#its also more period accurate this way

[sarazanmai]

People complaining about Oscar's sideburns will probably be the first ones writing Victor Frankenstein self insert fic the minute we see him in costume. Relax. He looks damn good.

[kindred-spirit-93]

penelope canonically retreating to her room and refusing food = she puts on some weight, the reason being both lack of physical activity as well as her body being on constant emergency mode (so what little she does eat ends up being stored away bc the body doesnt know when the 'starvation' will end). whats more her constant stress elevates cortisol levels which in and of itself leads to weight gain esp in the abdominal area.

tl;dr chubby penelope send fucking t w e e t

[literaryvein-reblogs]

Writing Notes: Speech Development

Several stages of development have been distinguished in the first year, when the child develops the skills necessary to produce a successful first word.

FIRST 2 MONTHS

Apart from the cry patterns associated with hunger, pain, and discomfort, the first 2 months of life display a wide range of primitive vocal sounds reflecting the baby’s biological state and activities – as in the ‘vegetative’ noises heard while eating and excreting.

Some of the most basic features of speech, such as the ability to control air flow and produce rhythmic utterance, are being established at this time.

BETWEEN 6 & 8 WEEKS

There emerge the sounds generally known as cooing, produced when the baby is in a settled state.

Cooing sounds do not grow out of crying; rather, they develop alongside it, gradually becoming more frequent and varied.

They are quieter, lowerpitched, and more musical, typically consisting of a short vowel-like sound, often nasal in quality, and usually preceded by a consonant-like sound made towards the back of the mouth.

Strings of cooing noises soon emerge, and the sounds become more varied, as the baby begins to develop a greater measure of control over the muscles of the vocal organs – especially over tongue and lip movements and associated vocal-fold vibration.

BETWEEN 3 & 4 MONTHS

Cooing sounds begin to die away, to be replaced by sounds which are much more definite and controlled, often repeated, and produced with wide pitch glides.

It is a period commonly called vocal play, because the baby seems to take great pleasure in producing these noises, especially those made with the lips.

But it is perhaps more accurate to call it a time of vocal practice or experimentation.

AROUND 6 MONTHS

Vocal play gives way to babbling – a period of syllable sequences and repetitions which can last most of the second half of the first year.

To begin with, the consonant-like sounds are very repetitive:

Example: "babababa"

But at around 9 months, the babbling moves away from these fixed patterns.

The consonants and vowels change from one syllable to the next, producing such forms as [adu] and [maba], and there is a wider range of sounds, anticipating the sounds of the accent of English to be learned.

The utterances do not have any meaning, though they often resemble adult words – and of course adults love to ‘hear��� such words (especially mummy and daddy) in the baby’s vocalizations.

But babbling does not gradually shade into speech; indeed, many children continue to babble for several months after they have begun to talk.

Babbling is perhaps best summarized as a final step in the period of preparation for speech.

The child, in effect, ‘gets its act together’; but it has yet to learn what the act is for – that sounds are there to enable meaning to be communicated in a controlled way.

With the production of the ‘first word’, this final step is taken.

NOTE

However, the first word is not the first feature of adult language to be acquired.

From as early as 6 months, there is evidence that the child is picking up features of the melody and rhythm of the adult language.

Certainly by 9 months, strings of syllables are often being pronounced in conversation-like ways which adults interpret as communicative:

‘He/ she’s trying to tell us something’ is a common reaction to a piece of ‘scribble-talk’, and such speech-act functions as questioning, commanding, and greeting are ascribed to babbled utterances.

The melody and rhythm of often-used phrases, such as "all gone", are also likely to be heard long before the vowels and consonants are clearly articulated.

It is these prosodic features which are the first signs of real language production in children.

Prosody - the linguistic use of pitch, loudness, tempo, and rhythm; the study of versification

Source ⚜ Notes & References More: Children ⚜ Children's Dialogue ⚜ Childhood Bilingualism

[tears-of-boredom]

...also I'm watching the second part of the waverly place analysis, and i got to season three, and Max is having An Effect™ on me, now that he's older...I think it's the brown eyes again. And also the personality, that's why I specified Max and not Jake. And like it's so embarrassing. But also like,, to be totally frank with you, season 3 Jake Austin, and me right now, are like the exact same age,, so I really don't need to feel weird or embarrassed or anything. It's just kinda always really weird and confusing for me when I get this crush-like feeling, my emotions can't really handle it. I can't really handle it. There's just a lot of stuff that I have to think about when it happens....I'm constantly pausing to think of a specific example, but i know ill go on an even bigger tirade if i do so, so, im gonna actually cut this short. Max Russo makes me feel emotions I don't like feeling.

[writingwithcolor]

Non-offensive Historical terms for Black people in historical fiction

@pleasespellchimerical asked:

So writing historical fiction, with a white POV character. I'm not sure how to address race in the narration. I do have a Black main character, and I feel like it'd feel out of place to have the narrator refer to her as 'Black', that being a more modern term. Not sure how to do this without dipping into common historical terms that are considered racist today. Thoughts on how to handle this delicately, not pull readers out of the narrative? (fwiw, the POV character has a lot of respect for the Black character. The narration should show this)

There are non-offensive terms you can use, even in historical fiction. We can absolutely refer to Black people without slurs, and if slurs is all one can come up with, it’s time to go back to the drawing board. I cannot say which terms are best for your piece without knowing the time period, but hopefully the list below helps.

Historical terms to use for Black people (non-offensive)

African American documented as early as 1782 (documented in an ad in the Pennsylvania Journal). Note the identity isn’t accurate for non-American Black people.

African could refer to African people or “from 1722 as ‘of or pertaining to black Americans.’”

The place of origin could also be used. For example, “a Nigerian woman”

Africo-American documented as early as 1788.

People of Color documented as early as 1796 (with specific contexts, usually mixed people)

Afro American documented as early as 1817, 1831 (depending on source)

Black American documented as early as 1831 

Black was used in Old English to refer to dark-skinned people. Black was not capitalized until recent years, so “She was a young black woman.” would make sense to say, though “She was a young Black woman.” is the better standard today, although not universally adopted. I personally prefer it capitalized. 

Moor was used as early as the late 1400s for North African people, but had a somewhat flexible use where anyone visibly Black / Of African descent or the Afro Diaspora might be referred to or assumed as a Moor. Note, it has other meanings too, such as referring to Muslim people, but that doesn’t mean the person using it is going by the dictionary definition. Not really the way to go today, but okay in a historical setting (in my opinion).

Biracial (1860s), mixed race (1872), multiracial (1903) and multicultural (1940s) are also terms to refer to people of two or more races.

Occupation + description. Throughout history, many people have been referred to as their occupation. For example, the Carpenter, The Baker, the Blacksmith. Here’s an example of how you might go about using occupation and traits to identify a Black character in history. Here’s an example I came up with on the fly.

“You should go by Jerry’s. He’s the best blacksmith this town’s ever seen. Ya know, the real tall, dark-skinned, curly haired fellow. Family’s come here from Liberia.”

Offensive and less-sensitive terms for Black people 

Blacks was used in plural more, but this is generally offensive today (Even writing it gives me **Thee ick*)

Colored was mostly used post-civil war until the mid 20th century, when it became unacceptable. This is not to be conflated with the South African Coloured ethnic group.

Negro/Negroes were also used as early as the 1550s. Capitalization became common in the early 20th century. I'm sure you know it is offensive today, though, admittedly, was not generally seen as such until around the 1960s, when Black replaced it. It does have its contexts, such as the trope “The Magical Negro” but going around using the term or calling someone that today is a lot different. 

Mulatto referred to mixed people, generally Black and white, and is offensive today. 

The N-word, in all its forms, is explicitly a slur, and there is absolutely no need to use it, especially in a casual manner, in your story. We’ve written about handling the N-word and alluding to it “if need be” but there are other ways to show racism and tension without dropping the word willy-nilly.

Deciding what to use, a modern perspective

I’m in favor of authors relying on the less offensive, more acceptable terms. Particularly, authors outside of the race. Seldom use the offensive terms except from actual direct quotes.

You do not have to use those offensive terms or could at least avoid using them in excess. I know quite famous stories do, but that doesn’t mean we have to so eagerly go that route today. Honestly, from teachers to school, and fellow non-Black students, it’s the modern day glee that people seem to get when they “get a chance to say it” that makes it worse and also makes me not want to give people the chance. 

It goes back to historical accuracy only counting the most for an “authentic experience” when it means being able to use offensive terms or exclude BIPOC from stories. We’ve got to ask ourselves why we want to plaster certain words everywhere for the sake of accuracy when there are other just as accurate, acceptable words to use that hurt less people. 

Disclaimer: Opinions may vary on these matters. But just because someone from the group cosigns something by stating they’re not offended by it, doesn’t mean a whole lot of others are okay with it and their perspectives are now invalid! Also, of course, how one handles the use of these words as a Black person has a different connotation and freedom on how they use them.

~Mod Colette

The colonial context

Since no country was mentioned, I’m going to add a bit about the vocabulary surrounding Black people during slavery, especially in the Caribbean. Although, Colette adds, if your Black characters are slaves, this begs the question why we always gotta be slaves.

At the time, there were words used to describe people based on the percentage of Black blood they had. Those are words you may find during your searches but I advise you not to use them. As you will realize if you dive a bit into this system, it looks like a classifying table. At the time, people were trying to lighten their descent and those words were used for some as a sort of rank. Louisiana being French for a time, those expressions were also seen there until the end of the 19th century.

The fractions I use were the number of Black ancestors someone had to have to be called accordingly.

Short-list here :

½ : mûlatre or mulatto

¼ or ⅛ : quarteron or métis (depending on the island, I’m thinking about Saint-Domingue, Martinique and Guadeloupe)

1/16 : mamelouk

¾ : griffe or capre

⅞ : sacatra

In Saint-Domingue, it could go down to 1/64, where people were considered sang-mêlé (mixed blood for literal translation, but “HP and the Half-Blood Prince” is translated “HP et le Prince de Sang-Mêlé” in French, so I guess this is another translation possibility).

-Lydie

Use the 3rd person narrative to your advantage

If you are intent on illustrating historical changes in terminology consider something as simple as showing the contrast between using “black” for first person character narration, but “Black” for 3rd person narrator omniscient.

-Marika

Add a disclaimer

I liked how this was addressed in the new American Girl books it’s set in Harlem in the 1920’s and there’s a paragraph at the beginning that says “this book uses the common language of the time period and it’s not appropriate to use now”

-SK

More reading:

NYT: Use of ‘African-American’ Dates to Nation’s Early Days

The Etymology dictionary - great resource for historical fiction

Wikipedia: Person of Color

[ihavethedreamies]

Ride a Tiger | San

Choi San - ATEEZ

Rating: M (18+) MDNI

Word Count: ~6.3k

Pairing: Tiger-Hybrid!San x Deer-Hybrid!AFAB!Reader

Genre: Hybrid AU!, Historical/Joseon Era, Reader-Insert, Fluff, Smut, Some Plot, Strangers-to-Married

!!This is smut…if that much isn't clear you should probably leave now!! MDNI!

Warnings: She/Her Pronouns used, Swearing, Kissing, Biting/Marking, Bonding/Mating, Heat/Rut, Pheromones, Breeding Kink, Bath/Water Sex, Unprotected Sex (This is pre-birth control so…), Monster(?)!San (not really, he's a tiger hybrid)

Author's Note: Just so you know, this is NOT Omegaverse, but they do both go into rut/heat. They have animals ears and tails and he's got a spiny tiger cock. This is vaguely set in the Joseon Era of Korea, which is a pretty long time range. It is after the creation of hangul, so its post 1600s about. I only know a lot of this stuff from, and am copying from, historical/period dramas. I know in a lot of ways they aren't completely accurate, especially with women going around and not covering their heads/faces. This is not supposed to be accurate, by any means. Let me know if something is horribly wrong.

At the bottom I will have a guide for all the untranslated words I use, most of which are to do with the clothing they wear.

P.S. Should I be packing? Yes. I did this instead.

P.S.S. If anyone has a picture of San in traditional/historical clothes, could you get it to me with a link or something, I couldn't find anything with Google Images or Pinterest. GOT ONE

"He who rides a tiger is afraid to dismount." ~Chinese Proverb

-> Series Hub <-

🦁 Hongjoong's 🦁

🐕 Yeosang's 🐕

🐻 Jongho's 🐻

I am cross-posting this on Archive and Wattpad. Please reblog! If you know anyone that would like this or future fics but they aren't on here my name and icon are exactly the same on the other sites. Happy reading!

When you had heard thunder rumbling in the distance earlier, you didn't think anything of it. You would be done before the rain came! Nope. You scrambled to gather all of the books you had laid out at your stand, getting them under the surface so they wouldn't get damaged. A giant flash of light followed closely by clap of thunder startled you, and you bleated, your long furry ears pressing back against your hair. Your short tail under your hanbok twitched, slightly rustling the fabric it laid under. Once all of the books you were selling were safe, you grabbed the sseugaechima you had and slung it over your head, stepping back toward the building you were in front of. It was some kind of accessories shop, but the roof awning was quite short and so you barely were able to hide from the downfall underneath it. People scrambled on the street to flee to rain, and the few of them that had coverings continued on their way normally. You peaked out from under your own covering, observing the sky best you could. It was clearly not going to end anytime soon; it was just that time of the year. You had no idea how you were going to get all the books back to your house. Your father didn't mind you working to copy and sell books for the local seller, but he wouldn't let you establish your own business. The seller you worked for also didn't have a store front himself and so the two of you would sell at stalls in the market.

You decided to wait just a bit longer, wondering if the shop owner of the building behind you would let you store the books for a bit. The street had more or less cleared out, but you watched a nobleman come closer. His clothes were nice, even nicer than yours, so his status was probably much higher. The gat he wore was adorned with a silk strap and the beading was clearly finely made as well. As you looked over him, the belt tying his jeogori accentuated his narrow waist and wide shoulders. Your eyes travelled up to his face and he was stunning. But also…he had tiger ears. As he got closer, you caught a glimpse of his long tail. Definitely a tiger. It was incredibly likely that the guy was not just nobility, he was possibly one of the princes. There were like eight of them so that wasn't too unlikely. Despite the downfall, he was simply strolling down the street, almost like there wasn't any rain. Since you were one of the few people still outside, he stopped in front of your seemingly empty stall. He lifted his head and his eyes met yours and you felt them widen. Instinct flared to life, your deer-like genes screaming at the sight of the predatory gaze. It wasn't that he was trying to scare or threaten you, he just simply was a predator hybrid, and you a prey.

"Have you nowhere to go to escape the rain?" He was definitely of high status, with not just tone but the exact words he used. You nodded dumbly, back pressing to the stone foundation of the building behind you. The sseugaechima over your head covered your deer-like ears and your tail was completely hidden by your hanbok.

"I-I have books to sell, and I don't want them to get wet." You pointed under the stall, and at the crate that held your wares. He made an 'ah' of acknowledgement. You wondered why he felt the need to stop at an empty stall.

"You might have to wait a while for the rain to stop." He looked up at the sky. You sighed, knowing he was right.

"Do you want me to help?" He offered and you flinched. Really?

"If you wish, my lord." You bowed a bit and he huffed.

"Shh. Pretend I'm not that important." His smile was much softer than you expected from a tiger. You nodded, not able to speak and he came around and you dragged the crate out, ready to use the sseugaechima to cover it.

"Use this." He corrected, taking the cloth that you had laid out on the wooden stall, and you wondered how frazzled you were that you forgot about it. He tucked the edges of the fabric over the books and easily lifted the crate. You moved around him so you could start to lead him home and you felt tense the whole time. Negating that he was a tiger and you a deer, he was clearly a nobleman, and he was doing physical work…Then again you were technically a noble yourself, and a female at that. Finally getting to the entrance for your family's estate, the door was open already and you waved for one of your father's guards to come and help. The guard took the crate from the tiger, bowing deep in respect and then dashing off to put your wares in your quarters.

"Thank you, my lord." You bowed again, sseugaechima still covering your head.

"San." he added, and your brow furrowed trying to wonder why he was talking about a mountain. Then it hit you, it was his name, he was one of the princes!

"Oh, yes, your highness. (Y/N)." You introduced yourself as well, staying bowed and making sure not to look at his face.

"Get inside and out of the rain Lady (Y/N)." He smiled and your eyes flitted to his gorgeous face. You bowed deeper and then dashed further into the courtyard and booked it to your quarters.

 ~*~*~

Looking up at the clear blue sky, you squinted at the tiny white cloud you could see. It had rained for nearly four days straight and therefore you couldn't set up your stall for that long. You didn't really have need for money since your father was…well, rich, but he didn't just give you pocket money to buy stuff for yourself. It was because you wanted books that weren't normally what noble women would read, you know, like things you could learn from. You had read more than your fair share of romances and adventures from copying them. After you had set out the final pile of books, you looked at your hand and rubbed your finger over the callus you got from holding the brush. Yes, it was painstaking, but you were extremely glad that you could use hangul, it would take ten times longer if you had to use hanja. Right as you got done setting up, two women strolled up and you continued your day.

About an hour before you would get ready to go home, you noted that you had done well for the day and had only about six books left, each a different one. Since it had slowed, you were sitting on a stool, people watching the few that were wandering around. It was nearing the evening mealtime, and you could smell the food from the restaurant down the road on the corner. Your stomach rumbled and you sighed deeply, ears drooping. You started to zone out a bit, watching some birds on the ground, not looking up when someone stopped.

"What is this one like?" the man asked, and you finally looked up so you could see which book he was pointing to.

"Hm, something about a servant seducing a nobleman's son…" You sniffed and looked up at the guy and startled. It was that prince from before. Even if you hadn't carved his face into your memory, it was a bit obvious from his tiger ears right under the brim of his gat. You immediately stood and bowed, and he looked around quickly.

"It's fine, I'm trying to lay low." He waved you off and your eyes caught sight of the black claw-like nails on the end of each finger. You risked glancing up at his face and he was smiling, dimples indenting his cheeks, your eyes focused on his large canine teeth. You felt your tail flick a few times, your skirt ruffling a bit. You felt his eyes moving over your face and your ear flicked at well, nervous under the gaze of his golden colored eyes. You froze when his arm moved, hand coming up and your eyes followed the movement till you couldn't see, and you felt a little tug on your earring.

"These aren't real." He made note of it, and you cringed. You had wanted real jade earrings, but you didn't have enough money, and so you had to settle with those instead. Your father might have bought those for you, but you really wanted them right then and there. You weren't even sure what they were actually made of.

"N-no." You bowed your head and he let them go.

"When do you leave?" His question startled you and your ear flicked again.

"In about an hour."

"Don't leave till I get back." He told you and he headed off further down the market road, back the way he came. You blinked after him, eyes wide, wondering what the heck that was all about.

You did as he asked though and waited for him to return. Glancing up at the sky, you had another ten minutes or so and he still wasn't back. If you didn't know he was one of the princes, you would have left, but he told you to stay. You still hadn't sold the rest of your books despite a few people stopping by, and so you started to put them in the crate. Looking down into the mostly empty container, you looked to the side and saw him coming. Even at a distance you could see his smile when he noticed you were still there, and he jogged to meet you sooner.

"You stayed."

"Well, you said to." You shrugged, not looking at his face. Part of it was because of his status, but it was also because he was so handsome. Too handsome, actually. You wondered if all the princes were so. You watched as he pulled something out from the interior pocket of his jeogori, a small but detailed wooden box coming out. He held it out to you, and you hesitated to grab it.

"Go ahead." He waved his arm a bit and you gently took it, lifting the hinged lid. You gasped, looking at the earrings inside. They looked nearly identical to yours, but they were obviously real jade.

"W-what?" You had to look at his face then, see what his expression was for some sort of explanation. His cheeks were a tiny bit red, and his own ear flicked some and you could see his long striped-tail swaying behind him.

"Your Lord Bak's daughter, from the Saseum Clan?"

"Y-yes?" He smiled a bit bashfully, looking down as he swung his leg around, drawing a circle with his foot.

"Could you take me to talk to him?" You nodded jerkily, a little shocked at the request. Before you could grab the crate, he took it, and you balled up the cloth from the stall and shoved it on top of the books. You walked next to him as you headed toward your home, feeling a bit weird, like you should be following him. You had never directly interacted with a prince, but you still knew the basic rules. Don't look at his face, walk behind him, don't be physically higher than him, speak formally… Yes, he was trying to lay low, but that didn't change who he was. You wondered who was genuinely ignorant enough to not know who he was since he was so obviously a tiger hybrid. When you showed up to the house with the same man carrying your book crate as the time before, your father's guard was a little skeptical. He still took the crate from the prince- San, his name was San, you remembered.

"Could you please get Lord Bak?" He asked and the guard's gaze flicked to you, and you gave a short nod. As he went to do so, you stood with the prince awkwardly, swaying just a bit so your skirt twirled a bit around you. Your ears were twitching so much that your old, fake earring jingled. Your arm twisted around your back so your hand could tug on the end of your braid, a nervous habit.

"(Y/N)? Who is this?" Your father came around the corner, strolling down the stone-paved path toward both of you. He glanced at San, and you cringed slightly at how much smaller your father was than him. His jeongjagwan was modified to fit around his antlers, only that put him at the same height as the prince.

"I am Prince San, Lord Bak. I have come to ask permission to court your daughter for marriage." You balked at this, turning to gape at him directly. Your head turned back to your father whose gaze had sharpened. You knew that there was a lot of noblemen that had brought their sons as potential suitors, and your parents had turned down every single one. Would San be different? You were lucky that your parents did take into consideration your opinion on most things.

"You are the fifth eldest, no?"

"Yes."

"Are your parents aware of your request?"

"Not yet, though I have been given more freedom since I am far down in the line of succession." It seemed the men were having another conversation through their eyes.

"Is that why you would be allowed to marry a prey hybrid?" The prince faltered for a reply, it seemed he hadn't even taken that part into consideration.

"I will need to request an audience with his highness." Your father answered and San seemed to deflate.

"What do you think of this?" Your father turned to look at you and you cast a nervous glance at the tiger next to you. You knew that you would have very little say in reality, and you wished you lived about a thousand years earlier. You know, before Confucianism ruined feminism. Though, the prince seemed to be very sweet, and he was extremely attractive. It could be way worse.

"If my lord finds it auspicious." You bowed your head a bit and your father hummed.

"Why don't you go back inside, (Y/N)?" The request was more of a command than a suggestion and you scurried off to do so. As you entered, your mother came down the hall and you met her.

"Geez, mother…" You led her to spin around, and she did, though with a confused look. Adjusting her binyeo so it was setting in her bun evenly, then she turned back to face you.

"Were you speaking with someone?" She peaked around you so she could look out the window, but she couldn't see.

"A suitor…" You told her and her long, furry ears perked up.

"I shall see then," she nudged past you and went to go out and you huffed a sigh, heading back to your room.

"(Y/N), your father requests your presence in the courtyard." A handmaiden came to summon you and you got up from your floor desk to follow her out. Your father was not alone, Prince San standing with him. It was only three days prior that your father had an audience with the king, and since the prince was there…

"Yes, father?" You came out and stopped before them, bowing at the waist some.

"It seems that it was auspicious…" Your father tossed a glance at the prince, and you looked up at both of them. Your gaze went to the tiger's handsome face, and he was beaming.

~*~*~

The next few weeks were a blur and before you knew it you had gone through the marriage ceremony, and you were moved into his own little palace that belonged to the greater palace grounds. Since he was one of the younger princes you shared a palace, whereas the queen and the crown princess had their own places. There was a place as well for any consorts that the royals might have as well, but it seemed San requested you to live with him. Honestly, you would think it quite impersonal for a husband and wife not to share a room and bed each night, but that seemed to be the norm for royalty. When you learned that even princes sometimes had consorts, you got a little insecure. What if you weren't enough?

"What's wrong, (Y/N)?" San's voice caught your attention and you turned to him as he entered. You had been standing in the middle of the room, just looking over everything, the room fairly barren compared to the overall size.

“I was just…” You stopped, trying to think of how to word it. He hummed for you to continue.

“I was just trying to soak in everything I’ve been told to learn.” You lied, not ready to bring the subject up quite yet. Your head was pounding from all the new information you had been pumped full with and you were nervous about messing up. Luckily since you were a noble already, you knew most of the rules and practices, but you were going to be under a bit harsher scrutiny. Not a bit, a lot. Your head felt strange, having your long braid looped up into a chignon braid, the jade binyeo holding it up making it feel heavier. The cheopji sitting on the middle of the top of your head was heavy as well, since it was gold. Your hanbok was of much higher quality and you felt nervous about getting it messy or torn somehow.

"(Y/N)?" He called your name again and you snapped out of your tumbling thoughts.

"Why did your eldest brother step down as heir?" You finally remembered the question you had wanted to ask him, before your insecurities started to spiral. You had heard some of the other women talking about it but didn't want to rely on gossip.

"Hm. The woman he fell in love with was too low in status. He abdicated so he could marry her. That's why Hongjoong is the crown prince."

"I see. The eldest is Seonghwa, yes?" San hummed and you sighed, racking your brain for all the names you had learned. There were too many. Finally, you looked over San…your husband. Just the thought made you a bit giddy. Even though it hadn't been very long since you two met, maybe about two months, you had endeared to each other. He was so sweet, contrasted greatly with the normal thoughts of how tigers were. Then again, he was a hybrid, not a full tiger. He was in a much different ensemble than what you met him in, more princely clothes. He didn't have any kind of headwear on then, just his manggeon and you could see the streak of orange and white in his hair to the right of the center of his head.

"Are you nervous?" he asked and your ears flicked. Not really sure what he was talking about, you just nodded. You were, but you weren't for sure in what way he meant. He stepped forward and his hands found your waist, your own landing on his chest. San pulled you closer and your ears pressed back against your head. Your nervous habit of tugging on your braid was going to have to be replaced since it was no longer hanging down your back. You let out a noise similar to a bleat when he hauled you even closer, his nose nuzzling against your ear.

"We get to make it official." he whispered and what he was getting at finally hit you. The consummation of the marriage. You were nervous, and a bit worried as well. You were told that predators had a much more aggressive…mating process. Plus, apparently, tiger hybrids were much like real tigers, and had 'barbs' on their… You were in your own thoughts; you could say whatever; they had barbs on their cocks. Plus, you were a good 30 centimeters shorter than your husband and he was just big overall. Your hands on his chest fisted, digging your fingers into the fabric and you squeaked when the claws on his hands dug into your own clothes enough you felt them against your hips. You shuddered as his slightly rough tongue ran up the side of your throat. Your heart rate spiked, nearly taking your breath away, some primal part inside of you freaking out.

"Your high-"

"It's just us, call me San."

"San, I-"

"Your highness!" A eunuch called from the other side of the door, and you pulled back. He reluctantly let you remove yourself from him and you turned away from the door as he turned toward it. He allowed the servant in, and you were informed that the bathing chambers were ready. After the eunuch stepped out and the handmaidens were waiting outside patiently, San went back to you.

"Why don't we be efficient and take a bath together?" He had wrapped his arms around you from behind and you were sure he felt your tail wag nervously even through the layers of fabric you both had on.

"C-can we?"

"Hm. I don't see why not. Not exactly traditional, but…I can get away with a lot." He chuckled and you felt it rumble through his chest pressed to your back. When he finally pulled back, you turned to him, face warm and he grinned.

"So cute." He nuzzled your ear again and then came back, leaning in and pressing his lips to yours. It was your first kiss as a married couple, not that you hadn't stolen a few leading up to that point. This one was different though and he nearly growled as he deepened the kiss. You squeaked, it was like he was trying to eat you and the obvious comparison was not lost on you. His tongue was rough against yours when it wiggled into your mouth and your head swam when his large canines clacked against your much smaller ones. When his lips let yours go, a trail of saliva connected your mouths and you let out a shaky breath.

"Go with the handmaidens and get ready, I'll join after." San pressed another kiss to your cheek and allowed you to leave his embrace. You stopped in front of the door, looking back at him again as the servant on the other side opened the door. He smiled warmly and you bit your lip giddily and then followed the maids to the bathing chamber. They carefully removed your garments and took your hair down, so it was still just in a braid, you didn't need to wash it yet. You were left in a simple white sokchima, not ready to be fully disrobed since San was still to come in. You heard his own servants getting him ready in the adjoining room and as soon as your maids left, the side door opened. He stepped in, closing it behind him and you gasped, eyes widening. Speaking of wide…his shoulders were so broad, especially compared to his waist. It was fairly obvious even when he was clothed, but right then he only had a pair of white sokbaji. His torso was toned as well and your mouth, still hanging open, started to water. Well, not really, but you were close. Feeling very small and delicate under his intense gaze, it softened when he noticed your shoulders were tense.

"Come here." San cooed, coming to meet you halfway and you let him hug you again, not able to help yourself placing your hands on his bare chest. His skin was smooth, and his muscles were hard and your thighs clenched as you practically stroked him. He chuckled and your eyes flitted up to his, ears flopping they were twitching so hard. His tail was sticking out the back of his pants, swaying slightly, his ears drooping just a bit.

"Can I take this off, (Y/N)?" The prince's voice was quiet but deep in your ear and his hands gripped the back of your sokchima.

"Y-yes." You did feel the amount of clothes was fairly unequal, but your final garment being removed would leave you completely bare. Shivering a tad as he pulled the tie open, the straps of the undergarment fell from your shoulders, then the rest of the fabric onto the floor. Your arms went to cover yourself, but his hands stopped you. Your face was hot, almost on fire and you could meet his gaze, ears no longer twitching but pressed back hard against your head. Your short tail was waving back and forth quickly, no longer impeded by any fabric over it.

"You're beautiful." San told you as he made sure you wouldn't cover yourself and he stepped back a tad, fingers going to the tie of his sokbaji. Your tongue ran nervously over your bottom lip, eyes immediately zooming in on his hands. He noticed your gaze's direction and he huffed a laugh but continued with his task. Your arm wrapped around your back, tugging on the end of your braid, now free of the pin holding it up that showed your wedded status. It was like time slowed down as he lifted the waistband up and over his half-hard cock and the fabric pooled on the floor as well and your eyes widened almost comically. You had never seem a man naked in person, only having seen what were basically medical diagrams in books. All you knew was that they probably weren't all that big, and he wasn't even fully hard. The little spines at the base and head of his cock were not quite like you imagined, unlike the barbed end of a fishhook you imagined. Your cunt clenched hard, and you swallowed hard as he stepped closer.

"Here." He grabbed your hand with his and brought it toward him. You both gasped when your small, warm hand wrapped around his cock, and you bit your lip as you pumped up with your fingers wrapped around him. You wondered if it would hurt with how thick he was, your fingers not even meeting, and you pondered what the flesh would feel like on your tongue.

"(Y/N)?" His amused voice pulled you from your thoughts and your head had to tip back to look him in the eye with how close you were. A drop splatted onto the floor, and you realized what it was when your slick thighs rubbed against each other. A rumble rose in San's chest and his nose nuzzled over your ear again, then down your throat and he inhaled deeply. The rumble picked up and his warm spiced scent grew stronger, and you felt his cock harden fully in your grip.

"Let's get in." You whined a bit in disappointment when he pulled back, but he took your hand and led you down the little steps into the water. It was nice and hot, but not too much so, flower petals floating in the water and carrying with them their sweet aroma. He sat on the bench that sat inside the large wooden tub and he hauled you into his lap, legs straddling his lap. You watched the wavy image of his tail through the water, your tail not able to wag as hard with the water resistance. As you rested on his lap, his hard cock pressed to your tummy and you pressed into it more, making him groan.

"You need to stop doing that if we're going to wait." His tone was a bit harder, his brow furrowing after your next press closer to him.

"Wait for what?" You gave him a coy look. You knew it would be "proper" to wait till you were actually in a bed to…bed each other, but…

"(Y/N), love, don't you want your first time to be-" He grunted when you leaned in, your breasts pressing into his chest, and he had to close his eyes to think.

"San, I don't care if you take me here, now, or in that bed. What matters is it's you." You rested your head on his shoulder, nose nuzzling his neck, your head feeling foggy as you breathed in his scent. You heard the water sloshing before you felt anything, but his strong arms had wrapped around you, lifting you up a bit. His lips crashed to yours as he maneuvered you, only pulling away so he could flip you around. Your back pressed to his chest and he had you rest your knees over his so he could hold your legs open. Even with the water of the bath, your slick was still stuck to your folds, and he groaned as he ran two fingers over you. Your whole body jerked, thighs twitching at the little bit of friction, already sensitive. San's arm held you to him as his index finger breached your entrance, your slick easily letting him in. You had noticed earlier that he had filed his claw-like nails down to blunt them, and now you knew why. You had expected a bit of a sting at his finger's entrance, but you only felt pleasure. You had…tested on yourself before, but his fingers were longer and thicker, and your head fell back over his shoulder as a second joined the first. He grinned, watching your cunt swallow his fingers, his tail sliding through the water to wrap over your thigh, holding it to his. San ground the palm of his hand against your clit and your gummy walls clenched around the digits inside and he heard you whine right into his ear. Under normal circumstances, your flitting ears and tail would tickle, but he could use them to tell just how you were reacting.

"S-San!" You gasped, the pleasure he was bringing over you rising fast and your blunt nails dug lightly into his arm where you gripped it.

"Good girl, (Y/N). Fall apart for me." His prompting words led you to your climax and he rumbled as your cunt clenched and pulsed as your orgasm hit. When the little twitches finally died, your body slumped into his, he removed his fingers and helped move you once more. You faced him again and your nails dug harder into his shoulders as he held you over him, the head of his cock rubbing through your folds.

"Ready, princess?" He smirked a bit at the pet-name, though it was completely and officially accurate now.

"Please." You leaned down and kissed the corner of his mouth and down his neck. San grunted and your grip on him tightened as he pressed you down, fat cock finally breaching your entrance. It stung, burned in the best way though, the rubbery spines of his cock flicking against your clit as he finally got the head all the way in. The rest of his dick followed a bit easier, but each little increment deeper, the spines rubbed against the ridges of your cunt. He was only halfway in when you threw your head back, breath harsh, chest heaving at the sensation of him splitting you open. Your cunt spasmed and pulsed, you were already close, heat pooling and growing in your groin and lower stomach. Your flowery scent filled the air even more than the petals in the water, the pleasure and pheromones your husband were letting off spurring you into a semi-heat. Immediately, your cunt slicked even further, the thick wet not able to be washed away by the water. As he started to bottom out, the spines at the base of his cock flicked over your clit and against the folds of your pussy and you shuddered hard as your groin met his. San barely shifted and that was all it took, your second orgasm hitting quicker and harder than the first. His growl rumbled through his chest, you and the room as your cunt clenched hard around him.

"Fuck-" You swore softly and hearing the vulgar word leave your soft, sweet lips made him groan.

"Are you okay, love?"

"J-just give me a second." You were still shuddering in his arms, tiny waves still pulsing through your cunt.

"I can't last much longer." He warned and you shifted once yourself, pressing your knees harder into the bench of the bath and you nodded jerkily. You were prepared…well, you thought you were. San's arms around you tightened, almost to hold you in place, and he lifted you off his cock some, the pumped up his hips, fucking back into you deep. Your head flew back so hard he was a bit concerned, but he continued his thrusts, not even pulling out halfway before filling you once more. The water sloshed around you, your tail wagging hard through the water, his own wrapped around your right thigh.

"Shit-" He grunted, pressing you to him and standing. You yelped at his movement but then he lightly rested you against the rounded edge of the wooden tub. He reached past your head for a towel and balled it under your head.

"San?" You didn't get an answer to your prompting tone, and your breath hitched as he hauled your legs up to wrap around his narrow waist. One hand rested against your thigh to hold your leg up, the other taking your hand from his shoulder and lifting it up above your head. His fingers linked with yours, holding your hand tightly as his lips hovered over yours.

"Hold on, princess." He more or less warned, and your other hand flew to the narrow wooden column near you, barely getting a hold on it before he snapped his hips, relentlessly barreling his cock into you, head battering your back walls. You let out a choking sound, followed by unintelligible whimpers and babbles, your next orgasm rising already. With each thrust, he ground his hips down, the spines at the base of his cock teasing your clit and he didn't even slow down as your third orgasm crashed over you. If anything, it made him go harder, the water around his legs sloshing hard. He was full on growling at that point, tongue running over his long canines, a drop of saliva falling past his lips and into your mouth, gaping open, drool dripping from the side. Your eyes rolled back as his pace seemed to pick up, the thrusts somewhat shallower but even harder.

"Fucking hell, love, you're taking me so well." San rumbled, watching his fat cock split you open, the shine of your slick and cum on his cock made his head swim.

"Want me to cum inside? Fuck my cub into you?" He laughed cockily; eyes fixed on the joining of your bodies. You both weren't even sure how easy it would be for you to conceive, and he honestly didn't care if you couldn't. He was so far down the line of succession himself, let alone his kids. Though, if it was harder, that just meant he could try all the harder.

"Please! San, want your cum!" You whimpered, neither of you caring anymore if the servants heard the filth spilling from your mouths.

"Gonna make you my mate too, my wife…" He growled and his thrusts grew unsteady, his nose nuzzled your neck again and your breath hitched as the sharp ends of his canines met your skin. Your blunt nails dug into the wood of the column, hand gripping his hard as he finally fell over the edge himself. His teeth sank in as he came, white, hot spurts of cum coating your walls and filling your womb. Your orgasm helped him ride out his, core gripping him hard, eagerly drinking in his seed. You felt like you almost blacked out, brain clearing some as he stopped, licking over the bite wound in your shoulder. He pulled back enough to look down at your worn-out body, face red and splotchy but still so cute, so pretty. And you were all his.

The next few minutes passed with a blur; all of the servants being called to leave the hallway leading from the bath to your bedchambers. You only realized you had changed location when the still-wet skin of your back hit the silk sheets, and San was filling you back up. You had nothing to hold onto, so you white knuckled the sheet of the futon under you. Your legs were thrown over San’s wide shoulders, ankles by his ears, and animalistic noises were leaving him. He was salivating like a hungry…well, tiger, growls turning into near roars. You weren’t sure how many more orgasms he fucked out of you before he filled your womb with even more of his seed. Your mind was nearly gone, only little squeaks leaving you as you flipped you over, hips raised in the air, chest pressed to the bed below. His giant cock, with all those blasted spines, carved into you, and your cunt clenched hard, molding to him. You were both a mess already, the bath having been nearly negated. Sweat dripped from his brow onto your bare back, a thick mix of your releases coating both your thighs and forming a puddle below. A dark stain from the tears caused by the overwhelming sensations and drool formed below your cheek. Even with his claws blunted, they tore into the bedding some as he leaned over you, hips pumping hard, the slap of skin muffled by his grunts.

“One more for me, princess. Gonna get you pregnant, keep you stuffed full till you do.” He chuckled, pace stuttering, and your vision spotted as he came once more, squirts and sprays of your own release soaking his groin further. Soon, all that could be heard was both of your panting breaths and you were having trouble staying awake, all strength leaving your body. That was when something terrifying hit you…he was still hard.

hanbok - traditional/historical clothing, most people think of women's dresses, but men's clothes were called this as well. sseugaechima - this is the extra-skirt looking garment women would wear over the heads. gat - this is the hat that noblemen would wear, more specifically the ones that were black and made of mesh. jeogori - the top/shirt part of a hanbok. hangul - the Korean alphabet we use today. hanja - the old Korean characters derived from Chinese used prior to Hangul's creation. jeongjagwan - a type of gat that noblemen would wear, it looks much like a pagoda. binyeo - the long pin that would hold a woman's bun up, mostly used for married women. cheopji - a hair accessory worn by women, looks similar to a headband with a clip or pin in the middle. manggeon - the mesh-like headband men wore to hold their hair in place sokchima - basically a dress/skirt like under-garment. sokbaji - pants-like under-garment, mostly worn by women actually...

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[chocolatepot]

Hi! Can you elaborate on "Fuck GRRM's committment to 'historical realism' without knowing anything about medieval social history"? I would love to know about what GRRM gets wrong about medieval gender roles, specifically.

So Cersei learns at an early age that she has no agency, her only value is producing heirs and is barred from traditional routes of power so she has to use underhanded methods such as influencing men with sex or using underhanded magical means. I would love an explanation on why this doesn't reflect medieval queen consorts and noble women irl.

Sure! The basic summary is: GRRM "knows" the things that everyone "knows" about the middle ages, which are broad stereotypes often reflective of a) primary sources that deserve a critical reading rather than being taken at face value and b) the judgements of later periods making themselves look better at the medieval period's expense.

As Shiloh Carroll argues, building on the work of Helen Young, “readers are caught in a ‘feedback loop’ in which Martin’s work helps to create a neomedieval idea of the Middle Ages, which then becomes their idea of what the Middle Ages ‘really’ looked like, which is then used to defend Martin’s work as ‘realistic’ because it matches their idea of the real Middle Ages.”

Since you're mainly interested in Cersei here, I'd strongly recommend a book: Queenship and the Women of Westeros: Female Agency and Advice in Game of Thrones and A Song of Ice and Fire, edited by Zita Eva Rohr and Lisa Benz. It's an excellent read and speaks to exactly what you're asking about. The tone of the book is very positive and non-judgemental when it comes to GRRM and his depictions of women on the whole, but I think some of this is rhetorical positioning to not seem like "mean angry academics jumping on fiction for not being accurate," as the actual content turns the reader to thinking about how much agency and power medieval queens had in different European societies and how little of that worked its way into GRRM's worldbuilding.

It's true that women typically didn't inherit titles and thrones in their own right, and that they were usually given in marriage for political/dynastic reasons. However, they weren't seen as brood mares whose only duty was to pop out sons: both queens and noblewomen had roles to play as household managers, counselors, and lieutenants, actively participating in the ruling of their domains and in local and international diplomacy (women in political alliances were not just pawns sent to a powerful man's bed, but were to act as ambassadors for their families and to pass information back and forth), and they had to be raised with an understanding of this so that they could learn to do it. Motherhood was very important, don't get me wrong, but it's a mistake to assume as pop culture does that a wife's foremost duty being to provide heirs for her family meant that she was ONLY seen as a mother/potential mother.

Catelyn is a great example of what was expected of women in these positions. But in the books, Catelyn is basically the only woman who inhabits this role, and the impression given is that she's exceptional, that she's just in charge of the household because she's so great at it that Ned allows her to be his partner, and that he listens to her advice because she happens to be a wise person in his orbit - and also that Ned is exceptional for giving so much power to a woman, because in the world of ASOIAF, it takes an especially good man to do this. In GRRM's view of the medieval world, realpolitik and the accumulation of power are the most important things, so men in Westeros are extremely unlikely to give up any authority to their wives, even though this is historically inaccurate.

Cersei, on the other hand, is supposed to be a more realistic depiction of what would happen to an ambitious medieval woman. There's a chapter titled "Queen of Sad Mischance: Medievalism, “Realism,” and the Case of Cersei Lannister" in the book I've rec'd, and it deals with why this is problematic extremely well. (This is the source of the quote at the top of this post.) In it, Kavita Mudan Finn argues that Cersei embodies pretty much every medieval trope for the illegitimate wielding of power by a woman. She underhandedly gets people killed for opposing her, she seduces men into doing her bidding, she advances her family's interests and her own at the expense of the realm. She's made sympathetic through fannish interpretation and Lena Headey's performance, but in the text she's an evil woman doing evil things. Even when she gets to be regent for her son - a completely legitimate historical position that allowed women to handle the levers of power almost exactly like a king - she continues to do shitty things and not be taken seriously because she's just not good at ruling.

But even before then, from a medieval perspective she had access to completely legitimate power that she didn't use: she'd have had estates giving her a large personal income, religious establishments to patronize (giving her a good reputation as a pious woman and people she'd put in high positions being personally loyal to her), artists and writers to patronize as well, power over her household, men around her listening to her counsel. That she doesn't have that is a reflection of GRRM either deciding these things don't really exist in Westeros in order to make it a worse world than medieval Europe and justify Cersei feeling she had to use underhanded means of power, or not knowing that they were ordinary and unexceptional because he has a good working knowledge of the politics of the Wars of the Roses but little to no knowledge of social history beyond pop culture osmosis, and, imo, little to no interest in actual power dynamics.

There are a lot of books I'd recommend on this subject. There's a series from Palgrave Macmillan called "Queenship and Power" and nearly all the books in it are THE BEST. Theresa Earenfight's Queenship in Medieval Europe is a very readable introduction to the situations of queens in European societies across the continent. She also has a book, Women and Wealth in Late Medieval Europe, that also addresses non-royal women's power. I'm also a huge fan of English Aristocratic Women, 1450-1550: Marriage and Family, Property and Careers, by Barbara Harris, which really emphasizes the "career" aspect of women's lives as administrators and diplomats.

[lackadaisycats]

I tried to answer this succinctly, but it turned into an essay. (Sorry.)

The Princess and the Frog was not accurate, strictly speaking, but dinging it for that would be like criticizing the Lion King for not being a realistic wildlife documentary. Accuracy wasn't really the point. Given the fantastical elements and fictional nations like “Maldonia”, I suppose we're meant to understand this as a bit removed from the real New Orleans. It's more a a jazz-flavored fairy tale than a historical fiction.

But for discussion's sake....

Is it fashion-accurate to its 1926 timeframe? Ehhh, sort of. It pays homage to 20s fashion trends with cloche hats, furs and feathery headpieces, but without fully committing to it. The waistline on almost all of Tiana's clothing is too high for the 20s, and the the shapes of her fancier costumes take a lot of liberties, or deviate wildly from the style of the period.

In the 20s, dresses (including workaday stuff) tended to have a straight up-and-down shape to it - kind of a low-waisted rectangle that de-emphasized curves instead of highlighting them. There are valid reasons to play fast and loose with that, though (something I’m definitely guilty of as well). One of those reasons is communication. 

For instance, speculatively, the filmmakers wrote Tiana as a hard-working waitress and wanted her to look the part, so they made the choice to clothe her in something familiar - that gingham dress of mid-century shape that we broadly associate with diner waitresses. Actual waitress uniforms of the 20s had a fair bit of overlap with maid uniforms at the time too, and I can see why they wouldn't want to risk the confusion. It's more important to communicate clearly with the larger audience than to appease a small faction of fashion nerds who'd notice or care about the precision.

I don't think it's a case of the designers failing to do their research - I'm sure they had piles of references, and maybe even consultants - but they also had to have priorities.

With her hat and coat on, she looks a lot more 1920s-shaped.

Pretty consistently, the indication of the characteristic 1920s drop waist is there, but the approach otherwise ignores the 20s silhouette. The clothes hug the body too much. This may be about appealing to a 2000s audience, visually speaking, but also could be an animation thing. Maybe both. For practical reasons, clothes in 2d animation are usually more a sort of second skin than something that wears or behaves like realistic fabric.

These are not in the 1920s ballpark at all. Tiana's blue gown looks like your basic Disney brand invention. Strapless things would have been extremely unusual and the overall shape is far out of step. Excusable, I guess, because it's a costume in context. Charlotte looks like she’s heading for a mimosa brunch in a modern maxi dress.

Charlotte's princess dress did seem to be calling back to the ultra-wide pannier side hoops of the 18th century - something that made a reappearance for part of the 20s, albeit in much milder form called robe de style. I'm not sure if the filmmakers were alluding to that at all, really, but either way, her dress is hilarious.

They only went about halfway with the cloche hats. The 1920s cloche really encapsulated the cranium, almost entirely covered bobbed hair, and obscured much of the face from certain angles, so it's easy to see why they've been somewhat reined in for the film. Still, it ends up looking more 1930s, where the hats started to recede away from the face, evolving in the direction of the pillbox.

Similarly, Tiana's hair is not very reminiscent of the bobbed, close-to-the-cranium style of the period, but I think that could legitimately be written off as characterization. She's not at all the type of person who'd fuss about going à la mode. Not everyone bobbed and finger-waved their hair.

The clothes Prince Naveen is introduced in are very 1920s collegiate in spirit - the wide-leg oxford bags, the sleeveless pullover sweater, the flat cap, and high, stiff collar. The ukulele and banjolele were pretty trendy instruments at the time too.

Definitely some Josephine Baker vibes here. Also, the look of this whole fantasy sequence was reportedly inspired by the works of Aaron Douglas, a luminary painter of the Harlem Renaissance known for his depictions of the lives of African-Americans. (The mural is in Topeka, Kansas.)

They pretty much nailed the Art Deco. It's gorgeous. Looks somewhat inspired by the interiors of some of the Ralph Walker-designed NYC architecture, plus some French Quarter balcony flair for the final manifestation of Tiana's Place. Her dress here does resemble some gauzy mid-1920s looks, too.

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Culturally speaking...

New Orleans is an unusual place. Because some of the colonial Spanish and French laws and conventions that New Orleans evolved under persisted even after its inception into the United States; because it was such a heterogeneous hub of indigenous and immigrant peoples; and because it had a considerable population of free people of color (mostly Creole), it did not function quite like the rest of the South leading up to the Civil War, nor for a while after. Its particular coalescence of cultures made it its own unique sort of culture within the country, within the region, within the state of Louisiana even. By the early 20th century, though, regardless of the not-very-binary nature of New Orleans, Jim Crow laws were enforcing a literal black-and-white distinction, and not an evenhanded one, by far. In that aspect, the city had begun to resemble the rest of the South.

The film nods at the wealth disparity, but goes on to paint a pretty rosy picture of race and class relations at the time. Still it's not unbelievable that some people were exceptions to the rules. You could probably find a few compartments of old New Orleans society that resisted segregation or certain prejudicial norms, preferring to do things their own way. That aside, the film wasn't trying to confront these topics. Not every piece of media should have to. Sometimes breaking away from miserable period piece stereotypes is refreshing. I'm not sure it could have handled that meaningfully given the running time, narrow story focus, and intended audience, anyhow. (But you could perhaps also make a case that family films habitually underestimate younger audiences in this way.)

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Raymond the firefly I guess is the film's Cajun representation. There's not much to say about it, except perhaps to note that Evangeline is a reference to the heroine of a Longfellow poem of the same name. The poem is an epic romance set during the expulsion of the Acadians from the eastern provinces of Canada and the northernmost reaches of the American colonies (now Maine) by the British in the mid-1700s. Many exiled Acadians gradually migrated south to francophone-friendly Louisiana, settling into the prairies and bayous, where 'Acadian' truncated into the pronunciation 'Cajun'. Evangeline - who is only finally reunited with her love when he’s on his deathbed - has become an emblem of the heartbreak, separation and faithful hope of that cultural history, and there are parishes, statues and other landmarks named after the her throughout Louisiana.

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Voodoo does have a very historical presence in New Orleans, having arrived both directly from West Africa and by way of the Haitian diaspora (where it would more properly be called Vodou). While I don't think Disney's treatment of it was especially sensitive or serious, it also wasn't the grotesquely off-base sort of thing that media of the past has been known to do. It was largely whittled down to a magical plot component, but it wasn't so fully repurposed that it didn't resemble Voodoo at all either - and that's mostly owing to the characters, because it does appear the writers pulled from history there.

It’s apparently widely held that Dr. Facilier is a Baron Samedi caricature - and likely that's true, in part - but I have the impression he's also influenced by Doctor John. Not the 20th century funk musician, but the antebellum “Voodoo King” of New Orleans. Doctor John (also called Bayou John, Jean La Ficelle, and other aliases) claimed to be a Senegalese prince. He became well known as a potion man and romance-focused prognosticator to people from all corners of society. Though highly celebrated and financially successful at his peak, he seems ultimately remembered as an exploitative villain.

To my recollection, the film sort of gingerly avoids referring to Facilier as a Voodoo practitioner directly (I think he's more generically called a witch doctor in the script?) but it does seem to imply his 'friends on the other side' are a consortium of loa. It's mostly abbreviated into nebulously evil-seeming special FX, glazing over any specificity or dimensionality, but it does also loop back around as a vehicle of moral justice. Loa are all very individualistic and multi-faceted, but they do have reciprocal rules for asking favors of them.

There's also the benevolent counterpart in Mama Odie's character. Her wearing ritual whites has a definite basis in Voodoo/Vodou practice, and her depiction as a fairy godmother-like figure isn't entirely out of step with how a mambo may have been perceived...in a very general sense. They were/are ceremonial leaders and community bastions who people would seek out for help, advice and spiritual guidance. More than just emanating matronly good vibes, though, some have wielded considerable political and economic power.

(Just my opinions here. I've done a lot of reading on the subject for research but I'm no authority with any special insider understanding of Voodoo, and I really shouldn't be relied upon as an arbiter of who has or hasn't done it justice in fiction.)

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In summary--

Culturally, I think the film is respectably informed but paints a superficially genteel picture. The set pieces are gorgeous, but the story mostly delivers a sort of veneer of New Orleanishness. And as for fashion, well, it’s the 1920s run through a Disney filter. It’s very pretty, but it’s only as proximally accurate as seemed practical.

I don’t know that any of that really matters so much as whether or not it achieved what it intended, though. As a charming yarn and as a tribute to New Orleans and the Jazz age, I think it’s mostly successful. It’s also really beautifully animated!

[beesmygod]

we can all look back on and laugh at this when im wrong, but it seems like social media in its current incarnation is dying an undignified and overdue death. it turns out throwing all of humanity into one room and expecting everyone to develop a single ethos was beyond insane conceptually and the artists who built their following on social media are probably in a tail spin right now. people jumping to bluesky are insane lol. did you forget jack dorsey is the idiot who got us into this mess in the first place. why would you choose to subject yourself to this shit again. for what purpose?

the stock answer i got was that "for discoverability/audience" and if that's true thats a problem. i've been hollerin about this to anyone who would listen prior to this but the customer base of twitter (and all social media) is its advertisers. they have not been shy from the start about that fact because its the only way they generate income, as far as i know. YOU (the user) are the product. YOU (still the user) are also what draws people to the site. there is not a social media website on earth that has figured out that making a good website (which would require hiring and paying for quality labor over an extended period of time) is more likely to result in economic success than exclusively courting the businesses whose interest is in making the website worse to use with ads. at no point were our interests ever a factor.

in fact, imo, the number of people following you is not an accurate representational sample of your audience. the reasonable assumption you should make is that the vast majority of numbers involved with any website (esp those with a vested interest in showing off big numbers to VC investors or advertising execs) are inflated or just outright fake. the numbers exist solely to drive you insane and make awful people happy. the numbers cause you and everyone around you to start spontaneously spawning myths about a beast called "the algorithm" that possesses the incredible traits of being both something you can game for success or blame for your failures. it coerces you into enacting out nonsense superstitions to try to counteract or appease it in the hopes of, let's be honest, breaking it big and going viral. this way, you, the creator, do not have to do the hard work of building up a rapport with an audience. none of this goes anything but adds more numbers for the ceos to look at and nod approvingly or disapprovingly at.

the people running the world today are, without exaggeration, cartoon villains. they are deeply stupid, devoid of empathy, and open about their intent to do deeply evil acts in order to further their economic interests. trying to derive some kind of financial benefit from the creations of these unapologetic losers was always bound to be a wasted effort. the best thing i can say about twitter, a website i was banned from countless times and returned to out of stubborn desire, was that i got to make some great jokes with friends and cause some chaos lol. letting people know i have a web comic was always a secondary function once the realization of what social media was turning out to be set in like 7 years ago. any artist who insists that you have to do this or that on this or that social media site is trying to drag you down into the quagmire of online numbers poisoning.

run away!!! children heed my advice!!! the joy of creation does not lie on a path that encourages you to cater to the lowest common denominators while casting your net. just fucking have fun with it. if its not fun then it wont even be fun to do financially anyway. and isnt that, like. the point.

[yomogi-mogi-mochi]

Unnecessarily Convoluted Analysis of TWST Dorm Architecture

Putting that Art History degree to use 💪 I am getting my Masters in art history, so I am like semi qualified?? to do this. Tried my best with some of the dorms since some don't have an explicit cultural/architectural parallel irl. And obviously lots of liberties taken since I'm sure the people at Disney were not going for historical accuracy

Masterlist here

Much of this analysis can from my Spolia fic (Malleus x Light Fae MC)

Diasmonia: Early Gothic

Gothic- but early gothic. It's got a few flying buttresses, indicative of technology in later gothic movements- but in combination to the lower ceilings (lower than later gothic), fewer levels (celestory, triforium, doric columns, and shorter windows makes me think it's early gothic (more towards Norman architecture/Sens Cathedral), because it's a lot simpler and less technologically developed than high gothic (larger windows, rose windows, higher and pointier style, flying buttresses, more decorative stuff like Corinthian columns and stained glass). Still, I think the Fae would be been more concerned with its structural integrity against the waves of time- therefore gargoyles become a very prominent symbol in protecting this eternity and preservation of architecture since it basically prevents rain/weather from eating away at the building.

There's some interesting symbolism with Malleus' fixation with gargoyles, but I'm sure you can make that connection on your own based on what's out in Chapter 7 and how he reacts to both Lilia's and MC'S impending goodbyes.

Gothic was actually a term used by the French to demean the style, since it was seen as more 'savage' and 'lower' than classical architecture- which is symmetrical, solid, and values very literal and realistic (albeit idealized) characterization. Gothic architecture in contrast is a lot more airy, focuses on light and windows, and values more allegorical representations, which is why it resonated so well with the religious ruler and monarchies because they were able to not-so-subtly point to their influence and power in every single way without it being in your face all the time.

Because of this very stank contrast, it was labeled as "gothic" because people were criticizing it to be "savage" and "unkept". The goths were painted this way because they were mainly responsible for Rome's downfall, leading to the dark ages. Regardless of the French ruthlessly roasting the goths, this type of design flourished after the dark ages because technology was beginning to be advanced once more, and materials were more readily available.

My theory would be that the fae began to first develop this architecture because they had the advantage of magic, but then the humans were influenced by it- which leads them to high gothic (Noble Bell College), as well as Baroque and Rococo architecture (like the Pomefiore dorm). The Fae kept their style of early gothic since they didn't really see a point in changing much- maybe just more decorative gargoyles called grotesque as a symbol of the Fae's gratitude in their protection against time.

Also the hallways have what are almost like ribbed vaults which was one of the primary and first symbols of gothic architecture because they allowed more weight to be distributed to the vaults, and therefore allow for bigger windows.

Another distict characteristics in gothic architecture are clearly defined elevations.

Traditionally, they will have the celestial at the top, then gallery, then the main arcade (especially as we get into the later gothic periods and buildings get even taller and taller). Of course Disney isn't completely accurate with these things, but it seems that they're sort of going for that vibe, as many things end up being as our contemporary notions of historical design often creates a vague iconography of things that is often a copy of a copy of a copy of the original medium.

However I do think the intention to mimic the original design is still there overall, and combined with many of the other elements such as the prevalence of pointed arches that are a symbol of gothic architecture, and the sheer number of windows that were allowed originally due to the technological advances of the gothic era (and of course Malleus' own obsession with gargoyles), I think it would make sense to categorize this is like "gothic adjacent".

If I were to redesign the diasmonia dorm however, I would definitely begin by fixing the exterior- but I think they were referencing Malificent's tower in the Disney movie than any sort of historical accuracy lol. You win some, you lose some.

Pomefiore: Rococo with a touch of Art Noveau

Very obviously modeled after French Rococo architecture- the illustration of the hallways of Pomefiore dorm are almost exactly like the Palace of Versailles

It is definitely a toned down version- but pretty spot on, right? When I first saw the Pomefiore dorm I immediately Googled a picture of the Palace of Versailles cause I knew I saw it somewhere. Autistic spidey senses at it again.

Honestly wish they went more all out with the chandeliers, and had painted ceilings on the dorm colors- but I feel like they got the general vibes right. It feels closer to Romanesque with its simplicity but it still holds an aura of decadence and frivolity that I like. Very rich, extravagant like it's members (maybe not so much Epel lol)

Elements of Art noveau in the furniture (the peacock chair) and the embroidery of the uniforms.

Also, the peacock chair sort of reminds me of James McNeill Whistler's Peacock Room. He was an American impressionist that was sort of the forefront of art nouveau, since impressionism was one of the mainstream movements that really began the explosion of Japanese inspired design that is also used in Art Nouveau aesthetic.

(Vil would definitely have this room if he could)

The carpet in the room reminds me of William Morris' designs, and just art nouveau in general.

As far as I can tell, the exterior is based on a variety of German castle styles from 13th century Romanesque styles, to 18th century Neo-Gothic styles. Which is coincidentally what a lot of the castles on Disneyland are based off of.

Everything is very florial, Corinthian, and extravagant. I love it. It's very baroque, I dig it.

Scarabia

Please don't come for me I'm not as well versed in Non-Asian and Non-Western architecture except for religious architecture in Turkey and Jerusalem so I'm gonna try my best with this one

So I think it mixes a lot of the icons we think of in association to Arabic architecture like domes, pointed/ogee (rounded, then pointed)/multifoil (multiple curves) arches, and ornate floral designs that derive from the use of calligraphy in Islamic structures (as iconography, or pictures depicting the faces and bodies of religious figures were not allowed).

And I think all those tiny buildings resemble Minarets, or tall towers built adjacent to mosques where the muezzin can issue the call to prayer. But the artists were probably like "hm. Not enough. How do we make it more arabic??" And of course the contemporary orientalist perspectives that dominate the artistic realm made they go "quick just add a bunch of domes"

I think Kalim's room and the lounge in particular best shows the general "airiness" that parallels Islamic acthicture (ie the Sheikh Zayed Grand Mosque on UAE)

Open air courtyards are also a characteristic element of Islam architecture, which you can see with the areal view of the dorm, and also makes sense with Kalim's unique magic.

Jali window designs (the intricate gold metal covers on the arches) are also popular on Islamic architecture

The Haga Sophia in particular has been described to have a dome "suspended by the heavens", as the section connecting the building and the dome is made entirely of arches that allows the sunlight from the heavens to pour inside the building. Though the haga Sophia is a very special case, as it was occupied by varying religions with different architectural styles at certain periods- I think it's also a good representation of our contemporary prototype of Arabian architecture that makes up the final design of the dorm.

Ignihyde: Classical Greek

Looks like it's modeled after the Parthenon, which was built during the Classical period on Greece where Athens was flourishing as a center of mathematics, technology, and architecture. These are sentiments which becomes reflected in the Renaissance afterwards, such as symmetry and a very systemic way of approaching things. I think it fits perfectly with this dorm, since they're the "tech geeks" of NRC

It's got your pediment, your doric columns (would have preferred ionic columns but whatever Disney), your arcades. Pretty straight forward unlike the actual movie it's based off of lol (Hercules has so so many mythological inconsistencies. Like why are you talking about Achilles in the movie??? Trojan was hasn't even happened babe stop manifesting that shit)

I think the symmetry and order of Classical Greek design goes well with the overall futuristic look Ignihyde and the Island of Woe are going for. Pretty clever, Disney.

Heartslabyul: Tudor Revival Style

Though Alice in Wonderland is set in the later 19th century, I think the Tudorian Revival style than began in the beginning of the 20th century just shortly later fits best.

Turdorian revival style is characterized through half timbering, which is like the timber panels you see on the surface of the building; oriel windows (windows that jut out); mock battlements; and courtyards.

The Tudorian revival style also takes elements from Elizabethan era architecture and perpendicular gothic architecture, hence the long gallery and the tudorian four point arch)

The glass panes in the lounge leaves me to believe it's sort of like a glass house where part of the house is sort of like a greenhouse. This is characteristic of Victorian glasshouses that rose with the availability of timber, paint, and brick and the popularity of botany in the Victorian era propelled by botanical imports from British colonies. Architecrs like Joseph Paxton were also known for his opus magnum- the Crystal Palace, which held the Great Exhibition of 1851 (kind of like a world expo with the theme of industry and art) also popularize the movement- and was a significant sign of wealth, as glass and window taxes were especially high. But in the later century when iron and steel frame construction was advanced, people could be built out of iron and window panes, so they could be assembled easily, and also afforded by middle class citizens.

So it's basically a mix of Elizabethan and Victorian revival styles (tudorian and gothic), which is in theme with the Victorian period the original media is set in, albeit taking inspiration from styles little later in the period.

Savanaclaw:

Again- I am blind when it comes to Non-Asian/Non-Western architecture- but this one was kinda confusing cause it really doesn't have any architectural cohesivity??? Like it's just got a general "jungle vibe" which I'm not surprised at because Disney is infamous for glossing over non-white cultures and kind of just simplifying them into a "general vibe" which wow yikes my guy

Kind of reminds me of Mese Verde, which are structures made directly within a cliffside, or the Great Mosque of Djenné and the African Heritage house in Kenya which have very smoothed, natural designs that blend into the environment

What I could gather from my research and my juicy autistic brain, savannas are regularly subjected to wild fires- so a lot of the heavy, rocky architecture and interior style makes sense, opposed to one made of wood (which are mostly in the inside of the structure, besides the roof which I imagine is less likely to catch on fire). Much of the building seems also to be directly carved within natural rock formations- a very functional use of the resources around you- very savannaclaw!

The textiles in each of the dorm members' rooms resemble Kente fabric, a style of hand weaving from Ghana, originally reserved for royalty but now commonly worn for ceremonial occasions and such. Also unlike other African textiles styles, it's strictly a male practice. I think it would make sense for Sunset Savanna, a place where women are highly respected and perhaps take on more political and military positions- leaving largely men to the practice of textile making (both are honorable acts- not comparing the two). There aren't distinguished aesthetic styles of textiles that differentiate each weaving from another- rather, it is divided by technique and region- so this is not like a definite connection, just thought it was interesting to includle

Textiles seem to occupy the only decorative role in the entire dorm- so perhaps there is significant cultural significance? Maybe there is a certain region that's known for their practices? Or is weaving a symbol of adulthood or growth and therefore is why they're hung up in each of the dorm member's rooms with the exception of Ruggie, who may not have had the socioeconomic privilege of making one? Or does the practice vary across species? Much to speculate 🤔

Octavinelle: Art Deco and Art Nouveau

Saved this one for last because oh boy I don't even know where to start with this. Obviously the design is very creative and I love it, but there's a lot less historical elements I can use to analyze the style, kind of like the Savanah claw exterior.

But it leans towards the art deco style, which is most fitting for the business dorm I think.

Elements of Art deco like geometric aspects of design, thematic and aesthetic consistency, and decorative/geometric windows are seen throughout the dorm interior and exterior

But I think the art nouveau elements are also there too, with the cheeky sea-themed elements that use natural shapes and icons into the architecture, design, and surfaces of the dorm.

Otherwise, not much else to say about this dorm 🤷 it's not really based in anything historical but there are bits and pieces of art nouveau and art deco in there, but I definitely wish they would lean more into the art deco elements since I think it would go well with the general themes of the dorm values.

So uh, yeah. Told you it would be convoluted.

Feel free to add and or correct!

[iiseult]

𝒞𝒽𝒶𝓅𝓉𝑒𝓇 𝐹𝒾𝓋𝑒: 𝒢𝑜𝓁𝒹𝑒𝓃 𝒞𝓇𝑜𝓈𝓈

CWs →  FLUFF, angst, depression, themes of war and death, historical inaccuracies, slow burn, she/her pronouns, AFAB reader, eventual smut (once reader and baldwin are both over 18), leprosy, time-period accurate sexism

Wordcount: 3.5k

Note: For those of you who have been waiting for actual fluff for like five chapters, I hope this is satisfactory. The next chapter is probably going to involve smut, so maybe that will give you something else to look forward to! Enjoy!

The following days were the darkest you had ever known. The palace was eerily silent, half of the staff left with nothing to do in the absence of their King. There were no more tears, and no more talking– there was only waiting, agonizing waiting. You could not bring yourself to leave the fortified stone walls of your home, not necessarily for fear of a raid by Saladin’s troops, but more for fear of leaving your post at your window and missing a sign that Baldwin might be returning. Whatever that sign might be– a flag, a cross, a messenger, you didn’t know–  but you would surely know once you saw it. 

For that reason you took all of your meals in your bedchamber, dressed perpetually in a white linen nightgown. Though she had tried and tried, claiming that looking better would also help you to feel better, Matilda could not convince you to get dressed. To you, there was no longer any reason to get dressed and presentable, let alone get out of bed. The only thing that could help you now was seeing your husband living and breathing, in the flesh. So in this way, the days faded dimly into dark nights, and those dark nights into fair-weathered days, whose blissful sunlight and blue skies mocked you and every other citizen of Jerusalem. Still he did not return. You stayed at your window for hours every night, fighting the heaviness of your eyelids and the sag in your shoulders, but inevitably passing into the realm of sleep from pure exhaustion, hunched over the sill with your head resting on your arms. You would wake in that exact same position every morning, accompanied by aches and pains in your muscles. 

One night, there was thunder. You thought bitterly that it would be the perfect weather to reflect your brooding and negative mental state, that it only made sense for there to be a rainstorm, bring it on, but then there was the issue of there not being a single rain cloud in the sky. It was the clear amber sky of an autumn evening just around sunset, annoyingly picturesque, and dappled with only pink and orange stratus clouds. But there was the thunder, a deep, constant rumbling, perhaps growing even louder by the minute. Yes, you were certain now your ears were not playing tricks on you and that it was growing closer and closer, resounding low, and sustaining. In fact, you could feel its very vibrations rattling your teeth in their sockets. A flame of hope ignited in your heart. 

You leapt to your feet and ran to the window, and you saw over the horizon a dark mass approaching. It was as if the raincloud you had ben searching for was on the ground instead, rolling in for the storm. But it was not a raincloud. It was an army. 

The first rider appeared, distinct from the others because he was moving ahead of them. The thunder was the sound of a thousand horses’ hooves hitting the ground. Your heart dropped and your eyes frantically searched for a flag or an emblem, anything that could tell you which army this was. Given the circumstances of the battle, a large, very logical part of you knew it was Saladin and his men. The low chances of Baldwin’s 4,000 poorly trained soldiers beating out Saladin’s 20,000 had been present in your mind all along. However, the tiny part of you that was illogical needed proof, needed confirmation that it was not simply the soldiers of Jerusalem, returning home in glory. 

Now you could see more horses, more soldiers, a score more than you had ever seen at one time before, all charging in your direction, creating a terrific rumbling sound that drowned out all else. Then appearing from over the horizon was the sign you had been searching for; the flaming golden cross of Jerusalem! They had come home! Tears sprang to your eyes as you watched that beautiful God-blessed cross-bearer speed past the stone palace walls and onto the grounds, followed by a steady stream of warriors. You swallowed back tears to avoid your vision clouding over and watched in amazement as that indistinguishable mass of soldiers transformed into a group of individuals, each a man with his own thoughts and feelings and loved ones. Your heart jumped back up into your throat from where it had fallen earlier. Jerusalem was victorious, they had won! But had he survived? 

You tore your eyes away from the window and began to run, throwing open your bedroom door carelessly. As you did, you saw that you were apparently not the only one who had noticed the troops upon their return, and the hallways were abuzz with life. Servants ran about here and there, clamoring to see out the windows and catch a glimpse of the cross that they so loved, so they could see and believe the good news for themselves. Some laughed, and some cried. Matilda was there. You ran by her as you barrelled down the long corridor, heading for the grand staircase. She called after you, but her voice only succeeded in falling in with the muddled cries of all the others, exclaiming as they were. Shouts of jubilation echoed off the impressively high ceilings and carried throughout the space, filling it entirely. It was a beautiful sound. 

You descended the staircase quickly, quickly, dizzy from the spiral shape of it, your legs pumping as best they could. Another pair of footsteps followed in your wake, and Matilda’s calls persisted, but the rushing of blood in your ears overpowered all else. Finally, you rounded the last bend and came out into the downstairs corridor, illuminated by flickering torches mounted in wall sconces. They threw your shadow large and imposing against the flagstones, making it almost seven feet tall, and dancing wildly in the wind you created in your haste. Matilda could not keep up. 

The giant oak doors of the entrance loomed above you, very stately, and so impressive that they usually required multiple boy servants to open them. It was held closed by a series of iron bars, chains, and bolts, which shone in the orange light, challenging you to best them. You got to unhooking the lower latches that you could reach and called for someone to handle the higher ones. A wide-eyed servant boy, though very much afraid of you, rushed to your aid, quickly sliding the bolts and turning the locks above your head. Soon, they were all undone, and rather than wait for the boy to find another to assist him, you slammed your shoulder against the giant, solid slab of wood and grunted, “help me!”

“Your Majesty!” The boy called, panic evident in his voice, “Please allow me to find a-” But you cut him off before he could finish that sentence, growling in frustration and shooting him a menacing glare. He gulped and without further ceremony, helped you push open the doors. As soon as the crack between them was large enough, letting a sliver of fading daylight paint the flagstones pink and yellow, you pushed through them, out into the real world. The boy rushed after you, and behind him was Matilda, something clutched in her hands. 

Summoning all your strength, you ran, gulping down great lungfuls of the smoky evening air. Your eyes searched, wide and unblinking, as your legs carried you closer to the legion of armor-clad men on horseback. Besides about a thousand identically-shaped silhouettes, you couldn't make out much of anything in detail. No way to tell yet, you had to get closer. Your feet slapped the earth, bare as they were, the sound ringing out shrilly in your ears. The soft flesh stung and turned pink, but you were becoming numb to external stimuli and it made no difference. Your arms swung wildly at your sides, and your hair, whipped into coils by the wind, lashed at your face. There was a growing ache in your chest, but still, you were getting closer. So close that now, you could make out a figure. And suddenly, he was there. 

You knew him immediately by his silver mask, glowing in the sun, and his billowing white robes, though they were stained with sprays of brown and red. You ran and ran to him, calling his name and waving your arms, hoping to capture his attention, but it was all so very unnecessary. He had seen you the second you barrelled through those doors, known you by the shape of your body and your movements, even at such a great distance. Quickly, but as if moving in a dream, he brought his stallion to its knees and dismounted sloppily, nearly tripping in his haste, but it was no matter. His mask slipped, lubricated by his sweat, but he paid it no mind. In dreams, he was never able to move fast enough, as if his muscles were stuck in molasses, always preventing him from getting where he needed to be. This time was much the same. He simply could not reach you fast enough, could not feel the safety of being in your arms soon enough. But he ran, his feet digging into the ground, desperate to find purchase, beating into the soft earth viciously. His heart pounded just as hard against his ribcage, which had already sustained a brutal battering earlier during the battle. But now he could make out your face just a little, the curve of your nose and the dark line of your lips. 

The white linen rippled frantically around his flaming, aching body, which he pushed to its absolute limit, trembling from exhaustion though it was. Faster, he commanded it, faster! And somehow, it listened. 

The two of you drew closer and closer until you could see the way his mask was askew, dangling around his throat like a gaudy, oversized necklace. He seized it in his gloved hand and ripped it away carelessly, breaking the string that held it to him and letting it fall. It hit the ground with a dull thud and rolled away. As your teary-eyed smile came into focus, he desperately clawed at his hood and chainmail veil, discarding those, too, in one fell swoop. Those golden tresses, caked in sweat and blood, sand and earth, rain and battle, flowed freely behind him, cleansed by the wind. 

Then you were upon him, there in your nightgown and unwashed, untethered hair and without any shoes, and yet with the biggest smile he’d ever seen, and could all of that really be for him?

You collided with him roughly, unable to stop due to the momentum, and you heard a puff of air pass his lips. A sob passed yours. For the first time, you knew what it felt like to throw your arms around his bare neck and hold him close, and to cry into his shoulder. He held you, too, a bit hesitant and stiff at first, but soon he softened. His arms wrapped around you and his hands rested on your shoulder blades, and he cried. It was silent save for the few sniffs he gave. He let go of himself and buried his nose in your hair, inhaling your warm, rosy scent straight from the source, tears sliding down his golden-blond lashes and landing softly in your hair. He said nothing. Everything he wanted to say, you had already read from his letters. It was your turn to talk. 

“I read them,” you cried miserably, looking up at him with red-rimmed eyes. So much regret, so much wasted time. He knew it all, he saw it there. 

“I read them all, and I love you,” you said, then redoubled your efforts, burying your face in him and drawing him somehow closer. He almost believed that his arms would slip right through you and you’d vanish any second, so he cherished every second of your warmth. But you didn’t. You stayed. He broke away for a second, only to sigh in impatience and violently rip off his gloves, whipping them to the ground behind him. The satin sank into the mud. 

With his naked hands he carefully, almost timidly, stroked the small of your back. It was something he’d always wanted to do. He did this until he was fully convinced you were real, and here, and not just a pleasant vision conjured up by his post-battle delusion. But you felt firm and warm and alive beneath his hands, the fabric of your nightgown the very thinnest of barriers.

He slid his palms up to your cheeks and looked into your eyes. So full of love, they were, full of fear and relief and joy and love. You gasped, feeling his calloused hands burning their print into your cheeks. He grinned at the privilege of touching his flesh to your very own. You parted your lips, wanting to say something, but you could make no sound. You could only stare wide-eyed at each other, loving in silence. 

Behind Baldwin, his army stood still and looked on. Their horses stamped but did not move. The men did not know what to think, or how to behave. On the one hand, they were witnessing something very special; the pure, young love of their master and his betrothed. On the other hand, they were staring at a lady dressed in only undergarments, sharing an intimate moment with her man. Some of them blushed, and some smiled. But nobody, absolutely nobody, could bring themselves to look away. 

Over your shoulder, Baldwin could see the palace staff lined up in front of the great doors, some hunched over in tears of relief and joy, others standing tall and triumphant, filled with pride for their nation. Among the latter were his lady sister Sybilla and her son, and Matilda and Amelia, though they were too far away for him to see. Still clutched in Matilda’s hands were a pair of your shoes, which she had been intending to give to you to put on before you ran outside. As soon as she heard the army approaching, she’d known you would abandon everything and go to him. 

Baldwin pulled you into his side with his left arm, and with his right, he cupped a hand around his mouth and shouted to the sky, his voice ringing clear across the field, “Today, we have won a great victory!” 

In an instant, the field erupted into cheers and shouts of rejoicing, almost deafening in volume. You laughed and smiled up at your husband, whose eyes reflected the pink and purple sunset on the horizon. Then he led you towards the castle, just the same way you had come before, only slowly and fulfilled this time. As you looked at him, your eye caught a glint of something gold and glittering against the bare skin of his neck. 

“Heavenly Father, thank you.” 

Together, you walked home. 

𓆝 𓆟 𓆞

A feast was thrown to celebrate Jerusalem’s victory, and for the first time in over a year, Baldwin sat at the head of the table with his Queen at his side. He wore no mask, and no bandages on his face, and he was adorned only by the golden crown that sat atop his cornsilk curls. So many nobles had greeted the two of you that you lost count, but there was one man in particular that stood out, and his name was Reynald de Chatillon. 

His beard was red and scraggly, spreading across his chin like a wildfire and complimenting the equally red hue of his face. In fact, his skin was florid all over; it wasn’t limited to just his face, though his pudgy cheeks were mottled with patches of red, and full of craters left behind by the pox he’d had as a boy. The pox had almost killed him, but it seemed nothing could snuff out his lifeforce, least of all a silly illness, so he just went on living. The same was true of him when you met him at the feast. Despite his constant brushes with death on the battlefield, he was likely the most alive person in that room. An insane, cruel look glinted in his perpetually open, bloodshot eyes– you weren’t sure you ever saw him blink– and his lips shined wetly beneath his mustache, for he was constantly licking them, his fat pink tongue darting out of the corner of his mouth like some kind of tic. But it wasn’t a nervous tick, and that you could be sure of, because Reynald de Chatillon was never nervous. He was a warlord, equally bloodthirsty and wine-thirsty. Mean, short, fat, and clever, though he didn’t look it. Perhaps therein lied his power. You shuddered to think of how he must appear to his enemies. Thankfully, he was on your side, at least for now. 

Reynald entered with his wife, two sons, and three daughters in tow, and to your surprise the girls were rather delicate and pretty, despite harboring the genes of their brutish father. Each of them had fine and flowing red-blonde hair and fair skin, indicating a life of luxury. Both sons were brawny and imposing, though one was much taller than the other, and perhaps more slender. But absolutely none of the children inspired fear the way their father did. You decided that you did not like him, but at that moment, you couldn’t help but at least respect him, just a little. After all, he was apparently an integral part of Baldwin’s army, given the fact that he was invited to the feast, and you had heard that he was one of the main forces that had led Jerusalem to its bloody victory. 

Just as everyone had said, Baldwin was an excellent King, as you came to see for yourself that evening. He held himself with grace and humility, and his kindness inadvertently demanded the respect of others. In a way, he was just as powerful and intimidating as Reynald, but he greeted his soldiers and knights with gentle, welcoming words and tasteful compliments. You couldn’t bite back your smile as you watched him interact with his guests. It truly was just as you had been told. He was a great King, and a great man. You hoped you could be an equally good Queen. 

Though you were each too busy greeting and entertaining guests to really converse, you and Baldwin stole secret glances at each other whenever there was a second to be spared. Sometimes those seconds between you lined up, causing you to accidentally make fleeting eye contact, only to both look away hastily, knowing you’d been caught by the other. He’d blush, and you’d fiddle with your sleeves, and as subtle as you might have thought you were being, most everyone noticed anyway. To see a young King Queen, so green behind the ears and so obviously infatuated with each other, was something to be read about in fairy tales and great love stories from ancient times, but not to be seen in person. Reynald’s daughters whispered to each other and giggled behind their hands. It was a bit of a scandal. 

When the feast had finally concluded and the last drunken guests trickled out of the great hall and to their respective rooms where they were put up for the night, you and Baldwin finally turned to look at each other without embarrassment. A grin spread across his face, and then one broke across yours, too. Finally, a moment alone. 

Since his return, the two of you had decided to drop the formalities and titles, opting to simply call each other by name, at least when you were in private. He took both of your hands in his and held them gently. 

“Y/N, you make such a wonderful Queen.” 

You couldn’t help but beam. 

“You are the most perfect King. And everybody says so, Baldwin.”

He looked down at the table, shaking his head and blushing a little, but his smile never faltered. Then he furrowed his brow, opening his mouth quickly as if he were about to say something, and then thought better of it and closed his lips again. You raised an eyebrow and squeezed his hand gently. 

“What is it? You were going to say something.” 

He smiled a little and only shook his head, still gazing down at the table, but you persisted. “You can tell me anything, you know. I’m your wife. Now, please,” you urged. He looked up at you, something vulnerable flickering in his eyes as he raised his head again. He held your hands a bit tighter for support and took a shaky breath before asking, “Would you…maybe…want to sleep in my room tonight?”

//taglist: @eatmeandbirthmeagain @lzsia @likeanecho344 @lunargraveyard @yoursoulisinyourkeepingalone @stickparrot @ainselthegreat @luigisang @sad-bag @vamp-hira @madeleinerosexxx

[get-back-homeward]

“You can read the other boys’ side to find out I’m the stinker. I think I’m right. But don’t we all! You couldn’t believe it! It’s a movie! Because I’ve had to take this action against the others, it looks like we can’t stand each other. I can really only speak for myself, but I still like the other three. And maybe it’s deeper than “like.” But at the moment, I’m not stuck on them. I’m not pleased. We are not amused at the moment! I am not loving them. But I know when it’s over I will really like them. People said, “It’s a pity that such a nice thing had to come to such a sticky end.” I think that too. It is a pity. I like fairy tales. I’d love it to have had the Beatles go up in a little cloud of smoke and the four of us just find ourselves in magic robes, each holding an envelope with our stuff in it. But you realize that you’re in real life, and you don’t split up a beautiful thing with a beautiful thing.”

“You know, there’s like three periods in my life. There’s the time when I was at school and just after leaving it. That was when I used to read a lot—Dylan Thomas, paperbacks, a lot of plays, Tennessee Williams, things my literature master had turned me onto. I used to sit on the top level of buses, reading and smoking a pipe. Then there was the whole sort of Beatle thing. And just now again I feel I can do what I want. So it’s like there was me, then the Beatles phase, and now I’m me again.

It’s rather serious—life. And you can’t live as if you have nine lives. I find myself doing that often. I think everybody does, saying in his mind, “I’ll get it tomorrow.” But I can’t do that anymore. Take One with the Beatles should have been like I said, with a puff of smoke and magic robes and envelopes. But we missed Take One, so now we do Take Two. And in the disappointment of Take Two—I feel I can always find something good in the bad—the good thing is that it really has made me come to terms more with my life. As a married couple, Linda and I’ve really become closer because of all those problems, all the decisions. It’s been very real what I’ve been through, a breath of air, in a way, because of having been through very inhuman things.

The Beatle thing was fantastic. I loved every minute of it. It was beautiful. But it was a very sheltered life. Why, somebody would even ring me up in the morning and say, “You’ve got to be at Apple in an hour.” It got very nursemaidy. If you are a real human, you’ve got to wake yourself up. You’ve got to take on these tedious little things because out of the tedium comes the joy of life…”

Life: Paul McCartney talks about the Beatle breakup and his new life. (April 16th, 1971)

(Note: I’ve temporarily removed the page scans from this post because Tumblr doesn’t seem to be uploading the inline-images in their original resolution as they should be. Will see to an alternative display solution, if I don’t figure something out within Tumblr itself!)   

—

An interview by Richard Meryman

So the separation became a divorce. On the last day of 1970, Paul McCartney filed suit in London against John Lennon, Ringo Starr and George Harrison to dissolve their partnership of the Beatles & Co. McCartney charged that their business manager, Allen Klein, was incompetent, and that the far-flung business affairs of their corporation, Apple, were a vast bookkeeping mess. Then the strained silence that had gripped the famous quartet for months became a war of words. In the course of a rambling 30,000-word interview in Rolling Stone, John accused Paul of trying to run the show. “We got fed up with being sidemen for Paul,” he said. George said he had once walked out because Paul had demonstrated a “superior attitude” toward him musically. Ringo claimed that Paul—“completely out of control”—had berated him over a conflict of album publication dates and said, “I’ll finish you!” Until now, Paul himself has remained silent. Recently he agreed to the following interview, in which he explains his motives and speaks in his defense. 

McCartney was interviewed in Los Angeles, during a recording session for his new album Ram. The album, which was partly recorded in New York, contains 11 new songs by Paul, including several written in collaboration with his wife Linda. It is scheduled for release May 15.

Keep reading

[fairydares]

loook i get why the idea of riding the "anti/pro" fandom disk horse makes people gag a little in their mouth and try to opt out entirely, but here's why i went from feeling exactly the same way to taking a firm profiction stance. I've been meaning to make this post for a while.

~10 years ago, I posted a fic for the first time and it got its own harassment campaign. The fic wasn't even sexual, and wasn't going to be (it remains incomplete). It was accurately rated T on fanfiction.net. Anyone in the Fairy Tail fandom will understand this: I literally got harassed for writing a "Lucy leaves the guild" fic💀.

After many nice comments, someone left a pretty nasty one. Hurt, I messaged them back. They acted super attacked that I'd responded (lmao) and after we argued, threatened to "rip my shitty story apart in the comments section" if I responded again. I told them "go ahead lol."

They went ahead.

Now know that it was a relatively small harassment campaign, but at the time, it was devastating. Right around then, I wound up in the hospital. After I got out, I went to excitedly check my fic, and found several reviews saying things I wouldn't repeat to my worst enemy. I was suicide-baited more than once, told "thank fuck you finally abandoned this shitty story, dumb cunt," stuff like that.

There were several accounts involved, and I can't say for sure, but I suspect at least a couple different people were involved, though probably at least half of it was one person.

All the other comments were screeching about how I hadn't updated, mostly. "NO UPDAAATEE WHY DOES THIS ALWAYS HAPPENS TO MEEEE??!!!" was one that stood out after I'd been miserable in a hospital for an extended period of time.

Idk what people think is going on when FT fic authors write this trope, and frankly I don't give a fuck. Because while I was partly writing the story out of some young, cringe feminist rage, I also did genuinely have a real story I was compelled to tell. I was inspired by another, popular fic I loved which used the trope to talk about how trying to shoulder our burdens alone really just hurts both ourselves and everyone who cares about us.

My own story was ultimately going to have similar themes, with more focus on strength, what it means, and in what contexts earning and having it actually matters. In retrospect, no wonder I wound up in hot water, because at the time "Lucy vs. Strength vs. Misogyny" was the FT fandom's Designated Nonsensically Activist Debate™. But that's partly why i wanted to write about it; engaging with the fandom had gotten me thinking about it 🤷‍♂️

Not too long after that, FFNet oh-so-benevolently granted us the ability to delete comments from our own stories (they never took my reports seriously at all, afaik). I deleted all or most of the harassers' comments (may still be a one or two up, and i'm fairly sure there's a couple comments defending my fic from the harassment) without saving screenshots, which I really regret now. I was just so mortified and full of self-loathing about the whole thing that i wanted to forget it completely. Something that had brought me joy at a very lonely, vulnerable period of my life had turned so negative, and i couldn't even tell the people closest to me about it without being made fun of for writing anime fan fiction.

I didn't understand why this happened at the time, but--after a period of trying to forget/bid out of it all with a slight anti lean (a common approach I see people use, and one which I'm not proud of adopting)--I just had to figure out What the Fuck Even Happened There. And I'm telling you, after years of reflecting, wrestling with both sides, and educating myself, that this "status quo of harassment" culture which pervades fandom goes way deeper than you think and comes out of a way darker well than you probably realize. An astonishing amount of this is, quite literally, TERF shit and evangelical shit.

Trying to be in fandom and take a stance of, "Anti/Pro shit? Ew, I'm Not Touching that," is like swimming in a heavily polluted river and being like, "Poison? Cringe. Not me lol."

You might be lucky enough to be in a less-polluted part of the river (AKA a relatively non-toxic fandom, in which case good for you!)...but tbh this rhetoric and peer-signalling will still seep in.

I can't stress enough that pro-fiction, AKA "proship", is the normal, leftist-about-art-and-sex opinion. Pro-ship is against all the horrible things you're against; in fact, pro-ship isn't trivializing real trauma by equating it with fictional trauma, or trying to apply literal evangelical/radfem solutions--which are proven not to prevent or help. Profiction/proship is literally just saying, "Fiction is fiction, reality is reality, and the two don't have a 1:1 relationship. And historically, trying to censor just things we've decided are bad has done nothing but get LGBTQ+ and POCs censored. Therefore, depictions of illegal things shouldn't be censored." That's it. "Proshippers all ship problematic ships," is a brazen lie. Many of them share other fans' disgust for those ships, they just don't believe in censoring fic authors over it.

It is also taking a stand against harassment because--and I hope my own story has helped drive this home--as with all groups who adopt ingroup/outgroup thinking, antis are defined by their tactics, not actual stances on real, serious issues. What happened to me was absolutely a result of anti, "it's okay to 'bully out' anything I just don't like" mindset pervading fandom. In a way, this was the mindset's final form. They didn't even feel the need to cite a reason the trope was "bad" or "wrong"; it annoyed them, and they viewed their own feelings as a valid enough pathway for policing to go right ahead and do so.

In the interest of offering solutions instead of just bitching about problems, I might make a "how to know if you've bought into these types of views"-type post sometime. Also might come back to this and provide some sources/citation.

[elsa-fogen]

Ok, Rosie headcanon for you!! Might be a slight AU but whatever lol

I like to imagine that Rosie is actually REALLY old. Died in the 1400s or something (maybe for being a suspected witch 👀) , and she just sort of kept up with the times until she found a period that suited her (getting there on that). This also ties into Cannibal Town/Colony name thing!!

Idk how much you know about American history (I know if I didn't live in this crazy country I'd know nothing by choice lol), but in the late 1500s Roanoke Colony was established where North Carolina is now. They struggled with supplies and relations with native people so the founder left to get supplies/help etc; when he came back 5 years later everyone had disappeared without a trace, no graves, bodies, only the word "CROATOAN" carved into a rock. It's a mystery nobody has solved since.

BUT.

WHAT IF.

They ran out of resources, right? What if food ran so low that people began to resort to cannibalism? And things were going so badly that some desperate person tried to summon a demon, anything to help them?

And Rosie, twisted and dark as she may be, took her own sort of sympathy on the poor, struggling colony of Roanoke, and took them all down to Hell as her own colony of souls: Cannibal Colony, leaving Roanoke empty without a trace of its inhabitants. From then on, she just sort of adopted any cannibals who fell into hell as part of her little town, so long as they assimilated and didn't cause trouble. She owns all their souls, yes, but they have some level of peace and security knowing she'll take care of them.

With the "updating culture" thing, I also headcanon that she liked to keep up with the times and stay current until sometime after slavery ended, a little before Alastor arrived (depression era) she didn't like where modern times were headed and just sort of...stopped progress, like a time capsule. Modern times started progressing too fast, and she didn't want everything to be forgotten in the rush to the future, especially the way the human world was looking with the depression. She did rename them to Cannibal Town eventually, since it was more than just her original Colony that gave her Overlord status.

I love Rosie 👁👄👁 sorry for the giant text block lol

P.S. Your art inspires me so much!! And your characterizations are *chef's kiss* I feel like your blog is consistently one I can come to to get canon-accurate character content without facing an onslaught of r********e (finally someone who can't stand it as much as me! Sending all the love 💓

oH WOW! This is really damn good and interesting headcanon! You almost convinced me to change mine to this (well, i like the idea of Rosie being SUSPECTED witch gshssh angssssst yessss). I realized that actually I don't have much that keeps me from just accepting this. Only 2 things

one is that she in her life was fighting for women's rights, and keeps doing it in hell, but i guess she still can even being older.

second one is more important. Rosie and Alastor are roughly same age (30-40 age gap is nothing in hell, were age gaps can be thousands of years) and this is one of the reasons they get along, i think.

Plus in my plot Rosie being a relatively young overlord plays significant role...

But as i said, you headcanon really cool! Maybe i'd use it for some new AU haha

P.S. Your art inspires me so much!! And your characterizations are *chef's kiss* I feel like your blog is consistently one I can come to to get canon-accurate character content without facing an onslaught of r********e (finally someone who can't stand it as much as me! Sending all the love 💓

GAHYHHHAFGS THANK YOU! I'm really happy to know that i'm not alone on this hate board hsbfsdhfj

Here you can be safe, never ever you'll see anything positive about this ship on my blog 😂 (no offence to those who likes it) Love you too 💖💖💖

[demonslayedher]

Kamado Family Name Analysis

竈門: Kamado A rare but existing surname, the hearth (竈, kamado) is also an important gateway (門) through which disease can enter a home and make a family sick, so it therefore needed special attention in order to keep the family healthy. Likewise, it required care so as not to cause fire damage. However, it was likewise the source of sustenance for a house’s inhabitants, so the state of a hearth also reflects the state of the family. To say things are lively around a hearth is to say that a family is doing well, to say that the hearth is broken is to say that they’ve lost their fortune, and so on. You could also think of the fire itself sometimes being a cause for danger, something susceptible to evil influence, like how it might burn humans, so it took having a god of the health to protect against that too. These are reasons why the god of the hearth has been worshiped since ancient times, not only for protection from the dangers of fire, but also for prosperity.

As for the the personal names throughout the generations, follow me below...

Sengoku Period (often considered 1467–1568, though other dates are in use):

炭吉: Sumiyoshi Although you don’t typically see charcoal (炭, as sumi or tan) in a name, 吉 isn’t all that uncommon, whether as yoshi or kichi. It means “luck.” It’s worth stating right away that although making charcoal means working with fire for a few days at a time, it also means the longer-term work of forest management. A charcoal worker is nothing without plants. Notice the 山 (mountain, yama) that is also with 火 (fire, often hi or ka) in the 炭.

すやこ: Suyako Presented only in phonetic hiragana, we don’t have kanji to read into, but this is a pretty clever name. Because how -ko makes it sound like a typical girl’s name, similar to her descendants Nezuko and Hanako, the su also makes it feel similar to the rest of her family. Suya doesn’t really mean anything on its own, but suyasuya is an onomatopoeia for “sleeping soundly.”

すみれ: Sumire Another clever one presented only in phonetic hiragana. Sumi makes it sound like she inherited the charcoal family name, but sumire means “violet,” so this is a precursor to later Kamado family naming trends. (However, the flowers she gave Yoriichi were not violets, but Catharanthus roseus—as a fun tidbit, these are called nichinichisou, that is, “sun-sun-grass” (日々草).)

Meiji Period (1868–1912) & Taisho Period (1912–1926):

炭十郎: Tanjuurou (Whatever)+郎(rou) is pretty common in men’s names, since it’s basically like adding “son” to the end of boy’s name. Using numbers in men’s names (like the number 10 here, 十) used to be relatively common too.

葵枝: Kie Although 葵 (aoi or ki) is commonly translated as “hollyhock” (due to being conflated with tachiaoi), it is more accurately translated as “wild ginger,” but this is annoying because even though it has a similar scent, it is not actually related to ginger. Let’s just call this low-growing herb aoi, since it has a lot of religious connotations with ancient shrines and festivals—but this is also annoying, because there is a character named Aoi and her name is written phonetically and might be in reference to the color. So let’s use the Latin name for this genus, Asarum. 枝 (e) is “branch,” so Kie’s name is literally “a branch of Asarum.” But, if we want to go a step further, in older ways of transcribing Japanese, 葵 used to be written phonetically as a-fu-hi with a-fu meaning “to encounter (later on transcribed as au)” and hi being a word representing a god’s power, so it’s said that the a-fu-hi/aoi plant symbolizes coming upon incredible power. How ironic that Kie married into a family known for Hinokami Kagura.

炭治郎: Tanjirou We’ve covered 炭 and 郎, so why the 治? This is a pretty common way of adding the ji sound to a guy’s name (like Hakuji), but why this one instead of, say 次 or 二? This may be because Gotouge wanted to give his name both fire (火) and water (水)! You can see the fire in the charcoal kanji, but the three dots at the left side of 治 are the water radical, which often means the kanji might have some association with water. Although 治 literally means things more like “quell” or “reign” or even “heal,” it can also mean being in control of something like a river.

禰豆子: Nezuko First off, most OS systems do not express this first kanji correctly. The left radical would look more like ネ, with 爾 on the right. Alas, 禰 (ne) is a bit of a rare kanji in the first place, meaning “ancestral shrine.” This is kind of heartwarming what with how connected Nezuko is with her family, and how the checkerboard pattern the Kamado family uses also denotes a continuity of family. As for the 豆 (zu or dzu or mame), this is “bean.” Beans are deeply tied with warding off demons. This is especially seen in the Setsubun custom of throwing beans at demons to cast them off. But, more recently I stumbled upon the knowledge that the kurobe tree (Japanese arborvitae/Thuja standishii), a coniferous evergreen with flattened branchlets, is also called nezuko (in phonetic katakana, ネズコ).

竹雄: Takeo “Bamboo man,” with 雄 (o or yuu or other readings) being a pretty common thing to stick to the end of a man’s name. It’s a kanji with a sort of heroic ring to it if you're adding the masculine -o ending anyway). Fast-growing bamboo (竹, take) can be a problem if, say, you primarily focus on making charcoal out of oak, but bamboo charcoal has a lot of uses for keeping spaces around the home free from humidity and bugs. What’s more, bamboo itself is a bit of a heroic plant—it grows straight, stays strong through the winter, and can stand a lot of pressure and still flexibly bounce back. I've also heard of it being associated with happiness because there is a bamboo radical at the top of the kanji for "smile/laugh" (笑).

花子: Hanako “Flower Child.” The plants are a bit obvious in this one.

茂: Shigeru Another common manly name, “to flourish.” Like plants would flourish.

六太: Rokuta I have tried really, really hard to look for hidden meaning this one. He’s just “six” (六, roku) with another common way of ending a boy’s name, 太 (ta or tai, for grand, broad, magnificent, or fat). Tanjuurou and Kie weren’t feeling very creative by the time they got to this one. Couldn’t you guys at least have given him a plant reference? That would have really helped my meta out, thanks. But maybe not all is lost on this name! After all, remember how we might conflate 火 (fire/hi) with 日 (sun/hi) in Hinokami Kagura? Arguably, the sun is just as important for charcoal workers who manage the forest! 日 is not the only way of writing "sun." There is also 太陽 (taiyou)!

Heisei Period (1989–2019) & Reiwa Period (2019–current):

カナタ: Kanata KAMADO FAMILY, EXPLAIN. First off, nobody else born into the family has a name in katakana, and by the era Kanata is born, this would be pretty unusual for a boy. I can only assume this choice was made in order to make an obvious connection to his great-great-grandmother’s name, カナヲ (Kanao). That being said, did they simply forget to give their eldest son the traditional charcoal name? Or did they notice a plethora of girls throughout this series named “Sumi” and decided to avoid it? In that case, too bad they forgot all about the existence of Ubuyashiki Kanata! (Her name was written in phonetic hiragana, かなた.)

炭彦: Sumihiko Oh good, the Kamado family got their act together and remembered the kanji they were supposed to pass on. As for that -hiko, I’ve heard some Japanese fans try to read into how it was also used in one of Muzan’s fake names, 月彦 (Tsukihiko, as he went by in Asakusa when married to a woman named Rei), but 彦 (hiko) is also so common at the end of men’s names that I don’t see any merit in digging for connections. What we can dig into, though, is 和語 (wago), that is, native Japanese words that existed before the influence of Chinese and the writing system that went with it. Hiko meant “a boy endowed with a divine spirit” (the equivalent for a girl was hime, which you might recognize later became a word for “princess.”) And why stop there? This still brings us back to hi, the divine power that is sometimes just a divine power, sometimes is fire, and often is the sun.

Speaking of the sun, here’s a couple honorary Kamado descendants, because they have really good homage built into their names:

燈子: Touko Remember that 火 (hi) character for fire which you can also find in charcoal 炭? It’s fitting that fiery Nezuko’s great-granddaughter has it built into her name! The 燈 (lantern/tou) has all sorts of hopeful, positive connotations about keeping a light going in the darkness.

善照: Yoshiteru Another clever one! Yoshi is another reading of the zen kanji (善, virtue) used in Zenitsu's name, and 照 (usually read teru in names )also means to “to illuminate.” It’s got a hi too! This time it’s the 日 for sun! Oh! And those four dots at the bottom of 照? Kind of looks like a fire at the bottom of a hearth, doesn’t it? That’s because this is also another radical for 火/fire, it’s just been broken into four different strokes!! He’s got fire and sun!! So much hi! But let’s not forget, hi can also just be a general way of referring to divine power, right? That is essentially what lightning was always thought of—a very, very powerful divine power. And certainly one that illuminates things, doesn’t it? There’s no lightning directly pounded into this name, but the associations are easy to make.

Okay, now really just throwing one more in for fun:

青葉: Aoba This is truly just “green leaves.” Or is it? Actually, the history of different color names across different languages and periods of time is very interesting, and it’s lead to 青 having multiple meanings. Blue and green didn’t always use to be separate ideas, so this kanji used to stand for both of them until 緑 (in Japanese, midori) came along. Nowadays in mainland Mandarin Chinese, you tend to use 绿 (lǜ) for green and 蓝 (lán) for blue, with 青 (qīng) reserved more for a blue/green shade or more generally with youth. In Japan, 緑 (midori) is used for both the color green and for the greenery of plants in general, and 青 (ao) is used for various shades of blue… typically. Sometimes it is still used for “green,” which is why traffic lights are “red, yellow, BLUE,” and sometimes, well, leaves are also called blue. Anyway, because the name is likely in homage to his great-grandmother and because he’s got the kanji to go with his, this is part of why I interpret Aoi’s phonetic katakana name (アオイ) as being in reference to the color (which is also used a lot in her character design) as opposed to the aforementioned plant. (More on Aoi, Kanao, Kanae, and Shinobu's names here.)

[authormars]

Molting

Since people liked my last headcanon, here's another one. What happens when it's molting season?

I want to make one thing clear and that is that I did no research for this so if how they molt isn’t accurate to the animal they resemble, sorry, but I am stubborn and refuse to do research right now.

Lucifer

Absolute bitch. His feathers hurt, his body hurts, he is shedding everywhere, fuck you.

There's a reason the brothers and Diavolo call it his "Angelic Period"

The first day, he's just slightly uncomfortable because his feathers are crowded, but whatever. He'd just preen them tonight.

Every day after that for a literal week, he is uncomfortable and wants to fight everyone. He has threatened to punch Diavolo multiple times.

After that week, don't ask him about it, he'll pretend it didn't happen.

His lasts a week and is pretty bad, probably one of the worse ones out of everyone, and consistently happens every other month.

Leviathan

His skin either comes off in little amounts or all at once. There's a reason Mammon has a full Levi skin in the corner of his room.

The second least uncomfortable brother when he's molting, due to it mainly just being he has to take off old skin and scales.

His is over in maybe three days and isn't as consistent as Lucifer's.

Satan

Real quick, I have to clarify. In my headcanon, my universe, whatever you want to call it, Satan isn’t a unicorn. Based on his demon form in game, I’ve decided he’s a basilisk lizard — which is the Jesus lizard by the way — so he does legitimately shed.

His skin doesn’t normally come off all in one day. He has to take it off himself.

He isn’t bitchy like Lucifer because it’s not painful, but he is a bit more irritable because it is slightly uncomfortable. Like tight clothes, but for your skin.

His molting lasts three to four days and happens around once every four months or so

Asmodeus

Asmo’s molting is few and far between. Maybe once every year. He normally just stays in his room for the three to five days it lasts to take care of himself.

It doesn’t hurt, that same tight clothes feel, but he takes it as an opportunity to be rude because he has an excuse.

Belphegor

He doesn’t mold like his lizard brothers, but sheds like Lucifer. Everywhere. You walk into a room while he’s shedding and its covered in fur and hair.

His occurs every spring, since he has to shed his winter coat for summer. The least uncomfortable brother due to it just being fur coming off, but the most inconvenient because it gets everywhere.

Lasts a week or two and then nothing until the next year

Mammon and Beel don’t shed/molt since Mammon’s feathers burned off in the fall, leaving the weird bony wings he has now and Beel is a beetle so he doesn’t molt.

I finished this surprisingly quickly, but I'm also procrastinating on my Valentine's Day fic that I have to finish so...

Also, thank you to everyone who commented on the last post I made, you are all so sweet and make my day so much better <3