#she's quite pretty

[rising-blood-moon]

Today's hatchlings: Blue male and purple female mirror

And three banescales (girl, boy, girl) in order. Overall not a bad batch

[bacchuschucklefuck]

space sweepers but they're delivery people and are at no point on screen through the entire movie

[poorly-drawn-mdzs]

Danse Macabre

[Commission]

[chiquilines]

Public garden study date!!

[woogiez]

oh this lil' darlin' is going to be FAMOUS

[musubiki]

daily musings of officer goldwood

[yellowbugifs]

314/365 days of regina mills

[serpentface]

Faiza performing the Kagnoma Odo (pretty literally 'lion dance'), a weapons dance and one of the more important ritual duties of Odonii priestesses. A relatively new addition to this traditional dance involves the musket as the primary weapon, which is fired mid-twirl into the ground at the climax of the dance. Faiza is experiencing an 'oh fuck' moment because her shot is more than ideally diagonal, but she’s being so cool with it.

This is a wholly ceremonial performance at the onset of the pilgrimage, performed in full regalia and lion skin (of the small, semi-domesticated strain) but no armor. It’s also distinctly a display of political allegiance between the powerful and beloved Odonii priesthood (and its loyal military) with the increasingly reviled and destabilized imperial family, with Faiza prominently wearing a bracelet of the royal serpent, which was gifted (along with the musket) by the usoma Stavis Amanti himself (Usoma is the Wardi word for king, which has been retained in the context of emperors).

The Kagnoma Odo is the ultimate demonstration of the Odonii as an embodiment of the Lion Face of God and living vessel of military might and sovereignty, demonstrating her fitness and proficiency with weapons and as a spiritual unifier for soldiers. It is accompanied by drumming and occurs in stages, running through the three keymost weapons used in war- the spear, the sword, and the musket. The musket is of the most significance, given the weapon has developed a particular esteem as the ultimate embodiment of might and superiority. Assistants (almost always other priestesses, occasionally high ranking soldiers) load and prime the musket to be fired at the climax of the dance, where it is shot into the ground as the priestess leaps out of range of the shot. The firing signals the end of the dance and the rite itself.

While not the utmost exemplar of trigger discipline, only fully inducted and senior (and therefore very thoroughly trained) Odonii are permitted to perform the dance, and injuries during actual performances are quite rare (though are known to occur during training, more than a few Odonii have burns and wounds on their feet).

The most important renditions of this dance are performed upon declarations of war and before battles (in this case, generally done in full armor along with the lion pelt). It is also done during some trainings (while a dance, it is carefully choreographed to include naturalistic maneuvers of the weapons involved and helps soldiers limber up and learn to move their weapons). It is regarded as an impressive and motivating sight and a morale booster, and, seen at a distance, potentially intimidating to enemies.

A special variant of this dance is performed as means of fully incarnating the Odomache, which is done in full nudity with the body covered in the blood of the freshly sacrificed lion and cloaked in its raw pelt (the lion has become the corpse of Odomache in the moment of death, as part of its recreation of God's sacrifice). Her public, full nude appearance once (and only once) in this act is what allows the Lion Face of God to incarnate within her. Those in attendance see the spiritually vulnerable, naked human body obscured with the sanctified and deified blood and cloaked in the sanctified and deified skin. It is a merger of the contradictions of mortality and divinity, the boundaries between the two indistinct in flickering firelight and the flash of musketfire. She is witnessed by her people, dangling in between humanity and divinity and leading them in dance, and and is thus transformed.

[babybells123]

Noorhelm Nation (if you’re still alive) how are we feeling?!!

[raffi-cat]

emperor

[welcometogrouchland]

I understand that literature nerd Jason Todd is kind of overblown in fanon compared to it's actual presence in canon (a few issues during his pre (and post?)crisis Robin tenure that highlight it) BUT consider that I think it's hilarious if the unhinged gun toting criminal has strong opinions on poetry

[felsicveins]

Then where is your husband?

[nukbody]

Answer to twitter`s "if your tav/durge had to draw their party members, how would they draw them ?"

[kottkrig]

Commission for witchsocks

[chancheols]

Hyunjin in every music video: Hellevator.

[petr1kov]

one reason why i think hypnos will end up being more relevant to the story than we might initially assume in hades 2 is because melinoë is known as the goddess of both ghosts and nightmares. we see her connections with ghosts quite plainly already, with how they even implemented her helping to guide lost souls as a game feature, but we haven't seen much of the nightmare part of her yet, and i think it stands to reason that a goddess connected with dreams and illusions should be closely aligned with the god of sleep