#i think its very very very important that we learn to say each others names and i never ever take that for granted | Explore Tumblr posts and blogs

nosyrobin · 17 days ago

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I NEED WONDER BOY READER AND HOW THEY MET DAMIAN AND JON!!

“Is that a girl?” “IM NOT A GIRL?!”

Summary: meeting the new addition to the duo, there’s already wild first impressions

Genre: fluff

Pair: Superson trio. (Supersons x Wonderboy!reader)

Damian and Jon were in the watchtower, practically there because their fathers had a meeting. But slowly the meeting felt longer, Damian and Jon sat across from each other. Jon was asleep while Damian was awake. He dared not to close his eyes and fall asleep to an “important” meeting with his father. After the adults were done talking, Diana looked over at the supersons. She smiled and points to the two boys, “Yknow, I have a child of my own. Not very social, but would make a good addition to these two.” Immediately Damian snapped his head at the Amazon woman.

Clark smiles warmly, picking up his son who is still knocked out. “Oh yeah! Y/N. I think so too.” Damian raised a brow. He didn’t want to seem curious about this “Y/N” kid he was hearing about. But learning that the child is half Amazon or fully Amazon. He smirked, another kid to join “his” team. Amazing, maybe he can show his father that he can be a true leader. As the others leave the watch tower. Bruce drives back to the bat cave as Damian looks ahead. “Father.” Bruce hummed for his son to continue. “…when will I meet wonder woman’s heir.” Bruce smirked. “Eager are we?” Damian scoffed, now looking out the window. “Not like that father. Its just..I wanna see how she is. I wanna see if she’s just like her mother.”

Bruce held his tongue. He knew whatever happens next would be a surprise for his son. “Yes, I can see your curiosity about Y/N’s personality. But I assure you that you would be shock at how she acts.”

And oh boy would the two supersons would be shocked. Now it’s a new day, Jon and Damian were in their costumes. Batman, aka Damian’s father, aka Bruce Wayne himself asked the boys to meet him in the batcave. They did as they walked inside to see the present trinity of heroes. Batman had his stoic face and Superman was smiling. Wonder Woman was standing in-front of someone who clearly had the same material outfit as her. But when the Amazon lady moved, that’s when the two boys caught the beautiful sight of the child of the Amazon. They looked exactly like Diana. But wore pants other than a skirt. And looked more masculine, but the face is what threw the super off. Along with the boy wonder. Jon pointed a finger at the kid who seemed a little older than them. 11 at most. “Is that a girl?”

……..

“IM NOT A GIRL?!” The Amazon yelled shocked. The adults let out chuckles, even the Batman let a small one out before regaining his face. Jon felt heat hit his face of embarrassment, Damian showed shock before he switched his expression. “Wow superboy. I thought you would use your x ray vision.” Jon, still flustered looked at his best friend. “X ray vision is not supposed to be used like that Robin!” The older Amazon male snickered, which brought the boy’s attention to the male. “Jeez, what a first impression.” Wonderboy says. He walks up, holding his hand out. “Sup, I’m wonderboy. Son of Wonder Woman. But honestly, I already know your identities. Doesn’t take a genius to know.” The boy says. Jon didn’t care about his identity being known as of the minute. His manners were taking over as he shook the Boy’s hand.

“I’m superboy, Jonathan Kent. But you can call me Jon when we aren’t superheroes!” He giddily says. The boy only nods, “Okay Jon. I’m Y/N Prince. But you probably heard my name already.” Y/N winked at the super, Jon felt heat hit his face again. His ears tinted red as he quickly pulls his hand back. Damian moved forward, his arms crossed looking at the boy in-front of him. “So, you know who I am?” His face hardens. Y/N snorted with a smirk, a smirk that lifted one side of his lips to his ear. “Course I do, Damian Wayne.” Y/N ruffled the hair of the tanned boy. Damian huffs and immediately pushes the male’s hands off his head. His ears are a little red but it soon calms down. “Funny how I’m the oldest of this trio. Was hoping you guys would be at least my exact age. But that’s okay.” The Amazon boy shrugged and started to float.

Jon’s eyes light up, immediately started to float off the ground. “You can fly?! I mean of course you can fly, you’re wonder woman’s son! Omg we can fly around and catch bad guys! Have flying races! There’s so much things!” Jon was so excited to have an another flying person like him. And his age range as well! Damian clicked his tongue in distaste. Damian wasn’t jealous that his best friend was practically flying around the bat with the new addition. The superson trio was so caught up knowing about each other that they didn’t know their parents had left.

As Damian stare at the flying boys, Y/N smiles down at the boy wonder. The Amazon male swooped down and lifted the bird in his arms. “Aww birdy don’t be sad you can’t fly.” Y/N coos playfully, Damian scoffs. He can feel his facade melt, Jon chuckles as the two flying boys flew around the bat cave. Damian was fully relaxed in the boy’s arms, leaning his head against the amazon’s chest.

“Boy. It’s time to go home.” The flying boys stopped their flying. Damian immediately realized his softened demeanor and pushed himself off the Amazon male. Landing on his feet like a cat, Bruce raised a brow under his cowl at the quick switch up. Damian could only just stand there as Clark and Diana came in the batcave. It seems their little meet up to hang out has ended. Jon frowns, “Awe man…” Jon looks at Y/N. “Think we can hangout tomorrow? I have these comic books I want to show you!” Y/N nods. “Sure man!” Clark and Diana fist bumped each other, smiling as Jon hugged the Amazon boy goodbye.

After the Amazons are gone, leaving just the supers and bats. Jon pulls his dad’s cape. “Could he come to our house? PLEASEE” Clark chuckled and patted his son. “Sure sport. Sure.” Damian had his arms crossed. Looking down, Bruce placed a hand on his shoulder. “Do you want Y/N to come over as well?” Damian stayed quiet before a curt nod was received. Bruce smiled. “Alright then, I’ll set up your play date after Jon’s.” The Kents were now gone, leaving the Waynes to their home.

Neither the less of tonight, Damian was interested in the Amazon male. His charming smile, his compassionate nature , his calming attitude that he oddly find..attractive. Jon felt the same way, his eyes were blown out wide. You would’ve seen a tail behind him wagging when he sees that the male was strong just like him. But of course Y/N is strong like him! Y/N’s an Amazon, he’s a kryptonian. Plus he loves his heart beat makes him calm. Hopefully he can get a playdate with him soon!

This trio would be legendary for the future of heroes.

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happypotato48 · 5 months ago

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We Are: Fighting Toxic Masculinity With The Power Of Friendship

Wow, who would have thought that it We Are of all things that make me write this, i really need to expand my horizons.

I will mostly be talking about Phum and Toey in this post, on how i feel related to certain aspects of their characters that related to toxic masculinity and how that ties in to the overarching theme of this show, Friendships.

So i've mentioned before that the way Toey talks is very noticeable, let me elaborate that further. both the way Toey use his name as a first person pronoun and his mannerism are very childish but its not just that. becuse of toxic masculinity and societal norms in thailand it's more acceptable for women to talks like that and use childish pronouns than men. for an example the pronoun Nu. boys are expected to drops that when they reach certain age (some don't and continuing to use it exclusively with their parents especially their mothers, including your truly.) cause of that the way Toey talks also can be read as feminine + satang performance made him feels like a very visibly queer character to me.

And here i think We Are strength come in cause the show never break its bubble but alluded that Toey had been bullied in highschool. and it so heartwarming to me knowing that Phum and Fang stood up and protect him then, and now with this current friends group who never one even remotely mentioned or tease him in anyways and ready to protect and fight for Toey's happiness, its give me all the feels. Toey can be himself and never felt like he needs to change and conform to the standard of masculinity because he have men in his life whose said no you are perfect the way you are.

Now Phum oh my dear baby boy. as first i was not vibing at all with PhumPeem as main couple but after the slow burn of 11 episodes they had won me over wholeheartedly. first thing first though i don't know anyone mentioned this before but the word that got translate as "slave" is เบ๊ *Be which in this school context have more of a bullying vibe and feel less harsh than the word slave. anyways we learned that Phum had a lonely childhood abroad far aways from his family and how stuffed toys are his only comfort at the time. as the start of the show Phum because of his childhood had walls up around himself manifested as toxic asshole exterior. and i loved that it not just only because of Peem that those walls came down, the show made the point again and again by having Phum said that he loves spending time with Peem and his friends that being with them makes him feels at ease.

And that why i think this show is goodish (it still a bit trash but hey i love it anyway.) and not a show that has nothing to say because how much it give important to the friendships. the show clearly stated that friends are as important as lovers and through friendship us queer guys can protect and better ourselves with each other. that male friendships can be more then what the world told us to be.

These are the reasons why i think We Are is one of my favorite BLs this year. because the nature of it never breaking the bubble its, for one hour made me feel like i can breathe, that for one hour i don't have to think about queer truth that hurts sometime and live in this queer fantasy. and i appreciated that eminently when i have to leave that bubble and face the music.

tagging for reasons >.> @bengiyo

#we are the series #thai bl #bl drama #dumb boy rambles #dumb boy unhinged thoughts

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felassan · 5 months ago

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Game Informer:

"Dragon Age: The Veilguard’s Leads On The Name Change And Solas’ Role In The Story by Wesley LeBlanc on Jun 20, 2024 at 03:00 PM Dragon Age 4 was revealed years ago under the name Dragon Age: Dreadwolf. However, with seemingly months to go before the game’s fall 2024 launch, BioWare announced it was changing the name to Dragon Age: The Veilguard. Ahead of that announcement, Game Informer visited BioWare's Edmonton office for an exclusive look at the game for our Dragon Age: The Veilguard cover story. It's here we learned that the name had changed. I interviewed various Veilguard leads for the cover story, and one of the first questions I asked each of them was, "Why the name change?" Here's what each told me: BioWare's Leads On Changing The Name To Dragon Age: The Veilguard [embedded link to DA:TV reveal trailer]"

"Veilguard game director Corinne Busche: "First of all, I would say that these games are reflections of the teams that make them, and as part of that, it means we learn a lot about what the heart and soul of the game really is as we're developing it. And we quickly learned and realized that the absolute beating heart of this game are these authentic diverse companions. When we took a step back, as we always do, we always check our decisions and make sure that they still represent the game we're trying to build. It just felt like we needed a title that represented what this game was truly about. Now, I want to be clear: I adore Solas [and] he plays an important role in the game, but this is not a game about Solas. So in all things we do, trying to capture that authentic experience, we felt the title really needed to change." Veilguard creative director John Epler: "Dragon Age has always been about characters, not just the villains, but also your team, your companions, the other characters in the world. And as we were building Dragon Age: The Veilguard – there's this analogy I like to use, which is, 'If you want to carve an elephant out of marble, you just take a piece of marble and remove everything that doesn't look like an elephant.' As we were building this game, it became really clear that it was less that we were trying to make The Veilguard and more like The Veilguard was taking shape as we built the game. Solas is still a central figure in it. He's still a significant character. But really, the focus shifts to the team. It's about the people you recruit. It's about stopping the end of the world with this group of specialists, these incredibly interesting and diverse characters that you recruit into your team. [We] realized Dreadwolf suggests a title focused on a specific individual, whereas The Veilguard, much like Inquisition, focuses more on the team.""

"BioWare general manager Gary McKay: "First, let me say: Solas is still very much part of this game. This is absolutely nothing to say that he's taking a back seat. But when we reflected on what was really the heartbeat of this game, we really saw the companions jumping out at us. I think you could argue [these companions] are the best the franchise has ever seen. We have seven incredibly unique characters, each with their own personalities, motivations; they have deep stories, and you have an opportunity to really interact with these characters in a way that both shapes their story but also influences the main story, right down to having an opportunity to impact their fate. It's not just the story; they are also integral to the gameplay as well. And so when you look at it from really what the heartbeat of this game is, the centerpiece of the game, it's about the companions – the Veilguard. We felt that the title needed to reflect what we thought the centerpiece of this game was." Former Dragon Age executive producer and Veilguard consultant Mark Darrah: "I think it's absolutely the right choice. Names can take on a momentum. Arguably, this game has kind of, in a way, been called Dreadwolf to some degree since its earlier days. As the game evolved, as [BioWare] figured out exactly what it was, it's very mature to step back and say, 'We called it something. Does it really still reflect what the game is?' And I think the fact the team was willing to take that step is amazing, and I think this is absolutely the right decision." The Solas In The Room"

"When I ask about Solas' role in the story after I learn his namesake is no longer in the game title, Darrah says Veilguard is still taking the Elven God's narrative in a good direction. He adds, "It allows us to, hopefully, give a good conclusion to all the varied attitudes toward Solas that are going to be coming from people who love Solas, who agree with Solas, who hate Solas, people who want to kick Solas off of a building – I think that we give you the opportunity to bring that to a close, but then tell a greater story about The Veilguard and about the world as a whole." Talking to Epler, I learn more about how Solas isn't exactly the big bad I expected before seeing the opening hours of Veilguard. There's a lot more nuance to everyone's favorite bald elf. "The most interesting villains to myself, and honestly most people, are not just straight up, 'I want to end the world.' To them, they are the heroes of the story, and Solas is no exception," Epler tells me. "Solas always feels that he is a tragic hero but a hero nonetheless, so he's coming into this believing firmly that what he did, that which you stopped him from doing, was the right thing – that you made a mistake. But now he's trapped and can't reach out and actively affect [Thedas], so he needs to work with you. "That allows us to provide a lot of nuance to that relationship," Epler says. [embedded link to DA:TV gameplay reveal trailer]"

"If you're wondering what Epler means when he says Solas trapped, it's quite literal – in the game's prologue, which is part of the 20-minute gameplay segment BioWare recently released (the above video), the player-character Rook and companions Lace Harding, Varric Tethras, and Neve Gallus stop Solas' attempt to destroy the Veil, a barrier between the magical Fade and Thedas. I won't spoil exactly what happens here, but Rook passes out moments later and wakes up in a dream-like landscape to the voice of Solas himself… because he's trapped here. He explains he was attempting to move the Elgar'nan and Ghilan'nain, both of whom are part of the Evanuris or Elven gods of ancient times, to a new prison because the old one was no longer containing them properly. Unfortunately for Solas, he's trapped here – the Fade – by our doing and Elgar'nan and Ghilan'nain are free, blighted, and roaming Thedas. It's up to Rook to stop them, but it seems they'll have to work with Solas (or at least listen to his guidance and advice) to do so. "So one of the principles we took to when we were building the story of The Veilguard early on was we wanted the beginning of the game to feel like the final chapter of an earlier story and you're coming in right at the end, you're coming in as if you've been chasing Solas – the [Solas at the end of Dragon Age: Inquisition's Trespasser DLC] who said he was going to end the world and tear down the Veil," Epler adds. Epler says players will see early on (and as the narrative develops across Veilguard) that Solas sees much of himself in you, the player-controlled Rook, especially "the parts that maybe he doesn't like to face." As a result, there's an interesting push and pull between Solas and Rook. He says players can define the relationship between these two characters with their choices in dialogue. "You can continue to be suspicious and hostile towards him, or you can start to see him and find that common ground, that connection between the two of you, and really develop a different relationship over the course of the story," Epler says. For more about the game, including exclusive details, interviews, video features, and more, click the Dragon Age: The Veilguard hub button below."

[source]

#dragon age: the veilguard #dragon age: dreadwolf #dragon age 4 #the dread wolf rises #da4 #dragon age #bioware #solas #video games #dragon age the veilguard spoilers #long post #longpost

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avelera · 4 months ago

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The Author =/= The Narrator

In creative writing workshops, my teacher taught us not to say, "The author did this..."/"The author said that..." but to instead say, "The Narrator" when critiquing each other's works, for many reasons but in particular in order to avoid the author, as a person, being attacked personally for things that happened in their story.

This is an important distinction for many reasons:

The Narrator and The Author are not necessarily the same person. They do not necessarily share the same experience or view.

Thinking this way helps to decouple The Author as a person from the Narrator as a literary device or tool that is available to an author trying to achieve a specific goal with their work. For example, Vladimir Nabokov, the author of "Lolita" is not the same person as its narrator and main character, Humbert Humbert. Nabokov was, among other goals, trying to draw attention to the vile nature of Humbert's worldview, while Humbert is, among other goals, trying to exonerate his vile behavior. To confuse these two as the same person is a deep disservice to Nabokov.

That said, there are of course books and stories where the Narrator is not necessarily embodied or given voice as a character (for example, in a 3rd person omniscient rather than a 1st person narrated story) though it can still have a viewpoint and an agenda that is still separate from the authors, even if they're more closely aligned. For example, there is no named narrator in, "A Christmas Carol", but the narrator describes Scrooge thus, "Oh! But he was a tight-fisted hand at the grindstone, Scrooge! A squeezing, wrenching, grasping, scraping, clutching, covetous old sinner! Hard and sharp as flint, from which no steel had ever struck out generous fire; secret and self contained and solitary as an oyster." From this, we can deduce that maybe, just maybe, the narrator doesn't like Scrooge very much. Now, the narrator likely shares much of their politics with Charles Dickens but again, and this is important, they are not the same person. Because "A Christmas Carol" is making other wider points and has other wider goals as a self-contained work that exists at a specific point in time that is not necessarily the same as Dickens as a person.

What I think is most important for people in places like Tumblr and Twitter to understand with the use of this distinction is that it is a system designed to allow both charity and deeper critical thought towards the author.

Authors can and should be able to write awful characters and depict awful narrators without everyone assuming they share those views, (e.g. Nabokov vs. Humbert). It also allows us to understand that authors, as living people, might change their views over time while a creative work is, by its nature, frozen in a certain place and time.

That said, by decoupling narrator from author, we can also understand a story more critically (not just negatively, I mean in the sense of literary critique) and ask questions like, "Why is the story being framed this way? What agenda is it pushing, if any? What are the views its expressing, if any? What does the narrator think is good, or bad and how does that impact the way the story is told to us?"

And most importantly, y'all have got to give writers a bit more credit for being able to use their craft to depict a view they don't necessarily share, to explore ideas that they're not necessarily promoting (and might even be deriding, such as Swift's "A Modest Proposal") and to allow the author to exist as a human being that may change, for better or even for worse!, from the views espoused by the narrator of their story.

I promise you, learning to decouple these two concepts will pay back dividends in being able to thoughtfully disseminate written works more critically and be less awful to real human beings.

#writing #writing advice #maggie rambles

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galedekarios · 1 year ago

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Hi!! Hope I am not bothering you (if so please feel free to ignore!) with a Gale lore question, but I figured you're the person on tumblr who would most likely know given all the cool shit you've been posting, but do we have any idea *where* gale was when he got snatched by the mindflayers? I can't seem to find a straight answer about most of the companions, but there seems to be a fairly straight forward answer for most of them except Gale (and Astarion to some extent) I know he had his year of solitude that he seemed to have left willingly and from what Tara says about Waterdeep it doesnt seem like they had a massive nautiloid attack the city a la the opening. I figured he either left Waterdeep in search of more items to sate the orb/protect the city in case of rupturing and was taken there or he was just maybe beaten over the head and abducted in the city by one of the few Absolutists that are in Waterdeep.

thank you for your message! i really appreciate your words.

sadly, there is no indication at all where precisely gale was before the events of the game take place.

i've collected some pieces of the puzzle, however, that i thought are relevant to at least paint a broad picture of what likely happened:

gale is well aware of how unstable the orb is. when he escapes the nautiloid, his first thought is that the illithid tadpole is very likely to have adverse effects on it:

he has lived with the orb for about a year or longer, knowing well what its effect might be. i have wondered often just why gale would know so much about ceremorphosis before the game starts. perhaps the devs just needed another exposition machine, which is likely, too, of course.

but considering the very real and very present danger of the orb, i think it's also likely that in his desperation to find a way to heal himself, reading up as much as he could on everything that even resembled some sort of solution, gale perhaps even read up on ceremorphosis, before deciding that it's just not viable, that it would do more harm to than good.

i think it might be in line with the same reasoning as to why the player can bring up the nightsong to gale as a possible solution to the orb.

2. gale is aware just catastrophic the consequences of the orb being unleashed are. when gale goes to rest in his origin playthrough, sleep will not find him and once more, his thoughts turn towards the orb first:

it's likely that this is why we find him staring into the flames playing a custom protag. these two scenes seem to mirror each other.

3. we also learn from the same dialogue two important things: that gale made tara promise to stay in waterdeep, concerned for her safety. we also learn from his conversation with tara that he is not only concerned about her safety, but his mother's as well and that he left her behind in waterdeep as well:

morena isn't aware of what her son tried to do. he kept it from her. not only had he disappointed her faith in him and his talents, now, with the orb, he was actively putting her in mortal peril. along with everyone else in the city.

from a later dialogue we also learn that gale is afraid of bringing shame to his family name:

player: So, your last name is Dekarios? gale: It is. Courtesy of my mother, the inimitable, dare I say it sometimes unavoidable, Morena Dekarios. It's been so long since I've used it. 'Gale Dekarios' cuts a poor figure next to the wizarding prowess of 'Gale of Waterdeep.' player: You're right. Just 'Gale' is better. gale: I agree. And on the plus side, if I get myself into any truly cataclysmic straits during the remainder of our journey, my family name will go untarnished.

we also learn that while news of the absolute seems to have reached waterdeep, tara doesn't seem to think that they have infiltrated waterdeep yet. which in turn means that waterdeep wasn't affected in the same way baldur's gate and other cities and regions were.

4. the next morning, gale can have the following conversation with tara:

"you left the tower in such a hurry you didn't leave an address." is what stands out to me here.

what exactly did make gale leave so suddenly?

was it a particularly bad flare-up of the orb? i think it might be likely because i also found this line in the files:

player: i fail to see why you need me to help you this. you've done fine without me so far. gale: A fair point - however, until recently I was able to rely on a supply of artefacts stored in my tower in Waterdeep. A supply that has now run dry. The reality of the matter is that a lone wizard with a chronic impairment such as my own is not in the most ideal of situations with regards to self-defence. The manner of artefacts I need are not often found waiting patiently on a shop-keep's shelf. One usually has to lift them delicately from trap-filled tombs or prise them from the hands of violent ne'erdowells.

so not only does this validate the fact that gale indeed suffers from chronic pain due to his condition even more, it also clearly states that he had nothing left in his possession to treat his condition anymore.

(as an aside, larian really did the seriousness of his condition a grave disservice here on a multitude at levels and this is another point where the narrative is at odds with the game mechanics of the full release. in ea, it truly required great artefacts (the sword of justice blessed by tyr or even the idol of silvanus) to soothe the orb.)

so to bring all of these points together, this is what i believe:

i think gale left waterdeep in a hurry after he felt the orb destabilising.

having no artefacts great power left, staying was no longer an option, lest he puts his mother (and waterdeep itself even) at great risk. he hurriedly packed what he could.

i assume tara was there and that it was then that he made her promise to stay because he didn't want to put his longest (and now only) friend at risk, too. perhaps he also felt better knowing that tara would be there for morena.

i think he was abducted while on the road, trying to find information about artefacts of great power and perhaps even setting out himself to acquire them.

#gale dekarios #gale of waterdeep #baldur's gate 3 #bg3 #baldurs gate 3 #bg3 meta #ch: gale dekarios #vg: baldur's gate 3 #series: baldur's gate #meta: mybg3

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mswyrr · 1 month ago

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"circle sewn with fate": more evidence that they are meant to be a "coven true"

-Agatha didn't think they'd be able to open the Road together because "only a true coven can open the door." And yet they did open the door together. They did something only a true coven can do.

-Agatha talks about the "Covenstead Rule" and it's kind of wild to me as a bit of symbolism. This whole time--all these long centuries--and wherever she is there have been people around her she could have connected with, made community with. It takes work and it's not easy, but it's there for her. As a metaphor about community it's pretty powerful? And, as Teen puts it, "beautiful."

Notable that she says it's "definitely not" beautiful in response. There's something here, about the spell/delusions she was trapped within and then her overall incapacity/unwillingness to see that's right in front of her face (adamant in 1x04 that the song says "coven TWO" when it's obviously "coven true"). You don't see it until you're ready to. There's people all around us at any given time we could connect with, but are we ready for that? Are they?

The next part is even more pointed, if we think of it as metaphorical about human relationships and community overall:

-And then the real kicker - Lilia's magical gift determined the group's members. And when she got the names she also got "Three of Pentacles," a really positive card that the show has released with a special design meant to represent the coven.

Here's the show merch Three of Pentacles design and the Smith-Waite classic design:

Its meaning is really positive for what this group can be to each other:

Apprenticeship, learning, studying, growing, hard work, commitment, building on success, collaboration, teamwork, determination, goals, dedication, quality, attention to detail, tradesperson, achievements, recognition, reward, hard work paying off, effort, motivation (source)

And the core takeaway in the card as something given by a reading (as Lilia says it to Agatha imo) is this:

"Each person has an important role to play, and when they come together as a team, they can create something much more significant than if they were to undertake the project on their own. So, when the Three of Pentacles turns up in a Tarot reading, take it as a sign to collaborate with others, creating synergies to achieve big results. The Three of Pentacles represents the value of different ideas and levels of experience in collaboration. The architects respect the specialised knowledge of the stonemason, and the stonemason appreciates the wisdom and experience of the architects. Even though their backgrounds, experience levels and expertise are very different, they can come together to share their insight in a way that creates synergy and improves the finished product. There is no ‘us and them’ or any sense of superiority. Instead, each person has something to offer and is willing to learn from the others involved in the project. Everyone is getting the job done collectively and contributes to the group through active listening and sharing. As you work on projects with others, acknowledge the value that each person brings to the table. You will also learn from each member of the team when you see his or her unique contribution." (source)

I truly think this season is the story of how Agatha gets a "coven true" again, even though it is the last thing she thinks she wants. There's so much symbolism and references to it! Even passing "joke" moments like the "Chief of police" starting to say "teamwork makes the dream work" and Agatha cutting in with "eat my ass." Of course, if she rejects what the magic (the Road's magic, Lilia's divination magic) is telling her, she could face the Three of Pentacles reversed:

Not learning from mistakes, unwillingness to learn, lack of growth, poor work ethic, lack of commitment, mistakes, lack of effort, lack of teamwork, apathy, no determination, no goals, no dedication, no motivation, poor quality work

It's her choice. And the choice of her coven too, if they want to walk the road (both literally the Witches' Road and metaphorically the road of life) with her despite what a huge pain in the ass she can be lol

#agatha harkness #agatha all along #agatha all along meta

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elbiotipo · 6 months ago

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So when it comes to distance in a fictional setting, is metric king? I wrote some fantasy post-apoc recently where the protagonist measured it in Oranges and Aevums (the latter being their own name), but more generally speaking is it worth it to hash out bespoke measurement systems for fictional cultures, do you think?

Oranges as a measurement unit sounds so funny, and a measurement based in... yourself makes surprising sense, given all the measurements based on body parts. Why not YOURSELF?

Well, I would think in a real post-apoc world metric would be king indeed, scientific and technologic instruments are in metric even in the US and you could always get a ruler from a school or scales from a grocery store, so eventually you could get back on track to reforming the metric system. It would be interesting, though, if every society during isolation had slightly different measurements for the same units because of faulty equipment (say, ohms or amperes or even grays) and they had to make a congress to clear things up.

Returning to your main question. My perspective here is the same as conlangs. It's very, very fun to have them, but it's not fun to force your audience to read them. When I write something set in a fantasy or science fiction setting, in my head I'm assuming the characters are speaking different languages and I DO explain them and even give examples of them, but the story itself is written, for both the reader's and the writer convenience, in a language we can understand (Spanish in my case, and then it can be translated). Same with units of measurement. I seldom use direct units of measurement like writing "the ship was 110.3 meters long" (in science fiction, it's often a trap as they force you to stay true to them), when more descriptive language can be used...

In any case, you could do, for the kind of immersion I love, say something like "she was 14 oranges* tall, rather small for her age" and do an asterisk like "*A.N. : 1.39 meters tall". This is very fun when used sparingly, because it gives the worldbuilding obessed reader something to play with, you can do the conversion yourself and learn more about the world, without interrupting the story. Some understandably dislike this approach, but I think that if you know what you're doing, you can hide some pretty deep lore behind it. In one of my favorite retro games, The Ur-Quan Masters, there is an alien race called the Slylandro who live in a gas giant. When they tell you their ancient history, they use their own system of measurment based on the rotation of their planet with its own names like Dranhasa and Dranh. The game actually provides you with the rotation time on "Earth" time, so some dedicated fans did the conversion, and found out the dates fit with major events in the game's past. I thought that was an awesome bit.

But I digress again. Does this mean you should not talk about measurements in your story? No, it can do for very fun plots and digressions, as well as make things more realistic and beliveable. A fantasy world sharing all the same measurement units can be as unplausible as everybody speaking "Common". Let's remember that the current metric system is a modern invention which took a long time to be adopted (and some, well one, country, still resists it). Just take a look at the many, many historical systems of measurement:

This was especially prominent in places like the Holy Roman Empire, where every statelet, county, principality, free city, prince-bishopric, duchy, archduchy, etc. may and most often did have different measurements from each other. Just take a look at how measurements varied from each German region, it's crazy. The systems of weight where particularily important. Before the introduction of standarized coinage, coins also varied not only between kingdoms, but between regions, and even towns, and coins made at different times with different alloys had different values. Rather than money in our modern sense, you could think of them as some kind of 'asset' that could vary in value depending on the circumstances. What's more, those values had to be checked by people who knew what they were working with. Silver and gold content could be weighed, ah, but you need good scales and weights, and someone who knows how to work them! And these people could easily rip you off, or you could lose value accidentally if those scales weren't done just right or fiddled with on purpose. In fact, this is where the word 'Mark' comes from.

It wasn't as easy to take say a 100 something bill and get the change in 1 something coins. There is a very interesting subplot in the anime Spice and Wolf where Lawrence, the trader character, has been paid in gold coins, and he has to trade them into lesser denominations. However, he has to be REAL careful so that nobody scams him given all I told you above. Even getting 'gold' coins was a gamble before modern coinage and banking (another long topic). How much of that is REALLY gold and not an alloy with silver or other metal? Who can you trust to tell you how much your coins are worth? Are they compatible between borders or even time, is this version worth as much as the others? Things that characters in fantasy who have just plundered a dragon's hoard almost never think about. Except in Spice and Wolf.

(here is a gif of Holo to break the wall of text)

This all of course, as again you can see in Spice and Wolf, can make trade very tedious and even unstable. This was one of the reasons why the metric system was so quickly adopted in Europe and then elsewhere; consistent units just allow for easier trade. Lots of other things involving measurement can have a major impact on your story. For one, you NEED consistent and accurate measurement to create even the most basic industrial and scientific equipment. You can wing it for a time like alchemists (and even they knew their measurements) but eventually, you need to measure things to understand them. To have working steam engines, steel production, chemical industries and more, you need to know your temperature is. If you want to do electricity, you need measurements for current, resistance and charge. If you're doing engineering, you need to have lenght, weight and volume very, very clear, or people will die. They don't necessarily need to be universal like the metric system (though it has lots of advantages, being coherent between units and decimal so it doesn't jump between different denominations) but they need to be standarized and measurable.

Most of the above, unless you're writing some kind of encyclopedia about a fictional scientific revolution (BASED BASED BASED) will not affect your characters directly. But IT IS worth keeping in mind for what kind of world your characters are living in. The standarization of measurement units always means SOMETHING in the state of your society, the strenght of the state and centralized authority, the state of scientific understanding (one could say that trying to measure the world was perhaps THE scientific revolution, "Man as a measure of all things"), the capability for industry and the standarization of coinage and trade.

Even if you don't have your characters interact directly with those things, they will interact with them. It's also, like I've said in the examples, fun to imagine characters having to learn or deal with different units of measurement, just as it is fun to imagine them learning new languages or cultural quirks. It's something I've done in the past, in my space opera setting, the worlds descended from the United States STILL use the imperial system, much to the frustration of the rest of the metric human sphere. There is also an alien character who has a hard time to learn human measurements, and that makes her melancholic about her past, as they can't intuitively see the now-extinct measurements she does. Again, man as a measure of all things... this does include other thinking beings...

There's more I could talk about here regarding time, but I did a post about that, though I'm not satisfied with it and will probably redo it in some time at the future. In any case, there's lot to talk about why every calendar in science fiction has 365 days and 24 hours.

As always, if you found this interesting and helpful, I would be very thankful if you gave a tip to my ko-fi! And feel free to ask about anything you'd like!

#worldbuilding #measurements #conlanging #writing #writer advice

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y-rhywbeth2 · 2 months ago

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Elves: Social Life

Society, family, friends, dating and marriage, blah

Link: Disclaimer regarding D&D "canon" & Index [tldr: D&D lore is a giant conflicting mess. Larian's lore is also a conflicting mess. There's a lot of lore; I don't know everything. You learn to take what you want and leave the rest. etc]

Physiology and quirks | Names & Clans and Houses || Pan-Cultural things: Social life | Time and Age Categories | Homes | Language | Art | Entertainment | Technology || Elven 'Subraces' still a wip || Philosophy and Religion & Pantheons || Half-elves | [WIP]

I hit the point where I'm tired of editing and checking sources, so here's some idea on how relationships work for elves whatever level of coherency it has. There might be more or contradictory information in other novels, but I do not have that much free time.

Mostly surface elves, mostly elves in elven lands. Though it also applies to elven diaspora communities (who do stick together and maintain their culture).

• Elven social life in general, plus greetings and etc

• Gender roles in society (or lack therof)

• Family and terminology

• Dating, sex and marriage That I guess you can use for ideas for your elven pcs or if you're dating the vampire who probably doesn't give a damn about elven social mores, the druid or whoever. idk how much elven social norms matter to Ketheric, but if you want to fuck the villainous old man you could give it a shot.

'Elves who lived even in reasonably close contact were so connected to each other through the Reverie and the Weave that they shared at least some shadow of each other’s emotional experiences.'

'As I would think, so shall ye; As I would feel, so shall ye; As I would do, so shall ye; As I would not harm, nor shall ye; As I would, so shall the clan; As the clan would, so shall I; As we would, so shall ye; The People are as one, and never shall I stray from this, nor shall ye, for to digress is to diminish you and your People.' - The Code of the People

There's a balancing act involved in elven societies where personal freedom is greatly prized but at the same time they're very community-centric cultures.

An elf is an individual part of many things: their House, their settlement, their environment, the People as a whole (which includes the Seldarine). The health and wellbeing of all of these things is the health and wellbeing of you, as your elders will teach you growing up.

Regardless of blood relation elves will usually address an elf of same rank and age as siblings; 'brother,' 'sister,' etc. Another term for a young (surface) elven stranger is 'thaes.' Although insofar as I remember I think it's used to address an elf you don't know and just met with that term until you learn their name or title. There's a whole host of titles and honorifics for nobles, elders and important people.

A friend is 'ebrath,' for surface elves and 'abbil' for drow.

There are various nuances and rules governing how to address people, and you can get an idea of their personal opinion on somebody and their politics by whether they use your name and what titles of address they use when addressing another.

Elves prioritise their Clan/House allegiance first and foremost, their homeland second (be that Evereska, or the Wealdath, or Ched Nasad, or wherever), their subrace next, and then the elven people as a whole.

House politics is a whole other post, but suffice to say your House is usually your family, your political party and likely your employer with its own internal culture and laws that you follow, and you'll likely be working in the family business (or one of them). Your personal reputation affects your House reputation, and your House's reputation and the reputation and behaviour of your clanmates also affects your reputation and determines what doors are open or closed to you. If an alehouse is owned by a member of a rival House, or one of their allied Clans/Houses, don't expect service; if a village or hunting grounds is home to a rival House/Clan don't expect a warm welcome there.

The higher your personal rank and the rank of your family, the more the personal-community social symbiosis affects you. What counts as lessening or increasing personal and familial prestige varies by elven culture and what they value.

There's another balancing act in elven culture with really, really deep intimacy and also not intruding on another's personal space. There must be room for quiet and solitude and respecting the individuality of another in between the mind-melding and oversharing.

An elven social circle is often decided by hobbies and careers, where the elves gather together to learn from elves with skills they desire and debate and infodump about whatever hyperfixation they're absolutely obsessed about with those who share it (those who don't share these interests make poor conversation for each other). There will be months, if not years, where individual elves won't be seen or receptive to socialising because they're busy with whatever project they're working on.

Privacy is a concept, but it's not as strong as it is with non-elves. There is no nudity taboo, and a significant amount of elven magic used in daily life, even outside of communion, involves mind reading (usually for security reasons).

Your fuck ups will be remembered. Evereskans at least have no social taboo against plainly discussing the personal business and even the failures of others amongst themselves even if you're standing right there, so you will hear about it and your neighbours will know. It's taboo to be overly frank or cruel to you about it - and most are not intentionally being cruel, just matter of fact - but there will be reactions like pity and scorn all over.

The lack of privacy is actually one of the complaints elves often have about their own culture when it gets too invasive.

Elves are also very good at holding a grudge; forgiveness is not a virtue in a people who relieve their memories over and over every night, including any pain you've given them.

Their in-group thinking also lends itself too neatly to xenophobia. The Tel'Quessir are masters at the sport of us vs them, and choosing 'them' is a betrayal that can garner a response of mass hysteria and violence depending on the nature of the slight (real or perceived), although violence is significantly more likely from elven youth (aged under 100-250ish years old). Aiding an N'Quess against an elf? The height of betrayal.

An elven 'in-group,' usually their immediate community, is often tightly knit even if they don't like each other or spend much time together: the community's young are encouraged to grow up together and be educated together for the first 10-20 years, and shared reverie and the connections of the elven soul joined by the Weave and Sehanine provides a mild empathic link in the background which means that harming another elf in ones 'group' should rebound on the perpetrator to at least some extent. To harm your own is literally to harm yourself.

Elven friends and family usually commune and reverie together, allowing them to know the others' thoughts, memories and personalities almost as well as their own.

Expressing sadism and spite or engaging in violence amongst non-drow (and many dark elves too) is greatly frowned upon, it's considered 'lowminded' and the behaviour of the N'Quess. Even Lolthite drow frown on open violence and conflict within settlements, both for its disruptive effect and because it shows a lack of sense and skill (tavern brawls, military training and slum raids notwithstanding).

All that is far from saying that elves are incapable of resenting or harming other elves, as their long history of bloody disaster shows.

Relieving their memories in reverie means that elven relationships - the good and the bad - are long lasting. An elf remembers their grudges against you because every now and again they get a refresher where they literally reexperience the times you pissed them off. An elf stays in love with you because those early days and emotions stay fresh in their minds.

Exile is a great punishment, and elves encountering others marked such (whether they were exiled for something they did or self-exiled) respond with 'suspicion and hostility.' Exiled criminals and the most severely outcast often take up worship of Fenmarel Mestarine, patron god of said outcasts, and frequently pack up to live in the wilds alone. You can often spot why they're exiled because they often wear a personal token somewhere on their person symbolising it.

Elves usually expect their friendships and romances to be very emotionally intimate affairs where it's normal to know somebody's deepest fears and desires at a degree of knowledge that, say, humans would not volunteer. Friendships go deep. Aside from the racism that's one of the biggest contributors to their aloofness around non-elves. The time it takes to get to know some of them notwithstanding (humans in particular will be senile or dead before your newborn child is legally old enough to vote and elves like to take their time), the concept of losing such close loved ones in only a century or two (or worse, less than one) is devastating and they will relieve a life and loss for hundreds of years after their friends are gone. There's an argument amongst elves about whether a brief lifespan makes it all the more important to make use of that time and that at least they'll have the memories, or whether loving the 'shortlives' is a form of self-harm.

(While the traditional word for non-elves is N'Tel'Quessir, or N'Quess, in human lands the slang word aethen or 'the others' has caught on.)

Worse, N'Quess cannot commune, and so the spiritual connection and intimacy between elves does not exist. For elves, particularly elves not used to non-elves, this can be alienating.

Rule of thumb: Half-elves, gnomes and halflings are the most socially acceptable friends in that order. Elves and gnomes being the most culturally compatible N'Quess, with a respect for community, art and nature, as well as loving a good time. Humans and dwarves are in competition for the elven culture's least compatible, with dwarves generally winning since their cultures often have polar opposite values. Orcs and half-orcs - and other goblinoids -can expect to be viewed as vermin rather than people, though a half-orc might get an extremely racist and condescending congratulations on 'defying their base nature' or some shit. (Whatever elves on the whole think of the dragonborn has never really been discussed, and it's safe to say they don't like tieflings.)

There is a status, Sha'Quessir, the Elf-Friends, granted to non-elves who are loved by an elf (platonically or romantically) and perform some great service for the people which is rewarded with adoption. The individual is, for all social purposes, one of the People and must be treated with the same respect, with the price tag being that they must act as one of the people and share in their concerns and causes (like the grave-robbing of elven burial sites and tombs, the out of control deforestation and loss of elven homelands, etc). They're even allowed to live on Evermeet, and can be recognised by a token on their person called an elfrune.

In terms of politics it's usually a clash between the conservatives who want elvendom exactly as it is and 'always has been' with a clear distinction between the 'right people' and the others and what counts for a 'proper elf,' and the moderates and liberals who chafe under a millennia of tradition and/or think the Tel'Quessir need to join the rest of the world in the modern year before the oncoming future crushes them all.

Manners:

Inclining/'bobbing' your head in acknowledgement, or making a brief bow is the equivalent of a handshake.

Elves do not have a tradition of shaking hands, finding it a 'horrific affront' to attempt to grab their hand. Probably something to do with communion usually being initiated by holding hands and the fact that the fingers and palms of the hands are extremely sensitive, so touching hands is probably significantly more intimate to an elf.

Just in general elves do not seem to appreciate being physically touched by people they don't know or trust, and laying your hands on an elf who isn't your friend or family might piss them off.

Elves also have a strong aristocratic bent, which plays a part in their sense of hierarchy (usually more 'gently' established than with non-elves, but present nevertheless).

An elf of lower standing cannot make eye contact with one of higher standing without permission. When a noble passes you part for them and may not overtake them; if traveling by flight, you may never fly higher than a noble.

Walk with the crowd and the flow of traffic, never against it.

A polite farewell is: 'Sweet water and light laughter ['til next we meet].' The response to which is: 'Back soon for soft songs and bright wine.'

When introducing somebody to another person/s you end the introductions with: 'May your meeting and parting be of equal pleasure.' To which the person you're introducing should say: 'My honour is brightened.'

A full formal greeting when approaching strange elves on the road (outside the bounds of civilisation) is translated as: 'Fair be our meeting, for our hearts are light and our swords sheathed, we hold peace in our hands and its light guides us.' Which is to be sung.

Welcome home is simply 'Glad homeagain.'

Pressing foreheads together seems to be a display of affection.

All elven cultures have a custom of exchanging gifts, where the character of the gifter is measured by the value of the gift (such things being judged primarily by their aesthetic beauty and any magic it contains, with its material value benign judged second). It's polite to offer a gift of equal value in return. For the original gifter to refuse the return token in exchange is viewed as odd.

Amongst the dark elves of Ilythiir an exchange of weapons was a display of trust, and sometimes a pledge of service/assistance should they ever be called on,' which may well still exist amongst modern dark elves. Although Menzoberranzan has a variant where you take another's weapon, display your skill with it and hand it back to illustrate 'I mean you no harm' as a peaceful greeting with strangers.

There's a tradition called the Rule of Saving: When one saves another's life, the saviour can invoke a debt which means that the individual owes them their life to do with as they please.

Gender roles:

Rule of thumb, due to their entire pantheon being genderfluid elves tend towards egalitarianism in their societies. If your gods encompass both male and female genders then it's hard to say one is lesser or greater, and some consider androgyny in mortal elves to be a sign of divine favour.

On the other hand that doesn't mean elven societies are totally free of nonsense (and horror).

Many societies also have a slight inclination towards matriarchy (dark elves infamously having more than a 'slight' inclination in the majority of cases); a woman's word often carries more weight in discussions if she chooses to weigh in. Evermeet in particular saw a shift towards matriarchy as Queen Amlaruil grew to become a beloved monarch and ended up with an inner council of advisors comprised of the female elders of the noble houses.

Dark elves are of course infamous for their matriarchies: Lolthites, Kiaransaleen and Eilistraeeans all favour - if not mandate - female leadership. Men are artisans and helpers, women are leaders.

On the flip side there are the patriarchal elven societies.

Aquatic elves have a patriarchal nobility.

At least one city of Vhaeraunites has ignored the part of their god's doctrine that says 'equality' and instituted the patriarchal mirror of Lolthite society.

And then there was the sun elven empire of Cormanthor (which was sun elven by origin and overarching culture, but had significant moon elven population), which was a nightmare where women would bitterly comment that they were good only for arm candy and providing heirs and that many elven men would say they didn't believe women had brains; women couldn't socialise with elves outside of their House without their patriarch's permission, and one woman had a nervous breakdown at the idea of confronting her husband on the grounds that he could very well beat her to death for talking back in public and throw her corpse out the window and then just get a new wife (he does later, hungover, threaten her with a horsewhip for challenging him).

So you know, fun times.

Mostly you're getting full gender equality.

Family:

One's family, strictly speaking, is one's Clan (or House, if the family holds noble status (doesn't make every member a noble though)). Aside from your parents, siblings, first cousins, grandparents, uncles, aunts and such you have a network of in-laws, cousins and employees sharing your surname and playing a part in the family business/es. The largest Houses will have people scattered around the world that you've probably never met.

Ancestry is also a very important part of elven identity, and an elf will know the famous and infamous stuff their family got up to. If the fame came from heroism and great deeds then the family will obsess over it, if it's negative press then elves will carry the stigma or do their best to make sure the knowledge never sees the light of day (you do not want word getting around that you're descended from the Vyshaan or Dlardrageth, for example.)

That's your ancestry and Clan or House, but the immediate blood relations, and likely the people who raise you, are your Blesséd.

Due to their lifespans and low fertility rates, siblings rarely grow up together since it's likely that older siblings will be adults by the time they get any. Educating and watching over the family's children is often a task for the elderly, who can no longer work, so that they can still make use of their centuries of experience and contribute to the community.

Family lineage tracks matrilineal and patrilineal. Except for most drow, who only track matrilineal.

For the drow I only know of the words for mother and father ('Ilhar' and 'Ilharn')

For surface elves (for most of which there are no gender neutral variants given):

Parent: O Child: Sum Cousin: Tyss Cousins: Tyssir

Brother: Tan Sister: Nys Daughter: A'Sum Son: E'Sum Granddaughter by daughter: A'a'sum Grandson by daughter: E'a'sum Granddaughter by son: A'e'sum Grandson by son: E'e'sum Niece by sister (sister-daughter): A'Su'Nys Niece by brother ('brother-daughter): A'Su'Tan Nephew by sister (sister-son): E'Su'Nys Nephew by brother (brother-son): E'Su'Tan

Matrilineal line: Mother: O'Si Grandmother: I'Osi Grandfather: I'Osu Uncle: Osi'Tan Aunt: Osi'Nys

Patrilineal line: Father: O'Su Grandmother: U'Osi Grandfather: U'Osu Uncle: Osu'Tan Aunt: Osu'Nys

Dating and marriage

'The love of an elf is a deep and precious thing. Misused or spurned, it can be deadly. Realms have fallen and been sundered for love, and proud elder houses swept away. Some have said that an elf is the force of his or her love, and all else just flesh and dross...' - Shalheira Talandren (who is a bard so is perhaps being a touch melodramatic as her trade demands)

Like many non-human people, elves referring to their sexual and romantic partners translate the terms in common as 'mates' and the act of sex as 'mating.' (Dwarves, orcs, dragons and vampires also refer to their SOs as mates... although that vampire was an elf, so maybe it's just certain vampires. I don't know about gnomes and halflings but it's the preferred terminology for many demihumans and nonhumans).

You can also call your partner damia, an endearment equivalent to 'darling' or 'sweetheart' or whatever.

This is one of those things where it depends on the writer, but apparently some degree of demisexuality is very common for elves, where it can be a cultural norm to be baffled as to why you'd lust after somebody when you have no affection for them.

'Her men, however, were staring at Takari with such a look of feral hunger [...] Under the circumstances, they could hardly have developed any feelings of love for her, so it was hard for an elf to understand why the mere sight of her naked body should inflame their passions.' - The Summoner.

Somebody wearing revealing clothing or dressed naked would not be seen as advertising a desire for sex, that's just how they're dressed.

They also apparently have lower sex drives, which I suppose could make sense for a longer-lived species.

Courting will involve trying to impress upon the object of your affection the sincerity and depth of your feelings with songs - or poetry if you've failed as an elf and really can't sing - and dancing.

If things are moving towards the erotic then the dancing starts to take on that tone.

There is a form of acrobatic dance amongst elves that involves the dancers wearing nothing but body oil and bells, tied to their bare limbs and beaded into their long hair (which is worn loose), and this dance will often be performed with the aid of a fly spell or some equivalent.

Such dances are actually used in public performances, so while they might be sexual (or not) they aren't necessarily seen as inappropriate (though they can get grumbles from sun elven elders about how back in their day they didn't have this kind of impropriety).

Just in general it seems like elves like bringing magic into the bedroom, but aerial sex seems a popular choice from what I've seen on elf sex.

And ears and apparently hands are erogenous zones.

'On the subject of giving pleasure to elven maids, [the diary] mentioned using one's tongue gently on the palms of the hands and the tips of the ears.' - Elminster in Myth Drannor (despite the 'maidens' part it applies to elves in general)

For lovers who decide to engage in Rapport/aleiryid and bind their minds and souls in a permanent empathic link, the terms 'spirit-deep mate' and 'life-mate' have been used. 'Aleiryid' itself may be a noun for such a partner, and can only be used to refer to a life-mate.

Elves, regardless of how committed they are - eternally psychically linked or no - still generally expect to be given their personal space just as with any other relationship between elves.

In terms of monogamy vs polygamy, sun and maybe moon elves may be more inclined to monogamy and green and wood elves towards polygamy.

Green elves, and by extension most wood elves, default to polyamory. Jealousy is perverse and will disapprove of displays of such possessiveness and flirting and love are just parts of the joys of life. Which isn't to say they don't feel it, but the green elven approach to a love rival is basically, to quote one character, '[they'll] have to share!' The sylvan elves of the High Forest usually dance in trios rather than pairs.

Moon elves probably vary on that cultural norm; there's been an occasion where a moon elf pov character can be read as uncomfortable with polyamory, but on the other hand the silver elves are also infamous for their love of freedom and hedonism, and said character notes his own moon elven father would not begrudge his green elven ex-wife her flirting. Also in moon elven pantheon Corellon has a Queen who is simultaneously three people, so there's a religious argument to be made for 'the gods approve of polyamory' I suppose. As oathbreaking is considered one of the greatest sins possible in moon elven cultures one imagines that infidelity (and definitely breaking your marriage vows) is also very high on the taboo list, regardless of what the relationship set up is - Fun is important, but if something matters enough to make a commitment for it you keep your fucking commitment.

The dark elves of Menzoberranzan have usually been portrayed as serial monogamists, with a side of 'women can fuck as many men on the side as they like.' Dark elves in general don't expect a pairing to last forever.

Sun elves, I'm not so sure. They have a very strong emphasis on lineage and house politics and frown on 'philandering' though so legitimate marriages, family duty and knowing who the parents are is important regardless of monogamy vs polygamy.

Marriage ceremonies are most popular during Midsummer celebrations.

Elopements are most popular on nights of the full moon, when Hanali is supposed to bless your union with good fortune.

In common elves stick to the translations of 'spouse,' 'wife,' 'husband.' 'Consort' crops up, probably refers to nobles spouses.

Between moon elves at least, marriage can be a very simple procedure: you weave a flower crown and place it on your lover's head. That's it, you're married now. You don't need any witnesses or officiants; the prince of Evermeet married his human girlfriend by placing a flower crown made of laurels on her head in the middle of the woods during a private moment. None of the nobility nor his mother approved of him having a human girlfriend nor would they have permitted it, but doesn't matter: flower crown. Generally though there is more ceremony surrounding weddings

There has also been mention of handfasting too, which may be a similar deal, just with trying ribbons around your enjoined hands rather than putting flower crowns on your head.

If you want to bring a high mage into it - which is unusual in the modern era, when they're almost extinct - marriages have also involved the arcane.

Marriages, formal and informal, are performed by priests of Hanali Celanil who are bound by their faith to help you regardless of what society thinks - all lovers must be protected. I suspect most marriages take place under the moonlight, since elves seem to be lunar-centric, but that's just an assumption.

Entering into u'aestar'kess was a popular marriage tradition in love matches, a magical linking much like Rapport/Aleirin, but the enjoined beings can - through concentrating - engage in true 'verbal' telepathic communication. If one of the bonded is in danger then their connection will also alert the partner, who will generally stop at nothing to get to them. Also unlike aleirin u'aestar'kess permits two bonds to exist rather than just one.

Creating an Aestar'Khol was also a popular way of getting married - the ritual wove an oath, in this case marriage vows, into tangible existence in the form of a stone the size of a fist and likely in the shape of a statuette, though a quicker casting will produce a rock covered in inscriptions of the vow. It also allows the spouses to know that their partners are faithful, because breaching contract causes the vowstone to shatter.

Some elves, namely nobles, do arrange marriages, it's a useful way of calling dibs on particularly promising mages, warriors, priests, artisans and etc by having them marry into your House. There's also historical precedent for crackdowns on arranged marriages because squabbling and intrigue over powerful wizards was getting idiotic. If your family picks out a spouse for you you don't have to marry them, but you may face social and financial repercussions from your refusal. Not always though; some nobles, even sun elves, have turned their nose up at tradition and married non-elves and had half-elven heirs without losing too much prestige.

A holy order in the service of Hanali, the Chaperones of the Moonlight Tryst, are rogues and rangers who are tasked with discretely safeguarding elven lovers from those who would interfere with them or use their relationship for some end (blackmail or some other intrigue, for example). They can also be called upon to help arrange secret meetings between star-crossed lovers and aid elopements.

#Is it coherent I am past caring #I am trapped in the adhd spiral of 'must complete the thing' vs 'tired of the fucking thing'#lore stuff #pointy eared stuff #long post

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rabbiteclair · 8 months ago

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more Girls' Last Tour thoughts, which are admittedly mostly thoughts I had for the first time about five years ago only to resurface today upon having a long conversation about the series with a friend. this one is fully spoiler-y

as far as emotional suckerpunches go, I personally think it's like... [the entire Silence chapter] > [Chito's breakdown after she realizes the Kettenkrad's bricked] > [the end of the Art chapter] > [the end of the Life chapter] > 'the planet will finish life's long work and go to sleep as well' > [the actual end of the series]. This isn't a criticism of it, since I really like the end. I just find it kinda funny.

similarly I find it funny that this series, where every named character is strongly implied to die either during or shortly after its events, which is about 40% ruminations on death, containing the line "currently, you two are the only surviving humans of whom we are aware," is categorized as an Iyashikei. H E A L I N G. I mean I don't even necessarily disagree but goddamn.

One of the core dichotomies of the series, I think, is... it repeatedly makes it clear that people have done horrible things here, and the amount of deliberate destruction that's gone on is absolutely monstrous. They stumble onto nukes and giant war robots that can blow up a city, and there are destroyed tanks and giant craters everywhere. Basically everywhere they go is a former war zone. But it takes a really positive view of humanity. Outside of the attack on their hometown in the flashback, every single person they meet is nice and helpful. Any time it delves into human nature, the message is 'actually humans are pretty cool most of the time, and our basic drive is to take care of each other, not this survival of the fittest bullshit.'

which is one thing that I think sets it apart from a lot of fiction in this space? It never tries any kind of 'humanity is doomed in the long run because we're all violent animals beneath the facade of civilization' message or anything. Humanity rules, and it's a genuine tragedy that things have come to this.

kinda related, the series does a lot to make it clear how all of this is an unfathomably large tragedy. There are tons of background shots of entire abandoned cityscapes, there's the chapter with the mass grave, the gigantic library full of books, and so on. The actual scale of 'no, really, everyone and everything has an end sooner or later' gets driven in repeatedly. At the same time, it spends a lot of time on how something as small as destroying a single diary can be a tragedy in its own right, too. I guess I'm just kinda used to media that takes that kind of grand high-level view dismissing the small stuff as trite and unimportant when we could be putting up another number with lots of zeroes to say how many people died.

there are a lot of different ideas floating around on things like what it all means in the end, and whether it's meaningful to leave anything behind. The AI is overjoyed when she gets her chance for oblivion. The people in the graveyard have a statue to watch over them. Chito's attempt to leave something in the form of her diary is ultimately futile, and while she learns to find other meaning, destroying her diary and the books still isn't portrayed as a good thing. Other people are recorded forever in images and videos, and it's wonderful. Ultimately I don't think there's any one answer or message. Keeping with the general existentialist kinda themes, what matters is what the people involved find meaningful in that context, but that drive to create and preserve meaning for the future is both universal and noble.

while there's a lot to be said about the visuals overall... the fact that basically the only thing on the upper layer is a spiral staircase leading up into the air with no destination sure is some symbolism, huh.

similarly, while it wouldn't change the events any, symbolically I think it's very important that their long, ultimately pointless meandering journey that ends in death was upward, not downward.

on another level, though, it's kinda implied that the higher strata are newer/more recently maintained. So it's also essentially them moving through (and revisiting a lot of) human history to take their position at the very end.

Yuu's gun is never used for anything but target practice, and then she chucks it aside as soon as it's too much effort to carry. They use an old tank for a shower. They find a working military sub with nukes inside, and it's only useful because there's chocolate and a way to look at the storage on a camera. The one time they really fire a weapon, it's horrible, and the one thing they kill is portrayed as a tragedy. Even their helmets are mostly a running joke of 'oh my helmet totally would've stopped that falling building.' For a series that includes a lot of military stuff, it regards military stuff somewhere between 'disdain' and 'indifference.' Very 'the world is ending and you think a rocket launcher is going to be useful? Put that thing down and help me look for food.'

that said, the choice to give them a vehicle from WW2-era Germany is still a pretty damn unfortunate one. Considering the series's consistent stance against violence, disinterest in war, and casually disdainful treatment of weapons and military stuff, I'm comfortable saying that Tsukumizu almost certainly isn't a closet nazi, but still. At best it gives the wrong impression to anybody who hasn't gotten about a dozen chapters in and started thinking about the themes, and there's nothing the themes do with it that wouldn't work basically as well with any other military transport anyway.

the fungus things apparently being the inspiration for the god statues is clear enough, but just what their deal is remains surprisingly undefined. I've always figured they were genetically engineered or something, made specifically to clean up the environment. Which is itself a hell of a thing if so, deifying the creatures that basically symbolize 'maybe we can undo the harm we've done, and if that takes longer than we live, at least we'll leave something behind.'

I really don't know how to feel about the whole Shimeji Simulation connection. (if you aren't familiar) On one hand I feel like it undermines a lot of the series' messages to go 'oh but just kidding, everyone's fine and nobody really dies for good.' On the other hand, as somebody who's read/watched through the series about half a dozen times and really marinated in the despair, my primary immediate reaction is 'oh thank god they absolutely deserve this.' And it isn't like I haven't written multiple stories about characters embracing their imminent demise only to turn out okay against all odds in the epilogue.

Yuu's gay little run. this is still a thought

#girls' last tour

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mothofstars · 2 months ago

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Epic: The Musical - Tier list to appease my autism

Epic is quite possibly my favourite musical of all time, and after the release of the Wisdom Saga, I really wanted to rank the songs and put my thoughts about them somewhere.

And I'm not about to spend 5 hours on this and not post it anywhere, so please enjoy my ramblings! From least favourite to most favourite, here is my Epic tier list!

30. Full Speed Ahead - Troy Saga

It's worth pointing out, I don't dislike any of these songs. I like all of the songs, and think they are all important and serve the overall musical. But this, for me, is a bit more of an 'establishing' song. It serves as exposition to get us from one place to another, both literally for the crew, and musically as we move from the emotional song of Just a Man to the more fun Open Arms.

29. Storm - Ocean Saga

This is also a little bit more of an exposition song, but for me I think this mix is stronger, I love the call and response, and for some reason still giggle when they all point towards the island in the sky!

28. Luck Runs Out - Ocean Saga

I like the way this shows the starts of the cracks forming between Ody and Eurylochus. Eurylochus, quite rightly, gets a little weirded out by the idea of climbing up to a floating island that has a potential god resting upon it. Ody on the other hand hasn't had the crap beaten out of him enough times yet, and still has the optimism that means he will do just that. You can hear a twinge of pain in Ody's voice as he realises that his second in command is starting to doubt his actions, all the while he is just doing his best to keep his crew together and alive.

27. Open Arms - Troy Saga

This song is great - What is there to say about this sweet boy that hasn't already been said? We all know and love him, and this song shows off that sweetness and love for life so well. However, this song is so much better when used in other songs to absolutely shatter your heart into a million tiny pieces as we all grieve our happy friend. This song is still strong, but I think its overall impact comes more from its use in other songs, rather than the original!

26. Polyphemus - Cyclops Saga

The brutality of this introduction to this saga is terrifying. I still get chills during the cyclops saga, and the turn at the end of the song is so well done. Each verse seems to add another layer of tension, and we feel like we are sneaking closer and closer to a conclusion that favours the crew, and then, we get stomped.

25. The Horse and the Infant - Troy Saga

This is one of the best openings to a musical - we know the main characters, we know what they want, and we know exactly where they all stand. This is achieved without too much wordy-ness and exposition, and just serves as a great and powerful introduction. Also, love how Ody is immediately humbled by being presented with a challenge he already struggles with, bringing him closer to the listener. I've been told by a few that if you have the prior context of the books that came before the Odyssy that the names being read out at the start is like a nice little round of references to previous stories - it's a shame this doesn't hit for me yet, as I am still learning quite a bit of the context surrounding this musical. For me, as well, there is just so much going on in this song, that my head spins a little lol.

24. Survive - Cyclops Saga

Very similarly to the Troy saga, the second song of the cyclops saga once again seems to have the aim of humbling Ody and making him closer to us, your average mortal, than a god. You can feel the genuine pain and fear in his voice as his friends fall, and the splashes and smashes of blood and club are poignant and painful to listen to. We get to see the tactician brain of his working to full speed, with a steady ticking in the background making it feel like Athena is right there with him, which is a lovely touch.

23. Remember Them - Cyclops Saga

Wow, this song is so strong and painful at the same time. The fade into the song, hearing Ody's mind snap straight into action and then him calling out to his friends with directions demonstrates his tactician brain and his ability to lead them really well, but also feels like he is also trying to guide the crew through the first big loss they will experience together. He steps right up, refocuses them, and gets shit done. Shame he didn't kill him, but this would be a very short story if he did!

22. Keep Your Friends Close - Ocean Saga

I am but a small, simple lesbian. The way Kira sings here just feels so nice and floaty, while also showing her more mischievous nature. The longing in Ody's voice as he sings for his family is so painful, and makes the next song hit so much harder. The promise of him being the same, knowing that not to be the case it heart-breaking. Also, give me more Winions. I need them as plushies please. Thank you.

21. Mutiny - Thunder Saga

The absolute gall of Eurylochus to be a massive fucking hypocrite and then pull out the line of "I'm starving my friend" with that much pain in his voice is breath-taking and incredible. He doesn't even feel like he really wants to betray Ody, but is just doing exactly what he thinks he needs to do to see another day. Little does he know. This song also suffers a little from the same problem I have with The Horse and The Infant - a lil too much going on

20. Ruthlessness - Ocean Saga

HELLO SIR! My goodness this mans vocals are so smooth but rough at the same time. The growl that he gives to his voice whilst still flowing the lyrics together so musically is just so impressive. And the background instrumentation imitating the crashing of waves against the ship is *chefs kiss*. And then..... ALL I GOTTA DO IS OPEN THIS BAG!!!!!! I think this song might rate higher for me if I didn't end it with the most tonal whiplash ever. It's hilarious, don't get me wrong. But my gods, does it pull me out of the song a little bit lol.

19. Different Beast - Thunder Saga

The way I jumped out of my seat when I first listened to this saga, admittedly at 6am, I think I could have punched a hole in the roof were I less vertically challenged. He means business, this song shows that, and gods is it good. The small plea for mercy from the sirens who feel like they already know the answer, and the ruthlessness of his response. Hey look, he is learning!...

18. Puppeteer - Circe Saga

A woman. What? She had me in just one song. I would thank her if she turned me into a pig. Her vocals are perfection, the chanting of her power, the way she can hypnotise a whole crew. I find it interesting too, how just the promise of a warm meal and a safe place, even if it might be a trick, is enough to pull the crew into her arms. They may be under her spell, but part of me thinks so may have chosen this if given the option.

17. Wouldn't You Like - Circe Saga

Look, all I'm saying is that it was very telling that the day after the Circe sage came out that my Spotify started filling up with TROY's music. He is amazing, plays the character in the best way I have seen bar none so far. And that fur coat and sunglasses?! What a look. Also its funny hearing a British phrase as a plant name.

16. The Underworld - Underworld Saga

Jorge please, my face is stained from tears shed in this song. Every single time I listen to this I shed at least 3 tears. It's like a subscription cost of pain in return for a song that is as moving as it is powerful and reflective. The call backs to the previous sings are haunting, no pun intended, and the choice to have his own mother play Ody's mother is genius, and I hate and love it. As someone who has lost a connection to their own mother, it always makes me tear up as he yearns to be with her again, and shows the regret in his voice that he never got to say goodbye.

15 and 14. Done For *and* There Are Other Ways - Circe Saga

I cannot separate these two songs in my mind. Not only do they flow from one to the other perfectly, but they just do such a good job of leading us from a battle of power to a battle of the mind, with the flowing, seductive vocals from Talya and the trance of the music behind it. Again, I would have absolutely stayed with her, I am weak. I like to think my wife would forgive me!

13. Little Wolf - Wisdom Saga

Little wolf is such a good song because, even without Athena, the vocals are just so damn crisp and punchy. When I saw that the animatic in the livestream showcase was a streetfighter style animation, it made perfect sense - the punch of the beat and the chanting of the team behind the enemy works so well. And then, my goddess arrives to swoop in and steal my heart. She has clearly grown in the last few sagas and years that have passed, and I think this introduction of her back into the musical does a great job doing that. She comes in, bestows wisdom, helps a kid kick some ass, and with it once again confirms my status as a lesbian.

12. Just a Man - Troy Saga

This. Is. Heart-breaking. I'm sure that many people have the same reaction to this, but as the beginning of Ody's journey, it just hits so hard. Him recalling his own young son, and then knowing how long they will be apart makes it even more impactful. The change of pacing from the lullaby of the first part, to the painful growl in his voice as his questions his actions and realises that he has done is just pain.

11. Monster - Underworld Saga

This was so hard to pick apart from I'm Just a Man. I love them both. The only reason this stands a little higher is the overall arc from the song that precedes this one into it is a little stronger, and I love the complete rage in his voice. He did all this, tried to do right by his crew and his wife, and is told by the man who he thinks will help him get home that "yeaaah nah you are absolutely fucked, have you seen yourself recently?!". Yeah, I would sing like this too. He can see where he went wrong, and this acts as a really nice turning point for him going forward. If he is going to be seen as a changed man, who's ruthless actions will hurt those him around him, he might as well go all in. he is the monster ra ra ra

10. Suffering - Thunder Saga

Jorge tucking his hair behind his ear. End of review. No but really, this is great. I know he did a TikTok on this, but the way the lyrics flow into each other to create this hypnotising melody is just breath-taking, and I will never forget the moment of 'wait hold up what is happening' the first time I listened to this song. First I thought that this was dream Penelope, back from her saga with the windy bag, and then was genuinely taken back by references to a daughter. oh no

9. Thunder Bringer - Thunder Saga

I get a bit annoyed, very stupidly, when I cannot sing along to a song I really like. It's one thing I love about listening to musicals, is learning the songs and then performing them to mu plushies in a vague attempt to satisfy the very anxious performer that lives inside me. Which means that a lot of my favourite songs are ones that fit within my vocal range, that i can sing along to. This one is so far outside of my vocal range, it might as well be on a whole other plane of existence. But my gods do I absolutely adore this song none the less. How can the asshole that is Zeus sound so fucking cool while being this much of a dick towards women while flipping off Ody in the background. This song is just an ego flex. Good job Luke Holt. Fuck Zeus.

8. My Goodbye - Cyclops Saga

I really like the way this song shows the 'youth', for want of a better word, of Athena and the impact on Ody's actions on her and its just so good. The vocals show so much of their pain and anger, and the mix is just perfect. The contrast is Ody screaming at her and then the genuine pain in her voice, the impact of her responsibility as a god is so good. No words can properly do this song justice. The best part is, neither of them are correct here. If they had just sat down and had a chat like grown ups they might have stayed alongside each other, but both think that their actions are the correct one, and i cannot entirely disagree with either response.

7. We'll Be Fine - Wisdom Saga

Kinda loving that most of the Athena songs are all sat together. It makes me so happy. The absolute sobbing that erupted from my eyes, nose and mouth during this song would have probably classed as a downpour. I love both of these characters so much, and Athena's vocals at the start are so heart-breaking and bittersweet, followed by the most heart-warming duet that has ever graced my ears. Also, the childlike joy and wonder behind the vocals from Telemachus are so beautiful and cute, and I would fight for him!!

6. Warrior of the Mind - Troy Saga

Ah, Athena, my beloved. I would perish for you in a heartbeat. I just love the heart that Teagan gives her through her performance - its so warm and playful in the introduction part, and they both almost feel like each others hype, its fantastic! It's also a great way to show off the influence that she has over Ody - she puts herself right in the centre, reminding him exactly why she respects him so much, while affirming her stance on his training.

5. Legendary - Wisdom Saga

Miguel's casting was one of the most perfect ones in this history of this musical. Not only because of his incredible vocals, but because they fit so perfectly with Jorge's. I can fully picture this kid and his dad together, their voices sound so much like each others, just like a younger version. This song is the perfect match of catchy and smooth, and it just soothes my brain perfectly. Special credit to the retort to Antinous about his mother. This is the perfect opening to one of the best sagas we have been gifted yet. Side note - I cannot wait to see Antinous get absolutely stomped into the ground (please gods tell me he does or I will never sleep at night) because my goodness, what a line delivery. I will throw this man. Protect Telemachus, throw Antinous off a roof like the baby, and someone get Argos a new toy.

4. God Games - Wisdom Saga

I'm not someone who listens to the demo's much (bar listening to Hermes laugh on repeat, and occasionally looking up lyrics). I like that they are out there, and my wife absolutely adores them, but I prefer to wait till the full release so I can listen to everything with a full cast and mix. Did that stop me from having over 20 videos of different people lip-syncing to the bits of Hera for this song, making me look like the thirstiest person in my area. No. I don't think that this song could be anywhere other than my top three. All the singers are incredible, all of the animatics are incredible (special shout out to Athena disco dancing into madness) and I wept like a baby when it was over.

3. No Longer You - Underworld Saga

This song is perfect. I have no notes. This is where my true top songs really begins. This song is so passionate while not straying into anger (outside of Jorge's owl impression that is), while at the same making the prophet sound entirely distant, almost uncaring. It's an added bonus that this song sits right near the bottom of my vocal range and so serves for great belting material when I need to let out feelings.

2. Scylla - Thunder Saga

This saga did an amazing job of making me absolutely loose my mind with every single one of its songs. Not all of them are what I would regard as my favourites, nor would I even say that this is necessarily my favourite saga (I think we can all guess which one is), but my gods can Scylla absolutely take my life. This song is perfect - The slow introduction into the absolutely mind bending vocals from KJ, with the growl of a monster and the voice of a monarch. Its incredible, and I will forever be trying to sing this just as half as well as they do.

1 . Love in Paradise - Wisdom Saga

I wish I could write all of the words that this song deserves, but I'm sobbing too much to focus, so you will have to deal with whatever I have that i can see behind this waterfall of tears. Athena travelling through the previous sagas and reliving all the pain that Ody went through sent me into a state to begin with. And then, Calypso arrives and reminds me how gay I am. I want to go to her island and give her hug. If it weren't for the animatic, and the little face that she makes when she finds out Ody is married, I wouldn't have stopped crying for a single second. Her intension aren't pure. She is desperate, she is alone, she is sad. She is very morally grey. All she wants is someone to soothe her, and in turn she tries to relieve his pain. It's important to note here that, outside of looking up her future songs, I have very little knowledge about Calypso. For me, based on the lyrics we have from "Not Sorry For Loving You", she seems to have been forced to remain on this island for hundreds of years with no contact. Is what she does to Ody horrible - yes. Do I think she wants to hurt him -no. And I also don't believe that she is trying to manipulate him to get off the ledge just so she can have her lover back - I read this as someone who is in love and trying their best to make them happy and keep them safe. Ody couldn't leave the island, and she couldn't let him be free, they have to ask Zeus for that. Not to get too deep, but her crying out to Ody makes me melt every time. The gut retching pain from Ody drying out for all those he has lost and who he thinks he will never see again is haunting. Give me a year and the ability to remove my fear of thousands of needle pokes, I will probably get the line "Life would be so much worse if you had died" nicely printed onto my body. This is the perfect song to top off all the other perfect songs here. I cannot express how much this song means to me.

Thank you, Jorge.

To give a summery, here are the Saga's ranked!

1 . Wisdom 2 . Underworld 3 . Thunder 4 . Circe 5 . Cyclops 6 . Troy 7 . Ocean

#epic the musical #epic #epic the wisdom saga #musical #epic the troy saga #epic the underworld saga #epic the thunder saga #jorge rivera herrans #autism #ranking #tier list #please someone read this so I can justify the spreadsheet.

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