#while my obsession with ancient history/mythology is always there

[galedekarios]

I see you reblogging hades stuff! Will you eventually go into some in depth analysis like you do with bg3? Hades is becoming the next hyper fixation of mine after Baldurs Gate and I’d like to hear your takes on anything relating to hades if you have any! 🥰

thank you for your kind message! i really appreciate it!

i'm a bit on the fence whether or not to. i'm hesitant to get invested, mostly bc of how they appear to be handling odysseus, penelope, telemachus and circe so far.

i'm trying to keep an open mind tho bc it's early access and we don't have the entire game yet or all information.

although who knows, maybe it'll motivate me to do so either way.

having said that, i have my (re-)reading material close by (((': :

🖤

[apoloadonisandnarcissus]

"Priestess of Isis", "Enchantress" and "Sylph": Occult References in Ellen Hutter’s character in “Nosferatu” (2024)

In another post I analyzed Ellen Hutter’s character in the 2024 adaptation of “Nosferatu” through literary lenses of the Gothic female genre. Now, I want to dwell on her occult and mystical symbolism, and how this translates in her connection with Count Orlok, the undead demon of the story, who’s bound to her. But how and why? And what exactly is she in this story?

“In heathen times you might have been a great priestess of Isis.”

Von Franz tells this to Ellen in their last scene together, because he recognizes her spiritual power and ability to communicate with the spiritual world. Her “hysterical fits” and “epilepsies” also mirror the trance-like states of Pagan priestesses. She inhabits the “borderland”, a peripheral area, a portal between the two worlds: the physical (matter) and the spiritual.

“The pupil is expanded. It does not contract naturally to the light. […] A second sight. She’s no longer here. […] She communes now with another realm.”

“Somnambulists afflicted with these perversions [hysterics and lunatics] oft possess a gift: a sight into the borderland. […] I believe she has always been highly conductive to cosmic forces, uniquely so.”

Von Franz says demons usually obsess over “those whose lower animal functions dominate”, because they like them and seek them out. He elaborates: hysterics and lunatics. However, he says this before he actually gets to know Ellen, and he quickly realizes that’s not the case here. Because Ellen is the one who awoke Orlok from his centuries old sleep. Which is confirmed by three characters in the narrative: Orlok, Ellen herself and Von Franz.

O’er centuries, a loathsome beast I lay within the darkest pit… ‘til you did wake me, enchantress, and stirred me from my grave. You are my affliction.

Which leads me to the next topic:

Why Isis, of all deities?

Isis and Osiris

Isis is one of the major Egyptian deities. She’s more commonly known for her role as “Mother Goddess” of Horus, the Sun god. Isis had mighty magical powers, greater than that of all other gods, she governed the natural world, healing and wield power over Fate itself.

“Destiny!” Ellen cries out to Anna, while looking at the sea. “Providence!” Herr Knock screams throughout the narrative. “You run in vain! You cannot out-run your destiny!” Von Franz laughs in religious fervor as Thomas tries to save Ellen.

Isis is also connected with the themes of death, sex and rebirth in Egyptian cosmology, due to the myth of Isis and Osiris; which are also the core themes of Robert Eggers’ adaptation of “Dracula/Nosferatu”, so it’s not coincidental.

The “Osiris Myth” is one of the major surviving pieces of Egyptian mythology. It’s a ancient tale, with its early versions dating back to the 5th Dynasty (c. 24th century B.C.). It has known several adaptations throughout Egyptian history. The most complete version is in “The Moralia” by the 1st-century scholar Plutarch of Chaeronea, a collection of essays about Greco-Roman culture; that became very popular during the Renaissance era (14-16th centuries) and the Enlightenment period (18th century) in Europe.

Isis and Osiris were brothers, and according to Ancient Egyptian religion, they were in love with one another before they were born, and enjoyed each other in the dark before they came into the world. They eventually married.

Osiris had two facets as a God: in life, he was the God of fertility, agriculture, and vegetation, being considered a “Shepherd God”; in death, he was the God of the Underworld, the judge and Lord of Dead, the afterlife and resurrection. The pharaohs of Ancient Egypt were associated with Osiris in death, because as he rose from the dead, so would they unite with him and gain eternal life through imitative magic. Which appears to be the whole deal between Orlok and Herr Knock in “Nosferatu”, as Knock seeks to gain immortality like Orlok, by serving him.

On Earth, Osiris was believed to take on the form of a bull (the sacred bull Apis). What I find interesting here is that in both the 2016 script and the 2023 script of “Nosferatu”, Orlok’s physicality is actually compared to a bull:

Osiris became king of Egypt, and taught the people how to farm and live peacefully in their villages; he had a reputation for being a powerful and wise king, loved and respected by the Egyptian people. We don’t know exactly how Eggers’ Orlok was in life, other than him being a Romanian or Hungarian nobleman and a Solomonar sorcerer who sought to achieve immortality. But if we go by Vlad III (Drakule or Dracula, the infamous “Vlad the Impaler”) biography, he’s actually considered a Romanian national hero because he defended the Romanian people from foreigner invaders (Germanics and Turks, mostly). Just throwing this out there, because it’s unsure if this is intentional or not.  

Osiris and Isis had a brother, Seth (or Typhon in Plutarch essays), the God of deserts, storms, disorder and violence, who murdered Osiris to take his throne. He tricked Osiris into climbing into a wooden chest/coffin, shut the lid, sealed it shut, and threw it down the Nile River, knowing Osiris would never be able to survive. In some versions, it’s said Seth cut Osiris body into pieces and scattered them throughout Egypt. Interestingly enough, there’s a similar legend associated with Vlad the Impaler, who died in battle against the Ottomans, and, according to Leonardo Botta, the Milanese ambassador in Buda(pest), Vlad’s enemies cut his corpse into pieces, too. and his remains were never found.

Isis is the epitome of the mourning widow in this myth, as she mourns Osiris’ death deeply. Here enters the symbolism of the lilacs in "Nosferatu", the symbolic flowers of Ellen and Orlok: in the Victorian era, they were associated with widows because they represented a memento of a deceased lover.

Can this also be a nod to “Bram Stoker’s Dracula” (1992) by Francis Ford Coppola? Where Dracula himself is the grieving widower because Elisabeta commits suicide? In the 1992 adaptation, Mina also speaks of “flowers of such frailty and beauty as to be found nowhere else”. What flowers is Mina talking about? It’s unclear, but Lilacs are native flowers to the Balkans, after all.

Isis sought for Osiris’ mangled body and with help of tree other Gods (Nepthys, Thoth and Anubis), they sew Osiris’ body back together, and then wrapped it head to toe in strips of linen, creating a mummy. Interestingly enough, Orlok’s corpse appears almost mummified at the end of the story.

In the Osiris myth, Isis uses powerful magic (incantations and magic spells) to bring her dead lover back to life; similar to Ellen who resurrects Orlok with her summoning prayer. In one version, this happened on a night of the full moon; in “Nosferatu” (2024) we also have a full moon connected to Ellen and Orlok, in the prologue, when he reveals his rotten corpse to her:

According to Ancient Egyptian funerary texts, it’s Isis sorrow, sexual desire and anger that empower her magic to be able to bring Osiris back to life. When Ellen prays for a companion of “any celestial sphere” in the prologue, she’s crying (sorrow), she’s upset because her father recoils from her now that’s she’s no longer a child (anger) and she’s in her teenage years/puberty (sexual desire). Like Isis with Osiris, it’s the combination of these emotions that power her magic to unconsciously resurrect Orlok.

However, Osiris can’t remain among the living, because he has to return to the Underworld and become King of the Afterlife. But before he goes, Osiris and Isis conceive Horus, the God of the sun and the sky, who will restore peace and order to the universe.  In “Nosferatu” (2024), Von Franz says that “with Jove’s holy light” before dawn, redemption will come to the people of Wisburg and the curse of Nosferatu will be vanquished. “Jove” is Jupiter, the “King of the skies”, who’s connected with the Egyptian Horus. Horus and Ra are often merged together in Ancient Egyptian religion, making Isis and Osiris the metaphorical parents of the Sun.

In “Nosferatu” (2024), as Orlok and Ellen complete their covenant, consummate their wedding and he drinks from her, the sun is also the metaphorical result of their union. As dawn breaks, the sunlight vanquishes them both from the physical world, as they both die in the material realm.

After being buried by Isis, Osiris goes into the Underworld to rule over it. And from then on, Isis herself is also associated with funeral rites, as she would guide the souls of the dead, helping them entering the afterlife. Through her magic, Isis helped resurrecting the souls of the dead, as she did with Osiris, acting as a mother to the deceased, providing protection and nourishment.

At the end of "Nosferatu" (2024) we see Ellen fulfilling her role as “priestess of Isis” (or as Isis herself?), as the Goddess of healing, who ends the blood plague in Wisburg, but also guides her dead lover Orlok/Osiris with her into the Underworld... where he'll rule as king? Unclear.  

Since we are discussing the Egyptian Gods, I have to mention Greta the Cat, Ellen’s domestic cat. Her name is an obvious homage to Greta Schröder, the actress who played Ellen Hutter in the original 1922 “Nosferatu”. Indeed, cats are predators to rats, however, the Egyptian Goddess Bastet is considered to be Isis’ daughter. She's the "cat goddess" for cats were considered sacred in Ancient Egypt. Bastet was associated with sun gods like Horus and Ra. Bastet was the goddess of pregnancy, childbirh, and protection against contagious diseases and evil spirits.

Enchantress

Orlok calls Ellen “enchantress”, but what does this mean? “Enchantress” is not only a female archetype, but has root in historical realities. Enchantresses were practitioners of feminine magic: oracles, healers, herbalists, midwives and shamanic shapeshifters. They were what’s commonly known as “witches”. These female magicians studied and practiced their art in goddess temples, mystery schools, alchemy schools and hedge schools.

The alchemists of the Middle-ages studied these dynastic lineages of “wise women”, and they had several names: enchantresses, chantresses, encantrices, or incantrix. Many physicians who founded "medicine" and "science" studied these wise women, mainly healers and their use of medicinal plants and herbs.

Ellen’s character appears to fit that of a “incantrix”. Women who used words, incantations, songs, spells and prayers to shape reality. It’s the priestess of an old religion (as Von Franz also calls her); gifted with magic power and authority to command the elements or the body by the power of their word.

Heptagrams

Orlok seal (or sigil) meaning has already been widely discussed by others (symbols of Ancient Dacian religion, mainly the figure of Zalmoxis), but what I want to mention here is the heptagram itself, the seven-pointed star. Heptagrams have several occult meanings, including warding off evil which, for obvious reasons, doesn’t fit Orlok’s character. It has meaning in Alchemy, too, as representative of the seven planets and seven substances.

The heptagram, however, is used by Aleister Crowley in his occult system Thelema (from Ancient Egyptian text) to represent a goddess/archetype: Babalon, which is also connected with Isis, Nuit, Lilith, Kali, among other goddesses and deities. At its core, it’s a goddess of female empowerment and liberation, of divine feminine. According to this occult belief, Babalon has several manifestations (sort of incarnation) and is a spiritual gateway to wisdom and enlightenment through chaos and female sexuality.

In “Nosferatu” (2024), when Ellen and Thomas are returning home, there’s a man in the streets rambling bits from the “Book of Revelations” (Apocalipse) from the Bible: “And I saw a beast rising out of the sea, owith ten horns and seven heads, with ten diadems on its horns and blasphemous names on its heads.” (Revelations, 13:1).

Indeed this passage is about Orlok arrival and how he’ll spread plague among the town. However, we have a character in the “Book of Revelations” which is connected to all of this: the Whore of Babylon, the “Mother of Prostitutes and All Abominations of the Earth”, and she rides this Beast, which is the same as Crowley’s Babalon. What Crowley did was a positive reinterpretation of this biblical figure, symbolizing liberated female sexuality by embracing the powers of the Divine Harlot.

Also known as the “Scarlet Woman” and “Great Mother”, this complex and mysterious figure was established in 1904 in “The Book of Law”, however her roots are far older, and can be found in the Enochian tradition, a magical system by John Dee and Edward Kelly, dated from the late 16th century. In the 2016 script of “Nosferatu”, Orlok spoke Enochian, so it’s clear Robert Eggers is very much aware of all of this.

Initiatrix, Creator and Destroyer, Babalon is the “Great Mother” because she represents matter, Mother Earth. Like Isis, she’s the Archetypical Mother, the Womb, the Great Sea and the Divine Blood itself. According to Crowley, the “whore/harlot” facet is about enjoying sex without the burden of reproduction; and the “mother of abominations” connects with destruction like natural catastrophes, plagues, etc. She’s the ruler of the cosmological sphere and both good and evil (as evil as elemental forces can be or are considered as).

Crowley is a man who was born and raised in the Victorian era where sexuality was to be silenced and repressed, which provides context to his occultist beliefs and his “sex magick” theories. Victorian physicians and scientists were obsessed with classification of sexual perversions, too. “Hysteria” being one example among many. Which is the historical context for Eggers adaptation of “Nosferatu”/“Dracula”, so these references are quite fitting.

According to the Thelema, Babalon is the “Sacred Whore”, and her primary symbol is the Chalice or Graal (symbolic womb). She’s a consort to the Beast, who has seven heads, which is symbolically represented in her heptagram sigil. Crowley described her: “She rides astride the Beast; in her left hand she holds the reins, representing the passion which unites them. In her right she holds aloft the cup, the Holy Grail aflame with love and death. In this cup are mingled the elements of the sacrament of the Aeon”.

To Crowley these were not actual beings but titles/archetypes (sort of speak) in his Sex Magick beliefs: the “Scarlet Woman” is the High Priestess, and the “Beast” is the Hierophant. This fits Ellen (the priestess) and Orlok (warlock, black sorcerer) in “Nosferatu” (2024). The “Scarlet Woman” is a gateway to both the moon and the sun, and we see both associated with Ellen.

Orlok is described as a “beast” several times in the film, including by himself and by Von Franz, who also mentions Ellen’s “dark bond with beast”, and how she gave her love to the beast: "and lo the maiden fair did offer up her love unto the beast, in close embrace until the first cock crow, her willing sacrifice thus broke the curse and freed them from the plague of Nosferatu."

Orlok says Ellen’s passion is bound to him, like Babalon’s passion is united with the Beast. Babalon as “mother of abominations” also fits with how Ellen unleashed Orlok and his blood plague onto the world, bringing destruction and apocalypse.

Your passion is bound to me. […] I cannot be sated without you. […] Remember how once we were? A moment. Remember?

Thelemic followers of the Beast have been trying to call into being an older, more primeval, female force that is lacking in the Modern Age. Interestingly enough, this was the reason why Orlok became interested in Ellen in the 2016 script (which was later changed, because in the 2023 version it’s Ellen who summons Orlok): “I have sought a creature from the depths. A Eve that remembers her Eden. You are such one.” Both Crowley but more notoriously Jack Parsons have tried a bunch of incantations to conjure Babalon into being.

Oddly enough, the conjuring ritual we see Herr Knock performing at the beginning of “Nosferatu” (2024) is very similar to one of the incantations of Babalon performed by Jack Parsons: Air dagger, blood and channeling of windstorms and the Air element, over a heptagram. He also compares Ellen to a sylph; a nymph of the air element from alchemy and hermetic literature. We are told by Von Franz this is Solomonari sorcery, but is it really?

In Ophidian Thelema, Babalon is the Goddess of magick (“Heka”), of the Liberation of the Spirit (ecstasy), of the Liminal Point, of the Underworld, of Vengeance and of the Principles of Life. Their priestesses use the female body (vulva and womb) to channel their power during their magic rituals. This is similar to Ellen’s “hysterical fits” when she’s communicating with Orlok in the spiritual world, especially since “hysteria” was considered a disease caused by “wandering womb”. In the film, we also see Ellen's womb being talked about between Von Franz and Dr. Sievers during her examination, when they say her menstruation is liberal and she has too much blood in her. 

The “liberation of spirit” is in the form of a Serpent, which manifests in the flesh. This notion was present in the “Book of Law”, where its said there’s the dove, and there’s the serpent, and a choice must be made. While the dove represents religion, the serpent represents the spirit. In one scene, Ellen says Orlok is like a serpent in her body; and he replies it’s not him, but her own nature, a nature she denies. Babalon says “my vocation is the serpent.”

The priestesses of Babalon are also in control of their “trances” when they access the spiritual world. In “Nosferatu” (2024) there’s a interesting scene between Ellen and Thomas (the infamous sex scene), when Ellen “comes back” from her transe when he says he’ll call for Dr. Sievers. Does this indicate Ellen is actually in control of her trance-like states?

Babalon is the guardian of the Seven Principles of the Underworld, a place of darkness and transformation. Orlok tells Ellen in the prologue “you are not for the living. You are not for human kind.” Babalon is also the goddess of the liminal point, who can access other realms. As Goddess of vengeance, Babalon punishes when life is out of balance, and exerts violence and corruption upon those who are in the wrong. Ellen unleashes Orlok onto the world, and we can interpret him bringing plague into Wisburg as Ellen’s reckoning against a society that ostracizes her and will never accept her.

All rites and initiations of the Underworld Goddesses include rites of sex and death. Which is what we see with Ellen at the end of “Nosferatu” (2024). By Thelemic occult tradition, she, the manifestation of Babalon, has sex with the Beast (Orlok), “representing the passion which unites them” and her womb (Holy Grail; cup) is “aflame with love and death” (sexual climax, orgasm, with an un-dead vampire).

I will work the work of wickedness; I will kill my heart; I will be loud and adulterous; I will be covered with jewels and rich garments; I will be shameless before all men; I will, for token thereof, will freely prostitute my body to the lusts of each and every living creature that shall desire it; I claim the Mystery of Mysteries, BABALON the Great, and the Number 156, and the robe of the Woman of Whoredomes and the Cup of Abomination. “The Great Beast: The Life of Aleister Crowley”, John Symonds, 2016

Orlok being the Beast and Ellen the manifestation of Babalon explains why she’s promise to him in the narrative, and was never meant to marry Thomas: in Thelemic tradition, the Beast is the consort of Babalon, after all. Orlok's interest in Ellen isn't predatory for its own sake; he sees her as his rightful and fated spiritual consort, which fits the "bride of Dracula" theme of the Bram Stoker original story.

This probably also mirrors the 1992 adaptation by Francis Ford Coppola, where Van Helsing calls Lucy the “Devil’s concubine”: "Hear me out, young man. Lucy is not a random victim attacked by mere accident. Do you understand? No. She is a willing recruit, a breathless follower, a wanton follower. I dare say, a devoted disciple. She is the devil's concubine! Do you understand me? Yet, we may still save her precious soul." In this adaptation, Lucy is full Crowley and Parsons “Scarlett Woman”, with red garments and red hair.

Orlok also gives Ellen three nights to accept him/her nature and complete their covenant. Some are mistakenly associating this with Jesus Christ. These “three days” are possibly connected with another Goddess associated with Babalon: Inanna (or Ishtar), the ancient Mesopotamian Goddess of love, war, fertility, sensuality and divine law. The most famous myth about this deity is her descent into the Underworld, where she spends three days and three nights dead, until she re-ascends (rebirth).

Ellen also goes through the “Myth of Inanna” in “Nosferatu” (2024), which is the theme of the heroine descending into the “Underworld”, to suffer, to be stripped bare, to die, and to be reborn in the aftermath. This is the primal Shamanic crisis. Ellen also goes through three days and nights of suffering and death (witnessing her friends and the townsfolk of Wisburg dying by the blood plague) until she joins Orlok and is reborn.

Ellen and Orlok are involved in sex magick, at the end, clearly. But with what purpose? Sex magick to Crowley has several purposes and strong creative power, conjuring, invocation, etc. He believed deliberate acts of sexual transgression were a radical form of super-human power that promised to explode the narrow boundaries of Western Christian society and open the way for a whole new era of human history. Which is probably what’s happening here? A symbolic ending to the sexually repressed Victorian era as Western societies moved toward a more open-minded and accepting view of sexuality? Or it’s Ellen reborn as a Goddess of the Underworld (return to spiritual state), after going through a initiation rite of sex and death, as she breaks free from her human form? Or both?

Or it can be a nod to Crowley idea of sex magick to unleash supreme creative power to generate a godlike child? This can mirror the Osiris and Isis myth, of Horus (the Sun) as their metaphorical child, like it is for Ellen and Orlok here, as the end result of their union.

Alchemy

Alchemy, at its core, is the transmutation of base materials (lead, etc.) into noble materials (gold), and the pursuit of immortality (“philosopher’s stone”). Occultists reinterpreted this as a spiritual quest of self-transformation, purification and regeneration of the human soul. Hence physical death being seen as a gateway to another life (rebirth); which is the symbolism of the final scene of “Nosferatu” (2024).

Both Ellen and Orlok evolve from a diseased and corruptive state (physical world) into regenerative and perfect state (spiritual world), after being purified by fire (the Sun). Their old selves are empty shells, as their spirits ascend. This also finds parallel in the myth of Isis and Osiris, as they both went from “daemons” to Gods in the Plutarch essay.

And this also finds parallel in the 1992 adaptation when Vlad/Dracula ascends to the Heavens and is reunited with Elisabeta’s soul. Is this intentional? Are we dealing with reincarnation themes in Eggers' adaptation, as well? According to occultists both Babalon and the Beast have had many manifestations (reincarnations) in the physical world throughout the centuries, after all.

Orlok asking Ellen to remember their shared past, is also an interesting nod to Vlad and Mina in the Coppola's adaptation (their OST is called "Love Remembered"): "I have crossed oceans of time to find you." and “I have sought a creature from the depths. A Eve that remembers her Eden. You are such one.” in the 2016 "Nosferatu" script. Which didn't change all that much in 2023, except we don't have an actual explanation for Orlok interest in Ellen, other than her waking him from his centuries old sleep (resurrection).

[voltronisanobsession]

Hey! Not sure how many times I can request, so I’ll just make my appearance as small as I can (no promises though 😉)

B u t.

I was able to think of something else, because I was inspired by the story of Pallas and Athena (she was a daughter of Triton and friends with Athena before accidentally getting killed by her during a competition). So, how does a relationship between a child of Triton (a.k.a the reader) and Annabeth sound?

Maybe things were rocky at first, since Annabeth was a hard-to-get gal, but the more the reader protected her and went out of their way to use every drop of their power JUST for her the more Annabeth started to love them. Does that sound good?

(P.S. I don’t know why, but I can see the reader accidentally splashing Annabeth with water at one point when they tried to woo her, which ended up with her reeking of salt water for days. Also, I think you did a good job with Hecate!reader! Oh, and sorry for how long this is.)

I have no limits on how much you can request so you can send in as many as you want! I just take some time with them💀 I’m also glad you enjoyed the previous one, I had so much fun with it😍😍

I REALLY like this one because we all know how Annabeth is with stories of the gods and heros

She’s studied and remembers all of the ancient stories of Greek mythology, so it only made sense for her to avoid you after finding out your father was Triton

So while both of you know the story of Pallas and Athena, you don’t think much of it while Annabeth fully believes that history can and will repeat itself

Which is why she avoids reader to the MAX when they first meet

As much as she gravitated towards your easygoing and friendly personality, Annabeth feared that your guys’ friendship would lead to your demise one way or another

You wanting to prove her wrong on her theory, made it a point to try and be her friend, no matter what😍😍

Small talks turn into full conversations, with you mostly speaking while Annabeth tries not to give in to the temptation of continuing the interesting subjects you bring up

Imagine you standing up for her whenever Clarrise and her siblings start talking smack about her :0

“Back off Clarrise, why don’t you actually do something productive for once instead of obsessing over Annabeth.”

Cue some insults thrown your way while said girl walks away

“I had that covered Y/N, I didn’t need your help. But… thanks, anyway.”

SHES SO FLUSTERED AS SHE WALKS AWAY WHILE YOU CHUCKLE AHH

Your smile when you to bump into the girl around camp slowly breaks her resolve too

You always manage to see how her eyes light up whenever you’re around which makes your heart FLUTTER UGH

Lingering eyes on each other definitely makes Annabeth rethink her original plan on keeping her distance from you

Ok maybe it’s just me but I can see the reader being kind of a show off BUT IN A GOOD WAY

Like you’re always trying to get Annabeth’s attention one way or another, meaning that some of those ways aren’t the smartest ones

Like one time you wanted to put up a water show for the girl which ended up with her and anyone in a 100 foot vicinity to be soaked in sea water after a miscalculation on how much water you needed to complete your show💀💀

She pretended to be upset with how you made her and countless other campers smell like salt water but would bust out laughing whenever she saw you around camp for the entirety of the week

Secretly loved it though because the water smelt similar to you

Annabeth would slowly forget about Pallas and her mothers story especially after seeing you risk your life countless times for her during battles and secret attacks near the camp

Like that one time you forced her to stay within the camp grounds once you saw how she was knocked down by an angry hellhound

She can still remember being held back by some of her siblings as she watched you get ganged up by more hellhounds, watching from the side as your chest heaved in exhaustion

Remembering how she rushed to your side, gently holding your face as fear coursed through her body, watching as you took shallow breathes

It was then that she knew she grew to care about you too much to just stand by while you protected her from the monsters of the world

Her eyes still trace over the scars left behind from that battle, guilt planting itself in her heart whenever you catch her eye when she’s caught staring at you

Definitely gets frustrated at you when you don’t understand why she was so upset when you took her place in the battlefield

She cares for you too much and she would let out her confession to you in the moment

Then you would confess to her as well and basically explain why you protected her the way you did and everything would easily fall into place

Now she isn’t afraid to hold long conversations with you, but she does tend to hide her face in your shoulder when her siblings tease her about her new partner

You would definitely join in on their teasing too💀

Annabeth enjoys taking long walks beside the shore with you

Sometimes you even take her below into the cool abyss and just take her to your favorite spots in the ocean

She also enjoys being able to hug you whenever, loving how the fresh scent of the sea tends to linger on your skin URGHHH😭💔💔💔💔

IM MAKING MYSELF SAD CUZ I WANT THIS LMAO

OMG AND YOU BOTH TRACE EACH OTHERS BATTLE SCARS WHENEVER YOU GUYS CUDDLE TOGETHER I CANT💔💔

She doesn’t care about how you don’t think your actions through, she’s just supporting you all the way no matter how weird and silly they are

Like trying to balance the hilt of a sword on your forehead (homegirl was literally biting her nails in fear that the sword would fall over and stab you💀)

BUT…

Do beware, everything may seem perfect in the moment but Annabeth was correct about one thing

History does repeat itself in the end

It’s up to both of you to see if your story ends in happiness or tragedy

[gemsofgreece]

Hello! Firstly, I wanted to thank you for the work you do on this blog. My mother's side is Greek and came to the US around WW2, and as I've gotten older and tried to learn about Greek culture, I've found that it's hard to find sources that aren't inundated with American pop-history. It's been really lovely being able to learn more from your blog for the past couple weeks.

Second is my question -- re: the pop history issue, I've noticed that people in the American queer community have a knack for "reclaiming" figures in history and mythology without always having an abundance of evidence for their claims. And like, I'm trans. Obviously the idea of some of things being true is cool, but it also feels disingenuous sometimes. Do you know of any good resources or books written by actual queer Greeks about either their contemporary experiences, or the history of queer people in Greece that isn't just conjecture?

Thank you again! Have a great day :)

Hello! It makes me so happy that you found my blog suitable to inform yourself on this part of your ethnic / cultural background. I hope the blog will keep being a useful source of information.

Because I am not going to lie, the way Greek history and culture, more like a snippet of it, has been almost forced into American pop culture is indeed through a disingenuous conjecture. Honestly, it's not so much a matter of accuracy per se. It's more that a niche piece of the culture has been taken and presented as almost the entirety of this culture, which eventually leads to tremendously false impressions, no matter how earnestly this niche part is explored. There is also the tendency to shape ambiguous evidence into unquestionable conviction.

I will attempt to explain why this can be a problem. Let's take the axiom - because it has reached the lengths of being treated as an axiom - "Ancient Greece was gay or Greece is gay or Greek culture was gay culture or Greece is / was a gay haven". If we really study Greek history and culture in its entirety, in a span of 3,500 years or more if we also take into acount the pre-Greek civilizations which eventually helped produce the Greek, while the existence of gay people (i.e Sappho), non-straight sexual practices (i.e erotic amphoras), ambiguous literary relationships (i.e Achilles & Patroclus?) and varied expressions of sexual desire observed especially in male deities are 100% well attested and recorded, they still comprise overall a very tiny part of the Greek civilization. Whereas it is often portrayed in western pop culture as the very essence of Greek civilization, exploration and studies of sexuality and gender identity throughout its history could amount to maybe a 1-5% of all documented knowledge associated to the Greek ethnos, its history and its legacy. Think of it this way; Greece happened to be in the epicenter of many formative achievements of humanity; spreading, contributing or improving on science, arts, extant religions and linguistics. It has been an area extremely ravaged by war because it has a very strategic position on the map. It has been in the core of three of the world's largest empires and it has been positively or negatively influential to all three (and the generator of one of them). There are so many things, struggles and achievements, to study and explore and draw from as part of your identity, that a constant foreign obsession and trivilization and sensualization of the sexual practices of people long gone eventually will start sounding disingenuous or lacking or even demeaning. Just like every individual aspires to be acknowledged and respected for more than just their sexual or gender identity (i.e skills, feelings, talents, achievements, personality), it is the exact same with culture and heritage. People want their culture to be appreciated in its entirety and not for a super niche area that is also exaggerated, if not exploited to serve foreign agendas, trends and marketing (because let's be real, not all have noble representation motives).

Okay, now I have to ask: do you know Greek? Because I can recommend you some sources, however Americans do not translate Greek works unless they are from 750 BC :)

Here's a quick heads-up:

The Greek society is a pseudopuritan society - one where people act like puritans when it comes to judging others but not at all when it comes to themselves. The gay male community has by far the biggest visibility nowadays. Lesbians come second. Other sexual orientations follow i.e bi, poly, pan. Gender (trans, non-binary, fluid etc) identities have less visibility. Asexuals also have near non-existent visibility. Most non-het non-cis people face problems in their families rather than in their studies or in urban environments. Non-cis people, especially AMAB people, might also face hardship in the workplace (like not getting easily hired).

Because the society is pseudopuritan, it tolerated and embraced and worshipped several LGBT people, except if they attempted to communicate their experience. Great composers and authors were openly gay and Greeks knew it and loved them, because they didn't explicitly involve their sexual identity in their work or because they didn't expose the pathogenies of the Greek society. If they had done that, the reception could have been different. Because of all these reasons, most of my sources will be from the perspective of gay cis men (the most visible LGBT+ community) and it will be mostly the great work and legacy they left behind, rather than their explicit documentation of the experience of living as LGBT+ in Greece.

LGBT poets and authors:

Constantine Cavafy (1863 - 1933), one of our best poets. This can be useful to you because his works are actually translated in English.

Napoleon Lapathiotis (1888 - 1944), openly gay in such times, he wrote a lot of erotic poetry.

Augoustos Korto (1979 - ), a married gay man, successful writer and activist, he has written extensively on the topics of death, depression, motherhood and love, often drawing from personal experience.

Kostas Tachtsis (1927 - 1988), poet, distinguished author and activist for gay rights during the Colonel dictatorship in the '70s. He suffered in his life and in his death as well. His murder has not been solved yet. He has written an autobiography and numerous novels with autobiographical elements. He was gay, either cross-dressing cis or maybe trans or non-cis (we don't know that back in time how exactly he identified) and had also been a sex worker for some time.

Napoleon Lapathiotis

Music:

Music won't give you direct information however it could be a way to bond with people you could connect with over similar experience.

Manos Hadjidakis (1925 - 1994), one of our two greatest composers and a rare genius, was openly yet "discreetly" gay, not out of shame but because privacy on all aspects of the human experience was absolutely essential and sacred to him. He was also an Oscar winner, although he would hate me for saying this (he threw his Oscar in the trashcan). Besides listening to his music, I would recommend watching interviews or listening to excerpts from his radio shows, because of the ease with which he could challenge anyone's intellectual capacity.

Sotiria Bellou (1921 - 1997), a lesbian or perhaps bisexual woman, she is worshipped for her unique voice, which became the ultimate symbol of the heavy-duty (underground at the time + now part of UNESCO's cultural heritage) rembetiko music genre.

TV Shows with representation:

Maestro in Blue on Netflix, a big part of the story is the romance of a gay couple suffering in oppressive families in the province

Milky Way, one of the main characters is pansexual and non-binary, and the actor is gay IRL. There is also a brief lesbian romance or a side narrative of supressed female homo- or bi- sexuality. This show will soon get in some international platform but I don't remember which one (not netflix), so keep it in mind.

Milky Way

YouTube:

There are a lot of LGBT+ people in Greek YouTube but my faves are:

ΚΡΙΜΑ by ZoePreTV: Zoe is a lesbian or bi herself (not sure but I know she's openly in a relationship with a woman) and she makes lengthy very informative quality podcasts with celebrities or everyday people, often belonging to marginalized groups, and they talk about their experiences. If you can understand Greek, this might be the best source for what you ask. I watched a fantastic episode with a trans woman and sex worker talking about her life. It is one of the greatest podcast episodes I have ever watched, hands down.

Eponimos. Zoe's best friend, who is an openly gay man, although he approaches matters of sexuality very delicately as he values his privacy a lot. He doesn't talk often about such matters (recently he did) but his channel is awesome for his lighthearted humour and the maturity of his positions. I love watching his content.

The podcast I mentioned.

LGBT+ Magazine: ANTIVIRUS. ANTIVIRUS also has this list with recent queer literature, featuring both Greek and foreign writers. Here is the link. It's in Greek though, like everything above...

Art: Yannis Tsarouhis (1910 - 1989), one of the most influential and successful Greek artists. He painted a variety of themes, he was inspired and developed Greek folk and Byzantine art, however he was also particularly notable for his love for the masculine physique and he established the classic image of the "Greek sailor" in art, theater and cinema internationally.

A great photo of Tsarouhis in his atelier.

I wouldn't consider myself well-versed in the topic, so I invite anyone who knows sources that could also ideally be easily accessible to the Anon, to give some recs in the comments. From my side, Anon, hopefully I was of any help.

[pegasus-624]

Carmen Sandiego: Trips Through time

Hi guys! I wanted to properly introduce all the “original” (I say that in quotes bc some of these characters have existed in real life/other media) characters who make appearances!

Kira

Picrew: Bright’s Picrew Hell

Kira is like our “Future Carmen.” Kira is a historian who works for the T.I.M.E. Council, Which had an acronym, I never made that acronym in my fic and forgot it but it’s here. Kira is from the future and is obsessed with learning about history with time travel

G.L.I.T.C.H.

Picrew: - Btry Life -

The best way I can explain G.L.I.T.C.H. Is a smart assistant because I love this futuristic scifi idea. I wanted to give them a bit of a player vibe, by giving information on the time periods that they go on, like how player is always there for quick facts about the countries they visit in the series.

Collin

Picrew: Bright’s Picrew Hell

Collin is another buddy from the future. He is a historian and when we first meet him, we see him investigating a random island that disappeared without a trace in the canary islands. He’s not that big of a character tho, I just wanted an excuse for V.I.L.E. to steal a Time Machine tbh.

Other Characters

The Time Travel Caper: The T.I.M.E. Council was introduced, Each of the members being named after a olympian greek god because I thought that would be cool.

The Midsummer Night’s Caper: This caper we meet William Shakespeare as well as the cast of a production of A Midsummer Night’s Dream. The actor playing Puck makes an appearance as well as some of the actors for the 4 lovers, and Nick Bottom makes a brief appearance.

The Rock n’ Roll Caper: Literally the entire cast of Grease: Rise of the Pink Ladies are present in this episode. Most of them are background characters. Most notably, Jane, Olivia, Nancy, and Cynthia are there and help Carmen outsmart V.I.L.E.’s schemes a bit.

The Ancient Civilization Caper/The Olympic Mthology Caper: These 2 go hand in hand. Not many characters in TACC but TOMC has a bunch of Greek mythology monsters and mention of gods. Notably, Pegasus

The Noir Caper: The Noir caper has one noteble original character I wanted to mention: David Klein. Fun fact: While looking at names at the original games/series, I found David Klien who was an A.C.M.E. Agent. I could not find that much information on him, but I thought it was perfect for my detective character.

The Medevial Times Caper: Tatter was inspired by a one act I helped write for a drama class, well the original concept, where a jester angers the king too much that he threatens to chop off their head. Tatter is just a silly little guy who has way too much energy for her own good. And full of mischief.

Oh! And she has a picrew too! Picrew: Bright’s picrew hell

More to come, Maybe these characters will come back later too…🤭

[kylekozmikdeluxo]

5 Random (Sometimes Brief) Hyperfixations of Mine

One of the fun things about being autistic isn’t just the hyper fixations that become part of your official lore, but also the weirder, sometimes brief obsessions that really came and went. Maybe not necessarily what might form your core interests, but still a good-sized part of you.

They formed a strong camp in your brain for about 2-3 months, maybe even a little longer, and then just left as you developed a new obsession… And you sometimes get the urge, years later, to revisit some of those things… Or maybe they are still firm interests of yours, but they’re just in your massive file cabinet room that forms up most of your electric head meat... sharing space with a gazillion other things…

I’ll share some of mine with you today, on this Disability Pride Month. (Yeeehoo! I get two Pride months in a row!)

MAPS/ATLAS/GLOBES - As far back as first grade, 1998/99, I was really into how road layouts worked. Just how all the roads I was on, they looked like interlocking noodle grids when seen from above... And how maps and atlases, carefully done up by people, depicting them. I would get lost for hours in one of my dad's county atlas books, and soon I began to know where everything was. Which exit took you to which, etc. As you could imagine, I really really like SIM CITY and stuff like that back in the day.

But also maps in general. A playground my dad took me and my sister to had a painted U.S. map on the pavement, and I remember learning my states through that before school taught me all of that, or that episode of ANIMANIACS. I had at least one globe as a child, too, and was often mesmerized by it. Learning all the different countries around the world... Fun stuff, and because of that, I can name countries adults older than me (I'm 31 and a 1/2) have never even heard of... Yeeeeah, kinda concerning? Anyways, I think the street maps will always be the ones I liked the most. I still find them fascinating, especially when there are overhead maps of environments in video games. Could stare at those aaaaall day.

THE TITANIC - I think us autistics and neurodees all had THAT phase at one point in our lives. Titanic, Greek mythology, Ancient [Insert Civilization Here]… In third grade, in the year 2000, my class had a unit on the Titanic. I had already been aware of the Titanic because of that little 1997 indie movie that few people heard of, but that was just something in the background for me. I remember hearing the Celine Dion song incessantly on the radio, too. (Not complaining, I think it’s a lovely song.)

From there, the design of the ship fascinated me, and I got into Titanic for a little bit. I had a big coffee table book about the ship, and found what had to have been a clearance copy of the 1996 PC game TITANIC: ADVENTURE OUT OF TIME. I played that A LOT, it’s a favorite of mine, a fascinating and sometimes ominous alt-history sort of suspense/mystery adventure. I also had this random VHS about the Titanic, I couldn’t tell you what it was… It wasn’t the 1950s Titanic movie, it was some black-and-white, almost documentary-like look at the ship? I remember just getting that VHS somewhere, and I have no idea where it went… By early-to-mid 2001, I think that phase sorta set sail…

LENNY LOOSEJOCKS - The adventures of a string cheese-looking Aussie and his canine Donga, LENNY LOOSEJOCKS came from an indie flash game site called Ezone. Launched in 1995, I remember spending quite some time on that site around 2000/01-ish (you know, in the dial-up days of Internet), playing the variety of weird little games they had. Of all the LENNY LOOSEJOCKS games, the one I played the most was the cosmic one, LENNY LOOSEJOCKS IN SPACE.

I was aaaaall about that for some time, and while I had already learned about the Solar System in school (and was subsequently fascinated by all of that), this just made me appreciate it all even more. Each planet had a unique atmosphere and look to it, and the lack of music and the ambience really immersed me into those planets- I know, I’m talking about some flash game that inspired me greatly as a kid, not STAR WARS or whatever cool kids who had “actual” childhoods grew up with, lol. Anyways, yeah, this was my STAR WARS, my Roman Empire, something like that. I probably write so much cosmic/space/galactic stuff largely because of this game.

DRACULA - This one’s rather weird, I think it was spurred by a Hostess commercial from around late 2001/early 2002 where an ersatz Dracula transforms into a bat and flies headfirst into a neon sign that resembles Hostess’ signature telephone cord-looking cupcakes. I found a VHS of the 1931 Bela Lugosi DRACULA sitting around (not sure how that got into my orbit), and just sorta started drawing and writing a lot of horror-tinged, weird vampire stuff for a little bit. I remember whenever I’d play with my Casio keyboard back in the day, there was a pitch shifter wheel of sorts. I remember pressing the keys on the organ setting and using that dial to make it sound like a distorted horror movie soundtrack. From a beat-up film print. Even 9-year-old me in early 2002 picked up on those sorts of things.

I’ve always had a thing for the dark, the macabre, the gothic, and such. Even went as a vampire for a few Halloweens. I also remember doing a book report (this is around fourth grade) for the book DRACULA DOESN’T DRINK LEMONADE, from the series THE BAILEY SCHOOL KIDS. I just thought the idea was pretty cool and creepy, and to this day? I still think vampires are pretty cool, and I sometimes incorporate them into what I write.

THE ROAMING GNOME - Around the mid-2000s, Travelocity - the online travel agency - ran a series of commercials featuring a little garden gnome with an offscreen voice. I caught a couple of the commercials circa summer 2005, one where he get zapped across a room by an electrical outlet…

And another where he gets hit by a cart at the airport…

12-year-old me thought these were the height of comedy GOLD. I quoted these constantly, and it was to the point where one of my uncles went out of his way to buy me… A whole-ass GNOME. And we had that at my dad’s place for a little while, I think it got chipped up over time or stored away somewhere. I’d love to find it again, if it’s all in one piece lol.

[greatdevourer1231954]

Dark Elves and Light Elves

Sometimes, when wars are the only thing learned in life, it becomes easy to forget how they started and none know better than this then the factions of the Light Elves and Dark Elves.

Who are they

Elves are a type of human-shaped supernatural beings in Germanic mythology and folklore. In medieval Germanic-speaking cultures, Elves seem generally to have been thought of as beings with magical powers and supernatural beauty, ambivalent towards everyday people and capable of either helping or hindering them. However, the details of these beliefs have varied considerably over time and space, and have flourished in both pre-Christian and Christian cultures.

The word Elf is found throughout the Germanic languages and it seems it was originally to have meant "white being". Reconstructing the early concept of an elf depends largely on texts, written by Christians, in Old and Middle English, medieval German, and Old Norse. These associate Elves variously with the Gods of Norse mythology, with causing illness, with magic, and with beauty and seduction.

The Elves are usually contrasted in two types: the Dökkálfar (Døkkálfar "Dark Elves", singular Døkkálfr) and the Ljósálfar ("Light Elves", singular Ljósálfr); the former dwell within the earth and are most swarthy, while the latter is "fairer than the sun to look at". This light and dark duality may have originated from Christian influence, importing the concept of good and evil, representing angels of light and darkness. A kenning for the sun in Norse poetry is Álfröðull, "elven wheel".

Origins

Just like dwarfs in my AU, elves are descendants of a group of flying arthropods resembling cicadas that feasted on Ymir’s wastes.

When the primordial giant died, the elves just like the dwarfs, evolved sapience by feeding on his flesh.

They soon migrated to a new realm, Alfheim, full of gigantic deserts and beautiful forests, with a unique wildlife, almost resembling those of the Carboniferous Period.

History

While they are intelligent and civilized beings that possess their own architecture, spoken and written languages, the Light Elves and Dark Elves have been at war for eons, always fighting over control of the Light of Alfheim, an ancient and powerful source of energy, that resides on the lake of Souls, an afterlife for every Giant, Dwarf, Elf, beast and animal who dies in the Nine Realms.

This conflict has lasted so long that neither side has secured a permanent victory. Because of such eternal war, the Elves are an isolated race, rarely interacting outside of their home realm.

However, it wasn’t always like that.

Centuries ago, the elves were originally all equal. That was until some of their kind discovered the Lake of Souls along with the Light Well. Soon, those elves began basking themselves in the Light overtime, which became an obsession and addiction. Eventually, due to having basked under the Light for a very long time, they turned into Light Elves.

To express their new selves, they began delving into art and invention. Because of their newfound power, an age of prosperity among the Light Elves had begun.

However, in the Deserts of Alfheim, where their other kin, the Dark Elves, live, the abundance of life there began to wither and die until there is none left after the creation of the temple. Seeing that the Lake of Souls is not of use for the Light Elves, and believing that they have gone too far, the Dark Elves immediately waged war, thus beginning the centuries-long conflict.

However, at some point in time, Freyr, a Vanir God, arrived in Alfheim and accidentally fell into the Lake of Light. Seeing this, the Light Elves believed him to be a god and, thus, began revering him, due to their belief, along with that of the Dark Elves, that he could bring peace between them. Under Freyr's leadership, he was able to bring control of the Light onto the Light Elves for thousands of years. Broughting total order throughout Alfheim.

However, when Freyr's sister Freya married the All-father Odin, in an attempt to end the Aesir-Vanir War, he strongly objects it and decided to abandon Alfheim, leaving it to its fate. As a result, The Light Elves, not knowing of the true reason behind Freyr's unexpected and supposed disappearance, began to believe that their lord is lost. Some assumed that he has returned to Vanaheim while others believed that he has been captured and is held in Asgard, the home-realm of the Aesir Gods.

Taking advantage of Freyr's absence, the Dark Elves, led by their late king Svartáljǫfurr, proceeded to attack the Vanir God's temple, which houses the Light. Without Freyr, the Light Elves were unable to gain the upper-hand over their dark counterparts. As a result, the Dark Elves were able to take over and secure control of the Light, covering it with a giant hive. With the Light under their control, the Dark Elves began slaughtering any Light Elf they could find, which forced them into hiding.

Not only that, the dark elves soon begin hunting the illusive and powerfull (REDACTED), using then as war-animals to keep the light elves always, however this action caused them to become extinct.

Ever since then, the Dark Elves remained in control of the Light and the Ringed Temple for a very long time until a group of foreign from another realm accompanied by a male (REDACTED) and a female (REDACTED). The Dark Elves and their king immediately welcomed them with absolute hostility and tried to take them down. However, the they would always managed to gain the upper-hand. When they reached the Light, the Dark Elves made a desperate attempt to protect their hive, but they eventually failed in the end. Ultimately, the foreigners freed the Light from the Dark Elves' grasp, allowing the Light Elves to return to the Ringed Temple.

Status

Upon regaining and securing the Light, the Light Elves began their mission to try and locate Freyr. As for the Dark Elves, however, they scrambled and went into hiding.

Dispete that, there are rumors that the Light elves are becoming more defensives, but despite all of that, the leves are still hoping that Freyr might come back to pring eace to their realm once again.

Abilities

Peak Superhuman condition: Like many other races the Elves possess an immense increase in strength, agility & durability compared to the average human being.

Speed: Elves are renown for displaying impressive bursts of speed. Though not as fast as Vampyr they exceed over the average human being moving in at 60kph, a speed enhanced to the point of making it very difficult for one to be able to react to them. As most swift Skinwalkers of this ability are biologically resistant to the side effects of moving at such speed. The Elf is able to utilise an enhanced feat of speed whilst airborne.

Agility: Elves are known for showing incredible feats of agility. Soldiers have been shown to rapidly respond or alter by adapting its initial stable configuration, in which they change the their body's position efficiently. This ability requires the Skinwalker an integration of isolated movement skills using a combination of balance, coordination, strength, speed & reflexes. The chitinous skin of the Elf is incredibly flexible & lightweight in which enables them to use such actions.

Dexterity: The Elf is capable of controlling their movements and muscles more precisely than the average human, making them unable to be clumsy or fumbling. Elves initiate a near perfect coordination and precision in which they can flawlessly perform physical tricks with both gross & fine motor skills. This allows them to perform such stunts.

Flight: Both male & female Dark Elves possess a pair of insectoid wings similar to that of Odonate insects. The flight pattern of the Elf is direct rather than indirect, with flight muscles attaching to the back. This allows the Elf an active control of the amplitude, frequency, angle of attack, camber and twist of each wing entirely independently. The normal cruising speed of an Elf averages around 70 miles per hour (112 kph), however they have been clocked at 150 mph (240 kph) without the help of a tail wind for up to half an hour at a time before tiring to an appreciable degree. Unlike dark elves, the light elves do not have wings but the light gave them the ability to levitate in the air and fly without the need for wings.

Ovipositor: Female Elves possess a hidden extendable appendage located in an abdominal cavity cushioned together by a flexible membrane within the diaphragm, this appendage is known as an ovipositor. Ovipositors are a new feature that wasn’t present previously with 1st generation Elves but became more prominent in recent generations after they arrived in Alfheim. This appendage a long muscular tube & is equipped with a piercing stinger. The functionality of the ovipositor is used transmit eggs into the flesh of living organisms in which they parasitically grow inside the hosts body in the span of 9 months. Upon hatching develop into larvae that resemble human infants with soft bleached skin, the fate of the host is dependant on the size & strength of the organism. Preferably Elves target animals in which the swarm abducts & nurtures until their initial birthing, it was made illegal by (REDACTED) that Elves target other humans as part of their cycle.

Light manipulation: Despite what many think, Light elves are incredibly powerful warriors, more than the dark elves could be In other words, this is because of their great connection with the magical light of alfheim, which gives them the ability to create powerful weapons made of magical light such as swords, knives and cannons.

Conclusion

The war between the Light elves can be seen as a great lesson on how wars can become meaningless if they forgot why they started in the first place and that, there is not always good guys or bad guys in it.

[thebindingofpillo]

Always together, NEVER apart.

Went to Rome last weekend and came back with massive brainrot. So behold! More OCs! And an impromptu Roman History lesson, I hope you’re ready because BOY am I.

So, to keep it short, Romulus and Remus were the mythical twins that founded Rome. I’m not gonna go super into detail in their backstory, bc it’s very heavy and pretty long, so the tl; dr: Romulus and Remus were both nephews of a powerful king, and fated to build a great city. But they couldn’t both be kings, so Romulus killed Remus, after a dispute where Remus disrespected him and the city he was in the process of building. So now Romulus is king, but at what cost?

Both the twins are made of marble because flesh is too boring I guess. My first idea was to make them both bronze statues but then I realized that bronze was more of a Greek material. Romans greatly preferred marble, and imported large quantities of it from various parts of the Empire. Anyway, their situation is pretty interesting, since Romulus is the only one who could be considered “sentient” in a way, but we’re getting there. Now for the closeups!

Fun fact: cipollino marble is also known as onion stone, so if you call him onion boy, I will support it. He’s a very passive person, okay with mostly anything, even something extremely dangerous. Doesn’t really care about things like making friends or talking with people, but while he may not look for the company of others, he still enjoys a good chat from time to time. Extremely polite, unless you give him a reason not to be. He’s very protective of his twin brother, to an obsessive degree, and deeply regrets killing him. He knows he cannot erase what he has done, so he views his situation in the Basement as a sort of punishment. He’s forever cursed to drag his undead brother everywhere, as a reminder of his act.

He wears a toga praetexta, a type of toga with a red trim, usually associated with rulers, and power. Velato capite (or capite velato) literally means covered head, and it was a style of wearing the toga associated with high priests. In ancient Rome, the emperor is the highest priest of all (pontifex maximus) and while Romulus was a king, not an emperor (important difference!) I felt it was still appropriate. The crown is a sun crown (or radiate crown).

And now the him! I’m very proud of the marble effects on Remus. Anyway. He wears a toga atra, a type of dark grey (or brown) toga usually worn in periods of mourning (since he’s dead... maybe it was more appropriate the other way around but I still think it fits).

As I mentioned before, Remus is not entirely “sentient” or at least does not appear to be. He’s little more than a hollow shell in the shape of a person. He does not speak or move on his own, but can still walk and move his only arm (usually prompted by Romulus). With that being said, some believe Remus might actually talk with his brother. It’s not unusual to find Romulus deep into a one-sided conversation with his silent brother, or for Romulus to speak for him (”Remus doesn’t really like you” “Remus saw a shop over there” etc.). Nobody knows how the two communicate, or if they actually do. Some believe Remus has telepathic abilities, most think it’s just Romulus’s delusions.

Anyway, I think we’re done here! I really don’t know what else to say, except that I have no idea how they would work gameplay wise, I just wanted to do something related to Roman mythology and then one thing led to another, and now we’re here. Feel free to ask about these two! It might actually help me work out their personalities more. I would love to hear what you think of them.

[billys-lover]

Hi!!!!! Could I please get a ship?

I'm 18, I'm bi, I use she/her pronouns, I'm 5'3 and I'm pretty chubby, I'm black with dark skin and I have pastel pink locs right now but I like to dye my hair a lot!!!

I'm an infp and a Gemini sun, Libra moon, Gemini rising (with great decision making skills as you can imagine).

I have adhd and I tend to not speak until I'm spoken to, but once I start talking I don't stop easily lol. If I'm talking about something I'm especially interested in I can literally go on for hours at a time. I'm really into witchcraft, mythology, most cartoons, all of the twilight movies except new moon cause I don't like seeing ppl get sad, and languages, of which I'm currently learning seven (almost none of which are remotely useful lol) I especially love dead languages, rn I'm learning ancient Egyptian and Latin and I am ✨obsessed✨.

I'm a huge history nerd but I hate hearing about war and politics because they can be kinda triggering for me, i don't rlly like violence unless I know it's explicitly fake (so supernatural horror movies r usually good but if it seems to plausible I start to freak out lol). I'm incredibly sensitive but I think since I talk so much and overthink constantly I'm a lot more likely to just communicate with someone instead of arguing or fighting with them, (not that I can or would want to fight anyone I hate all physical activity so much lol) and I love love and being romanced but I have pretty bad trust issues

My favorite genre of music is probably hyperpop even though I listen to literally everything (one of my favorite songs is an Icelandic lullaby about the ghost of a child calling out to its mom) and I almost always have headphones on at 100% volume.

My receiving love languages are acts of service, gift giving, and quality time and my giving love languages are gift giving and quality time, I'll cry while watching anything even though I hate crying in front of people, and I love literally all animals (except centipedes, they scare me a lot) and would jump in front of a Mac truck for literally any stray cat, and I can and have walked into mildly unsafe areas for the sake of getting a better glimpse at some raccoons

!!! <3 <3 <3 thank you!!! I hope you're having a good day !!!

i had so much fun writing this?! i hope you enjoy it! also i’m so sorry i haven’t been very active this week:( i’m getting stuff written i promise! anyways, i ship you with…

SIDNEY PRESCOTT!

- i feel like this poor girl would drool over you 24/7

- please let her help you dye her hair.

- she's too scared to dye her own hair so she’d love to do your’s instead! 

- she can totally understand the whole not speaking unless spoken to thing 

- i have such a strong feeling that this girl is super duper shy so please don’t stop talking! maybe add her into the conversation too! - loves to hear you talk.

- please tell her about your day!?!

- sidney would love the twilight franchise. i know it.

- watch them with her!

- you watch cartoons too? name your favourites to her and you two will watch them all night.

- will sit there in absolute shock when you speak to her in a different language.

- she finds it beyond attractive.

- “where did you learn that, doll?”

- loves the fact that you dont quite do slasher films because of her past trauma... obviously.

- but if one day you decide to watch a slasher film that isn't too gory or doesn't show much violence then she’ll be willing to watch it with you as long as you're comfortable! 

- just please cuddle her. she needs it

- she promises she’ll cuddle you back!

- i’m convinced you would barely fight.

- you're both willing to talk about what's bothering you and unlike her ex billy, you wont scream (wink wink) and shout at her.

- would definitely take her a while to get into hyper pop but i feel like she’d quite enjoy it!

- loves when you give her gifts and will give you the cutest shit as a thank you.

- WILL GET YOU A CAT AS A GIFT!!!!!!

- and will kill centipedes for you even though she's quite scared of them herself

- what can i say! she loves you. 

[samwisethewitch]

Choosing the right pagan path for you

Finding a religion is kind of like dating — you need to really know yourself before you can know what you need from a religion (or a romantic partner). And, like with dating, there’s a lot of weird stigmas and social expectations around religion. A lot of people want to settle down with the first one they kind of vibe with instead of taking the time to see what’s really out there. But if you really want to be happy in the long term, you’ll need to have a little patience and be willing to do some exploration.

Getting to know yourself is crucial to a healthy spiritual life, no matter what your religious or spiritual beliefs are. Get comfortable with who you are and what your spiritual needs are, then start looking for a system that meets those needs.

Need a place to start? Try interviewing yourself! Here are some questions you may want to include in your self-interview (make sure to write them down!):

What, if anything, do you absolutely know, beyond a shadow of doubt, is true? What, if anything, do you absolutely know, beyond a shadow of doubt, is not true? Do you believe in absolute good and evil? Do you believe in, or are you open to believing in, reincarnation? What about the existence of the soul? What about an afterlife? Do you believe in fate? What about karma or a similar concept? Do you believe that everyone and everything is connected, or are you more of an individualist?

It’s also helpful to go ahead and figure out where you stand on certain religious concepts that are common in paganism. For example, are you a monist, a soft polytheist, a hard polytheist, or a pantheist? Do you feel you’d do better with a neopagan system, a reconstructionist system, or a revivalist system?

Answering these questions will help you start to identify what your core beliefs are and what you need from a religious system. Keep your answers handy. As we explore different pagan religions in future posts, compare their theology and philosophy to your answers. This will help you determine whether any given system is a good fit for you and your existing beliefs.

Remember, most pagan faiths are not exclusionist — they acknowledge the value and truth of other religions. Choosing a pagan path isn’t about finding the One True Religion. It’s about finding the best religion for you. You’re unlikely to find a system that you agree with 100% right off the bat, but you should agree with enough core theology that you aren’t uncomfortable. I firmly believe that religion should challenge us and help us to grow, but it definitely shouldn’t be triggering or upsetting. You want to find that sweet spot where you’re comfortable but still have room for growth.

They say that when choosing a romantic partner, you should look for someone you agree with 90-95% of the time. This similarity in belief and opinion gives you a solid foundation to build on, but the 5-10% disagreement keeps your relationship from becoming an echo chamber. I think this is also an excellent rule to follow when choosing a religion.

Once you’ve taken stock of your own beliefs, it’s time to consider your interests. Is there a certain system you feel drawn to? If so, that would be an excellent place to start your research!

For example, maybe you were obsessed with Greek mythology as a kid — if so, you may want to start by investigating Hellenismos, the worship of the ancient Greek gods. Maybe you grew up Catholic and always felt a close connection to Mother Mary — you may want to investigate Goddess worship. Or maybe you’ve always resonated deeply with the figure of the witch in fiction and folklore — you may want to investigate Wicca. Starting with a system you already have an interest in will keep your research fun and exciting. You may or may not choose to consider your cultural heritage when choosing a starting point for your study of paganism. If you feel closely tied to the culture of your ancestors, you might start by learning about the gods they originally worshiped.

Let me make one thing clear: the gods do not care about genetics. If you feel drawn to the Norse gods, for example, it does not matter if you have Scandinavian heritage or even European heritage. What matters is whether you’re willing to uphold the values and practices of Norse paganism. Don’t let a lack of an ancestral link keep you from pursuing a religion that interests you!

(Of course, ethnic religions do exist, and some of these systems are closed to outsiders. Judaism and Voodoo are good examples of this. However, all of the systems I’ve mentioned in this post, and all of the ones I’ll be covering in this series, are open to anyone regardless of their ethnicity.)

You may not feel connected to your cultural heritage at all, and you may not even consider it as you explore paganism. That’s fine! Just know that it does offer another possible entry point into the big, wide, diverse world of pagan religion.

You should also consider whether any pagan religions are more readily accessible to you than others. Do you have a friend who is already a practicing pagan and would be willing to take you under their wing? Do you live in a country where certain deities used to be worshiped and have access to historic sacred sites? Are there local pagan groups in your community? Consider these resources when deciding where to start your research. The good news is that, with the Internet, you’ll have access to any system you feel attracted to, at least online.

One of the most common accessibility issues pagans run into is a language barrier. This is especially true for reconstructionists and revivalists. Unless you speak fluent Irish, you’ll probably have to rely on English translations for your research of Irish mythology, for example.

Finding quality translations is essential. A translation error can sometimes change the entire meaning of a poem or myth! The best way to find good translations is to ask other pagans. Don’t be afraid to ask someone more experienced for book recommendations!

Once you’ve chosen a starting point for your research, the next step is to start reading! (Still not sure where to start? Don’t worry! In the next several posts in this series, I’ll introduce you to some of the most popular pagan paths and provide resources for more in-depth study.)

Choose your sources carefully. I try to read an even mix of academic sources (which tend to be less biased) and sources from pagan authors — this helps me get a more nuanced understanding of the system I’m studying. Be wary of any resource that denies science, revises history, or contradicts other authorities on the subject. Also be wary of any pagan author who fills their work with opinion and personal experience, without any research to back it up. Basing your practice on good sources will help you start off on the right foot with your worship of the gods.

It’s important not to rush this research process. While it’s true that you can’t truly learn a spiritual system from books, it’s also true that things tend to go more smoothly if you know what you’re doing. Once you’ve got a solid grasp of the basics of your chosen religion, you’re ready to begin practicing! Start using what you’ve learned from your research to create a religious practice. This may include creating an altar or other sacred space, making offerings to deities, or performing some other daily ritual. My advice is to start small — don’t feel like you have to become a high priest(ess) overnight.

Your practice may change as you become more experienced, and that’s a good thing. People change, and it only makes sense for our spirituality to change with us. Never be afraid to experiment in your pagan practice. This should be a fun and exciting journey!

[ye-local-simp]

Can I have a twst matchup?

I’m a cis female, around 163 cms tall. I have a rather average figure, although I’d say I’m slightly curvier around the hips and waist. Appearances arent that important for me personally, and as such I don’t have a certain fashion style and usually just wear whatever I can—normally skinny jeans, strappy sandals, plaid button ups, and plain t shirts. I have mid back length black hair that always seems to be a little bit messy and dark brown eyes bordering on black, and I’m quite pale.

I’m not super outgoing and dont like to approach others on my own, but I’ll engage in conversation if someone talks to me first. I’m an INFP and can be sensitive to what others think about me.

I’m not above defending myself, both physically and verbally when needed, and while I don’t consider myself a violent person, I admit that I kind of get a thrill out of putting others in their place. The others being bullies, rude, or inappropriate people.

I have an obsessive personality at times—I can infodump on my favorite topics to anyone that’ll listen, and I’m super attached to things that interest me: ancient mythology, old literature, classical art, theater, medieval history to name a few. I have a thing for stuff considered vintage or old. This obsession extends to academics too, I tend to do extremely well in subjects I’m interested in with little effort, and fall behind in those I find boring. I don’t like sports that much, but do partake in horseback riding, fencing, and ice skating. Despite this I’m still rather klutzy.

I’m not the most physically affectionate person, and would prefer someone who likes intimacy behind closed doors. I prefer showing affection verbally through cute nicknames or words of affirmation, whereas the way to win me over would be buying me gifts I like or just good food.

Other things about me: I pride myself on being a good secret keeper and a good listener, but rarely talk about my own feelings to others. I try to be polite and personable, but I do lose my temper from time to time. Finally, I’m definitely more of a follower than a leader, but I’ll lead if no one else can or I’m forced to.

I will match you up with...

Riddle!!

This is also matchuped due to your personalities being almost exactly the same.Riddle is also a fan of cozy and classic things since this was the kind of aesthetic he grew up in. So it is pretty nostalgic for him. This also means he shares the same interest for academics and classic things as you which also means that you two will never run out of conversations.

-He understands if you hate PDA since he would most likely hate it too since he does get quite shy with women especially in public and he can't really deal with that kind of pressure.As for you being cis, he really doesn't mind and actually admires the fact that you did something about it rather than mope around about it.

-If you enjoy stuff like horse riding, you are in luck, he would probably recommend you to join him on the equestrian club where you both end up spending more time together.

-As long as you give Riddle some sort of affection(behind closed doors) and some sort of praise he will be a happy man. He also wants you to be happy too since he actually loves seeing you smile so he will always bring gifts to you some days a week so he is also looking out for your love language.

One issue would be your clumsiness, he does tend to lose temper quickly but when he gets used to it, he would probably just sigh or something. Plus, you are the reason why he starts to be extra careful with you and always bringing some band aids/bandages.

[thatboomerkid]

SpellJammer: Shadow of the Spider Moon (Additional Campaign Materials)

part of the Player’s Packet (ver 1.3)

for use with the First Edition Pathfinder Role-Playing Game

by Clinton J. Boomer

with special thanks to Andy Collins, Scott Schomburg, Chloe Michelle, Dennis Detwiller, David Gerrold,and George Loki Williams

additional campaign materials may be found here

All SpellJammer: Shadow of the Spider-Moon campaign materials are brought to you absolutely free to play, to test & to share, as always, now and forever, by the fine folks of my Patreon.

RELIGION ACROSS PYRESPACE

Yondalla and Her Saints: The Hin – and, by extension, all those they conquer – practice a monotheistic faith, worshiping a single bountiful earth-mother-deity, Yondalla, alongside an astonishing number of her Saints; the Church also recognizes the power of Asmodeus, King of Hell and Master of Devils, who is commanded by Yondalla to punish the wicked.

Technically, Asmodeus and his Seven Devil Princes – Dispater, the Iron King; Mammon, the Spirit in Gold; Belial, the Pale Kiss; Geryon, the Serpent; Moloch, the Ashen Bull; Baalzebul, Lord of the Flies; and Mephistopheles, the Merchant of Souls – are all Saints of the Church.

The Ordo Repentia Infernalis serves as the “secret” inquisitorial arm of the Church: dedicated to the tracking & execution of heretics, especially (but not limited to) worshippers of Dagon.

Many of the other Saints recognized by the Church of Yondalla are, in point of fact, actually deities once worshiped by various (now conquered) human cultures, deemed inoffensive enough to be folded into Mother Church as “blessed of Yondalla, beautified in her holy light”.

Direct worship of these Saints is illegal (a form of idolatry), but observation of a Saint’s holy day — in accordance with Church Law — is encouraged. In some of the more culturally relaxed parts of Cyrrolaelee, for example, prayers to Saint Fharlanghn are as common as prayers to Yondalla.

Other Saints, such as St. Davian, are near-mythologized historical figures.

---

Corellon and Lolth: To be clear, “worship” is a strong word.

That said, the elves of Perianth venerate quite deeply the honored, immortal founders of their august race, seeking the guidance and blessing – in equal measure – of their Emperor and Empress in all things.

The Western Courts identify Corellon as a sun-deity (the Phoenix Emperor) and Lolth as a moon-goddess (the Beautiful Eclipse), while the Eastern Courts refer to Corellon as a lunar deity (the Moonlit Dragon) and Lolth as a sun-goddess (the Crimson Empress).

No matter the court, Corellon is regarded as master over the wild Seelie, while Lolth is understood to be mistress over the demonic Unseelie.

---

Dagon: The single unifying, founding principle of the Ordo Repentia Infernalis is to seek-out the extermination of Dagon, the Shadow in the Sea, false god who sleeps beneath the waves, and of all who bow in fealty to him. 

Of his horrid church, little enough needs be known: wicked dreams born of his thrashing nightmares in the black Abyss at the bottom of the world corrupt men to heresy, blasphemy, cannibalism, witchcraft, transmutation into horrid monstrosities of the deep, and human sacrifice.

The Court of Dagon

Although the vast, dark Shadow in the Sea is commonly understood to act, moment to moment, as the simplest and most ravenous of oceanic beasts -- an unthinking, thrashing monster of pure bloodthirsty instinct and hatred -- the Church of Yondalla identifies seven wicked spirits that serve him: dancing about his throne, attending to his every whim.

Shax, Demon Lord of Envy & Murder

Xoveron, Demon Lord Gluttony & Ruin

Areshkagal, Demon Lord of Greed & Riddles

Nocticula, Demon Lord of Lust & Beauty

Socothbenoth, Demon Lord of Pride & Perversity

Jubliex, Demon Lord of Sloth & Filth

Orcus, Demon Lord of Wrath & the Dead

The Inquisition makes special effort to watch the gargoyles under their care and in their service, as the race was known -- in ancient days -- to serve the demon Xoveron; many clergy members require that gargoyles under their command remain upon a strict diet, so as not to temp the spirit of gluttony.

---

Vasalissa the Beautiful: So little of “original” gnomish culture survives to the modern era – in the wake of countless cataclysms – that no unifying “faith” can be said to unite the diaspora of what was once the Circle of Gold.

That said, gnomes and warforged light candles and whisper quiet prayers to Vasalissa the Beautiful: a clever, tenacious protagonist who appears again and again across the deep storytelling tradition of the gnomish people: a sprawling, multilayered weave of tales that stretch back to the time of their world’s pre-history, the memorization of which borders on the spiritual.

Common tales in the canon – upon which every TRUE storyteller is expected to add his or her own unique twists – often deal with the trials, misadventures, and misfortunes of Vasalissa and a few other stock characters:

Mother Kindness (also called ‘Grandmother Kindness’)

The Child Dreamer

Greedy Glitterpot & Lumpy Fathead

The Hungry Baby

Elder Tree

The Honest Youth (sometimes ‘The Two Honest Youths’)

The Farmer’s Wife

Mocho & Pocho (one of whom is always hungry, and the other of which is always sleepy)

Cleverest Jack (sometimes with his twin brother, Mister Hubris)

The River Serpent

The First-Forged, and his three children: Stone, Wood, and Tin

Mean-Old-Two-Heads, the Giant

The Silent Wolf

Curiously, the natives of Fenris tell fantastic tales, in their own languages, nearly identical to the ancient legends of Vasalissa and her many adventures.

---

Cult of the Dragon Moons: As far as the Chirch of Yondalla is concerned, this organization is merely a group of deluded Dagon-worshipers seduced into a bizarre heresy obsessed with returning-to-life the ancient “dragons” that are said to have once ruled Pyrespace. 

This bizarre faith is known – and possibly native – to every world in the system, but is most prevalent in the jungles of Verdura and across the dunes of Ashen.

---

Moradin: The dwarves do not speak often of their religion, but keep it close to heart: burning, eternally, in a fortress of stone buried beneath their breast.

———

PYRESPACE TIMELINE

This timeline is based on the Yondallan calendar, which dates events to before and after the defeat of the giant Gol’Kaa by St. Davian (‘Ano Davia’ or the Year of Davian) and the subsequent rise of the Hin as the dominant form of life on Quelya.  

Although years, months and even days are difficult to translate between planetary bodies, this single system is still the most frequently used: the current official time and date are tracked at the Great Clockhouse of Lagas, maintained by the Church of Yondalla, and backed-up in the nation-city of Beshaba.

The average occupant of the system does NOT know most of these dates nor the majority of the  information presented here, with perhaps the exception of bolded items; these more-detailed notes are included simply for player reference, especially for the benefit of characters with an education in system-wide history.

—–

???? – the mysterious Precursors reign undisputed over the entirety of Pyrespace, preforming such impossible miracles as seeding humans across the system, uplifting the Crown of Sapphire to serve as a miniature star, crafting the Hole in the Infinite (a wormhole in orbit around the Crown of Sapphire), crafting the Celestial Pearl (for reasons unknown), establishing a number of now-fallen megastructures (cities, temples, and more esoteric objects) on every known world, and – according to several ancient records – the establishment of a now-vanished interplanetary “web-way”.

-1500 A.D. (approximate): The eastern and western courts of the elves unite beneath a single banner; the elven empire is established on Perianth under the immortal guidance of Corellon Larethian and his bride Lolth.

-1500 A.D. (approximate): The dwarven clans of Moradin’s Forge cease open hostilities with one another, establishing an uneasy truce in the face of heightened goblin aggression.

-1500 A.D. (approximate): On the Circle of Gold, conflicts between gnomes and ratfolk enclaves escalate into the First Rat-Slaughter; first generation warforged created; in the wake of their victory, gnomes begin experimentations in the craft of clockwork and establish significantly larger cities.

-1099 A.D.: Unexpected disaster strikes the gnome home-world, destroying much of their culture’s history and technological progress.

-807 A.D.: The five elven noble houses serving beneath House Larethian are founded in full.

-787 A.D.: Unexpected disaster strikes the gnome home-world, destroying much of the culture’s history and technological progress.

-391 A.D.: Unexpected disaster strikes the gnome home-world, destroying much of the culture’s history and technological progress.

-218 A.D.: The nation of Kozah-Talos (a human nation controlling much of what would later become Brandobaris) finish their conquest over the human nations of Malar and Umberlee (which occupied what would later become Arvoreen), uniting the majority of Quelya’s sole continent under a single war-banner: leaving only the human nation of Auril and the wild deserts surrounding the City of Beshaba outside of their control.

-205 A.D.: A diplomatic accord is reached; the nations of Kozah-Talos and Auril unite to form the modern nation of Brandobaris; distant ports and holdings of Old Auril – including the “Cities of Sisterhood,” Shar and Selune – secede, declaring themselves independent (as the Isles of Tymora).

-197 A.D.: Arvoreen established as single nation under Brandobarin control; Arvorean land used as a “training ground” for Brandobarin officers and a proving-ground for both troops and tactics for use in wars against Cyrrollalee, Urogolan, and the Isles of Tymora.

-101 A.D.: House Larethian defeats a great enemy, further uniting the noble elven houses.

-17 A.D: The lands of Arvoreen are fully pacified under Brandobarin control.

0 A.D.: St. Davian defeats the giant Gol’Kaa, the last human king of Beshaba, in single combat; he and his armies establish the greater Church of Yondalla across the surrounding lands, extending into Arvoreen.

13 A.D.: Unexpected disaster strikes the gnome home-world, destroying much of the culture’s history and technological progress.

92 A.D.: Brandobarin aggression against Cyrrollalee abandoned.

138 A.D: Brandobarin aggression against Urogolan abandoned.

211 A.D.: The nation of Brandobaris unofficially cedes control of Arvorean land to the rule of local warlords (and to the expanding Church of Yondalla).

327 A.D.: The Church of Yondalla controls the entirety of the Rio Provendor from Beshaba all the way south to the World Ocean; the port-city of Lagas is founded at the mouth of the massive river (on Arvorean lands).

354 A.D.: The last human king of Arvoreen abdicates his throne in the face of famine, riots, and threats of civil war; the Church of Yondalla declares Lagas the new capital city of Arvoreen and rapidly puts an end to the uprising, ensuring lasting peace and Hin dominance of the nation.

371 A.D.: Unexpected disaster strikes the gnome home-world, destroying much of the culture’s history and technological progress.

459 A.D.: War breaks out along the Rio Provendor between the Hin-controlled nation of Arvoreen and human-controlled Brandobaris.

522 A.D.: Brandobaris invaded by raiders from Urogolan.

606 A.D.: The last human king of Brandobaris is executed, ceding total control of the Green Fields to Hin dominance and the oversight by the Church of Yondalla; raiders from Urogolan expelled.

616 A.D.: The Unseelie War begins; House Larethian splits, with a third of the House choosing the side of Lolth; Corellon vanishes; elves create the first SpellJamming vessels.

651 A.D.: First Crusade of Tymora begins, as the Church pushes to claim the island chain; the famed “Cities of Sisterhood” – Shar and Selune – are renamed ‘Dallah’.

727 A.D.: Unexpected disaster strikes the gnome home-world, destroying much of the culture’s history and technological progress.

729 A.D.: Second Crusade of Tymora begins, pushing from the occupied city of Dallah.

783 A.D.: King Ulliam of Cyrrollalee is gifted the legendary blade Caladcholg, symbol of his family and of the rightful rule over the Isle.

859 A.D.: The Unseelie War ends; House Larethian retreats to Perianth; House Lolth and loyalist “drow” imprisoned upon the Spider-Moon; the elven people abandon use of SpellJamming technology.

807 A.D.: Third Crusade of Tymora begins, fighting island-by-island to Perryroyal.

921 A.D.: Port of Perryroyal fully pacified under the Church of Yondalla.

928 A.D.: Gnomes independently develop SpellJamming technology, rapidly expanding beyond the Circle of Gold to explore the other moons orbiting the Crown of Sapphire.

971 A.D.: All elves and drow born before this date have since passed on.

972 A.D.: Gnomes establish the first of several small colonies on Fenris.

988 A.D.: Trade between Xhiaae-Lan and Perryroyal established.

1001 A.D.: All contact with the gnomish colonies on Fenris is lost.

1008 A.D.: Urogalandic attacks on Hin soil spur the Church of Yondalla to war; the Siege of Mordheim begins.

1051 A.D.: Gnomes make first contact with the dwarves of Moradin’s Forge, allowing the two races to begin trade; first dwarven SpellJamming vessels are prototyped.

1069 A.D.: Unexpected disaster strikes the gnome home-world, destroying much of the culture’s history and technological progress.

1101 A.D.: First dwarven SpellJamming vessels are completed.

1118 A.D.: Perryroyal lost to attacks by cults of Dagon.

1123 A.D: Dwarves establish total control over all moons orbiting Moradin’s Forge and begin exploration of Fenris.

1221 A.D. All gnomes born before this date have since passed on.

1227 A.D.: Dallah and the island-chain of Tymora lost to attacks by cults of Dagon.

1271 A.D.: All dwarves born before this date have since passed on.

1283-1289 A.D.: City of Lagas assaulted by cults of Dagon.

1292 A.D.: Gnome explorers pass beyond the Celestial Pearl, establishing Zionil Station, and make first contact with the elves of Perianth.

1307 A.D.: Einar Jarlsenn, the last human king of Urogolan, is slain as the Siege of Mordheim finally breaks the “unconquerable” fortress.

1313 A.D.: Island-chain of Tymora retaken from cults of Dagon.

1321 A.D.: City of Dallah retaken from cults of Dagon.

1333-1370 A.D.: The Hole in the Infinite opens, releasing Hive entities onto the moons orbiting the Crown of Sapphire; elves establish a quarantine-zone at Zionil, barring all travel in-system from areas infected with the Hive contagion.

1342 A.D.: Second-generation warforged developed by gnome engineers.

1366 A.D.: Merchant-families and moneylenders in Lagas successfully lobby for greater greater involvement in the politics of Arvoreen and Brandobaris, displacing many hereditary noble families.

1391 A.D.: Perryroyal retaken from cults of Dagon.

1408 A.D.: Inaugural temple dedicated to the Church of Yondalla established on the soil of Xhiaae-Lan.

1416 A.D.: Hive menace to gnomish space successfully contained to five moons: Flandal (Hive Colony Nehemoth), Segojan (Hive Colony Euclid), Baervan (Hive Colony Keter), Baravar (Hive Colony Thaumiel), and Urdlen (Hive Colony Apollyon)

1419 A.D.: Unexpected disaster strikes the gnome home-world, destroying a dangerously large portion of the culture’s history and technological progress; off-world gnome colonies successfully mitigate the very worst of the disaster.

1459 A.D.: First Cyrrolaelan Crusade begins.

1463 A.D.: Hive Colony Nehemoth successfully eradicated from Flandal; third generation warforged developed.

1477 A.D.: Second Cyrrolaelan Crusade begins.

1491 A.D.: Third Cyrrolaelan Crusade begins.

1492 A.D.: The Circle of Gold – the gnomish home-world – is destroyed in a horrific cataclysm, forming the Chain of Tears. Gnomish history, technology, and culture suffer incalculable loss.

1493 A.D.: Shao Liang, the last human king of Xhiaae-Lan, surrenders his lands to the Church of Yondalla; peace treaty is signed at Perryroyal.

1502 A.D.: First contact is made between Elves and Hin; Hin become a SpellJamming culture.

1507 A.D.: Dún Ailinne, former capitol city of Cyrrollalee, is utterly destroyed; the human courts of Cyrrollalee abandon their cities for the countryside, forming a government-in-exile.

1521 A.D.: All Hin born before this date have since passed on.

1536 A.D.: All half-elves born before this date have since passed on.

1551 A.D.: Eldest playable elven/drow characters born.

1582 A.D.: The last human kingdom on Quelya falls when King Fergus mac Róich of Cyrrollalee is killed by an elven military force allied with the Church of Yondalla; the ancestral blade of King Ulliam’s line is subsequently lost, and Cyrrollalee becomes a protectorate of Arvoreen. The city of Moander is built on the ruins of Dún Ailinne.

1603 A.D.: New Arvoreen established on Verdura.

1607 A.D.: Youngest playable elven/drow characters born.

1608 A.D: Armed peasant rebellion put down in Cyrrollalee.

1611 A.D.: All humans born before this date have since passed on.

1614 A.D.: The city of Salt Lake established on Ashen.

1619 A.D.: Contact lost with the city of Salt Lake; remnants never recovered.

1622 A.D.: New city of Salt Lake established on Ashen.

1627 A.D: Eldest playable gnome characters born.

1628 A.D.: Armed peasant rebellion put down in Cyrrollalee.

1630 A.D.: City of Salt Lake suffers 80% casualties after sandstorm.

1632 A.D.: City of Salt Lake rebuilt and reinforced with new colonists and heightened security.

1634 A.D.: On Ashen, work begins on the city of Core.

1636 A.D.: New Arvoreen on Verdura significantly expanded.

1639 A.D.: Eldest playable dwarf characters born.

1640 A.D.: City of Salt Lake successfully repels inclement weather, suffers 30% casualties.

1646 A.D.: City of Core declared fully operational.

1648 A.D.: Reserves from Salt Lake assist the city of Core during a mining incident.

1652 A.D.: Peasant rebellion in Cyrrollalee successfully expels Hin occupying forces, destroying several Arvorean military bases and Yondallan holy sites; using stolen ships, rebellion attacks and burns several coastal villages on Arvorean soil before retreating.

1656 A.D.: City of Salt Lake suffers 50% casualties during small seismic event.

1658 A.D.: Populations of Core, Salt Lake, local mining operations, and surrounding farms are bolstered by arriving waves of indentured settlers: human sentenced to penal transportation.

1661 A.D.: The mining-station of Chaldira in founded on Fenris.

1667 A.D.: Nation of Markovia founded on Verdua; diplomatic trade established with New Arvoreen.

1669 A.D.: City of New Arvoreen significantly expanded.

1674 A.D.: Salt Lake survives minor meteorological event; rates of the forcible immigration of incarcerated humans to Ashen doubled.

1676 A.D.: Eldest playable Hin characters born.

1677 A.D.: Youngest playable gnome characters born.

1678 A.D.: Youngest playable dwarf characters born.

1680 A.D.: Arvorean armada successfully retakes Cyrrollalee, imposes the Purge of Moander.

1683 A.D.: Eldest playable half-elf characters born.

1684 A.D.: Punishment via ‘transportation to Chaldira’ instituted by Church of Yondalla; operations on Chaldira expand significantly.

1691 A.D.: Disruptions by local wildlife impose 10% casualties on Salt Lake.

1694 A.D.: Eldest playable human characters born.

1699 A.D.: Armed peasant rebellion put down in Cyrrollalee.

1699 A.D.: Youngest playable Hin characters born.

1700 A.D.: Youngest playable half-elf characters born.

1701 A.D.: Brandobarin facility of Acheron founded on Ashen.

1702 A.D.: New Arvoreen significantly expanded; land officially cleared for Covington Farms, soon to be the largest agricultural facility in the system; rates of forcible immigration of indentured humans to New Arvoreen tripled.

1703 A.D.: City of Salt Lake establishes new oil fields under supervision of Acheron.

1705 A.D.: Youngest playable human characters born.

1708 A.D.: The Illithid first arrive at the edge of Pyrespace, immediately striking at the inhabitants of Moradin’s Forge and the Forge-moons, establishing a base of operations on the planet’s inhospitable surface.

1711 A.D.: The last holds of Clan Stonehall finally fail before the combined might of illithid forces, bolstered by a united army of goblins, hobgoblins, orcs, and ogres. No independent dwarven communities remain on the Forge (nor on the Forge-moons), and the home-world of the dwarves is effectively lost.

1715 A.D.: The Illithid release the Drow from their moon-prison, beginning the age of dark elven piracy across Pyrespace.

1719 A.D.: City of Salt Lake suffers 20% casualties in a series of minor industrial accidents.

1721 A.D. (current year): Campaign begins.

[nealiios]

The Supernatural 70s: Part I - Corruption of An Innocent

"We're mutants. There's something wrong with us, something very, very wrong with us. Something seriously wrong with us - we're soldiers writers."

-- with apologies to the screenwriter of "Stripes"

Dear reader, I have the darkest of revelations to make to you, a truth when fully and wholly disclosed shall most assuredly chill you to the bone, a tale that shall make you question all that you hold to be true and good and holy about my personal history. While you may have come in search of that narrative designer best known for his works of interactive high fantasy, you should know that he is also a crafter of a darker art, a scribbler of twisted tales filled with ghosts, and ghouls, and gargoyles. I am, dear innocent, a devotee of horrors! Mwahahahaha!

[cue thunderclap, lightning, pipe organ music]

Given the genre of writing for which most of you know me, I forgive you if you think of me principally as a fantasy writer. I don't object to that classification because I do enjoy mucking about with magic and dark woods and mysterious ancient civilizations. But if you are to truly know who I am as a writer, you must realize that the image I hold of myself is principally as a creator of weird tales.

To understand how and why I came to be drawn to this sub-genre of fantastic fiction, you first must understand that I come from peculiar folks. Maybe I don't have the Ipswich look, or I didn't grow up in a castle, but my pedigree for oddity has been there from the start. My mother was declared dead at birth by her doctor, and often heard voices calling to her in the dead of night that no one else could hear. Her mother would periodically ring us up to discuss events in our lives about which she couldn't possibly have known. My father's people still share ghost stories about a family homestead that burned down mysteriously in the 1960s. Even my older brother has outré memories about events he says cannot possibly be true, and as a kid was kicked off the Tulsa city bookmobile for attempting to check out books about UFOs, bigfoot, and ESP. It's fair to say I was doomed - or destined - for weirdness from the start.

If the above listed circumstances had not been enough, I grew up in an area where neighbors whispered stories about a horrifically deformed Bulldog Man who stalked kids who "parked" on the Old North Road near my house. The state in which I was raised was rife with legends of bigfoots, deer women, and devil men. Even in my childhood household there existed a pantheon of mythological entities invented explicitly to keep me in line. If I was a good boy, The Repairman would leave me little gifts of Hot Wheels cars or candy. If I was being terrible, however, my father would dress in a skeleton costume, rise from the basement and threaten to drag me down into everlasting hellfire (evidently there was a secret portal in our basement.) There were monsters, monsters EVERYWHERE I looked in my childhood world. Given that I was told as a fledgling writer to write what I knew, how could anyone have been surprised that the first stories I wrote were filled with the supernatural?

"The Nightmare" by John Henry Fuseli (1781)

My formative years during the late sixties and early seventies took place at a strange juncture in our American cultural history. At the same time that we were loudly proclaiming the supremacy of scientific thought because we'd landed men on the moon, we were also in the midst of a counter cultural explosion of interest in astrology, witchcraft, ghosts, extra sensory perception, and flying saucers. Occult-related books were flying off the shelves as sales surged by more than 100% between 1966 and 1969. Cultural historians would come to refer to this is as the "occult boom," and its aftershocks would impact popular cultural for decades to come.

My first contact with tales of the supernatural were innocuous, largely sanitized for consumption by children. I vividly remember watching Casper the Friendly Ghost and the Disney version of the Legend of Sleepy Hollow. I read to shreds numerous copies of both Where the Wild Things Are and Gus the Ghost. Likely the most important exposure for me was to the original Scooby Doo, Where Are You? cartoon which attempted to inoculate us from our fears of ghosts and aliens by convincing us that ultimately the monster was always just a bad man in a mask. (It's fascinating to me that modern incarnations of Scooby Doo seem to have completely lost this point and instead make all the monsters real.)

ABOVE: Although the original cartoon Scooby Doo, Where Are You? ran only for one season from 1969 to 1970, it remained in heavy reruns and syndication for decades. It is notable for having been a program that perfectly embodied the conflict between reason and superstition in popular culture, and was originally intended to provide children with critical thinking skills so they would reject the idea of monsters, ghosts, and the like. Ironically, modern takes on Scooby Doo have almost entirely subverted this idea and usually present the culprits of their mysteries as real monsters.

During that same time, television also introduced me to my first onscreen crush in the form of the beautiful and charming Samantha Stevens, a witch who struggles to not to use her powers while married to a frequently intolerant mortal advertising executive in Bewitched. The Munsters and The Addams Family gave me my first taste for "goth" living even before it would become all the rage in the dance clubs of the 1980s. Late night movies on TV would bring all the important horror classics of the past in my living room as Dracula, Frankenstein, the Wolf Man, the Invisible Man, the Phantom of the Opera, The Creature from the Black Lagoon, and Godzilla all became childhood friends. Over time the darkened castles, creaking doors, foggy graveyards, howling wolves, and ever present witches and vampires became so engrained in my psyche that today they remain the "comfort viewing" to which I retreat when I'm sick or in need of other distractions from modern life.

ABOVE: Elizabeth Montgomery starred in Bewitched (1964 - 1972) as Samantha Stephens, a witch who married "mortal" advertising executive Darren Stephens (played for the first five seasons by actor Dick York). Inspired by movies like I Married a Witch (1942) and Bell, Book and Candle (1958), it was a long running series that explored the complex relationship dynamics between those who possess magic and those who don't. Social commentators have referred to it as an allegory both for mixed marriages and also about the challenges faced by minorities, homosexuals, cultural deviants, or generally creative folks in a non heterogeneous community. It was also one of the first American television programs to portray witches not as worshippers of Satan, but simply as a group of people ostracized for their culture and their supernatural skills.

Even before I began elementary school, there was one piece of must-see gothic horror programming that I went out of my way to catch every day. Dark Shadows aired at 3:30 p.m. on our local ABC affiliate in Tulsa, Oklahoma which usually allowed me to catch most of it if I ran home from school (or even more if my mom or brother picked me up.) In theory it was a soap opera, but the show featured a regular parade of supernatural characters and themes. The lead was a 175 year old vampire named Barnabas Collins (played by Johnathan Frid), and the show revolved around his timeless pursuit of his lost love, Josette. It was also a program that regularly dealt with reincarnation, precognition, werewolves, time travel, witchcraft, and other occult themes. Though it regularly provoked criticism from religious groups about its content, it ran from June of 1966 until it's final cancellation in April of 1971. (I would discover it in the early 1970s as it ran in syndication.) Dark Shadows would spin off two feature-length movies based on the original, a series of tie-in novels, an excellent reboot series in 1991 (starring Ben Cross as Barnabas), and a positively embarrassingly awful movie directed by Tim Burton in 1991.

ABOVE: Johnathan Frid starred as Barnabas Collins, one of the leading characters of the original Dark Shadows television series. The influence of the series cannot be understated. In many ways Dark Shadows paved the way for the inclusion of supernatural elements in other soap operas of the 1970s and the 1980s, and was largely responsible for the explosion of romance novels featuring supernatural themes over the same time period.

While Dark Shadows was a favorite early television program for me, another show would prove not only to be a borderline obsession, but also a major influence on my career as a storyteller. Night Gallery (1969-1973) was a weekly anthology television show from Rod Serling, better known as the creator and host of the original Twilight Zone. Like Twilight Zone before it, Night Gallery was a deep and complex commentary on the human condition, but unlike its predecessor the outcomes for the characters almost always skewed towards the horrific and the truly outré. In "The Painted Mirror," an antiques dealer uses a magic painting to trap an enemy in the prehistoric past. Jack Cassidy plots to use astral projection to kill his romantic rival in "The Last Laurel" but accidentally ends up killing himself. In "Eyes" a young Stephen Spielberg directs Joan Crawford in a story about an entitled rich woman who plots to take the sight of a poor man. Week after week it delivered some of the best-written horror television of the early 1970s.

In retrospect I find it surprising that I was allowed to watch Night Gallery at all. I was very young while it was airing, and some of the content was dark and often quite shocking for its time. Nevertheless, I was so attached to the show that I'd throw a literal temper tantrum if I missed a single, solitary episode. If our family needed to go somewhere on an evening that Night Gallery was scheduled, either my parents would either have to wait until after it had aired before we left, or they'd make arrangements in advance with whomever we were visiting to make sure it was okay that I could watch Night Gallery there. I was, in a word, a fanatic.

ABOVE: Every segment of Night Gallery was introduced by series creator Rod Serling standing before a painting created explicitly for the series. Director Guillermo del Toro credits Serling's series as being the most important and influential show on his own work, even more so than the more famous Twilight Zone.

[imnotusedtobeingloved]

Hi!!! :D can I please have a ship for peaky blinders and Vikings?

I'm 18, 5'3 and I'm pretty chubby, I'm black with dark skin and I have pastel pink 4c hair right now but I like to dye my hair a lot!!! My face is round and I have hooded eyes and big lips.

I'm an infp and a Gemini and I tend to not speak until I'm spoken to, but once I start talking I don't stop easily lol. If I'm talking about something I'm especially interested in I can literally go on for hours at a time. I'm really into witchcraft, mythology, most cartoons, twilight, and languages (especially dead ones, rn I'm learning ancient Egyptian and Latin and I am ✨obsessed✨) I'm a huge history nerd but I hate hearing about war and politics because they can be kinda triggering for me, I'm incredibly sensitive but I think since I talk so much and overthink constantly I'm a lot more likely to just communicate with someone instead of arguing or fighting with them, (not that I can or would want to fight anyone I hate all physical activity so much lol)

My receiving love languages are acts of service and a bit of quality time and my giving love languages are gift giving and quality time, I'll cry while watching anything even though I hate crying in front of people, and I love literally all animals (except centipedes, they scare me a lot) and would jump in front of a Mac truck for a cat, and I will stop in the middle of a road to pick up a shiny rock.

My friends would probably just describe me as weird, but funny, and a little too intense a lot of the time.

My favorite genre of music is probably hyperpop even though I listen to literally everything (one of my favorite songs is an Icelandic lullaby about the ghost of a child calling out to its mom) and I almost always have headphones on at 100% volume.

Not sure how much of this information is relevant but I really like your work!!!!!! <3 <3 <3 thank you!!! I hope you're having a good day!!!

I SHIP YOU WITH...

SIGURD RAGNARSSON

Sigurd probably spots you from afar while you're making your way around the market of Kattegat. You, most likely, did not even know he was there. He would approach you a few days later, start up a conversation to find out more about you and the rest is history. Your interests, especially mythology, will sit quite well with Sigurd. He will definently be able to tell you a few tales you have not heard yet, among all the stories his parents told him when he was small. As for whitchcraft, that is something Sigurd might be sceptical about at first, but only until he finds himself reminded of Aslaugs gift for seeing and her predicting his "snake-eye". Just like you, he craves quality time, having been denied some attention in his childhood. He would write you his own songs and poems, beaming like a young boy when you state your approval of the lines. In addition to that, Sigurd is the least likely to start up a conversation about war or politics, much rather following his own interests. Sigurd is a gentle partner, always concerned with your well-being and a helping hand. With him, you can be sure to be appreciated for who you are.

YOUR BESTIE IS...

POLLY SHELBY

Having a positive relationship, especially a friendship, with Polly Shelby is something other people can only dream of. Polly and you connect over your senses for the supernatural. The rest of the Shelby-Clan might not be concerned with it, but the both of you know there is a higher power. You're there for her while Polly goes through a hard time and in return she makes sure to stick with you. She balances you out quite well, being tough where you're sensitive, and if there is anyone who could calm your nerves when overthinking, it would be her. Apart from that you might catch her interest with those languages you've been learning, she would find it amusing and help you practice. In conclusion: having Polly by your side is a big plus. She is an incredibly loyal friend and you can rest assured that she would send out the whole Shelby-Clan, should you ever be in need of help.

A/N: here you go! i hope you like this!

[letterboxd]

Best of Sundance 2021.

From pandemic-era stories, via portraits of grief, to the serendipitous 1969 trilogy, the Letterboxd crew recaps our favorite films from the first major festival of the year.

Sundance heralds a new season of storytelling, with insights into what’s concerning filmmakers at present, and what artistic innovations may be on the horizon. As with every film festival, there were spooky coincidences and intersecting themes, whether it was a proliferation of pandemic-era stories, or extraordinary portraits of women working through grief (Land, Hive, The World to Come), or the incredible serendipity of the festival’s ‘1969 trilogy’, covering pivotal moments in Black American history: Summer of Soul (...Or When the Revolution Could Not Be Televised), Judas and the Black Messiah and the joyful Street Gang: How We Got to Sesame Street.

The hybrid model of this year’s Sundance meant more film lovers across the United States—a record number of you, in fact—‘attended’ the prestigious indie showcase. Our Festiville team (Gemma Gracewood, Aaron Yap, Ella Kemp, Selome Hailu, Jack Moulton and Dominic Corry) scanned your Letterboxd reviews and compared them with our notes to arrive at these seventeen feature-length documentary and narrative picks from Sundance 2021. There are plenty more we enjoyed, but these are the films we can’t stop thinking about.

Documentary features

Summer of Soul (...Or, When the Revolution Could Not Be Televised) Directed by Ahmir-Khalib Thompson (AKA Questlove)

One hot summer five decades ago, there was a free concert series at a park in Harlem. It was huge, and it was lovely, and then it was forgotten. The Harlem Cultural Festival of 1969 brought together some of the world’s most beloved Black artists to connect with Black audiences. The star power and the size of the crowds alone should have been enough to immortalize the event à la Woodstock—which happened the same summer, the film emphasizes. But no one cared to buy up the footage until Ahmir-Khalib Thompson, better known as Questlove, came along.

It would have been easy to oversimplify such a rich archive by stringing together the performances, seeking out some talking heads, and calling it a day. But Questlove was both careful and ebullient in his approach. “Summer of Soul is a monumental concert documentary and a fantastic piece of reclaimed archived footage. There is perhaps no one better suited to curate this essential footage than Questlove, whose expertise and passion for the music shines through,” writes Matthew on Letterboxd. The film is inventive with its use of present interviews, bringing in both artists and attendees not just to speak on their experiences, but to react to and relive the footage. The director reaches past the festival itself, providing thorough social context that takes in the moon landing, the assassinations of Black political figures, and more. By overlapping different styles of documentary filmmaking, Questlove’s directorial debut embraces the breadth and simultaneity of Black resilience and joy. A deserving winner of both the Grand Jury and Audience awards (and many of our unofficial Letterboxd awards). —SH

Flee Directed by Jonas Poher Rasmussen

Flee is the type of discovery Sundance is designed for. Danish documentarian Jonas Poher Rasmussen tells the poignant story of his close friend and former classmate (using the pseudonym ‘Amin Nawabi’) and his daring escape from persecution in 1990s Afghanistan. Rasmussen always approaches tender topics with sensitivity and takes further steps to protect his friend’s identity by illustrating the film almost entirely in immersive animation, following in the footsteps of Waltz With Bashir and Tower. It’s a film aware of its subjectivity, allowing the animated scenes to alternate between the playful joy of nostalgia and the mournful pain of an unforgettable memory. However, these are intercepted by dramatic archive footage that oppressively brings the reality home.

“Remarkably singular, yet that is what makes it so universal,” writes Paul. “So many ugly truths about the immigration experience—the impossible choices forced upon people, and the inability to really be able to explain all of it to people in your new life… You can hear the longing in his voice, the fear in his whisper. Some don’t get the easy path.” Winner of the World Cinema (Documentary) Grand Jury Prize and quickly acquired by Neon, Flee is guaranteed to be a film you’ll hear a lot about for the rest of 2021. —JM

Taming the Garden Directed by Salomé Jashi

There’s always a moment at a film festival when fatigue sets in, when the empathy machine overwhelms, and when I hit that moment in 2021, I took the advice of filmmaker and Sundance veteran Jim Cummings, who told us: “If you’re ever stressed or tired, watch a documentary to reset yourself.” Taming the Garden wasn’t initially on my hit-list, but it’s one of those moments when the ‘close your eyes and point at a random title’ trick paid off. Documentary director Salomé Jashi does the Lorax’s work, documenting the impact and grief caused by billionaire former Georgian PM Bidzina Ivanishvili’s obsession with collecting ancient trees for his private arboretum.

“A movie that is strangely both infuriating and relaxing” writes Todd, of the long, locked-off wide shots showing the intense process of removing large, old trees from their village homes. There’s no narration, instead Jashi eavesdrops on locals as they gossip about Ivanishvili, argue about whether the money is worth it, and a feisty, irritated 90-year-old warns of the impending environmental fallout. “What you get out of it is absolutely proportional to what you put into it,” writes David, who recommends this film get the IMAX treatment. It’s arboriculture as ASMR, the timeline cleanse my Sundance needed. The extraordinary images of treasured trees being barged across the sea will become iconic. —GG

The Most Beautiful Boy in the World Directed by Kristian Petri and Kristina Lindström

Where Taming the Garden succeeds through pure observation, The Most Beautiful Boy in the World relies on the complete participation of its title subject, actor Björn Andrésen, who was thrust into the spotlight as a teenager. Cast by Italian director Lucino Visconti in Death in Venice, a 1971 adaptation of Thomas Mann’s novella about obsession and fatal longing, Andrésen spent the 1970s as an object of lust, with a side-gig as a blonde pop star in Japan, inspiring many manga artists along the way.

As we know by now (Alex Winter’s Showbiz Kids is a handy companion to this film), young stardom comes at a price, one that Andrésen was not well-placed to pay even before his fateful audition for Visconti. But he’s still alive, still acting (he’s Dan in Midsommar), and ready to face the mysteries of his past. Like Benjamin Ree’s excellent The Painter and the Thief from last year, this documentary is a constantly unfolding detective story, notable for great archive footage, and a deep kindness towards its reticent yet wide-open subject. —GG

All Light, Everywhere Directed by Theo Anthony

Threading the blind spots between Étienne-Jules Marey’s 19th-century “photographic rifle”, camera-carrying war pigeons and Axon’s body-cam tech, Theo Anthony’s inquisitive, mind-expanding doc about the false promise of the all-seeing eye is absorbing, scary, urgent. It’s the greatest Minority Report origin story you didn’t know you needed.

Augmented by Dan Deacon’s electronic soundscapes and Keaver Brenai’s lullingly robotic narration, All Light, Everywhere proves to be a captivating, intricately balanced experience that Harris describes as “one part Adam Curtis-esque cine-essay”, “one part structural experiment in the vein of Koyaanisqatsi” and “one part accidental character study of two of the most familiar yet strikingly unique evil, conservative capitalists…”. Yes, there’s a tremendous amount to download, but Anthony’s expert weaving, as AC writes, “make its numerous subjects burst with clarity and profundity.” For curious cinephiles, the oldest movie on Letterboxd, Jules Jenssen’s Passage de Vénus (1874), makes a cameo. —AY

The Sparks Brothers Directed by Edgar Wright

Conceived at a Sparks gig in 2017 upon the encouragement of fellow writer-director Phil Lord, Edgar Wright broke his streak of riotous comedies with his first (of many, we hope) rockumentary. While somewhat overstuffed—this is, after all, his longest film by nearly fifteen minutes—The Sparks Brothers speaks only to Wright’s unrestrained passion for his art-pop Gods, exploring all the nooks and crannies of Sparks’ sprawling career, with unprecedented access to brothers and bandmates Ron and Russell Mael.

Nobody else can quite pin them down, so Wright dedicates his time to put every pin in them while he can, building a mythology and breaking it down, while coloring the film with irresistible dives into film history, whimsically animated anecdotes and cheeky captions. “Sparks rules. Edgar Wright rules. There’s no way this wasn’t going to rule”, proclaims Nick, “every Sparks song is its own world, with characters, rules, jokes and layers of narrative irony. What a lovely ode to a creative partnership that was founded on sticking to one’s artistic guns, no matter what may have been fashionable at the time.” —JM

Narrative features

The Pink Cloud Written and directed by Iuli Gerbase

The Pink Cloud is disorienting and full of déjà vu. Brazilian writer-director Iuli Gerbase constructs characters that are damned to have to settle when it comes to human connection. Giovana and Yago’s pleasant one-night stand lasts longer than expected when the titular pink cloud emerges from the sky, full of a mysterious and deadly gas that forces everyone to stay locked where they stand. Sound familiar? Reserve your groans—The Pink Cloud wasn’t churned out to figure out “what it all means” before the pandemic is even over. Gerbase wrote and shot the film prior to the discovery of Covid-19.

It’s “striking in its ability to prophesize a pandemic and a feeling unknown at the time of its conception. What was once science fiction hits so close now,” writes Sam. As uncanny as the quarantine narrative feels, what’s truly harrowing is how well the film predicts and understands interiorities that the pandemic later exacerbated. Above all, Giovana is a woman with unmet needs. She is a good partner, good mother and good person even when she doesn’t want to be. Even those who love her cannot see how their expectations strip her of her personhood, and the film dares to ask what escape there might be when love itself leaves you lonely. —SH

Together Together Written and directed by Nikole Beckwith

Every festival needs at least one indie relationship dramedy, and Together Together filled that role at Sundance 2021 with a healthy degree of subversion. It follows rom-com structure while ostensibly avoiding romance, instead focusing on how cultivating adult friendships can be just hard, if not harder.

Writer-director Nikole Beckwith warmly examines the limits of the platonic, and Patti Harrison and Ed Helms are brilliantly cast as the not-couple: a single soon-to-be father and the surrogate carrying his child. They poke at each other’s boundaries with a subtle desperation to know what makes a friendship appropriate or real. As Jacob writes: “It’s cute and serious, charming without being quirky. It’s a movie that deals with the struggle of being alone in this world, but offers a shimmer of hope that even if you don’t fall in fantastical, romantic, Hollywood love… there are people out there for you.” —SH

Hive Written and directed by Blerta Basholli

Hive, for some, may fall into the “nothing much happens” slice-of-life genre, but Blerta Basholli’s directorial debut holds an ocean of pain in its small tale, asking us to consider the heavy lifting that women must always do in the aftermath of war. As Liz writes, “Hive is not just a story about grief and trauma in a patriarchy-dominated culture, but of perseverance and the bonds created by the survivors who must begin to consider the future without their husbands.”

Yllka Gashi is an understated hero as Fahrjie, a mother-of-two who sets about organizing work for the women of her village, while awaiting news of her missing husband—one of thousands unaccounted for, years after the Kosovo War has ended. The townsmen have many opinions about how women should and shouldn’t mourn, work, socialize, parent, drive cars and, basically, get on with living, but Fahrjie persists, and Basholli sticks close with an unfussy, tender eye. “It felt like I was a fly on the wall, witnessing something that was actually happening,” writes Arthur. Just as in Robin Wright’s Land and Mona Fastvold’s The World to Come, Hive pays off in the rare, beaming smile of its protagonist. —GG

On the Count of Three Directed by Jerrod Carmichael, written by Ari Katcher and Ryan Welch

It starts with an image: two best friends pointing guns at each other’s heads. There’s no anger, there’s no hatred—this is an act of merciful brotherly love. How do you have a bleak, gun-totin’ buddy-comedy in 2021 and be critically embraced without contradicting your gun-control retweets or appearing as though your film is the dying embers of Tarantino-tinged student films?

Comedian Jerrod Carmichael’s acerbic directorial debut On the Count of Three achieves this by calling it out every step of the way. Guns are a tool to give insecure men the illusion of power. They are indeed a tool too terrifying to trust in the hands of untrained citizens. Carmichael also stars, alongside Christopher Abbott, who has never been more hilarious or more tragic, bringing pathos to a cathartic rendition of Papa Roach’s ‘Last Resort’. Above all, Carmichael and Abbott’s shared struggle and bond communicates the millennial malaise: how can you save others if you can’t save yourself? “Here’s what it boils down to: life is fucking hard”, Laura sums up, “and sometimes the most we can hope for is to have a best friend who loves you [and] to be a best friend who loves. It doesn’t make life any easier, but it sure helps.” Sundance 2021 is one for the books when it comes to documentaries, but On the Count of Three stands out in the fiction lineup this year. —JM

Censor Directed by Prano Bailey-Bond, written by Bailey-Bond and Anthony Fletcher

The first of several upcoming films inspired by the ‘video nasty’ moral panic over gory horror in mid-’80s Britain, Prano Bailey-Bond leans heavily into both the period and the genre in telling the story of a film censor (a phenomenal Niamh Algar—vulnerable and steely at the same time) who begins to suspect a banned movie may hold the key to her sister’s childhood disappearance. Often dreamlike, occasionally phantasmagorical and repeatedly traumatic, even if the worst gore presented (as seen in the impressively authentic fictional horrors being appraised) appears via a screen, providing a welcome degree of separation.

Nevertheless, Censor is definitely not for the faint of heart, but old-school horror aficionados will squeal with delight at the aesthetic commitment. “I’m so ecstatic that horror is in the hands of immensely talented women going absolutely batshit in front of and behind the camera.” writes Erik. (Same here!) “A great ode to the video-nasty era and paying tribute to the great horror auteurs of the ’80s such as Argento, De Palma and Cronenberg while also doing something new with the genre. Loved this!” writes John, effectively encapsulating Censor’s unfettered film-nerd appeal. —DC

CODA Written and directed by Siân Heder

A film so earnest it shouldn’t work, with a heart so big it should surely not fit the size of the screen, CODA broke records (the first US dramatic film in Sundance history to win all three top prizes; the 25-million-dollar sale to Apple Studios), and won the world over like no other film. “A unique take on something we’ve seen so much,” writes Amanda, nailing the special appeal of Siân Heder’s coming-of-ager and family portrait. Emilia Jones plays Ruby, the only hearing person in her deaf family, at war between the family business and her passion for singing. While Heder is technically remaking the French film La Famille Bélier, the decision to cast brilliant deaf actors—Troy Kotsur, Marlee Matlin and Daniel Durant—makes this feel brand new.

But it’s not just about representation for the sake of it. A sense of authenticity, in humor as much as affection, shines through. With a script that’s 40 per cent ASL, so many of the jokes are visual gags, poking fun at Tinder and rap music, but a lot of the film’s most poignant moments are silent as well. And in Ruby’s own world, too, choir kids will feel seen. “I approve of this very specific alto representation and the brilliant casting of the entire choir,” Laura confirms in her review. Come for the fearless, empathetic family portrait, stay for the High School Musical vibes that actually ring true. —EK

We’re All Going to the World’s Fair Written and directed by Jane Schoenbrun

Perhaps the most singular addition to the recent flurry of Extremely Online cinema—Searching, Spree, Host, et al—Jane Schoenbrun’s feature debut ushers the viewer into a haunted, hypno-drone miasma of delirium-inducing YouTube time-suck, tenebrous creepypasta lore and painfully intimate webcam confessionals. Featuring an extraordinarily unaffected, fearless performance by newcomer Anna Cobb, the film “unpacks the mythology of adolescence in a way that’s so harrowingly familiar and also so otherworldly”, writes Kristen. Not since Kiyoshi Kurosawa’s Pulse has there been such an eerily lonely, and at times strangely beautiful, evocation of the liminal spaces between virtual and real worlds.

For members of the trans community, it’s also a work that translates that experience to screen with uncommon authenticity. “What Schoenbrun has accomplished with the form of We’re All Going to the World’s Fair is akin to catching a wisp of smoke,” writes Willow, “because the images, mood and aesthetic that they have brought to life is one that is understood completely by trans people as one of familiarity, without also plunging into the obvious melodrama, or liberal back-patting that is usually associated with ‘good’ direct representation.” One of the most original, compelling new voices to emerge from Sundance this year. —AY

Judas and the Black Messiah Directed by Shaka King, written by King, Will Berson, Kenneth Lucas and Keith Lucas

It was always going to take a visionary, uncompromising filmmaker to bring the story of Fred Hampton, the deputy chairman of the national Black Panther Party, to life. Shaka King casts Daniel Kaluuya as Hampton, and LaKeith Stanfield as William “Wild Bill” O’Neal, the FBI informant whose betrayal leads to Hampton’s assassination. Both actors have never been better, particularly Kaluuya who Fran Hoepfner calls “entrancing, magnetic, fizzling, romantic, riveting, endlessly watchable.”

Judas and the Black Messiah is an electric, involving watch: not just replaying history by following a certain biopic template. Instead, it’s a film with something to say—on power, on fear, on war and on freedom. “Shaka King’s name better reverberate through the halls of every studio after this,” writes Demi. A talent like this, capable of framing such a revolution, doesn’t come around so often. We’d better listen up. —EK

Pleasure Directed by Ninja Thyberg, written by Thyberg and Peter Modestij

A24’s first purchase of 2021. Ironically titled on multiple levels, Pleasure is a brutal film that you endure more than enjoy. But one thing you can’t do is forget it. Ninja Thyberg’s debut feature follows a young Swedish woman (Sofia Kappel) who arrives in Los Angeles with dreams of porn stardom under the name ‘Bella Cherry’. Although Bella is clear-eyed about the business she’s getting into, Thyberg doesn’t shy away from any of the awfulness she faces in order to succeed in an industry rife with exploitation and abuse. Bella does make allies, and the film isn’t suggesting that porn is only stocked with villains, but the ultimate cost is clear, even if it ends on an ever-so-slightly ambiguous note.

Touching as it does on ambition, friendship and betrayal in the sex business, Pleasure is often oddly reminiscent of Paul Verhoeven’s Showgirls. Or rather, the gritty film Showgirls was claiming to be, as opposed to the camp classic it became. There’s nothing campy here. Kappel is raw and fearless in the lead, but never lets the viewer lose touch with her humanity. Emma puts it well: “Kappel gives the hardest, most provocative and transfixing performance I’ve seen all festival.” “My whole body was physically tense during this,” writes Gillian, while Keegan perhaps speaks for most when she says “Great film, never want to see it again.” —DC

Coming Home in the Dark Directed by James Ashcroft, written by Ashcroft and Eli Kent

A family camping trip amidst some typically stunnin—and casually foreboding— New Zealand scenery is upended by a shocking rug-pull of violence that gives way to sustained terror represented by Daniel Gillies’ disturbingly calm psychopath. The set-up of this thriller initially suggests a spin on the backwoods brutality thriller, but as Coming Home in the Dark progresses and hope dissipates, the motivations reveal themselves to be much more personal in nature, and informed on a thematic level by New Zealand’s colonial crimes against its Indigenous population. It’s a stark and haunting film that remains disorientating and unpredictable throughout, repeatedly daring the viewer to anticipate what will happen next, only to casually stomp on each glimmer of a positive outcome.

It’s so captivatingly bleak that a viewing of it, as Collins Ezeanyim’s eloquent reaction points out, does not lend itself to completing domestic tasks. The film marks an auspicious debut for director and co-writer James Ashcroft. Jacob writes that he “will probably follow James Ashcroft’s career to the gates of Hell after this one”. Justin hits the nail on the head with his description: “Lean and exceptionally brutal road/revenge film … that trades in genre tropes, especially those of Ozploitation and ’70s Italian exploitation, but contextualizes them in the dark history of its country of origin.” —DC

The World to Come Directed by Mona Fastvold, written by Ron Hansen and Jim Shepard

Mona Fastvold has not made the first, nor probably the last, period romance about forbidden lesbian love. But The World to Come focuses on a specific pocket in time, a world contained in Jim Shepard’s short story ‘Love & Hydrogen’ from within the collection giving the film its name. Katherine Waterston and Vanessa Kirby are Abigail and Tallie, farming neighbors, stifled by their husbands, who find brief moments of solace, of astonishment and joy, together. What shines here is the script, a verbose, delicate narration that emanates beauty more than pretence. “So beautifully restrained and yet I felt everything,” Iana writes.

And you can feel the fluidity and elegance in the way the film sounds, too: composer Daniel Blumberg’s clarinet theme converses with the dialogue and tells you when your heart can break, when you must pause, when the end is near. “So much heartache. So much hunger. So much longing. Waves of love and grief and love and grief,” writes Claira, capturing the ebb and flow of emotion that keeps The World to Come in your mind long after the screen has gone silent. —EK

Related content

The 2021 Sundance Film Festival lineup by Letterboxd rating

Letterboxd’s ‘Official’ Top 50 of 2021

Awards Season 2020-2021: our awards-tracker list

Letterboxd’s Festiville HQ: our home for up-to-the-minute festival coverage

[saidrolav]

Hi!!! :) can I please have a marauders and marvel ship?

I'm 5'3 and I'm pretty chubby, I'm black with dark skin and I have pastel pink 4c hair right now but I like to dye my hair a lot!!!

I'm an infp and a Gemini and I tend to not speak until I'm spoken to, but once I start talking I don't stop easily lol. If I'm talking about something I'm especially interested in I can literally go on for hours at a time. I'm really into witchcraft, mythology, most cartoons (especially adventure time and over the garden wall!!), twilight, and languages (especially dead ones, rn I'm learning ancient Egyptian and Latin and I am ✨obsessed✨) I'm a huge history nerd but I hate hearing about war and politics because they can be kinda triggering for me.

My receiving love languages are acts of service and a bit of quality time and my giving love languages are gift giving and quality time, I'll cry while watching anything even though I hate crying in front of people, and I love literally all animals (except centipedes, they scare me a lot).

My friends would probably just describe me as weird, but funny, and a little too intense a lot of the time.

My favorite genre of music is probably hyperpop even though I listen to literally everything (one of my favorite songs is an Icelandic lullaby about the ghost of a child calling out to its mom) and I almost always have headphones on at 100% volume.

Not sure how much of this information is relevant but I really like your work!!!!!! <3 <3 <3 thank you!!!

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Hiiiii! Thank you so much for complimenting my work!!! I ship you with...

Bucky Barnes!

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Sirius Black!

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He'll make fun of you for crying in front of a lot of things but it's never mean because he'll always take care of you just after and bring you snacks and showering you with kisses!