#diyare

[sarsaparillaart]

“The moment of change is a moment of scorching heat; a blistering frame that is as the daymoon.”

Swordtember 6 - Smoke

Feat. no actual smoke.

Some magicians trained in the Sun’s reflection have learned to use their hunger in a somewhat unorthodox way. Those bathed in the breath of that bright moon are typically associated with Change, and indeed material-oscillation is a Change based technique, but it is much more focused and technical than one would expect from the typically straightforward hunger.

To perform the technique, a magician must rapidly change the metal within a blade. It doesn’t matter what sort of metal the blade changes to and from so long as it constantly changes. The goal is to use the release of change in order to heat the blade to an enormous degree. This takes a lot of effort and precision so often reality diluents and body forms, such as coal beads or totems, are required.

If performed successfully, the blade should maintain an incredible heat whilst keeping its shape, allowing for more focused combat than usual Change techniques.

[itcars]

Ford Mustang

Image by Diyar Shahbaz || IG

[1vaveyla]

Hangi pencereden baksam bir uzak diyardayım..

[vuslatdem]

Diyarlara da aşık olunur mesela...

30-10-24 / 27-4-46

[pelinakilfanclub]

[xxjblackr0sexx]

Ferit and Diyar

the phone conversation.

E76

[roobylavender]

i feel like the problem with so many pakistani dramas is they're like. a totalitarian exercise in relenting to the parent and forgiving them for all of their mistakes regardless of the severity of them. and i imagine it is funny to see me say that considering how often i wax rhetoric about how many of our parents are the products of violent cycles and there are times where we can't wholeheartedly blame them for being anyone other than who they were trained to be. but i also think there's a difference between forgiving your parents for not being able to escape their upbringing, and simply accepting that you will always have a subservient role to them, even in that process of forgiveness. like i don't think children have to go peacefully when they're being violently abused or cast out from their families or derided for entertaining dishonor. and this mindset we have wherein children have to be the perfect victims—broken, demure, never expressing any sort of outcry at the way they're treated—otherwise they're ungrateful and prone to derision by an audience for how much pain they've caused their parents, as if they haven't been caused extensive pain as well, really bothers me. like it's soured sooo many old dramas focused on parent-child conflicts for me bc of the way audiences villainize non-ideal trauma responses from children who are either forced into marriages or outcast from their families for refusing to be forced in the first place

[lilas]

Rona’s rain and Vestra’s stain.

Diyar Cenric for @queerangelic for the @wayfarer-exchange ❤️ alt version beneath the cut !

[bybekes]

Bazı duyguları nasıl dile getireceğini bilemezsin

Sadece bir şarkı açarsın ve dinlersin

Ve bazı şeyleri halledemezsin..

[badedramay]

@roobylavender replied to your post:

thank you for answering! this is super insightful and i really appreciate the point you make about intention and how despite include some repercussions of feudal traditions, addressing that niche of pakistani society as a whole was not actually the central aim of the drama (so in that aspect it’s distinct of dramas like sang-e-marmar, sang-e-mah, malaal-e-yaar, badshah begum, etc.). i definitely think that’s a valid defense to shielding it from some criticism bc like you said the more pertinent intent is to address misplaced judgments, rectification of old mistakes, the harms of parents projecting onto their children, the plights of stubbornness and inflexibility, etc. that definitely holds when, like you said, you approach ruhi’s arc as a whole, bc it’s about much more than a mere reaction to societal practice  and i like the point you bring up in the tags about faarah too! i’m less endeared to wali this go around bc some of his alpha male behavior towards her in the beginning of their relationship seriously turns me off lol but it’s true a lot of faarah’s relationship to the haveli is premised on her dynamic with agha jaan first, and that’s definitely where the show wins a lot of viewers over (including me! they were so sweet and i loved them) in any other show that tried a similar approach of “wait and see that this guy you got married to isn’t Actually so bad even though he’s trying to dictate everything you do” i think i would probably still remain super turned off bc there’s not often a character like agha jaan present to balance out that transition into accepting that maybe your judgments of your spouse and their family are not entirely solid. so aH he was here lol! such a crucial character to tie everything together truly 

(making this reply a new post rather than continuing in comments cuz I need my space with me especially when talking about Wali akjsdhakwjeahw)

Yes! exactly! I was thinking of dramas like Sang-e-Marmar and Mere Humnasheen as examples when I was making that point. In those dramas, the background of the characters is the plot. because when you remove the background the entire story falls flat on its place. the characters and their actions in those dramas they are not justified but also plausible because of the characters’ backgrounds. the same doesn’t fully apply to the characters of DeD. Aga Jaan’s family could’ve been from any non-specific feudal background and the story would still take place. the reasoning might have to be altered to fit that but on the whole, the plot progression could’ve happened in the same way as it originally did.

As for Wali...oh boyyyy yahan pe aata hai conflict. because Wali remains my most criticized AND most beloved Pakdrama hero. my history on PakDrama fandom world is witness to how much I have dragged this man for his actions (even as recently as just a few days ago!) however, regardless of how much some of his actions continue to irk me..on the whole Wali’s character journey is so fascinating and intriguing for me that I can never see him as a “red flag bad guy”. there are layers to him!! I do sometimes wonder how Wali would be perceived in today’s landscape. like i am SURE he’d be criticized a lot more than he was back in 2015. some of his actions wrt Faraa are so ruthless that I can vividly imagine some people on stantwt making it their mission to start “Cancel Wali Suhaib Khan!!!” parades.

But like I said, the beauty of DeD is how a character comes across when you take the context of their situation when they were performing a certain action. Wali’s abusive kidnapping of Faraa and the initial manhandling he did with her within the first few days of her return to the haveli..these are things added in the drama for well drama’s sake. Wali of the novel was always the picture of perfect gentleman. Wali of the drama was prideful. for six years he had witnessed his own pride be spat on by Faraa’s cold demeanor. Wali forgave the insult to his pride, where he fully lost his senses was when he witnessed his Aga Jaan, his most beloved grandfather, be reduced to a man just breathing not living because of all the hurt Faraa’s attitude had caused him for years...that was unforgivable for Wali. in a very pathetic attempt to be his defense..Wali was pushed to show his most brutal self to Faraa and confirm her worst fears about him that she had nursed for years all because there was no other way Faraa would just LISTEN to him. Wali had never tried to impose the power their nikaah gave him over Faraa except just this once. and he did that not for his own self but for his grandfather’s.

Wali is not a perfect character; good heroes seldom are (hence why drama!Wali is more beloved to me than novel!Wali) The show had already established Wali as someone who had the habit of exercising his dominance where he could. We saw it in how he would scold Zarminay when she tried to be nosy in his affairs or him reprimanding her for planning picnics. but at the end of the day that strictness was not what defined him. we saw how Zarminay confided in her brother and leaned on to him in the time of intense grief. because he was raised by Aga Jaan, he didn’t learn to put walls around his heart and was taught to have more love and respect in all the relationships he shared with anyone. THAT BEING SAID..Wali was ALSO a young man with all the hotheadedness youth brings with itself. it was his initial youthful blunder of putting himself across as a lazy, entitled brat to Faraa which made it easier for her to cement her bad opinion of him. it were his own insecurities that made him unable to empathize with Faraa when she found peace in Moiz’s company. yeah sure Wali’s guess about Moiz being a leech ended up being true but we cannot deny that Faraa’s proximity with Moiz wounded Wali’s pride as a man to the point where he started to question that maybe him assuming duties far beyond the capability of his age had rendered him into an undesirable man. Wali was also well..petty.

Despite all that..I cannot see Wali as someone who, after his rage died down, was incapable of asking for forgiveness for his actions. YEAH I KNOW THE SHOW DIDN’T GIVE ME THAT SCENE AND I WILL FOREVER HOLD A GRUDGE AGAINST IT FOR DENYING ME THE SCENE OF WALI ON HIS KNEES BEGGING FOR FARAA’S FORGIVENESS FOR TREATING HER SO HORRIBLY but i also know that how Wali’s character was shaped up..there did come a point when he did apologize for it all. HECK! I can imagine Aga Jaan severely reprimanding Wali if he so got a whiff of HOW ACTUALLY Wali managed to bring Faraa back to haveli and refusing to talk to Wali until he SEES Wali on his knees holding his ears and awaiting Faraa’s forgiveness. which she’d give him of course. not only because she loved him but because she is at that point in her life where she wants all the past mistakes kept aside to start afresh.

Wali works because Aga Jaan works. if Aga Jaan who started as the villain of the story can have a character arc that makes him THE BEATING HEART AND SOUL of the entire story, Wali also cannot stray too far away from the circle of redemption purely because of his connection to Aga Jaan. it’s because of Aga Jaan Wali is mercifully not given the “he’s good because we say he’s good so whatever you saw and how you interpret him is wrong” treatment that so many of the current Pakistani dramas subject their protagonists to (coughmeerabcough). because we SEE Wali’s connection with Aga Jaan and we SEE how Aga Jaan’s sheer love won over Faraa and gave her the peace and acceptance that she was craving for for years..we can SEE why Faraa, by this connection, falls for Wali. not just because he’s her husband and she has no choice but to love him. i see it in a more poetic manner...’the beloved’s beloved becomes my beloved’.

[sarsaparillaart]

“...and so reality thins, consumed by rotten honey-breath and awaiting the whisper of a pregnant blade.”

Swordtember Day 2 - Floral

The above is a ritual sword intended for use in festival rites honoring the Lunar Proliferation. This particular example is owned by a somewhat wealthy family and so is made of high quality steel and gilded wood, but form and material can vary wildly.

The common faith in and around the Pentapolis is a private one; conducted alone within personal shrines and cloisters and focuses on study and self-reflection. This religious privacy is contrasted by the quite loud and public Lunar festivals. These festivals are held around 10 times a year for two days each and celebrate the perigees of the moons. Crowds of people gather during these festivals to eat, drink and socialize, all the while performing diluent rites and surrounding themselves with thinning materials.

These rituals can come in myriad forms depending on the festival. In the case of the festival of the Milkmoon, the most common include sacrifices—usually grain, rumors, and fertilized eggs—and a climactic slaughter of a springing heifer using a ritual weapon.

[huzunluyol]

Yaralandım..

[nimhandeee]

Bazen, düşüncelerin ağırlığını bedenimde hissediyorum. Ve kelimelerin yorgunluğunu anlatmaya Ne gücüm ne kalemim, ne de dilim yetmiyor. Ve diyorum ki kendime "İçim, ey içim! Bu yolculuk nereye?"

[pelinakilfanclub]