#we love cohesive aesthetic

[houndofchivalry]

patch update v9.24: have settled on dragonflies for air so I cleaned up this blog with better tags & updated my pinned with the new tags etc etc.

[mainfaggot]

literally getting choked up rn tears prickling my eyes we are so back i love you tomorrow by together. the parasocialisms got me good honestly theyve got me in a chokehold

[kpop]

K-Pop Spotlight: DAY6

Come one, come all to a K-Pop Spotlight that is sure to dazzle and delight ’til the final curtain. This week, all eyes are on DAY6 following the release of their eighth mini-album, Fourever, and brand new title track, "Welcome to the Show." We caught up with the band to discuss their goals as they approach their 10th anniversary and their ever-growing connection to their fans through their music. Check out our full interview below!

Tracks like “Welcome to the Show,” “The Power of Love,” and “Get The Hell Out” seem to have very different themes. Can you tell us a little about how these songs relate to each other and what aspects make this album cohesive?

SUNGJIN: As we pursue the idea of being a 'band that sings every moment,' it seems like our albums, including the recent one, prioritize diversity in songs and situations rather than unity. Consequently, our albums contain various genres and narratives. However, there seems to be a commonality in most songs, depicting situations that everyone has either gone through or might experience.

Young K: First and foremost, I would say this album is a compilation of the best songs we could create. There's definitely a theme of love running through it. "Welcome to the Show," "The Power of Love," and "Get The Hell Out" all talk about the concept of love.

What goes into creating titles for DAY6 songs and albums, especially those that don’t come directly from your lyrics? Do you find it hard to condense the intentions and themes of a song into a title?

Young K: While there have been cases like that, all the songs on this album came from the lyrics. Sometimes, when choosing a title, we select the one that best describes the song—other times, we choose to give it a twist or make it more intriguing.

WONPIL: Naming songs involves a lot of deliberation. We often contemplate which title will catch the eye and capture the song's essence. Usually, we try to take it from a verse in the chorus. This can be a challenging part of the songwriting process.

Is there a creative project you’ve always wanted to work on but haven’t gotten the chance/found the time?

SUNGJIN: I'm very curious, and have a principle of "trying to experience as much as possible." There are so many things I want to try musically and personally, especially among the things I know but haven't tried yet.

DOWOON: I hope we can have a song that we can collaborate on with My Day, like a choir.

What does your work/studio setup look like? Where do you feel the most creatively inspired?

DOWOON: We try to keep the studio as tidy as possible and make it comfortable for practice sessions.

WONPIL: When working on songs, we talk a lot. We get inspiration from little conversations, joking around, sharing stories, and listening to music from various eras regardless of genre while giving opinions. We also try to build emotional connections with the songs. There’s a lot of communication going on. The songwriting process takes place in the studio of our long-time collaborator, composer Hong Jisang, with whom we've been working together since our debut.

How do you want to evolve as a musician/producer?

Young K: I want to be eagerly anticipated and awaited as an artist. Without those who wait for us, we wouldn't release or even step onto the stage. So I’m always thankful for My Day.

WONPIL: My biggest goal is to make good music for My Day and the public, so I think I'll continue to ponder. When working on songs, I pour my sincerity into them. I constantly strive to express this sincerity musically, fully capturing the emotions I want to convey. I hope to create songs that can still be listened to even after 10 or 20 years.

Design your own Tumblr blog: choose an aesthetic, a blog name, and would you be a frequent poster or lurker?

SUNGJIN: I think I’ll use it to catch up on friends' updates. For the blog name, THUMB BLUR sounds good to me. I might end up being a lurker who never posts.

DOWOON: Maybe a blog for plants? I think I'll post it like a diary.

Want more DAY6? Check out their new mini album Fourever and the music video for the title track “Welcome to the Show,” both out now!

[felikatze]

THE ISLANDER EUPHRASIE THEORY: THE CRACK HEADCANON THAT RUINED ME FOREVER

HI. you might know me as the kingphie divorce guy. or as the guy who wrote the 6k ludonarrative essay. Today i am going to introduce to YOU @the-bitter-ocean's fantabulous ISLANDER EUPHRASIE THEORY!!!

DISCLAIMER

This post contains SPOILERS for ALL of In Stars and Time. INCLUDING THE ACT 6 SECRET!!

You have been warned.

ALSO!!!!

The original headcanon/theory is VERY MUCH Ocean's fantastic work! I am merely rehashing all the arguments for it that have been laid out across various chats into one cohesive thing people can look at. Also citations! Who doesn't love those.

WHAT IS IT?

Well, it's quite simple. It's the theory that Euphrasie, love of my life and Head Housemaiden of Dormont, is from the forgotten island, same as Siffrin and the King.

(Yes, this is why divorce AU exists.)

WHY DO YOU EVEN BELIEVE THIS?

Quite a lot of reasons, actually.

It's really funny

Let us begin with: the basics.

SUPERFLOUS AESTHETIC DETAIL

HAIR COLOR

This is Euphrasie. She's very pretty. I love her.

You might notice several things about her, like her fantabulous white hair.

Well. What other characters have white hair?

You have guessed correctly. The ONLY OTHER white haired characters with actual artwork are Siffrin and the King, both from The Island The World Forgot. Thus we can assume that it's a typical hair color for islanders. Makes it stand out very much that Euphie also has it.

(What about the beautiful one- sh sh sh he's blonde. He's blonde.) (Well, actually, considering that they are the only one who acknowledges that Vaugardians are also weird, what if he's from the island as well? Checkmate atheists.)

EYELASHES

(EDIT!!!!! FINALLY PUTTING THIS ON THE MAIN POST!!!

Turns out I was incorrect in this. Some characters (Mira, Isa) also have eyelashes on SOME portraits. The mentioned chars r still notable for Always Having Em, + the Loop lashes are like, literally intended as plot twist foreshadowing, but, hey.

That's what you get for writing essays at 1am.

IN RETURN!!! Someone pointed out to me [i forgot who sorry] that Euphrasie's capelet.... has stars on it!! It's speckled like the starry sky!! Now isn't that a neat coinkydink.)

(Original text left up because I respect my past self's artistic vision. And his lunacy.)

Correct. Eyelashes.

Going back to our portrait of Euphie, she is drawn with precisely three eyelashes. Why is this notable? Because Siffrin and Loop are.

So much so, that being drawn with three eyelashes, is specifically an element of foreshadowing to Loop's true identity.

(squints at character portraits) literally no characters besides Siffrin, Loop, and Euphrasie have eyelashes? Oh my god. What? Nobody has eyelashes? What the fuck? (okay, some moments later: Mirabelle has eyelashes in some battle artwork, but these three are the only ones specifically with eyelashes in dialogue portraits, which is still incredibly odd.)

SPEAKING HABITS

(EDIT!!! Another Point that is Kind Of Off, in that other characters [e.g. Odile] also do this occasionally. Again, keeping the text for my creative vision.

In return I get to inform you that the King makes the "not so bright, Bright One" pun TWICE in different loops, thus implying the King likes puns. Take this as you will. That's been my psychic damage, buhbyeeee~)

Hey, so, you know when you talk to people in Dormont, a lot of the NPCS will have a nametag that just says "[something] One" right? Daydreaming One, Castle-Loving One, Beautiful One?

And I've seen people wonder, are these titles? Nicknames?

And I bring you this: Siffrin addresses these people with these epithets in his head, because they have no fucking clue what anyone's name is.

So Siffrin just naturally lapses into this style of nicknaming strangers.

Which two other people also do.

Bright one... ...... Do you remember? Traveling one! Are you done talking with your companions? Yes, wonderful, wonderful!

Funny little tidbit that these three characters all speak alike isn't it :)

Okay. With aesthetics out of the way, let's move onto the next tier of this iceberg:

THE MECHANICS OF FORGETTING AND BEING FORGOTTEN

I realize in the process of writing that we must outline the nature of the curse. What gets forgotten and what gets to stay?

The particularity that's important to us right now is: what people get forgotten?

All evidence points toward this: an entire person is only forgotten if they were physically present on the island when it vanished.

I'm pulling up two example cases to prove it: Siffrin and the Daydreaming One.

The thing with Siffrin is: we know he witnessed the exact moment the island vanished. And, very notably, Siffrin was in a boat.

You can get the dialogue that proves this only in ACT 2 in a secret room most people don't find on their first playthroughs, which is both very funny and very evil. Here's the dialogue.

Siffrin: "I ran away from home once!" [...] Siffrin: "And so I took our boat! Got to the beach, rowed away from the shore a bit. I was going to come back right away, I just wanted to scare my parents a bit!" [...]

Siffrin: "I started to row back towards the shore... And then, I... I... ..." Isabeau: ... Sif? Siffrin: (Woah! What?) "Um, yes?" Isabeau: Um... You were telling us how you ran away from home? Siffrin: "I... was?" Odile: You... Were. Bonnie: DID YOU FORGET WHAT YOU WERE TALKING ABOUT WHILE TALKING ABOUT IT?!?

Siffrin is from the island, but was not physically present when it disappeared. This resulted in Siffrin forgetting their entire identity, including given name and spoken/written language.

Additionally, this is confirmed via Word of God to be the exact moment the island disappeared, so here's proof I'm not reading into it:

Shoutout to bibliomaniac's insane google spreadsheet for the easily searchable screenshot. god bless. Brinny, ily.

On the other hand, with the Daydreaming One, we have proof of a person who is not originally from the island, but was physically on it at the time of disappearance.

Siffrin: "Don't you have a sister?" Daydreaming One: I... I don't? I just said I'm an only child, silly!

(For her to forget someone like her sister, so easily... Her sister must've traveled to...)

Secondly, we know that remnants of the island were not completely forgotten immediately.

Memory faded gradually, starting with the ability to still speak and think about it with accompanying headaches, until it ramped up in intensity and everything is simply gone.

The Sparkling Diary in the library is more or less proof. Memory of the island was gone, but... people still remembered that they forgot something. People still knew what they were talking about, (an island north of Vaugarde), just without the specifics.

"Urgh. Also, Dad noticed no one can say the name of the island north of here anymore?" "I tried to say it yesterday and I got like the WEIRDEST headache for HOURS."

And Odile also remarks the following

Odile: We also know that people could remember that country clearly, before.

This will be relevant later. Moving on.

CONTRIVANCES

THE HOUSE'S OBSERVATORY

SO. The House of Change of Dormont has this funny little room on the third floor. It's an observatory. To look at stars with. When entering this room for the first time, Mirabelle says this:

Mirabelle: What...? Was there a room like this in the House? Y-yeah, I remember! Someone was working here... Studying... They looked like... ... Um... Sorry, I can't remember.

This reveals to us several things:

This room is innate to the House, and not brought here by the King's weird redecorating

Someone from the House was using it for study

All memory of who or what was studying and being studied was erased alongside the island's existence

Of course we can say, "yo, what if Euphrasie was using this room and just forgot?" but that is. a headcanon. I ADMIT! It is a stipulation

However, I find the general presence of the Island written all over the House incredibly interesting.

Inside the Observatory, there's a pile of papers with messy handwriting. You can't read these in until ACT 4. Even in ACT 4, you can't read them. But you do learn what's written on them.

(A pile of papers.) (It looks like someone was trying to write your country's name.)

Inside the observatory is also a globe. Upon repeated interaction in... act 4, i think, you get this:

(You see a spot on the globe where the paint has started wearing out, like someone kept dragging their finger on it.) (You drag your finger there too.) (Erased. You almost want to look for lightless paint.)

BOOKS

During the various quests to discover the truth of the loops, you run into a lot of books, written in the forgotten language. Now, Dormont is not close to the island. Dormont is not close to the coast.

Bambouche is. That's why Bonnie has heard about the island before and knows it was a big deal - they lived really close to it.

Bonnie (and then1): I think, I think my village was really close to it!!! My sister said it was all everyone could talk about for weeks!!! Mirabelle (anxious1): That's so frightening... I'm glad that whatever happened, she didn't get caught up in it!

As we can see in this map, Dormont is in the southern half of the country, and very centrally at that, meaning it has basically maximum distance from all waters and ports. So why does this landlocked small town have so many books in this language?

These aren't just dry books, either. In Dormont's library, there's actually a translated version of volume 2 of The Cursing of Chateau Castle.

(You take the book out again.) (You can read its title, now...) (Your heart is beating, badump, badump, badump.) (It's...) (... A translated copy of "The Cursing of Château Castle", issue #2.) (You start laughing.)

CONCLUSION OF THIS SECTION

Islanders lived in Dormont. Maybe even multiple! We've established that whoever is in Dormont when it vanished would not simply disapper, instead

they forgot where they're from.

One day, the islanders in Dormont could no longer remember being anywhere but Dormont. Being anything but Vaugardian. The observatory fell into disuse, as the person studying there gradually forgot what they used it for, even as they desparately tried to hold onto it, boring holes into the globe, and scribbling its name over and over until its unintelligible.

And, in all likelihood, eventually that knowledge was just gone forever. They simply became part of Dormont, none the wiser to their own history.

Books slipped into cracks. Rooms fell into disuse. Nobody remembered to clean out the remnants.

Now. The real cinch of this.

Why, in particular, do I think Euphrasie is one of them?

Answer me this, then.

How does Euphie know what Wish Craft is?

1. How could she read it?

Euphrasie knew specifically that Wish Craft exists, when all books on it are written in a language nobody can read.

The book in the storage room? The diary in the room behind the star door? The book in the secret library? None of them are legible.

There are no legible records of Wish Craft.

2. What about the Favor Tree?

Euphrasie knew specifically that Wish Craft is related to the Favor Tree. It's also a Vaugardian practice to make requests of the Favor Tree, but they're just that - requests. Nobody thinks they actually have power.

Only Euphrasie does. She thinks it's the key to defeating the King.

(This is... A list of people who wished to save Vaugarde!!!) (You look around her desk, trying to find out more.) (Why would she record the people who wished to save Vaugarde?) (... There!!!) (It's a little notebook, jammed between random boring paperwork...) (In it, the Head Housemaiden talks about Wish Craft... How in the days before the King attacked, she noticed everyone was wishing to the Favor Tree for the same thing:) (To save Vaugarde.) (And she started wondering if this wish could be the key to the King's defeat, somehow...) (So the Head Housemaiden knew about Wish Craft!!!)

Except, when Isabeau talks about it...

Isabeau: Well, it's just a random big tree. But when you're a believer of the House of Change, the biggest tree in a certain place is called a Favor Tree! It's like, it’s the tree with the most power, so you can ask it things? As a favor?

He struggles a little to explain it. Almost, as though the tradition came from some other culture, imported into Vaugarde, and no one can definetely remember where it came from.

To note, here, is that the Favor Tree is hugely associated with Loop, and wishes in general. Wishing on a Favor Tree is such a hugely powerful ritual when executed correctly, that it caused the entire timeloops.

And I'm not even gonna break out citations to prove that Wish Craft is associated with the island. Come on. You know that. You played the game. It's required to beat the game.

If you haven't beaten the game, what the fuck are you doing here. Go back and play it, baka.

3. Something's breaking, failing, rotting

At the end of ACT 4, when Siffrin confronts Euphrasie about her knowledge of Wish Craft, Euphrasie is distinctly aware of this: the people of Vaugarde are wishing wrong.

It's true. All of Vaugarde wished to the Favor Tree, wished for us to be saved. We wished for a savior. A way for us to win against the King. And Wish Craft gave us the means to do it, didn't it? Made sure it'd work? [...] But... But something went wrong, didn't it? Something goes wrong, every time!!! [...] The only answer I can find... Is it's because we did it wrong. I don't know what happened But we must've done it wrong!!! None of us in Vaugarde knew the exact ritual, but-- But we must have done it so wrong, it broke, and it doesn't answer to us at all anymore!!! [...] I don't know, I don't know, I don't know!!!

There's only one person who knew how to make a Wish correctly. And he made it by sheer instinct. Something they could not place even if they tried. Just... a forgotten ritual, dredged back up by muscle memory. Something he's probably been doing since he's a little kid, something that's so backed into their habits they use Wish Craft to carve figurines out of wood.

To end, I leave you with this. Dialogue you get when you try to talk to Euphrasie again, before you talked to everybody else.

If you talk to me... REALLY talk to me... It's all over. What "it" is, I have no idea... I know... I can feel that... I couldn't change whatever comes next, even if I wanted to. But I know it is the will of the Change God. Or, no, perhaps... The will of something even bigger... ... Something will end, once you talk to me.

There is a way for Euphrasie to know all of this. To know Wish Craft exists, to be aware she's doing it wrong, but not knowing, remembering quite enough to get it right.

If she knew it all beforehand already.

[mclalan]

Can you share what your art-making process is? What software and tools do you use?? I'm falling in love with your work!!

Thank you, I'm so happy you like my work and are interested in the process. The short answer is I mostly use Adobe Animate.

I hate how I'm using an Adobe product (although I still regard it as a MacroMedia Flash product), but there's just no other software that compares to its jankiness. Perhaps it's just my long familiarity with the program, but nothing I've experienced matches how it simultaneously feels like drawing in MS Paint and using Microsoft PowerPoint vector shapes. The result is something that feels in-between the two; handmade yet computer-generated.

Typically, I'll start with a hand-drawn sketch, often beginning as a thumbnail done with pencil and paper.

I'll then do a mix of hand drawing and vector shape tool rendering. I use the Paint Brush tool to hand draw strokes, and the line and shape tools mixed with transform to make more geometrically accurate shapes. The design is rendered into divided closed loop shapes, ready to be filled with a solid. The strokes are kept or removed depending on the design.

These fill shapes are then either coloured and rendered in Adobe Animate, using fills, gradients, or a more complex process of masks and effects.

Alternatively, I'll bring all these vector shapes into Photoshop and use them as clipping masks. The vector shapes act like masking taped areas or shields to maintain sharp edges, while the brush is like an atomized airbrush used to build soft volumed forms.

Please excuse all that horrible Adobe Cloud and AI bloatware...

And there we go!

Variations in the process include just using MS Paint, index color in Photoshop, or 3D programs.

Very old works of mine were almost abstract, just exploring digital mark-making, which was a trend I was following in the mid 2010s that I loved. This kind of stuff.

While my current work uses its digital material specificity as an intermediary to the subject in the illustration.

For example, #ersatz.world parodies clip-art and flash edutainment styles but imagines the characters living within that kind of world. The designs are meant to be cute, easy to read, light in computer processing, but also irreverent, janky, and generic too.

People typically regard this sort of clip art style as ephemeral trash, but I always found them charming. I use Ersatz World primarily as a satire vehicle, parodying educational formats to spoof corporate explainer content and digital media.

However, part of the problem with Ersatz is I've made it look too polished, complex, and I've grown too attached to the characters, which I imagine is a typical issue with overbuilding a world. So recently, I've made an even jankier Ersatz-like set of characters to play about with, using an even simpler style with less cohesion. I like to try and use slightly different styles and digital material styles to relate to the property at hand.

That’s why #autonymus has a bitmap digital material and a denser feel to it. Unlike Ersatz, Autonymus is not meant to be an overt semi-meta fiction. It’s not exactly pixel art, but the pixels are just about visible, as the intention is to create a digital expressionist depth to the setting. Although it’s still stylized and not realistic to our world, I definitely still want to evoke semblances of our world. That’s why there’s attention to landscape, plant life, and implied life beyond what you see in the frame with the characters, etc. But I'm still making a cartoon, and I still want it to feel at ease with itself being a digital material work. Characters are therefore flat, simple, stiff, and the speech style is like a bad Shakespeare parody. I like to balance between ugly and appealing, simple and complex, familiar and unfamiliar.

In regard to things like inspiration, references, and my relationship to aesthetic genres; these things certainly factor into my work, perhaps I'm even overtly dependent on them. My work can definitely be post-modernist in method; creating new, ironic, or fragmented interpretations through deconstructing a mix of various styles or methods. But at the same time, I'm still trying to make a digital gestural representation where the aesthetic is driven by my relationship to the software and techniques directly—not simply in an attempt to reference a style. For example, I like drawing lines in sweeping strokes, not to a point of geometric perfection, but just in a way where the curves are smooth and simple. But if I want perfectly curved or straight lines, I'll use the vector tools.

Working this way, you can sort of learn why certain styles and design choices in past vector aesthetics were made, as they would have also needed to make similar choices. That’s why I’m more mindful of using digital material specificity as a foundation to build narrative and subjects upon these days.

For example, genre references like cyberpunk clichés for #cyberhell or late medieval design for #autonymus or 2005 to 2015 era subculture fashion for #gradientgoblinz.

I think it’s important to take inspiration and reference from a wide variety of sources, but I think they’d mean nothing without having something to say or express. Autonymus, although it is a collection of tropes and clichés, isn’t just about that. It’s a story about the tensions of socially constructed systems and how that shapes faith, technology, and the natural world, or at least that's what I'm aiming for anyway.

But despite all that, I think there’s a danger of locking myself into the past by using these methods. For example, using nostalgia and references to past aesthetics can result in just recreating the past in a form of role-play. To avoid that, I try and evoke the past through a messy, inaccurate pastiche rather than caring to accurately re-enact anything. I’m probably not always successful at communicating the deliberateness of this, and it can certainly get very frustrating and pedantic. To be honest, I do kind of hate aesthetic labels (terms like Y2K, global coffee house, utopian scholastic designs from a pre-9/11 world).

I do not believe that a project aimed solely at mapping history through aesthetic styles is worthwhile. Sure, they can be handy for organizing style trends, but they can also be reductive and ahistoric. Who are these people to define the history of these design eras? The result is a kind of suffocating simulation of design history but removed from context, perfect for moodboardism. I wish it felt more tongue-in-cheek, less absolute of itself in its own practice. Instead, it acts to legitimize and engender those making these labels, almost giving them ownership of the design styles. It’s similar to the logic and process of generative AI and its databases in a way, just done manually.

I’m very inspired by artists like Oneohtrix Point Never in this regard, as I think he’s able to create an aesthetic portal to all kinds of memories, feelings, and worlds reminiscent of the past, while still being in the present. It’s more a reflection of how timelines are messy now, like a memory or dream, rather than an audacity to say the past was actually like that, or to try to actually map some kind of timeline.

I think the benefit of this process is how it avoids the other side of the spectrum—being locked into chasing the cutting edge of digital processes. I don't necessarily think using an old digital process means your work inherits the semiotics of old aesthetics. Non-digital mediums don’t have this issue to this degree, as you can still paint in oils and be considered contemporary, or at least it's not frowned upon to such a degree. And I also don't think anyone in the heyday of Flash ever made work the same as I do, especially as computers are more powerful now so can handle more. I probably shouldn't boast too much about that though, as artists at the time probably just had more sense than to use Flash like a painting program! So then, why is my use of Adobe Animate critiqued as obsolete and an aesthetic dead-end? Because to whose standards is this process obsolete? If you value digital aesthetics as an apparatus in industry practice, then sure, my work is redundant.

But as wonderful as the latest tech can be in creating new aesthetics, I do feel it can be overtly dependent on the trends and directions of tech corporations, and therefore act as an indirect propaganda tool to their hegemony over digital aesthetics, such as the ever-demanding processing power needed for simulated realism. If anything, work that does follow in the direction of the latest tech trends is ironically the quickest to date once the trends move on.

I've noticed I've not really described what my work is about, just the process, in this text. But I don't know, maybe I like Flash because it is regarded as redundant. No one really cares about it, so I feel free to make whatever I want, and can decide on form myself, to my own standards, the quality of my work. As fun as making images is, I find it difficult to put into words what it is exactly I'm expressing in my work, and perhaps that would spoil it anyway.

[savkirschtein]

AOT character & their personal fashion styles

characters : Eren Jaeger, Mikasa Ackerman, Armin Arlert, Jean Kirschtein, Connie Springer, Sasha Braus, Marco Bodt

warning: all of these are just purely based off of my personal insight and views of the characters and how i think they’d dress today

����🥡🪐🎸🎧

Eren Jaeger: 🎱🌪️🩻⛓️

based off of season 4 Eren

i picture Eren in todays world really rocking with a minimalist street style

he’s all for comfort and breathability in his clothing and his style reflects that

a closet full of loose fitting boxy t-shirts

LOVES the cold months so he can layer his hoodies and leather jackets

while also sporting the slutty tightly fitted black shirt grey sweat pant combo every now and then

maybe even just walking out his apartment with a wife pleaser and baggy jeans on as a fit alone

all paired with sneakers, small silver hoops, and a chain of some sort

Mikasa Ackerman: 🍒💿📷🃏

we all know for a fact that Mikasa can DRESS

she just has an eye for fashion and has a unique style of her own

one that isn’t over the top, in terms of being a spectacle, but just well put together and tailored to HER. a girl you 110% give a second glance

she is a girlie who LOVES wearing any skirt whether it be long, midi, mini or knee length she LOVES them

most of her pieces are pretty free flowing with lots of different silhouettes

absolutely loves a good leather boot, pair of mary janes, or platform loafers

she literally could wear a trash bag and make it look like it’s the next trend

and has a huge collection of baggus

Armin Arlert: 🎧📘🍵☁️

Armin will literally never be free of the soft light academia aesthetic

the cable knit sweaters, soft cardigans, and sweater vests will forever have a hold on him

but what college boy Armin loves more than anything is a good quarter zip or quarter button up

or a nice casual white and blue striped button up

almost all of his clothing is soft and warm materials

definitely withholds the cute boy in the library title

Jean Kirschtein: 🪐👁️‍🗨️⚡️🌉

will live and die on the hill that Jean is a Carthartt guy

his look is a casual-relaxed but clean one

he’s all for clothing that is durable and will last him forever

Jean’s style is honestly super basic but NOT boring

although Jean’s style isn’t one that is made to make it hard to look away from its one that really just compliments him well

loves a good hefty Dickies or Carthartt jacket, basic white t-shirt, or a loose button up over a tank top

while wearing a variety of rings, with small hoops and a chain

his clothes compliment his strongly built and lengthy body well, which is why although they are basic, it isn’t boring

Connie Springer: 🎧💽☄️🩻

Connie is a literal fashionista

he probably is tiktok famous for his fit check videos and adventures at the thrift stores

the street style aesthetic was MADE for Connie

knows how to put pieces that may not look ideal together into a cohesive fit

LOVES JORTS and swears he made them trendy again

and wearing jerseys of teams he has no clue of , but it’s for the fit so who cares

Sasha Braus: 🍰🪩🗽🧸

the DEFINITION of downtown girl or coming of age movie in a city aesthetic

Sasha lives for the nostalgia of 90s pieces and it shows in her clothing

comfort is also a huge factor that plays into Sasha’s outfits

color is another component that makes Sasha’s outfits HER outfits

LOVES a good brown leather jacket

Sasha honestly though has a hard time sticking to just ONE specific style and will wear whatever feels good for her

Marco Bodt: 🍙🪴♠️🍊

Marco is a soft boy at heart but he’s traded in the traditional sweaters vests for hardy collared jackets

he absolutely LOVES PLAID

and loves layering his button ups with his worn out thrifted jackets

has a more warm palette in terms of colors and leans more towards earthy tones

super casual in his shoes though sticking to good tried and true high top converse, sambas, or loafers if he's feeling fancy

[cafejulii]

Kurapika being deemed by the hxh fandom as one of, if not the most, aesthetically pleasing character in all of hxh is ironically hilarious to me.

While I agree with this sentiment to an extent, as someone who is very keen to elements that make up an inherent sense of asethetic, canonically speaking; it should be expected that Kurapika has almost everything that would go against having a cohesive one. If anything, I am in firm belief that the main reason why he holds such a title is due to the manga covers along with the elegantly crafted filler added in hxh 1999 in which depicts the suffering intertwined with the discovery of his nen ability in such an artistic manner, which then created the baseline aesthetic for the lovely artists of this fandom to further expand upon.

But outside of this? Even so, many hxh fans still agree that he holds a sense of aestheticism to him. It truly does not matter that his color palette is all over the place, or that he would absolutely not care for style, and that, when not his cultural attire or a suit; he dresses as though he had walked into each of his friends closet's, picked out one item from each one, and wore them all together and called it fashion. (They absolutely do not match at all and Killua would absolutely have a stroke at the sheer sight of such grievous combinations).

Specifically talking about these 2011 official arts in which he is one step away from becoming Armin Artlert. (Even complete with the seagull)

Either that, or he dresses like a recently divorced wine mom. Or a butch lesbian. Not to feminize him in any way of course. It’s just the observed truth. It’s just the, pure, unavoidable reality when you dress in those particular color combinations, wear flannel or an oversized sweater, and have that oh so particular “fuck ass bob.”

Specifically talking about these 1999 official arts. A friend of mine had pointed out to me that the one on the right reminded them of Major Hughes’s wife from FMA and I couldn’t stop laughing. Poor 1999 official art Kurapika they did him so wrong.

Though there also many instances in the 1999 official arts in which he does a complete 180, and dresses as though he were the most insufferable character in a shitty 90’s mafia movie. While yes, in the manga, he is technically a mob boss as of now, I genuinely could not fathom watching the absolute mess of succession war unfold with a straight face if he dressed like this.

Yet even still, we have a multitude of artists making the most breathtaking artworks that depict him in agony while holding the eyes of his people almost as if he were some sort of sacrilegious patron, a lot of which are usually inspired Catholic/ Orthodox paintings. (I love these types of arts so much)

Now thinking about it, I suppose, maybe he is so aesthetically appealing because he is an androgynous presenting man with heavy backstory that has many symbolic ties to Christianity as he is representative of Lucifer in juxtaposition to Chrollo who is seen as this twisted version of Jesus Christ. And as we know, it was Lucifer who was considered to be the most “ beautiful of all the angels.”

But anyway, I digress. Bro is just ethereal. Congratulations togashi for creating a character so intentionally-unintentionally aesthetic.

(also this is very much a shitpost please I beg don’t take this seriously at all)

[dresshistorynerd]

Ranking Men's Costumes in Period Dramas - Part II: The Good

Part I: The Bad

This is the second part to my ranking of men's costumes in Renaissance period dramas. I selected 10 shows and films which I think have great costuming for the female characters and ranked them according to their costumes for male characters. I have noticed that even when women's costuming is great, men's costuming might be absolutely dog shit. And that's very much what we saw in the first part, where I ranked the five worst entries. For some reason shows and movies are afraid to put men, especially the characters who are supposed to be cool, manly and hot, into historical costumes. And I'm not even asking for historical accuracy, I just don't want my male characters living in the actual 1500s in basically modern leather jackets and pants. Like I don't watch period dramas for vaguely historically inspired modern fashion, I watch it for the historical setting, which costumes help create. This time we will be looking some rare gems that actually imo have really good costuming even for the male characters. For the five best entries, we'll go from worst to best.

5. Eizabeth R (1971)

Elizabeth R is incredibly committed to historical accuracy in it's outfits, especially for queen Elizabeth herself, many of her costumes being directly recreated from her portraits. It covers the whole reign of Elizabeth, so this commitment is especially admirable as the timeline is more than 40 years, including a stark shift in fashion from less structured and more toned down Tudor fashion to the extremes of the highly structured Elizabethan fashion. It's not perfect, The hair is not always great and like many others they fail at French hoods, though they are not upward pointing or pseudo crowns detached from the hood, so could be much worse.

The men's costumes are also very good. They are faithful to history, they wear stockings, very short trunk hose, ruffs and even have some structuring in their doublets and jerkins. However, the reason this is not higher is that the men's costumes especially, but also many other costumes beside Elizabeth's are looking a little sloppy. There's some structure yes, but the men's silhouettes are just not bold enough and they end up looking a little costumy. Even the codpieces are shrunk so small I'm not even sure if they are there half the time. Cowardice. Here's two Robert Dudley's costumes and an actual portrait of him. I think the second costume is probably an attempt at recreation of that portrait, but it's just kinda halfway there.

4. Taming of the Shrew (1967)

This film is set in Renaissance Italy, the women's costumes fit well to 1520s-30s. They are honestly really great and cohesive. My only gripe is that their bodices have a very 1960s shape and the make-up is a little distractingly modern. But the costuming is not attempting to recreate historical accuracy, rather they took the historical silhouette and basic elements and crafted a very over the top but cohesive look. I honestly love these very much.

An interesting choice is made with the men's costuming, especially the main male lead, whose costume is based much more on the Renaissance German men's fashion of that period. His costumes resemble the over the top fashion of the German Landsknecht (first image below). In Italy (second image below) the doublets were also very voluminous and quite colourful but not to that extent as by the Landsknecht and literally no one, not even the other Germans, rocked that slashed style as hard.

This is not really criticism though. In fact I respect that choice a lot. His costumes are certainly not historically accurate, but they do fit the bombastic aesthetics of the overall costuming, they are loud, large and not afraid to fuck around. This man oozes sex-appeal much more than any character with some modern plain black pants and leather jacket. This is how you costume a Renaissance man who fucks.

3. Tulip Fever (2017)

I am stretching the definition or Renaissance here a bit, I admit. This movie is set during the 1630s tulip mania, by which point the remnants of Renaissance fashion had already been left to the previous decade. However, I do think most of the movies and TV set in Baroque era also struggle with the men's costumes. Though not as much, because black was fashionable for everyone, the cod piece was gone, trunk hose were replaced by more palatable Venetian hose, fashion was much more stripped down from embellishments, leather was not uncommon in jerkins and appeared even in doublets and hose and the Hollywood's beloved boots became actual fashion items. The men's silhouette in this period is very silly in my opinion and people seem to agree because it's usually skipped in costuming, but overall the period seems to fit modern masculinity standards much more easily than Renaissance era.

But I just really wanted to include this because the costuming is absolutely stunning (and let's be honest we are a bit desperate here trying to find 5 actually good examples). I have not watched the movie and probably never will because the post production was an absolute mess and it apparently came out as just a very bad movie, which is a shame, since the costumes are so good. The ruffs are perfectly crispy. The buttons are dense and look just right. The shoes, both boots and otherwise are so on point. The fabrics are honestly perfect. The silhouettes are just as goofy as they are supposed to be. And the women too have perfect silhouettes. All the details are just simply perfect. You rarely find costuming this meticulously created with historical details and great construction.

Honestly these top three could all be the best one. This final order was decided purely on which costumes I like more. And while I love the women's fashion of this period, I think the men's fashion is kinda stupid and boring, so I don't like these costumes on aesthetic level as much as the top two.

2. Romeo and Juliet (1968)

This movie is a perfect counterpart to the movie with the worst men's costuming which I talked about in the first post, Rosaline. They are both set in Italy around very end of 15th century and retell Romeo and Juliet. Both have very good costuming for female characters but obviously I think differ greatly in the male character costuming department. Romeo and Juliet costuming takes some artistic liberties to create a heightened reality quite similar to Taming of the Shrew costuming, but follows history much more closely. The colors are bright, the hose are tight, the giorneas are voluminous, the sleeves are long and massive and the cod pieces are prominent. Even the hair is perfect, even for women, they even use hairnets. I imagine the men's hair was quite easy to get right as hairstyles in 60s and 70s were basically lifted directly from 1400s Italian men's hairstyles. The men are even wearing appropriate goofy hats??? Amazing.

The costuming perfectly captures the era, but they still clearly had fun with it too. Honestly even though I appreciate the meticulously recreated historically accurate costuming, like in Tulip Fever, I tend to like more costuming that does take some artistic liberties to create a distinct look and atmosphere for the movie or TV show. There's some small things they don't get quite right, like having standard lacing instead of ladder lacing, metal eyelets (which would become a thing as late as in 1830s) and most egregiously Juliet in one scene has this very dumb supportive undergarment without even shift under it (first picture below)?? The outer garments were supportive during this era, there was no such thing as supportive undergarment which was any different from the outer kirtle (or gamurra in Italy). Shift was the only truly undergarment. But I will forgive these errors because the costuming is overall so fun and gorgeous. And they did get some details so so right, like look at Romeo's arming doublet (second picture below)! It has Lombardian sleeves!! This was a very specific style of arming doublet for this era and place. However those errors does prevent it from taking the first place. Which leads us to...

1. Orlando (1992)

This movie has Tilda Swinton in flamboyant Elizabethan men's clothing. That's all.

Okay, I that is all that needs to be said, but I will say more. This movie spans centuries and shows excellent costumes from several different periods, but I will focus on the Elizabethan costumes only for the sake of this post. The costuming is not super historically accurate in all the detailing, and clearly not trying to be, but it is always impeccable. Even while it takes artistic liberties and the story has an immortality fantastical element it still captures the men's fashion's silhouette much better than any other movie or TV show I know of set in this period. It does that better than the "we recreated these portraits" Elizabeth R. But what really makes this the best in my humble opinion, is that the movie is not afraid of the effeminate and emasculated modern perception of Renaissance men's fashion, no, it leans into it and uses it to explore the themes. The whole story is very much about gender and gender fuckery. Tilda Swinton plays the titular Orlando who is a cis man in Elizabethan era, becomes inexplicably immortal and later inexplicably turns into a woman for the rest of their several centuries. He is the embodiment of "I'm not sure if they are a butch or a twink" and as a bisexual I can only be grateful. But in all seriousness I think the costuming and the casting (queen Elizabeth is also played by a male actor) are so perfectly utilized to highlight the arbitrary construction of gender without needing to say it explicitly.

Conclusion

I have some closing thoughts. I took on this task as a way to show a point, which is that for some reason in Renaissance shows and film especially men's costuming is piss-poor, even when women's costuming is great. Male characters tend to have very bad costuming in Medieval media too, though this is also an issue for female characters. I don't think I have ever seen a Medieval show or movie with truly excellent costuming for anyone. In Renaissance media the issue is clearly not lack of skill or knowledge, they choose to do so. My thesis was that the producers think that the Renaissance men's fashion is too effeminate and too unsexy for the Hot Very Heterosexual Male Lead, who the mostly female audience are supposed fawn over like the female characters do. After the analysis think my hypothesis holds up.

Though there's an interesting trend I only noticed while doing this ranking; every entry (except the least bad) in the worst five list are from 21th century, and every entry (except Tulip Fever which is a little bit cheating anyway) in this best five list are from 20th century. I have some theories on why it turned out this way. First is that the studios have become increasingly more concerned with growing profits so they don't take risks and they put pressure on movies and TV shows to be as broadly appealing as possible. This means they can't just make period dramas for the core audience of period dramas, aka mostly women who are history nerds, so they pander to the modern sensibilities in costuming and not to the people who love to see actual historical costuming. Secondly, I think this might also tie to the broader conservative backlash against loosening of gender roles and broader queer acceptance. Among the core audiences of period dramas there are two distinct groups, queer nerds and conservative women, who don't want politics in their media, which is why they love historical stories because obviously queerness wasn't invented yet and people of colour didn't exist yet (they were and did). (They are ofc not always this extreme, but you get the point.) As men wearing dresses has become a culture war issue, I think the studio executives are afraid that anything not masculine enough in modern standards might alienate the more conservative audiences, and more broadly those who don't want to feel like they are engaging with modern political culture war topics in their escapist media. Even if they knew about the queer nerds, they wouldn't care about them and assume they will go along with it anyway. After all not challenging modern gender roles is not seen as an active choice, it's the default.

This bears repeating: cowards.

As a thank you for reading all the way to the end I will leave you with the image of Tilda Swinton in mid 1600s men's clothing. You are welcome.

Part I: The Bad

[sodapopseagull]

I have been thinking about two silly headcanons for Gale's tower because we don't have a ton of info about it, and I think headcanons are fun-

1 - If Gale's tower is located in the Dock Ward, as it seems to be in his romance cutscene, then it does not look like a tower from the outside. It sits entirely unassuming amongst the neighboring buildings, but on the inside it is a full, multi-story wizard tower complete with all the amenities one would expect from Gale. While it could all be illusory, I much prefer the idea that the tower's architecture is literally impossible.

2 - Gale's tower is actually located in the Sea Ward (based on vibes, nothing concrete from the game) but his balcony is still in the Dock Ward. He rents a bit of wall space out over the harbor and either did some wacky wizard reality-bending nonsense so the door from his study to the balcony is a portal, or it's an illusory replica of the view. Again, I prefer the wackier, reality-bending version because I feel like Gale's time as an archmage had to include at least a few acts of pure self-indulgent disrespect for physics and the like. I think he'd do the illusion thing with a few windows though- I am projecting my own love of the ocean here, but I like the thought that no matter what window you look out of, you always see the Sea of Swords.

In both cases I don't imagine his tower to be huge. I like a Gale that has a few favorite comforts that he heavily leans into, rather than one that surrounds himself in opulence for the sake of it. It's cozy for a wizard's tower- only a handful of floors tall, filled with rare flora samples that double as houseplants, and the furnishings are a mismatched collection of pieces that he's accrued over the years. There's minimal effort towards aesthetic cohesion. It's just a bunch of stuff he found at various points in his life and decided, "Yes, I like this enough to have it in my home."

[shahdraws]

Redesigning Mualani

So,,, I’m trying to do some redesigns for Natlan the way I did for Sumeru. I started with Mualani, since her design honestly has the most potential.

Disclaimer: I do not belong to any demographic represented by Natlan, these are just purely aesthetic/ opinion-based redesigns.

So let’s start with the original, for reference:

So, this design is not bad, it just could be a bit better, in my opinion:

So the character designers DO know what undertones are?? I like the warm-toned tan- it looks good, and I wish we could have had this skin tone in-game a lot sooner. That being said, I think they could have leaned in and given her a much deeper tan, since that would give more contrast with her tattoos and outfit.

Her outfit is actually really cute, I don’t think it needs too many changes.

I absolutely love her facial features. Her eyes are literally so pretty, especially with how long her eyelashes are!

Her hair is not bad, but I think it could use more volume and texture.

So here’s what I changed:

Deepened her tan. Literally so easy to do, and makes the design look overall more cohesive. Also contrasts with her tattoos more, making them more easily visible.

I added a small heart to her cheek, since I feel like that’s something she would like lol.

Added slightly more definition to her muscles, since it seems from her animations and splash art that she is athletic.

I gave her fuller, wavier hair, and added some blue highlights and several smaller braids. I feel like that sort of suits her more, and kind of ties together her look somewhat by matching her hair to her outfit.

I kept most of her outfit the same, since I think it’s super cute, I just got rid of the bow in the back, since it felt like it didn’t match anything. I also made her shorts slightly longer, since I feel like it adds a bit more personality to her look, if that makes sense?

[theresattrpgforthat]

Any ttrpgs with a distinctive “grunge” aesthetic?

THEME: Grunge

Hello friend, I’m really glad you asked this question! Grunge feels like it fits indie ttrpg design so well, because so much of it emphasizes low-budget, DIY and messy styles. As a style of music, I understand grunge is about being dissonant, dark, and “ugly”. As a theme, what I understand about grunge is that it’s about alienation, isolation, and disenchantment with how society is right now, which is so so relevant to how we feel about our current quality of life right now.

That being said, there’s so much that can be explored in grunge, I feel like there’s a lot of different pieces that could make a work “grunge’. So while I think the games that I’m presenting here all fit some element of grunge, some of them might not fit the elements of grunge that you’re looking for.

Games by Adam Vass.

Adam’s games are often nihilistic, horrific, and creatively designed with mixed media, visual distortion, and a focus on the grotesque or the weird. This includes No Future, a time loop game about punks throwing one last party, Born To Die, a pamphlet ttrpg about anthropomorphic animals in a post-human waste world, and Cybermetal 2012, a lo-fi metal cyberpunk game about surviving in an isolated city of warped technology.

If you love horror as well as a bit of a dystopian edge, you’ll probably want to check out Adam Vass’s work.

Here, There, Be Monsters, by wendi yu.

No matter what they tell you, there’s still weirdness and wonder everywhere. You just have to know where to look. At the edges and cracks of ‘normal’ life we exist, we persist, and we resist: the monsters, the magicians, the anomalies, the freaks, and the outcasts. We gather in the shadows, trying our best to live our lives in a world that, when it doesn’t exactly fear or hate us, doesn't even believe in our existence.

But we’re still here. We’re not going anywhere. And we fight back.

While the layout and art direction of Here, There, Be Monsters is purposeful and cohesive, the goal of this game feels very grunge in the sense that it is meant to acknowledge the messiness and unapologetic anger present in the monster characters. There's a lot of bodies in this art, and these bodies are meant to challenge you - if you find them difficult to look at, that's a you problem, and that feels in tune with the spirit of grunge.

I feel like this game is probably more on the border of punk and grunge, but if what you’re looking for is a game that feels chaotic and embraces the dark and “disgusting” material that grunge is known to celebrate, than this might be worth checking out.

Dead Mall: The Last Great Beast, by Hunter J Allen.

They built us altars only to abandon them. Now they sit as dying, empty relics. No matter what they tell you never forget: These are our relics, not theirs. Don't let them pass gently into that sweet goodnight. They were made for profit but they remain as our playgrounds. If we choose to let them.

This here is a mini-zine and Bingo card about the American shopping mall and its relationship to us, our collective nostalgia, and the significance of cultural ruins.

This is more of a solo bingo game than a roleplaying game, but I think it might be an interesting way to build a modern “dungeon” for something like Liminal Horror. The zine also re-contextualizes a piece of American architecture that was so ingrained into the middle-class experience of the 80’s, 90’s and early 2000’s. I’m intrigued by how you could use this idea of decay and neglect in other urban fantasy and horror games.

MÖRK BORG, by Ockult Örtmästare Games.

MÖRK BORG is a pitch-black apocalyptic fantasy RPG about lost souls and fools seeking redemption, forgiveness or the last remaining riches in a bleak and dying world. Who are you? The tomb-robber with silver glittering between cracked fingernails? The mystic who would bend the world’s heart away from it’s inevitable end? Confront power-draining necromancers, skulking skeletal warriors and backstabbing wickheads. Wander the Valley of the Unfortunate Undead, the catacombs beneath the Bergen Chrypt or the bedevilled Sarkash forest. But leave hope behind - the world’s cruel fate is sealed, and all your vain heroic efforts are destined to end in death and dismay. Or are they?

This is a black comedy style of game that I think has a lot of overlap with the grunge aesthetic. It’s received a number of awards for its art style, which is chaotic, monochromatic, and as best as I can describe it, “sludgy.” Then again, you might look at Mork Borg and feel like it’s more metal than grunge: it’s not casual, but rather designed for shock value. The world is destined to end, and your characters are futilely trying to make a difference in it; a lot of the cues seem to point to your own characters being not necessarily good people.

The Prophet, by The Punk Theologian.

The Prophet is a solo-journaling role-playing game. It requires a tarot deck and can be played in as little as 30 minutes or over days.

Receiving Revelations: Turn over a tarot card and let the prompts and the card image be the revelation from the deity that called you. Navigating through visions of struggle and cries of despair, following the guiding flames of insight, to help turn your people’s trajectory towards justice and equity.

Overcome Events: Flip coins to find out if the people heed your warnings and are aided by their deity in overcoming enemy invasion, surviving a great earthquake, or a raging fire, or are crushed by the weight of divine condemnation reaping upon themselves the consequences of sewing the seeds of inequity.

When it comes to aesthetics, The Prophet feels very DIY-inspired, and when it comes to design, I think the fact that it’s a solo game contributes to the feeling of isolation: your status as a prophet may separate you from your peers, and if your predictions go unnoticed, you could feel even more alone. The inspiration of the creator is defined as “punk,” but since punk is a genre that grunge pulls a lot of inspiration from, I don’t think that this necessarily disqualifies The Prophet from being a “grunge” - style game.

#iHunt, by Machine Age Productions.

#iHunt is a story telling game about killing monsters in the gig economy. In it, you play millennials scraping by paycheck to paycheck to make ends meet. A gig app called #iHunt offers them more money than they've ever made to hit the streets and kill vampires, werewolves, demons, and anything else that goes bump in the night. 

The base game of #iHunt centres around the soul-crushing nature of the gig economy, which in and of itself I think is a great focus for a grunge-style game. The supplemental zines created by the designer have a very chaotic and collage-like look, taking photos or public domain art and re-mixing them to create something new. If you want to get really grunge, you might want to check out The 90’s Sucked Ass Or Whatever, which is focused on the specific events and details that would affect your disillusioned monster hunters during the height of grunge.

[reflections-in-a-critical-eye]

Jimin - Muse (2024)

3/5 ☆

I thought it'd get me several days to come back here with some thoughts on Muse, but it proved it's not necessary.

Who as title track makes complete sense. We're still into 90s nostalgia, but it's a recipe that works. Not just in kpop, but pop in general. Looking at the charts, it paints a pretty clear picture for the last couple of years. Add the zoomer idea of a what a Y2K aesthetic is like and we get the recipe for today's music and concept. Repeat, reuse, recycle. How fitting for postmodernism.

Who is a really catchy tune, with lyrics easy to remember and sing out loud. A tad more commercial-sounding than Like Crazy, but that's Muse overall anyway. The truth is, I have the song on loop (streamers can't come for me, lol). I think Jimin's style of singing and the melody itself are a good fit. Lyric wise, it's sort of basic, but this is pop music made for mass consumption. I don't mind it. It's also radio friendly and definitely has the potential for summer hit, but I'm 99% sure it won't turn into one. BH won't move a finger to send it to radio and it's another song that will fall victim to fandom mass streaming to chart high for one week. I've seen this all before.

It's also a shame to have this released when an artist is away, without being able to properly promote it. In my non-expert opinion, it could have been released as a single a few months later after Face and scratch the rest of Muse or keep it in the drafts.

As to the other songs, perhaps Rebirth (Intro) is the only other song on the album that has something to it, it stands out a bit more and it also bridges the two albums, despite the connection being sort of flimsy.

Having Sofia Carson on Slow Dance had brought nothing to the song. It could have been a full Jimin track all the way. Her style of singing does not stand out and I find it a failed pair because there's no contrast or voices complementing each other. Jimin can sing just like her. If a collab is really wanted/needed/necessary, then I'd wish for a pairing that also makes sense vocal-wise.

Be Mine is ok, but it sounds too much like that one TXT song and I simply can't get over past it. It's afro beat and latino influence which has been all the rage in the past few years, which Hybe has been pushing a lot. It explains the song.

SGMB and Closer Than This were previously released and I'm not covering them again.

I think it's difficult for me to not make comparisons to Face, considering both albums were produced around the same period, without much time left in between them. One is simply more cohesive and has a depth that showcases a first solo attempt, while the other one is clearly going a more commercial route with less of a personal signature.

Despite Muse being promoted as another conceptual album, I find that umbrella to be a bit forced given that the theme of finding love is really a generic one. Perhaps way too generic with not much individuality. Does it show Jimin's vocal range? Yes. Does it show him trying various genres? Yes. In this case, perhaps Muse is a bit similar to Golden in some aspects, with the difference that Jimin gets producing and writing credits in 5/6 songs. So his involvement is greater, but the scope of the album is in the same category as Golden, which is another production that had this LOVE as an overarching theme. But without much more to it that would make it stand out lyrically. The focus on both is genre diversity and vocal capability.

In short: I like Who (I also like Ace of Base songs and all those silly 90s pop songs, so my music taste is most likely considered bad, but I don't care). I think Muse overall is an amalgam of whatever is trendy at the moment, without being able to truly stand out and say more about Jimin, apart from his capabilities as idol/performer. Perhaps that was the point too.

P.S. My inbox has been closed for anonymous asks since I reblogged a few days ago my post about using lyrics as clues for personal life. It seems that it invited homophobia and I won't have that here.

I'm keeping it that way for now because I'm sure my personal "review" on Muse will either be seen as an invitation for people to either bash me for not thinking it's the album of the year or to be seen as an opportunity for others to talk shit about Jimin, Who and the album overall. I found that usually there is no middle ground with kpop stans/army/Jimin stans, etc.

[louroth]

Hello hello everybody! It is time for another months progress, and I am so excited to share with you, all the things I have gotten my grimy little gremlin hands on. First off, what we are all here for; writing. I have been on fire, to be honest! Last month I churned through the last of the first batch of erotica stories (there's 6 (!!!) of them on my patreon already) and set them up for publishing along with two more unseen ones- I'm still going over the logistics of where to publish for the best revenue (I know this sounds boring, but I have to make an income somehow, and hopefully find another audience as a smut writer on other platforms 💀 I love writing it so why not!), and I am making headway, learning the ins and outs of self publishing. On patreon, there are also two Q&A's that are written in a bit more fictional manner, in character: a more fun way than just writing answers straight up and down. I have enjoyed those so much! There's a bunch of other stuff I haven't even mentioned- honestly, I have to say, I'm really proud of my output on Patreon even though I have been really anxious about writing full time. It's going great! I have to thank my new friends and support-network on discord; you make this all worth it. I cannot express how fun it is to shoot the shit with you in vc, gaming together, or seeing your shenanigans in gen or your in depth theories (thanks for the brainworms!) or memes or staring longingly at the fanfic channel or drooling over your art (ouro related or not) or... Gah. You are just amazing people, and I will waste no opportunity in saying so. Thank you forever and ever and ever an-

When it comes to OUROBOROS, I am happy to announce that the next chapter is damn near done! I was halted because of the discovery that dashingdon is no longer supported by it's creator, and have been working on the twine version ever since, earlier than I expected- it's tough work, but I am so excited to make this an actual game made entirely by myself, and not submitting to a company that quite frankly leaves a bitter aftertaste. It is taking long to make because I want to make it mobile compatible from the start, which there isn't a lot of resources for. But I'm doing my best! The plan is that I will be posting the next chapter for Patreons in the coming month, and then treat you to a full twine release here on tumblr. I haven't made any rewrites when porting the twine build, but I would like to do that too... so we will see; this plan is not set in stone. I will just have to see how it evolves over the next month. Yes, beta-readers is still on the schedule, just holding off a little while while I wrap my head around this new coding landscape.

Other than that, I have been working on the set aesthetic for ouro, which has been really hard, a lot harder than I expected. You all know I am no wizard when it comes to graphic design, but I want to at least develop a set palette and imagery and portraits that is cohesive to the story. The work is ongoing, and I don't have much to say about it- even though it is taking a lot of my brain power. I'm hoping I can come to some kind of set and in depth conclusion that I am happy with before the twine release, because I want the game to feel like a treat to open up and play; a world to get lost in.

That's it! If you want to see weekly and more in depth dev-logs, you know where to go. I hope you have an amazing day or night, and we will see each other soon. xx

[sorbeau]

hi its me again i feel legally obligated to ask about your thoughts on the new riz design (but also extends to al of the other new art for the bad kids too!!!)

HI SHOKO sorry this took so long to asnwer, it feels a little late to the party now but I have lots of thoughts and this has been in my drafts for a hot minute so I'll break my thoughts down in order <3

Fig

GOD DO I LOVE FIG'S DESIGN. It hasn't changed too drastically in many ways, it's largely the same beats with the plaid skirt, leather jacket, biker gloves, and docs, but there's a lot more detail pertaining to her character now. Ayda's feather earring is abviously a huge win, everyone loves to see it, but I love the small details like the added wallet chain on her skirt, the added ear piercings, and her painted nails. If I had to choose something I didn't like, it'd be the color of her shoelaces, which isn't a huge deal bc you know spyre might have different cultural beats, but it's very reminiscent of punk doc lace codes, which were a way to sort of factionize yourself among punks. Fig wears one purple and one red, and traditionally purple means gay pride(which is great and i would've picked it for her too) but red usually means you allign yourself with neo-nazi's and similar groups which. is definitely Not Fig. It's not a HUGE deal but, maybe some more research could've been put into it.

Gorgug

Gorgug's new design is so. Perfect. Amazing. Spectacular. No notes. It's exactly the changes I wanted to see. The goggles, the dirt-covered face, the ripped jeans, the bags and tools, the gloves, the most disgusting worn pair of convers you've ever seen. It's absolutely amazing and the artist has managed to bring all the beats we loved about his original design(his extremely fashionable purple pants) and mixes them perfectly with all of the new facets of Gorgug's personality that have changed and grown theough their adventures. A little detail I love is how the color of his headphones has changed to match with the rest of his outfit better, creating a more cohesive design with the introduction of more red/maroon tones. This was always a little bit of an issue with the old design for me. The colors sort of didn't go together.

Kristen

She's going through a break up. She's at the most chaotic she's ever been and she's trying to fix it. It is so genius to make her jacked. The bright yellow tracksuit is beautiful and exactly something Kristen would buy and wear every day. Plus the tiedye purple sports bra tying in her old church camp shirt aesthetic is brilliant. I'm mourning the loss of her sandals, but the matching shoes to her tracksuit can't be complained about. Not a whole lot to say, I'm excited about how this design will change and reflect her growth this season! Praise Saint Kristen Applebees!!

Adaine

THE ELVEN ORACLE IS COOL NOW!!! I love her jacket, all the patches and the toned down fur lining is absolutely perfect. I also love the cool strapped bags on her hips and legs, it's just a really cool adventurer addition cementing her as a bad ass practical caster. Her entire face seems more assured and relaxed, which is absolutely amazing for her and reflects how her resting state is no longer as addled with panic and anxiety as it used to be. Her hair also seems a lot more her! Not sure how to describe it, but it seems like she's focusing less on keeping herself perfect, and more on just keeping herself, herself! Not very big design swings or changes, but she doesn't need to change, she just needs to be true to herself. (Also. a huge fan of her cool magic circle shirt.) My only gripe. Give her blue hair. And pronouns. And glasses pretty please.

Fabian

That boy is the future of dance!!!!!!!!!! I love the color palette shift for his design, it's a really great way to show how he's grown out of Bill's shadow and embraced his own passions with the grey tones with red and gold accents. Also a huge fan of the fancy robed pants, tons of great movement lines and something a dancer would totally wear. On the same note however, I feel like it doesn't really go with the rest of his outfit. I love how the changes made are geared towards movement and dance(his shoes changing from sneakers to dance shoes is great) but I feel like the changes are all sort of mismatched? The dance shoes look a lot like tap shoes, but the pants look more big and flowy, better for a more leaping and running style of dance, and his jacket has almost nothing to do with dance. It's delightfully artsy and detailed, which is so chic and Fabian, but the shapes of it don't really match up, and especially without a clear view of the front it makes him look like he's wearing half of a matador outfit. I would've loved to see a more dramatic silhouette without the use of the battle sheet(which is absolutely perfect, no notes) with either lots of flowy parts for movement, or a sharp jacket with skinnier pants for that exaggerated silhouette. Again, I think this is really all due to a lack of research, but the spirit of Fabian is still in the room with us. The colors are great, the bandages on his hands are perfect, and the fanciful element is very on point, just needs some better shape language and cohesiveness.

Riz

There he goes, he's gone from gritty detective to gadget-heavy superspy. I LOVE the character choices that Murph made for Riz, he's become even more of a loser and seems a lot less hard and fast, and more generally passionate. In freshman and sophomore year, he was entirely goal oriented, completely focused on completing his mission and solving the mystery, this time around he's still got a mission, but because he can't do it all himself, he's sort of given the opportunity to branch out and explore himself. This is all to say, i love the insufferable loser hipster kid that he's become. He is truly the trinket goblin of all time, I love all his wild little gadgets and jewelry, and all the extra arcano-tech screens on his glasses are brilliant. I'm also a huge fan of his torso gun-holdster, which is a beautiful homage to his detective nature. The undercut is also obviously perfection. The loser teen-boy urge to cut away your beautiful hair for a nerdy undercut is so painfully lore accurate that it's one of my favorite details. It's probably because he's a dork. but I would love to know why he has rolled up pants and no socks. What is that. Why would he do that. ALSO STOP BEING A COWARD D20. GIVE HIM DIGITIGRADE LEGS AND A TAIL. CAT GOBLIN TRUTHERS UNITE!!!!!!!!!!

anyways that's probably the end of my rant for now. I love the bad kids and overall their designs are great. constantly wishing all of my headcannons were real but understanding that the cannon will never relent.

[jotun-design-party]

that's it for jötun design party! i had so much fun seeing everyone's designs. the most difficult part was picking the winners, but i got there in the end! here are the winners, why i picked them, and the prizes they won!

as i will not be using this account anymore, i'll leave this as the pinned post and link to This Post as well as the #orientalism search for anyone who may stumble upon this blog in the future ❄️

Jötun Design Party Winners

First Place

Prize: full-body drawing of a character (original or otherwise) of their choice. I have your discord, and will contact you when I have the time to start and complete your drawing!

@therese-lokidottir

elegant and cohesive, it's clear that a lot of thought was put into the world and culture of jötunheim. every design is distinct and filled with personality while still maintaining a singular aesthetic. looking at these designs together, it's easy to imagine how the characters might interact with each other and their vibrant world.

Second Place

Prize: half-body drawing of a character (original or otherwise) of their choice. Please message this tumblr with your preferred method of communication (Discord, Instagram, or Tumblr itself) and I will contact you when I have the time to start and complete your drawing!

@ak800

looking at this design, it's easy to tell how much love, time, and effort was put into it. with elements that mirror loki's canon moteifs altered in ways that feel cozy, it's undeniable that there was a lot of thought put into the jötnar as a people. they mirror asgard in a way that directly contrasts the claims we see the aesir make of them, while still feeling like a separate and distinct culture with their personalized magic, unique horns, and clear social dynamics

Third Place

Prize: bust-shot drawing of a character (original or otherwise) of their choice. Please message this tumblr with your preferred method of communication (Discord, Instagram, or Tumblr itself) and I will contact you when I have the time to start and complete your drawing!

@corvusartchronicles

while deceptively simple, this design is thoughtful and paints a very different picture of jötunheim than we are used to seeing in canon. this design implies a combination of mythologies, which we are very used to in marvel, while giving love and thought to a vivid world of religion which is not often given the same respect as norse or greek mythology. protected from the weather in a way that would not make a temperature-sensitive frost giant overheat, loki's design is full of love for both fantasy, and the very real people who often inspire it 💞

it means the world to me that as many people participated as they did and i really hope that this contest helped make this fandom a more inclusive space in some way

picking the winners for this was SO DIFFICULT. so under the cut, i have also enthused about some of the submitted designs because i wanted to be able to share my thoughts on more of them. i'm so sorry that i wasn't able to get to everyone!!

treacheroustrickster

all of those shades of green? i am in love

red tichel!!! was this a callback to loki's red hair in mythology? I AM IN LOVE EITHER WAY!!!

i know it's based on a canon design and russian ashkenazi fashion but the hair jewelry just looks so in-place here. if it was cold enough outside that i needed to layer my clothes then i too would prefer to wear my metals in my hair where it wouldn't feel cold against my skin

newsted

this one specifically is just so ROYAL to me. far more than most of the entries! it has my heart

the riding pants >>>

the fingerless gloves >>>>

this design, with the minimal layers of clothing mixed with the warm cloak, makes me feel like it's designed to keep loki protected from the cold winds that comes with riding horses at high speeds in the winter

vvviktor

NY FRIEND I LOVE THE DETAILS

the embroidery on the sleeves

and the idea of loki in bronze instead of gold is one that i adore. i associate gold so heavily with asgard AND with loki that whenever i try to design jötun lokis, it's incredibly difficult to pick whether to use gold or not. bronze is the PERFECT solution to this

also shut up the feet literally are not bad

du-ed

HOOVES!!!!!!

okay cuteness aggression aside i think this is such a smart idea for the jötnar.

it helps with that balance of showing them in minimal clothing to get across their lack of sensitivity to the cold while also actually protecting them from the snow they are likely at least knee-deep in half the time

like yes. just yes

of COURSE they would look like this it just makes sense to me

imreaallyasorry

look at this. JUST LOOK AT IT. what more do i need to say

its perfect. i will be following you on my new account

this is the cutest thing i've seen in my entire life

also the staff/scepter is so cool, it's gorgeous, that's MY moon queen and magic theatre

unityrain24

this one is SO COOL, it's my absolute favorite out of the designs you submitted.

it looks so warm and sleek, and the idea that travel wear is so different from everyday wear makes me wonder just how harsh the conditions on the planet are.

i'm an absolute sucker for designs that are distinctly alien like this and it has my heart i love it so so much

[thelampisaflashlight]

Headcanons surrounding the abbey, the siblings, and the ghouls. Let's go.

-The abbey is a mix of new and old architecture, with an emphasis on cohesively blending the newer wings with the older parts of the building, at least from an aesthetic standpoint.

However, there are some parts of the abbey that have been intentionally cut off by modern additions, in other words; There are parts of the abbey that are visible form the outside, but completely inaccessible from within.

These parts of the abbey are either structurally unsound, thus dangerous for anyone to venture into, or have been sealed for reasons unknown.

As a result of this decision to conceal rather than demolish these areas, the abbey has a very mazelike layout akin to the Winchester Mansion, and new and old siblings of sin are often seen consulting maps to find their way around.

-The basement where the ghouls reside/where their dorms are housed is NOT the abbey's "real" basement; The abbey's actual basement, where the electrical panels and pipes feed down to, is only accessible through two points on the property.

The first entrance is located through a door labeled, "Custodial Services Only", and is pretty obvious, given that the door itself is painted bright red and has a keypad beside it, whereas the other one is located... somewhere.

Yeah, no one actually knows where the second entrance is, but it's somewhere outside.

The ghouls also have another way of getting into the actual basement, but that's because ghouls really love to dig.

-Speaking of weird shit underground, if it wasn't bad enough that the abbey is a maze, there's plenty of places where one could accidentally wind up in the catacombs, because, yeah, not only do they have two basements, they have a tunnel of bones, too!

Mountain says it used to be used for burials back in the olden days, but that it eventually took on a more sinister history that he prefers not to delve into.

Dew sometimes hangs out down there with "the nuns", and he won't elaborate more on what he means by that, and everyone is lowkey a little concerned.

-On the topic of the nuns though... Yeah, there's a bunch of dead nuns floating around the place, which may or may not be the reason why the library is so fucking haunting, but we digress.

Many of the siblings report seeing apparitions of nuns -not sisters of sin in their habits, straight up nuns- traveling through some of the more secluded hallways, and on occasion one of the old chapels seems to be filled with the sounds of prayers spoken in Latin despite the room itself being condemned and empty.

This is another place where Dew can be found from time to time, seemingly having conversations with the air.

-The infirmary is one of the newer additions to the abbey, as the older wing dedicated to medical services was bricked shut during renovations decades ago and has been left to rot ever since.

There's a challenge among the medical staff, ghouls included, in which they have to travel from the infirmary to the old wing, touch the wall where the door used to be, and come back, and there are marks from where they've placed their hands there.

Aether undertook this mission solo after his retirement, needing to feel some kind of connection to the abbey and leave his mark, and truth be told he's never quite been the same since.

According to him, once you see the wall, it's impossible not to feel different.

"You'll always know someone is looking out for you... whether you like it or not."

And lastly;

-There's a rumor among the siblings that there's a secret cemetery in the woods surrounding the abbey, but no one has been able to find it... at least no one who's lived to tell the tale.

Many more scientifically minded folks think these individuals may have fell victim to sinkholes or one of the edgeless, cavernous wells -such as Ol' Dens' Pond- that have cropped up over the years, but no one can say for certain.

In a way, perhaps, it is a self made graveyard, born of aimless wandering and a lack of caution.

Though the worn crosses turned to naught moss covered stones beg to differ.