#it's an overly simplified way to look at it

[troblsomtwins829]

Raspberry takes one look at Jak, and despite the valid concern she wouldn't care for him as much as Damas does, she sees enough of herself in him; and enough of Damas AND Sig. She can't help but love him as well.

Damas says he's their son. That means he's her son, too.

[alkalinefrog]

Hey Alka, I had a quick question for you (whenever you have the time to answer or even if you have the time), I've been taking some storyboard classes and with my illustration background, it's been hard to really find a good shorthand for characters to really get that anatomy/gesture looking right without it being too sketchy and unreadable.

How long did it take you to find your storyboard shorthand, and what exercises would you recommend to try to find it? I'm sure it just takes time and practice, I've been doing a lot more studies and gesture drawings (currently following along all the free Glenn Vilppu videos I can find on youtube) but I wanted to ask you as well because I am in love with how fluid your anatomy is, and how clear your storyboards read. And those hands my god you're a wizard!!!

Thanks a bunch, have a wonderful day!

Heya Secret, great to hear from ya! Well, what you don’t see online is how gross the rough stage of my boards can get LMFAO. Most of the boards I post are actually overly cleaned up because I'm just doing them for fun and can afford the time! I'm not really sure how long it took to develop my shorthand, I've never really enjoyed drawing detail to begin with, so when I decided to go into boarding I kinda just leaned into it!

I’ve covered a bunch of gesture drawing exercises already if you scroll through my advice tag, but ***once you have a good foundation*** here's some stuff you can try!

First you'll want to build up an arsenal of anatomy hacks you can always fallback on, particularly for complex parts of the body. The less time you spend on details, the more time you have to focus on the overall pose and storytelling. Aim to find ways to draw with as FEW lines as possible. If I had to make a list to streamline what to practice:

Head shapes - find the most efficient way to draw the front + 3/4 + side view in as few lines as possible (the challenge is still making them look structured with dimension)

Eyes - are SO important for expressions! Unless your project has characters with dot eyes, you're going to need to find a quick way to do the circle and iris in as few lines as possible. Make sure you can convey where they're looking

Hands - fists (you'll be drawing a lot of people holding poles), open palms at various angles, foreshortened fingers pointing at viewer, fingers making grabby motions----protips: 1) half the time all you need is a vague triangle/rectangle plus thumb sticking up and that's a hand 2) if the hand is relaxed, you probably don't need to draw the knuckles. Save some time!

Feet - just learn how to make sure they look like they're standing on the ground, and do some studies of what they look like when you're running. Otherwise you can usually get away with a vague shoe or boot shape (just add toe lines if they're not wearing any)

----everything else you'll practice as you go!

Jump from SUPER rough straight into clean boards to really force yourself to be economic. I've done each of these methods for work before:

Before you start boarding with a character, sketch them a few times with the intention of simplifying their design while keeping them recognizable:

You'd be surprised how little you need to recognize a character:

Depending on the scene, you can adjust how much detail you want to include:

Stay loose/more generalized with action, especially for the "inbetweens" between key poses. Clean up enough to communicate movement and make the character recognizable.

If the character's small on screen in a wide shot, edit out most details and focus on the silhouette

Save the detail work for character acting, when you really want to be specific with their expressions and gestures.

But outside of all that, be bold and fearless!! Everyone has that stage where their boards look like spaghetti! Boarding is like handwriting; you could have really shitty chicken scratch, but if you're writing beautiful poetry, who cares!

god I love drawing hands you don’t even know thank you so much!! Good luck dude!! You’ve more than got this!!

[nemisisnemi]

Nemi’s 100 followers Art Raffle! 

I’m holding this event as a way to thank you all for getting me to 100 followers :D 

I’d like to give a special thanks to: ( @loser-jpg @spookyavenuestreet, @lemonchuu @artistnettles, @nyx-of-night, @celestcelest, @vauxxnm (and so many more i cannot @ in one go due to the tag limit but you know who you are!! I'll be tagging more ppl in the reblogs!) for supporting me on my journey all the way to 100 followers! Thank you for always interacting with my posts <3 

EVENT RULES: 

No harassment is allowed. You will be taken out of the raffle and blocked. 

If you have multiple accounts, be sure to link your other account(s) in your bio or intro post. 

Do not ask me when I will be starting the pieces. I have a busy schedule and do not know when I will have the time. 

No NSFW & suggestive requests allowed!!  No furry & mecha requests, I do not have the skillset to draw these. 

The winners must send me(preferably multiple) references and or descriptions of what they want drawn. Any overly complicated details and or clothes will be simplified. 

The winners will be allowed 2 changes when I check in with them with their pieces. 

GUIDELINES + INFO: 

This event will be held for a week from (July 23 12:00 am - July 30th 11:59pm est time) and I’ll randomly select the winners at the end of the week via the wheel of names (https://wheelofnames.com/)

To enter, all you need to do is to reblog this post with the tag “nemi 100 followers event”! Each username will apply as an entry. While multiple reblogs are appreciated, you’ll only receive one entry to give everyone a fair chance! Any follows during this event are greatly appreciated

There will be 5 winners selected in total

The 1st & 2nd place winners get to choose one of the options I've given and the rest of the winners will get their respective prizes. Once the 1st & 2nd place winners have selected their choice, it cannot be changed. 

I will be tagging & DMing the winners so make sure you have your dms opened! If there is no communication from the selected winners within 24 hours, I will select someone else for that slot. 

Prizes:

1st place: (choose only one of these options!)

Full body colored/rendered piece w/ a simple background 

2 characters simple interaction bust shots in one drawing sketch/clean lineart (can be characters or ocs but no color!) 

one character colored bust shot w/ simple background 

examples below!:

first piece(from left -> right) is full body example, 2nd one is of the bust shot, 3rd one is the type of rendering I'll be doing, 4th one is an example of the sketch I will be doing

2nd place: (choose one only)

a full body sketch/lineart piece w/ no color & background 

one character bust shot w/ no color & background

examples below!:

ignore the doodles around the first piece, but that will be somewhat what a full body no color will look like, 2nd piece is closer to what the style might be in & is also what the bust shot looks like.

3-5th place: one character bust shot w/ no color & background 

If you're curious on what my current art style looks like, go through my recent posts or master list! The examples I gave aren't 100% accurate to how my art looks like right now.

link to masterlist: here

I would like to give another special thanks to @/celestcelest @glidiaxoxo @raguiras @twistedwonderlandshenanigans for helping me with this event. Go show these people some love!! This event would not be possible without their help!! 

Good luck to everyone and thanks for participating!! 

[angelstate]

OlderBoyfriend!Price x BimboFem!Reader.

OlderBoyfriend!Price who constantly caters to your every need, handing you his debit card and telling you to go shopping without him because he has too much paperwork to catch up on, but makes you promise you’ll give him a fashion show of what you bought when you get back.

OlderBoyfriend!Price who makes the most of the time he has with you when he’s home, letting you put on face masks he doesn't know what they are even supposed to do, taking baths with you, and doing a skincare routine you recently found and bought with his card.

OlderBoyfriend!Price who immediately changes the TV to a movie you like when you enter the living room even if he’s watching a football match of his favorite team, knowing how much you enjoy having movie nights with him and don’t get to do it nearly as much as he knows you want to. 

OlderBoyfriend!Price who doesn’t care about having to spend hours explaining a topic to you because he loves to spend time with you and teach you things you probably forget the next day. even going as far as buying books about certain topics and reading them to you before going to sleep, knowing his voice puts you to sleep better than any amount of melatonin could.

OlderBoyfriend!Price who ties your shoes for you, aware of how much you enjoy the princess treatment he gives you, especially does it when you two are in public because is his way of showing you off in a way a sweet and caring manner.

OlderBoyfriend!Price who brags about you every time the topic of a relationship appears, making small comments about your pretty little mind, your sweet nature, your opinions, everything. he doesn’t overshare of course, at least not about your intimate life. That part of your relationship is only for him and you to know about.

OlderBoyfriend!Price who claims you in the most gentleman-like ways he can think of when in public, not being the type of man who likes being overly intimate with you when others are around. placing a hand on your lower back when you two are walking around, kissing your forehead and the back of your hand when he is having a conversation so you don’t think he has forgotten about you, giving you his jacket to wear when it gets cold. princess treatment all around.

OlderBoyfriend!Price who despite the age gap between you two, always tries to understand the trending topics, letting you explain to him the TikTok trends you’ve seen or celebrity drama he couldn’t care less about, but he listens to you either way, and pays attention, making questions and little comments, because he wants you to know he’s listening and cares about you.

OlderBoyfriend!Price who chuckles every time he looks at you after spending a few minutes talking about a topic and notices you didn't understand but chose to pretend you did to not interrupt him, and he mumbles something along the lines of “need me to explain it, pretty girl?” his voice gruff but holds a certain softness when he’s talking to you.

OlderBoyfriend!Price who never makes you feel stupid when talking to him, gives you time to process the information and tries to simplify the topic as much as he can. making sure he explains everything in a detailed but easy way and doesn’t care if he has to repeat the same thing five times if that’s what it takes for you to understand.

OlderBoyfriend!Price who would rather keep the details of his work hidden away from you, not wanting for the gruesomeness of his job to be of your knowledge, only letting you know he is a soldier and his rank as a Captain. 

OlderBoyfriend!Price who often tells you about Ghost, Soap and Gaz even though he prefers if they don’t visit your home, not because he wouldn’t like for you to meet them but because he knows you would want them to come around often and he isn’t too keen on sharing you with a lot of people, and he doesn’t have much time before he gets deployed again after all, so he would much rather have you all to himself for the time being.

[hamliet]

Do you have any thoughts on how RWBY handled the white fang storyline?

Unpopular opinion: it's decent?

Now, now, before people come at me with pitchforks: yes, it's overly simplified. The entire story is a fairy tale, though, so that's not out of place. It also complements the rest of the story thematically, and manages to incorporate nuance and complexity in despite the simplification of issues.

I think it's a mistake to look at the White Fang as a 1=1 of the real life struggles of marginalized groups. That said, there obviously are parallels, and so people aren't mistaken to note those. I just think it's not meant to be an instructional manual and shouldn't necessarily be viewed as one, but rather a conversation starter in some ways. And yes, those conversations can and should include critiques.

So I'll go over the points that I think it did well and how those ties into real life, but also specifically how they work for RWBY's overall story. This does not negate criticisms, especially those by marginalized groups.

In contrast to some other fictional depictions, RWBY actually is better as well because it avoids the number one pitfall of such issues: the X-Men fallacy. I've talked about this in terms of Attack on Titan before, but essentially it's the idea that the problem with depicting discrimination against superpowered people is that, well, there is a logical reason for people to be concerned about superpowers; hence, it almost justifies that very discrimination it seeks to condemn. This isn't present in the faunus/human divide. They are both capable of superpowers.

It also doesn't fall into another common pitfall: the idea that people have to be perfect to be victims of discrimination. The White Fang... has senselessly and cruelly murdered people; doesn't mean faunus discrimination isn't also cruel and senseless and doesn't justify it. And this is something that we do see in real life too--people trying to either completely whitewash the actions of radical anti-oppression movements, which can do awful things, or trying to use these awful things as evidence that these people deserve discrimination when really it's a result of rage and desperation at a society that refuses to give them anything. That doesn't justify the pain of the victims of the awful things (see, Weiss) but nor does it negate the righteousness of that anger.

It does portray the faunus as a fairly diverse group too, when fiction often portrays marginalized groups as a monolith. That's not true. People from one group have very different ideas about what liberation looks like, and what they want to achieve. People in marginalized groups are people, and they can be motivated by a variety of selfless principles and egotistical validation, and neither negate the other. See, Sienna vs. Ghira vs. Adam.

Now, of course within RWBY Ghira's more nonviolent principles more or less win out. That's because RWBY is again a fairy tale where you have to fight to live, but that also doesn't endorse violence. If you expected otherwise, wrong genre. Of course the real world is far more complex, but it's not as if there is no real world basis for this either. Peacemakers exist, and nonviolence has accomplished a lot before. Whether or not that's the be-all-end-all of the faunus struggle in RWBY isn't even clear, so I don't think it's intended to be the be-all-end-all preached moral as it applies to the real world either.

Story-wise, the White Fang functions as a Jungian shadow of society. If you do not take charge of your own life, you are letting others decide for you. The faunus who disagree with the White Fang take it back, because they have to acknowledge it to move forward in society. They have to integrate with it, and accept their own humanity: capable of good and what they might rather deny.

This faction--the faunus who don't like the White Fang--are represented in Ghira, who becomes passive and steps back from aspects of the movement. However, when Blake arrives in Menagerie, this changes, because Blake's entire arc is about integration. Ghira then becomes active, working for the rights of the faunus and for the White Fang to be better rather than simply disavowing the White Fang in an attempt to be a good person, because doing nothing isn't exactly good.

On a more character level, the White Fang exists for Blake's arc. Her Jungian archetype is the Shadow. Like, it's literally her semblance's name. Hence, the idea of the shadow is gonna be important. If you want more on this, @aspoonofsugar has written a meta on it here and another here.

So, for Blake, on a personal level the White Fang (especially under Adam) represents the parts of herself she doesn't like. The part that ran from her family. The part that is violent. And yet, she cannot abandon it or simply disavow it. No, the answer is instead:

We’re not going to destroy the White Fang. We’re going to take it back.

She has to integrate with it, take the good--the righteous anger, the focus on justice and equality.

The White Fang also comments on the microcosm/macrocosm of alchemy.

For the unaware, RWBY is an alchemical story, and the principles of alchemy are represented in the symbol for the philosopher's stone, as seen above. Microcosm: the smaller circle enclosing two people in the center who come together (hence chemical weddings). The square is the four elements: water, earth, fire, air. The triangle is body, heart, and mind. The larger circle is the macrocosm.

The Shadows for Blake on a personal level--microcosm--is Adam. The Shadow on a worldwide, big picture scale--the macrocosm--is the White Fang. Integrating with the shadow isn't only an individualistic endeavor, but also one that benefits society as a whole and brings life to the entire world. The main point of alchemy's philosopher's stone, which Blake, along with the rest of RWBY, are symbolically being transformed into.

I think the main issue with the White Fang, by the way, is its handling of Adam. Typically you don't kill the shadow, though I do think Blake kinda had no choice. Still, I don't think the show fully explored him.

Yet what does work with what we have is that Yang has to face Adam, Blake's shadow, to be with Blake. Yang losing her arm to Adam parallels her being upset about losing Blake to fear, because symbolically Blake can hurt her deeply in the way only a lover can. Blake has to stop running from her shadow and allow herself ot be known and seen by Yang to be with her.

[vhvrs]

needed a more accurate ref sheet for these two so u r looking at that!!!! simplified some details to be less overly complex n tightened up the palettes in the process

additionally comments including previous info i dont wanna link to and way too much world info:

as b4, rick is a normal human. morticia is a half-witch - jerry is the witch bloodline in question (agony to rick bc he was hoping this was a verse beth DIDNT marry jerry when he found out). witches live in a kindve attached dimension to earth. magic shit. he likes collecting witch literature bc theyre so fucking weird n usually infused w weird magic.

rick is v nice by rick standards n also a major creep lol. the medical shit does weird most ricks out n also they think hes a pussy for caring so much abt kerping morticia safe n sane (except for x-143 on both 😘)

ricks science tends to focus on biology n hes REALLY excited by medical procedures n discovering how different soecies function. he does regular rick shit on occasion but hes kindve too lazy n comfortable to do shit morticia isnt up for too. hashtag most normal rick. used to be more dickish but he got humbled fast by the world lol. they do bicker like regular rick n mortys though. still very much has the capacity to be a normal rick if provoked.

these two are in an oc verse i have too much lore for so i could really go on all day abt the specifics but to be vague witches are a subrace of things called shadows. considered humans while humans are considered mortals. lifespans are expanded. harder to kill. witches even half witches typically have grey skin too but i needed morticia to be visibly herself. witches are the only shadows who can do magic from birth, while other shadows (its pretty much just witches, fae folk, and deathwalkers/normie supernaturals) have to learn it n usually HAVE to use channeling devices like wands while witches use their hands. magic users typically have an element they naturally are good at n can learn others - these other elements are usually what wands are for.

public displays of magical scars is considered like. uncouth. even the hand ones, thus gloves are a societal default and otherwise ur supposed to cover up or charm evidence away. rick obviously does not give a shit n it makes him stand out a LOT more than he should. bc of this, morticia is a lot more comfy around him n more confident as a result. ricks also the only person whos seen her hands ungloved bc of needing to patch her up after backfired adventures. highly personal thing in witch culture etc.

as the last scarring is also considered improper to show off bc 'only non-witches fuck up magic enough to get scarred' witches are v high-society pretentious types, usually high in the government etc. other shadows dont give a shit lol.

scars in question are all from morticias electricity magic kindve exploding on them during a really high stress situation. yewouch!

uh oh morticia goes to a mage academy. public educations kinda meh among shadows but witches have fancy magic schools. full-time magic users are called mages (pc term bc witches used to just claim it b4 other ppl started doing magic too) bc everythings complicated w shadows.

[exn0bis]

So. Completed Veilguard. I have lots of thoughts.

Regardless, I don't think I'd be saying anything that hasn't already been said.

For my part, I went in with the expectation it was going to be bad. I was pleasantly surprised by some things, certainly by the technical aspects, but it fell about where I expected in most other ways.

But first, the good.

It was extremely refreshing to see a AAA game actually release so well optimized for once. I'm running an older system at this point, with a GTX 1080 TI. Even so, out of the box, I was able to run things on the Medium preset perfectly. After some troubleshooting the latest Nvidia driver, and updating the games native upscaling to FSR 3.x, I was running things on a mix of High & Ultra with minimal to no frame drops. This was way beyond what I expected, and made the play experience more enjoyable. While I do think that, like many games in the past few years, there is some over reliance on upscaling to make it look its best, Veilguard still maintains excellent visual fidelity without it.

On that note, the game is objectively gorgeous, regardless of how one feels about the art style (which I did personally like, too); I'm also extremely impressed how they adapted a simulated strand hair system into something playable in real-time without it being overly taxing. Would love to know the technical breakdown for that specifically, but either way, I would not be surprised if we start to see more games released with something similar going forwards.

Veilguard very much proved you can make something look gorgeous and still have it be playable on more than just the latest and greatest systems, and I hope it will encourage more studios to focus on how they optimize and implement their work.

I also found the general gameplay mechanics to be, overall, enjoyable. I was hesitant going in, as I'm 1) bad at games, and 2) from a CRPG background, so the real-time style of combat is not generally something I'm good at. I was also concerned about the stripping down of party mechanics, etc, that was a big part of the previous games. And while I do wish the party tactics had been a little more varied, I ultimately found combat fun and responsive, and that they struck a reasonable balance between simplicity with party, and overly tactical. It did have way too many buttons & combos for me, but that is definitely a me being bad at games thing and not a fault in the game.

I also was extremely impressed with how smoothly the game transitioned from gameplay to cutscenes, and I really liked the more open maps/elimination of excess loading screens.

Unfortunately, that is about all the praise I have for the game.

I'm not really going to talk too much about the complete disregard for the world state built by previous titles, because I think all that needs to be said about that has been. I agree that, from a development standpoint, they needed to find a way to simplify things. However, going so totally scorched earth that character creation literally states "you don't need to customize your previous choices if you don't want to because it doesn't really affect anything" only serves to insult and infuriate the very dedicated player base.

It's very clear that the goal of Veilguard is to wipe the slate clean for the purposes of rebranding and bringing in new players for future installments/capital. Considering the mass layoffs at Bioware, and EA's generally established business practices, this sort of tactic isn't really surprising, no, and was truthfully only a matter of time. But that doesn't stop it from feeling like a slap in the face.

That being established, the total disregard for existing lore, world state, impact of previous titles, glaring plot holes within Veilguard itself, etc, is unfortunately to be expected. No point in picking it apart individually, as it's all just a symptom of the goal of a clean slate reboot.

Which isn't to say I wasn't cursing at my screen by the end of it, but I digress.

I had hoped I could at least enjoy the game as something new, turn off the part of my brain that associated it with Dragon Age and just play it as a stand alone thing. This even worked for the first chapter or so, as I was really enjoying the exploration and gameplay. And then I started recruiting more people. And the main plot started to really get going. And turning my brain off suddenly stopped helping.

The writing is awful, full stop. It's all incredibly surface level and sanitized, and it treats the player with such ineptitude I started to feel like the game had actual disdain for me for trying to play and enjoy it. If I had a dollar for every time an NPC explicitly repeated a plot point or goal immediately after a cutscene that had already painfully spelled it out for me ended, I would have recouped the price of the game three times over. I get that reading comprehension is at an all time low, but holy shit. I paid for a sweeping fantasy narrative, not a degradation simulator that treats me like a moron.

If we manage to put that aside, we're left with a narrative that spends every spare second trying to convince you of how high the stakes are and how important your relationships will be to get through it... and then never actually manages to deliver on any of it. The game repeatedly shies away from showing you anything actually bad, or building anything actually meaningful.

Yes, we see the Blight being gross and a few choice deaths, but that's it. The mass devastation we're told is constantly happening all over Thedas? The staggering amounts of death taking place? The oh-so-vile practices and punishments of our main antagonists? Anything and everything that has to do with the extremely prevalent theme of slavery? That all happens off screen, if it happens at all. Somewhere nice and clean and safe for it to exist, sanitized of any tension or emotional impact. I cannot decide if the flagrant pacing issues in the narrative are a product of the missing tension, or their own problem.

And those important relationships we're told about follow the same pattern. Even if we ignore how everyone speaks to each other like they're reading the script of an HR Workplace Togetherness video, their personal stories are devoid of the stakes we are assured they have. I wanted so desperately to care about the things these character's cared about, but I left still unconvinced the character's themselves even gave a shit.

And with a shallow plot comes a shallow character; I felt no attachment to any of them, despite telling myself they'd grow on me as I progressed. Of course, I also didn't dislike any of them, either; I just didn't care, and I find that infinitely more damming.

I think what I find most frustrating is that the potential in the characters is there, at least. They're each interesting concepts with interesting themes, and every so often I'd get a cutscene that actually got me to feel something, to react, and I'd get excited thinking 'oh, this must be when it gets good.' But no, as soon as you're out of the cutscene, it's situation normal again. No more feelings, no more tension. That all happened off screen, again. Any emotional turmoil the character in question was in moments before is now gone in favor of Group Togetherness.

Rook is no exception to any of this, either; exactly as tepid as the rest, but coated with an even less polished illusion of substance. This is not helped by the fact that the game makes an active effort to remind you that Solas is the actual main character of this story. Rook, you as the player, are just sort of... there.

The headcanons I've seen from fans do more justice to this entire cast than the game ever does.

In summary, it's sad, I think. It's ultimately what I expected, but it's sad. Many of us have a very deep attachment to Dragon Age, the story and the community that built up around it. I literally met my wife through the Dragon Age fandom. I learned to explore some deeply personal things about myself through how I related to the story and characters because of how much depth and nuance there was to examine. To see all that reduced to what amounts to a very prettily polished turd is just... yeah. Sad.

I'm really happy that there are people who have enjoyed the game. Genuinely. I hope they'll continue to do so. Myself, I'll probably still go on a screenshot binge and enjoy how pretty it looks, too. But Veilguard is very much the end of Dragon Age, for me. And I'm sad about it.

[offtorivendell]

The possible significance of Azriel and Elain Archeron, the Embrace of Solas and Cthona, the paired blades Gwydion and Truth-Teller, and thin places; a theory

Disclaimer: this is a theory that came to me while reading HOFAS, and as usual it makes absolutely no claim of being canon. It builds on past theories that my friends and I have written about Elain, Azriel, the revival of certain lands, the blades Truth-Teller and Gwydion, and brings in some new info from the latest CC book. It also won't be my best effort, as time is currently lacking. I meant to get this out for @elriel-month but yeah, that didn't happen lol. As usual, rambles and overly long sentences ahead. Sorry!

Thanks as always go out to @wingedblooms and @silverlinedeyes for listening to me rant, and believing me when I say I'll actually get around to writing out my thoughts, even though it takes me ages. I love that so many of our theories tie in well together - please check out their theories, too!

Spoilers: Maasverse spoilers ahead, please proceed with caution if you haven't finished reading.

Gwydion (aka the Starsword) and Truth-Teller; the Made blades

In CC 1 we got a brief description of the stylised version of the Embrace of Solas and Cthona as a necklace, worn by Bryce's mother, Ember:

Five minutes after Bryce got there, Jesiba’s client—a raging asshole of a leopard shifter who believed he was entitled to put his paws all over her ass—prowled in and purchased a small statue of Solas and Cthona, portrayed as a sun with male features burying his face in a pair of mountain-shaped breasts. The holy image was known simply as the Embrace. Her mother even wore its simplified symbol—a circle nestled atop two triangles—as a silver pendant. But Bryce had always found the Embrace cheesy and cliché in every incarnation. - CC HOEAB, chapter 22

Firstly, could this be the (hypothetical) wyrdmark on the left shoulder of the figure on the HOFAS cover? The two mountains are there, but the mark between them isn't exactly a circle, so it's not blatantly obvious, but it's possible (I'd love it if the marks on her arms represented the different gods, or Urd in all of her forms). Perhaps light and dark light cancel each other out in some way? And how relevant will the spiral mark be? Does it represent a vortex/portal opening? Or is it the Cauldron's swirling eddies?

Secondly, I also think the two mountains/triangles and the circle/dot in between them look a little like a basic depiction of Gwydion/the Starsword and Truth-Teller (ie. the points of two blades) with a black dot/black hole/portal to nowhere. It's not exact, because the triangles aren't meeting at the tips, so I'm not super confident in it, but I don't think it's impossible, and it could tie back into the six pointed star, and three pairs of powers gathering in the space where they meet. I promise I'm not trying to claim every little thing for Elriel, and given Nesta has her own trio of Made blades, I suspect they could also be relevant here (if Narben is also found, then there would be six blades for the six siblings and six star points), but as Azriel and Elain were the first two to use Truth-Teller (in recent history), I think it's fair to consider their specific importance here.

Elain, Azriel and the Made blades

I've previously suggested that Elain may have powered Truth-Teller with her light, in order to pierce the fabric of the universe before shadow walking to save Nesta and Cassian in ACOWAR (here and here); this is a theory which is not unique to me, as quite a few of my friends think at least some version of it may be true. However, I believe that what we learnt in HOFAS about “thin places,” and the paired blades Gwydion (the Starsword) and Truth-Teller, could take this a step or three further.

To recap as briefly as possible, Elain previously used Truth-Teller to shadow walk in ACOWAR, and we have since had hints that she may use it again in the future. There are many questions left unanswered about Elain's successful use of what we now know is a Made blade, so we'll have to wait and see.

“You honestly think he’d ever give up Truth-Teller?” “He gave it to Elain,” Mor said, admiring a moonstone necklace in the counter’s glass case. “She gave it back,” I amended, failing to block out the image of the black blade piercing through the King of Hybern’s throat. But Elain had given it back—had pressed it into Azriel’s hands after the battle, just as he had pressed it into hers before. And then walked away without looking back. Mor hummed to herself. - ACOFAS, chapter 4

As a brief aside, there are also moments tying Elain to the shadows (whether or not it ends up being Azriel's shadows specifically, her own, or the Void in general remains to be seen), and I think we could find out that the middle Archeron sister, who is canonically observant and wise, may have learnt by watching.

Behind me, Mor took Nesta and Cassian by the hand, readying to winnow them to the camp, while shadows gathered around Azriel, Elain at his side, wide-eyed at the spymaster’s display. - ACOWAR, chapter 50

Does Elain hear Azriel's shadows singing, and can she and Azriel privately communicate this way?

Did she also hear his siphon singing beautifully in ACOWAR? Perhaps as kin?

The Truth-Teller scene in ACOWAR, below, was also important enough to be included in the ACOTAR Colouring Book.

She refused the knife Cassian handed her, though. Went white as death at the sight of it. Azriel, still limping, merely nudged aside Cassian and extended another option. “This is Truth-Teller,” he told her softly. “I won’t be using it today—so I want you to.” His wings had healed—though long, thin scars now raked down them. Still not strong enough, Madja had warned him, to fly today. The argument with Rhys this morning had been swift and brutal: Azriel insisted he could fly—fight with the legions, as they’d planned. Rhys refused. Cassian refused. Azriel threatened to slip into shadow and fight anyway. Rhys merely said that if he so much as tried, he’d chain Azriel to a tree. And Azriel … It was only when Mor had entered the tent and begged him—begged him with tears in her eyes—that he relented. Agreed to be eyes and ears and nothing else. And now, standing amongst the sighing meadow grasses in his Illyrian armor, all seven Siphons gleaming … Elain’s eyes widened at the obsidian-hilted blade in Azriel’s scarred hand. The runes on the dark scabbard. “It has never failed me once,” the shadowsinger said, the midday sun devoured by the dark blade. “Some people say it is magic and will always strike true.” He gently took her hand and pressed the hilt of the legendary blade into it. “It will serve you well.” “I—I don’t know how to use it—” “I’ll make sure you don’t have to,” I said, grass crunching as I stepped closer. Elain weighed my words … and slowly closed her fingers around the blade. Cassian gawked at Azriel, and I wondered how often Azriel had lent out that blade— Never, Rhys said from where he finished buckling on his own weapons against the side of the wagon. I have never once seen Azriel let another person touch that knife. Elain looked up at Azriel, their eyes meeting, his hand still lingering on the hilt of the blade. I saw the painting in my mind: the lovely fawn, blooming spring vibrant behind her. Standing before Death, shadows and terrors lurking over his shoulder. Light and dark, the space between their bodies a blend of the two. The only bridge of connection … that knife. Paint that when we get home. Busybody. - ACOWAR, chapter 69

Firstly, @silverlinedeyes has a post that details how similar this passage is to the six pointed star scene from HOSAB, and the potential significance of it with regards to magical balance and the gathering of power(s). It's outlandish, but I think it could be important for any travels to Hel or beyond that the IC may undertake.

Secondly, I find it really interesting that Elain said to Feyre she didn't know how to "use" Truth-Teller; what if she meant she didn't know how to use it magically? I suspect it's possible that Elain didn't open a portal to nowhere (which appears to require both of the paired blades - perhaps their singing wavelengths cancel each other out?), but rather she created a portal to somewhere, and that's how she shadow walked across the battlefield in ACOWAR (aka she "slipped into shadow" and fought anyway). However, as we all heard her say that she didn't know how to use Truth-Teller, but then did, she obviously figured at least some of it out.

Alternatively, as @wingedblooms, @mrspettyferr, @cassianfanclub and myself have all wondered, did she possibly have some help?!

Was it Azriel, who told us in his ACOSF bonus chapter that he didn't need his shadows to read Elain?

Perhaps is was Nuala or Cerridwen, or maybe even Rhys?

Was it Koschei, the Mother, or a prince of Hel who gave Elain a helping hand?

Even then, how did Elain (hypothetically, of course) activate Truth-Teller? Just like Ruhn found Gwydion and Bryce accessed its magic, so I suspect Azriel found Truth-Teller, but it was Elain who first truly used its power (whereas Nesta, who was at the time full of the Cauldron's death magic, appeared to use it as a simple blade, hastening the king's death after Elain struck a fatal blow). Was it because her light stood in for Gwydion’s own magic and charged it? Is that why Azriel - who I have long thought may have Starborn heritage hidden underneath his shadows - has dark light, or shadows, instead of light? Is Truth-Teller actually devouring his light? Or - less likely - could the obsidian (wyrdstone?) blade be possessed by a Valg, or similar being? Though I'm less certain about that last point, as I wouldn't be surprised if the king of Hybern was possessed by a Valg (or similar) type creature, maybe a Daglan, and if that was the case then why would Truth-Teller decide to behave for Elain, unless the Valg* and Asteri/Daglan are enemies… anyway!

*What we learnt in HOFAS, about the blackest salt/obsidian drawing in the princes of Hel (while simultaneously repelling the Asteri/Daglan) makes me wonder about their possible ties to the Valg from TOG, who used obsidian wyrdstone rings and collars as a way to possess host bodies.

I'm not sure. I've been thinking about this a lot lately, because I think Truth-Teller and Gwydion could be stand ins for Elain and Azriel (not necessarily in that order, though I do think a dagger suits Elain better than a sword does in terms of function); a bond needing to be reforged between them has always screamed “renewed shall be blade that was broken” to me (the Ballad of Strider), and the Truth-Teller scene could be suggesting that the grey - as in the blend of light and dark - could be a thin place between them. It would follow that this imagery, albeit very loosely, could be evoking The Embrace of Solas and Cthona, which Ember wears as a necklace, and that could possibly be a wyrdmark on the cover of HOFAS.

“Light and dark, the space between their bodies a blend of the two..." Just seems so relevant here.

Cthona and Solas represent dark and light.

Gwydion/the Starsword and Truth-Teller are (bright) light and dark light.

Azriel and Elain are dark and light... or perhaps light and dark?

Are Void and Chaos (the Mother?) involved?

Is the statue of the primal goddess that Nesta notices in ACOSF another hint here?

If being carranam ties into this, would it include Feysand and Nessian?

Light and dark have grey in between them, and the thin places are described as “gray.” Elain was even engaged to a man named "Graysen" for crying out loud; his family’s colour was even cobalt. I would be so surprised if all of this ends up meaning absolutely nothing in terms of her story.

How could Elain and Azriel stand in for Cthona and Solas when Elain is light and Azriel is darkness?

I could definitely be wrong, but instead of purely life, I (and @wingedblooms) prefer to think of Elain as rebirth, which inherently straddles the murky realm between life and death - the grey between light and dark (and grey) - and beautifully fits with her role as a gardener (relevant theories are here, here, here and here), the Book of Breathings rambling about "rot and bloom and bone," her position as the middle Archeron sister, her ability to blend quietly into the background, and definitely the grey of dawn and dusk. Azriel, though? The one Feyre described as the knife in the dark? Well, he has shadows that can brighten into sunlight, and I suspect that may have been what Elain was referring to in ACOWAR, when she said she needed sunshine.

So...

Azriel's shadows lightening into sunshine: Solas.

Elain and her many ties to the earth: Cthona.

I'm unsure if this is trying to tell us that Azriel will be the stand-in for Truth-Teller, because he is "dark light"/has shadowsinging abilities, while Elain is represented by Gwydion due to her prominent (so far) association with hope or brighter light, or whether it's the other way around, and we're actually being told that, while Elain appears to be light and warmth personified, in the future she will carry Truth-Teller, the blade that is her apparent opposite, as Azriel will wield Gwydion* (if they both end up having surprise powers, being able to swap between light and dark). It's all very murky, one might say a grey area. But I do think it likely that Elain and Azriel will each end up carrying either a blade that represents themself or their partner in some way.

* Yes, I know that Bryce gave Gwydion to Nesta, but she already has her own trio of Made blades. If I'm putting money on who will wield it, I think it will be Azriel, Elain or Feyre.

Thin places and Made blades

Before HOFAS was published @cassianfanclub and I had discussed the - we thought - insane possibility of the differently coloured mountain rock in Prythian being significant in terms of their possible salt content, and that it could be no coincidence that the black and grey rock of the Hewn City was in proximity to a known appearance of one “Lord Thanatos.”

Black salts were used for summoning demons directly—bypassing the Northern Rift entirely—or for various dark spellwork. A salt that went beyond black, a salt like the obsidian … It could summon something big. - CC HOEAB, chapter 18

Bryce stiffened at the moldy, rotten earth scent that crept from the bundle as he unfolded the fabric to reveal a handful of rust-colored salt. “What the fuck is that?” Ithan asked. “Bloodsalt,” Bryce breathed. Tharion looked to her in question, but she didn’t bother to explain more. Blood for life, blood for death—it was summoning salt infused with the blood from a laboring mother’s sex and blood from a dying male’s throat. The two great transitions of a soul in and out of this world. But to use it here … “You can’t mean to add that to their water,” Bryce said to the Astronomer. The old male hobbled back down the ramp. “Their tanks already contain white salts. The bloodsalt will merely pinpoint their search.” - CC HOSAB, chapter 38

Mor went right up to the obsidian dais, and I halted at the foot of the steps as she took up a place beside the throne and said to the crowd in a voice that was clear and cruel and cunning, “Your High Lord approaches. He is in a foul mood, so I suggest being on your best behavior—unless you wish to be the evening entertainment.” - ACOMAF, chapter 42

The mountain underneath the House of Wind - the one that houses the library in which I think a certain cat-like darkness could be a prince of Hel - contains both red stone and obsidian doors, with veins of silver running throughout (which reads like hope in the void, like the Velaris Weaver's tapestry, and I suspect may be important for Elain's journey, given she is frequently associated with hope).

Rhys stepped into a hall at the foot of the stairs, revealing a wide passageway of carved red stone and a sealed set of obsidian doors, veins of silver running throughout. Beautiful—terrifying. Like some great beast was kept behind them. - ACOWAR, chapter 20

If @silverlinedeyes, @wingedblooms, @ladynightcourt, @cassianfanclub, @psychologynerd and I are right that Clotho and some of her priestesses are involved in something massive, and have been contacting at least one of the princes of Hel, this would make sense! Black salt to summon something big, and red salt to pinpoint their search. And obsidian doors?!

We then learnt the following in CC HOFAS:

“The black salt, in such high quantity, keeps them away. They never realized that its presence drew us as much as it repelled them,” Apollion said with satisfaction. “It has the same properties that made us immune to the thrall of their black crowns.” - CC HOFAS, chapter

“The black salt only repels the Asteri; the mists repel everyone else. But certain people, with certain gifts, can access the power of thin places—on any world. World-walkers.” Aidas gestured gracefully to Bryce. “You are one of them. So were Helena and Theia. Their natural abilities lent themselves to moving through the mists.” - CC HOFAS, chapter

Elain is almost certainly a world walker - doe eyes searching across the world! - and Azriel may be one as well, but what if it is everyone who can winnow? Or just those like them, with a deeper affinity to the Void? And are they walking thin places themselves/as a partnership (remember the charged glance they shared last winter solstice), or do they just have a natural ability to make use of those which exist in the wild? Or is it some combination of the above?

Additionally, the obsidian hilts of Truth-Teller and Gwydion appear to be incredibly important here. In addition to the possibility that the Illyrian runes Truth-Teller carries on its scabbard may in reality be wyrdmarks, what if the obsidian hilts both summon the bearer in a way that allows them to access the void/murky realm and provides protection from any prying Asteri/Daglan eyes? Are the hilts made from wyrdstone? What about Koschei? Is Truth-Teller the reason his magic captured Cassian instead of Azriel in ACOSF?

There are so many possibilities beyond shipping, though given this is romantasy we know the relationships are more important to the story than your average romantic side plot, so we really can't separate the two while theorising. But either way, I'm so excited to see where this leads, and if we'll finally get detailed information about the gods in each or SJM's worlds, and how they may function throughout her extensive literary universe.

If you've made it this far, thank you for reading!

[badsassitude]

The Boyfriend: Why Shun Needs Hugs (Deep Dive Part 1/3)

My brain does not want to shut up about the dynamics on this show, and I am ready to fight everyone talking smack about Shun.  Look, that boy needs to be hugged, not shamed, and that is a hill I am ready to die on.  

Emotions are complicated and messy. Sometimes the things we want the most are the things we are the most scared of, and sometimes we desperately struggle between wanting to connect and wanting to protect ourselves from pain and doing neither well. It’s a bit like trying to go left but also go right and just pacing back and forth and not going anywhere. What was meant initially to be a simple reflection of exploring Shun’s behavior through the lens of attachment theory took on a life of its own, and now we have parts.

So here is part one, in which we look at Shun's behaviors through the lens of anxious attachment and I draft adoption papers 24 years too late.

Shun as presented in episodes 1-6 of The Boyfriend, has anxious attachment written all over him. **I think it is MASSIVELY IMPORTANT to understand that I am not saying Shun has an anxious attachment style.** First and foremost, what we as watchers see is only a series of filmed interactions edited together. Even if we could see 24/7 unedited footage from the moment Shun stepped into the Green Room, we would still only be seeing a small part of Shun’s life, during a time where he is outside of his normal life and environment. Secondly, we can only see what is outwardly observable, so at best our perspective is based off of guesses and interpretation for which there is no way to validate, elaborate on, or clarify.

For context, in a super brief, overly simplified cliff notes version: anxious attachment is one of the insecure attachment styles included in attachment theory.  Attachment theory describes common behaviors and characteristic of 4 primary attachment styles (of which anxious attachment is an insecure attachment style).

Second note: attachment is not static, remember, emotions are complicated and people don’t fit into neat little boxes. How we attach in different relationships with different people at different points in our lives is unique to that relationship and that context. 

Now back to Shun (well, my interpretation of the Netflix reality TV edited version). Some behaviors I have seen demonstrated by Shun in the show that characterize anxious attachment include:

fear of rejection 

Frequent need for validation, reassurance, attention 

Low self-esteem 

Intense desire for intimacy and closeness, but afraid of abandonment- contributing to the push/pull of clingy to pushing away

Difficulty trusting others 

Jealousy 

For children who grow up feeling as if their needs are not met, with inconsistencies in caregiver responses and an environment that feels unpredictable and perhaps unsafe - they have a higher risk of developing an insecure attachment style (such as anxious attachment) because they did not experience secure attachment bonds. 

Think about what Shun has shared of his story:  Shun never knew his parents. Most likely they abandoned him, and he doesn’t know why. He grew up in a children’s home/orphanage. He was raised by caregivers who took care of him because it was their job. It is reasonable to infer that there was likely turnover in staff at an unknown frequency, and there was likely inconsistency in how staff treated him. It is possible that other children came and went, possibly were adopted. There was nothing stable or secure in that environment, and the even the most loving of caregivers weren’t family and could leave at any time. 

Additionally, he made two comments that set my trauma spidey-senses tingling. Per the Netflix translation, Shun said “Even there… I went through a lot.” Quickly followed by, “And… well, after a lot happened, I ended up coming to Tokyo on my own.” He then added that since coming to Tokyo he has been free, which was said with a little smile and a nod that pierced me to my core. The way he presented while telling his story, so matter of fact with a level of detachment, is very consistent with how I have experienced many trauma survivors telling their stories. 

Now add to all that what he has shared about his past relationships - primarily that he had experiences with “player types” that were clearly painful enough that seeing whatever pictures he saw on Dai’s phone triggered him to the point of tears. He described one relationship as horrible, he “couldn’t get out of it.”  

When you think about what that man has been through, is it that strange that while he may desperately long for love and intimacy, that he’s also terrified of being vulnerable in the way you have to be to get it? 

Part 1 | Part 2 | Part 3

[drill-teeth-art]

I have no idea how to ask but here goes…

How do you shape your characters and your designs so good??? The shapes of them are soo good! Big, slim, sharp, round, etc! They’re all so good, how do you design them so well??

I could write an entire book on character design and how it's changed over the years and how open ended it is and what I think are good principles and what commonly shared rules are honestly a bit too overly restricted because I'm crazy about character design but! Shape work. Let's stick to that for now.

Now of course for bodies and body types my number one recommendation is: For the love of god look at real people of different body types look at actual photos of fat people and skinny people with different bodies different distributions of their weight look at disabled bodies look at trans bodies look at people of all different races and draw them and learn PLEASE.

Additionally...

Here's a little design principle I like to work with that I find very helpful for spicing up my designs. I find the common character design advice of "simplify your design to ONE major shape motif! circles for friendly characters. squares for stubborn characters. and triangles for villains." to be overly restrictive. And of course the pros giving you that advice aren't trying to say you have to do every design in that framework every time. But they're not really going into detail on how you can use more shapes to add more layers and interest to your character design. Also tbh I think that the "circles for friendly characters and etc" piece of advice is stupid actually. You can easily make a villain character that is all circles and a hero that is all triangles. Plenty exist already in media.

I see a lot of people trying to diversify their body types fall into this trap of drawing all their fat characters with the same fat body type. And even if it is an accurate way fat distributes, it's still not representative of the diversity in fat bodies. Something that helped me (along with looking at references) was introducing secondary shapes. An additional shape motif. As you can see on Toxi here, he's mainly circles and round shapes. But I also added a crescent motif! To broaden his shoulders more and give a pointy and sharp edge to him.

Your primary shape for a fat character doesn't even need to be a circle. Tempos is square heavy with roundness as the supporting shape to emphasize how unassuming and soft he deliberately tries to look. And you can apply this to characters who are slimmer too. Conductus is composed of longer rectangles supported by triangles to emphasize its speed and electrical theme.

Viperos' major rounded shapes are supported by triangles to emphasize their flexibility and power. Gaz's square shapes are pushed with round shapes to make him look stronger and more agile. Mesmeris' crescent heavy design is supported with squares to help her look sturdy and imposing. And it's all about context too.

Squares can read as sturdy and trustworthy or rigid and intimidating. Circles can be soft and friendly or flexible and slippery. Triangles can be speed and cunning but also power and mystery. It's not about saying "circles are always friendly!". You can make villains who are round and imposing. It's more about "I want my character to come across as (blank)" and picking what major and minor shapes you want to use to support that. And (blank) shouldn't be just one word. "I want my character to come across as fast and agile while also being large and round" is a much more clear goal for your design than "I want my character to come across as fast".

And again as always please use references of real people too. You can study my art, and I highly encourage you to study the art of other artists you like and how they design characters. And I highly encourage you to get a solid foundation of "what different bodies look like irl" so you can also be respectful and accurate in your depictions. And remember that creativity doesn't occur in a vacuum. Please take the time to also sit down and watch movies or look at animals or read books or look at videos of machines working or whatever. Look at tons of media. Creative designs don't just spawn from my brain. Toxi's look is partially inspired by centipedes that crawl on ceilings I saw a video of. Viperos' look was inspired by snakes and also roadrunners. I was inspired by that Virus Ghost from Scooby Doo And The Cyberchase for Conductus' look. Please remember research is ALSO part of the design process. So I appreciate you asking me how I do things because asking questions is part of good research!

Anyway! Long ramble! Hope all this helps you in your design endeavors.

[ssruis]

Wrt the people talking about the new set as fan service: my initial reaction was also “oh cute” & moving on, but after carefully reading the full arguments of the people who found it distasteful, I agree with their points. I’d normally link or post screenshots of the points made, but since the Prsk fanbase apparently is jumping people over this on twt I don’t feel comfortable doing that. To summarize and add some of my own explanation:

> everything in gacha games is fan service, which doesn’t have to necessarily mean it’s sexual - ode for the pure of heart featuring rui/touya (popular with female audience) looking very princely was fan service. The white day knight/fantasy theming is fan service (popular & well loved aesthetic). Fantasia squad was fan service for the players who like the male characters, etc etc.

> I don’t feel like arguing about all of the cards, so I’ll just point out what bothers me about the most egregious example (Rin’s card)

When considering art, you have to consider the deliberate choices the artist made, and what messages they are trying to get across with the atmosphere they have created.

Why choose the maid aesthetic? Why make these cards a player pov? Why choose framing that (using the grid composition, contrast and lighting from the window, the way lines direct the eye) makes the points of interest and emphasis Rin’s face *and* butt? Why choose that pose, with Rin looking over her shoulder, with a surprised expression and prominent blush? Why is the posing reminiscent of art of vintage pin up girls (or any other similar art movement)?

It’s male gaze. The answer is male gaze.

The male gaze is often just associated with overt sexualization, but that’s an overly simplified definition. The male gaze can also be portraying women in positions of servitude (most often within the home), emphasizing body curves (even through clothes), voyeuristic povs, emphasizing cuteness/demure-ness/shyness, etc. It’s about the (assumed male) viewer having power over the female subject.

Rin is cleaning, the light from the window heavily highlights her butt, the framing of window itself specifically draws the eye from her head to her back to her butt using contrasting colors/light/point of interest, the parallel lines in the piece direct your eyes down her body (Japanese audience, reading image from right to left). If the emphasis was on the action she is doing, rather than her body, the light source and brightest colors would be on the other side of the image, the duster would be brighter, as would the objects/set pieces she’s interacting with.*

Sexualization/male gaze isn’t restricted to the very obvious “woman sexy posing in a bikini” image, and having that viewpoint will only serve to limit the ways you understand art and artist intention. It’s similar to taking “all art is political” to mean “all art is either republican or democrat” and responding “well that’s stupid and you’re stupid.” You’re missing the point.

I’m a little disappointed the knee jerk reaction here seems to be “you’re wrong and you’re actually a freak who sexualizes minors for pointing this out” here, especially because the point of calling this out is to say that it’s distasteful to do a card like this for a character who is, despite not having a canon age, pretty much portrayed as younger than the main cast (making her 15 or younger).

Nobody is saying “this set sucks you can’t like it if you like it you’re problematic and project sekai should be cancelled forever”, it’s just something to keep in mind. You don’t have to agree with the argument, but acting like anyone pointing this out is insane isn’t fair or justified.

> also just as a side note: maid cafés have a pretty long history of sexualization, with the emphasis/appeal of having power over the workers and them being your servant while dressed cute. I don’t entirely think this set was going for a maid café look, but I do think it’s something to be mindful of.

> *it’s a little hard to articulate/explain this, and my knowledge on how much the average person knows about stuff like this is skewed due to my own education in art/art history/design/etc. If you find this confusing, I’m willing to explain more in detail and specifically point out what I’m talking about.

> I have a different post on the taisho/daisho romance elements, which is an entirely different discussion, so I’m not bringing that up here.

[nica-my-beloved]

This is just my impression so far on the MCs of Ikemen Series. I have seen posts about Ikemen MC not having enough spite, dumb, damsel and distress etc etc....and to some point I do agree with it. Even I made a post about MCs being overly positive. But at the same time I feel like this is done on purpose from the writers' part.

Let's just say it, the MCs are not really that relatable even though they try to make it look like that. MCs in these games are very kind-hearted for no reason, overly positive and lack basic common sense. For example, take this scene from Harry's story event:

Harry did mention to her before this that he can detect if a person is lying or not when he makes eye-contact. In the scene mentioned above, a person with common sense can easily tell that Harry lost on purpose. But for some reason Kate thought he lost because she was able deceived him. It is only later that Harry told her and Kate looked genuinely surprised. I don't think Kate is dumb. But I feel like the writers think we players are not that smart enough to distinguish between Harry's lies and truth. It makes me laugh some times.

I just honestly feel like MCs are portrayed this way so that we players could understand the game and its characters better. Like Paimon from genshin, who repeats everything in baby terms so that we could understand what we have to do (even if her screechy noise is annoying). MCs here are played by us, so when male characters has a plan that they don't reveal, MCs try to find out what their plan is so that we could understand. That's it. MCs are here just simplify the story to make us understand the character's better. They'll only ask the male characters what's needed to know right now and not anything extra. If it where a realistic MCs, she would ask more logical questions like:

Is Victor also cursed?

If Crown consists of only 'cursed' people and Victor went around to search these people, are there any 'cursed' people out there who rejected his request?

More questions on their abilities like: Can Harry still detect lies if someone closes their eye? Can Elbert trigger sad memories if a person doesn't have a sad memory? etc etc...

But we don't see Kate asking these questions.

I feel like the reason why we feel sometimes frustrated when MCs act in a certain way is because these MCs are not at all realistic. I'll never believe that someone with common sense did not try to run away after watching a murder happen. I'll never believe that someone with common sense falling into easy traps. Like this one scene from Silvio's story where, Silvio's daddy visits Rhodolite because his lost son is found and he also wants to know if Rhodolite King is dead blah blah blah...you guys know that story (I assume). Emma has to choose the next King without Silvio's dad knowing and they wait for Sariel's call. A servant comes to Emma's room to call both her and Rio. This servant itself is sus because Emma clearly states that she hasn't seen that servant before. When I read this, I immediately knew it was red flag. But even so, Emma and Rio ignores the red flag and goes with the servant and what do you know? They get kidnapped. The scene was very predictable. But it's so frustrating because, realistically speaking I think normal people would feel a little bit suspicious about the person given the situation. Maybe even question the servant. That's why I'm saying...I do feel MCs are not realistic enough. I don't think anyone is overly-kindhearted to the point that they would accept insults from the male leads and be like "I'm going to prove myself to you!". Normal people would just be like "fuck off!" and won't listen to their insults. No one is so dumb it fall into easy traps and no normal person is like "I will work hard to get to know them better." Majority of the people are way smarter and way selfish (not in a bad way though!). Many people have attitude, not everyone are kind to strangers. That's why MCs are not realistic, so there is no use in comparing MC to your personality or your intelligence. They are just tools for explaining the story in a simplified way and moving the plot forward. Because like I said, if Emma and Rio didn't go with the servant and get kidnapped, Silvio's story wouldn't move forward.

That's all. This no hate, this is just how I felt after reading quite amount of stories both in-game and on tumblr. MC's don't have much background because the writers don't really put too much thought about their personality. MCs are basically last on their lists. They just make sure that she's an adult, working woman (doing some odd jobs like a flowershop lady or something, because I've never seen a CEO MC), and they are very kind for some reason. They don't have family (except for Emma), they don't have a story, they don't have anything that impacts their personality. At least it would have been nice to see why a MC is so kind-hearted would be nice. But otome games' main selling points are the male leads. The male leads falls for MC's purity in their dark world.

[randomfoggytiger]

Gethsemane, Bill Scully Apologia, and Maggie the Emergency Contact

Dialogue and Play-By-Play Analysis:

Bill: "I picked up the phone when they called Mom. I thought you could use a change of clothes."

Scully: "Thank you... where's Mom?"

Believing her cancer is still a secret, Scully automatically places Bill's importance below her mother, wanting to talk freely with Maggie (without Bill.) Bill sees and understands this; and is hurt that she still won't open up to him despite being here, now, for her. As of yet, he doesn't act on that hurt.

Bill: "I didn't tell Mom what happened...."

Scully: "...But I'm okay. Luckily."

Bill: "You're not okay, Dana."

Scully: "I told Mom not to tell you."

Bill: "Why?"

Scully: "Because it's very personal. Because I don't want sympathy."

For all of the just criticism against Bill later in this arc, here he is holding back his anger (an expression of his hurt) and listening, really listening to his sister. He keeps quiet, giving Scully room to fully explain herself; and even sympathetically locks eyes, giving her his full attention.

Another thing of note: he is staring at Scully with the exact look of sympathy she wanted to avoid. Mulder and Maggie know her enough to acquiesce to her "I'm fine"s; but Bill is her life-long peer, and siblings can't hide truths from each other as effectively as they can their parents or partners.

"You think you can cure yourself."

Bill realizes that his sister never told her own family-- him-- about her cancer because she does, even now, believe she can cure herself. He's stunned, shocked, even appalled; and that leaks into his voice, coming across as judgmental.

Scully doesn't deny it, caught; and sighs, frustrated, that he divined and overly-simplified something she hadn't expressed to anyone and probably would not have been able to without a beautiful speech prepared ahead of time.

"Mom tells me that you've gotten worse. That your cancer's gone into your bloodstream."

This explains why Maggie told Bill in the first place: she cracked under the strain Dana's edict of secrecy put her under, watching her daughter slowly die without any apparent attempts to circumvent that death or even to bond over their shared tragedy. Bill became her only recourse... and Bill spilled the beans (as he does, again, in A Christmas Carol.)

Scully is shaken by his bluntness, unable to shy away from the truth spoken so baldly to her face.

"What are you doing at work getting knocked down? Beaten up? What are you trying to prove-- that you're going to go down fighting?"

Scully: "Now, c'mon Bill--"

Scully is deferring back to an old sibling dynamic: Bill misunderstanding, or only understanding enough to feel she's acting out of turn; and her attempting to draw him away from his preconceived notions. In this case, however, he's right; and she's avoiding the truth of that (subconsciously.)

Bill stops her by slapping down the clothes, getting her full attention.

"Y'know what Mom is going through? Why do you think I didn't tell her when they called?"

"What should be doing?"

Bill: "We have a responsibility-- not just to ourselves, but to the people in our lives."

And he's absolutely correct here: Scully has been so focused on work and its promise of a cure that she's forgotten to give space to those suffering alongside her.

"Just, just because I haven't bared my soul to you or to Father McCue or to God, it doesn't mean I'm not responsible to those important to me."

Here Scully reveals she thought emotional distance and soldiering on was her way of protecting her loved ones from her burdens, providing them strength in the face of her worsening health. In reality, it worsened their fears and burdens; and furthered their isolation... except for, ironically, Mulder, who wasn't ready to face the implications of her impending death, anyway.

"To who? This guy Mulder? But where is he, Dana? Where is he through all this?"

Bill is less right here: from his perspective, Dana has (once again) wrapped herself up with a man whose authority and work ethic supersedes Bill's love and concern for his sister-- another in the pattern of their late father and Daniel Waterston and Jack Willis. Bill isn't stupid: his above reproach also reveals he knows Mulder knows about Scully's cancer; and the fact that her partner did and still left her alone to deal with it to "pursue his career" while Bill hasn't been able to be there to support her at all eats away at him, makes him hate the man. (And still he's civil when he meets Mulder, even talks with him in terms he believes a workaholic will understand-- "Let's keep the work away from here"-- only getting rough when he misinterprets Mulder's blank face in response-- "Let her die with dignity.")

Despite being wrong here, Bill still hits the mark; because Mulder did wander off on a quest. But Scully can't argue for Mulder without betraying her own reticence, her own need to keep Mulder in the dark for Mulder's sake-- because that would betray her feelings in a way that she doesn't want to discuss with Bill, especially after Mulder has consistently dodged that serious conversation for years now. So, she picks up her clothes and ends the conversation.

In-Depth Analysis

Maggie Was Scully's Emergency Contact

The hospital called Maggie when Scully was rushed in, unconscious; and while this doesn't outright disprove the theory Mulder might also be an emergency contact, it certainly fits in with the pattern of him being called to the hospital and let into Scully's room by Maggie and not the other way around (i.e. One Breath and Wetwired.) Furthermore, Mulder isn't alerted (that I know of) to a missed call from the hospital after his return to civilization, meaning the hospital didn't notify him at all.

Bill the Bully?

Is Bill a despicable figure? Most definitely... in a deleted Memento Mori scene-- which is why I think they cut it. Though his words are brusque, even cruel in their blunt honesty, Bill, apart from that scene, doesn't seem to willfully inflict or weaponize guilt against his sister, wielding it only as a reminder of how much her family is left out of her life, how much they want to be there for her and don't understand why she won't let them in. It's a fundamental difference in how they approach life; and both are forceful about their insistence on doing things their own way.

Scully is used to being everyone's source of strength (Maggie places her on a pedestal even above her brothers in Memento Mori), which hinders her from opening up or betraying her weakness. Being "the strong one" for so long turned into a fear of failing others; but this reticence has the opposite effect, ostracizing and distancing her family (and Mulder) in her struggles to keep them unaffected. Their divide grows as the years go on (though it seems an equilibrium of sorts has been reached after Emily, since she mentions them fondly in How the Ghosts Stole Christmas and indirectly in Millennium.)

Bill Is Right (in This Instance)

On its face, Bill's speech is unrelenting and out of left field... but is it, really?

Bill is told about his sister's cancer only when it has become irredeemably terminal. He arrives on land, either before or after Maggie's revelation, and finds the rest of the family ignorant and his mother having to shoulder that burden, alone, because his sister refused to let her tell anyone else the news-- meaning, Maggie has been suffering in silence the entire cancer arc, trying to abide by her daughter's terms for space and silence on the topic. However, Scully's definitive terminal diagnosis broke her; and Maggie, having no one to turn to support because Dana still refused to talk about it, finally confessed to her priest and reached out to her son for strength. Bill sees how hard this has been on her and tries to alleviate that burden by adopting his sister's methods: keeping Maggie in the dark as much as possible. It honors what he knows to be his sister's wishes and his mother's fears.

In this scene Bill is absolutely in the right. He and his sister, while not incredibly close, have no ill will between them; and he finds out that not only has she been slowly dying for months and sworn their mother to secrecy but she also still refused to tell him, even when he dropped everything to bail her and Maggie out with this act of kindness. This is wrong-- it is-- and his speech rebuking his sister is as deserved as Scully's are to Mulder whenever he acts only in stubborn self-interest.

Bill is hurt, Bill is grieved; and Bill drives that home, peeling back his sister's denial by exposing her true intent: "You think you can cure yourself." The ludicrous nature of her expectations-- cure incurable cancer and never tell a soul so she won't have to 'suffer' the shame or embarrassment of their sympathy or pity-- galls him; and he's right. It's Scully's struggle and her burden; but it's not just her struggle or burden: her family and loved ones are losing her, too, and that pain is just as powerfully frightening. Bill wants more from her than an immovable pillar of strength-- and that's a good thing. Maggie needed her to be "the strong one", and Mulder needed her to keep fighting; but Bill just wanted his sister to tell him the truth and let him in.

A last note: Bill grew up with Dana-- he knows her propensity to get lost in father figures and demanding authorities. He probably sees Mulder as another Daniel Waterston or Jack Willis, an extension of her undisguised adoration for their late father. He's naturally protective (as we see in Redux II, though grossly misplaced) and thinks Scully is losing that stability in herself the more engrossed she becomes in her work (ex. Gethsemane-Redux II and A Christmas Carol.) These fears and concerns are expressed in overbearing finger-wagging and anger rather than communication, a (sadly) common affliction in a family growing a more distant with time and lives necessarily apart.

Scully Believed She Could Cure Herself

Since Memento Mori, Scully's modus operandi has been to avoid, avoid, avoid the topic of her cancer (and the death of her father, her abduction, etc.) The following cases rarely touched on her illness unless she had a concerning diagnosis or needed further treatment, i.e. Zero Sum and Elegy. Radiation was likely ruled out as ineffective since the skirmish with Dr. Scanlon (and was a drain of her valuable energy and health without any chance of helping, regardless); so, Scully probably opted for more obscure treatments, buying time while she and Mulder chipped away at their work.

In the back of her mind, she believed, truly, that she wouldn't die: that her cancer could be tucked away from her family and cured before Bill or the others ever found out. As we know, Maggie bore the brunt of her daughter's edict of silence alone, finally caving when the cancer reached Scully's bloodstream. When Bill waits for an explanation-- staring at his sister's defiance and stubbornness and pure conviction that she's fine and that the family shouldn't be worried about her at all-- he figures out her blind expectation and avoidance-bordering-on-denial and says, appalled: "You think you can cure yourself." Scully dips her head, exposed and embarrassed.

The beginning of Gethsemane proves Scully was still denial: "my dying wish" she professes on the one hand only to reject the priest and shake her head at Bill with the other. No, Scully did not expect to die alone without her family there. When Bill demands, "We have a responsibility-- not just to ourselves, but to the people in our lives", she parries, "Just because I don't bare my soul to you or to Father McCue or to God." Scully thought she was doing her duty by keeping her loved ones in her thoughts while carrying out her solitary battle. When Bill strips her of her further excuses-- "Who? To this guy Mulder?"-- it peels back her hyper-focused perspective, reminding Scully that it's not just her and Mulder fighting the world.

She did her family and Mulder and herself a disservice by pushing them all away to "protect them", as she realizes in Redux II: being "strong" stripped them of the ability to support each other and was damaging in the long run. In this, Bill is undeniably correct. However, where Bill is wrong is that he doesn't see that Scully believes in Mulder's ability to save her, that by following him she is doing what is best for herself.

Her partner's fervor and hope give her strength; and his inability to break under defeat keeps her fighting even in her darkest hours (and does end up saving her life.) Scully put such faith in Mulder and his abilities and his theories that she kept council only with herself (as much as possible) to keep him going, to keep the weight off his shoulders (and her mother's and her family's) so that they could move forward as a well-oiled machine, ready to snatch the cure whenever they got their hands on it. And Mulder did get his hands on it... and then it failed.

She's dying; but it's not until the cure fails that the dam breaks: everything Scully had been fearing comes rushing out of her. She gives in, crying to her mother about her crumbling lack of faith-- because the miracle cure didn't work, because her months of waiting and hoping in private were all for naught, because she's going to die and there's no possible way to escape. But it's also freeing: she can own her fear, hold onto her mother, clutch Mulder's hand, cry with the priest, finally lean into and start to heal from the weights she's been holding on her back, alone.

And she prays: death is near.

Scully Wanted to Please Bill, Too

As she told Ed Jerse in Never Again, "There are other fathers."

The ouroboros twirls on and on in her personal life, goading her to both make a stand for herself and to placate Bill's expected reactions. In this situation, she did deserve his anger; however, this dynamic continues to play out in Redux II and A Christmas Carol, separate circumstances that are outside Bill's scope of understanding or perspective. After each confrontation, her brother always backs off and begrudgingly acquiesces his sister's boundaries; but it's easy to see why he clings to his late father's behaviors-- viewing them as the only way his sister will confide in him-- and why Scully automatically responds to-- albeit with more guilt than openness-- and rejects his methods.

It's an aspect of their relationship that fell to the wayside as the series barreled onward; but there are hints of resignation on his part after the events of Emily unfolded the way they did (silent support in the courthouse and true remorse in the church.) Scully, however, is locked in grief and unwilling to open back up, yet. We're never shown on-screen what happens next; but he seems to have caused her no further problems in spite of her professional and personal scares in the future (including almost being burned alive, an unexpected trip to Antarctica, job demotion, and getting gut shot all within the span of a few months.) Perhaps he gave her up for loss, perhaps he stayed close but distant, perhaps he withdrew from the drama all together. We'll never know; and, ultimately, it's up to individual interpretation.

Conclusion

This scene sets up the hinge upon which the cancer arc (and any future Scully family drama) twists and turns.

I don't believe Bill is bad, or even malevolent: he, like any other person in a family strained with distance and death, doesn't seem to blame Scully entirely or for long; and only wishes to get through to her somehow. We saw him bully her as a child but we also saw him gift and teach her how to use a bb gun. Scully, meanwhile, balks at and softens over Bill's bluster and overstepping, always effectively putting him in his place after courteously listening to his opinion. We saw her yell and shove him as a child but we also saw her gleefully play alongside he and Charlie.

In conclusion: like all sibling relationships, there are headbutts and there are fights; but it seems, at least by their conversation here and succeeding ones in the future, that any hitch or bump in the road is smoothed over, ironed out, or fixed before it becomes permanent. Bill makes excellent points that Scully takes into consideration, changing her future dealings with Maggie and Bill and even Mulder (namely, her willingness to open up in Detour); and Bill, having said his peace, supports his sister in her decisions the rest of this arc and later in S5.

That we know about.

Thank you for reading~

Enjoy!

[rawliverandgoronspice]

Beyond surface appeal, what makes Ganon a compelling antagonist

I think cruising my blog would provide a good number of possible answers, but I guess my tl:dr would be (otherwise I could probably make a full 24h conference about it at this point): because he does reveal (if one is willing to look) the brutality of a world in which gods uphold a natural order through a given kingdom that will not budge on its god-given right to rule, and him as both a rebellious disorder to that status quo which also ends up devoured by said status quo as just one natural part of a cycle of creation and destruction that ultimately always kind of stays the same.

Also, I find the setup of a man born to a tribe of outcast women, considered exceptional by birth while also having to figure himself out + the role he needs to play in that kind of structure and in a very difficult context, someone who both is being granted a lot of natural power while also still being sneered at and considered lesser and/or inherently evil by those blessed by the gods (while also carrying a lot of unexamined baggage of their own), is just so juicy and interesting and brimming with potential psychologically speaking (especially when applied to his motivations of: why does he want power, why does he always alter his own body, his uncanny resilience, etc). It does come with a lot of baggage, as "the evil man from the desert" is far from being a neutral concept coming from a neutral historical place --but examining what kind of world would come to such conclusions is also deeply revealing of said world.

And then, Wind Waker gives him even more of a window to reflect on his own rage while also never apologizing for the horrors he commited, mourning what he wanted and what he became while also being the only one calling the gods of Hyrule out for being terrifyingly cold entities --far more than he could ever hope to become.

Yeah, I think Nintendo has been sleeping on Ganondorf ever since (even if I defend his TP appearance). But he has a fascinating cross-game story(ies), and I find him to be a deeply tragic --if horrendously flawed-- figure, which is partially why TotK was so disappointing to me, because TotK saw nothing but the surface level + the fact that putting him in a game sells and makes people horny.

(you'll notice I didn't mention Demise, because I think that, while the whole cycle thing wasn't bad or not that interesting, fans really overly simplify this concept in a way that has contributed to make Ganondorf extremely flat, which I am not here for.)

[kingdomvel]

More Welcome to our castle lore

(Because it looks like I can’t let go of this au and some of you can’t either)

About the family portrait, Obi-Wan’s family and inheritance.

If you have ever visited a castle/palace, you must have noticed that portraits normally look like this:

or this:

You have noticed, right? All of them are individual. So, why then did Dooku commission a family portrait?

Dooku was born in 1924 as the oldest son and heir of the Count of Serenno title. Everyone, of course, expected him to marry and have his own heir but he got older and older, and the marriage and heir didn’t come. His younger sister did have a son, and everyone, to the annoyance of Dooku, started treating him as the future heir, as they had all lost hope of Dooku having a son of his own. Maybe he has been married for a while, but she has not been able to get pregnant. But then! Miracle! Little Qui-Gon is born when Dooku is already 41 years-old.

Qui-Gon is a bit of a wayward from the beginning, so the talk about who is going to inherit the title is finished, but other kind of talk starts. And then, Qui-Gon has Obi-Wan when he is only 20 years old, in a very scandalous way that leaves the mum out of the picture. Dooku decides that there’s enough talk about them, and takes charge of Obi-Wan’s “upbringing” (mostly private boarding schools, and trying to get him to not repeat Qui-Gon’s “mistakes”).

SO.

The family portrait.

It is basically a way for Dooku to solidify his succession line, a way of saying ‘yes, despite all your talk and your attempts to get the title I still have it, and my son and his son will be the Counts after me’.

The family tree (overly simplified) is then something like this:

(And why did Obi-Wan commission a family portrait? That’s easy, he loves Anakin and Ben too much)

[sidewalkchemistry]

simple skincare tips!

🌼eat the foods that love you back. your skin is a direct mirror of your internal situation. if your digestive system is being bombarded often by foods that create a lot of wastes and residues, that does more harm than good. and so, the struggle to eliminate them will be reflected in your skin. your diet constitutes the vast majority of your skin health. change your meals to be whole food plant based (still delicious, satisfying, and exciting) & watch your skin glow and your skincare routine simplify.

🌼be conscious of what's going on your skin. the skin layers can be over-cleansed, imbalanced, and aggravated when the skin microbiome and pH are disrupted. if you wipe out the beneficial bacterial populations with harshly formulated products, you may find that you break out (i.e. harmful bacterial populations begin to thrive). use gentle, simple skin formulas such as castile soaps, natural oils & butters (i recommend jojoba oil for mostly everyone), natural soap bars, and clays. most commercial skin care products disturb the skin cells (introduce too much foreign material to the body, unsuitable pH ranges, imbalance the microbiome, etc). they sell because it's convention to buy them, the brands are well-known, and their sales pitches are enticing. but really, no cream or serum will ever be the magic potion your skin was asking for. it will only be a band-aid, at best. truly healthy skin comes from diet, and the products are just for any other necessary maintenance. if you get a pimple, you should look first to why the pimple emerged, not what treatment will remove it.

🌼keep your lymph flowing. simple ways to do this are through good lifestyle habits. things like doing exercise & sports you find fun, breathwork, dry brushing, eating lots of fruit, avoiding wearing bras & other tight clothing items, lymphatic massage/gua sha can all be helpful.

🌼focus on hydration via fresh fruits and veggies. the water within plant foods is more useable to your cells, and your skin will cease being overly oily or dry overtime (especially if you reduce/eliminate your salt & oil intake). it will also help to encourage lymphatic flow, so you can see problems like blemishes, cellulite, old scars diminish after great consistency.

🌼allow your skin to breathe. this is especially good if you spend time in stuffy (poorly ventilated) indoor environments, like offices, hospitals, planes, etc. one great way is via herbal facial steaming (i recommend it 3x a week or so). make a hot infusion of an aromatic tea, cover it and allow it to cool a few minutes, and, with closed eyes, allow the pores to open and receive the herbal medicine (this is a great time to meditate, manifest, and just feel pampered). getting more fresh air, working up a sweat, and going to a sauna are also ways to allow your skin to breathe.

🌼avoid steroid prescriptions creams at all costs. they are very deleterious to health in the long term, and they can be very painful to come off of. it's not a real fix. it's not worth hurting your kidneys & adrenals for. evaluate your diet instead. do you eat dairy? choose plant-based dairy options instead (they're simple to make yourself too). do you eat a lot of fats? try oil-free cooking methods instead (opt for sautéing with a bit of water, baking, steaming, air frying, etc). avoiding eating out as much.

🌼be aware of what you're putting in your hair as well. your shampoos, conditioner, leave-ins, gels, moisturizers, oils, serums, etc all tend to touch your face too, when your hair touches your face. if they wouldn't be good enough to put on your face, don't put them in your hair. a lot of the best skin cleansers are also suitable as shampoos. a lot of oils and butters can be used for both. plant-based gels like aloe vera or flax seed are simple to DIY, and are dual-use once again. basically, this will simplify your life.

🌼understand the water that runs through your pipes. if your shower and tap water are like most people's around the world, they aren't optimal for our skin. for example, they contain added chemicals to sanitize the water but that can prevent the proper microbiomes from developing on your skin. a weak skin microbiome is prone to skin issues. so, try to use distilled water on your face (if you're not able to get a water filter, a gallon jug at a store is affordable. they're about $1.30 USD in my area).