#its totally anatomically accurate !!!!

[wowiezowiebaby]

Someone provided me with the idea of pumpkin patch but as a Dullahan, so I drew it !! Unfortunately I can't draw horses for the life of me (trust me, I tried for about 10 minutes before weeping and throwing away all of my art supplies forever) so you just get pumpkin .. and a small portion of horse ..

[aahsoka]

felt good about my drawings but nope my teachers grading scale always makes me feel not good lmfao

[serpentface]

GUARDIAN LIONS

An Odomache guardian lion cult statue (alabaster with gold plating and inlaid pearl and lapis lazuli), of the curved-reposed maned lioness variant.

Guardian lions are a Wardi architectural/artistic motif that confers protective benefits to the buildings or utilitarian objects on which they are placed. The practice of artworks depicting lions as place-guardians long predates the Faith of the Seven Faced God, and has been translated into contemporary practice as aspects of the Face Odomache.

This Face has core functions as a representation of sovereignty and military might, but additionally is interpreted as both a protective patriarch and nurturing mother to Its people. Lions represent this function well, as a powerful and venerated animal capable of both tremendous ferocity and gentleness (these functions combined in their renowned fierce protection of their own cubs).

Guardian lions come in three distinct sex variants, which impart different meanings.

Male guardian lions most typically are used to represent the Patriarch Odomache, the Face as a divine father that watches over the collective household of Its people. This iconography is most common in architectural guardian lions placed upon homes, as a representative of the father's intended function as the protector and arbiter of his family. They effectively 'guard' the culturally important private familial sphere, with their presence being a reminder to potential trespassers (literal and figurative) that retribution will be severe.

Maneless guardian lionesses are used to represent Odomache as a protector of pregnant women and children, in a form that suggests both an underlying ferocity and a feminine ideal of gentle nurturing. These are less common than the other variants, and mostly appear on smaller art and ritual objects used in conjunction with pregnancy and childrearing. Their most prominent core use is being a standard decoration on the carved ox horns used by midwives to bear oil (anointed upon mothers and newborns) and to pass over women in labor for spiritual protection. They're also common as small art objects or toys for babies and young children.

Maned guardian lionesses express a totality of these functions. Core depictions of the Face Odomache usually use a maned lioness, with the androgyny unifying Its functions as the Patriarch and the nurturing mother into a protective guardian mother to the collective people. These depictions have ubiquitous uses (the only context you Rarely see them in are as household guardians), and are the typical variant seen in important public spaces, and standard as cult statues to Odomache.

The guardian lion is a very old motif with regional variants, and comes in a variety of stylistic forms. There is very little standardization to the style (with some standardized elements only just beginning to develop in cult objects in recent history). However, there are very well-established conventions for the lion's posture that often distinguishes these guardian figures from non-functional, generic lion art, and imply more specified meanings.

STANDARD POSTURES:

Nursing lioness:

Glazed pottery nursing lioness. This is a decorative art object with guardian functions, likely to be placed near a child's bed.

The lion is at rest, belly turned out to the side to expose teats (occasionally accompanied by suckling cubs). Some unique variants are partially anthropomorphized, placing humanoid breasts in the chest area (rather than the more typical anatomically accurate teats). The posture is relaxed but alert, and will be positioned so that the face looks upon the point of approach. This pose is almost exclusively used for guardian lions as protectors for children, displaying a fierce animal mother figure in an entirely gentle, nurturing form.

Reposed:

Unpainted stone statue of a reposed male lion.

The lion is at rest. There is little active threat in its pose, instead invoking a relaxed, self-assured guardian. This motif appears often in non location-specific decoration or general public spaces.

Curved reposed:

Sketch of the curved-reposed alabaster maned lioness as seen from above, as it would appear in a temple shrine. A bowl is placed for libations, a tray for small offerings of flowers and grain.

The lion is at rest, with its front positioned to confront the viewer while the length of its body is simultaneously visible. It is a relaxed pose in a resting position, but the body's contortion makes it more confrontational towards onlookers, suggesting that a cautious and humble approach is necessary. This is most common in cult statues (where offerings will be placed along the length of its body).

Seated:

Seated Loberan house statue guardian, painted stone.

The lion is seated on its haunches, suggesting watchful alertness and an implied threat, but that the animal is secure in its strength and at rest. This type is the most common as an architectural feature for homes, representing patriarchal guardianship of the family and the domestic sphere within. This pose is almost always male, with very occasional maned lioness variants.

Standing/Striding:

Painted marble statue showing a standing/striding maned lioness. The statue is three dimensional with its sides carved in high relief; the pose will appear to be static when viewed from the front, and is mid-stride from the sides. The tail between the legs is unusual for a guardian lion motif and its placement is entirely due to the physical restrictions of this statue's form.

The lion is standing at attention or depicted mid-stride (often both simultaneously), suggesting readiness to strike. This confers a sense active protection and intimidation, and most often appears flanking the entrance in high status public spaces like temples and palaces. As a person approaches a standing+striding variant, they are greeted with a static front staring them down, and the lion appears to walk as they pass, suggesting they have entered an important space being guarded with high alertness- they can feel safe under its active protection (or know that it can and will (figuratively) come after them if they are a trespasser).

Conquering:

An oil lamp depicting a conquering maned lioness. The trampled figure's nudity in this context codifies him as a 'barbarian', while the artificially lengthened skull and long beard distinctly identifies him as a Finn king. This is a piece in the ancient artistic tradition known as 'seething and coping'.

The guardian lion stands over and/or actively tramples a prone form, usually human. It shows the conclusion of the guardian lion's function- the defeat and subduing of a threatening enemy. This enemy figure will often be expressed as a generic 'barbarian' (usually coded via nudity) or representing a specific population by depicting recognizable (real or imagined) practices of dress and adornment. Animals sometimes appear as 'enemies' instead, which can vary depending on the purpose- a dog (generally disliked animal) casts the enemy figure as pathetic and easily destroyed, a king hyena or crocodile (respected/feared large predators) casts the enemy as powerful but overcome by greater might.

This motif most often occurs in art used in state/military contexts (where it quite literally shows an embodiment of the state trampling a foreign enemy to death), but is used in everyday objects as well. The 'enemy' figure (whether a human caricature or an animal) can represent any number of threats perceived by an everyday person - bad luck, curses, a hated neighbor, thieves, livestock predators - and conveys a guardian spirit overcoming these threats.

[mistfallengw2]

How do charr hands function? Here's my headcanon (with drawings!)

So I made this poll earlier today and I ended up making some sketches to explain how I headcanon charr hands and their supposedly retractable yet too big claws. The idea is that both the game and the books are partially right: claws can be big (not as big as the models), and they're semi-retractable (so fully-fluffy paws). [Disclaimer: I am bad at anatomical drawings and did not try to make them super accurate :')]

Basically charr fingers are made of three phalanges, but functionally they're just two, with the 2nd and 3rd being much shorter and sort of "merging" with the claw itself, which is mostly supported by the 3rd and starts very close to the knuckle between them. The palm is covered almost entirely by a skin pad/paw pad, which usually extends to the first phalanx of each finger, and the fingertips are covered by pads as well.

The claws are semi-retractile, though the exact range of motion depends on the individual's genetics (claw size and shape + hand anatomy) and preferences (how much they trim the claw). The ability to retract their claws is managed by specialized extra tendons and muscles in the hand's structure, and they can lock the claw in place or move it, even while the fingers are bent, though with some limitation at the extremes of movement. While the claw at rest will stay at a "safe" angle, the claw's bed can shift on the cartilage structure when pulled, sliding back into a "sheathed" position or be pushed outwards. [note: I was too scared to go too far with the "x-ray" sketches and probably the claws could go a bit further back in the finger lol]

Ancestrally, this system kept the claws from always digging into the ground and losing sharpness when running on all fours, while still allowing for extra grip when necessary (similar to cheetahs) and the use when fighting or taking down prey. During the evolutionary transition in which charr started walking upright most of the time and using tools, it lost some of its ancestral necessity and functionality. However, instead of turning into something vestigial, charr evolved the ability of controlling each claw's movement independently from the rest of the finger, allowing for greater precision, fine motor skills and dexterity.

The pad grants grip and softer manipulation of items, while the claw handles movements finer and more precise than the pad allows, and other races find it complex, fascinating or a bit freaky. Some say that charr are as dexterous than humans, if not more, which is quite an accomplishment for creatures with such big hands.

That said, variety is huge among charr. Some have stubby paws with big, wide claws, while others have long, slender fingers with narrow claws.

Claws are still used as a natural weapon by many soldiers, but it's totally not uncommon for charr to file their claws down or keep them blunt, as there's a huge variety of reasons for not wanting sharp knives on one's fingers (job requirements, handling of delicate materials, safer interactions with cubs or creatures with softer skin, personal preference, etc), and some even keep their claws at different lengths for specific uses.

That said, claws can't be trimmed beyond the quick without bleeding or potential damage, and since it extends out of the sheath it's not possible for a charr to fully sheath their claws. Claws grow quite fast to make up for the daily wear and tear, so upkeep must be done regularly, as trimming too much might temporarily impact coordination. Declawing can happen during combat or following injury, and those affected might wear prosthetics/fake claws to make up for it.

[saintsenara]

What are your thoughts on mediwitches and medical care in the Wizarding World?

thank you very much for the asks, @thesilverstarling and @yorickofyore, which i have handily combined into one for the chance to talk about a worldbuilding question i am legitimately obsessed with:

what the hell is going on with wizarding medicine? part one: the structure of the healthcare system

as i've said here, something which is really interesting when thinking about the wizarding healthcare system is that the signing of the statute of secrecy - the event which causes the total separation of the magical and muggle worlds - in 1689 takes place before a period of considerable advancement in western medicine.

i really like the fact that the canonical worldbuilding around potions suggests that many disciplines of wizarding science are more closely rooted in the medieval and early-modern history of science than their muggle equivalents. i also like the fact that the natural end point of the archaic muggle technology which is used in the series to make the wizarding world seem whimsical by virtue of it being old-fashioned [steam trains etc.] is to assume that wizards live in a world where cutting-edge medical technology is unheard of...

and, therefore, to think of wizarding medicine as a discipline which is meaningfully distinct from its muggle cousin.

and which isn't necessarily more advanced...

the historical context

a muggle physician working in what is now the united kingdom when the statute of secrecy was signed lacked much of what we would take to be basic medical knowledge today, even if he'd studied medicine at a university. he wouldn't know what germs were, for example, and he might still believe that the body was governed by four humours [a theory which was starting to be questioned at the time]. he would never have seen a stethoscope [not invented until 1816]. he would consider the microscope [first used in a scientific context in 1666] bizarre, new-fangled technology - and he is unlikely, especially if he worked outside of london, oxford, or cambridge, to have ever seen one.

he would have had less opportunity to learn about human anatomy, no matter the form his training took, than medical students today. dissections were fairly uncommon, for religious reasons, and surgery didn't really exist as a field... not least because anaesthesia wasn't available until the middle of the nineteenth century.

this is not to say, however, that his anatomical knowledge would have been wrong.

he would probably have relied for his understanding of the inner working of the body on a text called de humani corporis fabrica [on the fabric of the human body], published in the 1540s by the belgian surgeon andreas vesalius. this text - a detailed study of the human body [which supplanted the handbooks in use prior to the sixteenth century - those of the roman physician, galen] - was possible because vesalius managed to obtain a steady supply of executed criminals to dissect. it's a fascinating text - not least because it's still pretty accurate.

as a result, our physician would be aware of many of the major medical discoveries of the later 1500s and 1600s - such as the structure of the musculoskeletal system, the fact that blood circulates in the body, and the fact that the human lungs require the inhalation of air to function.

unless the need for a surgical treatment [such as the extraction of a tooth or the amputation of a limb] was obvious, most of the treatments he would prescribe would be herbal - and his dispensary would include not only plants from all over eurasia, but also from european colonies in the americas.

he might, for example, be found prescribing chocolate... which would make madam pomfrey happy:

“Well, he should have some chocolate, at the very least,” said Madam Pomfrey, who was now trying to peer into Harry’s eyes. “I’ve already had some,” said Harry. “Professor Lupin gave me some. He gave it to all of us.”  “Did he, now?” said Madam Pomfrey approvingly. “So we’ve finally got a Defense Against the Dark Arts teacher who knows his remedies?”

it's important to note that many of these traditional herbal remedies genuinely work. plenty of modern medicines are developed from them [the most widely known, i imagine, being aspirin], and anyone taking a herbal remedy should be aware that they need to check how this remedy interacts with any other medication or supplements they take [especially - i beg - if the herbal remedy in question is st john's wort...]

but it's also true that our early-modern physician would spend a lot of time prescribing various odd pastes, poultices, potions, and powders, made from ingredients such as stones, spiders' webs, animal blood, and human body parts.

[he might even have recommended some of his patients swallow a bezoar - even if the efficacy of these as a cure for poisoning was starting to be doubted in the seventeenth century...]

and his go-to treatment would - of course - be bloodletting, to remove "bad blood", the cause of myriad ills, from the body.

jkr is - obviously - extremely fond of using these medieval and early-modern remedies as part of the worldbuilding around magical medicine. she's also fond of extending the obsolete technology which is used to make the wizarding world feel whimsical into the realm of the body - wizards wear monocles and use ear trumpets, both of which are assistive devices, because they make the setting feel more magical to a reader in 1997 [and beyond] than glasses and hearing aids.

but there is - if one wants there to be - a sinister undercurrent to the idea that all aspects of wizarding healthcare retain a pre-modern flavour.

wizards do canonically have attitudes towards the body, illness, and disability which, when interrogated, don't seem to have moved on much from the 1680s... which is why this answer is definitely going to end up having a part two, on wizarding attitudes to the body.

for now, though, let's look at how the healthcare system is structured.

the structure of the wizarding healthcare system

the two medical institutions we see in canon - st mungo's and the hogwarts hospital wing - are whimsical pastiches of aspects of the british healthcare system: st mungo's is an nhs hospital [hence the reason it seems to be free - although i think it's interesting for authors to imagine that it isn't...] and the hospital wing is a boarding school infirmary.

st mungo's is immediately familiar to anyone who has worked in a hospital - especially characters like this patient from order of the phoenix:

“And that woman over there,” he indicated the only other occupied bed, which was right beside the door, “won’t tell the Healers what bit her, which makes us all think it must have been something she was handling illegally. Whatever it was took a real chunk out of her leg, very nasty smell when they take off the dressings.”

but the structure of the modern hospital - its departments, its staff - is a post-1689 invention, as are the non-hospital spaces [gp's surgeries, dentist's and optometrist's offices, pharmacies] in which healthcare takes place.

and so how might the places in which healing occurs differ from their muggle equivalents?

st mungo's hospital for magical maladies and injuries

like any hospital, st mungo's offers a combination of emergency and specialist treatment. it doesn't seem to offer general healthcare - such as check-ups - and it doesn't seem to offer treatment for minor-to-moderate ailments.

this makes sense given its real-world influences - in the uk, most aspects of most people's everyday healthcare are the purview of a general practitioner, and specialists tend not to be seen outside of specific, often more serious contexts.

[for example, i'm a woman in my thirties who has never had an appointment with a gynaecologist - something which shocks american friends. this is because everything to do with reproductive healthcare that i've had to do in my life so far - such as cervical screening - has been done by my gp's surgery.]

st mungo's also doesn't seem to perform general dental or optometrical services. this is also the case in the uk.

we know from canon that it has wards which treat long-term residents - such as the longbottoms. in muggle britain, this wouldn't exactly be the case - nhs trusts manage certain types of residential treatment [such as psychiatric hospitals, or brain-injury rehabilitation centres], which tend to be on separate sites to hospital buildings, but long-term care homes and assisted-living facilities are managed by private companies or local councils. the wizarding population is evidently too small to have any form of local government, so this becoming the purview of the healthcare system makes sense.

what is more interesting, though, is that st mungo's doesn't seem to treat anything which doesn't have a specifically magical cause...

community care

we see in canon that wizards prefer to treat even fairly serious magical conditions in the home [with the hogwarts hospital wing as the pseudo-domestic stand-in] - in the form of ron's fake spattergroit in deathly hallows.

we can also assume, then, that things like birth and death [as well as the treatment of non-magical conditions] also generally take place in the home - and that this is why st mungo's doesn't seem to offer any sort of obstetric care.

and this will have an impact on how wizards understand things like birth, death, and aging which - while not divergent from the muggle understanding of these things historically - would be massively at odds with the muggle attitude contemporarily. only around 2% of births in the uk take place at home, for example - and since around 43% of deaths take place in a hospital and 20% take place in a care home, it is now a minority experience to die in your own home. multi-generational living is extremely uncommon for british muggles outside of specific demographic groups. it would presumably not be - since gerontological care must take place in the home - for british wizards.

[i am aware of the wizarding care home in the cursed child, but i think we can either ignore this as not-canon, or imagine it working as an almshouse - such as the royal hospital, chelsea, founded in 1682 - the early-modern equivalent of a care home]

similarly, the treatment of chronic illnesses must generally take place in the home - which offers a really interesting insight into why, for example, remus lupin appears so much less healthy than werewolves like fenrir greyback, who live in quasi-familial community groups.

so too must the care of the terminally ill - which means that wizards would retain a relationship with death that muggles are increasingly detached from. i was struck when talking about deathly hallows with some friends that they were surprised that fleur delacour can see thestrals - and they automatically assumed that she must have witnessed some sort of traumatic death for this to be the case. but if her grandmother [who seems, as of goblet of fire, to be dead] went through the process of dying [which is not immediate!] at home, she would probably have been there to witness and understand it. this is an entirely natural part of the human experience.

and this means - as we'll come to in part two - that who doesn't get treated in the home becomes an interesting question...

healers and their training

the stringent academic requirements for healing training in canon are a pastiche of those needed for a medical degree in muggle britain. medicine is an extremely competitive subject [as in many places worldwide, the number of places is capped] and all uk medical schools require top a-level [the final-year exams which newts are a mirror of] grades.

in the wizarding world - since university education doesn't appear to exist - the subject is taught by apprenticeship. this makes sense - all muggle medical degrees have a considerable practical component, and i think we can easily imagine that trainee healers are also required to attend lectures etc.

however, since there doesn't appear to be general medicine in the wizarding world, healers seem to apprentice from the off in specific specialities.

similarly, on their wards, they seem to function as a combination of all the levels of staff you would find in a muggle hospital - a doctor would not, for example, hand out christmas gifts on a ward - and there doesn't seem to be any hierarchy post-qualification. you can only be an apprentice or a healer - instead of a junior, registrar, consultant etc. [or the american near-equivalents - intern, resident, attending etc.]

but all of this makes sense if we consider it alongside the fact that a lot of treatment must take place in the home. healers are - by their very nature - advanced specialists in a specific [and apparently narrow] range of magical illnesses and injuries, who presumably deal with such a small number of patients [arthur weasley is on a ward with only three people, supervised by two healers - i think many of us who've worked in muggle hospitals would kill for that ratio...] that they are able to take the holistic role they do in canon.

other medical staff

and so most aspects of wizarding medicine must be administered by people who are not [by virtue of formal training] healers - both within the home and outside it.

madam pomfrey, for example, seems to have a different, lower level of training than a healer - not least because her title, which she shares with other non-academic staff like madam hooch, is intended to indicate that she is below the hogwarts professors in terms of qualification [however wizards understand this when it comes to fitness to teach]. we see in canon that she needs to send patients to st mungo's for specific magical injuries which she doesn't have the training and/or equipment to treat [mcgonagall after she's stunned in order of the phoenix, katie bell after she's cursed in half-blood prince], but that she's able to treat most magical injuries which are non-life-threatening, and most non-magical injuries and minor illnesses.

in the uk, a school matron would generally be qualified as a nurse - and madam pomfrey reflects this. obviously, this is primarily a narrative detail which helps the [british] reader understand the wizarding world by referencing something with which they are familiar, but from an in-world perspective it suggests that there is a hierarchy of medical training which we don't hear about in canon.

perhaps even because it would be considered beneath the alumni of as elite a boarding school as hogwarts to go into the equivalent of nursing...

[indeed, the apparent absence of credentialism in the presentation of healing being revealed to be a lie would fit the way the series approaches class... and the class distinctions, not only in terms of post-qualification social status, but in terms of background - in 2016, 61% of people studying medicine or dentistry were privately educated - between doctors and nurses in the uk are significant.]

and so i imagine that general medical treatment - as well as more specialised disciplines like midwifery, dentistry, and optometry - is available in the wizarding world [for a fee?] from licensed [anyone offering medical care in england has required a license since the 1520s] community-based practitioners such as madam pomfrey, with people only seeking treatment at st mungo's for urgent magical cases.

there must also be a voluntary aspect to this community-based medical system - i've always assumed that the people who bring arthur weasley to st mungo's are volunteers rather than professional paramedics, for example - and treatment must also be available from shops - such as apothecaries, which can presumably diagnose ailments as well as sell the treatments for them - which provide medical services alongside various other functions.

[maybe the people who make objects such as james and sirius' two-way mirrors are also responsible for lens-crafting and other aspects of optometry.]

this can be a fun worldbuilding detail - historically, surgery [and most dental care] was provided by barbers. clearly, molly doesn't cut her sons' hair at home for financial reasons, but because the one time she let bill go to the barber's on his own, he came back with a gold tooth...

the medical research sector

while the wizarding world doesn't appear to have universities - or other research institutions which look familiar to the modern reader - it clearly has some sort of scientific infrastructure, within which medical and pharmaceutical research [such as the development of the wolfsbane potion in the early 1990s] takes place.

and we can very easily imagine what this infrastructure is...

the statute of secrecy is signed after the emergence in britain of learned societies - essentially, research organisations, which are modelled on the college fellowships of oxford and cambridge [with a little bit of the medieval guild thrown in]. they function as academic networks, peer-review groups, and professional bodies.

in the medical field, the royal college of physicians - which is still going! i'm a member! - was founded in 1519. in the natural sciences more generally, the royal society - probably the most famous learned society in the world - was officially established in 1663.

we know of at least one wizarding learned society from canon - the most extraordinary society of potioneers, founded by hector dagworth-granger - and we know that there are academic journals - such as transfiguration today - which can be presumed to be published by others.

it makes absolute sense that there would be a learned society which focused on the science of healing, and offered publications, lectures, demonstrations [imagine how horrendous the first demonstration of the wolfsbane potion might have been...], research funding, and so on to professionals working in the discipline. it also makes sense that there would be a college or guild for apothecaries.

the real question, though, is what these would be called... after all, the wizarding world tends to have a touch of whimsy to it, but since there's literally a clinical body in the uk called "nice", the muggles might have won this round...

[emerxshiu]

rat brainrot going hard

sorry for not posting this week, i was cooking some stuff but this drawing took almost the entire week to do, worst part, it was a shitpost

i still dont know why this took me so much

so uh, almost all my drawings this week have been related to this two(and lis) so much so that i struggled because i wanted to draw other things so i would just stare at a blank sheet of paper for over half an hour, god that was torture, tho i dont mind drawing the sillies, sometimes it gets a bit boring drawing the same over and over y'know? im also going to take this as an opportunity to ramble about my forgo gijinka, because surprisingly i hadnt done that yet.

og image

ok now to actually talk about the wet rat

ive tried doing a gijinka of em since i joined the fandom (my first gijinka was fecto elfilis (well not really they were fnaf, but i mean when i got into kirby and when i started using the term gijinka))

but most of the time it just looked like elfilin but like...evil, with a different ear and a hospital gown, thats it, so i barely drew them since i didnt like that, but on february, i actually sketched an idea that i liked, and thought it looked cute but a bit off (i mean off in a good way)

(yes im posting this image again because i think its the best drawing of my forgo (im very inconsistent with my style ok))

they have their eyes closed most of time, like in game, i considered giving them legs but i ended up with the tail, since i didnt want to end up with like a fourth evil elfilin, the arms are like that so i can have em be small and weird like in the actual game, but i also made it so they can like change it, that way i can make em have hands and stuff if necessary (like to hold that frying pan for example)

not sure if a lot of you notice it but um, bro has no neck, i took away his neck privileges, i did it just to see but i ended up falling in love with that and stuck around, and also that allows me to draw them bending their head like in the drawing above because their neck isnt necking and i like that, i like being able to draw characters doing stuff that shouldnt be anatomically possible or is abnormal (i did something a bit similar with void) thair clothes are rugged because well forgotten land you know what i mean, but in general theyre actually pretty simple

i also did the drawing in digital

i tried doing very sketchy lineart, i tried a new brush in this one and thats the one im using for my last drawings (not sure if anyone noticed the brush change) it was pain painting it because i did it all with the brush in the same size, not changing it, god did my hands hurt and it was a bad idea

i accidentaly downloaded the following 3 drawings twice lol

sleepy zzzz

i think they would wear something like this to sleep, i dunno i just wanted to draw em in something cute, and sleepy, with elfilin slippers (the mug also has elfilin btw) oh and also i like changing their hair, here one of their long bangs is tied into a bow, kinda like callie from splatoon, i have some drawing im probably wont post, one more of forgo wich looks very much like the upper one but like eyes closed, and one of fecto elfilis gyaru because my sister asked me to draw them like that, bad thing is i didnt look up references on gyaru since i couldnt use my phone at the moment, i did like the hair i did for them in that one tho, they have their bangs tied up in a bun, and then left the rest loose, making it look longer than it actually is. i might redraw it, but actually looking up gyaru so i can make something more accurate, i like the style, but im not too informed on it

elfilin being silly like a kitty :p

not much more to say on this, just sillines :3

there is totally not a cropped drawing there

based on the kirby manga, where they make it so elfilis sings really bad, at first i didnt like it that much since i had imagined they'd sign great, but after i while i started to find it a bit cute so now its a headcanon, they like to sing but suck at it.

writing this just made me remember i wanted to do another drawing too for this with kirby and them singing, but i forgot to do it, im kinda tired (and its late) ill probably draw it, but for next post or another one

tried drawing fecto forgo as a plushie, silly.

i wanna learn how to sew so i can make plushies of characters (like prince fluf!) but im way too lazy, i will get around it some day! (hopefully)

elfilin too as a plush

i also wanna learn to sculpt, i tried doing a clay kirby once, but one his feet broke in half, and one day my mom put it in a box, and his eyes fell off and stuck to the box :(

i really wanna do figures for characters i like or dont have enough merch or my ocs (prince fluff, flamberge, fecto elfilis)

but as i said, im way too lazy and unmotivated, though its be nice, one day, maybe one day if i stop procrastinating

it doesnt have the same ring to it as "feto rata mojada alien" wich is how my sister and i call them (she doesnt know that much about kirby, but i sometimes show her my drawings (reluctantly sometimes, but im the older so like >:) she has too if she wants to show me her stuff too))

silly rat and wet rat, thats how i call em (because wet rat alien fetus is too long sometimes)

you can tell the brainrot was too strong (were near done(kinda))

they gain a mouth whenever i fell like it very much

artblock hit, and all the rest of pages i stared at them for 30 minutes

it felt weird looking at my fecto elfilis with the eyes so big, it looked off (in a weird way)

dunno, tried drawing them in a different pose i i dunno really

i think these are from tuesday. i did more but those were oc (mostly splatoon) or other kirby character related, and i want this to be a rat post (might post those tommorow or another day maybe)

i dunno (x2), i tried drawing elfilin like elfilis, i really liked the hands here. i still struggle a bit with anatomy but i think this was quite good for my usual character just stading looking at the front or a quarter profile. im considering making this into a fully digital drawing, what do i say by considering im actually doing that fuck it, i just think it looks kinda cool

"This new creation, driven by pure chaos, was defeated by the bright light of Kirby's hope."

Chaos Elfilis reminds me of a moth. kirby's hope is a bright light.

you can see my thought process. i just thought itd be a bit cute and kinda silly and funny.

the kirby fandom wiki, said that chaos elfilis looked akin to a moth, and it just stuck with me, so i wanted my gijinka of them to be moth inspired, and thats when i saw just how cute moths are! i mean im still a bit scared of insects but at least now i kinda like em.

i feel like i need to say sorry to that one moth i desintegrated in a matter of seconds with a book because i thought it was an spider and didnt think (im so sorry little guy)

but ah yeah elfilis, moth, it made sense to me since chaos elfilis has the soul of morpho knight, who is a butterfly, and moths are kinda like butterflies too. and i thought itd be cute

so uh yeah i sometimes like making my chaos elfilis be a bit like a moth, that includes liking light, a lot, so uh kirby is like a lamp in here because i said so

now to talk about the desing since for some reason i hadnt earlier, as i said before, they are very moth inpired so uh im might say that word way too many times (im sorry i suck at explaining stuff)

their horns are thinner to resemble moth anntenae, and they curve just because i thought it look cool, and to differentiate it a bit from fecto elfilis. their bangs tie into a bun (i forgot to draw that but i dont wanna go and change it now, way too tiredv man and i still have to post this on other places) the bun looks a bit like an eye, because well, they are basically a soul boss, and moths have things in their wings that look like eyes, btw chaos elfilis doesnt have their wings here because i got lazy and i didnt want them to like cover most of the drawing. the things coming from their bun are like the trhee things theyve got in their head, theyre shaped like that to resemble insects legs a bit, fecto elfilis also had the 3 things (i dunno how to call em sorry) as their eyelashes, but chaos elfilis has just white eyelashes, because the bun already has the 3 things and because my morpho has white eyelashes so (i still havent done my morpho gijinka yet, i just know im gonna give the butterfly some white eyelashes cuz cute and pretty grimm reaper) the rest of the hair is shaped into like a ponytail but like, adn shaped, with whats left shaped like a lil moth

the waistband they have is a nod to morpho, they used to have a bow shaped just like the butterfly morpho appears as, but i took it out because i thought it crowded the design way too much, and also because it was too on the nose. the arms have those golden things because my fecto has it and because my og chaos elfilis gijinka had them so i wanted to bring it back, the hand fades into white because the red in the hand wasnt hard to distinguish so i came up with that to make it easier to see.

the red part of the pants are actually a bit fuzzy akin to a moth and the white part has those stripes to loke like insect stuff because y'know akin to a moth. the boots are like the red part in their legs their model in-game has, so i just made em tall boots, the high heels? originally it was platform just ike my fecto but then i wanted to draw them in high heels when i was slightly redoing chaos elfilis, and welp, i loved it and now theyve got high heels. those rings around the ankle are inspired by the ones leaongar has around their arm. also can you tell anatomy is not my strong suit? and that i dont draw high heels often?

i made a slight change in my kirby, making the sleeves be a different color, since the one he had before i felt was way too white, and i wanted to have more saturation in it

i also forgot but elfilin is supposed to wear that during forgotten land, and then i decided that after the anding of the main story he changes clothes, but i forgot about that while doing this so he has his pre-ending clothes (also because i still cant really decide on their second outfit for the post-game)

god im so tired i wanna talk and show more drawings but o shit im sweating why is it so hot in here

um thank you for reading all the unnecessary long rambles about why i do certain stuff in my gijinkas, i appreciate it a lot (im still sorry about writing walls upon walls of text but i just cant help it)

Jambuhbye! :D

[donniewatts]

𝑫𝑶𝑵𝑵𝑰𝑬 𝑾𝑨𝑻𝑻𝑺' 𝑻𝑨𝑻𝑻𝑶𝑶𝑺 & 𝑷𝑰𝑬𝑹𝑪𝑰𝑵𝑮𝑺 , bramble's quick guide .

NECK, SHOULDERS AND BACK :

donnie has a big neck piece that depicts medusa. her expression is best described as one of serene rage. her eyes are totally white, which contrasts with the heavy black and grey detailing of the rest of the piece. the snakes of her hair fan out around his throat and along the underside of his jaw.

a wilted sunflower behind his right ear, usually hidden behind his hair. got it not long after leaving longing, new mexico. it is meant to celebrate james gallowes.

behind his left ear, you'll find a single crimson lipstick stain that's also usually hidden by his hair.

on the back of his neck, under all his hair, you'll find a biblically accurate angel design.

a laughing skull wearing a battered cowboy hat on the back of his right shoulder, done in black ink.

severed angel wings on both shoulder blades, done with pops of red ink and with several bloody feathers scattered around the area.

a rattlesnake that follows the curve of his spine.

an anatomical heart with a noose wrapped around it on the back of his left shoulder. it was also gotten in celebration of james gallowes.

on the right side of his lower back you'll find a silhouetted version of the two men shaking hands from pink floyd's 'wish you were here' album cover.

just above the pink floyd tat, you'll find a pinup style tattoo of a lady with dark curly hair, and a cowboy hat. she's covered in tattoos and is wearing what looks like an unbuttoned plaid shirt and cowboy boots. she's winking and throwing devil horns with her left hand.

next to the pinup tat, you'll find a skeletal cowboy wearing a battered poncho with a smoking pistol in its hand. it's also got a toothpick in its mouth if you look closely.

EARS :

his first piercing was an animal canine tooth on a chain hanging from his left ear lobe, though this piercing started as a simple silver hoop. he gets a second one in the same lobe, and often switches it up between a simple stud earring or a silver hoop.

he has helix piercings in both ears, and both resemble skeletal hands. he often switches it up between the skeletal hands, belt buckle cuffs or simple silver bands.

TORSO :

there are various lipstick stains ranging from deep purple to bright red on his hips and his abdomen.

a ram's skull with four horns, and a third eye on its forehead done in a detailed comic book style, with twisted branches crawling underneath the design in black ink. this tattoo is located on his pectorals and spreads out across the tops of his shoulders.

on the right side of his ribcage, you'll find a large piece that depicts a demonic creature with bat-like wings, carrying two deadly flails. flanking it on both sides are bats and ravens.

there's a stylised black ankh on his lower abdomen, with the loop going around his belly button, and the rest of it trailing down and stopping on his pelvis, just above his groin.

to the left of the ankh design you'll find the words 'no future' in gothic lettering on his lower abdomen.

a pentagram on his left hip, this was the first tattoo he ever got.

a guitar pick on his right collarbone that was gotten to celebrate his father. it's one of his more recent tattoos.

donnie has nipple piercings. they're simple silver bars that you can totally see whenever he's wearing a tight shirt or a white tank top.

RIGHT ARM :

he has a grim reaper in a cloud of skulls on his bicep. this is easily the most intricate of his tattoos.

a marlboro cigarette box with flowers sticking out, instead of marlboro, the box says 'cowboy killers.' you'll find this one just under the grim reaper design.

the second tattoo donnie ever got was a mountain lion crouching on his forearm, the design is a heavily stylised one, highlighted with pops of colour on the eyes.

there's a cartoon penguin wearing a baseball cap and sunglasses for emma on the inside of his forearm, above the mountain lion.

to the left of the mountain lion you'll find the torso of a knight with a sword, the knight has only a helmet, no face, and several arrows sticking out of his back.

the ac/dc lightning strike on the side of his wrist, just under the bone.

a horses skull on the other side of the same wrist, has an outline of the horse's head around it in dark black ink.

a stylised bat can be found on the back of his hand, this one has been heavily influenced by gothic art styles. there are various stick n'poke spiders and cobwebs accompanying this design, they almost act like a border to it.

on his knuckles and his fingers, there are outlines of the knuckle and finger bones done in crosshatched black ink.

LEFT ARM :

there's a barbed wire design around his upper forearm, above his bite scar, with some drops of blood coming from the barbs.

there's a yosemite sam above the barbed wire, firing off his pistols. this was got as a joke with his brother brody, who used to call him yosemite sam whenever he got angry as a child.

he has 'rancid creature' in gothic lettering on his shoulder, and it has been highlighted by a bright green drop shadow.

there's an outlaw riding a bucking horse and firing a pistol on his bicep.

next to the cowboy design is a demon bent over, farting. this was a design that izzy jones came up with as a joke, and donnie liked it so much that he got it.

to the right of the cowboy design, you'll find a couple of cherubs, similar to the ones found in medieval and renaissance paintings, with punk hairstyles and cigarettes in their mouths. both cherubs have guitars slung over their backs. this one he got for his other bandmates, sammy laurel and clara bell.

you'll find a skull with two monstrous hands with claws for nails holding it, so the jaws of the skull are wide open just below this tattoo.

a cowboy boot with a snake wrapped around it can be found next to the bite scar on his forearm.

along the other side of the bite scar, you'll find a simple outline sketch of a long wyvern-like dragon fighting a knight.

on his middle finger there's tolkien's original sketch of smaug from thror's map to the lonely mountain, it's been done in bold red ink, and was gotten as a tribute to his love of fantasy.

on his other fingers, you'll find small tarot-inspired cards, and small stick n'poke doodles, like smiley faces, stars, crosses, crescent moons, suns, and hearts.

on the back of his left hand you'll find a portrait of a woman wearing a wide-brimmed witches hat with a cobweb forming in the curve of it. she's smirking and has wiry, black hair that looks as though it's wet. her eyes are nothing more than white circles, as the top half of her face is cast in the shadow of the hat she's wearing. you can see the hint of her cleavage and nothing more.

LEFT LEG :

there's a longhorn skull on his thigh, done in a bold comic book style.

he has two horses on the outside of his thigh, both are up on their hind legs, locked mid-fight. this one has been done in heavy black ink.

he got an american football wearing sunglasses on the inside of his ankle for lee bennett after he died.

besides the football is a ballet dancer with mechanical legs and flame-red hair. she's mid-pirouette, with a wide smile on her face. this one is dedicated to stacy bennett, who was bound to a wheelchair after her interaction with the same creature that killed lee.

NOTES :

on both arms, you'll find various space-themed tattoos, such as planets, moons, shooting stars, star clusters, galaxies, and so on, in the small gaps between larger pieces.

you may also find some stick n'poke flowers, such as roses or sunflowers, done in these gaps as well. these will have been done by friends looking to practise their tattooing skills on him.

the number of tattoos donnie has before he gets clean is far less than the number he has after getting clean. tattoos are his addiction, and he'll look to get one for literally any reason. all the people who mean something to him, and who have meant something to him, will have a tattoo dedicated to them somewhere on his body. which means that if we've plotted a dynamic where donnie and your muse are close to donnie in any capacity, i'll likely plot with you that donnie will get a tattoo somewhere for them, and he will show off about it.

[ceasarslegion]

“Sometimes that’s what it takes mentally and physically to get the male penis inside the female vagina” I am DYING why would they phrase it like that but also, of course they would phrase it like that…

ITS THE FUNNIEST FILM THEY SHOWED US IN SEX ED

I have not been able to find it since, but i distinctly remember the whole plot because of that one line. It followed the protagonist, who was a teenage boy, from the moment he woke up and realized puberty had started, to when he went to bed at night knowing what sex is. Incredible learning curve btw. Dude was cooking.

He woke up realizing he had a wet dream and told his mom about it, who told him he must have hit puberty and went over how the things he dreams about now are perfectly normal and nothing to be ashamed of, but are still sometimes private and often not to be acted on in real life. Great lesson to instill in kids, but insane conversation to have over frosted flakes, which were what he was eating. This was how it STARTED btw. Our health class was at 9 in the morning.

He then went to school, where he disregarded what his mom told him entirely and told all his friends he had a wet dream and asked them what puberty was. One said that he thinks thats a city in france. The teacher overhears the conversation and completely stops her math lesson to draw anatomically accurate diagrams of a penis and a vagina on the board and label them.

After school the kid meets up with his older brother who is visiting from military boot camp (NEVER elaborated on. Malcolm in the middle plagiarism) at an outdoor public park by a lake to talk about sex and puberty. The brother has a big long talk with him about growing up and developing his sexuality over time and what is and isnt appropriate to engage in. This is surprisingly progressive for when i grew up in the 2000s, because he covered consent, said that maturbation is healthy, told him when and how to get STI tested without fearmongering, etc. Honestly they could have cut out all the rest of the movie. But the legendary line was when the brother was talking about how some people experience performance anxiety and erectile dysfunction which is totally normal and treatable with the right medical or psychological help and then he hit that one-two punch of "sometimes thats what it takes mentally and physically to get the male penis inside the female vagina."

And now, sometimes, to this day, in my own apartment, with a college degree, and my job, i will sip my coffee in the morning and my brain will think "sometimes thats what it takes mentally and physically to get the male penis inside the female vagina."

[priestbitmoved]

                                  [ ˑ ˑ ˑ ] 𝑫𝑶𝑵𝑵𝑰𝑬 𝑾𝑨𝑻𝑻𝑺' 𝑻𝑨𝑻𝑻𝑶𝑶𝑺 & 𝑷𝑰𝑬𝑹𝑪𝑰𝑵𝑮𝑺 , bramble's quick and easy guide .

NECK, SHOULDERS AND BACK :

donnie has a big neck piece that depicts medusa. her expression is best described as one of serene rage. her eyes are totally white, which contrasts with the heavy black and grey detailing of the rest of the piece. the snakes of her hair fan out around his throat and along the underside of his jaw.

a wilted sunflower behind his right ear, usually hidden behind his hair. got it not long after leaving longing, new mexico. it is meant to celebrate james gallowes.

behind his left ear, you'll find a single crimson lipstick stain that's also usually hidden by his hair.

on the back of his neck, under all his hair, you'll find a biblically accurate angel design.

a laughing skull wearing a battered cowboy hat on the back of his right shoulder, done in black ink.

severed angel wings on both shoulder blades, done with pops of red ink and with several bloody feathers scattered around the area.

a rattlesnake that follows the curve of his spine.

an anatomical heart with a noose wrapped around it on the back of his left shoulder. it was also gotten in celebration of james gallowes.

on the right side of his lower back you'll find a silhouetted version of the two men shaking hands from pink floyd's 'wish you were here' album cover.

just above the pink floyd tat, you'll find a pinup style tattoo of a lady with dark curly hair, and a cowboy hat. she's covered in tattoos and is wearing what looks like an unbuttoned plaid shirt and cowboy boots. she's winking and throwing devil horns with her left hand.

next to the pinup tat, you'll find a skeletal cowboy wearing a battered poncho with a smoking pistol in its hand. it's also got a toothpick in its mouth if you look closely.

EARS :

his first piercing was an animal canine tooth on a chain hanging from his left ear lobe, though this piercing started as a simple silver hoop. he gets a second one in the same lobe, and often switches it up between a simple stud earring or a silver hoop.

he has helix piercings in both ears, and both resemble skeletal hands. he often switches it up between the skeletal hands, belt buckle cuffs or simple silver bands.

TORSO :

there are various lipstick stains ranging from deep purple to bright red on his hips and his abdomen.

a ram's skull with four horns, and a third eye on its forehead done in a detailed comic book style, with twisted branches crawling underneath the design in black ink. this tattoo is located on his pectorals and spreads out across the tops of his shoulders.

on the right side of his ribcage, you'll find a large piece that depicts a demonic creature with bat-like wings, carrying two deadly flails. flanking it on both sides are bats and ravens.

there's a stylised black ankh on his lower abdomen, with the loop going around his belly button, and the rest of it trailing down and stopping on his pelvis, just above his groin.

to the left of the ankh design you'll find the words 'no future' in gothic lettering on his lower abdomen.

a pentagram on his left hip, this was the first tattoo he ever got.

a guitar pick on his right collarbone that was gotten to celebrate his father. it's one of his more recent tattoos.

donnie has nipple piercings. they're simple silver bars that you can totally see whenever he's wearing a tight shirt or a white tank top.

RIGHT ARM :

he has a grim reaper in a cloud of skulls on his bicep. this is easily the most intricate of his tattoos.

a marlboro cigarette box with flowers sticking out, instead of marlboro, the box says 'cowboy killers.' you'll find this one just under the grim reaper design.

the second tattoo donnie ever got was a mountain lion crouching on his forearm, the design is a heavily stylised one, highlighted with pops of colour on the eyes.

there's a cartoon penguin wearing a baseball cap and sunglasses for emma on the inside of his forearm, above the mountain lion.

to the left of the mountain lion you'll find the torso of a knight with a sword, the knight has only a helmet, no face, and several arrows sticking out of his back.

the ac/dc lightning strike on the side of his wrist, just under the bone.

a horses skull on the other side of the same wrist, has an outline of the horse's head around it in dark black ink.

a stylised bat can be found on the back of his hand, this one has been heavily influenced by gothic art styles. there are various stick n'poke spiders and cobwebs accompanying this design, they almost act like a border to it.

on his knuckles and his fingers, there are outlines of the knuckle and finger bones done in crosshatched black ink.

LEFT ARM :

there's a barbed wire design around his upper forearm, above his bite scar, with some drops of blood coming from the barbs.

there's a yosemite sam above the barbed wire, firing off his pistols. this was got as a joke with his brother brody, who used to call him yosemite sam whenever he got angry as a child.

he has 'rancid creature' in gothic lettering on his shoulder, and it has been highlighted by a bright green drop shadow.

there's an outlaw riding a bucking horse and firing a pistol on his bicep.

next to the cowboy design is a demon bent over, farting. this was a design that izzy jones came up with as a joke, and donnie liked it so much that he got it.

to the right of the cowboy design, you'll find a couple of cherubs, similar to the ones found in medieval and renaissance paintings, with punk hairstyles and cigarettes in their mouths. both cherubs have guitars slung over their backs. this one he got for his other bandmates, sammy laurel and clara bell.

you'll find a skull with two monstrous hands with claws for nails holding it, so the jaws of the skull are wide open just below this tattoo.

a cowboy boot with a snake wrapped around it can be found next to the bite scar on his forearm.

along the other side of the bite scar, you'll find a simple outline sketch of a long wyvern-like dragon fighting a knight.

on his middle finger there's tolkien's original sketch of smaug from thror's map to the lonely mountain, it's been done in bold red ink, and was gotten as a tribute to his love of fantasy.

on his other fingers, you'll find small tarot-inspired cards, and small stick n'poke doodles, like smiley faces, stars, crosses, crescent moons, suns, and hearts.

on the back of his left hand you'll find a portrait of a woman wearing a wide-brimmed witches hat with a cobweb forming in the curve of it. she's smirking and has wiry, black hair that looks as though it's wet. her eyes are nothing more than white circles, as the top half of her face is cast in the shadow of the hat she's wearing. you can see the hint of her cleavage and nothing more.

LEFT LEG :

there's a longhorn skull on his thigh, done in a bold comic book style.

he has two horses on the outside of his thigh, both are up on their hind legs, locked mid-fight. this one has been done in heavy black ink.

he got an american football wearing sunglasses on the inside of his ankle for lee bennett after he died.

besides the football is a ballet dancer with mechanical legs and flame-red hair. she's mid-pirouette, with a wide smile on her face. this one is dedicated to stacy bennett, who was bound to a wheelchair after her interaction with the same creature that killed lee.

NOTES :

on both arms, you'll find various space-themed tattoos, such as planets, moons, shooting stars, star clusters, galaxies, and so on, in the small gaps between larger pieces.

you may also find some stick n'poke flowers, such as roses or sunflowers, done in these gaps as well. these will have been done by members of rancid creature or by friends looking to practise their tattooing skills on him.

the number of tattoos donnie has before he gets clean is far less than the number he has after getting clean. tattoos are his addiction, and he'll look to get one for literally any reason. all the people who mean something to him, and who have meant something to him, will have a tattoo dedicated to them somewhere on his body. which means that if we've plotted a dynamic where donnie and your muse are close to donnie in any capacity, i'll likely plot with you that donnie will get a tattoo somewhere for them, and he will show off about it.

[brujacopal]

I’m a woman of science first and a mystic second lol I wouldn’t want it any other way… spirituality to me should be secondary most of the time but I have my own personal eclectic practice and religion that belongs to no one but me. No one knows about my whole journey, but sometimes I share some things…

I’ve only told 2 people some of the details of what happened to me in the summer of 2020 and we’re not in each other’s lives anymore, one of them is my old favorite therapist. Trying to find the words to accurately describe the bodily sensations alone in the English language, - perhaps in any human language I presume.. - it felt formidable, comprising, horrifying, profound & overwhelming, indecent.. transcendent…

idk there’s a whole bunch of words I could throw at it but it was generally unfathomable and I’m not satisfied with the language I have to explain it, feeling all of that at the same time synergized it all, so there’s no one word to describe it. It all happened so fast actually. and YES, it happened in Mexico lol.

So like - experiencing something like that I truly think there’s no medical or biological or anatomical explanation for that. But for me it did not heal my trauma and I never had that expectation, even in the days after. This was just 4 days after I encountered the Moth of [Redacted] lol there was something in the soil during that trip!

And there’s my “llorona story” that happed in this crazy span of a week - really I’m sure that Mexican thunderstorms are very different and can produce sounds like a woman crying especially through open windows and the unique acoustics of a house. I’m also positive the heat of a lightning striking coupled with the reverberation of thunder produces quite formidable shock & sound waves, this is why it felt like a bomb detonated nearby. All of my memory from earth science class flew out the window and my mind immediately went to La Llorona lol.

I’ve never felt like I had to face some kind of a spirit so distraught, I’ve been to many haunted places and never experienced anything out of the mundane so I had little to no schematic training for it, Very Ignorant and Uneducated of me yes, all I had was my distant memory of when I read a whole host of ceremonial and Solomonic magic books at the library in the summer of 2015 and even then I absolutely panicked and didn’t dare leave my sister’s side as she held onto me. My life had been fairly mundane for a while before this, it totally caught me off guard.

The house was unfamiliar and I had no chalk no charcoal, not even a marker or pen in the near vicinity. I didn’t know where the salt was, I didn’t know where my family had the holy water, I didn’t think to quickly find a knife and there was literally a pickaxe and shovel hidden in the corner of the room behind a bookcase, but we just couldn’t take our eyes off the stairs leading up. I didn’t even have my amulet with me so I felt absolutely exposed. If I was in my own home I think I would’ve quickly created a schema and act fast. If it was my own home that I had to protect, if I knew where everything I needed was, it would have gone so differently. I would have faced it headfirst but in that home we were in, in the disadvantage of having to run up the slippery tiled stairs clockwise - I just lost it. I used what I could remember and traced a circle around us with my hands but I just didn’t have the physical tools and I was so filled with fear that I had traumatic tunnel vision. Nothing mattered but those stairs leading up, my sister, and my wavering voice. Also very interesting when I called my family to get there as fast as they can, as they arrived, the storm finally lost its fury.

Anyway I did think through the science of it later that night and the morning after. and I was like omg I could’ve just gone upstairs and closed the damn windows LMFAO. Still a very frightening experience. My inexperience with Mexican thunderstorms, my unprepared fear, my lack of my spiritual protection items, & my knowledge of folklore certainly got the best of me.

[moderndayfantasia]

Regarding Psychic Signals:

Hello again Dear Reader! It had dawned on me the other day that I gave a very limited example of these Signals that I have been receiving and I would very much like to remedy this with a further explanation.

So as I stated in another post, these Signals come from places beyond our current Perception of Reality. The main type of individual capable of receiving and potentially capable of the comprehension of such Signals tends to lay in the realm of Creatives, those whose minds are less constrained by the Prison of our world and do not solely confine their worldview to logical thinking.

Examples of Creatives who were both confirmed and potentially capable of receiving these signals are: J.R.R. Tolkien, H.P. Lovecraft (Though often a disagreeable man in terms of beliefs on his fellow man and his interpretation of Those Known as Outer and Elder Gods), Philip K Dick, and potentially many of the artists that seem to permeate the internet. I personally have encountered artistic interpretations of creatures I have deemed potentially existent so I believe that even within our Modern Society we are still very capable of receiving these Rogue Signals.

Before, when I described these Signals, I made it seem as if they were merely byproducts of these Cosmological Bodies, similar in the way that Stars and your average Astronomical Bodies produce Signals and they permeate The Void of the Mortal Realm. However, this is not the totally accurate case. Many of these Signals are in fact merely Signals capable of allowing us to define and gain awareness of these Other Spaces, however, there are others that I would classify as Anatomical Signals.

This is a sub-classification of Psychic Signal that is a mental manifestation of a existent being from beyond our Veil. These beings may be something as simple as a new kind of animal, while others can be Energyforms or Psychoforms attempting to manifest themselves into our Veil through the use of Interpretation. Using Creatives to Interpret their essential Information, even if in a misinformed or mildly inaccurate way, as such things go in the Cosmic Game of Telephone, they gain substantiality within our physical realm.

Now, I refer to our Veil as "The Physical Realm" as it is the Veil that humans can most easily interpret as "Physical". However, this does not imply that other Veils do not have their own physicality, only that this Veil is one of the only ones that is physical in the way we humans understand it. If a human were to enter one of these places without undergoing a Ritual or Process to adapt to the new Veil they would likely be destroyed due to a discompatibility. For example, a physical living being cannot exist within the Veil of Dreams due to the intangibility and differing laws of physics, our minds would not be able to comprehend it in any meaningful way and our psyches would likely be torn asunder by a mere unfiltered glimpse.

Due to this "Discompatibility", a Signal must be filtered to conform to the world it is attempting to manifest in or the world itself must conform to the Signal. Due to the vast and intangible nature of these Anatomical Signals the way in which they manifest can differ. As well, a single Signal can have multiple co-occuring manifestations at a single time. As an example of this, There could be an Anatomical Signal for something that is defined, though loosely, by the aspects of Natural Growth, Protection of Forests, and Dwelling Within Darkness. This Signal would then be capable of being interpreted and manifested as a large nocturnal bird whose scat causes new growth to spawn from the impact point, or perhaps, it manifests as a vast shadow that moves amidst the trees in silence and in its path it disposes of Those Which Harm The Wood and their remains feed to forest.

So, basically, a single Signal can result in the manifestation of multiple beings defined by misinterpretations of its base aspects. This shadowy nature protector has no discernible form or essence we humans can comprehend and if it were to be brought into our world in a fully realized state it would likely unravel the very "laws" of our land.

At a later date I would like to further discuss the "Rituals" and "Processes" required to make the mental transition into another Veil. In essence, it is akin to Astral Projection, though this is not a great explanation.

(The Following Segment of This Post Has Been Made Post-H. Lepidoptera Discovery)

Oh my! What a day of research! I have been conducting further investigation of The Camera in an attempt to uncover as much as I possibly can about what this person had gone through.

So, first and foremost, I have done a small amount of research into these cameras and discovered something glaringly strange about the one now in my possession. It has no battery! Now, this may seem like a small issue, however, I would like to call attention to a small question I have concerning the device. If there is no battery inserted into the camera how is it able to turn on? Better yet, how is it capable of recording?

This is most unusual, I say as someone with very little camera experience, but I do believe this is an impossibility. At least, in the flawed ways we humans and other Veil-Locked beings perceive this world. I have a small theory, bear with me on this one for it will sound rather spectacular.

Perhaps The Camera is being supernaturally powered? See, this individual used this camera as a vessel for holding the knowledge of their faith journey, therefore, it is not entirely out of the realm of possibility that this camera has been affected by the spiritual forces our Unknown Victim was in touch with. Alongside this faith-based power source it may also be possible that their encounter with H.Lepidoptera may have also had some kind of paranormal or supernatural effect upon it. There is little way to know in any form of tangible way what the answer is at this moment however, though I do give at least small merit to the potential of Faith-Based Power Supply.

To return to the topic at hand, The Camera also has some form of strange device installed into it. It seems to be some form of antenna or perhaps Bluetooth device? I am not a techno-wizardry type so sadly I cannot confirm what the purpose of the device is. However, I did fiddle with the odd object and it began to blink at me. I managed to find the Record button on The Camera and the light seemed to change for a moment. I determined that perhaps I should do a bit more investigating before resorting to pressing random buttons of The Camera, after all, I still require The Final Footage of our Newly Discovered Cryptid. As The Holder of the only tangible evidence of some form of unknown creature as well as evidence to support my research it is of VITAL import that I maintain this footage's safety in any way possible.

This brings me to the final topic of Discussion. How do I learn more about our disappearing Victim and the existence of our Mothman?

Well my Dear Reader, such a question is simple to answer!

As I previously stated, I have rewatched The Final Footage multiple times now and have determined a tentative Flight Path for our creature!

So, our Victim was attacked on a dirt path a little ways past The Underpass. I then found The Camera very nearby this area. So, judging by the scuff marks around The Camera I can determine generally where The Victim was being carried.

By my calculations, Our Victim was taken deeper into South Avenue...

For reference, South Avenue is a very decrepit road that leads to the edge of our parish and descends into Old Le'Breaux. Nobody goes to Old Le'Breaux, most people say it's cursed. However, despite the warnings and requests, I will be heading back out onto South Avenue tonight to find anything I can about our enigmatic Victim. Wish me luck and hopefully Cernunnos will look kindly upon my prayer and offering and cloak me with the guise of the earth so that I may find my way and unravel this mystery.

As well, of course, I give my prayer to The Hidden Red God. May his power flow through me and give me the strength to face my enemies and prosper.

Though, I very much would rather have no encounters this time around. I know too little to defend against whatever diabolical fate may unfold from beneath the stygian black wing of this most grotesque of beasts.

Regardless, tonight I make The Walk. With hope, I will find some clue of this lost person.

So, Dear Reader. Once more, Wish Me Luck!

[lakesbian]

I'm ngl you're kind of an asshole and in retrospect I don't know why I ever followed you. Going onto someone else's fanart that shows a teenage character with a skirt and crop top and saying it's "inappropriately sexualizing a csa survivor"? literally on the level of bible belt school dress codes. oh its so shocking you can see his stomach it's not like people that age dress like that in real life all the time oh he's wearing a short-ish skirt because as we know it's totally sexual for (1/2)

i think this rb chain already covers what you're bringing up here so i'm just gonna link to it instead of re-typing it, just skim to the parts clarifying that i'm not making an Intrinsic Judgement about it being slutty for teenagers to wear short skirts, i'm talking about what fanart and fandom trends are implying re them doing that

[maniculum]

Welcome to another installment of Scorpion Sundays! This fellow here is another Zodiac denizen, from the Shaftesbury Psalter.

The Shaftesbury Psalter, Lansdowne MS 383, is a manuscript from 12th-century England, hypothesized to have been created for Adeliza of Louvain, Queen of England and second wife of King Henry I. I would tell you more about it and see if there's anything worth checking out with the rest of the Zodiac, but the British Library's manuscript viewer is down, apparently due to cyberattack. So I guess we'll move on.

This one is clearly related to the Scorpio we saw two weeks ago (link here), who was a few decades older and found in Arundel MS 60. If you look down near the gutter of the page, you can see that this one is even also being shot with an arrow, presumably by Sagittarius again but once more I cannot confirm that due to what I must assume is some kind of ransomware scheme.

A few differences. This "scorpion" is in a slightly different pose, standing all bunched up rather than moving forwards. This artist has also directly attached the wings to the legs in a manner that seems anatomically suspect, but the connection is less smooth and stylized than the Arundel manuscript. Instead of a face like a sad bulldog, this one has a beak that makes me think of a duck; its ears are also longer and thinner. It's overall less stylized and more detailed; also, the artist is doing a black outline that's colored in rather than the red line-art of the Arundel zodiac.

Most relevant to us, this one has a distinct point at the end of its tail that I'm going to charitably consider a stinger.

This is the same basic concept overall, though, so here are the points:

Small Scuttling Beaſtie? ✘

Pincers? ✘

Exoskeleton or Shell? ✘

Visible Stinger? ✓

Limbs? 4

Also -1 for having wings, common mistake but Definitely Wrong.

Vibes are good, I like this one. The goofy duck face is charming in its way. I'm not all the way to "I want to give it a hug" like the Arundel scorpion though. I was going to give it a 4/5, but that face honestly does make me smile so let's call it a 4.5/5.

Total points:

4.9 / 10

Slightly more accurate than its relative, but also slightly less huggable.

[savior-of-humanity]

@rathalascendant

--

Laios was no stranger to finding himself in foreign and outright perilous locales. Except, unfortunately, the vast majority of his personal experience was with dungeon-diving and not with being lost in the middle of a vast jungle that was probably also in the middle of nowhere. At the very least he could tell, based on the sunlight that seeped in between the leaves of the upper canopy, that he was somewhere on the surface.

It also meant that he was totally alone.

Well, alone wasn't really an accurate term in this case, for while he may have been without companions, the forest around him was alive with wildlife - mostly unseen but definitely heard. Chirps and buzzes and calls of all kinds that were utterly alien to him. This place was, for all intents and purposes, paradise. The only thing that would've made it better was if the rest of the group were here - but then again, they likely wouldn't have been as thrilled as he was currently (with the exception of Falin, probably).

So Laios went exploring.

To list all of the things that caught his eye would've been an exhausting ordeal; all sorts of plants and mushrooms, insects bigger than his head, even some strange blue lizards that ran on two legs. They happened to run right past him - and at first he thought they must've been chasing down unseen prey.

At least, until he realized that the sound of something particularly large crashing through the underbrush was coming from behind him and not necessarily in front of him. Perhaps, if Chilchuck or Marcille had been here, they'd be urging him to move, get out of the way - but his feet remained glued to the ground not with fear but awe as the source made itself known.

The beast was huge, easily a few heads taller and almost the length of a small house from what he could make of it. The size of it wasn't what caught his eye however - it was that it bore the anatomical traits of a typical wyvern, yet also had physical traits of insects, from its exoskeleton-like armor to the beautifully intricate wings it possessed. Laios would've been perfectly content to spend a couple of hours studying what was surely a new species of dragon (or perhaps even a chimera?!), were it not for his quick realization that it was now standing over him with hunger glinting in its eyes.

Which led to his current predicament; actively running for his life with the aforementioned bug-wyvern hot on his heels. Though, as dire as the threat of being eaten was, Laios found the experience of being hunted to be quite educating, if not exhilarating. So far he'd found out that not only was the bug-wyvern surprisingly agile and fast for its size, but it could apparently conjure green-tinted lightning!

As much as Laios was willing to participate in this 'game' of cat-and-mouse, he didn't have infinite stamina; he'd have to find some means of escaping the bug-wyvern, but through the blur of foliage flying past his vision, and the rush of being chased down while running as fast as his legs could carry him, he didn't see any viable escape routes.

...He was starting to realize that he had a bit of a serious problem on his hands.

[pristyncarereviews]

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[casskeeps]

artemision zeus

basic information

name: artemision zeus (or poseidon)

date: 460 bce

artist: unknown

function: depicts a god

size: 2.1 metres - larger than lifesize

original, reconstruction, or copy: bronze original with inlaid materials

subject matter

this statue depicts a god, probably zeus or poseidon, throwing an object in a similar manner to the way we throw javelins. the object he holds, now lost, is our only true hint as to what the true identity of the statue is; if he held a trident, he would be poseidon, but if he held a thunderbolt (the more popular opinion), he would be zeus.

context

now comfortably into the early classical period, sculptors are more interested in depicting dynamic movement and power as opposed to the idealistic perfection of the archaic period.

composition

the pose of the artemision zeus is one of its most notable features; his legs are at different angles, with the left facing forward and the right facing almost oppositely, twisted outwards to give more impression of dynamic moment. the arms are outstretched, the left with the palm down, a guiding marker, and the right holding the lost object, ready to throw it. the overall impression of this pose is one of dynamism and power - the sculptor is concerned with giving an impression of catching the subject in the moment of his action, instead of carefully posing it.

the anatomy, too, is highly remarkable. the abstract shapes of the archaic period have been left behind, and instead, we see careful rendering of features like the ears and eyebrows, with much more attention paid to the details of these individual elements, as opposed to the flat and geometric appearances of earlier statues. there is another interesting feature (that people tend to exaggerate): the arms are slightly too long for the body - they are two centimetres longer than they should be. the effect of this distortion of anatomy is that the lines creates by the limbs are more continuous (think of the aesthetic appeal created by pointe shoes on ballet dancers) and the overall impression of the statue's grandieur and imposing nature is emphasised.

the most remarkable thing about the content of this statue is that it does not depict a youth, instead a bearded man, clearly mature, yet still muscular and strong. we also see more reflection of everyday nature in this statue; instead of a curtain of beaded braids, his hair is tied into a plait, a common hairstyle for the time.

from a distance, it appears that the artemision zeus looks particularly stoic and unfeeling, but there is detail in the face indicative of effort. this is evident in his eyebrows, tilted downwards in the inner corners, and his upper lip, which is tensed in a subdued grimace. the effect of this expression is that it helps to further demonstrate the effort of this action, making the statue more realistic.

other than the slightly-too-long arms, the proportions are, as a whole, largely accurate. the muscles are well-defined and not overly voluminous, although there are areas (such as the intercostal muscles) that could interact more with the muscles around them, and react more to the action; this slightly diminishes the naturalism of the statue, but doesn't detract too much from it overall.

stylistic features

the use of bronze became much more popular in the early classical period, as sculptors became more aware of its higher tensile strength and subsequent capability for more expressive movement.

the depiction of the musculature is much more anatomically accurate than earlier sculpture, although there is still some room for development in the interaction of muscle groups.

scholars

woodford: "a vivid and convincing figure ... but his success was not total"

harris and zucker: "we look at him and we know that he is a god who controls the fates of human beings"

extra information

smarthistory (harris and zucker)

annenberg learner