#japanese wood print likes

[ryuden2]

[jichanxo]

haul under the cut 👍 (this is gonna get long because i want to link to as many artists as possible)

kseichu (beatrice, oc stuff) (linktree) crmsnmsk (arakawa family pin) (etsy) kirvia (carrd), qosic (bio site), naroym (tw, ig) -- they boothed together, but i think the sigma is from qosic, and the zine from kirvia+naroym. naroym drew the little tomi! dearmiini (bunny stickers) (store, ig) anime abbotsford (cardcaptor sakura x sanrio figure) (website) kr3amroll (yagami keychain, shishido keychain) (linktree) jarofjamm (ichi+tanimura print) (website, tumblr) pastel aggressive (glitter heart stickers) (facebook) alli ens (photocard holder) (website, tumblr) marinewaltz (ffxiv and vocaloid stickers) (website, tumblr)

and of course, the magazine i mentioned in this post. grabbed it secondhand from hondarake! was recommended to me by someone (and my sister insisted on going) and yeah. good spot tbh i enjoyed it very much and i will be back (or perhaps lurking their site now that i know it exists...)

probably going to be less active for about a week or so cause i'm going to sydney (and attending smashcon).

[kanekocribs]

KANEKO'S CRIB NOTES LXVI: A RACIST (?) METAPHOR FOR VENGEANCE

I'll be honest with you all, we're running out of cribs. Who knows what the landscape will look like next year. Only one thing is for sure: Kaneko's bare, spooky carcass will be on full display at least once more by our fine friends at Colopl.

LEPRECHAUN: An often controversial design because "why is an Irish fairy clad in a Union Jack boot, isn't that a bit insensitive to Ireland? "; however, Eirikr puts that argument to rest with an exhaustive look into the design's context. And yeah, Leprechaun's "scandalous" boot is clearly cribbed from the one used by the Spice Girls' Geri Halliwell.

HOMO GORLEO: There are two things to say about Metaphor's human designs. The first is that most seem to be inspired by the works of Dutch artist Hieronymus Bosch, like Gorleo here, which iterates on a figure found on the center panel of Bosch's The Garden of Earthly Delights triptych.

HOMO AVADES: The second thing we can say about the Metaphor humans is that we're frustrated by the lack of transparency regarding who designed them. One would assume that would be Shigenori Soejima, but Atlus has been less than forthright about something so apparently obvious. For the time being, we'll just have to credit them to "Studio Zero Art Team." Avades itself is at least more clearly adapted from the central figure of the the right panel of Bosch's Garden.

NYAMI NYAMI: We've made light of Doi in the past for over-relying on Wikipedia as a source for things, and, hey, it happened again for Vengeance's Nyami Nyami, this time an image of a wood carving of the deity used on the JP Wikipedia page that Doi clearly saw while researching and used as a reference, not that we're faulting him for it!

AMABIE: A design actually borne out of Atlus piggybacking on a Japanese Amabie meme during the Covid-19 pandemic, Doi's Amabie is based on a 19th century woodblock print that's the genesis for virtually all modern depictions of her.

[shadowjackery]

The Gladdest Thing Under the Sun

I honestly thought we were supposed to wait a couple of days after the zine’s release, but, heck, everyone else is doing it, so here we are: My contribution to @gensokyozine​ . I’ve wanted to do this story for a while, so I hope you enjoy!

Descriptive text for the visually impaired or for easy quotation:

PAGE 1

Title: "Shadowjack presents: The Gladdest Thing under the Sun"

Yuuka Kazami, a youkai woman, climbs the cracked stone steps to the ramshackle Hakurei Shrine. She carries a parasol. Up the wooded hill, through the pines, stand the shrine gate and two guardian komainu -- one of whom, Aunn, is alive and waving cheerfully, tail wagging. The plum and cherry trees atop the hill are in bloom. Dandelions sprout as Yuuka passes.

PAGE 2, PANEL 1

Title: "Yuuka Kazami, Flower Mistress of the Four Seasons"

Yuuka wears a summer outfit that evokes the mid-20th century: a vest over a short-sleeved blouse with a necktie, a knee-length pencil skirt, hose and heels, a handkerchief neatly folded in her vest pocket. She also wears glossy leather gauntlets and tight sleeve garters. Her hair is bobbed and curled in 1930s fashion. Her eyes are slitted, like a snake's.

She rests her head on her hand and gazes up at Reimu, rapt. A cat with black and white fur, spotted something like a yin-yang ball, lies nearby, watching her carefully.

PAGE 2, PANEL 2

Title: "Reimu Hakurei, Mysterious Shrine Maiden of Paradise"

Reimu, a human woman with a long ponytail, looks down at Yuuka, sweating slightly. She says, "Um... you know..."

PAGE 2, PANEL 3

Reimu wears her usual red-white shrine maiden robes and ribbons, much patched and threadbare. She is barefoot on the porch, holding a broom.

Reimu: "When you look at me like that, I get the feeling I'm about to be CUT and PRESSED."

Yuuka is shocked. "Oh, my! I would NEVER. A wild flower is best viewed in its natural habitat, always!"

PAGE 2, PANEL 4

Reimu, smiling: "I'm a wildflower?"

Yuuka, grinning: "One of the best!"

PAGE 3, PANEL 1

Reimu greets Yuuka at the entrance to her residence. Yuuka bows formally. She has brought a package, wrapped in cloth with a floral pattern.

Yuuka: "Ojama shimasu."

Reimu: "Hai, hai."

Reimu: "Everything is flowers with you, isn't it?"

Yuuka: "It could hardly be otherwise, dear! I am what I am."

PAGE 3, PANEL 2

Yuuka takes off her shoes, while Reimu places the parasol on the weapons rack by the door. The top shelf holds scrolls, boxes labelled "needles" and "seals", and one Mk 2 hand grenade.

A large sign by the rack says in printed text, "Check ALL weapons before coming in! Including but not limited to: Swords, Axes, Bows, Spears, Guns, Wands, Staffs, Parasols, Lasers, Bombs, Poisons, Curses," and so on.

A handwritten post-it note has been tacked to it, saying, "SEIJA -- Do NOT obey this!"

Another, ripped and faded sign has been taped by the list, adding, "MARISA -- Whatever it is now: NO. I mean it."

There is a bullethole next to the sign.

A different yin-yang cat watches Yuuka.

Reimu says, "So what kind of flower is Marisa?"

Yuuka: "She reminds me of pampas grass."

Reimu: "?"

Yuuka: "One of a few varieties of cortaderia, somewhat resembling susuki."

PAGE 3, PANEL 3

The two women go inside where there's more shade.

Yuuka: "It's a fast-growing, invasive species that can contribute to rat infestations and dangerous wildfires."

Reimu, laughing: "A WEED!"

Yuuka: "But charming in its way."

PAGE 3, PANEL 4, OFFSET

Somewhere, Marisa sneezes.

PAGE 4, PANEL 1

In Reimu's kitchen, the two together prepare afternoon tea, while two different cats beg at their feet. Reimu pours hot water from a large kettle into a cast-iron teapot. Yuuka takes down bowls and cups, and opens up the Japanese-style lunchboxes she brought.

Yuuka has put on an apron that parodies the "piyo piyo apron" worn by Kyoko in the manga "Maison Ikkoku", but instead of a drawing of a baby chick on the chest, it has a drawing of a Dragon Quest slime, saying "suu suu".

Reimu: "You aren't bothered she stole the Master Spark from you?"

Yuuka: "Oh, Marisa didn't steal it from me! She bargained for it fairly."

Reimu stops what she's doing to turn toward Yuuka. "Bullshit."

Yuuka: "It's true! I was curious to learn a little magic, and in exchange for lessons I agreed to trade her a cutting."

Reimu: "Huh!"

Yuuka: "I don't mind helping another gardener to improve their art. She makes it bloom well, doesn't she?"

PAGE 4, PANEL 2

Yuuka carries a tray of sandwiches and snacks out of the kitchen.

Yuuka: "Besides... to cast it ONCE, she needs a device."

A surprise second Yuuka, with long hair, and wearing trousers instead of a skirt, whisks the teapot and cups from Reimu's hands, leaving Reimu with nothing to do.

Yuuka, the second: "But I by myself can cast it TWICE."

PAGE 5, PANEL 1

Only one Yuuka again. Yuuka and Reimu kneel on the veranda to take their tea. One yin-yang cat nearby sprawls asleep in the sun, an orange tabby circles curiously, and a third cat sulks by Reimu.

Reimu: "Okay, then how about... Alice?"

Yuuka: "Ohhh... Alice is special. With her pride and ingenuity, she bears the seed of great potential for power."

PAGE 5, PANEL 2

Yuuka beams with enthusiasm. She says, "Why, if one could but prune away a few of her mortal failings -- such as 'restraint' or 'mercy' -- she could make a truly MARVELLOUS youkai!"

We can now observe that Yuuka's necktie is not knotted, but instead held by a silver woggle marked with a "lily of the valley" emblem.

PAGE 5, PANEL 3

Yuuka blushes happily. "She might even be stronger than I. Wouldn't that be an interesting day?" A heart floats in her words.

Reimu tries to hide her concern. She thinks, "Ganbatte, Alice-san..." But only says out loud, "...er, uh... and Yukari?"

PAGE 6, PANEL 1

Yuuka grins wolfishly. "Yukari and I have an arrangement: She doesn't meddle in my garden, and I don't BURN DOWN hers."

Reimu: "Isn't it weird that a youkai of FLOWERS is so good at fighting?"

Yuuka: "I'm surprised to hear that from a Japanese!"

Reimu: "You say that like you're not."

PAGE 6, PANEL 2

Yuuka: "I am known in many lands, by many names, wherever flowers grow."

Yuuka narrates the scene from the foreground, wearing a woman's kimono and lacquered okobo sandals. She carries now a Japanese-style paper parasol. Her hair is tied up in a bun with a cherry-blossom kanzashi, and she wears a sunflower hair ornament. She is surrounded by flowers: chrysanthemum, hollyhock, and birthwort, and above her spreads blooming sakura.

Yuuka: "Did not your own samurai describe themselves as cherry blossoms, and fight for emperor and shogun under the banners of the chrysanthemum and hollyhock?"

In the midground, two armored samurai clash. The lower-status one has fallen to the ground; the richer has a bloody slash across his left eye. He swings his sword and chops the grounded man's spear in two, but the other is undaunted.

In the background, an army of horse and foot mounts the top of the hill, banners billowing.

PAGE 7, PANEL 1

Now Yuuka narrates wearing a huipil dress with embroidered shawl, and simple leather slippers. Her hair is done in buns, with a Mexican sunflower by her ear. A hummingbird flies near her. Growing around her are Aztec marigold, dahlias, banana yucca, and Mexican hat flowers.

Yuuka: "Across the sea to your east, the mighty Mexica gathered their 'hummingbird' soldiers to send to the 'Flower Wars' (they named them) to gather honor, blood, and sacrifices."

In the midground, the fighters are now two Nahuatl, one poor, one rich with a slashed left eye. The poorer one wears only a loincloth, and has a shield slung over his shoulder. His shield is painted with a hummingbird design, and from it hang a few feathers. The richer soldier wears a full-body jaguar costume, and wields a macuahuitl war-club. The poor soldier leaps to his feet and tackles his enemy, disarming him.

In the background, an army of Aztecs battle below a stepped pyramid and high mountains.

PAGE 7, PANEL 2

Now Yuuka narrates wearing men's doublet and hose, embroidered with fleur-de-lis and tulips, along with knee-high riding boots and gauntlets. Around her neck is a sunflower pendant. On her shoulder perches a falcon. About her feet, and entangling the narration boxes, are red, white, and yellow roses.

Yuuka: "And to the far west, the lords of the English struggled for a choice of kingly roses, red Lancaster or snowy York."

In the midground, the fighters are now two Englishmen, again one poorer, the other richer with the eye injury. The poorer soldier has some mail pieces and a simple brimmed helmet; the richer has plate armor, a full helm, and a shield. The rich fighter is overthrown, his foe about to stab him through the visor with his own arming sword.

In the background, mounted knights charge a line of archers behind wooden stakes. A church or fort stands on hills in the far distance.

Yuuka: "Flowers and War have always been intertwined."

PAGE 7, PANEL 3

We return to Reimu's veranda and cherry trees.

Reimu: "You've seen so many strange places... Do you have a favorite?"

Yuuka: "...it was in the west, in Flanders, perhaps a hundred years ago."

PAGE 8, PANEL 1

Yuuka invisibly narrates: "Such a war, Reimu! The men burrowed like moles, or took to the air like kites."

Above barbed wire, two airplanes spit tracers at each other. It is World War One.

PAGE 8, PANEL 2

Yuuka: "They plowed the earth with cannon, night and day."

Shirtless German artillerymen fire their gun amid sandbags. Something explodes close by.

PAGE 8, PANEL 3

Yuuka: "They slew by shot and poison, fire and blade."

A gasmasked French soldier, armed with pistol and entrenching tool, cautiously moves down a trench. An unseen enemy waits around the corner with rifle and bayonet.

PAGE 8, PANEL 4

Yuuka: "And for no purpose that I could see, no treasure nor slave."

Barbed wire and ruined buildings.

PAGE 8, PANEL 5

Yuuka, narrating: "The destruction was so maniacal it seemed no tree, no blade of grass, would ever grow there again. I thought you humans had gone absolutely mad!"

Yuuka, wearing colorful hat, coat, and umbrella, stands on a windy no-man's land, surrounded by dull mud and broken pieces. Tracer fire crosses the sky, coming from a distant machine-gun nest. She notices, but does not bother to avoid, the few bullets that land near her.

Yuuka, narrating: "But it was I who did not understand your passion. When I learned your true intentions, I was deeply humbled."

PAGE 8, PANEL 6

Yuuka, narrating: "Did you know, Reimu? You can find graves in the wild by how the flowers grow. (Bone meal makes such good fertilizer.)"

The corpse of a soldier lies upon the ruined earth. But near his outstretched arm, a single bluebell, and a few patches of grass, have sprouted.

PAGE 8, PANEL 7

Now there are no bodies, but grass and wildflowers and bumblebees cover the ground. A shattered helmet has a flower growing through the holes.

Yuuka, narrating: "I tell you that after this great war, those fields FLUORISHED with color. Rainbows spilled on seas of green grass!"

PAGE 9

Yuuka, narrating: "And ever after, all through those lands, the people wore blood-red poppies, to remember and give thanks to their kindred who slept below, for this sight they had worked so hard to create."

Yuuka wears early-20th century men's hunting clothes: a sturdy jacket and breeches with knee-high boots and gloves. Her curled hair is in a loose pompadour. As ever, she has a parasol. The sun shines warmly. The hill Yuuka walks down is covered in grass and bright red poppy flowers, stretching on forever. The plants almost completely cover a few remaining pieces of military hardware: a broken machine-gun, a lost helmet, a twist of barbed wire. Yuuka smiles.

Yuuka, narrating: "Tens of thousands of men willingly buried themselves for nothing better than the GLORY of FLOWERS!"

PAGE 9, PANEL 2, INSET

We return to Reimu's veranda. Yuuka clutches a handkerchief, almost overcome with romantic tears.

Yuuka: "It was the most beautiful thing that I have ever seen!"

Reimu stares at her and says nothing.

PAGE 10, PANEL 1

Yuuka says, "Excuse me!", wipes her tears, and takes out her compact to redo her makeup.

Reimu thinks, "Yuuka is one of my oldest friends, but she really is a monster, isn't she? I don't even know how to BEGIN to explain the truth to her... or if I even should."

PAGE 10, PANEL 2

Title: "FLOWERS appearing in this story."

Many cut flowers are arranged on a wooden surface, with identifying captions. In no particular order, they are: primrose, fleur-de-lis (yellow iris), common sunflower, anemone, dandelion, Mexican sunflower, tulip, rose, cempoalxóchitl (Aztec marigold), dahlia, banana yucca, Mexican hat flower, pineapple sage, bee orchid, celandine, Flanders poppy, lily-of-the-valley, bluebell, daffodil, kiku (chrysanthemum), aoi (birthwort), hollyhock, ume (Japanese plum), and sakura (Japanese cherry).

PAGE 10, PANEL 3

In a simplified art style:

Reimu pats Alice on the shoulder and says, "Alice, we sure attract some weird ones, don't we?"

Alice wears her usual workdress and hairband, but also has sturdy explosive ordnance disposal goggles and gloves. She is inserting a stick of dynamite into the back of a Hatsune Miku doll. Other dolls and marionettes (and one teddy bear) fill the room, all with visible dynamite fuzes sticking out of their heads, and all with glowing eyes.

Alice says, "Don't disturb me when I'm setting the explosive charges! If they went off, they could hurt the dolls."

Reimu: "...This is why she likes you, you know."

Alice: "?"

END

[fromthedust]

bird painted on ostracon - Thebes, Egypt - c.1479–1458 BCE

Paul Manship - Crowned Crane - gilt bronze on lapis lazuli base - 13 5⁄8 x 7 x 2 7⁄8 inches - 1932

bird & snake - illumination - Beatus of Liébana, Commentaria in Apocalypsin (the ‘Beatus of Saint-Sever’) - Saint-Sever - before 1072

Ron Mueck (Australian, b.1958) Still Life - mixed media sculpture - 2009

Horus the Golden - Horus standing on the hieroglyph for gold­ - faience and polychrome inlay - Middle Egypt - Hermopolis - Late Period or Ptolemaic Period - 4th century BCE

Utagawa Hiroshige I (Japanese, 1797- 1858)- Jūmantsubo Plain at Fukagawa Susaki - woodblock print - 1856

Adam Binder (British, b.1970) - Wren II - patinated bronze - 2012

Redmer Hoekstra (Dutch, b.1982) - Pelikaan (Pelican) - pencil - 2015

Bill Mayer (American illustrator, b.1951) - Ibis - painting

Edwin John Alexander (Scottish, 1870-1926) - Griffon (Tawny) vulture (Gyps fulvus) - watercolor & gouache - 26 x 17 cm - Paris - 1891

Eric Fan (born in Hawaii, living & working in Canada) - Kingfisher - painting - 2014

John Boyd (England, b.1957) - Dodo Variations IV - painting

J.K.Brown aka John Kennedy Brown (wooarts) (Welsh, b.1979) - Bird - metal-scrap sculpture

René Magritte (Belgian, 1898-1967)  - The Idol - painting - 1965

Michael Sowa (German, b.1945) - Die Rückkehr der Zugvögel (The Return of the Migratory Birds) - painting

Mullanium (steampunktendencies) - Blue Jay - mixed media assemblage

Pelican - painted wood toy

Vojtěch Preissig (Czech, 1873-1944) - Seven Ravens - etching - 1900

Incense container with plovers - lacquer, gold, sea-shell - Japan - late Muromachi period (1392-1573)

Dilhaar (www.instagram.com/hmdbti/) - flying bird - paintings & gif

“Before I ever started painting and before I even started taking drawing seriously, I was in love with the idea of painted animation. Frame by frame, each painting coordinates with the one before and the one after to create life. I still have a lot to learn and there are a lot of technical things I don’t know and will improve on but I like this start. Forget thoughts, focus on actions. Regarding this specific animation I really love the shapes of the shadow on the ground.” - Dilhaar

[videostarblogs]

11. mori kei

mori kei, meaning forest sty;e, is a Japanese fashion subculture inspired by the calm, natural beauty of the forest and countryside. known for its earthy tones, layering, and vintage inspired aesthetics, mori kei captures a peaceful, whimsical lifestyle centered on a connection with nature. here's a break down on mori kei!!!!!!!!!!!!!!!!

origins and development

influence of nature: mori kei was born from a desire to embody a tranquil, forest like atmosphere. it emphasized living slowly, appreciating nature, and creating an aesthetic that feels like stepping into a fairytale

mori girl: mori keis popularity grew in the late 2000s through a Japanese social media community called mixing, where users shared photos of their mori inspired looks, the style was popularized by designers and mori kei icon choco yamada, who outlined the mori girl rules on mixing, helping solidify its distinct, dreamy aesthetic.

philosophy: mori kei is not only a style but a lifestyle rooted in minimalism, nostalgia, and simplicity. it often encompasses interests like photography, nature walks, drinking tea, and home made crafts!!1

key motifs

earth tones and natural colors: mori keis color palette includes soft, earthy hues like beige, cream, brown, olive, and moss green. muted pastels and off-whites are also used to create a delicate and harmonious feel, imitating the forest.

loose, layered silhouettes: the clothing in mori kei is loose fitting and layered to create a cozy, lived in look. layers of dresses, cardigans, oversized sweaters, shawls, and skirts are worn over each other to give an impression of softness and comfort.

vintage and handmade accessories: mori kei incorporates vintage inspired clothing, often resembles garments from simpler times. dresses with lace, floral prints, Peter pan collars, and earthy textures like wool, linen, and cotton are popular. items are sometimes handmade or thrifted to add a personal, nostalgic feel.

natural accessories: accessories in mori kei are inspired by nature--- think floral pins, straw hats, scarves, and woven bags. jewelry is kept simple and often handmade, featuring materials like wood, dried flowers, and stones

natural makeup and hair: makeup is usually kept minimal and natural, focusing on soft, rosy cheeks, and nude lips to give a gentle, healthy glow. hair is typically styled in loose waves, braids, or buns, and natural or warm hair colors like brown and dark blonde are common to match the earthy vibes or the outfit.

music

mori kei is often associated with peaceful and fold inspired music that eachoes the serene, introspective spirit of the forest. genres like acoustic, folk, and indie are popular, as are artists like iron & wine, fleet foxes, and Japanese indie artists such as ichiko aoba. instrumental and ambient music, including soft piano or nature sounds, are also fitting for mori kei enthusiasts who enjoy quiet moments of reflection. here are 10 artists I recommend

cocoon

iron & wine

fleet foxes

sufjan stevens

kina grannis

lisa mitchell

angus & Julia stone

first aid kit

soley

aoi teshima

movies

studio ghibli: films like my neighbor totoro, nausicaa of the valley of the wind. an princess mononoke, reflect the mori kei values of nature and simplicity. these films emphasize a harmonious connection with nature, which resonates with the mori kei aesthetics

period and fairy tale films: movies like the secret garden, and little women, feature vintage, countryside settings and styles that aligns with the look and feel of mori kei. the film Anne of green gables also embodies the quiet, pastoral lifestyle that mori kei represents. here are more movies I suggest

my neighbor totoro (1988)

only yesterday (1991)

the secret world of arrietty (2010)

wolf children (2012)

when marine was there (2014)

the tale of the princess kaguya (2013)

the fox and the child (2007)

the whisper of the heart (1995)

song of the sea (2014)

the village (2004)

books and other media

classic and nature inspired literature: books that emphasize the beauty of nature, simplicity =, and introspection are popular within mori kei. titles like Anne of green gables, the secret garden, and works by Jane Austen offer vintage inspired worlds that match mori kei aesthetic.

photography and nature journals: mori kei enthusiasts often enjoy photography that nature natures quiet moments -- forest trails, close ups of flora, and cozy indoor settings with vintage decor nature journals re also popular, where one con press flowers, write poetry, and record observations about nature.

social media: platforms like Instagram, Tumblr, and Pinterest have vibrant mori kei communities, where enthusiasts share their looks, document forest outings, and connect over shared interests in slow living and natural aesthetics

inspo

overall, mori kei is a fashion style and lifestyle that embodies peace, simplicity, and a connection to nature. with its soft, earthy palette, loose layering, and vintage inspired clothing, mori kei celebrates the beauty of the natural world and a quiet, introspective way of life. it offers an escape from the fast pace of modern life, creating a cozy, fairytale like world filled with warmth, comfort, and a deep respect for nature.

feels free to like, reblog and follow for more fashion deep dives like this!!!!! click my questions box in my bio to suggest styles you'd want me to breakdown!!! thank you for reading!

videostar signing off.........................................................................................................................................

[the-final-high-noon-rings]

(late) painting for day 7 of dr. carmilla week. prompt was death, but she's more of an un-dead type gal, so i tried to draw her alive(ish) in an empty grave.

@drcarmillaappreciationweek

[Image ID: A watercolour painting of Maki Yamazaki as Dr. Carmilla lying in an open grave from a bird's eye view, only showing mid-chest and upwards. She is a slim, tan, Japanese woman who has chin-length dark blue hair that has hints of teal, pointy ears, brown eyes, a sharp nose, and has makeup around her left eye that looks a bit like an upside-down lowercase T, with swirls as well as two dots right underneath her lashes. Carmilla's right eye is entirely closed, but her left eye is cracked slightly open as she looks at the camera, eyebrows furrowed as she tries to focus. She has a small smirk on her face. Carmilla's hands are crossed over her chest, loosely clasped together near her neck, with fingernails that are painted a dark brown. She wears a high collared white shirt, that looks purple in the lighting, which has small purple flower print on it, as well as a dark red vest. The background is a rough body shape of brown colours, meant to show the upturned dirt from a fresh grave. The linework of the painting is thick, and several parts are shaded with markers applied on top of the paint. Some of the paint is still wet, especially the background. Some of the linework runs, and the entire drawing has a pinkish tint, presumably from the pink lighting that can be seen in the paint's reflection. End ID]

original attempt below cut because i got a bit too ambitious with the posing i think

i had a vision for this piece. unfortunately i am not that good at perspective

[Image ID: A photograph of Kae's, the OP's, desk. On the left of the photo, there is a sketchbook, which has a half-finished painting of Doctor Carmilla in a grave, similar to the one above. Her hair is bluer than the previous painting, and the perspective is as if one was looking from the crown of her head down the rest of her body. She is winking at the camera, but her features are not as recognizable as being Dr. Carmilla as the first painting. She is wearing a dark brown shirt, with a longer-sleeved red shirt underneath, and blue pants. Below the drawing is a sketched nameplate/grave that says "Carmilla XX12-XX24". To the right of the drawing is an open case of watercolors. They are a bit messy, with the colour blue specifically splattered across much of the pallette. Near the top of the photograph, there is the partial view of several book spines as well as a cup of murky paint water and the edge of a mug. Several pens and highlighters are scattered across the desk, which is wood painted turquoise, with the grain visible. End ID]

[celebration-of-the-ordinary-life]

i wanted. to make him an astral duo costume . i plan to make him a beach one too in the future when i have the energy. but i cant keep procrastinating finalizing his actual normal outfit . but its just so fun to draw him . so heres euri in the thralls of astral duo

ill keep my rambling about design choices for this under the cut ♫

his outfit just pulls elements both from kuyas & quincys . mostly because im not great at coming up with costumes and while studying theirs, what started as "i'll use a white/black balance!" turned into "i really like this midnight/gold combination". he also already utilizes some gold and midnight themes in his story / standard character design, so i ended up sticking to it

aside from that he doesnt actually have two tails .. thats just thanks to the moons. euri's struggle ends up sitting more in the realm of combatting his history (bordering on amnesiac tbh) & more literally that his human and tiger form split during the eclipse. though they dont create two physical forms, his transformations get really intense and unstable!

he's stuck literally just resisting the urge to act without thinking. constant, reckless and harmful naivete and impulse & back-and-forths with the presence and voice of his tiger form (which manifests his actual history) vs. his human self (the current-day him, who he feels "closer" to). so i played into it with lots of imbalance on his outfit—like the double vs. split leg garters, only one glove, asymmetrical arm belts, etc !

his coat pulls a lot of tiger/leopard prints . hes a youkai/youjuu himself (learned that latter term from some people speculating about the original word in the japanese sub. i love it) and did you know i literally did not know about sooley or leogers when i made him? (hadnt gotten to that point in the story). i just wanted the theme of cheetahs/leopards (because i was thinking about those nervous cheetahs with anxiety?) & the tiger was just "damn. ive never had a tiger character!"

anyways. that made it really fun, realizing that i dont think leogers are native to the wood territory? or at least i cant tell/remember.

ok im rambling off topic on i gotta shut up this is what character pages or toyhouses are for

[mybeingthere]

Unichi Hiratsuka (1895–1997), born in Matsue, Shimane, was a Japanese woodblock printmaker. He was one of the prominent leaders of the sōsaku hanga ("creative print") movement in 20th century Japan.

Hiratsuka's father was a shrine carpenter, and his grandfather was an architect who designed houses and temples. Therefore, the artist was introduced to wood-working and architecture early in his life.

Hiratsuka was the best–trained woodcarver in the sōsaku hanga movement. From 1928 onwards he taught the renowned sōsaku hanga artist Shikō Munakata (1903–1975) wood carving. The same year he joined with seven other like-minded artists to work on the 100 Views of New Tokyo series, to which he contributed twelve prints; his prints were lauded for their "technical beauty and perfection."[1] Between 1935 and 1944 Hiratsuka taught the first blockprinting course at the Tokyo School of Fine Arts.

He moved to Washington D.C. in 1962 and spent thirty three years in the United States. While living in Washington DC, he was commissioned by three standing Presidents to carve woodblock prints of National Landmarks, which included the Lincoln Memorial, Washington Monument and Library of Congress which are in the collections of The National Gallery and Freer Gallery today. He ultimately returned to Japan in 1994.

[macalo-veloce]

Today I want to show you my Banana Fish Merch! I was so happy they announced a rerelease for this stunning figure of Ash and Eiji <3.

The aftermarked prices where insane. I'm so in love with this figure and it's the only one with Eiji this size (give my boy some love too q.q).

I have a funny story to tell about this figure (spoiler: it is not funny). The day this figure arrived I got home late. I was so exited and unpacked the figure. As I wondered where to put it I looked out the window. There was a man starring right at me and it scared me to death. It scared me so much I dropped Ash. As wonderful as this figure is...Ash is not connected to anything he is just sitting there like the angel he is. Long story short nothing is broken (thank god!) but he has a red dot on one of his shoes because he fell on it and the color broke off. The man was btw the mail man with a package for me and he wasn't sure where he had to go to get to my door haha.

Now a funfact about this figure (this time it is funny. Trust me). Someone once mentioned how the window looks like a toilet and now i can't unsee it haha.

The last pirctures are my Banana Fish Manga, the artbook and some pictures printed on wood. I made them myself at school years ago. I plan on getting some acrylic stands too. :D

And yes I got the japanese manga bookset because I really wanted Eijis photo book haha.

Amyways this enough blabbing. Thank you if you read all that and i wish you all a nice day~

[mofffun]

G-ROSSO Super Sentai stage show guide (7/2023)

Theatre G-Rosso is located within the theme park Tokyo Dome City. The theme park had a long history of Hero Shows running back to the 70s. The theatre was established in 2009 as a permanent indoor stage. There are 4 seasons each year with showings on weekends and holidays. Suidobashi station is a little closer than Korakuen/Kasuga subway. I visited it for the first time in July 2023.

Ticketing

Seats

Post-show activities

Merch

Review

TICKETING

G-rosso ticketing depends on which seasons really. Tickets should be plentiful for the first two seasons, especially S2/August when they show every day. S3 and S4 with the face actors might be harder but the show runs for 3 months too so it should be possible.

ticket types + availibility / show schedule

There are three classes of G-rosso tickets (single adult admission) :

Premium (¥2500): first 3 rows + special gift

General (¥1900): rest of the theatre

Free Seating (¥1500): same-day showings for the last 5 rows at the end of the theatre. cash only, vending machine at the door.

You can of course book online through a proxy (bypassing japanse phone verification) but I think you can save that fee especially if you're staying for more than a week in Japan. For S2, I was able to buy the last Premium ticket for the next day (Saturday), and there were enough general seats available. Can't say for sure the same applies to S3/4 with face actors. As a foreigner, the most convenient way is to buy a ticket is from the convenience store Family Mart. Find any store with the photocopier-looking machine and follow the instructions to choose the show times and pricing, pay with cash at the counter and the staff will print you a paper ticket. same go for photo ops and handshake.

(Free Seating vending machine, photo ops ticket)

CHOOSING A SEAT

The theatre is two stories high and you can see the seating plan here. I was in the third row mid-right. What surprised me was how close to the stage the first rows are, barely an arm's distance. At one point Kuwagata Ohger leaned on the railing of the first row. The actors would also walk up to interact with the audience.

I think if you want to enjoy the whole stage and not aiming at the special gift, you can skip the Premium ticket and get a few rows further back. Another recommended seat is Row L just between the two blocks. That's where Spider Kumonos descends UPSIDE DOWN from the sky right in front of your eyes.

If for some reason you g-rosso on a whim / sneaked it into the schedule, the free entry ticket is available only at the vending machine on-site with cash. It's designated to the last rows but staff aren't strict on you moving if the theatre is not crowded.

(view from middle block)

PHOTO OPS & HANDSHAKE

as you'd've seen in commercials, you can pay extra to take a photo (with red only!) (¥1100) and shake hands (with all six) of the heroes (¥600) after the show. The tickets for those are available prior online and in convenience stores too, but if you ask the staff, they'll let you buy one with cash on an old-fashioned vending machine. Since it's my first time attending G-rosso, I did the whole package with birthday perks (no id checked).

A new backstage tour is available since August. Lottery ticketing required.

(merch haul)

MERCH

The most iconic G-rosso exclusive merch is probably the hero hand light. I didn't really see a lot of kids holding it so I kinda forgot about it in the rush. the other true exclusive is a wooden plaque gashapon machine (¥300). There were booths for name badges for kids and you can get a bromide for ¥440. There was a cart selling DX toys and plushies. The special stuff is some toei online store acrylic stands, the muffler towel, cup and plate. Outside you'd find the food stall with collab items like popcorns and drinks with an original coaster.

(Collab menu with coasters, Exclusive wood plaque)

(kids play area, past hero show posters)

REVIEW

As a kid's show the japanese won't be too difficult but I was so captivated by the action I wasn't really listening to the words. The plot is easy enough to follow though, and the website says an English pamphlet is available for borrowing (but I forgot to ask). It feels so professional compared to park stage shows but so tangible compared to tv. They make good use of the space with an under-stage pit/trampoline and the high ceiling with platforms and wires. my eyes were busy darting when the action was in one corner and then next. childhood wonder!!

leaving the theatre is a row of gashapon machines and a kids' play area with all the DX toys (:( no adults) and when you go up the escalator, on the side of the theatre entrance is a wall of pass hero show posters!

(i barely have any coherent notes about this) the plot is there's a cicada MOTW and he is brainwashed to make the earth's temperature rise and make evil clones of the team. Rita, raised in the land of snow, is bad at heat and went to sit in a corner and covered their head with the mantle. When facing their/Gira's evil clone, they said 'i'll just cut down both of them'. My notes said 'someday Rita is even gonna plead innocence for the bugs'. six of them roll call together with jeramie!! i was watching papillon-sama's fight style the whole time. and there were trampolines and flips and cartwheels and white spider man falling from the sky while the digital background zooms in and out and legit tears when we started cheering for the heroes. it's an experience okay.

(outside the theatre)

[ryuden2]

[kozyndan]

"Minka-Ski Space"

Edition: 50 prints, signed and numbered Fine Art Matte Paper 41 x 65 cm (16 x 26 inch) paper size with a 33.4 x 57 cm (13 x 22.4 inch) image area. $150US

This print is of our most recent kakejiku nihonga painting and was inspired by the old wood timber frame joinery in our 140 year old farmhouse in the Japanese countryside, as well our young cats, who figured out they could ascend the columns like a tree trunk and have a whole new world to explore in the rafters over our heads. Like many of our cat paintings, almost all the cats are ours, or our friends’ cats. The cats are not, however, existing in one dimension, but we seem to be seeing multiple dimensions of cats and joinery in the same moment. It may seem to make sense to our perception and then not and back again - they appear to have their own kind of logic!

(Check out the process of making the original painting HERE)

[qthyy]

Visual Diary 5

HARUKI MURAKAMI Book Collection Cover

by Suzanne Dean - creative director at Penguin’s VINTAGE

If you’ve ever read a Haruki Murakami book, you’ll know that venturing into any of his fictional worlds comes with an inevitable sense of mystery. And as a designer and also an avid Haruki Murakami reader, I pride myself on obsessing with not only the stories within his novels but also with the covers of each book I’ve ever gotten.

Suzanne—a creative director at Vintage—is the author of the covers for the above books, when she was asked to give Murakami's current catalogue a more cohesive look. That's when she came up with the concept of the symbolic circle.

Cultural Symbol

These circles on book covers regularly appear on packaging and printed materials in Japanese and Taiwanese. The consistent use of this iconic circle on book covers has silently conveyed the cultures of these two countries to readers.

Color contrast

The sharp contrast between black, white and red - a limited clor pallete but still creates a visually striking design.

Negative space

I also like the clever use of negative space. The result is a series of covers that not only look beautiful as a set, but also have hidden meanings within them, like the obscured image of a trunk in The Elephant Vanishes or Norwegian Wood’s tree trunks that double up as the legs of the story’s three central characters.

[cerealandchoccymilk]

Trigun Bookclub: Trigun Vol.1-2, Chapter #10

previous | all

I’m doing a deep-read of the Japanese original print (reread) and Overhaul 1.0 (first read) side-by-side, and writing down everything I notice from small details, version differences, translation differences, etc.

The volume numbers will be mismatched for most of the remainder of Trigun, since the Japanese first edition is 3 volumes while all later versions are 2 volumes.

As always, here are the non-analysis panels:

And the rest is under the cut.

[link for if the images aren’t in horizontal rows]

A lot of annotation transcriptions for this entry.

My 3 girlies!!!!!!!!!!! Ever!!!!!!!!

I was waiting for Vash's antennae to go back up, but it looks like 2 of them are permanently bent now. I think it's stayed half-bent since his first encounter with Kaito in the last arc. Haven't double checked to make sure though.

Milly my beloved..... (I keep spelling it Millie every time. help) In the Japanese version, the speech bubble is "good morning," but in a barely comprehensible yawn. The yawning onomatopoea is written in small text.

Various translation corrections -

「先輩は書いても絵ハガキ程度ですよねー」 "Ma'am, you only send postcards at most, right?"

「ソレが普通ですわよ　それにもともと家訓からして「自立せよ」ですからね」 "And that's the normal amount. Besides, our family motto was 'be independent!'"

「ドライといえばドライなのかも…」 "Maybe it could be a bit unemotional/pragmatic [now that you mention it], but..."

Badwick's first appearance. Just looked ahead to check his name... I forgot how stupid it is... Badwick...... The first time we see one of my favorite art style aspects, single forms!! Love seeing black blocks and non-distinguishable limbs!! This is used a lot with Wolfwood's suit and I love it so much...

I would say Vash's line here is more like "I get it now."

Images I can hear!! I loved this scene in '98... 聞いておるのかご老体！！ By the way, Vash uses polite speech here, but in a (half-)sarcastic way. (If that makes sense...)

The background mob in this panel is... unique for sure. Skin-and-bones, some guy holding (eating?) seaweed, and a sparkly prince?

Badwick's「笑うね！！」line here is more like "You make me laugh!!" or "Ha ha, very funny!!" I know Vash jumping in front of the old couple is probably intended to just be an instinctive act of protection, but thinking about my analysis in the previous arc (#08 I think?), I can't help but think about his self-sacrificial tendencies...

On a lighter note, Meryl ends her rant with マヂ(ジ)で！！ which is kind of like... "FR!!" lol Also Vash is literally dead. Honestly he might've been better off taking the bullet than getting bonked.

Classic MillyMeryl manzai routine (not a single braincell between them). Featuring a pissed Vash.

Milly's joke is a bit hard to translate.... She's actually saying an idiom wrong. The correct phrase (what she says in Overhaul) is 大事の前の小事, which literally means "a small event before/in front of the big event." (this idiom is also an contranym but I won't get into that lol) However, the kanji she uses for 小事(shōji, small event) is switched for 障子(shōji, wood-and-paper sliding door). They look the same in romaji, but they have different tones.

Meryl's response uses English loanwords/Japanglish that's all slightly incorrect for the situation.

So, the Gramps's comments are about the fact that they're using the words wrong. Apparently Granny didn't notice!? lol

Another silly Milly... Gramps's line is a sort of double-meaning, since ボケる(bokeru) means both to be silly (as in the funny man role in manzai)(which Milly has been doing throughout) and to go senile. I love how Vash is 100% tired of this shit and just stares at us.

Japanese-only thing, but I love how he says「わーかってますって　超OKっスよ」. silly goober....

「ジオ・プラント――　肥沃化プラントの影響を受けて植物が育つ事ができる土地の総称である」 "Geoplant— The general term for land that is capable of growing flora due to the effect of a fertilizing Plant."

The term "geoplant" is actually for the affected land, not the Plant itself. Which is... confusing to be honest....

The Plants mentioned here are the capital P generator Plants, not lowercase p flora plants. This line means that among the Plants on the ships, some of them were also of the fertilization variety necessary for geoplant land. "Naturally" is continued into Gramps's line, so it should end with an ellipsis.

He says that the property became worth about the same as the area of a 300-yard radius around a ship (which I would imagine is INSANELY valuable), whether they wanted the price to rise or not.

These two lines are actually by Vash.

「おそらく地脈を伝って影響が『飛び地』したんだろうな」 "Perhaps the effects of a Plant spread along a mineral vein and ended up forming an 'enclave' here."

「でもここまでになるにはただそれだけじゃ駄目だ」 "But just that's not enough for it to get to this scale."

I love how quickly he could tell this is a geoplant and recognize how much work and love the couple has put into it.

「それにどれだけ我々が支えられてきたか言葉にならんよ」 "I can't even begin to describe how much hope it has given us."

The word he uses is actually "support," but I couldn't think of a way to make it sound decent other than the next closest word, "give hope."

Not really a translation fix - in Japanese, he says something more like "This is where our lives and hopes are."

I missed it during the annotation (will mark it later), but I think the article for "tycoon" should be "the" or "a," since Morgan hasn't appeared yet. Gramps mentions that the incident from earlier that day was also one of Morgan's threats. (The annotation should be "like what happened this morning/noon." Will also fix that later.)

I feel like this line by Gramps comes across as a bit too harshly apologetic in English compared to the original? I'm not sure how to convey it accurately though... it's more of a Japanese cultural thing.

The first speech bubble is probably by one of the elderly couple, most likely Gramps, since it says "Vash-kun". Milly calls him "Vash-san."

Also about the "lover's quarrel" tease and Meryl's response:

A common tease for male+female character pairs (and real life...), but the nice thing about this is that there's no hinting of hidden romantic feelings whatsoever (stammering, blushing, etc.). Even through a Vash/Meryl truthing lens, I think at this point there truly is nothing (realized) there yet. There's no forced hetero-amatonormative romance!! (my pet peeve in manga)

These lines are actually an exchange between Badwick and Marilyn.

「うわーーっ　いくらすっと思ってるんだその門柱！！」 "Aaahh!! [Watch what you're doing!] Just how much do you think that pillar's worth!?"

「ケチくせー事いいっこなし！！どうせアコギなマネして建てたんでしょ」 "Oh, don't be so stingy!! I bet you guilt it with shady money(/through shady means) anyways."

And that’s it for Chapter #10! As always, the Japanese annotations will be in the reblogs.

[infraaa]

Hi ^_^ LITERALLY JUST ANYTHING LOTUS DRAGON I DONT CARE WHAT IT IS IM GONNA START VIOLENTLY FOAMING AT THE MOUTH I LOVE THEM SO MUCH, thank uuu 😋

『you just gave me a looooot of power…. normally I would go back and ask for the reader’s pronouns but,,, ill let it slide just once 🤭』

𝐒𝐇𝐈𝐇𝐎𝐍-𝐉𝐈

lotus dragonxgn!reader (non descriptive— pronouns not set)

baker’s notes // this is actually inspired off of the ruined temple in Japan by the same name. You can find an article about Shihon-ji here if you wanna keep reading about it. This was fun to do, thank you loves!

Who knew what perfection amongst ruins could clash the way they do?

You, a simple historian, have been everywhere. From the heat of the hot sands, to the coolness of the cacao kingdom, all in search of historical remnants worthy of study. You would walk the ends of earthbread to find something truly remarkable, and every time you did you would gain a giddy feeling in your chest You we’re sitting with some of the locals of a new location you were visiting one day, sharing a cup of finely brewed tea. Elders sat at the table with you, recounting an old fable that they were taught as children. You listened intently to their words, wanting to grasp this opportunity to see a landmark that struck history in these gorgeous lands.

The Lotus Paradise was a cooler land akin to a fine zen like marsh, filled with lily pads adorning the most beautiful flowers, croaking frogs and the cleanest of lake water. The air was cool and crisp, smelling slightly of freshly bloomed wildflowers and a perfume lingered in the air… something fresh, yet not very recognizable, not even to a local.

Being told of a distant prefecture some ways away from the legendary Lotus Palace, you were told of a temple that was the resting place of revered poets. You gasped in excitement, and prepared immediately to set out to locate this said temple. In kind, the elders you were acquainted with gave you a boat to sail on through the waters of these lands so you wouldn’t tarnish your already crisp crust. And off you went, with the boat in kind you gave them fair for their generosity, and they waved you off on your expedition across the Lotus Paradise.

A tape recorder in hand, and a backpack at your feet on this meek, yet strong boat, you calmly floated through the clean clear water, looking around at all the lush plant life and trees that coated the evergreen ground. Even for a lake it wasn’t humid, it was just right as a breeze gathered in your hair, making you smile and take in the scenery. Not so far off you saw a few signs amongst some of the trees to your east. This drew your curiosity, and through the croaking frogs you were able to find a small yet withered dock, setting your boat to rest there. You took your compass out of your pocket and took to walking, the thick grass reaching your ankles, slightly coated with dew from days prior. Following the signs with Japanese print, eroded away and chipped by the rainy days of centuries passing by, you came across the temple… except the temple was… destroyed.

All that remained of a once great temple was two columns of wood, connecting a third at the top, and a wooden sign at the bottom. The rest of the wood and other supplies used to make this temple were nowhere in sight. This was the temple they were talking about? You crouched to get a better look at the sign. It used to be well polished as it sat there on the ground amongst loose twigs and leaves. The wood was chipped, you could see the patches of polish still trying to cling onto the wood as though it was loyal to it ever since they met during creation. The kanji, 藤原清輔家集、albeit withered, still clung to the wood in faded black ink, engraved for all eternity. The same kanji was found on a stone tablet leaning against a nearby tree.

Suddenly, amongst the light breeze you heard the soft sounds of the strumming strings of a mandolin. You looked over your shoulder to see a large flat rock by some trees, and positioned on the rock was a beautiful cookie, strumming their mandolin with steady darkened teal fingers, clean nails gracing the strings with each pluck and caress. They smiled softly, enjoying the sense of peace. Pearly white sleeves hung loose on their arms, as sea blue hair decorated their lily adorned head. They suddenly looked to you, stopping their movements. With a gentle smile they blinked towards you. It was the Lotus Dragon themselves, motioning for you to come greet them.

You slowly walked to the gentle dragon and bowed in respect. “Your Grace,” you whispered amongst the trees. The leaves could make anything echo outward with a small gust of wind. You had to be careful. To be seen in such a place with such a cookie— no, with the ruler of the Lotus Paradise… that would mean tragedy for your morale. “Might I ask what brings you here?” The dragon’s sea blue reptilian pupils fixed on you in a bid of focus, curiosity lingering on their perfect features. “I was drawn here because of a historical artifact. I wanted to check it out for my records.” They nodded, and with a gentle huff they slithered off of their rock, moving towards the abandoned temple with earnest. “This temple here?” The dragon attempted to confirm, which allowed you to answer with a quiet nod of your head. You followed the dragon with a curious twinge in your step. They smiled and looked to you, looking over their clean shoulder. Sweeping shiny hair from their face, they held their kimono sleeve with a steady hand. “Indulge in me for a moment.” You nodded, wondering what the dragon was about to reveal.

“A long time ago, when dragons ruled these lands with iron wings,” the dragon started slithering towards one of the columns of the temple, “there was a family that lived here in these forests. The Kukonomi clan, as they were referred to, was known to be one of the most prestigious artistic clans of their time, and they would often gather and drink tea, soft floral wines, and recite poetry here. Here, where this wooden plaque sits, lies one of the poets, named Kukonomi no Hitomaro, and was revered within this focal point as a veneration, that being this temple, as a god of poetry. Unfortunately,” they took a moment to catch a breath, sliding over to the other column and taking it with sharp nails, being ever so careful of the eroded marks, “in the middle of the Dark Flour War, an army of the north took refuge here and often fought off Southern forces. However this resting spot was never it’s true location. This temple was relocated here out of respect to the Kukonomi clan, and these grounds were taken into the care of many other poets along it’s time, and was later abandoned at the start of the Peace Era, after the war.” You looked to the dragon with amazement as they told this tale, recording it secretly on your tape recorder for further documentation. Your arm tensed behind your back, causing them to smile upon noticing this bodily function.

“What do you think, little one?” Lotus asked, slithering over to you with curiosity. Really what they were trying to do was get a hold of your tape recorder without making it obvious. You giggled nervously, yet excitedly at the actions of the dragon and put your free hand to your cheek. “What a wonderful story, great dragon. You surely are packed with knowledge.” They chuckled and swept you from your feet, making you yelp with surprise, dropping your tape recorder on the ground beneath the two of you. Putting you down, they picked up your tape recorder with a graceful bow. The looked at the small device in their hand as they once again chuckled lowly under their breath. They pressed a little red button at the top, stopping the tape recorder from taking in any more audio into its tapes. You suddenly felt your face rush red with fresh jam as your hand shot up in nervousness, “I’m sorry, great dragon, I didn’t mean to-“ “Now now, calm down little one.” You stopped, and looked to the dragon with wide eyes. “If this helps you understand the Lotus Paradise’s lush history, then I will permit this.” You smiled thankfully as they handed you back your tape recorder, and in taking it you bowed deeply at their mercy. “Thank you, oh great dragon, for sparing me.” They laughed at you, and waved a hand. “You’re too delightful, rise, little cookie.”

They soon sent you off after spending time with them, sitting with them on their chosen rock amongst lush trees and patchy yet somehow evergreen grass. They strummed their mandolin, humming softly in your company, sometimes adding words to their melodies. And when the time came, the sun setting on the fresh horizon, they send you back on your boat, back to the main village closer to the Lotus Palace, with the elders and the other common folk, before muttering to themselves,

“And furthermore, little one… you can call me Lotus.”