#or rather questions

[deathfavor]

@acandlelitdeath​ said: He's having tea in his garden again, seemingly talking to no one. There's a shift in the air, and a pull at the front of Kalluto's kimono from his hiding place by an invisible force. Just a gentle tug, guiding him closer to the gazebo he currently sat under. 'I know you are there child, come join me.' The shadows say.

   Instinctively, the assassin’s muscles tense at a sudden pull to the fabric of his kimono, eyes darting to see. But there is no one to grab, nothing to stop, nothing at all he can do. ( He might be able to do many things even trained men couldn’t do, but he can’t very well grasp the wind or shadows.  )  His feet dig into the ground, a protest to the gentle tug that wants to pry him from his spot around the tree like oysters being cut off the rocks. 

   It only pauses when he hears the shadows speak, sharp gaze turning downwards to the shadows. So it WAS as he suspected. His gaze lifts to look towards Embrace who seemed to be...talking to himself, and then back down to the shadows. (Which begged the question if Embrace could SEE through them or not. He hadn’t thought much about that till now.  )

   Finally the youngest spider relents to shuffle away from the ancient tree trunk and slowly walk towards the gazebo. He almost contemplated asking when he should stop - but Embrace had said join. So after a brief delay on the steps, Kalluto crosses to sit in a vacant seat in the gazebo where it seems nothing is prepared. It feels assumptive and intrusive to sit elsewhere.

   “  ...I didn’t- I’m sorry. I didn’t mean- I just...saw you.  “  Kalluto struggles through a blended explanation and apology. He hadn’t been close enough to overhear, nor had he made an effort. But he had observed, curiosity distantly intriguing him.

[lunarwednesday]

Kindly Miquella... I see you've thrown away... Something you should not have... Under any circumstances.

[poorly-drawn-mdzs]

Trapped in a vicious cycle of pining? Try gay sex! (More things to learn over at Tiger Tiger!)

[uncanny-tranny]

The leftism/anticapitalism leaving people's bodies the zeptosecond you imply that disabled people who aren't "productive" still matter in society and need to be treated like intrinsic equals who have a place in this world:

[kimmkitsuragi]

oh my fucking god i don't have any clothesssss

[theodoradove]

Bata Shoe Museum: T. E. Lawrence's gay sandals

Me: If anything will do numbers on Tumblr

[knifearo]

ultimately when it comes to shipping and fandom space treatment of aspec characters i just don't accept "aro/ace people can still date/have sex" as an answer from nonaspecs. like yeah. mhm. okay. now i think we both know that you're not saying that out of real interest in the diversity of aspec experiences. so you can turn in your seventeen-page essay on why and how you plan to examine this character's aspec identity within the context of a romantic or sexual relationship complete with evidence from canon and peer reviews from multiple aspec people within the next week or i'm putting you in the pit from the edgar allen poe story

[benevolenterrancy]

Art prompt of Shen Qingqiu holding the aro flag (fits his color scheme)

the real reason this man doesn't realise he's tripping every romance flag in the story

[stefisdoingthings]

people are designing modern manga characters thinking they should be animator friendly/not too complex/coherent,,,,,,,

meanwhile Nightow in the 1990s:

[pseudophan]

my new headcanon is dan and phil tell each other they're not that bothered about marriage but they both carry rings around all the time so that on the off chance the other one proposes to them they can uno reverse it

[heartinhyacinth]

Listen, I love the idea of Hua Cheng finally getting to propose to his beloved special someone after 800 long-awaited years (and correct his previous blunder haha), but hear me out…

After Hua Cheng’s year of absence, hualian reunite, spend some blissful days soaking up each other’s company at the small cottage Xie Lian built on mount taicang, then decide to take a trip to ghost city. They could use the dice, of course, but it’s such a nice autumn day and days as such have become dear to them.

They’re snugged up close in the step-litter when Xie Lian casually asks, “San Lang, wanna get married?” He wears his usual gentle smile—the one he would use as if he were asking if Hua Cheng was feeling hungry or if he’d like to take a stroll through the maple trees.

But there is also the unmissable twinkle of amusement that is present, which Hua Cheng uses to convince himself that Xie Lian is in a silly mood and surely this is just payback—Xie Lian will confirm it any second now. But it doesn’t come. Five seconds, ten, fifteen, and the confirmation does not come.

So Hua Cheng simply sits there, expression bordering between pure terror and pure ecstasy as he tries to dissect the situation for any sign of its true reality. With breathy giggles, Xie Lian finally has mercy on the poor ghost, “You don’t have to say yes, San Lang—I can take it.” Despite his words, it’s exceedingly obvious by the humor in his tone that they’re both aware heaven and earth would sooner turn to dust, and with that, Hua Cheng finally regains control of his brain. “It would…” he takes a deep breath, nearly a millennia of longing crowding his throat all at once, “It would be my greatest honor, your highness”. Xie Lian’s smile brightens and he takes Hua Cheng’s hands in his own, “good—because no more dying, okay?”

The idea of Hua Cheng’s heart and soul asking him to spend their existence together—of Xie Lian affirming that he chooses Hua Cheng and wants him as his beloved forever and always, wants to walk by his side till the end—it’s just…too much to handle. (Him saying yes to Hua Cheng’s proposal would also achieve this but you get the idea).

Bonus: Hua Cheng fully planned to ask him during that same trip but Xie Lian beat him to it

[queen-of-hearts-lemon-tarts]

please reblog etc etc

[the-last-butter]

HC they first met a year or two after Yelan got her vision; post fighting the in abyss but when Kaeya was still navigating his identity from Kaeya, Brother and Right hand of Diluc Ragnvindr to Kaeya Alberich, Cavalry Captain and Quarter master of the Knights of Favonius.

[serpentface]

how do you come up with the ways cultures in your setting stylize people/animals/the world in general in their artwork, i.e. jewlery, rock carvings, statues, etc? Each culture in your world seems to have a very unique "art style" and I love it a lot - makes them seem that much more 'real'. This is something I struggle with a lot in my own worldbuilding and I'd love to pick your brain if possible 😁

I think a starting point is to have a research process based in the material realities of the culture you're designing for. Ask yourself questions like:

Where do they live? What's the climate/ecosystem(s) they are based in? What geographic features are present/absent?

What is their main subsistence method? (hunter gatherer, seasonal pastoralist, nomadic pastoralist, settled agriculturalist, a mix, etc)

What access to broader trade networks do they have and to whom? Are there foreign materials that will be easily accessible in trade and common in use, or valuable trade materials used sparingly in limited capacities?

Etc

And then do some research based on the answers, in order to get a sense of what materials they would have routine access to (ie dyes, metal, textiles, etc) and other possible variables that would shape how the art is made and what it's used for. This is just a foundational step and won't likely play much into designing a Style.

If you narrow these questions down very specifically, (ie in the context of the Korya post- grassland based mounted nomads, pastoralist and hunter-gatherer subsistence, access to wider trade networks and metals), you can direct your research to specific real world instances that fit this general idea. This is not to lift culturally specific concepts from the real world and slap them into your own setting, but to notice commonalities this lifestyle enforces - (ie in the previous example- mounted nomadic peoples are highly mobile and need to easily carry their wealth (often on clothing and tack) therefore small, elaborate decorative artwork that can easily be carried from place to place is a very likely feature)

For the details of the art itself, I come up with loose 'style guides' (usually just in my head) and go from there.

Here's some example questions for forming a style (some are more baseline than others)

Are geometric patterns favored? Organic patterns? Representative patterns (flowers, animals, stars, etc)? Abstract patterns?

Is there favored material(s)? Beads, bone, clay, metals, stones, etc.

When depicting people/animals, is realism favored? Heavy stylization? The emotional impression of an animal? Are key features accentuated?

How perspective typically executed? Does art attempt to capture 3d depth? Does it favor showing the whole body in 2 dimensions (ie much of Ancient Egyptian art, with the body shown in a mix of profile and forward facing perspective so all key attributes are shown)? Will limbs overlap? Are bodies shown static? In motion?

Does artwork of people attempt to beautify them? Does it favor the culture's conception of the ideal body?

Are there common visual motifs? Important symbols? Key subject matters?

What is the art used for? Are its functions aesthetic, tutelary, spiritual, magical? (Will often exist in combination, or have different examples for each purpose)

Who is represented? Is there interest in everyday people? Does art focus on glorifying warriors, heroes, kings?

Are there conventions for representing important figures? (IE gods/kings/etc being depicted larger than culturally lesser subjects)

Is there visual shorthand to depict objects/concepts that are difficult to execute with clarity (the sun, moon, water), or are invisible (wind, the soul), or have no physical component (speech)?

Etc

Deciding on answers to any of these questions will at least give you a unique baseline, and you can fill in the rest of the gaps and specify a style further until it is distinct. Many of these questions are not mutually exclusive, both in the sense of elements being combined (patterns with both geometric and organic elements) or a culture having multiple visual styles (3d art objects having unique features, religious artwork having its own conventions, etc).

Also when you're getting in depth, you should have cultural syncretism in mind. Cultures that routinely interact (whether this interaction is exchange or exploitation) inevitably exchange ideas, which can be especially visible in art. Doing research on how this synthesizing of ideas works in practice is very helpful- what is adopted or left out from an external influence, what is retained from an internal influence, what is unique to this synthesis, AND WHY. (I find Greco-Buddhist art really interesting, that's one of many such examples)

Looking at real world examples that fit your parameters can be helpful (ie if I've decided on geometric patterns in my 'style guide', I'll look at actual geometric patterns). And I strongly encourage trying to actually LEARN about what you're seeing. All art exists in a context, and having an understanding of how the context shapes art, how art does and doesn't relate to broader aspects of a society, etc, can help you when synthesizing your own.

[scuffledig]

pour one out for vimm's lair today

[shepherds-of-haven]

Just a bit of fun! Theoretically, the Shepherds' Corner is a place for the Shepherds to rank each other according to questions like "Who's the most generous?" or "Who's the biggest neat freak?" You usually get my opinions for those questions, but what about theirs? 😆

Would you like to see more of the Corner? If there's enough interest, maybe it'll become a once-a-week (or so) feature! Let me know in the comments or tags! 🌟