#eoy tag

[ednyfedfychan]

“Following medieval precedent, Ashdown now went to Henry's wife, Elizabeth of York, a procedure also later followed by Henry VIII for Katherine of Aragon, Anne Boleyn, Jane Seymour and Katherine Howard. It is well known that Henry VII tightened expenditure to rebuild the royal finances: more feudal dues were exacted and attempts were made in 1489 to curtail illegal hunting in Ashdown Forest, where it was also seen that Maresfield tenants claiming common of pasture in Ashdown were misusing the custom to the detriment of the deer. Henry's Scottish campaigns in 1485 and 1496 also had implications for Ashdown, as we shall see, and we also find that Chelwood Vachery, formerly belonging to Michelham Priory, was now absorbed into duchy control. A hierarchy of officials continued to administer Ashdown. The primary post remained that of master forester, a sinecure for members of the elite who might combine the post with being master of game. In turn, he normally employed a steward, and we find, for example, Thomas Fiennes (Lord Dacre) as steward of Ashdown in July 1519 and other well-connected men involved. George Neville, Lord Abergavenny, master forester 1503–22, was followed by Sir Thomas Boleyn of Hever (d. 1539) and George, his son (executed for treason in 1536); Thomas Culpeper in May 1541; and Sir Anthony Browne, son-in-law of Sir John Gage, in May 1542.

— Brian Short, ‘Society and Community on Ashdown Forest, 1500–1800’ in Turbulent Foresters: A Landscape Biography of Ashdown Forest (2022)

[mayasdeluca]

Highlights of 2023 → Valentina and Luiza

[elephantlovemedleys]

so i'm curious and i'd like to know what your thoughts are. i haven't seen both shows in a very long time and i've only recently skimmed through a few scenes from each respectively, but to those who have better memory or have seen it not too long ago,

[yourgaydads]

the corinthian: a black mirror made to reflect every unread work email humanity will not confront

[frownyalfred]

So, I didn’t make my goal of updating all of my WIPs by the end of the year.

BUT. I didn’t have a mental breakdown this year (came close tho) and I still managed to write other things.

*cracks knuckles* I’m definitely updating those WIPs soon. working my way down my list. I promise.

Thanks to everyone who commented and messaged me about those fics. Your support keeps me writing and I am so grateful ❤️

[clearwannawitch]

He's ugly cute I dunno how to describe it. Interesting character design, interesting name but I love you pony dragon Spike thing.

[otrtbs]

ahhhhh hello my lovely! 💛

1, 4 & 9 for the writblr ask game thing please :)

also i love you forever and ever <3 and i hope you’re doing well

hello my dear!! love and light of my life!! i love you 5ever and ever <333

1. What was your writing-highlight this year?

One writing highlight was just finishing something??? haha like I wrote a story and saw it all the way through and completed it?? That was actually a pretty cool feeling! 😋

4. What is your favourite line you wrote this year?

Another line I really liked was

"He collects people’s sad smiles and their sorrowful eyes and their reassuring touches and he lets them build up and overflow. He puts them in the pocket of his hollow heart and he feels their weight pull him down."

Idk it's just like, my experiences with loss is when everyone expresses their sympathy,,,, and it's nice! because they don't have to feel bad or show you they care and really what can they do except offer a smile or an arm squeeze? but it doesn't really fix anything or stop the hurt so you just sort of hold all those looks and glances with you because it's rude not to accept them!! and you want to accept them!!,,, but they get heavy! (im probably not making any sense rn oml)

9. Create a meme or moodboard that captures your past writing-year!

Q’s from this ask game! :)

[crimeronan]

my memory and health are so bad these days that it honestly feels like 2022 didn't happen. like i got into some new media in 2022 but aside from that i feel completely unchanged as a person. which is especially weird bc there's a lot that i know Intellectually happened this past year, but i barely recall & don't really.... feel it. i remember january of 2022 very clearly and things get real muddy after that, especially past june. which is to say that with how i perceive time, even Accounting for how every year naturally feels faster than the last for everybody, i'm like..... like i feel like i just went to sleep in january 2022 and now i'm awake and stretching and yawning and going "phew, rough year, huh? i am SO glad i wasn't around for it! but let's make this one super awesome and memorable everybody 💕"

[coda-blue]

(This is a crosspost from my Patreon. To see the rest of the free, accompanying art dump, click here.)

**********************************************************

I've decided to do my first ever summary of my entire year. Frankly, this has only been made possible because I've gotten into the good habit of sharing my weekly victories over in a separate dev server, so recalling won't be a stress-fest.

I'm going to address my progress in various aspects of project development and personal development. Here's my massive dump:

Project Summary

Art

I mostly made art concepts and game assets for several visual novel projects in varying stages of production. The styles between them all are intentionally different and makes for a good test of skill for me. Notably this year, I felt no strong desire to draw for myself. Actually, most attempts were met with a deep-seated repulsion of the idea in a way that is hard to describe, because rationally I obviously want to draw, but subconsciously there was this violent blockage. It may be some form of burnout that is either unaffected or overridden by my sense of obligation to collaborative projects, considering I am admittedly a workaholic. Hopefully I can overcome that in 2023, as there's things I'd like to do just for my own self-betterment.

In 2022, I made...

A character sprite and graphical user interface overhaul, and brand new game page assets for my published visual novel, This Life Escapes Me 

Incomplete character, storyboard concepts, and animation studies for my other personal visual novel, The Corpse Lieutenant

18 monster concepts of 6 side characters for Drop Dead Daters

Fae and human concepts for the cancelled MaFAEa by Katy133

Main character concepts and final render for Sails and Silk by Ryan Aldred

An entire point-and-click background, alternate interactable states, and prop and inventory assets for The Greatest Escape(room)! by Destini Islands and Allie Vera

A couple chibi character commissions for personal clients

A few pixel art doodles

A couple sketches

Writing

Almost all of my writing this year was produced for visual novel projects. And almost all of these works have some sort of fantasy element to them, but a few projects were developed for a younger or more general audience than the late 20s to early 30s target I usually write for (aka myself), so actively thinking of the language and voice to use for these different narrators and characters was fun. Unfortunately, the same issue of lacking a desire to create more short personal works shows up here as well, but maybe that may change in 2023.

In 2022, I wrote...

Line edits for Teisatsu by Pacchi Studio

The short epilogue story for This Life Escapes Me 

Clarifying lore and research notes for The Corpse Lieutenant 

Several short stories (and designed their respective quote graphics) published on my Ko-fi account

A short smut fanfic that I will never link here, lol

Edits up to a third of the 90,000-word common route second draft for Primrose Path

My assigned route and script annotations for Drop Dead Daters

My chosen route "Explore" for Blanket Cat by Studio Ghost Legs

A writing style guide, character bios document, appendix, three full chapters, a bonus chapter, script annotations, and in-character product marketing quotes for Maledictorian by Wisteria Realms

Audio

I lent my voice acting and voice editing skills to a number of small projects this year. All of this was volunteer work. I truly do love voice acting, but unlike art and writing, I don't currently view it as a career path to actively pursue, as the online hustle culture and general "grindset" of it is intensely wearisome. Outside of my network, I only apply to what seems interesting and pays fairly, but within, I am usually approached by fellow game devs for game jam opportunities. And I love to contribute to those! So it's no surprise that this year, all of my voice acting was a direct result of game jams. As for voice editing, while I have the skills, this year I only ever did them when the team needed a helping hand.

In 2022, I have...

Voiced the goth lesbian Saoirse in How We Show Love by tofurocks

Voiced the unpredictable spy otherwise known as Boss in Teisatsu by Pacchi Studio

Cleaned, edited, and mixed my fellow voice actors' lines in Teisatsu

Voiced the brain-eating amoeba-infected Marlowe in Parasite In Love by Night Asobu

Voiced the dimension-warping disgruntled employee otherwise known as The Game Master in The Greatest Escape(room)! by Destini Islands and Allie Vera

Business

I've shifted my business identity into the Coda Blue alias over the year. My social media presence expanded as well, though in the past month, it feels like it's also diminished. After a series of bad decisions from other corporate entities—the general NFT wave, Twitter's buyout and gutting, DeviantArt and ArtStation doubling down on siding with unethical AI generator art harvesting—I've made decisions that ultimately protect me of being subject to further platform failures and other people's valid yet wearisome doomscrolling. I am looking forward to creating an easier system for updates across platforms and potentially streamlining onboarding for certain client services.

In 2022, I have...

Made several moves to arrange my work and solidify my identity under my alias Coda Blue

Set up with various payment processors for better ease of client transactions and game sale payouts

Selectively offered story and project consultation services for narrative-focused game devs

Worked on my unpublished personal website

Created a Carrd to arrange my various site links

Created a Ko-fi for writing commissions and cross-posting devlogs, the latter of which I've just been too tired to do since the idea's inception

Created this Tumblr for cross-posting devlogs and promo, though it's quickly becoming my timeline replacement for Twitter 

Deactivated my DeviantArt account

Deleted my ArtStation account

Personal Review

Career

The biggest and best decision I made this year was deleting various unused or unhelpful job board and portfolio website accounts. I had such a fixed idea of what my success was "supposed" to look like—working as a 2D character artist in a local art studio—and relied on sites and services that did not accommodate my atypical work history (transitioning out of almost a decade of retail and customer service into freelance game development). I became embittered when I kept getting passed up, tying that to a view of my worth. It wasn't until I killed off everything and just focused on my own projects that I felt so much happier, naturally producing what I wanted to, and ended up freelancing in more enjoyable ways. It's possible that I keep working for myself in a self-employed capacity, but ideally, I would switch from specialized labor into an administrative and/or consulting role. It's less tiring and distressing when you feel exhausted from making calls all day versus the frustration of burnout when your livelihood relies on the physical output of drawing and typing.

In 2023, I will move into an associate or assistant position in the producer, product management, or project management role, or a full-on art director role for a steady day job. I just want the money to roll in so that I can invest it into what I actually have a strong interest in, which absolutely are these narrative-focused projects and the talented people working on them.

Hobbies

My biggest concern for me is figuring out why I had an entire year of doing barely any creative personal work for study or fun. I'm afraid it will extend into the new year, and with it, consequences that may creep into my collaborative output as well. While I'm not sure, I believe that if I do end up needing a break from art and writing, I think my collaborators will understand as I discuss with them expectations and next-steps in private. But my guess is that my dwindling desire to partake of my hobbies is that my hobbies have become work, so I need to engage in new, different, and exciting ones. I think doing so will rekindle my old flame by bringing in a new passion into my life.

In 2023, I will try a new hobby. I've been thinking about whittling or playing bass guitar as a start. I may try the former, as it is more accessible out of the two.

Health

I made massive strides towards my physical and mental health this year. I was finally able to identify with a proactive doctor an underlying health issue I've been having, and in going on a specialized treatment, so much was corrected in a matter of months. I had more energy, my general moodiness vanished, my appearance improved, and I returned to exercising (my usual de-stressor). I have a better understanding of my body and I can now make more informed and conscious decisions on my health. That said, towards the end of this year, I have started to become anxious and depressive with the change in seasons. I recognize this as seasonal affective disorder, so aside from getting back on proper medication for it, I realize that my current work environment is stifling.

In 2023, I will go back to exploring the public. I'm a people-person extrovert, so I get energized by socializing, even against depression's best efforts. The various, simultaneous public health failures have made me more anxious of being back outside, but I need to make a conscious effort to go out and be immersed in nature, in cultural enrichment, and just your usual recreational activities. I need the uplift for my sanity and creativity, and as long as I continue to stay masked and up to date on vaccinations, I should go back to the adventurousness I used to have a few years back. I'll start by choosing one new event to visit every month.

Final Words

I did plenty, and I'm proud of every single bit. I'm thankful for those who support me, who encourage me, and who keep me company. You help me be who I am today.

[backslashdelta]

Thanks for the tag @thnxforknowingme!

Instead of spending time writing more sentences, I made a banner for this post. But here are six sentences I already had written! A potential future scene from Echoes of You ;)

And now they’re in Sebastian’s apartment, on his couch, watching a movie, and it’s driving him absolutely mad. He just needs to hear Kurt say it. It doesn’t matter how bad of an idea it is, he needs this. “Kurt?” Kurt looks up at him expectantly from where he’s curled into Sebastian’s side. “What are we doing here?” Sebastian continues when Kurt doesn’t speak.

I'm not sure who else to tag at the moment, but please consider yourself tagged if you want to share something!

[bloodtreachery]

Decided to draw my entire EOIII guild, should I post them as I finish them or a full dump .

[4trackcassette]

so when are WE doing our top 2022 albums... #tumblrradio

[ilostyou]

9? 💗

9. best month this year - probably july?? thinking back on it i was super busy doing a bunch of fun things with people i love but i also had time to myself which i really enjoyed too :)

end of year asks!

[dr-rp-eyes-on-you]

EoY: Pinned Post

(Credit for MDNI banner: cafekitsune)

What is Eyes on You?

Danganronpa: eyes on you is a 18+ roleplay server (<- landing site link) that centers around the idea of the characters being in a simulation. The simulation is one constructed with the intention of broadcasting the lives of their studies as a tv show in the style of DRV3.

Eyes on You now has an ask blog! (This is where you are!)

You can ask the muses within the RP questions, and their writers will answer with in-character responses! (Example post: here!)

Current cast taking questions underneath the cut!

(Each muse page is linked! Click the name of the media above the characters. Any muses you do not see listed are able to be auditioned for in the server! Any muse names with links are linking back to their answered questions tag!)

TRIGGER HAPPY HAVOC

Asahina Aoi

Enoshima Junko

Ikusaba Mukuro

Ludenberg Celeste

Maizono Sayaka

Naegi Makoto

Oowada Mondo

Togami Byakuya

SUPER DANGANRONPA 2: GOODBYE DESPAIR

Hinata Hajime

Komaeda Nagito

Kuzuryuu Fuyuhiko

Mioda Ibuki

Nanami Chiaki

Nevermind Sonia

Souda Kazuichi

Tsumiki Mikan

DANGANRONPA V3: KILLING HARMONY

Amami Rantarou

Hoshi Ryouma

Momota Kaito

Ouma Kokichi

Saihara Shuuichi

Shinguuji Korekiyo

OTHER (NOVELS + ANIME + ETC.)

Matsuda Yasuke

Mitarai Ryouta

[wonder-worker]

I got the same ask, so I just want to add what Kristen L. Geaman wrote, which sums it up:

"It is time to stop seeing queens as apolitical or politically active queens as exceptional: "The question is not whether women exercised power; it is how and why."

All three WotR queens were in such wildly different situations, it's frankly impossible to conduct a side-by-side examination to decide which one of them had "the most" power/influence/authority. Theoretically, however, they all had the same social & institutional power and scope of action and used it accordingly.

(To be clear, this includes Margaret of Anjou. We really cannot claim that she had "the greatest power and influence" by any reasonable parameter because her power and influence in itself was really no different from any other 15th or 14th century queen: what was different - or more importantly, was perceived as different - was the situation around her and the manner in which it forced her to use that power and influence (ie: "how" and "why"). This was in the later half of her queenship, not from the beginning. And even then, it's possible that the perception of her activities say more about her husband's position/authority than her own, or may say more about how her enemies wanted her to be perceived rather than an accurate reflection of her actual actions. We just don't know).

This logic applies to a very similar ask I received on the same topic: whether the perception of gender changed across the WotR and late 15th century. "Gender" by itself is too broad a concept (and for who? For women in general? For noblewomen? For queens?), but even if we narrow it down to the four queens in question, it's impossible to form a conclusion and unwise to even try. There are so many wildly different factors that influenced the four queens' activities and perception beyond their gender - their social status, nationality, length of queenship, political opposition and the propaganda it generated (etc) - that to compare them through a solely gendered wavelength feels very limited and rather dishonest. We can perhaps compare some aspects of their queenship (eg: Margaret and EW's roles in their sons' councils - see below) but those are individual elements and should be analyzed across a broader spectrum of late medieval English queens - it shouldn't just be merely limited to the WotR ones.

An example that comes to mind about the circumstantial differences of the three queens is their role in their children's marriages. Margaret was in a rare and unique position to negotiate her son’s dynastic marriage on her own due to the absence of the king, and did a great job; but this cannot by any means be used to judge how she would act in more “regular” circumstances. None of Elizabeth Woodville’s royal children married during her queenship except for her youngest son Richard, who didn't marry a foreign bride but an English heiress for monetary rather than dynastic purposes; she nonetheless played a significant role in his wedding, and her husband’s will specified that she was to "rule and govern" her daughters' marriages. Elizabeth of York’s eldest son and her eldest daughter made grand foreign marriages during her queenship under the most "regular" circumstances; she played an especially vital role in the latter, something that is regularly overlooked by historians. In any case, the situations of all three queens were wildly different: we can't use them to compare who did "the most" or how a WotR English queen's role "evolved". It wouldn't be a fair line of analysis.

For another example, take queenly dowers. We can't compare what Margaret of Anjou got with what Elizabeth Woodville & Elizabeth of York got on a "gendered" or even "queenly" lens (as historians tend to do, often for EoY and occasionally for EW) because Henry VII and Edward IV simply could not logistically endow their queens on the same capacity as Margaret was endowed. It was objectively a practical problem, not an ideological one. Even if they had been kings in regular circumstances, such a dower was financially unwise; as usurpers with a very limited supply of lands, it was completely unfeasible. This unfeasibility is especially true in EW's case because as an English gentlewoman with no dowry/political alliance/prestige of her own, she brought no advantage whatsoever to the king or to England, and marriage to her in fact made them lose an invaluable diplomatic card that could have potentially spelt disaster for their dynasty. It would have therefore been somewhat expected for her to receive a lesser dower in that circumstance - though of course, ultimately speaking, royal supply was limited and she might've probably been given the same high amount if more was available. That's not even getting into how Edward IV himself was running his own household on a significantly lesser budget than both Henry VI and Henry VII did, meaning that EW's dower had nothing to do with queenship and everything to do with royal policy as a whole. (I'm not getting into Henry VII and Elizabeth of York's situation because ik you've already talked about it a lot, but suffice to say, the idea that he was using her dower to somehow "control" her is nonsense. If anyone wants an example of a king of England who actually seized his wife's dower lands, look up Edward II and Isabella of France; if anyone wants an example of a queen consort whose ability to administrate and collect income from her dower lands was neglected and overlooked by her husband, look up Berengaria of Navarre. There are queens who this accusation actually applies to; Elizabeth of York isn't one of them.)

There's also the major problem of historical evidence. To claim that we can "compare" the influence and activities of the three queens is 1) to imply that we have surviving evidence for all their activities as queen, and 2) more importantly, to imply that we have equal surviving evidence for all their activities as queen. We really, really don't. More than *120 letters* have survived for Margaret of Anjou, meaning that we know infinitely more about her "daily" queenship than any other 15th century queen. It doesn't mean that she did more; it merely means that, because evidence has been lucky enough to survive for her, we know more about her activities as queen (patronage, intercession, diplomacy). I would kill to have the same amount of information for Elizabeth Woodville and Elizabeth of York: it would help flesh out their queenships so much. It would also go a long way in further establishing their personalities, their relationships with other nobles, their approaches to lordship, etc. But for now, information is very limited, and that needs to be kept in mind & specified when discussing both the Elizabeths, just like it needs to be kept in mind & specified when discussing Margaret (ie: she shouldn't be singularized). Similarly, there's also a very uneven level of contemporary evidence for late medieval English kings' reigns in general: for example, as Charles Ross has said, "The reign of Edward IV was singularly ill-served by contemporary writers of history". We possess very less strictly contemporary information about his reign, and this massive gap is "only very partially filled by the vernacular city chronicles". His entire chamber records don't survive: imagine how much royal activity has consequently been lost, and how little we know about him & EW compared to Henry VII & EoY as a result. Henry VI's reign also has this major problem when it comes to lack of surviving contemporary information, though like I mentioned, the survival of letters for Margaret of Anjou mean that the lack of information is relatively alleviated when it comes to her queenship and actions specifically. We also have more detailed extant information for Elizabeth of York's diplomatic role & activities compared to her predecessors, from what I understand, thanks to ambaassadorial letters. The point is simply that with such uneven evidence which directly affects the way we perceive their queenly activities, it doesn't really make sense to "compare" them. Rather, I think it would make more sense to analyze them individually and acknowledge their vastly different circumstances when doing so. On a broader theoretical level, like I mentioned, we know for a fact that they all had the same social & institutional power and scope of action. What was different was their circumstances (ie: "how" and "why").

One thing I do want to point out, though, is that Elizabeth Woodville did have unique political authority during her tenure as queen. Her official appointment in royal councils in her own right - for both the crown prince and Richard of Shrewsbury - was unusual & exceptional for late medieval queens, even though historians rarely emphasize it to the extent that they should. Margaret, whose activities with her son's council are often hailed as "extraordinary" and proof of her "superior" political power (I'm putting them in quotes because they're the words I come across), was in fact never actually a part of the council in her own right and never came close to possessing the position, authority or formally acknowledged importance that Elizabeth had. So, I would say that yes, Elizabeth Woodville was undoubtedly given unconventional political authority & formal appointments during her queenship, made even more surprising by the fact that these were not during the King's absence or incapacity but during his presence and the peak of his own power. Historians need to acknowledge and highlight this more than they do. However, any "comparison" (if it can be called that) of this unique and official position of Elizabeth's can't just be limited to her daughter or other WotR queens, and therefore can't be used to judge Elizabeth of York: it was unusual and unprecedented for all 15th century (from what I understand, also 14th century) queens in general and should be discussed accordingly.

What are the differences in the powers of the three queens in wars of the roses? Margaret of Anjou should be the greatest power and influence? Elizabeth Woodville has many formal authorities, and Elizabeth of York is very symbolic?

No because all medieval queens consort had both formal and symbolic authority. Please check my queenship tag to find out more.

[haeivn]

🏘️    OMG HAPPY 1K!     ✽

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O M G. I NEVER THOUGHT I WOULD BE MAKING THIS POST BUT HAPPY 1K?!! THAT IS SRSLY INSANE AND I AM SO HAPPY THAT SO MANY PEOPLE ENJOY MY BLOG ☹️☹️🤍. TYSM FOR ALL THE SUPPORT AND TY TO EVERYONE WHO CONTINUOUSLY LIKES MY POSTS AND SUCH. ILY ALL AND TYSM FOR 1K I AM FOREVER GRATEFUL. 🤍🤍

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TAGGING MY FAVS AGAIN: @yeritos @baesol @v-ico @wiotas @webzzo @contexty @i-jiwon @i00ning @chaey2k @coriette @y2qi @europhoria @y-ves @y-unjins @w-onies @eliatopia @haewrin @y-ujin @k-alu @k-yujin @i-kyujin @fuckici @trivijoy @8unjin @rinovert @i04rei @joysite @isamiracle @iluvrei @yunjidoll @v-ioo @wonhrts @lessarfm @lorlita @gwryus @v-ean @ve-on @v-eona @v-eoi @welos @y0oni3 @sseulr1n @sublyts @sakkurada @w-eons @qhrts @jenfaery @yourstrulyevie ….. AND SO MANY MORE ( so sorry if i didn’t mention you i probably forgot) BTW NOT IN ANY ORDER

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again tysm to everyone who made this possible, i appreciate you all sm and i’m so happy to finally announce this! happy 1k 🤍🤍