#god just that description

[eldritch-ace]

Old miraculous art be upon yee!

[breebird33]

When visiting and catching up with old friends, be sure to bring plenty of treats to share 🍇✨

[original characters]

[clouvu]

Save me french yuri... Save me

[cuddlytogas]

So I accidentally almost got into an argument on Twitter, and now I'm thinking about bad historical costuming tropes. Specifically, Action Hero Leather Pants.

See, I was light-heartedly pointing out the inaccuracies of the costumes in Black Sails, and someone came out of the woodwork to defend the show. The misunderstanding was that they thought I was dismissing the show just for its costumes, which I wasn't - I was simply pointing out that it can't entirely care about material history (meaning specifically physical objects/culture) if it treats its clothes like that.

But this person was slightly offended on behalf of their show - especially, quote, "And from a fan of OFMD, no less!" Which got me thinking - it's true! I can abide a lot more historical costuming inaccuracy from Our Flag than I can Black Sails or Vikings. And I don't think it's just because one has my blorbos in it. But really, when it comes down to it...

What is the difference between this and this?

Here's the thing. Leather pants in period dramas isn't new. You've got your Vikings, Tudors, Outlander, Pirates of the Caribbean, Once Upon a Time, Will, The Musketeers, even Shakespeare in Love - they love to shove people in leather and call it a day. But where does this come from?

Obviously we have the modern connotations. Modern leather clothes developed in a few subcultures: cowboys drew on Native American clothing. (Allegedly. This is a little beyond my purview, I haven't seen any solid evidence, and it sounds like the kind of fact that people repeat a lot but is based on an assumption. I wouldn't know, though.) Leather was used in some WWI and II uniforms.

But the big boom came in the mid-C20th in motorcycle, punk/goth, and gay subcultures, all intertwined with each other and the above. Motorcyclists wear leather as practical protective gear, and it gets picked up by rock and punk artists as a symbol of counterculture, and transferred to movie designs. It gets wrapped up in gay and kink communities, with even more countercultural and taboo meanings. By the late C20th, leather has entered mainstream fashion, but it still carries those references to goths, punks, BDSM, and motorbike gangs, to James Dean, Marlon Brando, and Mick Jagger. This is whence we get our Spikes and Dave Listers in 1980s/90s media, bad boys and working-class punks.

And some of the above "historical" design choices clearly build on these meanings. William Shakespeare is dressed in a black leather doublet to evoke the swaggering bad boy artist heartthrob, probably down on his luck. So is Kit Marlowe.

But the associations get a little fuzzier after that. Hook, with his eyeliner and jewellery, sure. King Henry, yeah, I see it. It's hideously ahistorical, but sure. But what about Jamie and Will and Ragnar, in their browns and shabby, battle-ready chic? Well, here we get the other strain of Bad Period Drama Leather.

See, designers like to point to history, but it's just not true. Leather armour, especially in the western/European world, is very, very rare, and not just because it decays faster than metal. (Yes, even in ancient Greece/Rome, despite many articles claiming that as the start of the leather armour trend!) It simply wasn't used a lot, because it's frankly useless at defending the body compared to metal. Leather was used as a backing for some splint armour pieces, and for belts, sheathes, and buckles, but it simply wasn't worn like the costumes above. It's heavy, uncomfortable, and hard to repair - it's simply not practical for a garment when you have perfectly comfortable, insulating, and widely available linen, wool, and cotton!

As far as I can see, the real influence on leather in period dramas is fantasy. Fantasy media has proliferated the idea of leather armour as the lightweight choice for rangers, elves, and rogues, a natural, quiet, flexible material, less flashy or restrictive than metal. And it is cheaper for a costume department to make, and easier for an actor to wear on set. It's in Dungeons and Dragons and Lord of the Rings, King Arthur, Runescape, and World of Warcraft.

And I think this is how we get to characters like Ragnar and Vane. This idea of leather as practical gear and light armour, it's fantasy, but it has this lineage, behind which sits cowboy chaps and bomber/flight jackets. It's usually brown compared to the punk bad boy's black, less shiny, and more often piecemeal or decorated. In fact, there's a great distinction between the two Period Leather Modes within the same piece of media: Robin Hood (2006)! Compare the brooding, fascist-coded villain Guy of Gisborne with the shabby, bow-wielding, forest-dwelling Robin:

So, back to the original question: What's the difference between Charles Vane in Black Sails, and Edward Teach in Our Flag Means Death?

Simply put, it's intention. There is nothing intentional about Vane's leather in Black Sails. It's not the only leather in the show, and it only says what all shabby period leather says, relying on the same tropes as fantasy armour: he's a bad boy and a fighter in workaday leather, poor, flexible, and practical. None of these connotations are based in reality or history, and they've been done countless times before. It's boring design, neither historically accurate nor particularly creative, but much the same as all the other shabby chic fighters on our screens. He has a broad lineage in Lord of the Rings and Pirates of the Caribbean and such, but that's it.

In Our Flag, however, the lineage is much, much more intentional. Ed is a direct homage to Mad Max, the costuming in which is both practical (Max is an ex-cop and road warrior), and draws on punk and kink designs to evoke a counterculture gone mad to the point of social breakdown, exploiting the thrill of the taboo to frighten and titillate the audience.

In particular, Ed is styled after Max in the second movie, having lost his family, been badly injured, and watched the world turn into an apocalypse. He's a broken man, withdrawn, violent, and deliberately cutting himself off from others to avoid getting hurt again. The plot of Mad Max 2 is him learning to open up and help others, making himself vulnerable to more loss, but more human in the process.

This ties directly into the themes of Our Flag - it's a deliberate intertext. Ed's emotional journey is also one from isolation and pain to vulnerability, community, and love. Mad Max (intentionally and unintentionally) explores themes of masculinity, violence, and power, while Max has become simplified in the popular imagination as a stoic, badass action hero rather than the more complex character he is, struggling with loss and humanity. Similarly, Our Flag explores masculinity, both textually (Stede is trying to build a less abusive pirate culture) and metatextually (the show champions complex, banal, and tender masculinities, especially when we're used to only seeing pirates in either gritty action movies or childish comedies).

Our Flag also draws on the specific countercultures of motorcycles, rockers, and gay/BDSM culture in its design and themes. Naturally, in such a queer show, one can't help but make the connection between leather pirates and leather daddies, and the design certainly nods at this, with its vests and studs. I always think about this guy, with his flat cap so reminiscient of gay leather fashions.

More overtly, though, Blackbeard and his crew are styled as both violent gangsters and countercultural rockstars. They rove the seas like a bikie gang, free and violent, and are seen as icons, bad boys and celebrities. Other pirates revere Blackbeard and wish they could be on his crew, while civilians are awed by his reputation, desperate for juicy, gory details.

This isn't all of why I like the costuming in Our Flag Means Death (especially season 1). Stede's outfits are by no means accurate, but they're a lot more accurate than most pirate media, and they're bright and colourful, with accurate and delightful silks, lace, velvets, and brocades, and lovely, puffy skirts on his jackets. Many of the Revenge crew wear recognisable sailor's trousers, and practical but bright, varied gear that easily conveys personality and flair. There is a surprising dedication to little details, like changing Ed's trousers to fall-fronts for a historical feel, Izzy's puffy sleeves, the handmade fringe on Lucius's red jacket, or the increasing absurdity of navy uniform cuffs between Nigel and Chauncey.

A really big one is the fact that they don't shy away from historical footwear! In almost every example above, we see the period drama's obsession with putting men in skinny jeans and bucket-top boots, but not only does Stede wear his little red-heeled shoes with stockings, but most of his crew, and the ordinary people of Barbados, wear low boots or pumps, and even rough, masculine characters like Pete wear knee breeches and bright colours. It's inaccurate, but at least it's a new kind of inaccuracy, that builds much more on actual historical fashions, and eschews the shortcuts of other, grittier period dramas in favour of colour and personality.

But also. At least it fucking says something with its leather.

[stayatsam]

Feeling red (OC)

he/him

[benevolenterrancy]

SQH prompt since you asked for one in the tags of that one post.

SQH and SQQ on their cart journey to get the sun moon dew mushroom seeds!

Thanks for the suggestion! I love their stupid little roadtrip together xD although this quickly became less about me figuring out SQH's hair/robes and more about me figuring out how in the world to draw a horse drawn carriage... SQQ needs to use his sword more just so I can avoid this

[skellagirl]

Gordon/Barney/Alyx is really really funny to me conceptually bc it's like, two hot geniuses in their 20s who look at the 40-something smartass who hangs around and go 'yeah that guy. we both want him carnally'

[illdothehotvoice]

too fucking easy.

[gingermintpepper]

There are many things people expect from one called 'God of Blood'. Always, the first thought is the blood of war, the blood of violence, the blood of the weak shed for the goals of the strong. Ares doesn't think of the blood of battle at all. When he thinks of blood, he envisions the many tied knots of blood bonds and bonds forged in the blood of battle. Blood sons and blood daughters, blood brothers and battle sisters, blood oaths and blood vengeance - he watches over them all and keeps close each one of these bonds.

One cannot begrudge his displeasure then when he realises he cannot tell Leto's offspring apart just by looking at them.

It was easier when it was just Artemis. Dark hair curled about her shoulders, a fierce mien whenever Father summons her to the mountain, a scattering of bones and blood shed whenever she was disturbed; the eldest child of Leto was a wild thing, sharp toothed with sharper claws always at the ready. There's whispers of her being a twin, of her other half being made to crawl on their belly as penance for their sin of god-slaying but Ares pays it little mind. What twins look alike among their number? Even dog litters are born distinct with all their unique markings inlaid in their fur. Artemis' twin too would be much more than their sister's mirror image.

Pouring over his list now, he wishes anything about Phoebus Apollo was that simple.

Mirror image did not begin to describe it. The twins were the same height, the same build, had the same colour and texture hair, ate the same raw food and drank the same amount of nectar. There was no difference in how they dressed, no difference in the company they kept, no variance in the weapons they used. There are some days Ares still cannot believe Phoebus will grow into a man and not some nymph with the way his ears have that slender point. He watches them now, sitting together beneath a shady palm and stringing their bows in an uncanny unison and curses because he still cannot tell them apart. What use is his skill in knowing blood when they both have the same damn blood running through their veins? What bond is there to sense when they are tied so tightly together, Ares can scarcely tell brother from sister?

He sighs. Unadorned and completely alone, the only way to know who is who is to speak to them. He'll have to find more ways to tell them apart from a distance. Surely they cannot stay this similar all the rest of their immortal lives.

[oh-theatre]

Writing scene descriptions:

Writing dialogue:

[peacerisendove]

This is your virtual reality. This is your virtual reality. This is your virtual reality. This is your virtual reality. This is your virtual reality. This is your virtual reality. This is your reality.

Before it all, Thad was just a project, a tool, a weapon, a clone, an innocent kid who didn't know any better.

[b4kuch1n]

siren

[diddlesnap]

A Saint Bernard sits at the top of the driveway

[jaqknife]

If I see one more post about Kim Kitsuragi Disco Elysium being "mid" or "boring" or "uninteresting", I'm going to throw myself out of a moving car

Just stop talking, you have made it very clear that you don't have an inkling of media literacy, even a modicum of critical thinking, or even the slightest tinge of emotional understanding.

[olrinarts]

so yesterday i was fuckin brainblasted by the wildest AU idea: yuri rock gods AU

i swear it will make sense just hear me out (bonus leshy at the bottom because it's the only other design i liked)

Okay so here's how it works: they're all still the gods of what they're the gods of, but they're all lady-shapes (shamura and lamb continue to use they/them), and it's more that divine magic is expressed through music as conducted through the crowns, rather than a completely different setting with different domains

Narinder isn't chained in place, but she IS locked into an underground concert arena, because the only lock they needed for her was the one around her throat

how it all went down was that they each had their own primary instrument: Leshy's got drums, Heket's got the bass, Kallamar's on keyboards, Narinder's on guitar, and Shamura's got essentially a real time mix studio, it looked cool but shamura's design was trash so i'm sorry you can't see it 😔

vocals just weren't a thing yet, until narinder was like 'you know what would sound good'

shamura was instantly like 'shit if there are vocals/lyrics, people are going to pay less attention to the rest of the band, meaning our divine power will wane, so we gotta get rid of her before this spreads too far'

so the bishops cast her down below, and intentionally made the seal require vocals and a band to unlock - but the lock has narinder's singing voice muted (she can talk but she can't so much as hum let alone sing)

and from then on vocals are heresy

that doesn't mean they go away, since the idea is out there now, so eventually the prophecy comes along: there's a sacrificial lamb that if not destroyed, will free the One Who Waits by uniting the instruments under one Crown and singing the song that'll break the seal

The Lamb ends up getting got by the bishops, bc they were a naturally talented vocalist (they have a roller derby aesthetic because i like the kinetics of rollerblading for fights, that's the only reason and i make no apologies) and since they were a sheep, that meant they were a target

so they're sacrificed, only to wake up Below with a giant hot cat having just resurrected them. Lamb sitting up and immediately heart eyes lmao

She hands them the Red Crown, whose form has become volatile in its time cut off from half of Narinder's divine instruments (she can still use guitar, but as she essentially split her power in order to use vocals in the first place, things are a little whack)

So once she's explained some things to the Lamb, she promises to teach them how to use their voice, and get revenge on the bishops for all the vocalists they've ever killed to try and keep the One Who Waits locked away, and so between the prospect of revenge and the divine favour of giant hot cat goddess, the Lamb's instantly in

with each bishop defeated, the red crown absorbs the instrument, but it needs fans whose devotion will make the Lamb stronger, so the Lamb's time is split between growing their fanbase, crusading against the Bishops and their entourages, and spending time with the One Who Waits in the Below

The two of them are significantly more touchy feely than they would be if Narinder was chained up - the whole seductive persona/flirtation is originally a technique for Narinder to ensure the Lamb stays loyal and gives up the Crown at the end, only for it all to go downhill because she ends up with genuine feelings for the Lamb

Any time she's done the same kind of thing to prior vessels she's had a really firm 'no touching only looking' rule, only for poor Aym and Baal have to watch their not-foster-mom carry the Lamb around or let the Lamb ride on her shoulder or snuggle up to her while they're talking instead of the singing lessons they originally went Below to have

it gets to the point where Narinder and the Lamb start to sleep together somewhere between the Lamb defeating Heket and defeating Kallamar (it takes some coordination since Narinder's like five times the Lamb's size, but two people who really want to sleep together will find a way)

(Aym and Baal having taken to just going to the backstage greenrooms during the Lamb's 'singing lessons', so the twins have no idea until at some point they get an eyeful because they came out from the backstage rooms before Narinder and the Lamb were expecting them lmao)

amusingly when Kallamar's like 'she's seducing you for her own ends' and Narinder starts to freak out while she's watching, the Lamb's just like 'idk she shouts my name pretty loud for someone who's seducing me. anyway i'm here to kill you not talk about my holy friends with benefits situationship with your hot sister'

when the bishops are dead and the time comes, the final battle with Narinder isn't about trying to kill each other but essentially over who's going to be frontman from then on, only to fight to an unwinnable draw and have the Red Crown really exasperatedly communicate that duets are a thing you dramatic lesbian morons

so it ends in mutual custody of the Red Crown and getting to tour the world that's now theirs, overcoming all obstacles with the power of yuri and rock n' roll

(whole AU exists because I was listening to Heart of A Dancer by the Happy Fits and I pictured roller derby Lamb doing a flying somersault and smashing through a title screen with the Red Crown as the Red Axe (as in guitar) and here we are)

anyway here's the bonus Leshy

[purgetrooperfox]

I can’t be the only one who looks at fanon for Quinlan Vos with moderate to severe levels of “he would not fucking say that”. y’all know he’s like, intelligent, right? he can have a sense of humor and be nonchalant and fool around with his friends and Also be smart and cunning and professional. he can be painfully genuine at some times and a world class liar at others. his JOB is deception and infiltration and covert ops. he's trusted to act as a liason for the Jedi. he can be reckless but he has to be measured too. he can be flippant but he can also be ruthlessly efficient. like come on guys he's not an idiot and his personality doesn't revolve around being a stoner or a dumpster fire or a one-dimensional lifeless counterpart to [Obi-Wan / Ventress / Fox / Aayla]. let him be his own guy with his own complexities or face my wrath