs) which are the basic bare bones needs: eating, toileting, etc. Dungeon Meshi is concerned with the logistics of living and finding joy in those logistics.

This is super related to disability! Yes, Laios is autistic, this has been apparent from the beginning. But what does being autistic mean for him and the story? Mostly, it means his desires, goals, and the ways he goes about achieving them are strange, foreign, or baffling. He has different priorities than other people and the way he expresses those priorities are strange. They affect how he socializes, how he eats…

So, it absolutely makes sense that there would be a minor sideplot about activities of daily living and what it's like to be out of sync with everyone else when it comes to prioritizing things. It's Mithrun Time (he's gonna mith all over the place) and I'm so SO interested in the interplay of disability, caregiving and the logistics thereof, and intersectionality & privilege. Who needs care? How do other people feel about them needing care? How do they receive that care? And who do we think is worthy of receiving care and how does that interact with all these other factors?

Bunch of manga and extras spoilers past the cut:

“So, what's wrong with you?”

I see a lot of people talking about Mithrun's non-eye disability as a depression allegory, which I think is true, but I think it's also metaphorically/symbolically both a traumatic brain injury and a trauma response to sexual assault. The sexual assault aspect is pretty clear if you look at any of the symbolism of the actual disabling event: just look at it.

Mithrun is lying in bed and the goat comes to him, lifts him up and puts its mouth on his abdomen and lower pelvis. The eating is sexually charged, as is the particular way he struggles and protests. It's intensely violating, and things that were once desirable are lost. And the dungeon lord group therapy session involves a lot of people talking about the demons like an abusive lover; Mithrun, even though he wanted to kill the demon so badly, still says that they're gentle.

As for the brain injury, chronic TBIs can cause a wide variety of symptoms. Some immediately relevant ones are anhedonia (lack of enjoyment), executive function issues, poor interoception (trouble understanding what's going on in your body), cognitive impairment affecting ability to reason/multitask/plan/solve problems, changes in behavior and personality, depression, agitation, and restlessness. We see… basically all of these, in Mithrun, as downstream effects of the loss of desires. He can't tell when he's hungry, tired, or out of mana; he can't perform ADLs consistently even if he knows he'll die without doing them and dying without doing them will interfere with his long-term goal, he had drastic personality changes, he oscillates between impatient and totally withdrawn.

Brain injuries can also affect more complex tasks and ability to sustain lengthy periods of complex cognitive work. A common example is losing the ability to read and process longer passages; maybe you can read the words but you can't read a paragraph, or maybe you can read paragraphs but now you get a migraine after 15 minutes. Mithrun's skill loss is not related to reading but the effect is similar – he is and was extremely skilled in a particular area of magic, but also disabled in ways that specifically hinder his skill in this area – to teleport things properly you need depth perception and a sense of direction, and he lacks both of these! And while he's still an incredibly effective fighter it seems like he pretty frequently makes those sorts of mistakes.

This is treated often as a gag and it is genuinely funny but it’s also very real, to no longer be as good at the thing you were good at before you became disabled. Kui takes several throwaway gags seriously later on, not just this one. Another ~gag that's not really elaborated on is the bathroom thing, but I appreciate its inclusion anyway, since even if it's presented humorously it doesn't feel meanspirited in a way a lot of “diaper jokes” do. I think people need to talk a lot more about bathroom issues in a wide variety of disabilities, and I think it's nice that a guy I can already picture the “poor little meow meow” posts about also has this issue, you know?

Preferences vs Desire

Even referencing PTSD and TBIs it's hard to really grasp what having no desires means, and the characters don't generally ask, while Mithrun explains it in vague terms. “Desires” is a very broad term and indeed he has lost access to a wide but related variety of things. Unfortunately this lead to him often being treated as nonagentic.

Mithrun does still have preferences, even if he doesn't express them and has no desire which would drive him to seek out pleasant things and avoid unpleasant ones. He'll comment on the taste and texture of foods, for example – sure seems like he has an opinion!

People treat it like his preferences don't matter since he doesn't usually bring them up unprompted, and he's often in situations where there aren't other options.

Kabru seems best at not doing this (and, noncoincidentally, also seems to be the best at actually caring for him; the Canaries have a lot more Resources theoretically than Kabru And Mithrun Eating Monsters And Kabru's A Bad Cook, but although they are loudly distressed by the two of them disappearing it seems to have positively affected Mithrun's general health)

But, uh, acknowledgement that someone has preferences at all is a really low bar to clear and Kabru also doesn't seem to fully understand how Mithrun's brain works. Mithrun’s caregivers want him to eat when they want him to eat. They want him to rest and drink when they want him to.

He lacks the desire for a number of mundane things but also seems to lack the ability to tell when he needs them. He can't explain why he faints; is “I am out of mana” considered a desire for more mana, one that can be eaten? He can't sleep on his own; it's not only that he lacks “the desire to go to bed” but he can't do anything with his own exhaustion, even if he notices it. He comments on the unpleasant taste and texture of several meals; he may be unable to want to not eat it, but he definitely can tell when he dislikes something. But he also seems to be unable to tell when he's hungry.

Kabru will acknowledge these preferences but there's not really other food options, and Everyone Must Eat. Kabru doesn't know the details of Mithrun's condition yet but you can see the immediate frustration here and the way he offers food to him like Mithrun's a child.

Sure, he won't directly communicate preferences, so that makes it extra hard, but you can always just ask, and if he tells you he tells you.

The pathway between opinion and taking actions about it may be lost in Mithrun but the dungeon forces other people into a similar position – it forces them to eat food they don't want to eat so that they can survive or accomplish other goals. We've seen this with Marcille from the beginning. It's difficult with Mithrun because it seems like there is always going to have to be some sort of someone else overriding his autonomy – yeah, he's not hungry but he still needs to eat or he'll faint. Yeah, he's lying about whether or not he's clean but he still needs to wash or he'll die. Yeah, he needs to take a rest instead of keeping moving or he'll faint. But he's not unique in being in a situation where he has to do nonpreferred things. The difference is more that he lacks the ability to independently do anything when it comes to ADLs, preferred or not, which makes it into someone else’s choice and responsibility.

There's also a theme in Dungeon Meshi that comes up a bit of people being pushy about ADLs but from a slightly different perspective, and they're usually right. You see this in Senshi most commonly; he pushes the residents of the Golden City to actually eat even if they don't need to and can't taste it, and while he's correct in that Yaad does get enjoyment from the food even without taste he's still not quite listening to Yaad. Similarly, Kabru is correct in that he can get Mithrun to sleep without a sleeping spell, but he also ignores the way Mithrun says several times that he doesn't expect massage to work. There's a few aspects to this – wild but expected that the elves would choose the “just knock him out with a spell” route, the “easy way” Senshi always talks about when it comes to magic, instead of actually paying attention to other solutions. But also, generally, people know their bodies best, and sometimes even if you're really sure you have the trick to help them you have to listen to what they tell you.

tvtropes dot org frontslash DisabilityTropes

This is going to be a harder section just because it's so subjective; it's nearly impossible to think about the ways in which disabled people are viewed by the people around them/wider society with any degree of objectivity just because there are so many factors that go into it. But I do think Mithrun is consistently treated as relatively nonagentic and there are several ways this can manifest: being treated as a doll/pet/child, being treated as a weapon, and being a surface for people to project onto.

He's framed or treated as childlike intermittently through the manga; scattered about, just a little vibe in the way he's drawn, like the "say aah" above and Pattadol and Cithis through the teleportation scroll :

That's a middle aged man! And he's framed like a toddler getting picked up or misbehaving.

Which doesn't mean they care about him any less; his squad is really fond of him for someone who's technically like their parole officer. How dare you do this to our captain! They love him dearly; this is obvious and he comments on it! They respect him, too, as the leader and as a strong fighter. But loving someone and thinking they're a skilled fighter doesn't mean you respect their autonomy fully.

There's also an element of everyone projecting their own issues onto him; Kabru with their shared Dungeon Trauma. The canaries all suggesting wacky, midlife-crisis desires. He doesn't ever express that he minds any of this, except when they try to stop him from making particular decisions. They also don't often understand why he'd be motivated to do a particular thing, and in fact some of these projections may actually be correct! But while noodles and pottery may be good later-on goals for him, I think it's striking that a) Kabru was the closest to correctly guessing what desire Mithrun might acquire now and he was still guessing the exact opposite (suggesting a desire to not eat Falin but to help Laios, vs Mithrun's actual desire, which was to eat Falin with no thought given to the promise he made at all) and b) it's a desire that actually makes perfect sense with what we know about him, not something totally new.

And, finally, he's a weapon: people are willing to caretake him because he's good at killing things dead. If his only desire is to kill demons dead, it's easy to start seeing that as who he is. I don't think he'd argue that “trying to kill demons” takes up the majority of his life (it's his only goal and he's obsessed with it) but even if there's only one thing that matters to him he has autonomy (in the sense that he can make his own choices about what to prioritize and formulate his own plans) and personhood.

Politics and privilege – who gets to access care?

One of the things we're first presented with when it comes to Mithrun is that he is intensely capable at handling dungeons. Yeah, there's the immediately visible prosthetic eye and the navigation issues, but the Canaries are built up as being incredibly dangerous and skilled, and he's their captain; they all immediately defer to him. He's intense, he curbstomps an entire room of guards, he's efficient, he's brutal, he's strong physically and magically.

In short: yeah, he's very disabled. He's also still very useful.

At the risk of oversimplification, even within his particular disability, he's much more disabled than Marcille is (she lost something relatively simple and easy to miss, she has no catatonia-moment) but less disabled than Thistle, who seems to still have at least one desire related to the king but is still primarily catatonic. It seems like Thistle is not unusual among ex-dungeon lords, even if there's enough noncatatonic dungeon lords to form a support group later. When Milsiril finds Mithrun, she immediately intends to mercy-kill him – this seems to be a condition the elves are familiar with but consider terminal, at least to the degree Mithrun is affected, and people seem unfamiliar what it means to keep living in this state because Mithrun is unusual in that he survives at all. And he's “allowed” to survive initially because he's not as disabled as he could have been (still has a desire) and that desire is useful. They aim him at the dungeons and off he goes. It takes twenty years for him to recover enough to do it, sure, but they're elves. They can wait. He can still be useful.

Relatedly, when he loses the ability to pursue his desire he's immediately much worse off than he was previously.

The no-desire catatonia is something that can recur and the elves continue to not know how to handle it. If Kabru wasn't there to problemsolve I think he'd have just… stayed there with his increasingly distressed squad.

Speaking of his squad, there's also a fascinating power dynamic going on with just the inherent structure of the Canaries; criminals are assigned as his caregivers. There's the inherent unfairness to the criminal Canaries about them being given extra duties, this strange rich noble guy who's now their Responsibility. There's so much possibility for resentment in normal caregiving relationships, much less being forced by your jailor into caregiving someone. But there's also an element of the power the prisoner Canaries now have over him and his most basic ADLs and needs. Assigning Cithis to his care is such a can of worms! The dynamics of the situation are frankly awful for both of them; of course she resents him initially. It would be strange for her not to. When Pattadol catches her making Mithrun do embarrassing things, she instantly reminds Cithis of her lower-status – she's forced to care for this nobleman and then forcibly reminded that she's beneath him.

She's responding to having menial, low-status tasks forced on her by trying to humiliate him, and although he doesn't have the ability to care enough to stop her it's still a deliberate removal of dignity. He's the instrument with which she is punished and she punishes him in return (until it's not fun anymore and she understands him a bit more.)

Mithrun is a long-lived race, who has structural power over the shorter lived races simply because of how long they live. The dwarves and elves try to actively keep certain knowledge from other races, restricting their access to technology, and other expressions of distance. Senshi spends nearly the whole first season not listening to Chilchuck trying to explain that he's an adult and treating him like a child, and Kabru repeatedly says that the elves do the same thing (and tbh we see them doing it). There's even the fact that it took him twenty years to recover enough to join the Canaries again; a shorter-lived race might have died from old age in this time, or become too old to work in this capacity, and then wasted away without the drive to return to the dungeons. But they're elves; the other elves can afford to wait, and he's not going to age out of dungeoneering any time soon. Being an elf probably contributes to his wealth in the same way skin color contributes to wealth inequality in the real world.

Dungeon Meshi doesn't really go into race in the sense of skin color much, and Kui is writing from a different cultural standpoint than I am. While tallmen are quite accurate when it comes to skin/hair color (yes, even Kabru and his blue eyes; it's rare but possible) and cultural references, the elves, uh, absolutely are not, both in the sense of “dark skin & pale hair and eyes trope” and sense of the royals having jet black skin.

Still, I feel like race is so connected to care and caregiving in the real-world west that I would be profoundly remiss not to mention it. Skin color might not matter to elves in the racism sense, but it matters to humans and humans are the ones writing and analyzing this story. (And I fully expect as the fandom grows with anime-onlies people will like Mithrun more because he's white (has white features) than they would if he had darker skin, because fandom is also baseline racist.)

I don't think we can just not mention that Mithrun is pale-skinned and both Cithis and Kabru, his primary caregivers over the story, both have dark skin.

Racism means white people are more likely to get good medical care, the type you need to get diagnosed and prescribed caregiving. Racism means wealth distribution is uneven, favoring white people. Race affects immigrants taking on undesirable jobs like caregiving for low pay. Racism is a profound stressor which means it contributes to who becomes disabled in the first place in that it can worsen health outcomes.

Similarly to race, gender may not be very obvious when it comes to this subplot within the story but the gendered dynamics of caregiving in the real world are something I do want to touch on. There's an oft-cited statistic about how men are much more likely than women to divorce their partners when their partners are diagnosed with a serious condition; I don't like relying too much on those sorts of statistics because they can be so misleading but it does gesture at something very real, culturally. Even if men aren't supposed to be caretaken, women are supposed to be the caretakers. Certainly, it's not Mithrun's fault that he can't cook and can't do laundry and probably can't do most housework, but I do also think about all the posts passed around about “my boyfriend who won't do housework.”

Again, none of these privileges make him less disabled and less in need of and deserving of care, they're just worth talking about when we talk about caregiving in general.

It's Rotten Work, Even If It's You

People expect disabled people receiving care to be grateful, to accept anything, and to try and make it easier for the caregiver if they're able. Requiring care is an incredibly disadvantaged position, even as actually receiving it can be so tangled up in privilege. Caregiving is tremendously difficult work, it's true, but there's a particular vibe people want from disabled people – all those movies about not wanting to be seen as a burden. Never complaining. Being grateful.

And, uh, well…

Mithrun basically accepts anything his caregivers do, but he's not grateful at all! I appreciate that in a disability portrayal. He'll also lie to and ignore his caregivers, which is Annoying but is definitely an expression of autonomy even if he's probably not doing it specifically to express his autonomy. He's not going to thank you. He's not going to make it easy. He'll accept a lot of things considered “undignified,” and he's not mean or unpleasant in the sense that he's taking advantage or anything, but he's certainly not a model patient.

He's running off back into the dungeons just when you think you've finally gotten him somewhere safe.

There's always a strange tension in caregiving, I've found. It is incredibly intimate but a lot of it is done by total strangers. A number of caregiving tasks are viewed by the wider world as entitled but placing those tasks in the hands of strangers is a remarkably tough place to be in. As a disabled person, I've had to accept my bowel movements being discussed with my parents’ friends, all sorts of being physically moved places not against my will but without my permission, even my pubic hair being shaved off by a stranger (nurse) while I was unable to speak or move. When people are feeding you, making sure you use the toilet, rubbing your feet to make you sleep, helping you with hygiene – people are working so hard to help you. Are you supposed to just accept them doing whatever they want to you?

There's also a dynamic where people will say they don't mind caring for you, they're happy to do it, and then as the years go by and you continue to need care the resentment just builds up. Caregiving is hard work. It's often thankless. The goodness of people’s hearts can run dry, when it's been twenty years and you still can't bathe yourself.

Aaand I need to continue in reblogs, because I'm out of space for images. Please hold. edit: you can find part 2 here

#eat or be eaten #I'm real and I beat myself up behind the Blockbusters #tbh i tried not to talk about myself too much here. but uhhhh caregiving issues are so tender for me #tender in the ouch way not the gentle way #anyway #dungeon meshi spoilers #dungeon meshi #mithrun

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byunejoo · 1 year ago

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&team legal line when … you are on your period

pairing &team legal line x fem reader

contents mentions of periods, all things period sex, fingering, shower sex, sex toys, grinding, dry humping, protected sex, cumming in pants

notes this is my first piece including jo and yuma. i will put their paragraphs under the cut, so you can skip over them if you don’t want to read them!

koga yudai 𐦍 케이

nothing a little shower action can’t fix! i think he would turn it into a game for himself, almost. put the warm water on and finger you to orgasm before the warm water runs out. he’s not afraid of getting a little messy when it comes to sex, even when you are on your period. he loves you and he will do anything you ask of him.

murata fuma 𐦍 후마

he also would mostly stick to doing things in the shower or bathtub when you are on your period, but it’s mostly for you. he would want to pamper you, run you a warm bath when you start cramping, and massage your shoulders while you soak. but he also knows that sometimes an orgasm will help with cramps or period headaches, so he’s no stranger to offering up his fingers.

nicholas wang 𐦍 니코라스

i firmly believe there is nothing that could stop nicholas from getting his dick wet. the minute you even mention in passing that you’re feeling a little needy and horny, he’s ready to go. place a towel down, put a condom on, and he’s down for it. he will, though, be a lot gentler and slower than he usually is when having sex.

byun euijoo 𐦍 의주

he’s honestly a little nervous and afraid to hurt you, and will probably offer you some privacy to use one of your toys on yourself at first. but if you need him, specifically, he will be happy to do some over the clothes stuff, and maybe even give you a little outwards stimulation with his fingers if that’s not enough. he, however, gets a little squeamish seeing blood, so i don’t think he would do anything further than that.

nakakita yuma 𐦍 유마

i believe he has one of the highest sex drives out of the members, and that doesn’t change even when you are on your period. of course, he won’t push you to do anything, but i think if anything it’s him getting needy while you’re on your period. he wouldn’t do anything you were uncomfortable with, but he might negotiate and make a deal with you to have a week where he does whatever you want sexually without expecting anything in return after you get off your period.

asakura jo 𐦍 죠

dry!!!! humping!!!! central!!!! he’s also shy and nervous and doesn’t want to hurt you, but who would he be to turn down a little kissing and grinding? his face would be so red and hot from how shy he is when he invites you to sit on his lap—large hands gripping your waist as he tries to keep up with your kiss and needy grinding. he honestly might cum first, embarrassingly fast, but he can’t help it!

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writingwithfolklore · 2 years ago

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Don't Wait for Your Muse (Using Sources)

In the same way that artists collect reference photos, fashion designers collect fabrics and textures, and interior designers collect paint chips, writers must collect sources. A source could be:

Evocative, funny, or interesting dialogue

A description you’ve never heard before

Interesting and rare words

A cool dream you had

A paragraph from a book you love

A specific feeling or experience

Something you saw out in the real world

A snippet of conversation you passed by on the street

A smell that gives you a particular memory

Any other piece of art, writing, music, design, a sense, story, etc. etc.

Essentially, anything that sparks your imagination, that’s evocative of the human experience—of that humanity and closeness we’re always trying to capture. My creative writing prof said to us, “why are you waiting for a ‘muse’? Go to your sources. Don’t just wait for inspiration to strike.”

She cautioned us not to try to make sense when we put together our sources, but rather make meaning. The nice, easy part is that anything you put together will create meaning. So here’s what we gathered to get started, but I also challenge you to carry a journal or a place on your phone to start collecting things you find out in the world.

Choose a one-word or sentence theme that describes your project. For this theme, collect:

A photo, taken by anyone at any time

A poem, written by anyone

A paragraph from a newspaper or magazine article, then scramble it using the “cut up machine”

A screenshot of something posted on social media

A series of text messages, emails, or other communication between parties

A screenshot of the abstract of a scholarly article

Good luck, and if you’re comfortable, I’d love to see your collections!

#writing #writers #writing tips #writing advice #writing inspiration #creative writing #writing community #books #film #filmmaking #screenwriting #novel writing #fanfiction #writeblr #writing sources #sources #inspiration #muse

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defectivehero · 10 months ago

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dialogue

Sometimes, I hate dialogue. Sometimes, I love it. Will I ever be perfect at it? Absolutely not. Are there a few things I've learned as I write more dialogue? ... Yes. Here are some of those things:

[as always, no pressure to use any of these tips. writing doesn't have a "one size fits all" formula.]

Conversations aren't always super smooth, equal exchanges where everything is reciprocated. Sometimes, individuals cut each other off. Sometimes, one individual is doing most of the talking while the other is mostly listening. Think about your characters and what is unique about them. Then, embrace that in your writing! Things like: a) answering questions two paragraphs later, b) dodging the subject and then coming back to it, and c) saying one thing but meaning another are just a few examples of ways to liven up dialogue. If a character is super energetic and eager, they may dominate the conversation (unknowingly or knowingly). If a character is more withdrawn, they may pause before speaking, speak in smaller fragments, or elect not to speak at all. The unique personalities and circumstances of your character can show through in dialogue.

Consider more than just the dialogue. This is probably my favorite thing to do, because sometimes, I just can't get the words to be perfect. And that's okay! Often, a sentiment is better portrayed through a description of a person's body language—think of gestures, facial expressions, etc—than through written dialogue. Think about a character who has gotten sick as an example. There's two ways you can approach their dialogue: 1) focus on the words they're speaking and use descriptions as accessories, or 2) focus on their body language and use dialogue as an accessory. I often find myself thinking that dialogue has to be the main focus, but it doesn't! For the sick character example, I try thinking about how they look and how they may feel. Often times, those kinds of things can also inspire dialogue! In this case, the sick character may: speak with a more raspy tone; have trouble getting the words out; have an interrupted flow of speech because of sniffles or coughs; shiver with cold or sweat; or have a hazy look to their eyes. Details like these often take away some of the pressure I put on myself to have the perfect dialogue.

Dive into the mechanics of the person's voice. Is their voice raspy, gravelly, deep, high? Is there an underlying emotion showing through? How about the volume—are they speaking loudly, softly, or somewhere in the middle? Do they accentuate their statements in a certain way, such as breaking their statements up into shorter phrases with pauses in between?

Think about the setting. I say something along these lines in virtually every writing tips post, but I think the setting is super important and a great way to add some flavor to a dialogue. Where are your characters? Is there anyone nearby—and if so, how do they respond? Do the characters drop to a whisper to avoid eavesdropping or do they carry on as normal? How about the place where the interaction occurs—is it traditionally loud, quiet, or somewhere in the middle? What time of day is it—does the conversation take place in the early morning (think raspy voices from sleep) or late at night (quieter to avoid noise)? Perhaps it's in midday, but the surrounding area is a street bustling with activity?

Explore the context behind the interaction. Why is the conversation occurring? Is it a purpose or task-focused interaction? Is it context-specific? Are there certain elements of language that can only be understood by certain people (think inside jokes or language specific to a place/occurrence)? Also, evaluate the importance of the interaction taking place and go from there. If you're stuck on a part that isn't necessarily inherent to the story (which I usually am), consider shifting to description instead! You can also use dialogue to reference past occurrences, if that makes things easier. Think of a character getting home from work and speaking to their partner. Their partner asks them about their day and the character explains it: "My boss said..." In this example, you would be able to bypass writing the actual interaction between the boss and the character, and instead introduce it to the audience through the character's retelling of it.

I hope these help! Sorry if they're confusing—dialogue is definitely difficult! Each writer will have their own process, and I'm not claiming that mine is picture-perfect.

#defectivehero #writing #writeblr #writing tips #spilled ink #writers on tumblr

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evidenceof · 23 days ago

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how do you do the coloring in your gifs? it's so pretty 🥰

this is such a huge compliment. thank you!! i'm glad you think so, considering this is my first whack at ~seriously doing it. coloring is my favorite step! i’ll be as helpful as i can, but if you find any of the tips too vague, feel free to dm me!

we’ll be using this webgott gif set you indicated as the guide! here are the before and after samples of the gifs so you see what we'll be tryna achieve from base to final frames:

for the steps, ill go over several things: a. Why I do this step: a.k.a. what i’m trying to achieve with each adjustment layer b. How I do this step: how i personally adjust the settings c. Before and after samples of the colors so you can see the progress after each of my steps

onward

this is my first time typing down a tutorial so please be kind. i am (very) new to all of this and most of what i learned, i’ve learned from reading a bunch of tutorials on here (that i’ll credit down below), and watching too many youtube videos on color adjusting digital images, and coloring old wwii photographs.

this answer will be focused on just how i personally color, but i’ve linked some guides for creating base gifs that i also studied.

! before anything else !

i use photoshop to create and color my gifs and mpv to capture my screencaps from my files. also this ISN’T the ONLY WAY and the BEST WAY to color. this is just how i personally go mad on photoshop. <3

Coloring tutorials that have been super helpful in getting me on track:

dicom gifs - not technically a coloring tutorial, but this is how i import my scripts on to photoshop.the process feels smoother for me (no need to reverse the frames etc. and the resolution always looks and feels better when i'm done with them)

general coloring + hi res gifs - great place to start with tips on what files to use for maximum crispness

masking layers - for when you only want to apply an adjustment layer to a specific part of your gif, great for skin tones!

STEP ZERO: know what you like

This sounds very “ok captain obvious” but i do think it’s such a vital part of the process. the technical stuff gets very tedious, very quickly. and if you don’t know what colors draw you in, what colors you’re trying to lift and see in your gifs, you’re going to be tinkering around with the settings for longer than you’d like. so have references ready, if that’s your jam.

and with that, i'd like to show you some examples of colors that i gravitate towards that greatly influence how i color my gifs. i'm a huge 40s technicolor girl, 35mm 60s film girl (see ernst lubitsch, powell and pressberger, jacques rivette, agnes varda). and because i’m coloring a piece of media set in WWII, 1940s, i like studying the colored photographs (think winnix chair photo in color).

so am always looking to punch up my reds and greens, deepen and add browns, saturate skin tones so there's warmth there, while grays/shadows tend to veer towards a cooler tone.

sorry for the thick paragraphs under this but i think it’s very crucial! once you’ve got that down pat, or at least have some handy references with you, it’ll be less of a pain to go through the next steps.

My process/sequence of adjustment layers

Base DICOM Script → Curves → Levels (optional for me) → Color Balance → Color Fill Layer → Hue and Saturation → Selective Color

What that looks like on Photoshop:

STEP 1: DICOM BASE SCRIPT

Why I do this step: These are your frames! This is also the part where you adjust the sharpness of the gif so you don’t get a blurry image after cropping it down to tumblr dimensions.

How I do this step: I use actions for my DICOM script. I used to do it manually but now I use this Good Good Action Scripts by Redbelles. Cuts down the time, arranges them in the timeline for me. And as I’ve mentioned, it just feels better for me.

If you’re using pngs/screencaps as your base script, you can follow the instructions here instead.

This is also the part where you can adjust you can play back the gif and see if you’re happy with the positioning of your crop. Your timeline will look something like this.

STEP 2: CURVES LAYER

Why I do this step: i’m concerned with getting what i just label as "true color." you'll notice that with band of brothers especially, the more you look at the scenes, the more you'll just how a) yellow the daylight scenes are, b) how blue gray and nothing else the darker scenes are, c) the lighting can get muddy.

personally, when I adjust curves, my goal is to try to get the image as neutral as possible, which then allows me to inject as much color as you see fit. So think of it as eliminating as much of the coloring the editors of the show placed into the scene, so that you end up what is essentially a blank canvas.

How I adjust my Curves Layer: I pick the high, mid, and low lights of the scene. This video goes into that in depth. But you can also just choose the auto options if you’re just, like me, concerned with getting the image as neutral as possible. For a while I did in manually to understand what it was meant to do. But if you want to do it easily do the following steps.

> Auto adjust - by clicking the hamburger icon/ the three lines on top.

> You can choose between “Enhance per Channel Contrast” or “Find Dark or Light Colors”. Make you you tick on the “Snap Channel Midtones” to get the most neutral image. The tool bar should look like this:

Let’s compare the frames with and without the Curve adjustment layer:

Great! We’ve gotten rid of some of the darker overlays on both their faces, see more contrast between the foreground and the background. This gives us a better base image to color in for the next steps.

STEP 3: COLOR BALANCE LAYER

Why I do this step: To me this is like underpainting but not really? It feels like that though.What it helps me do is to adjust the hue/dominant colors of the highlights, midpoints, and shadows. so let's say even at it's most "neutral" state, I still find the image too yellow or too red. At this point of the process, I’ll add more cyan. if i want the yellow to adjust into an orange/brown area, I add in a bit more magenta and adjust the greens. it's here where i decide if i want the shadows to lean more towards a cooler tone or a warmer tone. It helps you make these crucial adjustments before you go in with the Hue and Saturation layer. (This is where you knowing what colors you like, comes in immediately!)

How I do this Step:

> Add a Color Balance Layer

> Adjust the three points: I’ll exaggerate the Color Balance adjustment so you can see what points are being targeted by each hue adjustment and where you can add those colors under this step. The tones do bleed into each other, so adjust sparingly if you’re not going for a complete wash of color.

Midtones: Let’s you adjust the “middle” areas, i.e. some of the biggest chunks of the frame. See Web’s entire face, the gray wall in the back ground, his ODs

Shadows: Let’s you adjust the darkest parts of the frame. See his hair, the barrel of the M1, the darkest parts of his glove.

Highlights: Let’s you adjust the colors of the the brightest parts of the photo. For this frame it’s Web’s forehead, and the very tips of his fingers.

Let’s compare the frames: With the Curve adjustment vs. Adding the Color Balance

You’ll notice that I’ve only nudged the tones a little bit here. The accompanying gif (Liebgott’s) has greener overtones, and I wanted to balance some of that hue in this set.

Highlights: Wanted more brown tones. Nudged the arrows to add more red, green and justtt a small bit of blue.

Midtones: Nudged the arrows to have a touch more red and a touch more yellow to make the skin tone lean to a warmer hue.

Shadows: Needed this to be cooler so I nudged the arrows to give it a bit more Cyan, while still adding just a hint of yellow. Together they make the image a tinge more green.

Once I’m happy with this, I move on to the next step. You can go back to this step, of course! If you want to make adjustments after you’ve applied the next layers. <3

STEP 4: LEVELS LAYER

Why I do this step: I use this in place of a Brightness and Contrast layer or Exposure Layer. This is where I reintroduce shadows and points of light. Here I can choose to add a bit more depth, or to reveal more of the shadowed points of the image. I don’t always move this around, and this is an optional step for me, but I did it for this gif set.

How I do this Step:

> Add Levels layer

> Adjust midpoint arrow to the right or left - this can lift any shadows if you move it towards the left, and deepen any shadows if you move it towards the right.

> Adjust the highlights arrow to the right - Optional as well. If you want to introduce/emphasize the brightness in the image, make the high points even whiter, you can slide this more to the left.

> ****I don’t adjust the bottom slider. This adds a “fade” into your image. If you want lesser contrast, and more of that flat quality, you can move this around but I barely touch this.

Let’s compare the frames: With previous adjustments vs. Adding the Levels Layer

Here, I deepened the contrast and shadows, I wanted more black in Web’s hair, and to give more depth to his ODs and gloves. The shadows also help define their features more prominently, better outline for both their eyes and nose. For Lieb, I lifted the shadows a bit to show more of his face, and see more of the redness of his lips that I love.

STEP 4: HUE AND SATURATION LAYER

Why I do this step: You’ve prepped your canvas! This is where everything’s sort of breathed into life. Spoiler alert, if you’re coloring Band of Brothers specifically, you’ll be moving the red and yellow a LOT, and rarely any of the other color layers since they are… non-existent in most frames. Here is where I give the skin more color, differentiate the shades of olive and green that’s prominent given that they’re soldiers. This is also where you’ll see the blue/green eyes pop out if the frame permits (Web, Winters, Bull, and Randleman’s eyes tend to reveal some blues and greens every now and then!)

Hue Area: Mixes your chosen color and adds more magenta or yellow.

Saturation Area: Dulls or Saturates said hues.

If you move your arrow towards the extreme left, you get a dull green, if you move it to the right, you get highlighter green.

How I do this Step:

> Add Hue and Saturation Layer

> Open the drop down - I try not to move the ‘Master’ area because it washes the entire gif with hue and color. I’m only targeting specific areas and colors.

> Adjust Reds - I tend to make my reds lean more towards magenta. To do this I drag the arrow towards the left and inject some more magenta into the mix, not too much that they look sunburnt (though sometimes that’s inevitable. I’ll show you how to fix it later on!). I saturate the red a lot. As I’ve said, I love red lmfao. So I want that to be lifted in the image.

> Adjust Yellows - I also want my yellows to be a bit more orange in darker scenes where they’re seen mostly on skin. So I move the arrow again to the left.

> Adjust Greens - There’s green here huzzah! I wanted to lift the color a bit more from his uniform, make it more olive than a dark gray/brown, so I added more yellow by moving the arrow to the right and upping the saturation.

*Tip: If you’re unsure about which color you’re adjusting, you can take the dropper tool on the screenshot, click on the area of the frame you want to fix up, and it will register the prominent color.

Let’s compare the frames: With previous adjustments vs. Adding the Hue and Saturation Layer:

You’ll notice there’s a lot more pink on their faces, some reds on Web's fingertips, and a brighter, more prominent red on Lieb's lips. The color of their ODs is a bit more true to its name of olive drab now! The contrast of the added color to Web's skin also makes his eye color pop out more. Their skin looks alive! Yay!

STEP 5: SELECTIVE COLOR LAYER

Why I do this step: I think of this as finishing touches. Sometimes I find that I want to adjust the reds, yellows, etc. more specifically and I can mix in more color to get it to the exact tone I want. This is where I can do that. Selective color lets you add or remove more cyan, magenta, and yellow tones from your hues.

How I do this Step:

> Add Selective Color Layer

> Open the drop down and choose which hue you’ll be adjusting

> Adjust the colors accordingly- I don’t use it in this specific gif, so here’s a different one of Harry in Carentan. I adjusted the reds and yellows to have more cyan (moving arrow to on the Cyan scale to the left), making the red more purple, and the yellow more green. It’s VERRRY subtle, but it matters greatly to me lmfao.

STEP 6: COLOR FILL LAYER

Why I do this step: I really... love browns and warmer skin tones, even if they're right smack in the middle of Bastogne (lawl sorry!!!!!). band of brother's footage in particular, if i only adjust the skin tone at the hue and saturation level, there will be parts of the skin that register as white or gray (i.e. technically not hues) and not "red" or "yellow", what that means is, even if you adjust the saturation and hue and amp it up to the highest level those patches of white and gray will remain white and gray and you'll be left with patchy soldier skin. sure, it's realistic but i want warm skin!

How I do this step:

> Add Color Fill Layer: Click the Circle symbol that's half white, half black. Select "Solid Color"

> Choose a color: I gravitate towards a light brown or a light orange. Click okay and don’t panic when your entire image is covered by a solid block of color.

> Play with Blend Mode and Opacity: I usually use Linear/Color Burn which allows me to see warmer colors overall but especially, and most importantly for me, their skin. The end result is giving them the TINIEST bit of a tan but also introducing more natural color against the grays and whites that register. Less patchy skin on you WWII vet!

You can tinker with the opacity and blend modes to see which looks best for you.

Let’s go back to Web and compare the frames: With previous adjustments vs. Adding the Color Fill Layer:

Tada!

Now all that's left is to transform them back into frames on the Timeline (see linked tutorials above!) and save.

And that’s more or less how I color my gifs! I tinker a lot with the layers after. Sometimes you need to see it all together and then make the adjustments after. I do more of some steps, and less of some depending on the frames and the scenes.

Having a good grasp of color language helps a lot and it’s something you do end up learning while making gifs or just looking at images/media whose colors call to you.

Sort of as an end note/exercise, you can see what it is about the color and lighting of The Pacific that draws you in, and amplify that in your gifs. Perhaps you’re drawn to the orange of the sun, or the bright almost jewel green of the tropical foliage. Maybe you’re really into the browns and the dusty scenes. It all helps you pick out what you want to ramp up and tone down in the colors.

I hope this was… even a tiny bit helpful. Again, feel free to DM me or hit me up on Discord if you want some clarifications/if you need help WHILE you’re making the gifs. Happy to help! <3

#happy webgott wednesday i guess?!!!!!??#please excuse any typos my brain is fizzing out!!!! but i loved this ask!!#IF YALL HAVE TIPS FOR ME JUST DM PLS ID LOVE TO LEARN MORE #this took me four hours i cannot believe lmfao!!#gif coloring tutorial #thank you for the ask!! <3 #lamialamia #my edits #ynadotask #ynadotgif

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darleneh · 8 months ago

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Slight Human!Alastor x F!Reader (FLUFF!)

By slight I mean for a few paragraphs then to demon alastor :3!

Deserved love

Word Count; 2.7k

This took me awhile. All of my writes are also on ao3.

Summary; You reunite with Alastor in hell after dying 2gether!! How fun!

You were waiting for Alastor to come home, you had everything done and cleaned so the only thing you could do now is read a book Alastor bought you for your birthday awhile ago. He had just ended his radio show, which you heard him end it off since you had the radio he specifically bought for you to hear him throughout him working. You always listened, he’d warn about a serial killer running around town and to keep indoors at night. Sometimes he’d be back at 11pm or even 12am while you slept and you once walked in on him with him drenched in blood with an emotionless look on his face holding an axe.

You guys never spoke a word about that night, though he looked like a deer in headlights once you caught him. You knew what he was, and you chose to forget about that night. It crept in your mind though when he mentioned the murders in town. That night when you caught him, you just walked up to him and made him put the weapon down. You caressed his face, asking him, “What have you done?”, and he’d only smile at you as an answer. You knew what he did though. You were too shocked to cry, and so was he. He would’ve cried that night if he wasn’t in so much shock at seeing your calmness.

“Why’re you up so late?” He’d ask that night, bringing his bloody hands to your nightgowns waist and holding you close. “Waiting for you.” You answered, breath trembling at seeing the soft look he gave you. “Let’s get you cleaned up.” So, you washed him that night and threw the clothes that were covered in blood out. You walked in the living room a few times after that night and seen him drenched in blood, a repeat like last time.

After reading a few pages, you got bored and closed the book. You placed it down and sighed, maybe this was another night of his killing. It’s been a few weeks, well, since you haven’t walked in on him. You didn’t know when was the last time he killed. It was around 8pm, which was the time he’d usually be home. Yawning at such an early hour, why not go to bed early? So you bathed yourself then layed in your bed for the next few hours.

— LATER

You woke up to the sound of his car driving into the driveway, so you excitedly got up but remembered that you shouldn’t be excited to see him. He was probably covered in blood again. Walking into the living room, you waited a few minutes before the front door slammed opened and an emotionless Alastor walked through the door and instantly shot his eyes to you. The same axe in his hands as the other nights you saw him in such a state.

He closed the door then dropped the weapon and walking to you. You were across the room, he hugged you. You wrapped your arms around him. “You have to stop doing this, you know.” You trembled, feeling like you were gonna cry from seeing him all bloodied up. “I know, this’ll be the last one, I promise.” He whispered, placing a wet kiss on your cheek then looking at you. “Promise?” You didn’t smile at all, neither did he in this moment.

“I promise I won’t.” He slowly smiled, his glasses were almost falling off his nose so you fixed it for him. You started smiling, but he stopped. “I have to- to hide the body, okay? Will you.. help me?” He asked, and you nodded. “Of course.” You caressed his cheek, he leaned into your touch and started smiling.

He led you out and opened his trunk to showed a bloodied body with axe marks all over them. Their hair was crusted up with dried blood, their eyes opened, and cuts all over them. “You grab the legs, I grab the shoulders, okay?” He looked at you, and you only nodded. You both got the body out and started walking in the forest. Finally getting to the perfect hiding place for a body, Alastor grabbed the shovel he had and started digging.

While waiting, you sparked a conversation. “Any drama at work?” You ask, looking away from the body and looking at Alastors bent down body as he dug. “Not the time, sweetie.” He gritted his teeth, mad that the shovel hit a rock. “Oh well your show was great, loved the music and-“ you were cut off with a cut shot piercing through Alastors skull as he stood up, he fell into the hole he dug. You screamed in fear, until another shot sounded and it hit you as well, falling next to Alastors lifeless body, you joining his state.

You woke up in the air, falling not too far down on the floor. Everything was loud, red, and dark. You looked up from the ground and saw what you thought; you were in hell. Your eyes widened, and you felt like crying. “Alastor?” You whisper, looking around. You stood up, and yelled, “Alastor?!” No answer, only someone yelling “SHUT THE FUCK UP BITCH” or something. Shaking, you turned your head fast to see anyone who looked nice enough, or even someone resembling your husband. Nobody.

But you saw someone, your friend.

So, you found your old friend who died before you even did, and you lived at their place for many, many years. No Alastor came by, until SOMEthing came by. A hotel, which you immediately joined since you had saw their ad on TV. Around this time, you forgot what your husband looked like, you only knew his name and voice.

Walking up to the doors, you knocked and someone instantly opened them. “Hi! Welcome, my name is Charlie! Welcome to the Hazbin Hotel!” She greeted you in a very overwhelming way. “Hi.” You smiled, which had her grabbing your hand and pulling you in. “So, you’re here to be redeemed, yes?” She still dragged you, walking you to the lobby. “Yes.. I saw your uhm, ad, on a what do you call it? Television? Picture show?” You shrugged, stepping back a little bit from Charlie. “Yes, a TV! So glad you could see it, and to join.” She nodded at you. “So, you’ll have to join in on activities weekly and such, you’ll be granted FREE food! And since you’re one of our very first guests here, you can stay here for free.” She explained, emphasizing with her hands too.

“If I can know, how long have you been in hell for?” She asked you, and you thought about it. “Almost a hundred years. I don’t know much about how I died although. I believe I got shot with someone else with me.” You tried to remember, nothing really came to mind. “Oh, my husband.. that’s all.” You didn’t wanna give out much detail, so she asked you another question, “Did he kill you?”

“No, no. I hope not, but the person who shot me also shot him, so it wasn’t planned at all.” You gave her the bestest memory you had. “Oh. I’m sorry.” She smiled sweetly, “How about a tour of this place?, I’ll introduce you to everyone after.” She grabbed your arm and walked you around the place. After showing you quite literally everything, she showed you to everyone but she said that she’s missing someone who is out at the current moment.

You knew there was no hope in finding your husband after 90 fucking years, you missed your dear Alastor but life isn’t fair. She didn’t mention the name of the man who was currently out although. And maybe, just maybe it may of been him. But by the hundreds of demons living in hell, you doubted it. “You can bond with the residents here, I’m gonna go gather.” She waved you off, running off with her girlfriend, you think her name was Vaggie? You were told earlier, but with so much happening it was hard to remember.

Turning around, you saw the bar. You weren’t a drinker, but someone was there to talk to. You walked to the man, who you think to be husk. You sat on the stool. “Hi,” you look at him. He looks at you, “Hey.” He crossed his arms, looking at you. “I.. you look like you don’t wanna be here.” You mention, noticing his body language. “No I don’t. I was fucking forced by the ‘radio demon’.” He turned around and started washing cups that were once filled with alcohol.

“Who’s that?” You ask, leaning in, cupping your own cheeks in boredom. “If you’ve been here for years by now I’d imagine you’d know who the Radio Demon is.” Husk sighed, drying off the glass in his hands and going to the next one. “Alastor The Radio Demon. He’s an overlord here, stole souls, made deals. He has mine.” Husk growled in anger at remembering the regret. “I advise you not to make a deal with his stupid ass. He’s creepy.” He shudders at the meer thought of Alastor.

You didn't wanna tell him he had the same name as your husband, Alastor. "Weird. When will he be back?" You asked him, raising an eyebrow as he turned around. "By now." Husk shrugged, making eye contact with you. "'know, back when I was alive, my husband used to come home very, very late. Sometimes he'd come home drenched in blood on those late nights. That's all I can clearly remember." You mention, sighing.

"He was a murderer?" Husk questioned, leaning against the counter full of uncleared cups behind him. "Yes. I'd expect him to be in hell since killing is a sin..." You wandered off. You both stayed in silence for a minute until the door opened with Charlie, Vaggie, and a very tall man were now at. "There he is." Husk muttered, rolling his eyes and turning to clean the cups. The man you saw, no, Alastor, was familiar, almost like the man you loved when you were alive.

"Alastor, I want you to meet Y/N!" Charlie ushered him to you, and you sat up straight when he locked eyes with you. He had a wide smile, yellow teeth. "Hello, Darling! My name is Alastor, quite a pleasure to be meeting you! QUITE the pleasure." He grabbed your hand, shaking it for a long time as he observed your appearance. His grip was strong, uncomfortable even. This felt familiar, like your husband. He was charming like him, he said the same words to you like the first time your husband had met you.

Your eyes were wide, he noticed your weirdness and brought his hand away. He only smiled, waiting for your response. “Hi, Alastor. My name is Y/N.” You looked up and down at him, the radio voice reminded you. Everyone watched the way you looked at him, your face showed three things; fear, sadness, and confusion. “Is she okay?” Vaggie asked, going to your side as she watched your still body. “Do you know him? Are you okay?” Vaggie shook your shoulder, and you snapped out of it.

You went to Vaggie’s ear and whispered in her ear while staring at Alastors eyes, you whispered to her, “That’s my husband, I think.” Vaggies eyes widened at what you said, and she slowly turned to Alastor, then walking to Charlie to whisper to her. Charlie’s eyes widened as well, everyone was in silence while Husk was confused as fuck. “Does he know?” Charlie whisper yelled to you, asking you if Alastor knew what you think you knew. “I don’t know.” You looked at Charlie, so you stood up, looking up at Alastor as he just stared.

"Okay guys! There is some.. problem happening! Y/N, come here for a second." Charlie grabbed your arm and started dragging you away from the man who you thought to be your husband. "Y/N. Is he- is that him?" Charlie grabbed your hands, looking at you. "I'm sure it is, he. he used the same words from when we first met, his name is the exactly the same as my husbands." You started crying, and she hugged you. "I'm sorry." She apologized, squeezing you tighter. "I know for a fact it's your husband, trust me." Charlie cooed, ending your hug and holding your hands.

"He's been very secretive and with you now joining us, surely you'll be the one to uncover his secrets." Charlie only smiled, and so did you. "And I'm sure he remembers, he mentions his stuff when he was alive sometimes." She brought a hand to your back to walk you back to the lobby. Finally getting there, Alastor was looking at his nails, straightening his hair, and such. You walked behind him and tapped his shoulder, he snapped his head to you then turned around all the way.

"Alastor." You look into his eyes, "What happened to you?" You ask, tears welling up in your eyes again. "Whatever do you mean?" He asks, still having the same face as earlier. "Alastor.." your lip quivered and you started crying all over again, hands in your face too. He only watched, he felt your pain. As you ugly cried into your hands, arms wrapped around you and you knew exactly who it was, it was your husband, Alastor.

"I missed you too, my darling." He cooed, his hug tightening around you. Finally reunited, you went limp against him as he still held you. "Awww!" You heard from a few feet away, you removed your hands and looked at who made the noise. It was Charlie, hands clasped together as she watched the moment the two of you shared. Alastor only smiled at you, watching as you blushed at seeing everyone watch the moment you had. “Carry on!” Charlie squealed, shaking.

“How come I didn’t see you when I showed up here? I died a few seconds after you did.” You asked, looking at Alastor. “Different parts of hell.” He only said. You looked down at your feet in awkwardness. “Why didn’t you look for me?” You bawled up your hand in anger. “I did. I saw you roaming hell after a few years and I didn’t know what to say to you. Either you’d be mad or you’d forget me.” He admits, gripping his Caine.

“Mad? Why would I be mad? I’d be sad, happy even. I forgot who you are throughout the ninety years I’ve been here.” You raised your first and put all your strength into that fist, hitting it onto Alastors chest. He didn’t have any reaction. “I don’t get why you didn’t say hello atleast.” You started crying for the 50th time, his hand grabbed the wrist that you hit him on and tightened his grip. Everyone watched and got scared once you hit him, but, he knew what you were doing. You were just freaked out.

“Calm down,” He cooed, pulling you against him as he turned into a shadow, bringing you with him. Everything was dark, then bright again once you hit the floor of what looked to be his room, a forest being half of the room. “Sit on the bed, I’m gonna go grab something for you.” Alastor brought you to the bed and sat you down, he kissed you then walked off. You were shaking, eyes bloodshot red. Whimpers left your mouth as you were still crying.

He came out with napkins and he sat next to you, wiping off your tears. “Please,” you begged, hugging onto him as he held onto you. “I’m here, I promise.” He kissed your forehead sweetly, making your heart flutter. He rubbed the side of your face, and looked lovingly into your eyes. “I love you, my sweet.” He leaned in to kiss you, and your eyes widened. Kissing and loving eachother for the rest of the night.

There were a lot of questions that needed to be answered though.

#hazbin hotel #alastor x reader #fluff #yup that's it #alastor #oneshot #idk how to tag this

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baekhyunteamo · 2 years ago

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you're my best friend | kylian mbappé

bestfriend to lovers, inspired by the song you are in love by taylor swift.

one look, dark room meant just for you.

when you met kylian it honestly wasn't love at first sight. admiration at first sight. it seemed that all eyes were focused on him. lucky would be the one who left this party with him.

time moved too fast, you play it back. buttons on a coat, light-hearted joke. no proof, not much... but you saw enough.

small talk, he drives. coffee at midnight. the light reflects, the chain on your neck...

you don't notice the moment a hello turns into a cute joke with his french accent or how different the shape of his mouth is when he speaks spanish. the way the loud laugh echoed when he said he'd be able to drive you home and you said "driving? i doubt it..." when you shared the first coffee at midnight. latte.

he says, "look up" and your shoulders brush. no proof, one touch but you felt enough.

when you sat side by side on the stairs and he showed you the sky. asked if you thought you'd end up leaving the party for coffee at midnight. the goofy smile when you say partying isn't your strong point, the shoulders touch.

the months passed. there was no way not to look at him and see comfort. kylian was no longer the guy who took you out for coffee at your first fundraiser, he was the guy you called when things didn't go well at work. the guy you sent huge paragraphs to about how your favorite singer released a new album. the guy who listened to hours and hours of theory about taylor swift songs.

you can hear it in the silence.

you can feel it on the way home.

you can see it with the lights out, lights out.

morning, his place. burnt toast, sunday.

you keep his shirt...he keeps his word.

mornings at his house became routine. go there after work and find him on the couch playing fifa. going to the bedroom and picking up any shirt that was on the bed with his scent on it and sitting in the living room to play with him was also routine. waking up in the morning with the smell of burnt toast, watching him try at all costs to do something in the kitchen other than the food already prepared by the nutritionist.

one day he was napping on the couch, a routine moment. he wakes...strange look on his face, pauses, then says:

you're my best friend

and you knew what it was he is in love. and so are you a thousand times more. in the silence of the living room, in the warmth of the sofa. in one of his psg sweatshirts. with the smell of home.

and for once, you let go of your fears and your ghosts... one step, not much but it said enough.

the first kiss didn't happen on the couch, it happened in the middle of the street. close to the 24-hour coffee shop that was routine when the two couldn't sleep.

you kiss on sidewalks. you fight and you talk.

it happened in the middle of one of the stupid, pointless fights. talking about him and his interest in any blonde that is minimally functional.

"you speak without understanding" he says

"kyky, even a blind man knows your type! skinny blonde french girls! i don't understand why you keep denying it all the time, denying is worse!"

"do you just like to pretend you can't see?" he says, taking another sip of the latte, which in the cold of Paris, felt warm in his hands.

"here it comes..." you say holding your own cup

"my type is very specific. likes to play fifa, loves bronwie, horror movies every tuesday. is in love with lilac, but always tells me that i look great in blue. my type actually has brown hair. cuts bangs whenever she's having an existential crisis, she looks great in them. my type, have the most beautiful eyes i've ever seen. you know it's you."

and you understand now why they lost their minds and fought the wars.

#kylian mbappe #mbappe x reader #kylian #psg #mbappe psg #kylian imagines #kylian x reader #mbappe #mbappé #imagines #football #soccer

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stagefoureddiediaz · 1 year ago

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RWRB costume/ colour meta!

Ok, lets do this!!

Man have I missed writing costume/colour meta, so its good to have something to write about again! This took me far far longer than it should have - I kept getting distracted by the film while I was working on this - I'd go looking for a clip or to grab a still and end up just watching the film again 😂😂😂 but I've finished it and I hope you all enjoy it! Grab a beverage of your choice because this thing is a beast coming in at over 7000 words - I totally understand if you want to skip, but I have ADHD and do not know how to be concise 😂😂😂

Red white and royal blue employs several fun and interesting costume and colour theories (also made use of in the set design) to help tell the story of Alex and Henry. I’m not going to write a detailed meta for each costume - I just don’t have the time - but I am going to look at some costume/ colour details in focus, especially for Henry and Alex as well as highlighting other interesting choices! I also do not have the picture limit (I need more than 30!!!) to include every image I would like to, so if you want to see what I'm talking about, you might have to go check out the relevant scenes (I'll try to give you timestamps where I can!) I’ve kind of tried to do things chronologically, but I’ve left Alex and Henry to the end so if I don’t talk about them very much in the rest of this meta - that is why! putting it under a cut because its so long!

The royal Wedding

There are a couple of key themes here, the wedding party (consisting Lady Martha, Bea and Henry) have a distinct colour palette - dusty blue, dusty pink and Ivory, with the exception of Prince Phillip who is in his red Dress uniform - they’ve used a red uniform to make him stand out, convey that he is more important than the bride (what with his being in line for the throne and all that jazz) and hint at power - red is a power colour.

I’m not sure what royal orders the collar and riband that Henry is wearing are supposed to represent as they don’t belong to a specific British order - if I had to take a punt I’d say his red collar is meant to be a AU version of a Knight Grand Cross of the order of the bath but the one he’s wearing certainly isn’t a real order in the UK (it isn’t meant to be an order of the garter as that is the highest ranking order and Henry would then also be wearing the light blue riband we see on Prince Phillip) the royal blue riband with the red edging is more i line with the night grand cross of the order of Victoria, although in real life that riband should be for in the opposite direction. My feeling is that they wanted a red collar on Henry to play into the red as a symbol of power theme they’ve used on Prince Phillip, placing Henry as having the ‘power’ in his conversation with Alex (as he is on home turf) and the royal blue sash is a deliberate choice that I will talk about later when I focus in on Henry and I think its actually pretty significant as a choice. essentially the order insignia he is wearing are not real orders which is totally fine as this is essentially and au royal family!

We do have to talk about that wedding gown - not royal in the slightest - spaghetti straps and a low back would never be allowed for a royal bride, the dress is also too long on her (but that’s a different conversation about budgets and rental gowns so we’ll let it slide here!!) and her hair should also be fully up - not in the half up do she has going on! The colour is also wrong - she would have been tied to a very limited colour palette of white or ivory - no colour in a royal wedding gown, so the blush colour we see is a no go! I totally get why they did what they did with her gown in terms of colour and I’m fine with that choice (i’ll explain more in the next paragraph), I even get the fairytale princess look they were going for with that dress - but when you’re trying to portray a family so stuck in tradition and history etc, I can’t help but feel that they missed a trick to show her as buttoned up, conforming to the crown etc, especially as we never see her again!

At the reception we see pretty much everyone in colour of some description, with the exception on Alex and Nora who are both in black - this is why Lady Martha’s wedding dress is a pale blush pink colour rather than white. The only reason that the men aren’t in colour (if they’re not in dress uniform) is because they are wearing white tie for the formality of a royal wedding, otherwise I think we would’ve seen coloured ties or some such on them. This is intentional because the room has a general (muted) wash of colour which serves to highlight Alex and Nora, making them stand out and look like they don’t really belong.

Its a way of creating a them and us vibe and helps to establish the rivalry between Alex and Henry - we have a British scene, full of colourful clothing and the only identified foreigners are in black and white. We actually only see a black and white colour palette for the clothing of the Americans until Alex returns from his PR fix it trip to London after cakegate, while nearly all the Brits all were colour of some description - we can see this clearly in the hospital - all the children in colour, Henry in blues and - Henrys security in coloured ties while Amy is there totally in black.

Alex himself does wear navy blue but its a dark navy and that jacket is actually two tone - black and navy and its paired with black trousers in this scene - we see it again later - paired with taupe trousers which really helps to establish this idea of colour entering Alex's world once Henry is in it.

Sets

I’m going to pause on clothing here to quickly talk about the sets in the film and their colour palettes because they fall into three distinct categories;

We have the sage dusty greens, gold and bright reds of the British spaces - they have a regency and victorian air to them, all very traditional, opulent and royal in feel - they are the definition of a gilded cage and are ostentatious and Henry’s bedroom even fits into this mould (its very telling that we only see very limited physical intimacy between the two of them in this space - because its a space that neither of them truly fit or belong in) with its sagely green walls that echo the green walls of the state room the big royal family showdown occurs in.

Then we have the creams, taupes and beiges (with a bit of minty green for the walls of oval office) of the America spaces combined with the very intentional colour choice of that rusty orange (there is also the red room but that is a whole other conversation - I’ll go into it later).

The Rusty orange is such a colour choice, its rich and eye-catching. All colours have meanings associated with them - these can vary wildly depending on where and how they are used and have both positive and negative connotations.

Generally speaking, orange is an attention grabber - its energetic and stimulating, but it also conveys transformation and endurance. This orange has brown undertones which means we should also reference brown colour meanings when thinking about what the colour means on screen - brown is a safe colour and it is also strong and reliable, but it can also portray a sense of loneliness - that is something I think is a really interesting concept - we see Henry in Alex’s world (through the text chats as well as in the first blowjob scene) on the rusty orange sofas and one of the underlying major parts of who Henry is, he is enduring like the orange (and his royal status make him an attention grabber without needing to try) but there is that underlying sense of loneliness - yes he might’ve had a crush on Alex since the climate conference, but as soon as the air had been cleared between them during the PR trip Henry reached out and pursued Alex because he was lonely and wanted a friend - not knowing if it could ever be more than a friendship.

Then, finally we have the spaces Henry and Alex occupy - spaces which are just theirs to occupy - spaces when they are themselves - these are predominately yellow and blue spaces, with some deep colours such as the teal we see on the walls of Alex’s room and the red room.

I’ll go into more detail about all the yellow and blue in this film a bit later on in this meta, but to provide a comment on the red room - red is a colour of passion and love, but this shade of red they’ve chosen maintains that orange undertone we see in the rest of the American spaces.

I wrote a post on the choice of red calla lilies and how they are both a symbol of love and commitment, as well as a phallic symbol of sexuality, and I know Alexander Hamilton was on the wall in the book, but he is there not only because he was very likely bi, but also because he was the subject of what is known as the first political sex scandal - something our boys are essentially also themselves going to end up becoming!

Once Alex does return stateside we start to see colour begin to fill his world. This is a really interesting thematic choice - think how the wizard of Oz (a film very much associated with gay culture - ‘a friend of Dorothy’ was a slang code used by gay men to identify one another and there is obviously the rainbow connotation) begins in black and white and then transitions to colour as soon as Dorothy wakes up in Oz. This film is playing on that same trope/ concept - this is a story essentially told from Alex’s perspective, so Henry and his world is already in colour - its only when Alex enters that world and becomes entwined with it that colour starts to seep into his life - its done in a much more subtle way, but it is there - even during the text bantering they have going one while he is watching a film with Nora - it is a black and white film (‘Some Like it Hot’ - its self a film that helped open conversations about queer identity and the queer community at a time when the Hays code was still in operation and when Sodomy laws still existed in the US, but that is a whole other conversation and lots has been written about it before, its one of my favourite films and if you want to know more then head to your search engine of choice or hit up my inbox! It’s also a film our director Matthew Lopez adapted for the stage which is possibly partly why it was chosen for this scene- as a nod to his other work!)and they are both wearing grey while Henry is in colour (cream and blue - playing into the queer coded yellow blue theming) and sits on the bright orange sofa.

I cannot tell you how much I am in love with the Koi carp on Alex’s dressing room wall because the symbolism - the symbolism!!!!! Koi are seen as a symbol of strength, patience, perseverance, love and bravery they symbolise success through courage. Koi are known to swim against the current and overcome great obstacles - there is a Japanese proverb ‘Koi no Takinobori’ which translates as 'koi swim up waterfalls' and as the word Koi in Japanese also translates to mean love the proverb therefore means that love can go against the current and overcome great obstacles and if that isn’t the perfect metaphor for Alex and Henry’s relationship then I don’t know what is!!

I am obsessed and I adore the set designer for including that wallpaper in general, but especially in their text banter flirty developing relationship - the writing is essentially on the wall for where their relationship is going and how its going to unfold - they are literally Koi swimming agains the current and overcoming great obstacles to be together!!

Back to the costuming!

As I said previously - when Alex returns from the PR trip we start to see increasing amounts of colour and it starts with blue - Oscar is wearing a blue shirt - a colour we only see him in for that scene and then again at the end of the film - during election night. Its an important choice - Henry's colour is blue - its the colour we nearly always see him in some form of blue so for this to essentially be the first colour that appears in the clothing in Alex's world is telling in its own way - it is the beginning of the slow saturation of Henry in the world of Alex. Oscar is always in tan colour-ways apart from those two scenes and generally speaking we see him wearing Mexican tribal and geometric prints/patterns and cowboy boots - playing into his Mexican heritage, but also establishing him as Texan.

Miguel is clearly set out as the baddie to us all - head to toe in black all the time expect at the PM dinner - when he has to wear a white shirt because its etiquette - but they do make sure to give him black buttons on that shirt - which separates him from everyone else in dinner dress very clearly and keeps the undertone of untrustworthiness going.

The other thing to note is the grey fuzzy jacket he wears when being interviewed on the news. I’ve spoken before in my 911 meta’s about how the use of the grey fuzzy patterning is symbolic of confusion or obfuscation and that holds true here - Miguel is called out as being the one who hacked and leaked the emails by the presenter and he tries to bluff his way out - to obfuscate the truth.

We see the idea of green and jealousy play out a couple of times in the film - the flirty girl that tries to commandeer Alex and kisses him at the NYE party is wearing a very blatantly iridescent green dress which sets her apart from the rest of the crowd and then when the crowd drops low we also get the green lights on the DJ desk - while the scene is a play on the I saw you across a crowded room idea, there is also that undercurrent of jealousy - Henry is Jealous of Alex’s ease and that he cannot have him loudly and in the way he wants - highlighting that jealousy helps to build into Henrys later actions when he throws caution to the wind and kisses him under the tree.

Ellen Claremont has a narrow colour palette as well - we only see her in black in that first scene and in the ‘new Texas strategy’ arguement with Alex, after that her dominant colour is cream and we also see plenty of red which is a power choice - she wears it in scenes when she needs to convey power and status such as at the PM dinner or when she is shutting down his Texas strategy. The cream is the base colour for her - its a colour of elegance, sophistication, it is also a neutral colour - playing into her position as POTUS, but also when she wears it in one on one scenes with Alex, it is a sign of her being a mother rather than the POTUS.

Zahra tends to wear blacks with one blue/grey cashmere jumper and when we do get colour on her they are jewel tones - purple and teal. We also get some more grey fuzzy patterning - again playing into my previous statements - here it is very much about confusion rather than obfuscation - she only wears the fuzzy grey when she finds out about Alex and Henry and has her mind blown by the knowledge. Its a perfect costuming choice for this scene as it conveys so much about where her brain is - that her mind has been blown by this huge thing she as just become privy to and it helps make her facial expressions even louder!

Nora wears a full spectrum of colours, the stand ones are obviously the red bodice and trousers she wears for new years and the pink shirt she wears in the office when Alex is having a mini bi panic and figuring himself and his attraction to Henry out. Generally speaking a characters costumes are meant to be about them and their own character, however with a film like this, everything is a driving point for the two main characters and so, other characters costumes will, at key points be less about the character wearing them and more about driving the story of the mains forward - this is very much the case with Nora’s red outfit (and we have already talked about the green of the flirty girl at new years representing jealousy).The red is very very red, it is meant to stand out and is a nod to romance - for both herself with Pez and for Alex and Henry, but Red is also a colour associated with passion and sexuality as well as fire and heat - essentially it is a marker that things are about to kick into action on the romance scale - we are heading from friends to lovers.

The pink shirt plays into the same theme - its a continuation, but a cooling down - less about the heat and passion of a sexual encounter, and more about the concept of romance and relationships - because that is what the conversation is ultimately about in this scene. We have the bi flag background helping to visually tell us what the conversation is about, but we also need to have that subtle reminder that this is not about fire and passion it is about the potential for romance - for love - because if Alex is going to hook up with Henry, it isn’t going to be a hook up, it going to be real. We do of course see things heat back up in the red room (as they should), but ultimately that is the last of the fiery heat we see - from then on anything connected with Alex and Henrys relationship is much more steadfast - the blues and yellows I will talk about in a minute!

Lets talk signet rings!! We see them worn on the male members of the royal family - so King James, Phillip and Henry - as well as Alex when Henry gives him his ring. their use is telling and significant. James and Phillip both wear their signet ring on the little finger of the right hand, while Henry (and Alex) wears his on the little finger of the left hand. in a general sense one would usually wear a signet ring on the little ringer of the non dominant hand - so if you’re a lefty you wear it on the right hand and vice versa if your right handed. This is not what is being portrayed here - all three of them are naturally right handed (yes I did spend far too much time on google to find this out!!) which would in theory mean all of them should have their rings on the left little finger and yet only Henry does.

There is however another explanation - a ring worn on the right hand is symbolic of tradition conformity and rigidity and royalty (traditionally the monarch would wear a ring on the right hand and this was offered to subjects to kiss), wearing it on the dominant hand as a sign of power/ dominance. Henry and then Alex wear Henry’s ring on the left hand - the traditional hand that wedding bands are worn - because of the concept of the main artery running from the heart down the left arm and into the left hand, it is a symbol of love and life and connection to another person and is where the concept of the red string of fate comes from (which ties in nicely with Alex referring to the rope in his chest pulling him towards Henry). This all gains greater significance when Henry gives his ring to Alex and that he choses to also wear it on the left hand, its essentially a symbol of engagement and eternity - it is a sort of pre engagement I guess - and is a low key statement from Henry he is giving Henry Fox to someone for eternity - to Alex.

Right, shall we talk about the yellow and blue theming that I keep mentioning. This specific theming, tends to be seen more in sets and lighting than costumes - although we do see it used in costuming too (looking at you Bea!!). For those not aware, there is a tendency to use yellow and blue colour-ways for queer story arcs - if you look at Heartstopper (esp s1) they have been using it to great effect , and it can be seen in other shows and films with queer character arcs to such as 911 (and Lonestar), as well as plenty of other mainstream media if you’re looking for it. I don’t know when or how it became a colour way associated with queer relationships - especially mlm relationships - I’ve not had the time to deep dive into that particular research spiral - but suffice to say we see it put to very very great effect here in Red White and Royal Blue - we only ever see it used as a colour way when it is regarding Alex and Henry and their romantic relationshipI’ve included some of the blue and yellow we see (couldn’t fit it all in - 30 pictures is apparently not enough!!!) surrounding Alex and Henry and there is plenty of it. The first time we see this yellow/blue theming come into play is at the turning point - when Henry opens up the lines of communication with his text message. Alex is in his room - the first time we’re seeing into his room - a room painted dark blue and full of yellow accents - the lamp on his desk and the unit to the side of the sofa, as well as the very yellow and blue painting we see above his bed (which was commissioned for the film and so the colour choice was very much deliberate). Just to show how prolific the yellow/blue colour way is here is a list of most of the occurrences - I've tried to include as many of them in the pictures as I can as well.

The copy of People is yellow and blue, the Jacket Alex wears for new year has gold and blue embroidery. The PM’s dinner has blue lighting with gold curtains and there are a lot of blue and yellow dresses being worn in the crowd when Alex is watching Henry. The cushion on the sofa behind Alex is yellow and blue. Then we get to the French hotel room and the Eiffel Tower - it is literally all yellow and blue - everything - even down to the blue (extra safe) condom packets. the New York hotel room is dark blue and gold another is a blue bottle of lube on the side (the condoms and lube are very much a deliberate colour choice - there are a million different colours you can buy both in so if the colour wasn’t important they could’ve chosen any, esp as fuchsia and red is the most common colour for both in the durex brand in the UK).

In England - Henry mostly occupies green spaces - in keeping with the royal theme I wrote about earlier - however the room he is most himself and most comfortable in is the music room/ library which is yellow and any time we see him in that space, he is wearing blue. It is telling that when the emails between Henry and Alex are hacked, his sanctuary is full of ‘old white men in suits’ and Henry cannot go in there - symbolic that who he is - his true self - has been violated and he is being forced into ‘royal coded’ spaces - back into his box as it were!

Back to costumes and he two blue hoodies. I’m gonna get a bit of hate for this, but the blue hoodie is actually two different hoodies! - they are slightly different shades of pale blue - Alex’s is much more dusty blue, while Henry’s is much more baby blue, they are also different cuts - Alex’s a traditional sleeve cut while Henry’s has a raglan sleeve cut (think baseball tee). There is the idea with these two hoodies that they are at different points in their journeys, but still connected and i love that we see them in them at really key points of crisis - they are a comfort blanket in a way - Alex wears his during is bi crisis and again when he's watching Miguel on the news and figures out who the hack was, while Henry wears his when he lets Alex in - when he opens up and unspokenly confesses his love for Alex, when he agreed to take the step and be brave - both are wearing these hoodies in moments when they need/want comfort the fact that they are wearing such similar hoodies speaks to the fact that in it is the other they want that comfort from (even if Alex doesn't actually realise it during his min bi crisis).

And now to our two mains - lets start with Henry.

Henry

The bulk of Henry’s wardrobe is double breasted suits - a key theme for the members of the royal family - not one else where’s them - its a fun costuming choice, cease generally speaking the double breasted suit isn’t in fashion at the moment - the film fit single breasted suits we see on the rest of the characters is. It's a very clear choice to create a them and us concept in a visual and telling way. the other thing to note about these db suits is that only Henry wears plain fabric - the ones we see on Phillip and James are pinstripe or woven stripe. I want to quickly mention the tie King James is wearing because of its very obvious pattern. it is the only loudly patterned tie in the entire film - all others are either, plain , striped or spotted. In the book Henry says that patterned ties are considered too political (i'm paraphrasing and can't find the actual quote!!) and here we have a king playing with politics wearing a patterned tie - I love tiny nods like this to the original source material that only those of us who love the book will pick up on - its just a tie to the ga!

Henry himself wears pinstripes - when he is at his most royal - so for example when he is taking part in the PR exercise post cakegate. His ties also fit into this theming - he almost exclusively wears striped ties excepting at a couple of key moments - when he’s undertaking skulduggery and the yellow one he wears for the election. at all other times he has stripes on his tie. the stripes get wider or skinnier depending on the situation - the wide ones tend to be for royal events while the skinnier stripes tend to be connected to Alex.

Another thing to note with Henry is the lack of black he wears - the only time is at the most royal of occasions - the wedding - all the rest of his suits are varying shades of blue or grey (and cream) even the tux he wears to the PM dinner is a dark navy with black lapel rather than black - it differentiates him from everyone else in the room (esp Miguel) and shows him as the object of Alex’s gaze. I also want to mention the royal blue theme we see on him - something I love Keith Madden for doing - Henry nearly always has something blue on him and a lot of the time (especially connected to times when he is doing something connected to his status as a royal) we see him wearing something royal blue - its why his riband at the wedding is royal blue rather than the lighter blue of the order of the garter - but we also see it in the royal blue socks we see him in several times, the royal blue pyjamas when the hack/leak comes to light and the blue shorts in Texas when he’s lying on the bed before he leaves to return to England. We also see him in a lot of blue shirts keeping that blue theme connected to him.

Then there is my most beloved check theory - (its a theory connected to 911 for those who don’t know my costume metas already) Check is connected to foreshadowing of trouble - Henry wears a check/plaid pattern at a couple of very very key moments - at the bar in Texas - when we see Alex realise his love is the forever kind, when he is back in England having broken his own heart in a misguided attempt to save Alex (gingham shirts in pink and blue) and then the suit he wears when he choses himself over the crown and steps out onto the balcony with Alex to greet the crowds has a subtle check pattern (not sure if you can see it its the pictures but if you watch the scene you should be able to) all of these are moments which foreshadow the upcoming or current trouble in his life.

Yellow roses - symbol of Texas being flipped - from Mexican to independent (and eventually becoming part of US) - symbol of the fact Texas is about to flip blue from red. Yellow roses are also a symbol of good luck more generally and the yellow tie is a great choice to suggest neutrality in the election scenes (at this point in time Henry still has royal status). We see Henry in a grey suit with this yellow tie - this only further highlights his escape from royal life - when he is un the US we do not see him wearing the navy blue suits we see him in in England - the only exception is the dark navy dinner jacket he wears to the PM dinner . In the US he wears either a grey suit or the cream/light blue suit we see him in when he visits the lake house and the light blue linen jacket we see him on his light back to the UK is the only single breasted jacket we ever see him in - I would have loved to have seen the grey suit at the end also have been single breasted, but I'm guessing budget constraints prevented that from happening, as it really would've highlighted the difference between Henry George Edward James Hanover-Stuart Fox and Henry Fox!

At the lake house we get a piece of costuming that I love - the slightly differing short lengths we see on Henry and Alex - it Alex’s shorts are always shorter than Henry’s - it maintains that sense of Henry be more closeted and buttoned up - the overhead shot of them on the pontoon shows it really clearly - the two of them have similar leg lengths which serves me well here to show this point - the shorts Henry is wearing are at least 3 inches longer (possibly more) than Alex's - it isn't just that one pair of shorts - all 3 pairs of Henry's shorts are longer - its a costuming choice thats s perfectly in keeping with their respective characters.

The final thing to talk bout is Henry’s rainbow turtle swim shorts - a cute nod to his being gay - especially as Alex is is his purple bi swim shorts. But there is also the fact that they are turtles. Turtles are a symbol of steadfastness, longevity, perseverance and transformation. they can also be seen as a symbol of everlasting love. there is also the concept of carrying the weight of the world - which is seen in its most explicit way in Terry Pratchett’s Discworld novels - where a giant turtle carries the world on its back. All of these metaphors and symbols perfectly fit Henry and his relationship with Alex - it is a symbol of the enduring nature of their love for each other, the perseverance we will see for them to overcome the obstacles thrown at them, the steadfastness of their love, as well the transformation we are seeing Henry go through - from closeted gay thinking he has to conform to the very rigid and dated ideals of his family - to the freer Henry we see in the US - the real Henry and the version of himself he so desperately wants to be but thinks he can’t - he has the weight of the world on his shoulders at that moment a la the disc world turtle.

Alex

Alex, obviously has the largest number of costumes, as well as the largest colour palette, but even that is pretty limited. In the same way we see Henry’s wardrobe go through a subtle transformation, we also see the same for Alex, almost in the opposite direction - while Henry’s wardrobe becomes freer, Alex’s becomes more grown up - more mature and conveys his growth as a person - becoming more certain in who he is. I’ve already written a fair amount throughs this meta about Alex’s costumes, so this section is a little shorter than Henry’s for that reason!

We get rebellious Alex to begin with - the leather jacket easily conveys this to us, its almost a universal symbol or rebellion in costuming speak at this point and one of the reasons I like its use here is that it very quickly sets him apart from everyone else in the film - yes its early on, but he is the most casually dressed character by a long way - and this jacket it the antithesis of the buttoned up penguin suit from the wedding - it emphasises how uncomfortable Alex was in that environment and as a result gives the heavy drinking we saw before the cake went flying purpose and visually sets him up as the lead and as a rule/ convention breaker. The same is true of the greyscale with leopard print Hawaiian shirt which is meant to contrast him dramatically with Henry, who is still stuck in that stuffy double breasted suit prison of convention and expectation to behave a certain way - the costuming does a big chunk of the work in giving us rebel v prince in those opening scenes. I actually like that they brought the leather jacket back for the drive to the lake house - it sets up Alex’s falling in love arc nicely - in that it allows the idea of rebellion to continue flowing through the story - Alex wanting to be outing proud in Austin and not grasping that that isn’t an option Henry at this moment in time and is a nod to his not really understanding the different places he and Henry are in when it comes to what being out means for them respectively.

I’ve already written about the black and white colour way we see him in until his PR stint when we start see colour appearing in his wardrobe. I’ve put the pictures roughly in chronological order because it helps to show his progression, but it also shows the increasing amount of blue in his wardrobe, especially in moments connected with Henry.

To pick out some of my favourites - the Mexican pattern shirt with the red cardigan is wonderful - we have the shirt hinting at Alex’s heritage - in blue with the chunky knit red cardigan - I’ve written above about the use offered as a colour of passion and how that passion ebbs and flows - this cardigan also plays into that idea - it is the first time their texting becomes flirty - even the text message is in a red bubble on screen. This idea carries on with the orange red tee he is wearing during the turkey conversation - I made a post about that outfit being the same colour way as the turkey in question and how to talk turkey means to talk honestly and openly with someone - the very thing we see in that scene.

I adore the subtle yellow and blue jacquard embroidered New years jacket - the moment our boys connect and we move further into the lovers part of the enemies-friends-lovers trope and it keeps the yellow/blue theming an active part of the storyline. - the contrast with Henry’s orange tie is a choice - while there is a lot of colour at the NYE party Alex blends into the background while Henry is quite literally tied into the orange theme we’ve already seen in the furniture and sets - orange stands out and now we the audience are being drawn into unconsciously making the same connection that Alex is making - Henry is lonely, but he is an enduring and attention grabbing part of Alex’s life - it only further reenforces the direction of Alex’s gaze - green wearing flirty girl who??

We have a fair amount of Alex and the bi colour ways and we subtly see it coming into play from more or less the moment they start messaging - the light purple tee and purple message boxes, flowing through to the women sufferage wall and the fact he is wearing blue and purple in that scene with Nora in pink to round out the there colours. then we have the blue and purple colour ways he wears at the lake house - bolder and brighter - contrasting with the more muted shades from before - showing that he has recognised and accepted that part of who he is - he’ now out and proud and his parent know about him. I’ve used the old subtle a lot, but this is yet another example of transformation and growth for a character done subtly through colour. We also see him bathed in bi lighting at the bar when he has his 'OH I feel forever about him' moment at the Texas bar - he is the only one in that whole scene lit in that way - Henry is blue lit, while there is a more general lighting scheme that is blue/red dominant for the bar as a whole.

On to Alex’s suits and ties - he seems to have 5 suits and a jacket (not including the formal wear - tux and tails) a black one, 2 navy blue ones (one with a woven pinstripe that he wears in Paris) a bright bluish grey one and a grey one along with the black and blue waffle jacket we see him wear both on the PR trip and at the Polo match. I am obsessed with the fact that when he is in England he wears the navy suits and jackets whereas in the US he wears the other colour s suits - in the same way we see Henry less buttoned up and wearing grey and lighter blues in the US, here we see Alex fitting into Henry’s world and the navy blue suit uniform of the Royal family - its a wonderful piece of costuming that tells so much of how each of them are fitting into the others worlds, especially wen the black and navy waffle one is only worn early on - it is the cross over garment!

The ties have a similar story to tell - we see him wearing 4 ties - a yellow one we see in the beginning in the news reel and never see him in again and then we get the lighter blue striped one at the polo match - the one most similar to the striped ones we see Henry wear - suggesting he is trying to fit into this new world - Henry’s world - that he’s been invited into - its somewhat jarring for his character and plays on the idea of trying too hard - its therefore telling we don’t see it happen again - we only see hi in a striped tie again at he end during election night and accompanied by the black suit we saw him in a couple of times on the campaign trail in Texas. the blue tie is the only other tie we see him wear and it nicely connects all the key moments he has while in his suit - key political moments - his speech at the DNC followed by his speech to the press after the email hack and when he is at Buckingham Palace facing up to the King.

The final ting to talk about is the khaki green shirt jacket - I cannot tell you how happy I was with this costuming choice (and not because it was screaming Eddie Diaz from 911 vibes) khaki is so associated with military - with the army - anti is the most perfect choice for this scene - army are about war - they go somewhere to fight - to storm the palace etc so to have Alex - who has never worn anything remotely like this before rock up to KP to fight for his relationship - for his love - is the perfect choice, its a subtle yet clever way of emphasising the Alex has chosen to fight for what he wants - for his relationship with Henry and what makes it more telling is that we only see him change out of it once Henry has explicitly stated that he will try to be brave and that he wants history to include his love for Alex. It is why we see Alex in the yellow and blue Mexican patterned jacket - he no longer needs fight for his love because he has won - this yellow/blue jacket is a piece of costume tied into pivotal moments - we see the jacket twice - when he wins his bid to get the Claremont campaign to focus on Texas and Ellen tells him he’s going to Texas, and again when he has won the day with Henry and they are back together - in some ways that makes this his victory jacket - victory in his own personal battles - battles that are central to who he is and his development and I think that’s petty neat!

Hopefully you've enjoyed this deep dive into the sets and costumes of the film - I've loved writing it and I can only hope its coherent! Feel free to hit me up with any questions or comments and likes and reblogs are love ❤️🤍💙 thank you for reading and until next time...

#this really is a monster post!!!#rwrb meta #red white and royal blue #alex claremont diaz #henry fox mountchristen windsor #rwrb movie #first prince #costume meta #set meta #meta #long post #kym costume meta #costume theory #colour theory #colour theory meta #kym writes meta

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blues824 · 1 year ago

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Pomefiore x Siren!Reader

Gender neutral reader.

TW: Hamilton references.

Vil Schoenheit

He let out an exasperated sigh when Azul called him in the midst of his busy day to inform him that you had been turned into a siren. Those rotten potatoes could never leave you alone, could they. And you always end up suffering because of it. He cut his photoshoot short just to be able to make sure that you were alright.

Once he did see you swimming about in one of the moonpools within the Octavinelle dormitory, he had to admit that you looked absolutely beautiful. He crouched down and waited for you to see him, and he smiled as he saw you gasp and try to hug him. But, he held up a hand to stop you as he stated that he didn’t have too long since he needed to go back to the photoshoot in a few moments and couldn’t have his clothes ruined.

However, that didn’t mean your claws weren’t already in him. We all know of his determination and iron will, but your siren song spoke to him words that he had never heard before. Hamilton may have built Eliza palaces out of paragraphs, but you built cathedrals out of words. Mere sentences, promises uttered from you of kisses told to him only from stories that his father once read to him once he was younger, were enough to make his heart pound.

A few days had passed, and the poor movie star could not focus. Azul had warned him about the effects of a siren song, and his teachers had understood that he was under the influence of it, but… the show must go on. He kept himself busy in order to distract himself from you: he took on more modeling gigs, more rehearsals, diving deep into both schoolwork and being the Housewarden of Pomefiore.

But, all throughout, his mind kept wandering back to you. He could hear you singing, and it was breaking him down to nothing more than just a young man. He decided he was going to give you the kiss that you had been singing about. When he saw you again, he held your face gently as he pulled you into him. A kiss was shared between the two of you, and you pulled him into the water.

Fortunately, you were a bit past the mark of midnight, and your spell had started to wear off when the two of you embraced one another. Honestly, the scene reminded you of the Little Mermaid film, where Prince Eric helped Ariel walk once she had gotten her legs and gotten to shore. You temporarily had to relearn how to walk.

Rook Hunt

It was a miracle that he had not known prior to Monsieur Heart and Monsieur Spade informing him about your rather slippery situation. It seemed as though fate had many plans for you, each containing a tale (or tail, in this specific instance) hidden within. But his heart broke at seeing you suffer at the ends of the troublesome duo as well as Monsieur Fuzzball.

Although, he had to admit that you were quite a trickster yourself as a siren. He was happy to always be five steps ahead of you at all times. He had some noise-canceling headphones hidden under his hat. Unfortunately, you had giggled and snatched the hat from his head and knocked the headphones into the water. His heart fluttered upon hearing your laugh and you wearing his beloved hat, he could have kissed you right then had it not been for the tweels, Monsieur Mastermind and Monsieur Malfeasant.

The damage had been done, however. Your voice was now engraved into his mind, and now all he desired was to place a gentle kiss upon his lips and have you call him yours. Many different times, Leona had to ask if he was okay because he missed something that was said, and he also hasn’t been stalking anyone as of late. That is, anyone who wasn’t you. He had been visiting you in secret every single night.

He knows that he shouldn’t be giving into temptation, but when his beloved, his one true love, was helpless he couldn’t help himself. He, however, was the helpless one. You were the predator, and he was the prey. And he was slowly falling into the warm, welcoming arms that belonged to you. You looked absolutely breathtaking, swimming about so gracefully that he couldn’t help but stare longingly.

It eventually got to be too much, and on the seventh secret visit, at midnight, he did call you over. You asked ‘innocently’ if he was going to grant your wish for a kiss, and he silently nodded his head. He didn’t care if this was wrong, it just felt so right. It was a good thing he wasn’t wearing his Pomefiore clothes but rather swimwear, as you had pulled him into the water with you and supplied him with air through your mouth. The kiss left him lightheaded, but he wanted more.

When the morning came, and you both were laying in your bed at Ramshackle, you started panicking for your beloved hunter. Vil would be angry if he wasn’t there, but he honestly didn’t care. He was finally reunited with his love, and he would suffer any consequences that his Housewarden would place upon him if it meant that he could spend just five more minutes in your arms.

Epel Felmier

He was in the classroom where you had been accidentally turned into, and he was very angry that Jack was the one that had to carry you to the Octavinelle dorm. If only he had been both strong and manly enough, he could have carried you himself. You were his significant other, after all, and he so very much wanted to prove that he was your knight in shining armor. That day was just not today.

Because he was your boyfriend, he had received a warning from Jade and Floyd Leech. Sirens often called out to sailors, promising them their deepest desires, and made them crash into the rocks with their ships. He kept that in mind as he watched you resurface after swimming around for a few seconds. You reached out to him, and pleaded with him that he give you a kiss to comfort you, but he had to swallow the desire down and leave immediately without so much as a goodbye.

His Housewarden had to make sure that he was not outside of Pomefiore more than necessary. There were students who would take turns in making sure that he was not sneaking out. Both Vil and Rook could tell that Epel was under your siren’s spell, as he had grown quiet and compliant. The former had to tell Leona that the First Year would not be able to attend the Spelldrive practices during the week because of this incident. The lion did not really care, but oh well.

Your voice was calling out to the farmer boy. During the day, during the night, the apple carver could hear your song. It was a simple life that you were promising him, with you as his spouse and a farm as your home. An apple orchard, where your young ones would help you both pick the apples and he would teach them to carve them into intricate designs. He only needed to kiss you. It was a vision that haunted his dreams every single night he was away from you.

And on the seventh night, he was going to indulge you in your wish. He made sure that the two student guards were distracted as he threw an apple in a different direction and he quite easily snuck by. He ran as fast as he could, all the way to the moonpool where you were slowly swimming around. You looked so beautiful and peaceful… It's now that he noticed that the only peace you had gotten was when you were with a mer-person’s tail. He kissed you once you resurfaced, and you pulled him underwater.

When he woke up the next morning, he saw that he was in Ramshackle. He went red upon seeing that not only was he in your bed, but you were right next to him (understandably, considering it was your own bed). You were still asleep, so he settled back down and went back to cuddling you. The warm rays of the sun were splashing against his face in the most relaxing way, and he quickly fell back asleep.

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lalalian · 2 months ago

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aethergarde academy interior pt.2

date: september 15, 2024

I was gonna post this yesterday but I didn't wanna spam a bunch of posts, yk?

Part 1 here!

Anyway, before we get to the images, let's talk take a quick look at a map.

Aethergarde Academy, as seen in the script, is located on a floating island. Unlike Naurena, Aethergarde's floating island isn't manmade, it's naturally occurring.

I wrote this in my script awhile ago but I'm pretty sure it's not in the public script.. you can place this paragraph the More Travel Details dropdown under the pic of Aethergarde's school building:

"The city that owns the territory Aethergarde resides in is called Itresal (ee-treh-sul), which is the capital of the Empire. It’s a very affluent city, and many many people want to live here (it's not cheap to live in Itresal though). The festivals here tend to be pretty extravagent, and there's always tons of vendors in certain streets. Do expect to see traveling merchants often at the docks or in festivals and vendor populated areas."

norcross archipelago:

This is essentially the play area for dragons, though many dragons also like to lounge around Tybees and Plymond. The islands in the Norcross Archipelago are:

Gyrios Isle (Guy-rose)

Summorset Isle (Summer-set)

Cruest Isle (Croo-est)

Noble's Board (the island itself is simply known as the Noble's isle)

Did you see the huge tree on Summorset Isle? That general area is where Talonspyre is celebrated on campus. A tree isn't always there (the talonspyre tree is cut down and the resources are used to make potions sold in the campus' apothecary store (potion and herb store)) but that general area is fenced in for this specific event. You cannot go in there unless you obtain a pass or yk just wait till Talonspyre.

Cruest Isle is a common bathing spot for dragons, a fence is placed at the edge of the waterfall to prevent any dragons from falling off the island. An older dragon does tend to sit near the edge of the waterfall just to make sure nobody gets into an accident.

Gyrios is pretty boring honestly; Both Summorset and Gyrios are frequented by the young to learn how to hunt.

Tybees and Plymond are also used for hunting. Dragons may venture off campus to hunt, but they're advised not to go too far. If a dragon needs to hunt off campus, they must go in groups of three (at least 3, the more the better). Dragons who are younger than two years old must go with two dragon advisors (these dragons are bonded to the teachers at the academy) but dragons older than that are required to take one dragon advisor to leave campus.

If you've seen the 1st part, you probably know what's on Noble's island... Yes, it's the noble's dorm, also referred to as Noble's Board. Before it was built, that island was simply another play area for the dragons.

These islands also serve as great flying practice areas for both riders and dragons!

guardian aviaries

An aviary is a essentially just a huge collection of dragon nests. There are two large aviaries, the one labelled on the map and the ones in the mountains behind the Aethergarde Academy building.

Your dragon's species does affect where their personal nest is. Your dragon will move into a nest when they are unable to stay in your dorm or in the nursery; so about 3-4 months. If your dragon is particularly clingy, you may have to deal with them trying to catch your attention in the middle of the night by roaring loudly around the dorms or, if your room has a window, peeking through the window.

Since you guys will be bonded to a gilded dragon, you will more than likely have a window spot near the Guardian Aviary just so you can monitor your dragon more closely as gildeds are quite infamous for being uncooperative.

tybees & plymond

These islands are, again, considered a play area for dragons. Sometimes, dragons will go to Tybees to get alone time, as Tybees is the least frequented island.

Plymond also has a large waterfall lake situation like Cruest; it also has a fence at the end of the waterfall.

harklorn embassy

Harklorn Embassy is the first building you'll enter when you go to Aethergarde; you will receive your student ID (Your Keystone) in this building. This embassy handles everything related to transportation in and out of Aethergarde. That space next to the building is where the dragons land, though Aethergarde is in talks with Aiellesbia to expand the island somehow to create more space on the island.

This island will likely undergo expansion of some kind in your 2nd yr of school.

Nobody goes directly to Aethergarde first; you must be approved through Harklorn to even fly onto the main island. If you try to fly directly onto Aethergarde's island first... it's like walking into a glassdoor. There's an invisible forcefield around the entire island, including Tybees, Plymond, the Guardian islands, and the Norcross Archipelago. If you try to enter without getting a pass of some kind, officials within Aethergarde are alerted.

Anyway, if you're entering Aethergarde temporarily, you receive a scroll that disperses into ash once you use it (1 full use is entry into the building and checking out). Similar to entry, you must go directly to Harklorn to leave.

Why the strict system? Well, Aethergarde needs to know who has and has not been in the area. If someone's gone missing or is considered a suspect in a criminal investigation, it helps to know who you are and if you're still in the area.

Students are automatically tracked into the system once you get your keystone, as soon as you fly out, a quill will take note of your departure. Your keystone tracks your location, so if you do need help, send a message to someone with your keystone.

What about dragons? Do they have to check into Harklorn? Yes! Sometimes older dragons will want to fly onto campus to check things out. Because the area around Aethergarde has a high concentration of mana, it attracts magical creatures, including dragons.

Dragons can sense the forcefield and will simply route to Harklorn to enter. It's not like riders can't sense the forcefield, they can, but humans cannot.

If you are a rider, you need to register your dragon into the system. You cannot just fly into the area on your dragon; again, it's like running into a glass door, you'll be bonked by the invisible forcefield.

onto the interior

Whew, that was more than I wanted to write, honestly 😭😭

Let's start with the exterior!

this is what the outdoor hallways would look like!

you may see some dragons perched around these hallways during class time (especially the younger ones) because they wanna get a glimpse of their rider

in the photo of the school in the script, there isn't a roof over the outdoor corridors, but there will be for some of the corridors + a forcefield will form just before it rains for the hallways that don't have roofs

there will be some of these outdoor grassy areas around the school

you will also see dragons perched around here too lmao

this is great area to have a picnic

another garden type area

more outdoor corrider pics

this pic and the next one are some of the larger courtyards that would be on campus

they have several tables around too for students to eat outdoors, though, there is a dining hall (cafeteria) in the building too

the table and chairs pictured here is one of the tables set up for the students to use

please pick up after yourself

I mean you can just leave your plates there (since most nobles aren't used to cleaning up after themselves, they'll usually do this 😭😭), but yk it'd be easier for the keepers if you just took your plates inside

the interior (finally)

this is like the stairs and stuff, idk LMAO

completely enclosed area

smaller classrooms are here

...more stairs

this is where the larger classrooms would be

This is the dining hall (cafeteria)

the dining hall can also be called the mess hall

usually knights and commoners refer to the cafeteria as the mess hall

nobles usually call it the dining hall, your teachers will call it the dining hall

anyway this is completely inside, the stairs leading up the to chairs are actually for the emperor, empress, king, or queen when they visit. You cannot sit here! If all four figures show up to the dining hall, the emperor and empress will sit at the chairs, and the king and queen will sit at another table reserved for them

If your dragon is less than a year old, I would recommend sitting inside bc they could easily swoop in and eat your food

aethergarde's crest will be visible on the bottom portion of those light blue banners

another angle of the dining hall

the entrance and exit to the dining hall through the double doors seen at the far left side of the photo (there is another set of doors across the ones pictured in the photo)

this is the meeting room (between all the students + the teachers)

you will go here for orientation

the inner most circle will have a large globe displaying the world map

the average student won't actually go here often

unfortunately for you, you are not the average student, and there is a world conflict going on that you will be directly involved with so... hope you like the room! the windows look nice don't they?~

This is the library

that gigantic book helps the librarian find books in the library

speaking of which, if you need a book, instead of finding it yourself, I really would just ask the librarian

this library is fucking h u g e, just let the librarian make the big ass book summon a novel for you

the book has the name of every single book that has graced the shelves of the library + it's status (like if it's been checked out, still available, destroyed, or is no longer in the academy)

the librarian will essentially cast a spell on the large book, and books you want will appear on the shelves along the stem of the book structure

there are multiple copies of textbooks you need for your classes, but do know that there's only like 10 max of each textbook

just get your own textbooks

there are also fictional books in the library, it's not all boring stuff!

this is one of the private apocathery rooms, you have to rent one out to use one

ask the librarian to rent a room; it's located in the library

wanna know more about my aethergarde academy dr? here's a masterlist with everything I've posted about it!

#reality shifting #shiftblr #shifting community #shifting blog #lalalian #desired reality #shifters #shifting diary #shifttok #scripting #aethergarde academy dr #dr scrapbook #original dr scrapbook

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anistarrose · 2 years ago

Text

Hello, TOH fandom, I am here once again to talk about accessibility!

[Image description: a screenshot of Lilith Clawthorne excitedly holding up a sign, which has been edited to read: "Image Descriptions for The Owl House (and why they matter)" in all caps. End description.]

Image descriptions, like the one I just used above, are exactly what it says on the tin: descriptions of the content of an image included to make the image maximally accessible.

Blind and low-vision people who use screen readers, people who rely on increased font size in-app or in-browser to read text, and neurodivergent people who have trouble interpreting elements of an image (for example, expression) all benefit from image descriptions.

And all images on the internet should be accessible regardless of topic, of course, but I've recently been trying to spread awareness in the context of The Owl House specifically because it's a show with multiple disabled and/or neurodivergent characters! In fact, Principal Bump is canonically low-vision with a service animal to help him in that regard — and I'd argue that making content about disabled characters accessible is extra, extra important!

[Image description: a screenshot of Principal Bump with his palisman Frewin removed from his head, revealing the scars over Bump's eyes. Frewin is in staff form, smiling, and Eda looks on from the side. End description.]

I know it's within this fandom's ability to make our posts about the finale as accessible as possible — and I know that because I've already seen a decent increase in described posts over the course of Season 3! I've seen more artist-described posts especially, which means a lot to me, and even more to a lot of other people, too <3

So, on that note, how to write an image description? It may seem intimidating, especially if describing someone else's post or fanart, but honestly, there's no definitive "rubric" to follow, just a list of general guidelines:

Indicate where the description starts and ends, with "end description" or "end ID".

Place the description immediately under the image, not under a read-more (this allows people who rely on IDs to experience the post the same way anyone else would, whereas read-mores are inconvenient, especially if OP changes their URL)

Minimize caps lock, italics, bold, and strikethrough, which can be hard to read and/or troublesome for screen readers. Generally, it's just best to transcribe in lowercase without particular effects, then indicate in the transcription if something is emphasized.

Likewise, don't put descriptions in Tumblr's special small text. It's difficult to read and inaccessible to many.

Don't make jokes or add commentary in IDs. If an image is meant to be humorous, obviously it's fine to phrase things in a way that tries to capture that, but it's not the place to add your own jokes, nor is it the place to declare subjective qualities like "this art is beautiful".

Descriptions can vary in length, but if one is getting long (if you're describing a comic, for example), then be sure to break it up with paragraph breaks.

Specifically, while I've heard that too many breaks (ie, every sentence) are annoying for some screen readers, long walls of text are conversely difficult for people with visual processing problems to parse. So, it's good to strike a balance.

With regards to length and amount of detail, it varies by personal preference! Most images don't need a whole small essay, but there's also value in describing certain small and symbolic details, subjective as it is.

Speaking of which, if you're the original artist, then you are automatically the expert on what you wanted the image to convey — the nuances of expression and body language, which details are important and which details are not — and for that reason, I love seeing artist-described works!

Below the cut: more on describing Owl House images specifically, on IDs versus alt text, and other possible questions!

When I transcribe TOH related posts, there's a few other guidelines I use, though these rules aren't as immediately important as the ones above. I generally start by indicating the type of image we're dealing with (a screenshot? fanart? a photo of a cosplay?), then mention what characters are depicted.

Unless I'm describing something long, like a comic, and relying on summarization, I usually mention which character designs we're dealing with (is Lilith in her dramatic black dress from Season 1? or is she in her low-battery shirt?). If it's fanart and the artist has come up with original outfits to put the characters in, I'll summarize those too.

(This is the other reason I love seeing artist-described works: because I, personally, am just kinda bad at describing fashion lol.)

Now, I'd like to go over some other questions that I've either encountered before, or anticipate:

What about alt text? Doesn't that accomplish the same purpose as image descriptions?

In a lot of senses, yes, so alt text is certainly much, much better than no description! However, remember that not every person relying on descriptions is necessarily someone who uses a screen reader every day, or uses a screen reader period. Some people do in fact read the descriptions themselves.

[Image description, identical to alt text: a screenshot of Luz Noceda from Season 2, smiling and blushing. End description.]

As you can see above, alt text takes an extra click (or tap) to access. In general, it's also prone to displaying walls of text, and — as far as I know — sometimes just doesn't show up if the Tumblr app isn't updated enough. (Not to mention that, in my opinion, making image descriptions visible to people who don't use them is an important part of spreading accessibility awareness in the first place!)

On the other hand, I've heard some people who benefit from descriptions say they actually prefer alt text, so I'm not going to come out and take a hard "absolutely no alt text ever under any circumstances" stance by any means. But, long story short, this is the reason that in my own posts, I almost always defer to in-post descriptions — the only exception might be if I'm writing a meta post, and functionally describing the images in the text anyway.

I've seen that sometimes you use [ ] brackets and sometimes you don't. Is there a reason?

Basically personal preference. I use brackets in posts like this when I have a lot of non-description writing, and want to make it extra clear where the description ends and the non-description begins. If I'm just captioning some fanart in a reblog and not adding any commentary, on the other hand, I leave off brackets because they're pretty redundant.

I'm nervous about describing images, but I still want to help make the fandom more accessible. Is there anything I can do?

Well, my first piece of advice would be to start small! Hell, start with just making sure you include a description whenever you post an image with just text, like a screenshot of a reply or someone's prev tags. You can build up little-by-little from there!

(My personal accessibility journey went from describing only tweet screenshots whose text I could just copy, to describing simple memes like cat pics, to deciding it was important to at least describe fanart of disabled characters like Eda, to finally describing almost every post I reblog. Trying to make that jump without any of the intermediate steps would've been overwhelming, but at this point, it all feels natural to me.)

But secondly, I would encourage showing some love to artists who describe their pieces! Queue up some described fanart, especially artist-described stuff, and help normalize it!

Get into the habit of checking the notes for descriptions (go to reblogs and filter by comments only) before you share! If someone describes your art, copy it into the original post, so the version of the thread reblogged directly from you will be accessible too! (And if you want to make some little tweaks, no one will be offended.)

You can also look into making your blog theme accessible, such as making sure the font size is large enough (and ideally sans serif, for readability). And if you feel more confident with describing audio, then writing transcripts of audio is always incredible as well, to help out those who are deaf, hard of hearing, or have auditory processing disorders!

I've heard that AI is able to describe images for screen readers pretty well these days. Are descriptions still important/going to remain important as the technology advances?

Well, let me say first that I'm very glad this technology exists, for sure! But I'm of the opinion that human described (and especially artist described) captions are, at least generally speaking, still going to be the gold standard for the foreseeable future — AI doesn't have the context we do for our art and our fandoms; it's much less likely than a fan of the show to pick up on what's an important or symbolic detail.

Are there actually people who need image descriptions in cartoon fandoms? I mean, the source material has such a visual component!

First off, blind and low vision people do in fact watch things like TV, movies, and plays — ever notice the "audio description" option to add narration to a given show in a streaming service? That's there to provide basically the real-time equivalent of image descriptions.

And, second, I'll leave you with this — don't you think a lot more disabled people would participate in fandom if fandom were more accessible and accommodating to disabled people in the first place?

#the owl house #toh #the owl house season 3 #watching and dreaming #accessibility #long post

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fdelopera · 1 year ago

Note

Hi curious anon here. You mentioned in one of your posts (I think the sennek one? If I’m spelling it right) that the exodus from Egypt was metaphorical as the enslavement in Egypt didn’t happen, but I thought it did? Can you explain? (If you’re happy to of course)

Hi Anon! Thanks for your question. My response is looong lol (you got me going about a special interest), so buckle up!

Sooo I’m going to make a few guesses here, based on the way you’ve phrased your question. Judging from the fact that you’ve written Sukkot as “sennek” (I've looked through recent posts, and I think this is the post you're referring to), I’m going to guess that you’re not Jewish.

And judging from the fact that you think that Shemot, or “Names” (commonly written in Christian bibles as Exodus), is a literal historical account of Jewish history, I’m guessing that you have a Christian background.

You’re not alone in this. And I’m not saying this to pick on you. Many Christians have a literalist interpretation of the Bible, and most have zero knowledge of Jewish history (aside from maybe knowing some facts about the Holocaust). And so, what knowledge of Jewish history you have mostly comes from the Tanakh (what you call the Old Testament).

Tanakh is an acronym. It stands for Torah (the Five Books of Moses), Nevi’im (Prophets), Ketuvim (Writings). Also, the Tanakh and the “Old Testament” are not the same. The Tanakh has its own internal organization that makes sense for Jewish practice. The various Christian movements took the Tanakh, cut it up, reordered it, and then often mistranslated it as a way to justify the persecution of various groups of people — I’m looking at you, King James Bible.

But back to Shemot, the “Exodus” story. The story of Moshe leading the Israelites out of Egypt is more of a Canaanite cultural memory of the Late Bronze Age Collapse between around 1200 – 1150 BCE, which was preserved in oral history and passed down through the ages until it was written down in the form that we know it in the 6th century BCE by Jewish leaders from the Southern Kingdom of Judah.

Since the text is influenced by Babylonian culture and mythology, just as Bereshit is (which you know as Genesis), it is likely that some of the writing and editing of Shemot took place during and after the Babylonian exile in the 500s BCE.

Now, I’m guessing that what I’ve just written in these two paragraphs above sounds very strange to you.

Wait, you might say, didn’t the Israelites conquer the land of Canaan?

Wasn’t the "Exodus" written by Moses’s own hand during the 13th century BCE?

And wasn’t the Pharaoh in the Exodus Ramesses II (aka Ramesses the Great), who ruled in the 13th century BCE?

Actually, no. None of that happened.

The Israelites didn’t conquer Canaan. The Israelites were the same people as the Canaanites, and these are the same peoples as who later became the Jews, as I will explain. The Semitic peoples who would become the Jewish people have been in this area of the Levant since the Bronze Age.

Moshe was not a historical figure and did not write the Torah.

The “Pharaoh” in Exodus is not any specific Egyptian ruler (Ramesses the Great as the “Pharaoh” is mostly a pop culture theory from the 20th century).

Okay, now that I’ve said all that, let’s dive in.

The first ever mention of Israel was inscribed in the Merneptah Stele, somewhere between 1213 to 1203 BCE. Pharaoh Merneptah, who was the Pharaoh after Ramesses the Great, describes a campaign in Canaan to subdue a people called Israel. But there is no mention of plagues or an exodus because those things didn’t happen. The Canaanites were not slaves in Egypt. Canaan was a vassal state of Egypt.

In fact, the events that occurred during the reign of a later Pharaoh, Ramesses III, relate more to Jewish history. Ramesses III won a pyrrhic victory over the Peleset and other “Sea Peoples” who came to Egypt fighting for resources during a time of famine, earthquakes, and extreme societal turmoil. And Ramesses III would witness the beginning of the end of the Bronze Age.

The Canaanites, who were a Semitic people in the Levant, gradually evolved into the people who would become the Northern Kingdom of Israel and the Southern Kingdom of Judah (i.e., Jewish people), but during the 13th Century BCE, they were Canaanites, not Jews.

The Canaanites were polytheistic, worshiping a complex pantheon of gods; they didn’t follow the later Jewish dietary laws (i.e., they ate pork); and their religious practice bore little to no resemblance to the Jewish people of the Second Temple Period.

So, to reiterate, the people in Canaan who called themselves Israel during the Bronze Age were a Semitic people, but they were not recognizably Jewish, at least not to us Jews today. Canaan was a vassal state of Egypt, just as Ugarit and the Hittite Empire were.

Canaan was part of the vast trading alliance that allowed the Bronze Age to produce the metal that historians have named it for: bronze.

Bronze is a mixture of copper and tin (about 90% copper and 10% tin), and in order to make it, the kingdoms of the Bronze Age had to coordinate the mining, transportation, and smelting of these metals from all over the known world. This trading network allowed for the exchange of all sorts of goods, from grain to textiles to gold. Canaan was just one of these trading partners.

Well, between 1200 BCE and 1150 BCE, this entire trading alliance that allowed Bronze Age society to function went (pardon the expression) completely tits up. This is likely due to a large array of events, including famine and earthquakes, which led to an overall societal disarray.

Some of the people who were hardest hit by the famine, people from Sardinia and Sicily to Mycenae and Crete, came together in a loose organization of peoples, looking for greener pastures. These were all peoples who were known to Egypt, and many of them had either served Egypt directly or had traded with Egypt during better days. According to ancient records, this loose grouping of peoples would arrive at various cities, consume resources there, and then leave for the next city (sacking the city in the process).

Just to be clear, these people were just as much the victims of famine as the cities they sacked. There were no “good guys” or “bad guys” in this equation, just people trying as best as they could to survive in a world that was going to shit.

Well, these “Sea Peoples” (as they were much later dubbed in the 19th century CE) eventually made their way to Egypt, but Ramesses III defeated them in battle around 1175 BCE. He had the battle immortalized on his mortuary temple at Medinet Habu.

We don’t know much about these Sea Peoples, but we do know what the Egyptians called them. And from those names, we can figure out some of their origins. Peoples such as the Ekwesh and the Denyen. These were likely the Achaeans and the Danaans.

If you’re familiar with Homer’s Iliad, you’ll recognize these as some of the names that Homer gives to the Greek tribes. Many of the Sea Peoples were from city states that are now part of Greece and Italy.

Yes, the Late Bronze Age Collapse of the 12th Century BCE didn’t just get handed down as a cultural memory of the “Exodus” to the people who would centuries later become the Jews. That cataclysm also inspired the stories that “Homer” would later canonize as the Trojan War in the Iliad and the Odyssey. The Exodus and the Trojan War are both ancient cultural memories of the same societal collapse.

And neither the Trojan War nor the Exodus are factual. However, despite having little to no historicity, they both capture a similar feeling of the world being turned upside down.

Well, back to the Sea Peoples. Remember the Peleset that I mentioned a few paragraphs ago? They were one of these “Sea Peoples” that Ramesses III defeated. They were likely Mycenaean in origin, and possibly originated from Crete. After Ramesses III defeated them, he needed a place to relocate them along with several other tribes, including the Denyen and Tjeker. It was a “you don’t have to go home, but you can’t stay here” situation.

So, Egypt rounded up the surviving Peleset and sent them north to settle — to the land of Canaan.

Now, if you have some Biblical background, let me ask you this. What does “Peleset” sound like? What if we start it with an aspirated consonant, more of a “Ph” instead of a “P”?

That’s right. The Peleset settled in Canaan and became the Philistines.

This is where the real story of the people who would become the Jews begins.

As the Mycenaean (aka Greek) Peleset settled in their new home, they clashed with the Semitic Israelite people of Canaan. Some of these Canaanites fought back. These Canaanites also organized themselves into different groups, or “tribes.” (See where this is going?) Some of these tribes were in the Northern area of Canaan, and some were in the South, but there was a delineation between North and South — aka they did not start out as one people and then split in two. They started as two separate groups.

If you’re following me so far, you’ll know that I’m now talking about what would in time become the Northern Kingdom of Israel and the Southern Kingdom of Judah.

Well, backtracking a bit. The Bronze Age was ending, and the Iron Age was about to begin. The Peleset/Philistines were experts at smelting iron, which was harder to work with than bronze due to it having a much higher smelting temperature. When the Peleset settled in Canaan, they brought this iron smelting knowledge with them, and they used it to make weapons to subdue the local Canaanite peoples. The Canaanites therefore had to fight back “with sticks and stones.”

Hmm. Does that sound familiar? Who is one of the most famous Philistines you can think of from the Tanakh (the Old Testament)? I’ll give you a guess. It’s in the Book of Samuel (in the Tanakh, that’s in the Nevi’im — The Prophets).

That’s right. Goliath.

The story of “David and Goliath” is likely a Jewish cultural memory that was transmitted orally from the time of the Canaanite struggles against the Peleset.

The man who would become King David used a well-slinged stone to fell the much greater Goliath, and then he used Goliath’s own iron sword to cut off Goliath’s head.

In this metaphor, we can see the struggle between the Canaanite tribes and the Peleset, as the Canaanites fought to hold off the Peleset’s greater military might.

Historically, the Peleset eventually intermarried with the Canaanites, and within several generations, they were all one people. Likewise, the Mycenaean Denyen tribe may have settled in the Northern Kingdom of Israel, intermarried with the Canaanites, and become the Tribe of Dan.

The Book of Samuel, containing the story of David and Goliath, was written down in the form we would recognize today in the 500s BCE during the Babylonian Exile. It is a cultural memory of the time that the Canaanites were unable to wield iron weapons against a much more technologically advanced society, and it would have resonated with the Jews held captive in Babylon.

And with this mention of the Babylonian Exile, I come to the question that remains. And I think the question that you are asking. Where did the story of Shemot, the “Exodus,” the “Going Out,” come from?

And more importantly, why was that story so important to canonize in the Torah — the Jewish people’s “Instruction”?

The Shemot was likely written down and edited in a form that we would recognize today during and after the Babylonian Exile.

So, what was the Babylonian Exile? And what was its impact on Judaism?

To answer that, I need to start this part of the story about 130 years before the Babylonian Exile, in around 730 BCE. We’re now about 450 years after the Late Bronze Age Collapse, when the Canaanites were fighting the Peleset tribe.

Between about 730 and 720 BCE, the Neo-Assyrian Empire conquered the Northern Kingdom of Israel.

Now, you may know this as the time when the “Ten Tribes of Israel were lost.”

In reality, the Assyrians didn’t capture the entire population of Israel. They did capture the Israelite elite and force them to relocate to Mesopotamia, but there were many people from the Israelite tribes left behind. The Ten Tribes were never “lost” because many of the remaining people in the Northern Kingdom migrated south to the Kingdom of Judah.

One such group of people from the Northern Kingdom of Israel maintained their distinct identity and still exist today: the Samaritans. These are the people who today are the Samaritan Israelites. They have their own Torah and their own Temple on Mount Gerizim, where they continue the tradition of animal sacrifice, as the Jews did in Jerusalem before the Romans destroyed the Second Temple in 70 CE. The Samaritans keep the Sabbath, they observe Kashrut laws (i.e., they keep kosher), and they hold sacrifices on Yom Kippur and Pesach. In short, they have maintained religious practices that are similar to Judaism during the Second Temple period.

This mass migration into the Kingdom of Judah in the late 700s and early 600s BCE is where Judaism as we know it today really started to take shape.

At that time, the people of the Northern Kingdom of Israel were polytheistic. They ate pork. They did many of the things that the writers of the Torah tell the Jews not to do.

This is where many of these commandments began, when the priests of Judah needed to define what it was to be a Jew (a member of the Tribe of Judah), in the face of this mass migration from the Kingdom of Israel.

You see, the Ancient Jews didn’t know about germ theory or recognize that trichinosis was caused by eating undercooked pork. That’s not why pigs are treyf. Pigs are treyf because eating pork began as a societal taboo. In short, pigs take a lot of resources to care for, and they eat people food, not grass (i.e. they don’t chew a cud). So if you kept pigs, you would be taking away resources from other people. When you are living in a precarious society that is constantly being raided and conquered by outsiders, you have to make sure that your people are fed, and if you’re competing with a particular livestock over food, that livestock has to be outlawed.

This time period is also likely when the Kingdom of Judah started to practice monolatry (worshiping one God without explicitly denying the existence of other Gods). The people of Judah worshiped YHWH (Adonai) as their God, and the Northern Kingdom of Israel worshiped El as the head of their polytheistic pantheon. The Jews put both of them together as the same G-d. That is why the Bereshit (Genesis) begins:

When Elohim (G-d) began to shape heaven and earth, and the earth then was welter and waste, and darkness over Tehom (the Deep), and the breath of Elohim (G-d) hovering over the waters

NOTE: This is a modification to Robert Alter’s translation of the first two lines of Bereshit (Genesis) in the Tanakh. In a few paragraphs, I will explain the modification I’ve made of transliterating the Hebrew word “Tehom,” instead of (mis)translating this word as “the Deep” as in nearly every translation of Genesis.

Then over the next two hundred years, monolatry would gradually become monotheism. One of the Northern Kingdom’s gods, Baal, was especially popular, so the Judean leadership had to expressly forbid the worship of this god during the writing of the Tanakh.

The message was clear: If we’re going to be one people, we need to worship one G-d. And the importance of the Babylonian Exile cannot be overstated in this shift from monolatry to monotheism. The period during and after the Babylonian Exile is when most of the Tanakh was edited into a form that we would recognize today.

So, I come back to the question, what was the Babylonian Exile? It began, as many wars do, as a conflict over monetary tribute.

Around 598 BCE, the Judean King Jehoiakim refused to continue paying tribute to the Babylonian King Nebuchadnezzar II. And so in around 597 BCE, Nebuchadnezzar II’s troops besieged Jerusalem, killed King Jehoiakim, and captured much of the Judean leadership, holding them captive in Babylon. Over the next ten years, Nebuchadnezzar II continued his siege of Jerusalem, and in 587, he destroyed the First Temple, looted it for its treasures, and took more of the Jews captive. The deportation of the Jewish people to Babylon continued throughout the 580s BCE.

So, by the 570s BCE, the majority of the Jews were captives in a strange land. They were second-class citizens with few rights. The Jews feared that their people would start to assimilate into Babylonian society, intermarry so that they could secure greater freedom for their descendants, and then ultimately disappear as a unique people.

The Jewish leadership knew that this assimilation would begin by the Jews worshiping Babylonian gods.

So the Jewish leadership had a brilliant idea. They said, “We are not in danger of our people drifting into polytheism, assimilation, and cultural death, because we declare that the Babylonian gods do not exist. There is only one G-d, Adonai.”

Now we have left monolatry, and we are fully in monotheism.

And so, the Jews in captivity took Babylonian stories that their children heard around them, and they made these stories Jewish.

That is why the opening lines of Genesis sound so much like the opening lines of the Babylonian creation story, the Enuma Elish.

And remember when I mentioned that I had transliterated “Tehom” in the first two lines of Bereshit (Genesis) above, instead of using the standard translation of “the Deep”? That is because Tehom is a Hebrew cognate for the Babylonian sea goddess Tiamat, who the Babylonian god Marduk defeated and used to shape the heavens and the earth, just as Elohim shaped the heavens and the earth.

When you read the Enuma Elish, you can see the parallels to Genesis:

When the heavens above did not exist, And earth beneath had not come into being — There was Apsû, the first in order, their begetter, And demiurge Tiamat, who gave birth to them all; They had mingled their waters together Before meadow-land had coalesced and reed-bed was to be found — When not one of the gods had been formed Or had come into being, when no destinies had been decreed, The gods were created within them

That is also why the flood story of Noah and the Ark sounds so much like the flood story from the Epic of Gilgamesh.

That is why the story of Moshe’s mother saving him by placing him in a basket on the Nile River parallels the story of King Sargon of Akkad’s mother saving him by placing him in a basket on the Euphrates River.

In order to survive as a people, the Jews consolidated all gods into one G-d. Adonai. Shema Yisrael Adonai eloheinu Adonai ehad. "Hear O Israel, the Lord is our God, the Lord is One."

The Jews said, yes, we acknowledge that we are hearing these polytheistic Babylonian stories in our captivity, but we will make them our own so that we can continue to exist as a people.

But back to your question. What about the story told in Shemot, the “Exodus” from the Land of Egypt?

I think by now you can see the parallels between the Jewish people held as captives in Babylon and the story that they told, of the Israelites held as slaves in Egypt.

And so, the Exodus story, which had been told and retold in various ways as a means to process the cataclysmic trauma of the Late Bronze Age Collapse (similar to the oral retellings of the Trojan War epic before they were written down by “Homer”), now took on a new meaning.

The Exodus story now represented the Jewish people’s hope for escape from Babylon. It represented the Jewish people’s desire to rebuild the Temple in Jerusalem that Nebuchadnezzar II had destroyed. It represented the acceptance that it would take at least a generation before the Jews would be able to return to Jerusalem.

And it represented a cautionary tale about leaders who become too powerful, no matter how beloved they may be.

At a Torah study this Sukkot, the Rabbi discussed why the writers of Devarim (Deuteronomy) said that Moshe couldn’t enter Canaan, even though he'd led the Israelites out of Egypt (which, again, didn't literally happen). And one interpretation is because the Jewish leaders were writing and editing the Exodus during and shortly after the Babylonian Exile, and after seeing the Kingdom of Judah fall because of bad leadership. And they were saying, “It doesn't matter how beloved a leader is. If they start becoming a demagogue, and start behaving as someone who is drunk on their own power, you can't trust them as a leader. And you need to find new leadership.” And damn if that isn't a lesson that we could all stand to learn from!

So, was the Exodus story historically true? No. But does it matter that the Exodus story isn’t historically true? No, it does not. It was and is and will continue to be deeply meaningful to the Jewish people. The Shemot, the Exodus, the breaking of chains, the escape from the “Pharaohs” that enslave us — these are still deeply meaningful to us as Jews.

Was Moshe a historical figure? No, he was not. Is he one of the most fascinating, inspiring, and deeply human figures in Jewish tradition, and in literature in general? Yes, he is. Moshe was an emergent leader, an everyman, a stutterer, and yet he was chosen to lead and speak for his people. He was chosen to write the Torah, the “Instruction,” that has guided us for thousands of years. It doesn't matter that he was not a historical person. What matters is what he stands for. He is the one who directed us in what it is to be Jewish.

Now, fast forward to 538 BCE, around 60 years after the Jews were first taken as captives to Babylon. The Jewish people’s prayers were answered when Persian King Cyrus the Great defeated Babylon in battle, and allowed the Jews to return to Jerusalem, where they began construction on the Second Temple, which was completed around 515 BCE.

The Persian Zoroastrians were henotheistic (they worshiped one God, Ahura Mazda, but they recognized other gods as well). They also had a chief adversarial deity, Angra Mainyu, who was in direct opposition to Ahura Mazda.

Just as the Jews had incorporated Babylonian stories into their texts as a way to preserve their identity as a Jewish people, the Jews now incorporated this idea of “good versus evil” (i.e., It’s better to assimilate the foreign god to us, than to assimilate us to the foreign god).

This shift can be seen in the later story of the Book of Job, which is in the Ketuvim (Writings). Jews have no devil and no hell. There is no “eternal afterlife damnation," and there is no “original sin.” Jews believe in living a good life, right here on earth, and being buried in Jewish soil. Some Jews believe that we go to Sheol when we die, which is a shadowy place of peaceful rest, similar to the Greek realm of Hades. In the Book of Job, the Hebrew word “hassatan” (which Christians transliterate as “Satan”) is just a lawyerly adversary, like a “devil’s advocate” who debates for the other side of the argument. It’s certainly not anything akin to a Christian “devil.”

However, throughout the Second Temple period, various apocalyptic Jewish sects would arise in response to Greek and then Roman persecution, inspired by the Zoroastrian idea of a battle between “the light and the dark.”

In the 1st and 2nd centuries CE, this would lead to a search for the Moshiach: a human leader (not divine) who was descended from the line of King David, and who would restore Jerusalem. And that would not culminate in Jesus (Jews don’t recognize Jesus as Moshiach — for us, he's a really cool dude who said some very profound things, but he's not That Guy).

Rather, the search for Moshiach would stem from the events leading up to the Jewish War, which concluded in 70 CE with the Romans destroying the Second Temple and sacking Jerusalem, and it would culminate in the Bar Kochba revolt between 132 and 135 CE. The Bar Kochba revolt resulted in a Roman campaign of systematic Jewish slaughter and “ethnic cleansing” that nearly destroyed the Jewish people a second time. But that’s a story for another day!

In closing, I encourage you to learn more about Jewish history. And don’t just learn about us from the Holocaust, our darkest hour. Learn about our full history. I highly recommend Sam Aronow’s excellent series on YouTube, which is an ongoing Jewish history project. The YouTube channel Useful Charts also provides excellent overviews of Jewish history.

#tfw a simple ask compels you to write 4000 words #i hope i've answered your question anon!#jewish history #jewish studies #judaism tag

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