#final fantasy 7 agere

[starsurface]

CG Aerith Gainsborough Hcs

<3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3

🌼 BEST MAMA EVER

🌼 Seriously, she's so good with littles!!!

🌼 What age is she best with? Trick question, the answers all of them!!

🌼 Tiny babies that like chilling or playing inside? Sounds wonderful! How about you help her bake cookies?

🌼 A bigger kid that likes adventure? Spectacular! She'll gladly walk around town with you! Or exploring more of the church!

🌼 Pretten/teen regressor? Favorite songs? Favorite artist? She would love to make homemade jewelry if you want!!

🌼 If you like gardening, she highly encourages you helping her out with the flowers!

🌼 Even if you're bad at it, she'll just help you out a bit more!!

🌼 ^ Putting her hands over the watering can, helping you find the right areas to step so you don't step on the flowers

🌼 If you just like watching, she'll explain what she's doing and why she's doing it, or just listen to whatever your babbling about

🌼 Loves to have picnics with her littles!! 

🌼 Whether that's in the church, or at the little (huge, let's be fr) garden at her house

🌼 She'd let you help prepep!! Either choosing which blanket to use, or letting you help out with some of the easier foods

🌼 Best encourager, always praising your little drawings, or if you do even simple tasks

🌼 She's always proud of you, and she'll make sure you know it <3

🌼 Super Aerith generic, i know, but she'd make you flower crowns

🌼 If your bigger, she'll teach you how to make them!!

🌼 Very patient if you struggle, with anything really

🌼 She's not strict, persay

🌼 But she's also not lenient in certain things, like medicine or bedtime

🌼 But she'll try to make the activities more fun!! 

🌼 Like playing hide and seek with your stuffies before bedtime, somehow you always find your favorite last, already snuggled in bed . . . suspicious 

🌼 Favorite CG name is Mama, but doesn't mind others!!

🌼 She'll call her littles many things!! Sweetie, Buttercup, Tini Tiny!!

🌼 Silly if your being silly :>

🌼 No other comments, literally just one of the best CGs <3

<3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3

[littleprincerianne]

haii could you do a little cloud strife moodboard please :D

sorry i got around to this one late but i hope you likey !

[alittleplaytime]

Caregiver Sephiroth Stimboard!!

🌑 🍼 🦇 | 🌑 🦇 🍼 | 🌑 🦇 🍼

🌼 media: final fantasy VII

🐝 age appropriate? depends. final fantasy VII is rated for 11+, even good for young pre-teens to play however the violence and dark themes may be too much for younger ages. check the warnings before playing and remember, it's always okay to turn something off if it isn't for you!

��� rqd by: 'anon' aka @soopiroth

🌻 note: i haven't seen any ff content in a looongg time so i hope this fits well and works for what you wanted! <3

[ur-fav-is-agere]

Cloud Strife from Final Fantasy

Is a baby/trauma/padded regressor!

[little-prince-atlas]

hi can you pls make an agere board of cloud strife from final fantasy 7? thank you bunches !!

can i also leave an anon emoji?

- 🍡

hai hai!!! yus ofc u canz :3 i lov cloud >w<

here u go!!!

mhm!! I'll add u to tha list rn :3

🧸🌼🌸🫂

Requests are open!! (I do any fandom)

[ankicarrington]

Little Sephiroth new chapter

[soapy-anon-agere]

Final Fantasy (7) Regressor

Final Fantasy (7) Regressor, This term/flag can be used by a large range of people. Final Fantasy (7) fiction kins, Final Fantasy (7) Fictives, Those who are hyperfixated on Final Fantasy (7), Those who’s special interest is Final Fantasy (7), Those who are apart of the Final Fantasy Fandom, etc. they just also need to be a Regressor (Agere or Petre) of some form.

Requested by @rohcmpunk (I hope you like it!)

Note: This flag can be used for the WHOLE final fantasy series but, the original request wanted 7 in particular so certain flags listed are for that game!

Flag Version(s), Heart with the Final Fantasy Logo in the heart, Without Heart, and Heart with the Final Fantasy Logo in the heart as well as a soft silhouette of the Final Fantasy 7 Logo

Icon Version(s), Heart with the Final Fantasy Logo in the heart, Without Heart, and Heart with the Final Fantasy Logo in the heart as well as a soft silhouette of the Final Fantasy 7 Logo

[jaladwolf]

Can u talk more about your fnaf agere au? And If anybody else regress on the pizzaria?

This ask has given me motivation, and now I shall reward you with this.

AU Explanation here!

After Goldie began regressing, Henry made a little daycare-like space out of a spare room for other regressors. I’ll let you imagine what it looks like.

Of course, not everyone is akin with the whole age regression thing. Most of the main cast, including supposed “villains” Foxy and Shadow are completely fine it. But some characters and OCs that I plan on adding either see it as an excuse to get away with stuff or as some gross fantasy while others… well, they say they support it but in reality, they shouldn’t be allowed within 3 feet of an age regressor.

Speaking of age regressors, let’s list them off shall we?

First up is Goldie of course! As most of you know, his little age is around 5-7. His personality doesn’t change that much (only another regressor might be able to notice it). For example, his pranks would be more lighthearted, such as taping silly pictures on the walls or decorating someone’s face with stickers. Freddy’s a bit less harsh on him because he’s aware that certain words and actions can trigger his regression. Same goes for Foxy, though he does have trouble controlling his hatred towards the golden prankster. Bonnie is one of his caregivers, along with TC and Mike. Next is Finn! His little age is about 2-4, making him one of the youngest in age regression. But the difference here is that he’s also a puppy regressor. Basically, it means Finn acts like a puppy when he regresses. For example, playing with a toy ball or chew toy, curling up next to them when he’s tired. Basically, he’s playful, curious and just all around happier when he’s in little space. Goldie is often his play buddy whenever he regresses and Mari is one of his caregivers, along with Dottie and my OC Julie (who despite her often neutral expression, would literally kill for him). And finally we have Pete, who surprise, surprise, is a flip! This means he’s both a caregiver and an age regressor. His little age is around 7-9, making him the oldest out the current age regressors. When he and Dottie were transferred to Freddy Fazbear’s following an investigation of the boss, Marcus Stein (dude hasn’t been arrested yet, but it’s coming no doubt about it), the constant strain of trying to put on a tough act wasn’t working as well as he wanted it to and one day, he ended up having a mental breakdown. So yeah, he’s been regressing as a way to cope with everything. He usually avoids being touched whenever he’s not in little, but he is kinda touch starved, just like Shadow Freddy in a way. Also, due to the constant pressure and expectation of being a perfect animatronic performer back at his old establishments, he constantly strives for validation and approval, both in and out of little space. Okay I think that’s everything. Sorry this took so long dear anon, school has been keeping me busy.. 😤

[seventh-district]

Welcome to the Seventh District.

My name is Seven, I’m 25 and I’ll answer to any and all pronouns.

Firstly, here's my side blogs -

🍼 Agere 🍼 • @sucrose-soymilk

🌞 FNaF 🌚 • @celestial-toys

✨ Genshin ✨ • @branches-of-time

🔞 NS/FW 🔞 • @degenerate-district

Secondly, here’s some links & credits -

• My AO3 • My Pinterest • My Spotify •

• My Personal/Main Twitter • My 18+ Twitter •

• My YouTube Channel •

My multi-fandom fanfic masterlist can be found here. [under construction]

This month's playlist can be found here.

My current favorite songs can be found here.

My defining playlist can be found here.

This blog's header and icon were both made by me.

Post Dividers by firefly-graphics.

Thirdly, some of my lore -

Jack of several trades, master of none.

Demilady. Panromantic. Pansexual.

Scorpio Sun, Aries Moon, Leo Rising.

Personality type is INFP-T and Enneagram Type is 4w5.

I've been Straight Edge for a long time, Vegan for 7 years.

Uh, mentally ill, if you couldn't tell. God’s weakest little soldier in an age-old battle against Severe OCD. Collecting anxiety disorders like they're the fucking infinity stones.

Likely also on the spectrum if we’re being honest with ourselves here.

I reference Gods and religious stuff a lot for someone who's Agnostic.

I like decaf coffee, carbs, fiction, fantasy, unreality, games, music, writing, space, the color yellow, fish, and deer! I also like oversharing on the internet, hence this blog.

Finally, about this blog -

What I post about is entirely based on whatever I happen to be fixated on at the moment. Personal ramblings, art, writing, edits, moodboards perhaps. Who knows, it's a mess. I try to at least tag most potential triggers, feel free to ask me to tag anything that I miss.

Current Blorbos: Boothill (H:SR) • Sam & Porter (Redacted Audio) • Seth (YuuriVoice) • The Daycare Attendants (FNaF:SB) • Venti/Barbatos (GI)

Some of my past & current favorite media that might make appearances on this blog: Adventure Time • Alice Isn't Dead • Animal Crossing • Arcane • Baldur's Gate 3 • BitterSweet (and everything else) by YuuriVoice • Detroit:BH • Detroit: Evolution • Escaping Denver • FNaF • Genshin Impact • Ghost (the band) (but yeah, the CoD character as well tbh) • Good Omens • Honkai: Star Rail • It Makes A Sound • Marsfall • Moomins • My Hero Academia • Redacted Audio • Resident Evil • Reverie Audios • Reverse 1999 • Site-42 • Stranger Things • Summer Camp Island • The Legend of Zelda • The Magnus Archives • The Orbiting Human Circus • The Walking Dead • Unwell, a Midwestern Gothic Mystery • Welcome to Night Vale • Within The Wires • Wuthering Waves

Pinned Post Last Updated On - 11/30/24

[asmolpichu]

about me

name: justice

age: 26

agere: 1-7 (usually 5 or 6)

gender: genderfluid (they/them)

sexuality: asexual panromantic

interests: video games (pokemon, final fantasy, kingdom hearts, dragon age, fire emblem, animal crossing), anime/manga (fruits basket, my hero academia, yugioh), reading (fanfics, books)

+: i just left ch!re, and am really hoping to make some new friends! i prefer to use the term "smol" for my regression (but don't police others). i have 3 partners irl, but no caregiver. i'm a pro-dx autistic (but i support self-dx)

[okimargarvez]

LIKE EASTER

Original title: Like Easter.

Prompt: Easter holydays, Italy, Holy Week.

Warnings: reflections on my catholic faith.

Genre: comedy, family, romantic, friendship.

Characters: Penelope Garcia, Luke Alvez, (JJ, Spencer), O.C.

Pairing: Garvez.

Note: oneshot.

Legend: 💏😘❗🎈.

Song mentioned: none.

Easter holidays and Luke have a problem to solve: his grandmother waits for him in Rome for the Holy Week and wants that he’s accompanied by a girlfriend; Penelope, on the other hand, feels cast aside as the “painted eggs” festivity.

Like Easter- Masterlist

MY OTHER GARVEZ STORIES

Part 9

Friday night. Day spent doing tourist, but enough distracted. Too lost one in the eyes of other, one on the lips of other, to notice the monuments. They behave like teen-agers. Each phrase, each pretext is good to stay closer, to search the physical contact with the other. The mouth.

Day of fasting. No problem. Who is hungry, when the stomach is full of butterflies? She never understood this way of saying. However, the result is the same. The only thing she needs is him. They kiss, but even talk, a lot. About what they were before, about their past. Luke tells her some episodes of his period with the task-force. He explains the difficult living in war-zones. She feels the necessity to verify, like S. Thomas who put his finger in the holes of Jesus’s body, for feeling in her turn, with her hands, his wounds. She listens him explain his first days in the BAU, like profiler in training, and his lack of understanding why the computer technician, of whom, like it or not, he heard so much about, why she treated so coldly only him.  She listens him while he tells her that he gets the right conclusions, but however he had still thinking about her. That he had realized the situation was graved, when he found her in the field, on Bradenton, and, without time to recover, Reid was detained in police custody, he had saw her so fragile, for the first time she hadn’t the force to make fun of him. The final straw was seeing her crying openly.

And after this talk, Luke had patiently listened her saying her version. And above all, they realized to feel the same doubts and fears. They no need any more (if they ever had) to show themselves like a couple.

 Each time that she feels wavering, she turns towards him, looking at him and some courage revives her. It’s the time.

Nothing that she had even seen in her life, equals one spectacle like this. The city seems to have drifted out of historical fantasy videogame. All of those monuments, those works created by man, so many time ago. Yet, only this could be enough to shocked her, left breathless, despite she had seen this already during the week. But this time there is something more: the night. A night that seems to come from medieval times, from that period when darkness was something very different to what is in the present-day: because with the possibility to make rise the sun in every moment, we lost that emptiness, that ancestral fear. And then, the people: so many, more than during a concert, at most comparable with Woodstock. So many people, that for a while she feels lost, she is scared to losing herself. She turns to make sure that Luke is still there, and he seems to understand what crosses her mind. He takes her hand and squeezes it strongly.

And suddenly, the murmur dies away and then, a man dressed in white starts to speak. The Pope seems extremely human, one of many. He speaks in Italian and she doesn’t understand, or almost. Luckily, most is written in the book she keeps with one hand. Penelope glances at the woman closer to her. She smiles, with tears in her eyes. He it’s from the end of the world. Very close to the place that her family it’s from.

A chorus starts to sing. Even this is scenography sign that contributes to make her feel like they were in another century. Use of Latin. That language so… inexplicable.

-1st Station. Jesus is condemned to death.- just when the chorus is silenced, a female voice starts to speak, very coached. Then, that of another man seems to find a correspondence with the liturgical books that are read. Penelope realizes that she is keep her breath just when Luke’s grandmother coughs, bringing her out from this kind of trance. It’s a weird thing: she doesn’t comprehend what she hears, just the tone and to understand she must strive to follow it on the book. Yet, even if she can’t understand, something penetrates in her.

-2nd Station: Jesus is denied by Peter.- again, that chant so weird, those voices that seem to come from another dimension. After other explanations, read by persuasive voice that transport her in that universe and, simultaneously backwards in time: and not 1000 years ago, but much closer, just few years ago; after this, everyone around her say the prayer, even Luke and Rosa, is she the only one that didn’t know it? Yet, she recognizes the rhythm and inside, she knows what it’s about. Patern noster. But she doesn’t know these words, she learns it in Italian, but this is… Latin. And she feels in difficulty. For the umpteenth time. Yes, the words are printed there, before her eyes, but she doesn’t have that accent, and… if she would wrong, if someone would notice it?

-3rd Station: Jesus and Pilatus.- reading that part of the Gospel, she remembers what she had feel the first time that she found herself before this: indignation. But finally a way to say had found sense. Wash their hands like Pontius Pilates. It was a horrible thing. Almost as bad as commit a crime. She is deeply agree with who, since the beginning of time, has said that the real problem aren’t the ones who hurt, but those do nothing for stop it, that show themselves indifferent, like this had nothing to do with them.

-4th Station: Jesus king of Glory.- the idea of crown of thorns is so… tragic. No one can imagine what kind of pain He would feel. The soldiers’ mockery, those ignorant, symbol of the whole humanity for which Him had wanted to die, He was willing to sacrifice Himself totally. Everything had re-emerged in Penelope’ memory now. She is used it with different words, but the meaning is the same. Is universal. And this latter is the correct translate of Catholicism.

-5th Station: Jesus carries His cross.- the Cross. That symbol is turned as much absolute, because no only Christians use to say or to consider a pain, a serious suffering, like a Cross. Because in the end, even those who professes themselves atheist or agnostic, that one having fun mocking religion, sending their invectives more towards church leaders, rather than towards Jesus. Because He, like Buddha and Gandhi, was been first of all a good man, a model that transcends geographic, social and human borders.

-6th Station: Jesus and Simon of Cyrene.- one part of Via Crucis that ever puts her on the spot. Because it would’ve been better if this Simon had been happy to take Jesus’ Cross. And instead he behaves like any other man, and after all, even Peter had denies His Lord, on three occasions! And he’s become the first Pope of the World, the rock on which the Church itself was build. But this Simon doesn’t want to be put in the middle of these things, that don’t concern him. He doesn’t want to risk his security of humanity for something far more potentially upper, but uncertain.

-7th Station: Jesus and the Daughters of Jerusalem.- this time the tone of the woman who is reading is more high, or rather more serious, less artificial, more active, and following almost simultaneous translation, the blonde agrees. There is almost bitter irony in her voice. And how she can’t think about all feminicide that are committed each day in the world? Then, with the work that they do… for the first time since the rite started, she look at Luke, who never had problem with Italian and so he follows the procession, without the use of book.

-8th Station: Jesus clothes are taken away.- in his hand there is a light of a lantern, like those of everyone. The other hand is ever held in hers. He not letting go her hand a second. Occasionally some fingers seem to brush her palm, sweetly. But this doesn’t take her mind off things that words, and mood is giving her. Another, one more humiliation. Ever those ignorant soldiers, it got to the point that they playing dice His clothes.

-9th Station: Jesus is nailed to the cross.- she feels angst flowing in her heart, hearing and reading these words. It’s inconceivable. Yet, even in the period when she was convinced that she no longer believes in Him, or that she wanted to feel Him far away, even in those moments she couldn’t help but be impressed, each time she heard someone talk about these things. Rossi was believer. Spencer knew by heart the Bible, but he didn’t believe, like any good scientist. Emily was always showed wary, if not worse, whit everyone those who was wearing white collar. Derek, instead, had an open conflict toward the Church, for what he had suffer; yet, he was in that kind of building, when she was shot in the chest.

-10th Station: Jesus mocked on the cross.- infamy, again and mocking. To the point of wrote an inscription and put it on the top of the Cross. INRI. And then, that thieve, the one “bad”, how dare he find the courage to ask Him why He not came down from the cross and saved them too? How dare that thing claim this? She always was indignant about it. Not just the first time that she had heard it by the priest at the moment, but every other time. And even now, that sentiment re-emerged in her. Like it was stayed away for so long, while she was away. Lost, like the sheep in the parable of the Good Shepherd.  

-11th Station: Jesus and His mother.- a tragic moment. Another one. She can’t imagine the pain that woman went through, that ordinary woman and yet, so special, superior to anyone else. Symbol of universal suffering. Pure and yet human, mother first of all: how can someone forget the episode when she and Joseph were worried because little Jesus was disappeared? The one which more suffer, because she cannot claim anything, because she was chosen for a work even bigger than her. The immensity of that thing crushes Penelope, which feels faint for a while. But the hand of the man that led her to be here right now is still held in hers, so he notices her faint and he becomes worried, but she nods that everything is ok.

-12th Station: Jesus dies on the cross.- He is dead. He is really gone. It’s not a thing that human mind can seriously understand. Until that moment everyone didn’t believe that it could happened. Both ones that didn’t believe in Him, which consider Him like an impostor, and those that, instead, like apostles, had seen that light and had understood there was something more. Both categories expected something different. And instead, no. He is dead and in Penelope’ soul there is an ancestral pain, like anyone with a heart.  

-13th Station: The body of Jesus is taken down from the cross.- she doesn’t conscious now about what happening. She can’t even follow the words and what is saw. Rosa’ eyes are watery, too, but she seems grave and respectable, like whoever are not ready to cry during a funeral of a person they loved with any inch of their soul. Luke instead seems rapt, focused. She tries to follow again what is happening. It’s almost over.

-14th Station: Jesus in the tomb and the women.- almost there and it’s all over. And just in two days He‘ll be resurrected. But until that moment we can live in hope or in angst, in the pain of people who felt betrayed from His words. And then, those women found empty tomb. And the angel which is there with the difficult task of explaining them that He isn’t there, as He had announced. And everyone had saw (or pretended) to believe it with every inch of their body, and instead wasn’t so: the example of Peter proves it. Faith, yes, but humanity and humanity pushing us to make mistake.

After the classic phrases, to which also she answers, without any hesitation, with -Amen.-, the man dressed in white speaks again. She has to ask Luke to explain what he’s saying. But she doesn’t need someone to clarify the tone and the way he says those things: so much suffered, almost consumed, desperate. Certainly not an aseptic and distant voice. And there a such silent, no one covers in any way those unknow words.

With other brief ritual phrases and the benediction, the celebration is end. It seems incredible. It seems they are come from a millennium trip, and instead it’s been two hours. Not only not she got bored, but she is… shocked, in a good way. It wasn’t that spectacular like she expected, hearing Luke talking about it. Maybe, the Palm Sunday was more scenic, for the presence of liturgical drama. The chorus starts to sing and, although they can proceed to exit, nobody moves, and an ovation starts, like a shower of rain. Only after Pope gets into a car and starts another journey, people begin slowly to leave.

They head towards the parking, where they had left Rosa’ car. The older walks intentionally faster, to give them the chance to stay one more moment alone. Maybe they think that she didn’t notice, instead she knows the way they had look into each other’s eyes first, and the way they look now. It’s so clear that something is changed between them, and if she knows her nephew as she thinks… what he wanted her to think is came true. Good, because if he ever let himself to miss out a girl like Penelope, she would make him regret it for a life. -So?- she turns toward him. -What did you think?- he stops before her. But the blonde hasn’t the right words to describe what she feels. So, she answers him with a hug. Then they have to walk faster, because his grandmother is now a spot just about visible.

TAGS: @theshamelessmanatee @itsdawnashlie @talesoffairies @janiedreams88 @kiki-krakatoa @yessenia993 @teyamarra @c00lhandsluke  @gcchic @arses21434 @orangesickle @entireoranges @jarmin @kathy5654 @martinab26 @thisonekid @thenibblets @perfectly-penelope @ambrosiaswhispers @maziikeen92 @lovelukealvez @reidskitty13 @jenf42 @gracieeelizabeth27 @silviajajaja @smalliemichelle99 @charchampagne14 @ichooseno  @ megs2219 @rkt3357 @franklintrixie @thinitta @chewwy123 @skisun @maba84 @saisnarry @myhollyhanna23 @thenorthernlytes

Note: it was so difficult to try to translate this part. I do not know how it came out and probably Penelope is OOC, because her thoughts are mine. The next will contain much more garvez and less religious reflections (a little).

[lizzywu]

Reflections on Replicating Charlie M. Russell Paintings

      For the final project I created four oil pastel paintings on 10 x 7 inch multimedia paper, to explore the way that Charlie M. Russell’s paintings of Montana life in the 19th century often use Native people to symbolize the allure of the West. Two of the paintings recreated Russell’s paintings “Horse of the Hunter” and “Fireboat” which featured a lone Indian hunting buffalo and Indians confronting a steamboat respectively. The other two paintings were of a popular Seattle viewpoint in the Magnolia neighborhood and a photo taken at the UW of Marita Growing Thunder when she visited in October. Together these four paintings looked at what it meant for Russell to include Native people in paintings of Western America, and the importance of creating art that doesn’t rely on stereotypes of American Indians.

           In the first painting of Russell’s that I recreated, “Horse of the Hunter”, the page was entirely dominated by either the vast blue sky or the wide yellow grasses. I kept drawing the Indian man on a horse between two buffalo too large because even though they were the focus of the action the majority of the painting was the open landscape. These two components of the painting seem to fit with what was most important about the West to Russell; excitement and untouched landscapes. In reading about Russell’s life in Montana it seems like he lived out an adventure-fantasy as a cowboy, and often extended that fantasy when he pretended to be an Indian in his stories and letters.

            It is notable that Russell grew up as part of a wealthy family in Missouri. After years of hearing stories from travelers and books recounting the adventure, drama, and undiscovered land out West, at 16 years old he up and left for Montana  (McCracken, 1957). In reading about Russell’s motivations to continue to live in Montana, there are similarities between him and the Philadelphia Tammany Society and Red Men groups described in “Playing Indian”. In reality all of these men were wealthy and white but they liked to imagine themselves to be part of the “nostalgic past”, as either Indians or cowboys in Russell’s case. The white Indian groups were mechanics or artisans during the day and Indians over group dinners (Deloria, 1998). Russell took it a step further, living as a cowboy but always ready to think of himself as an Indian.

           In “Recollections of Charley Russell”, the author, who was also Russell’s friend, writes how Russell had two different Indian names and he had three names from different tribes (Linderman, 1963). Immediately after that passage, Linderman recounts how he and Russell gained special access to a Cree Sun Dance while they were living among the Blackfeet. This boasting on Linderman’s part matches Deloria’s description of how the Red Men group was appealing as “one could demonstrate a special identity as a Red Man…celebrating one’s secret privileged rites” (Deloria, 1998). For Russell, coming from wealth in Missouri, he viewed being a cowboy and an Indian as special parts of his adventurous Western identity and reflected the significance of these titles in his artwork.

      In his painting “Horse of the Hunter” the Indian man on the horse is a small portion of the canvas but all attention is drawn to him. Everything about the man is mysterious to Russell’s audience; his clothing, his hair dress, his horse’s dress, his weapon. Even what he is trying to do with the buffalo is a mystery but he looks purposeful, strong, and admirable. While it is possible that Russell watched neighboring tribes hunt buffalo and based his painting off what he saw, Russell and his friends often dressed up as Indians to create their own poses and stories for paintings (McCracken, 1957). It is therefore more likely that Russell purposefully painted the image of the Indian man to be mysterious yet clearly important. In doing so he reflected his own feelings about his “special identity” as an Indian and connected these “secret privileges” to the Montana landscape to exalt his depiction of life out West.

           In another of Russell’s paintings, “The Fireboat”, the image of the four Indians presented again reinforces the mystic of Russell’s Indian identity. The painting is also representative of another reoccurring theme in Russell’s work, where the image of Indians meeting whites is used to symbolize the loss of “the West”. The four men in the image stare and discuss what is happening with the white steamboat in the corner of the painting. Throughout the background are a variety of beautiful landscapes; mountains, hills, a river, a rocky face with trees. Together the image of the Indians and the natural landscapes reflected Russell’s desire to be away from the city life that threatened his cowboy fantasy.  

          This is apparent in Russell’s letters to his friend Frank Linderman who moved to a cabin on Flathead Lake to purposefully live away from the city (Russell, 1993). When Russell visited with Linderman he stayed in a teepee that Linderman had put up near the cabin, not only living out in nature but using Native American items to further make that distinction. In “White Shamans and Plastic Medicine Men” white people also used Native American objects and practices to connect to Nature and reject Western ideas. The non-Indian New Agers created sweat lodges, spirit journeys, paintings, and rituals inspired by Native American cultures (Macy & Hart, 1996). They often took their creations to not only symbolize their distance from white culture, but to justify their feeling that they were Indian.

          For Russell his desire to be surrounded by nature also resulted in him appropriating Native American culture which, like the New Agers, allowed him to further think of himself as an Indian. In his letters he often refers to himself as “Ah-wah-cous” or Antelope, and would draw an Indian version of himself welcoming friends to his tepee (Russell, 1993). While Russell allegedly lived among a Canadian Blackfeet tribe for six months, it is clear that he knew he was not actually one of them as in an illustrated letter to a friend he mocks the Native women who he might have married in the tribe (Russell, 1993). Therefore in “The Fireboat” while Russell painted the steamboat invading the mountains while the Indians watched from above, the underlying message is not advocating for Native rights or landownership. Russell saw himself as Indian, not in a literal sense but enough that he claimed objects and images of Native American cultures. He took the image of the Indians in “The Fireboat” to represent himself and his own strife with the West he had fantasized becoming more like the cities he had tried to leave behind.

          When I created my own two paintings I wanted to look at what subjects Russell could have chosen to paint that would follow his Western themes without appropriating Native American imagery. In recreating “Horse of the Hunter” and “The Fireboat” I pulled out several common images in the paintings that did not use Native people or objects. Both paintings were wide-shots; the blue sky took up over half the page and a mix of landscapes like mountains, hills, and plants took up the other half. Everything had color, even if it was just rolling hills or one plant there could be green, yellow, and red colors all mixed together. These components alone were the real bulk of his paintings that depicted “the West”.

          For my painting of the boulevard I focused on the dark grey clouds and water I saw from a viewpoint on the bluff. These two features define the Seattle landscape and when I look at them compared to Russell’s big blue Montana skies I know the grey clouds are from the Pacific Northwest. For the other half of the boulevard painting I included the grass and the trees and the plants that I saw. I added some orange bushes on the right and green-brown brush along the bottom in the spirit of Russell’s style. The painting overall is spacious and big which I think is the feeling of the West that Russell wanted to give people.

          At the same time when I look at the landmarks I’ve actually painted I see West Seattle and islands in the Puget Sound. The film “Princess Angeline” makes the point that all of that land was home to the Duwamish before it was taken from them. In one scene they showed a photograph of Duwamish people living in makeshift tents by the Ballard Locks during its early construction. (Osawa & Rasmussen, 2010). The people in the photograph look underfed and poorly dressed. It was haunting to hear that the film didn’t even show how bad the situation got as the Duwamish were continually pushed off their land. The Locks are just around the corner from the Magnolia Boulevard and at both places I never grew up hearing about the Duwamish.

          I think this is the biggest mistake in trying to paint “the West”. In general the West is seen as land that hasn’t been changed by humans since the dawn of time, and that slowly becomes inhabited by people. In depicting wide open landscapes that highlight mountains or fields or oceans; this very basic concept of the West is perfectly expressed even without cowboys or Indians. The issue is that the idea of the West itself asks audiences to ignore the millions of Native people who have lived across the land. It asks audiences to pretend that even if land was inhabited by Native people that their interactions with the land were not meaningful or purposeful enough that the land had been changed by their living there.

          The same idea came up in “The Place of the Falling Waters” documentary series, when Salish and Kootenai people described how certain nutritious plants used to be picked at different points across the vast Western Montana landscape (Smith & Roy, 1991). In 1917 Charlie Russell’s friend Frank Linderman bought land on the Flathead reservation and who built a cabin with a teepee nearby (McCracken, 1957). Russell and Linderman spent time at that cabin for the single purpose of getting away from the city, to be where no one had been before. But Salish and Kootenai people had lived around the lake where Russell and Linderman lived, and they had harvested food from the land. As Andrea Smith puts it “non-Natives tend to selectively and opportunistically draw knowledge about what they think is Indian” (Smith A. , 2005). Though the tribes had a strong connection to the land; Russell and Linderman ignored that so they could continue to fantasize the West.

          The second part of Charlie Russell’s fantasy about the West that I wanted to address through art was the way he basically thought he was an Indian. He thought life in Montana was exciting and he expressed that by including dramatic images of Indians in Montana landscapes like in “Horse of the Hunter”. He thought Montana was losing natural landscapes to cities and he expressed that by painting Indians seeing white people for the first time. Russell was not actually part of any tribe, but from his minimal interactions with local tribes he felt entitled to represent himself as an Indian. “To fully understand, to “know”, Native peoples is the way the dominant society gains a sense of mastery and control over them” (Smith A. , 2005). Smith’s statement illustrates the way that Russell’s entitlement to Native American cultures was more about empowering himself and the depictions of Native people in his art reflects that.

          Initially in my own art for this project I did not want to depict any Native people, because I think it can be difficult as a non-Indian person to not pull from stereotypical depictions when painting Native Americans. I think that Charlie Russell had this same issue which is described in a Wicazo Sa Review’s introduction; that someone who is trying document Native people is motivated by “personal aesthetics, professional advancement and recognition, and a sense of accomplishment as an artist” as opposed to their responsibility to the community (Ross & Hart, 2001). Russell especially failed to feel any responsibility to his Indian neighbors who he often wrote letters to, modeled, and traded with (Russell, 1993). He ignored the reality of who the Native Americans around him were and for my last painting I wanted to feature a Native person working in the Seattle area.

          The first person that came to mind was Marita Growing Thunder whose dresses were displayed at the University of Washington in October when she visited and spoke during a talk on violence towards Native Women. I painted a photograph taken of her and another audience member holding hands, her handmade dresses surrounding her, and the backdrop of the Intellectual House walls. I wanted to create a painting of Marita Growing Thunder that showed how much her work meant to other women both alive and gone. Every dress and every time she wore the dress was meant for a woman who had been killed or gone missing. Her dresses were personal, sometimes even requested by family members.

           The positioning of the photograph alone reflects the significance of Growing Thunder’s work, so I used the oil pastels to emphasize the dresses in the image. Each dress is on a black chair and the colors of the dress stand out next to the black. The background of the walls is yellow but it’s light enough that what really stands out are the black chairs and dresses at the bottom. When I look at the painting I see an empowered young woman who reaches out to others who are hurting. I think it’s important to not erase this image of a Native American woman from being represented. As Stephanie Fryberg states: “The only way to reduce the negative impact of these constraining American Indian mascot representations is to either eliminate them or to create, distribute, and institutionalize a broader array of social representations of American Indians” (Fryberg, Markus, Oyserman, & Stone, 2008). Images of Native people should not be used to represent non-Native goals or experiences, the images should represent the actual Native people.

             In all, Charlie Russell’s artwork is beautiful to look at as it captures exciting moments and breathtaking landscapes. Replicating two of his pieces and having to create my own allowed me to compare my artistic decisions to his. I thought a lot about what role Native people played in his life and how that affected his paintings of them. Charlie Russell is a talented artist who I think was genuinely in love with this idea of the West, but he used Native people in his artwork to represent his own feelings and opinions. He played pretend cowboys and Indians to such an extent that he did not stop and question how much of his art was about the subjects and how much was about his fantasy.

Bibliography  

Deloria, P. (1998). Playing Indian. New Haven  & London: Yale University Press.

Fryberg, S., Markus, H., Oyserman, D., & Stone,  J. (2008). Of Warrior Chiefs and Indian Princesses: The Psychological  Consequences of American Indian Mascots. Psychology Press, 208-218.

Linderman, F. B. (1963). Recollections of Charley  Russell. Norman: University of Oklahoma Press.

Macy, T., & Hart, D. (Directors). (1996). White  Shamans and Plastic Medicine Men [Motion Picture].

McCracken, H. (1957). The Charles M. Russell  Book. Garden City, N.Y.: Doubleday & Company, Inc.

Osawa, S. S., & Rasmussen, J. (Directors).  (2010). Princess Angeline [Motion Picture].

Ross, L., & Hart, D. (2001, Fall). Editor's  Introduction. Wicazo Sa Review, pp. 5-11.

Russell, C. M. (1993). Charles M. Russell, Word  Painter: Letters 1887-1926. Fort Worth: Amon Carter Museum.

Smith, A. (2005, Spring). Spiritual Appropriation as  Sexual Violence. Wicazo Sa Review, pp. 97-111.

Smith, T., & Roy, B. (Directors). (1991). The  Place of the Falling Waters [Motion Picture].

[ur-fav-is-agere]

Cloud Strife from Final Fantasy 7

Is a brother caregiver!

[ur-fav-is-agere]

Tifa Lockhart from Final Fantasy VII

Is a caregiver!

[ur-fav-is-agere]

Cloud Strife from Final Fantasy VII

Is a baby regressor!

[ankicarrington]

Little Sephiroth - Chapter 16 released!

It wasn't a known fact that Sephiroth was a little. Actually, the knowledge was kept under wraps and it was decided by Hojo that he couldn't let anyone known about that side, even though littles were generally accepted everywhere. Struggling while being alone in his headspace, he tries to balance being big in public and little in private without any caregiver to help him out, even though it left him miserable. That all changes when a new recruit who happens to enter his room on laundry duty while he's in headspace, and caregiver Cloud can't let a little fend for himself, not even one as formidable as the great general himself.