#inventing things to the lore as we speak

[drenched-in-sunlight]

elden ring OCs.

Raimes and Mirai. they hail from one of the main houses that made up Erdtree’s upper echelons.

[on-the-clear-blue]

So yall know that the League of Assassin's are like, an eco terrorist thing right? Well I just had this idea.

Sam, coming into Danny's room and just face planting on his bed: Ugh...

Danny, who was sleeping, awoken as his friend who had gone missing 6 moths ago flopped onto of him: OH SWEET-NOCTURN IF THIS ISNT REAL I AM GONING TO SOUP YOY SO HARD...

Sam, reaching up and slapping her hand on his mouth:Shhh, less screaming, more sleeping, escaping murder cults takes more energy than I thought.

Sam produces to pass out and sleep for three days straight.

---

Tucker, lookingnup from his PDA: so...you joined what you thought was a peaceful protest and some how ended up in a eco terrorist death cult of assassins? I mean...shit now I have to do something interesting...

Danny, choking on his drink: Nuh uh, your the normal one Tuck, I died and now have a magical girl transformation and Sam got kidnapped by ninjas and somehow even more bad ass, you...you can still get out of this and just be a normal person.

Sam, nodding sadly: Yeah...don't conform to our standards Tucker, be your true, weak little boney self.

Tucker, sniffing:I am so going to not do that.

---

Just the idea that Sam not only got League training but also got out is hilarious to me, like yeah, that is the kinda bs that would happen.

Alsoni can just see her dropping random lore shit.

Sam, bored as the boys study: Did you know thst the Demon Head dunks himself in corrupted ecto? Yeah it's gnarly man, didn't taste good.

Danny, going to speak before pausing and thinking, before sighing:Yeah I would have licked it too.

Tucker, frowning as he finishes his "Evil invention-enator": You both have so many issues.

---

Sam, trying to teach Danny the basic league hand to hand:Come on dude! It's not that hard!

Danny, falling flat on his ass after not even touching Sam: Ow ow ow...fuck yeah it kinda is!

Sam, rolling her eyes: If not only the Demon Heads six year old grandson can learn but also Ellie? You can too.

Danny, mutterinf under his breath before pausing completely:ELLIE? What was she doing with a murder cult? I thought she learnt her lesson after the last one!

Sam, shrugging before putting kicking at Danny on the floor: I don't know she was following a guy around who was catatonic, said something about being angry at him for not answering her pen pal messages or whatever, I was more busy training to really care...like you should be doing!

---

Years later Sam is joining Danny and Tucker in Gotham, Tucker because he was scouted by both WE and Lexcorp, he wanted to choose the evil company because poorer work place regulations and the likely hood of him getting a powerbost was much higher, but was bullied by his friends/partners into choosing WE.

Sam, coming to the R&D labs late one night bringing Tucker dinner so he doesn't starve working a late shift, blinking as she sees a short boy sneaking out of the lab: Biraeam? (Sprout in Arabic) what are you doing here.

Damian, blinking right back, experimental tech Bruce has yet to clear for the field clutched under one arm and the blueprints for a new type of explosive batarang in the other: Manson...I-I could ask you the same.

Sam, raising an eyebrow and staring down Damian: bringing dinner to my husband...who works here...and I can only think that you do not. So I ask that you put those things you have down and tell your bastard of a grandfather not to step back in this place.

Damian, eyes squinting, he hadn't been around his grandfather for ages at this point but still felt offended at her tone: I don't think I will.

---

An epic fight produces where they both try not and spill/destroy the things that they are carrying until either Tucker or Tim find them and explain everything.

The everlasting Trio gets invited over for dinner (mostly because Bruce is a paranoid bastard and dislikes thst one of his employees is dateing/ is partners with an ex-LoA member) and it's a bit of just pointing at each other and shit

Sam, slamming her hands down on the table as she stands: Kindly Mr Wanye, Shut the fuck up, I know your batman, we all fucking know it so if you are going to try and interrogate us at least do it properly!

Danny, sipping his wine: I mean...I-I didn't know but I um...haven't been paying much attention to the bat dude...Rag man is cooler.

Sam, glaring:And you! Fucking Ragman? You can do so much better.

Danny, offended for his hero: Oi! He does good work!

Bruce, frowning as this night has gotten away from him: He kills people.

Sam, waving over at Bruce: Exactly!

Danny, rolling his eyes: Exactly she says, while having a kill count that's still growing, Exactly she says when she was the one that pushed that oil tycoon off the 50th floor.

Sam wincing,: Maybe not in front of batman babe?

Danny, looking over to Bruce that is looking ready to fight: Shit...imma call Tuck and tell him to start packing...

[miraculouslbcnreactions]

You know what would make the Lucky Charm more balanced? Make it so that there are times where other characters figure it out, not just Ladybug. That way, it doesn't make Ladybug hypercompent and makes it possible for other people to save the day.

I don't mind Ladybug being the one best suited to Lucky Charm. I don't think it makes her hyper competent because you don't need a Lucky Charm to save the day. It's just the way that she saves the day. The other characters should have their own unique talents that let them win fights. Generally speaking, that's how strong teams work.

For a random example, let's talk about the teenage mutant ninja turtles simply because I think most people know something about that franchise. The character Donatello (aka Donnie) is the team's tech guy. He makes all kinds of inventions that help them save the day. The show would not be improved if all four of the turtles were able to take on this inventor role. I'd argue that it would actually be lessened because the characters would become interchangeable. This is something that the franchise seems to agree with as each version of the show gives each turtle unique skills and personality traits that makes each of them indispensable in their own way, which is what I think Miraculous should have done with the temp heroes.

That being said, I do think that there's a way to make your idea work. I'd just go a slightly different, more lore balancing route since Lucky Charm is technically bad lore and you all know how I feel about bad lore. So let's talk about giving it a minor tweak and how I think that would actually improve things.

Tikki is supposed to be Creation, not Luck, so the Lucky Charm shouldn't have anything to do with Luck. It should just be pure Creation where the holder comes up with a thing they want and that thing then pops up. It could also have a give and take element where the holder gets what they asked for if they want something specific, but they could also just call the power as a hail Mary and Tikki would come up with something on the fly, leading to the occasional puzzle.

This leads me to my proposed changed.

I personally think it would be hilarious and honestly more fun for Marinette's character if she could summon anything she wanted, but the Lucky Charms stay exactly the same because that's just how her mind works. Even when Tikki is helping, it's still all wacky items because Tikki knows how Marinette is and just goes with it.

For example, in Copy Cat, Ladybug turns a spoon into a hook for a cobbled together fishing pole. Wouldn't it be even funnier if Marinette summoned a spoon on purpose because she was thinking of the makeshift thing she cobbled together in order to fish up something she dropped from her balcony? Then, post fight, Chat Noir praises her like always, only to then ask, "So why a spoon and not a fishing hook?" And Ladybug just stares at him because oh, right, those are things they make. She could have done that. Ooops.

And in Malediktator where she summons a sniper rifle to get a laser pointer? Well, she was thinking about this silly comic about a cat assassin! She totally spaced on the fact that you could just get a laser pointer by itself.

Eventually, her team learns to just go with it and not ask questions. Meanwhile, the general public thinks that the Lucky Charm is some random item that Ladybug has to figure out and no one bothers to correct this misunderstanding. You can even have a running gag of new team members learning the truth and going through the acceptance process of, "Hey, you try thinking up how to set a trap while a 5 meter tall lollipop is trying to crush you! Your mind goes to what it knows, not to the ideal solution, okay???"

If we go with this setup, then other people can wield the Ladybug and use Lucky Charm effectively, they'll just use it in a very different way from the way Marinette uses it. There will also be people who are just not suited to the Ladybug since that was initially how the powers were supposed to work and it made perfect sense. Kwamis should have ideal holders along with okay backups and terrible backups. I personally think Alya would be an okay backup since she's creative, but not creative in the same way Marinette is, leading her to be a lesser Ladybug. Adrien, on the other hand, should generally suck at the Ladybug as he simply doesn't have that style of creative thinking. Which is fine. Better than fine, even! You don't want your characters to be interchangeable! They should all have strengths and weaknesses!

This is one of the show's big flaws. Since everything is on Marinette's shoulders, the other characters rarely get a chance to shine and so they feel interchangeable. For example, if gift always shows the target what THEY want, then why does Rose need to be the one to wield it? Juleka could wield it just as easily. And if Ladybug is generally the one telling Marc and Nathaniel what to summon with their powers, then their creativity is not needed. Anyone could wield the rooster and the goat! The show has completely failed to understand what makes teams memorable and so we have a bloated, boring team whose presence I'm dreading because they had five seasons to set these guys up and yet here we are.

[rawliverandgoronspice]

Can you perhaps elaborate on the "Ganondorf should get to pummel Rauru"

As far as I'm recalling, we don't actually get that much of their issues in totk? We see leaders clashing, and then essentially Ganondorf kills Sonia and steals the secret stone, kicking off the imprisoning war. It's been a minute since I looked at the lore of totk (No Urbosa, so I'm nowhere near as invested as I am in botw) so I wouldn't be surprised if there's something big I missed, or even subtext I never picked up on

Sure! It's always very funny to me to receive the occasional ask like this, since I have been Renowned as a Rauru hater since release, but to briefly recap my perspective: I think Rauru was one self-conscious writing decision away from being the most compelling morally gray character in all of the Zelda canon, but unfortunately is heralded as being a near-perfect ruler (though even his imperfection is an extremely unclear and unexamined flaw that no character ever hold him accountable for --except for Ganondorf, and even what Ganondorf does call him out on is also unclear and also depends on translation because it wouldn't be a Zelda game otherwise) even though Rauru is mostly responsible, not only for his own problems, but also for everybody else's --including, crucially, Zelda's.

In a few words, he cannot be excused (like Zelda or Rhoam) by having to bear the weight of a kingdom for his poor decisions since, you know, he invented the damn thing (then of course maybe he would have to uphold the zonai legacy or something, and this is his motivation, but we don't know, since the game isn't interested in giving us this kind of information). His repeated invitations to the gerudos (and others but the gerudos are the only one not drinking the kool aid? which should be completely ok), being this new ruler of a brand new kingdom that didn't exist 5 minutes prior and yet feeling like he is somehow owed extreme levels of loyalty and devotion from everyone around him, being considered reasonable by the writing, is really baffling to me. Him dismissing Zelda's warnings (as tame as they are, which is just incomprehensible writing contrivences) even though he accepts that she does indeed come from the future, from a Hyrule ravaged by war, is crazy. Him running off to hunt and leave his priestess-wife in charge of the kingdom he founded on her lands while still speaking over her politically is.... sure a choice that was made in the writing. Him then choosing to warn Ganondorf that Link is a guy that exists and will kick his ass, is literally the reason why Link doesn't get the advantage and gets his arm destroyed. And then, in spite of all that, in spite of having the full picture, Rauru is vague and utterly unhelpful as a spirit while Link recovers, pondering that it's so sad that Constructs have to toil for all eternity for no purpose... :(

And like, yes Rauru, indeed Rauru, but maybe, just maybe, that should tell us something about how incredibly self-centered this goat-dragon-dude is --not realizing what he was imposing to his servants and people for his own leisure, in the name of his peace. I don't think he is evil, as in: he's not a cackling unsubtle and vapid caricature like Ganondorf is, but wow is this guy the most self-unaware and entitled character accidentally written in a game that fails to realize the absolute metric ton of red flags inserted in every single one of his scenes that I've... ever seen.

Again, if all of this was intentional, he would have been a masterful character. Maybe my favorite guy.

But the game destroying all other characters' interiority (and botw's worlbduilding) to tell this incredibly uncompelling tragedy about this super-cool perfect king and his series of completely avoidable failures... yeah, that really did not sit well with me at all.

Other posts about the topic that I've written previously:

A post about imperialism themes and aesthetics in TotK (I think it probably deserves an update with more specific historical examples)

A post about intent VS execution (especially re: good rulers and good kingdoms, and why this trope needs to be earned --contrasting TotK and EoW)

So yeah! Rauru. Weirdo guy. Compelling weirdo guy I think, but in a way the fandom really uhh disagrees with overall haha

[the-glorious-evolution-fanart]

what’s your take on this whole “viktor is czech” controversy im seeing so many posts about how we can’t say viktor is russian or any other Slav anymore because of harry lloyd saying he did a czech accent

(I'm answering immediately since this is kind of an active topic that will probably quickly die. Please first read my entire post.)

I am of the opinion that everyone is allowed to headcanon a character however they want, and that it's not nice to insist everyone else adopt one's own interpretation especially if it's not canon. Even if things are canon, people can always choose to purposefully ignore canon in favour of what they prefer. This says nothing about quality - that can go either way. Sometimes the original writing is bad, other times it's good and fandom interpretations are of low creativity/low understanding/quality.

This accent discussion is not a controversy, it's just a tug of war between some fans. Lower the bullying and arguments everyone! It's okay. There's not much point fighting between fans, when companies hold all the power.

~

The reality is more complex than "what canon actually says".

Previous League version

Originally, Viktor the Machine Herald was designed to on the surface quickly read like an Eastern-European mad scientist engineer, with "vibes" from the Red Scare (and things like Red Alert). It has roots in ideas about scary effective heavy machinery. He was made to have a stereotypical Hollywood Slavic accent. If people read into it as Russian, it wouldn't be incorrect, thought the company. That doesn't mean he's hard-coded as Russian. There's the opinion of the lead writer Praeco being shared online in which he says:

He makes the fast mental jump (just like many viewers/players) and lands on the surface-level stereotype, which he thinks is all there is to it. This is false. Viktor's original, release lore from 2011. has no cultural hints towards Russia nor those stereotypes. It is a great basis for developing a more detailed story, which people would certainly love if it was done in an animated medium.

What the lore does have, are similarities with Nikola Tesla, a Serbian engineer and inventor who was conned by Edison, had his work stolen and often been viewed as crazy. Viktor's in-game abilities are inspired by some of Nikola Tesla's hypothetical inventions. His staff has a Tesla coil on it.

I personally write Viktor as being Serbian-inspired due to this, and it's also easier for me as I'm Serbian, so I can make up a headcanon about old lore old Zaunites speaking this language thus explaining the accent when they speak Common; and not stress over messing up a translation. There's also the fact that we are very underrepresented in pop-culture, and even when we are, it's most often as unintelligent criminals.

That doesn't mean that people headcanoning League Viktor as being Russian-inspired are automatically incorrect.

2. Arcane Viktor

Here's the interview with the voice actor. There's a couple of things here to be noted. He says a "frail Eastern-European scientist"... meanwhile Czechs are Western Slavs, not Eastern. This tells me the Americans leading the show didn't pay much attention to ethnicities, as those things don't matter to them.

Then Nikola Tesla is brought up again - proving the original core archetype. But Nikola Tesla was Serbian, who are South Slavs, not Eastern nor Western.

To Americans, we are all interchangeable. They really don't care. They hired a British voice actor, despite there being countless Slavic voice actors they could have contacted. I can even reach a bunch of them.

The voice actor they hired had only practiced a Czech accent in one of his previous works, and it was "close enough". And what I can say is that he doesn't sound neither Russian, nor Serbian to my ear. Our accent is way more heavy and explosive (actually pretty similar to original in-game Viktor! Just less dramatic) while Russian would be way more softer. I've seen some Czechs say he does indeed sound Czech, and I think that's completely valid! But Arcane Viktor is Czech not by design, but out of necessity.

Czechs (Česi!!!!!) are also very little represented in pop-culture. Basically non-existent. They have also historically been behind the Iron Curtain, so you must understand their position. I think people have the right to headcanon Arcane Viktor as being Czech-inspired, despite what all the inconsistencies and frankly bad mixups have been said by the production crew behind-the-scenes. And they absolutely should not be bullied and forced into headcanoning Arcane Viktor as Russian or any other ethnicity! What's in the work itself sounds Czech, not Serbian. That said, I also think people have the right to personally headcanon Arcane Viktor as any ethnicity-inspired as they wish. Just know the state of things like I shared here, say what your personal headcanon is and don't vaguepost or bully other people. Those throwing rocks first should stop.

3. In the end, I personally view Arcane Viktor as Czech-inspired, League Viktor as Serbian-inspired, but it's not even wrong to consider him generally Slavic-inspired, as these nationalities really don't exist in Runeterra. Political situation aside.

[bestworstcase]

THE PEOPLE HAVE SPOKEN it's a draw let's talk about the principles.

In the rulebook for The Lady Afterwards, these are defined as "the most fundamental elements of reality; or, the various natures of the Hours; or, a post-facto invention of scholars of the invisible arts." Mark that third note in particular, because the aspects we discuss herein are—expressly—only an attempt to taxonomize the occult forces at work in the world and thus necessarily an imperfect and imprecise model thereof.

Keep this in mind. There are no clean dividing lines between the principles, and what we label (for example) 'Lantern' and 'Forge' are not, in reality, discrete individual forces but rather a cluster of interacting forces, patterns, rules et cetera which may be expressed or called upon in different ways at different times. Many seeming contradictions or inconsistencies are thus resolved.

With that out of the way:

The interaction most visible to the player is of course the Cultist Simulator 'subversion' mechanic, but I think it is also elucidating to consider 1. differing categorization of certain books shared between Cultist Simulator and Book of Hours, and 2. the principle aspects associated with each of the nine parts of the soul in the latter.

Before we dive into that, a note on 'Secret Histories' and 'Rose':

History is the scar on the world's skin. [Secret Histories describe the unknown complexities of the world, and its many pasts.] vs 'The rose which encompasseth all'. Nine directions to new horizons. [Exploration? Enlightenment? Hope?]

It is evident that Secret Histories and Rose have some relation and may even be synonymous to an extent—for instance, Dr. al-Adim is interested in the former in Cultist Simulator and the latter in Book of Hours—but Secret Histories notably isn't treated like a fully-realized principle in its own right, whereas Rose is mechanically indistinguishable from any other power. What's going on here?

Well, if Rose is the aspect 'which encompasseth all', then we might describe Rose as the skin; and therefore what we call Secret Histories are the scars or the flaws which inform the principle called Rose, in effect making Secret Histories not a principle in its own right, but rather an aspect of Rose.

So for the purpose of this discussion, I will refer only to 'Rose', even with regard to entities and things with Secret Histories aspect in Cultist Simulator. I believe the relation here is comparable to the relation between, for example, Heart and Dances.

Onward!

I have made a series of diagrams. First:

We begin with a wheel representing the order in which the Cultist may subvert lore and influences from one principle to the next, beginning with Lantern at the top and proceeding clockwise; into Forge, into Edge, into Winter, into Heart, into Grail, into Moth, into Lantern. Knock, placed at the wheel's center, cannot be subverted and subverts every other lore except Rose into itself.

Note the larger gap between Moth and Lantern. My reason for arranging the principles this way will become apparent shortly.

For ease of reference, here is a spreadsheet comparing the principles associated with every text that appears in both Cultist Simulator and Book of Hours. In cases where the text's mystery aspect does not match the lore fragment(s) it yields in the first game, I've noted the skill and memory as well.

This is a simple way to demonstrate the 'fuzziness' of the principles, noted at the beginning of this post.

In cases where the principle lore yielded by texts in Cultist Simulator differs from the text's mystery aspect in Book of Hours and the mystery aspect is not one of the newly-introduced aspects, generally speaking, the lessons the Librarian learns will match both; for example, 'The Six Letters on Memory' yields Forge lore in CS, but has Moth as its mystery in BoH, and the Librarian learns a lesson in Transformations & Liberations, a skill whose primary/secondary aspects are Forge and Moth.

The one notable exception is Sunset Passages. In Cultist Simulator, this text yields Winter lore; in Book of Hours, its mystery aspect is Forge, and it provides a lesson in Sacra Solis Invicti (Lantern/Sky). In order to understand the re-categorization of this text, we must consider its subject matter: it is a "miscellany of the funerary prayers, ceremonies, and hymns of the Church of the Unconquered Sun," which "schismed during the Intercalate, when the Sun was divided." It is thus concerned primarily with pre-Intercalate worship of the Madrugad, whose aspects are Winter and Forge, and the skill the Librarian learns from it pertains to those rituals.

Sunset Passages thus serves as a useful illustration of how and why certain texts may be categorized differently between the two games. It is not arbitrary. It's a mechanical representation of the taxonomic 'fuzziness' in that the Cultist can read a certain book and conclude that it's a volume of Winter lore whereas the Librarian can read the same book and categorize it as a book of mainly Forge lore with some relevance to Lantern and Sky, and both are correct, although the Librarian, being a scholar rather than an adept, takes a more nuanced view.

The point being that we can look at those texts which have been reassigned to one of the four/five aspects introduced in Book of Hours as a rough approximation of common relations between those aspects and the ones in the earlier game.

We'll use Moon as an example.

Kanishk at the Spider's Door — Edge lore -> Moon mystery — Lesson is Sharps (Edge/Moon) — Memory is A Stolen Secret (Moon/Knock)

Larquebine Codex — Heart lore -> Moon Mystery — Lesson is Sea Stories (Moon/Grail) — Memory is Gossip (Rose/Grail)

Morphy Codex — SH lore -> Moon mystery — Lesson is Tridesma Hiera (Moon/Grail) — Memory is Beguiling Melody (Grail/Sky)

Viennese Conundra — Moth lore -> Moon mystery — Lesson is Wolf Stories (Moon/Scale) — Memory is Fear (Scale/Edge)

Voyages of Ferninshun of Oreol — SH lore -> Moon mystery — Lesson is Sea Stories (Moon/Grail) — Memory is Salt (Knock/Moon/Winter)

Tally up the aspects associated with these texts: Grail: 5, Edge: 3, Rose: 3, Knock: 2, Scale: 2, 1 each Sky, Moth, Winter, Heart.

& secondary aspects for skills with primary Moon aspect: Grail: 2, Scale: 2, Edge: 1, Heart: 1

& primary aspects for skills with secondary Moon aspect: Winter: 5, Rose: 2, Edge: 2, 1 each Grail, Heart, Nectar, Sky, Scale.

& other aspects on Moon-aspected memories: 4 each Rose, Edge, Winter, Knock, 1 each Sky, Moth.

Keep in mind that this is only an approximation, because we're not taking into account any context for when, why, or how these conjunctions may occur. But we can identify certain patterns just by looking at the frequency; the two most common conjunctions are with Edge and Winter (10x), followed by Rose (9x), Grail (7x), Knock (6x), Scale (5x), Heart and Sky (3x), Moth (2x), and Nectar (1x).

Rose and Knock are both unusual in how they interact with other principles, with Rose being all-encompassing and Knock all-opening. So we're somewhat less interested in them for now. If we consider only the frequency of Moon's associations with the seven 'regular' principles present in Cultist Simulator, where might we position Moon in relation to the subversion wheel diagrammed above?

Well, the most intuitive way to decide its placement is to first put it in between Edge and Winter, then move it a bit clockwise to reflect its significant overlap with Grail and minor associations with Heart and Moth. Right?

In the interest of brevity I won't go through the tallies for the other three 'regular' aspects introduced in Book of Hours, but after going through this same process (and making some aesthetic adjustments, because this is only an approximate representation)...

What we have here is the Cultist Simulator order-of-subversion wheel with the four new aspects plotted onto it as the corners of a containing square; Sky in the juncture between Moth and Lantern, Scale between Lantern and Edge, Moon between Edge and Heart, and Nectar between Heart and Moth. I propose that:

These four principles subvert each other clockwise around the outer wheel, Sky into Scale into Moon into Nectar into Sky, and

The principles in Cultist Simulator, including Knock and Rose, all emerged through division of these older four during the striving and conflicts of the Lithomachy.

Any serious discussion of the Lithomachy is well out of the scope of this post (BUT WE'LL GET TO IT SOONER OR LATER BECAUSE HOO BOY) so my argumentation on this second point will necessarily be rather thin. Sorry. The remainder of this post will concern how well the above diagram holds up to more substantive investigation, and to that end here are the definitions of each principle aspect as per Book of Hours, in order of subversion:

Rose. 'The rose which encompasseth all'. Nine directions to new horizons.[Exploration? Enlightenment? Hope?]

Sky. Wind, storm, echo, song; the intricacies of mathematics and the principles of flight. Law's touch is lighter than we sometimes think.[Matters of balance, harmony and necessity.]

Scale. Hard without, hard within, hard to rouse, harder to subdue. [What is left of the crude powers of the deep earth.]

Moon. Secrets are soft; night is softer still; the sea speaks. It is not always wise to listen. [The nocturnal, the forgotten.]

Nectar. The green wealth in the world's veins; the pulse of the seasons. [Long ago, some called this principle Blood.]

Lantern. 'Life is a pure flame, and we live by an invisible Sun within us.' - Thomas Browne [Lantern is the principle of the secret place sometimes called the House of the Sun, and of the light above it.]

Forge. 'Fire', I once read, 'is the winter that warms and the spring that consumes.' [The principle of the Forge transforms and destroys.]

Edge. All conquest occurs at the Edge. One who dwells there is blind, and cannot be wounded. Another is strong, and grows stronger. [Edge is the principle of battle and of struggle.]

Winter. ... [Winter is the principle of silence, of endings, and of those things that are not quite dead.]

Heart. The Heart Relentless beats to protect the skin of the world we understand. [The Heart is the principle that continues and preserves.]

Grail. Hunger, lust, the drowning waters. [The principle of the Grail honours both the birth and the feast.]

Moth. I knew a man who captured moths in a bell-jar. On nights like this, he would release them one by one to die in the candle. [Moth is the wild and perilous principle of chaos and yearning.]

& Knock. The Knock permits no seal and no isolation. It thrusts us gleefully out of the safety of ignorance. [The Knock is the principle that opens doors and unseams barriers.]

And while, as I said, we are not going to delve deeply into the subject of the Lithomachy in this post, I do want to make a brief note of the gods-from-stone and their probable aspects. The Horned-Axe, we know to be both Knock- [Liminal Evocation] and Winter-aspected [Winter veneration]. Her attestation in 'On the Winding Stair' is also quite interesting:

Gregory evidently succeeds in opening a way to something he calls the 'Moon-Hall', but here his account becomes erratic. He insists that in the Moon-Hall the Horned-Axe is still an Edge-power; he hopes for an 'eternal rival', but cannot find the one he needs. The narrative is increasingly interspersed with chess notations, and ends abruptly.

Here we have an implication that the Horned-Axe was and is no longer an Edge-power, but within the House of the Moon she still is Edge-aspected (or possibly a cross-gender mirror-twin of hers retains an Edge-aspect that she has lost or discarded). The similarity here to the recurring idea that the Wheel still turns in the House of the Moon is striking. Her altar beneath Hush House accepts Edge, Scale, Winter, and Knock aspect.

The Horned-Axe is one of the three Hours of the Chancel alongside the Meniscate and the Sister-and-Witch, of whom the former has obvious associations with the Moon and the latter with the Sea. I submit, then, that before the Lithomachy, the Horned-Axe's aspects were instead Moon and Scale, and that she was—in some way—divided or bifurcated in the course of the Lithomachy into two halves, both with Knock aspect, one Winter-aspected and the other an Edge-aspected reflection.

(<- I will note, as an observation, that there is a vague and rather tangential precedent for such an occurrence; the Wolf-Divided is the product of the division of an Hour, and likewise has Edge and Winter aspect. The common factor would seem to be the coincidence of an ending, hence Winter, with the emergence of an entity driven by an unfulfilled need, hence Edge.)

That is our only living god-from-stone. The others are the Wheel, the Flint, the Tide, the Seven-Coil, and the Egg Unhatching. We know that the Wheel was usurped by the Moth (and that its blood, shed on the roots of the Wood, birthed the Velvet); that the Flint was shattered by the Forge; that the Colonel and the Mother of Ants conspired to slay the Coil; and that the Egg Unhatching fled to the Glory by unknown means and with uncertain outcome.*

[*The Unwise Mortal brought it through the Tricuspid Gate and then it hatched into the Sun-in-Splendour. This is how he ascended to Hourhood as the Watchman. I can't get into it right now or we'll be here all day but: TRUST.]

So, the Wheel was replaced by the Moth and the Velvet (aspects: Moth, Heart—& I submit, also Moon). When the Medium paints the endless memory: "With each turn its cilia pulse and wriggle and its body flushes translucent to crimson. It might be ugly but it is beautiful like the withdrawing of blood from the labyrinths of glass. It does not cease and all its involutions are infinite." All of this locates us firmly in the neighborhood of Moth/Heart, emphasis on Heart given the imagery, and given that the aspect now called Nectar was once known as Blood, this one is easy.

The Wheel's first aspect was Blood. I believe it may also have been Scale-aspected, due to its association with serpents. (On this see Serpents & Venoms. Note that the Secret Histories wiki identifies the 'low red sun' as the Egg Unhatching mostly on the basis of the Medium's glorious memory, but this plainly incorrect. The 'low red sun' was the Wheel, and the Egg Unhatching was a moon, before it hatched. We'll talk about this in more detail in my next post.)

The Flint was 'eclipsed and then shattered' by the Forge. In nearly all of its attestations it's associated with the earth in some way. When painting the golden memory, the Flint is described thus: "This is only a stone, though it is smoothed and sharpened to a midnight point, but look closer. Each of its facets shows a single point of light. It might be the glint of firelight. It might be each a different Star."

As with the Wheel being a Blood-Hour, it seems quite straightforward that the Flint's aspect was Scale; and given its connection to the Wheel through the line of Antaios, an argument could be made that it had a minor Blood aspect as well, making the Wheel and the Flint reflections of each other (Blood/Scale | Scale/Blood).

Next, the Tide, which the Red Grail drowned and consumed. Its usurpation by the Grail and association with the Sea would suggest Blood (the primordial precursor to Grail) and, obviously, Moon. Painting the luxurious memory offers the description: "In a night-blue Mansus-haze swims a coral palace-crown. At its fore-edge it absorbs the lesser Names, coating them with its minerals and juices, and at its rear edge it expels some of them, polished like jewels. The others go to feed its thorny Tide-heart," which reinforces the 'Grail-precursor' angle pretty strongly.

Further, the Tide being Moon- and Blood-aspected offers an elegant explanation for the unusual frequency of Moon-Grail conjunctions in comparison to the other 'precursor' aspects (Heart-Sky is also a common conjunction but otherwise conjunctions with aspects outside the precursor 'quadrant' are quite rare); consider the Sea as the world's blood, an ever-churning life-giving liquid, and the Moon must figure as the world's heart, as the engine of the tidal forces which keep the waters circulating. Heart is the connection between the two, but Grail having supplanted Blood (now Nectar) as the principle most strongly associated with the Sea, it remains closely entangled with the Moon.

Like the Flint, it seems fairly straightforward that the Seven-Coil was Scale-aspected: its monstrous serpentine form and present associations with earthquakes both unambiguously point in this direction. Contra the Secret Histories wiki, I actually do not believe that the Seven-Coil had Rose aspect itself. The events leading up to its slaying are (notably) recounted in much greater detail than the death of any other god-from-stone, and unlike the others, its defeat came not at the hands of a god-from-blood but what seem to have been the first two human* gods-from-flesh; it follows that the death of the Seven-Coil occurred much later than the usurpation of the Wheel, the Flint, and the Tide...

[*I believe the Elegiast and the Beachcomber may be much older, but neither of them were mortal humans as the Colonel and the Mother of Ants seem to have been prior to their ascensions. Jury is out on when the Vagabond ascended to Hourhood exactly, but she's of the Cross. Probably.]

...and indeed, 'The Deeds of the Scarred Captain' places the slaying of the Seven-Coil immediately prior to the founding of Mycenae, which occurred around 1350-1200 BC—well into the Bronze Age and not remotely prehistorical.

The Coil itself wasn't Rose-aspected; I believe its slaying is the inciting incident for one of the Histories—most likely the Third. The massive proliferation of Worms in that History, the loose association between Worms and the Coil, the origin of the Seven-Coils' Temple in the Third History, Sparrow's paranoid conviction that this History is "overrun by Coils," and even the aspects of the Third History's encaustum Nillycant (Winter & Edge for the Colonel; Scale for the Coil) all seem to point in this direction.

That leaves only the Egg Unhatching, vexing little enigma that it is. In the Medium's painting it appears like this: "A faded pale white-gold seen in certain patches of the sky, when the mist is clearing but the sun might be mistaken for the moon. We hold our breath and watch it brighten, until each colour divides from the next like a new-minted alphabet." Despite its having been a moon, I'm not wholly convinced that it had Moon aspect; that it hatched into the Sun-in-Splendour (you'll have to trust me on this for now) might suggest it was Sky-aspected, although this doesn't feel quite right to me either.

The other Lantern-precursor it could have had is Scale, and I am fairly confident that the Egg Unhatching was Scale-aspected. The Seven-Coil is described as 'the nest' in a certain ending and there are some hints toward a connection between the Sun-in-Splendour and the Scīmafectra-kind of the Carapace Cross; it would not be unreasonable for the Egg Unhatching to have been laid or incubated in the Nest—that is, the Seven-Coil—during the era of the Carapace Cross, and thus to have Scale aspect. The Scale determination may loosely support this as well. Furthermore, the Unwise Mortal "learnt the shaping arts of the Flint" and later "ascended to the shadow of the Egg Unhatching," which is suggestive of some degree of similarity between the Flint and the Egg. So we'll put this one down as Scale and a 'maybe' on Moon/Sky.

...and that's my 'brief' note on the probable aspects of the gods-from-stone. TO RECAP:

Horned-Axe: Moon/Scale -> Knock/Winter + Knock/Edge

Wheel: Blood/Scale

Flint: Scale/Blood

Tide: Blood/Moon

Seven-Coil: Scale

Egg Unhatching: Scale + Moon/Sky (?)

Lastly—and this is more a footnote for a future post, really—notice the absence here of any gods-from-stone with clear, unambiguous signs of having been Sky-aspected. An argument can be made for the Wheel and the Flint to have had Sky aspect, the Wheel having been the old sun and the Flint being associated with starlight, but there is little in the way of supporting evidence (and neither Sky-Nectar nor Sky-Scale are common conjunctions, although Heart and Sky are frequently conjunct in matters of weather, so the argument for the Wheel to have been Blood / Scale / Sky is a bit stronger than the one for the Flint).

Right. So.

Let's talk about the nine elements of the soul.

Here, I've marked how different aspects are connected through, or by, each part of the soul. Where two aspects are not adjacent, the connection is represented passing through the simplest juncture, such that the aspects of Ereb, Wist, and Trist connect to each other through Knock; the Moth and Rose of Fet pass through Sky; and Moon is the joint between Health's Nectar/Heart and Scale.

Depicting the elements this way reveals some interesting patterns:

Other than Health, which is unusual in other ways, every non-adjacent pair here is joined through its juncture at a 135° angle (and if we were to route the connection from Heart to Scale through Knock rather than Moon, this would be true of Health too; however, I believe that Moon is the more appropriate juncture in this case for reasons I will outline in a bit.)

The two paired aspects that are adjacent around the inner wheel, Forge/Edge Mettle and Heart/Grail Chor, are stronger in the principle subverted when these aspects interact. In theory, this suggests that Sky may subvert Lantern—and this in turn would be a small point in favor of interpreting Sky / Scale / Moon / Nectar as precursor aspects whose division created the modern principles, on the grounds that Sky subverting Lantern then obeys the Sanguine Exception.

(which holds that every door must open both ways.)

Chor, "exuberance, rhythm, and instinct," has Heart aspect with a lesser power of Grail; when subverting Heart lore or influence into Grail, the project description is "what does not cease will succumb, at last, to temptation," and the action "all that moves must succumb to hunger." This conjunction is also reversed in Memory: Satisfaction, which has Grail aspect with a lesser power of Heart, so it doesn't seem like a stretch to conclude that Chor arises from hunger in moderation; that is, the need for sustenance and meaning in life, absent the wilder hedonism of Grail.

Chor's malady, Duendracy, is a lapse in concentration brought on by what is described as a quite pleasant but very distracting (or perhaps inspiring) "possessing presence from the Mansus." It has Heart aspect only; but notice how afflicted Chor seems to be stilled as the Grail aspect is lost to the pleasant distraction—even though Heart is defined as the principle of relentless motion! Similarly, that Duentratic Chor must be roused by a sufficient power of Moth, the "wild and perilous principle of yearning," suggests the best cure for Duendracy is a nameless dissatisfaction which reawakens the Heart to its hunger, and thus restores its balance with Grail.

Ereb is "pride, compassion, hatred, fear" and "the shadow in the soul's cellar." It has Grail aspect with a lesser amount of Edge; so, we might call it an expression of passionate desire bringing about, or brought about by, strife. And while Ereb itself lacks Knock aspect, the way its Grail-Edge conjunction is expressed does resonate with the principle of Knock for much the same reason that one facet of Knock is wounding.

What commonality unites the qualities of pride, compassion, hatred, fear?—here I will note that Book of Hours (and Cultist Simulator, in less unsubtle ways) incorporates a number of Jungian concepts into its storytelling; the Archaeologist in particular is more or less explicitly tormented by their projected Shadow, in Jungian terms. The Shadow is an unconscious aspect of the personality composed of traits that are unwanted, that do not align with the aspirational ideal image of oneself, and which are therefore both repressed and projected outward, driving conflict both within and without. Confrontation with the Shadow is inevitable and may lead to either possession by it (which produces confusion, distress, emotional paralysis) or assimilation of it (which acknowledges and integrates the Shadow into the conscious self, a spiritual awakening).

The word Ereb derives from ἔρεβος (érebos), the ancient Greek for the darkness of Hades; and it's "the shadow in the soul's cellar," the intersection of Grail's "drowning waters" with the conflict and conquests of Edge—it is the Shadow, and so it is hidden or buried but must, sooner or later, be encountered. And so we might say that the Shadow will eventually, inevitably, perhaps violently, Knock. Note, also, the descriptions when strengthening Ereb with either Bosk ("the Wood is filled with shadows") or Skolekosophy ("...will unchain my Ereb"), and more generally Ereb's association with the unwritten, instinctual lore of the primaeval wood and the study of things that should not be studied. The Shadow comes Knocking, etc.

(I find Ereb especially interesting in relation to both Calyptra and the Corrivality, and will get into a deeper dive about this at some point in the future. For now: Westengryre is the affliction incurred by provoking the Mare-in-the-Tree. Sleep softly!).

Fet is "that part of us which walks in dreams," and its first aspect is Rose, its second Moth; and, as noted, I propose that the juncture in this conjunction is Sky. Why?

Sky concerns "matters of balance, harmony, and necessity." Moth is an unpredictable, wandering principle of chaotic yearning; Rose is "exploration, enlightenment, hope." Now think about Fascination: 2 Moth, THE HIGHER I RISE THE MORE I SEE; and if the Cultist succumbs to visions with three Fascination, this is their ending: "First it was the dreams. Then it was the visions. Now it's everything. I no longer have any idea what is real, and what is not."

Fet, the part which walks in dreams, which traverses the Mansus, has Moth aspect commingled with the aspect of enlightenment and exploration. Its malady is Gisting, the Rose aspect absent the Moth, and described thus: "As my concentration fails, a part of my soul flutters away, drawn by a distant half-imaginary light. [...] My fet is gisting - too loosely tethered to me - so that I glimpse the Mansus even in daylight hours. [...] In dreams I have visited the House behind the world... and some part of me is trapped there now, even when I wake." Whence does the Cultist's Moth-aspected Fascination derive? From the unmooring of Moth from their Fet.

To maintain one's Fet in good health—to walk the Mansus in dreams with the dangerous impulse to wander tethered safely to the skin of the world and the ways beneath it—what is required most of all is balance; harmony between the peril of Moth and the Rose which anchors the dreamer to the Wake. This is a matter of Sky.

(& of course, Rose and Moth together represent the nine divisions of the wind itself: the eight winds of the compass rose and the directionless, chaotic ninth.)

Health—Health is unusual in several ways, the most obvious being that it has three aspects rather than two. It is not a part of the soul per se but rather the dwelling-place thereof; its aspects are Nectar, Heart, and Scale. I believe that the reason for this is relatively simple. The aspect now called Nectar was once instead named Blood, and so we might consider that the first aspect of Health, the body, is the Heart-Blood, or the Blood-in-the-Heart. Or we might conceptualize this combination of Nectar-Heart as within-without, the lifeblood moved by the heart beating to protect the skin.

Then why Scale?

Well... Scale is the aspect of what is left, of what remains, of the old forgotten songs asleep in the depths of the earth which might yet be roused; and the Cross died not but passed within. Health has Scale-aspect because that is the last trace of the Carapace Cross, long-buried and forgotten but never quite gone. Hence my choice to route Nectar-Heart's union to Scale through Moon, the secret and forgotten things, rather than through Knock and Forge. Either is cogent, but I think Moon is the better fit.

Next! Mettle. Mettle is easy. Mettle is the "will; self-discipline; that part of us which makes the right choice" and "the capacity for meaningful choice," and it has Forge aspect with a lesser power of Edge. When subverting Forge lore or influence into Edge, the Cultist invokes the Lionsmith's rebellion at Issus: "The Hour called Lionsmith shattered his own sword to escape his master's dominion. All things can be overcome, with sufficient force. [...] I've shattered what I believed before. Thus have I subverted my Forge lore to Edge."

A small—but important!—detail I want to underscore here. In shattering his sword at Issus, the Lionsmith enacted a teaching of the Forge of days, that "the artisan may achieve their highest goal only by destroying their most precious tool." That is to say, the method used here to subvert Forge into Edge is not to conquer the Forge with the Edge but instead to reforge the Edge using Forge-techniques. One principle subverting another doesn't necessarily imply an adversarial relationship to each other; they are instead complements, or united opposites, or both. Forge-into-Edge is the clearest demonstration of this.

Thus, Mettle encompasses not just fortitude and conviction but specifically the will to change oneself—to break and be reforged—in pursuit of the highest goal. I would also submit that it is the part of the soul most in conflict with Ereb (the ego-ideal of the superego, if you want it in Jungian terms; that aspirational sense of self and identity which suppresses the Shadow). The drowning waters of Grail versus the consuming fire of Forge, the birth-and-death, end-and-beginning of Grail vs the metamorphosis and shaping arts of Forge; opposite and the same, passion striving against self-discipline, willpower striving to give form to unconscious desire, and so conflict arises from the Edge between them.

Phost is "the light within: sight, perception, inspiration" and "all the Glory's gifts." Its first aspect is Lantern, its second Sky. When afflicted, its malady is Fascinated: "My inner light gutters, then flares - I am snared in a dangerous fascination. [...] Phost is the brightest part of the soul - sometimes it can grow too bright for safety." Unlike the Cultist's Moth-y Fascination, Fascinated Phost has a small degree of Lantern aspect. It does, however, appear to be the same condition, hence "the HIGHER I RISE the MORE I SEE."

The discrepant aspect here may come down to a simple difference in temperament between the Cultist and the Librarian; one imagines that an adept must have a greater inclination toward Moth than a scholar—otherwise why seek what lies above and beyond the Stag Door? Thus Glory entices the adept but blinds the scholar. Or else, for the scholar, the danger of Fascination lies in what perilous yearnings might be enticed toward you, as Daymare insinuates, although whether the advice she offers Gwen is applicable generally or not is, given Gwen's particular circumstances, unclear.

In any case, Phost is the part of the soul afflicted by Fascination, and it seems reasonable to conceive of it as a counterpart or perhaps the fulcrum of Fet. Consider the Watchman's Paradoxes, a Lantern-Sky skill which can be committed either to Illumination or Nyctodromy:

From Light (Phost) Our dreams are shadows cast by the Watchman's light. So we perceive him even in our shadow. This is Illumination. From Change (Fet) We recognise the dream-places that the Watchman shows us, though we have never seen them before. Perhaps we were something else when we saw them. This paradox is fundamental to Nyctodromy.

If a dream is the shadow cast by the Watchman's light, or a place thereby illuminated, and Phost is "all the Glory's gifts," and the Fet is the part of the soul which walks in dreams, then it is—perhaps—Phost which illuminates the way, as an inner semblance of the Watchman's light, and keeps the balance between Rose and Moth.

Shapt is "eloquence and understanding; the door opens both ways." It has Knock aspect and a lesser power of Forge. It is words. It is speech: the first wound, the first sword, the first key. When afflicted, it develops the malady Acusis, "in which the door, Shapt, cannot be closed. [...] Every sound rings like a bell - every word scratches at my eyes or skin." Knock, absent Forge, soothed only by the silence of Winter. I get very excitable about Shapt and this is already a quite long post, so I will leave it at: Ebrehel is the Shapt of an Hour.

Trist is "the change and the longing," and its first aspect is Moth, its second Moon. Its affliction, Despairing, has Edge aspect instead: "Trist is already half a hand trailed in a river of deeper sadness. [...] Melancholy is the mist on the soul's waters. Despair is the wolf that prowls the water's edge." Trist is also implicated in the existence of what seems to be the most dangerous of the 'great shadows' that can be found in tombs—as described in 'The Barrowchild's Elegies':

The Barrowchild warns particularly of the 'avidity of trist', where a remnant-shadow's longing for change survives its sense of self and even devours its wist. That longing may draw the curious into the tomb, where the remnant-shadow changes so that it cannot be distinguished from its visitor - or that the reverse becomes true - and that it is never again possible to say whether it is the shadow or the visitor that exits the tomb.

ahem. Conceptually what this 'avidity of trist' describes is, in Jungian terms, possession by the Shadow. In Secret Histories terms, I believe that Ereb (fear) overtakes Trist, which turns to despair; the Mettle (will, choice, the determinants of self) is eroded or forsaken or otherwise lost, whereafter the despairing Trist provokes a complete obliteration of everything else that remains in a violent, agonized desperation to destroy the Ereb. & that's what a Wolf-Splinter is.

So the Moth aspect needs no explanation. Moon, however, is interesting, as is the juncture through Knock and Winter. Trist, the change and the longing, is melancholy... and Moon is the aspect of secrets, of nocturnal and forgotten things. Trist, I believe, is specifically the longing for what has been lost, after the changing, after something ends. Hence the danger of its avidity.

Last and not least, we have Wist; "the soul's memory, the true name scratched on its cornerstone, what remains after the rest has passed." It's the memory and the remnants. Its aspects are Winter and Lantern, and its malady, Shell-Crossed, has the aspect Scale, expressly because it's a surfacing remnant: "Memory crossed, hatched, lined, snapped. My thoughts are tangled and unfamiliar to me. Something of those who came before - the Carapace Cross - has always lingered in humankind. It's risen now in me."

The Winter-aspect is of course straightforward, given the Wist's role as memory-keeper for the soul. The Elegiast comes to mind, as does the nowhere-Hour called Snow (for death alters; Snow endures).

But why Lantern? Lantern is not an aspect frequently associated with preservation or endurance—quite the opposite, it purifies and it blinds. It begins to make sense if we consider this Lantern-aspect in relation to the Scale-aspect that emerges when Wist becomes Shell-Crossed, and that is, I think, the closest we have to a smoking gun in terms of Scale being a precursor to Lantern. What remains of the Carapace Cross now? Only light. This is why Shell-Crossed Wist is cured with Lantern; its Scale aspect is purified and therefore forgotten, all but the very last, inextinguishable trace.

(We'll discuss that more in another post.)

So!

All of these conjunctions of principles within the soul track quite well with the positioning of Sky / Scale / Moon / Nectar at the corners around the 'inner wheel.' I think the elements of the soul provide a more comprehensive look at the way the principles interact with each other than do Cultist Simulator's subversion projects, which we turn to now. Briefly. (she says, lying.)

Lantern into Forge: "The magus Julian Coseley claims the Forge of Days split the Sun. Perhaps he was right. [...] Light yields to Heat."

Something interesting to note is that there is a recurring if rather subtle motif of the Sun's light—the light of the Glory, Lantern—being cold. Or at least, not very warm. Besides the Meniscate, whose light is that of a reflection because her domain is the Moon, all of the extant Solar Hours have Winter aspect, which is not particularly unusual in and of itself given the influence of the Intercalate. But the Medium's splendid memory implies that the Sun-in-Splendour, although brighter than the Madrugad or the Sun-in-Rags, was likewise chilly: "The Sun was brighter once - no warmer, but its light held colours we no longer see."

This contrasts the Wheel, as described in, for example, the Inks of Revelation commitment to Hushery: "...since the dawn times when the sun hung red and low and we felt its warmth like autumn." But even that suggests only a little warmth.

Lantern and Forge are similar in myriad ways—light purifies, light blinds; fire gives light and consumes knowledge; one is unmerciful, the other inspires unmerciful change—but one key enduring difference does seem to be that Lantern-light is cold, unyielding, whereas Forge-light burns, desires, consumes, destroys. In this specific way Forge holds more similarity to Moth and Grail than it does to Lantern... and indeed we do see Forge-Moth or Forge-Grail conjunctions here and there. Notably, Transformations & Liberations (Forge-Moth) and Numen: A Merciless Alteration (Edge-Forge-Grail).

Forge into Edge, we've touched on already.

Edge into Winter: "I am acknowledging the victory of patience over strength. [...] Patience defeats strength."

Just as the method for subverting Forge into Edge recalls the Lionsmith, Edge into Winter may—arguably—call upon the Colonel's understanding of victory through the cunning borne of experience. Or we might interpret the operation from the perspective that even the fiercest conflict must end in time, whether in victory or defeat; that even the strongest warrior must fall. The White waits west of the world, but she will not wait forever. In all likelihood both are true, or at least can be true. I would imagine there are different techniques drawn from either viewpoint. (& this, too, is Edge.)

Winter into Heart: "Winter's coming must yield at last to spring."

This operation, I find most interesting in conjunction with the description of Forge as "the winter that warms and the spring that consumes." On its face, it is reasonable to interpret Winter and Heart as opposite forces—silence and stillness, striving against the drums and motion of life—but... but. Winter is the principle of endings, of silence, and of those things that are not quite dead.

Consider the Winter-Heart skill Quenchings & Quellings:

Arts which quench fires and bring solace to the troubled mind. 'A true adept is never troubled by fire, nor by fever, nor by restless spirit'. – Ambrose Westcott Safety in Silence (Trist) Unwise words are dangerous. Mourn them, remember them, speak them not. This is Hushery. Safety in Oblivion (Health) Let the flesh forget disease, let the smoke forget the flame, let the troubled mind forget its pain: Preservation.

Ambrose Westcott was a metallurgist, an alchemist, a pyrographer—his area of specialization pertained to Forge, not to Heart or Winter. But Quenchings & Quellings is first and foremost a skill interested in regret and forgetting, and therein lies the connection: Regret is a Winter-Forge memory. "Every choice has its shadow."

I do not think Winter and Heart are opposing forces at all, but rather two sides of a three-sided coin. (If you'll pardon the tortured metaphor.) Winter ends and Heart renews. Winter remembers and Heart preserves. What's missing from these pictures? Forge, which destroys; Forge, which transforms. Not for nothing are these the principles of Calyptra; the Black Flower's Heart-aspect, the White's Winter-aspect, the Red's Forge.

Heart into Grail, we've already discussed.

Grail into Moth: "Even the Red Grail falls prey to the buzzing in the brain."

Obviously, little daylight exists between hunger and yearning; both are a form of desire. Moth and Grail are similar in their hedonism, their wildness, their violence; the Moth flayed the Wheel and the Thunderskin was flayed at the Grail's behest. (Much is made of the confounding question of whether the Moth or the Grail came first, feasted first, arose first. There are no end of contradictory answers, but the truth is really very simple. They are twins—triplets actually but we don't have time for that—born together.)

But do note the specific phrasing used here—that the Red Grail falls prey to the Moth. The Hour called Moth is a hunter. This is described, for example, when committing Horns & Ivories to the Bosk. So the Red Grail is an Hour which hungers and consumes, presiding at births and deaths in equal measure, and sometimes she falls prey to the hunter-Moth; there is some notion here of reversals, of the hunter-becoming-hunted, of hunger being what is preyed upon.

Here I will draw your attention to the Moth-Grail skill Resurgences & Emergences: "Birth and death are only directions. Between the two we find a crossroads." When Grail is subverted into Moth, this is the crossroads they approach.

& into Knock: "Place pressure upon a weakness, and rend the skin of the world." Any aspect studied with Knock becomes Knock.

Knock is a power of opening, of wounding, of breaching; but I think it is also—perhaps even more importantly—a principle of intersection. It is the joining-together which dissolves all boundaries. The reason it subverts everything is less that it's a cosmic skeleton key and more a question of Knock being the principle that understands everything to be connected to everything else, because it is the principle which connects all things. Nothing is truly separate, and nothing can be divided unless it was first joined.

It's the aspect of the Mother of Ants, who encircles, who arises from wounds, who spares those who are already harmed. Knock is the principle that both wounds and heals by wounding, the venom that is also the antivenin. If you've ever wondered why Sacrament Ascite is brewed from Glassfinger Toxin, this is why.

Now—finally—let's discuss my proposed operations of Sky into Scale, into Moon, into Nectar, back into Sky.

Sky into Scale: This one is actually quite open-and-shut. We'll start with the Ithastry commitment for the language Kernewek Henevek:

The Stars (Wist) A smiths' proverb in Brancrug: 'What starts in the sky, ends in the earth.' A story goes with it, that the village smith's anvil in the time of the Dewulfs was hatched from a meteor stone, and so every plough in the village knows something of the stars. Not many remember the story, but everyone remembers the proverb. It would probably count as Ithastry.

From the sky to the earth; as above, so below. Sky is "wind, storm, echo, song... matters of balance, harmony, and necessity." Scale is "hard without, hard within, hard to rouse, harder to subdue; what remains of the old powers of the earth." What's an earthquake if not a storm within the stone? Or is it a song that still echoes beneath the earth?

Both are precursors to the modern principle of Lantern; Scale, the principle of the Flint, is very closely associated with Forge—and in Lightning we find the conjunction of Sky-Forge.

There is also a whole tangent we could go into here about the birds and the serpents and the birds-of-a-scale, worms-of-a-feather. But I won't belabor the point. Next!

Scale into Moon: One could make an argument, too, for Scale into Nectar, on the grounds of stone-and-soil, fossil-and-seed, antecedent for the Winter-Heart relationship. However, that becomes more difficult when the relationships between the precursors and the modern principles is taken into account, and I think the similarities between Scale-Nectar and Winter-Heart are more accurately represented in terms of Scale-Moon-Nectar preceding the triad of Forge-Winter-Heart.

The Scale-Moon subversion also has Hill & Hollow going for it, in particular the Preservation commitment:

The ways of the hill-children and the gods-from-stone. Old paths, old secrets, the songs that still echo beneath the earth. How They Endured (Health) In the beginning, the Carapace Cross served the first Hours, the gods born from stone. When the gods-from-stone were defeated, where could the Cross go? Into the hills; into the Bounds; and into us. This is how humankind came to be, and in our most secret hollows, the Cross endures. This is a matter of Preservation.

(Note that 'the Bounds' seems to also encompass the House of the Moon, as per the Nyctodromy commitment for Hyksos.)

Scale is what sleeps, remains, what might be roused, while Moon is what is secret, what is hidden, what is nocturnal, and what has been forgotten. Scale endures and fades from memory; Moon remembers what was forgotten. The old songs that echo under the earth become the secrets whispered by the waves beneath the moon.

Like Forge and Winter, Scale and Moon pair the violent destruction of Scale (as a shattering earthquake) with the softer, gentle endings presided over by Moon (as the sea erodes stone). Next!

Moon to Nectar: Here, of course, the dual nature of Grail—the drowning waters but also blood—is worth noting. Both Nectar and Moon are far more strongly tied to Grail than to Heart. And of course, the Wheel, the low red sun, once had the aspect Blood; and it still turns inside the House of the Moon.

Speaking of the Wheel, while Serpents & Venoms is a Scale-Moon skill, it undeniably concerns the Wheel (which may, as we discussed earlier, have also been Scale-aspected), and its Hushery commitment has some interesting implications regarding the relationship between the Wheel and dreams:

The Last Sun (Trist) In the dawn times the sun was lower, so we gave it our blood. From our blood it knew us, and so it was kinder. Its serpents brought us its poisons to drink, and so we died. But we only died a little, and so we dreamed, and returned the next day to give it our blood again. Those times of peace persist in the lessons of Hushery.

In the Mansus as it exists now, dreams are shadows cast by the Watchman's light, or else illuminated by his light, but of course this could not have been true in the dawn time when the Watchman didn't yet exist. The Moon-Knock memory A Stolen Secret, "Something I overheard in dreams?", together with Moon's associations with secrets and nocturnal things, at least circumstantially supports the conclusion that dawn-dreams were illuminated instead by the Moon.

Thus, this interplay between the blood-drinking Wheel whose serpents opened the way each night into dreams beneath the light of the Moon, speaks to the interaction of Moon with the old principle Blood, and what traces of that remain between Moon and Nectar.

Blood drinks of life and gives death and the Moon heals in dreams; Blood brings the dawn and Night yields to day. Nectar is the principle of germination and of poisoned thorns and of renewal, and the Moon still remembers what it was.

Also, the Velvet. Just... the Velvet. Next!

Nectar to Sky: We return to Kernawek Henavek, but this time it is the Bosk commitment that interests us...

The Roots (Health) A farmers' proverb in Brancrug: 'What starts in the roots, ends in the sky.' A superstition goes with it, that before a child's first birthday you should leave her for a summer night sleeping in the roots of an apple-tree, to make sure she grows tall and straight-backed. Not many pay heed to the superstition now, but everyone remembers the proverb. It would probably count as Bosk.

...along with the Birdsong commitment for Leaves & Thorns:

Looking Up (Chor) The gardener's first lesson is this: look up. What starts as weather ends in the world, what starts as sky ends in the soil. This is what the birds know, and the birds know most things first.

As beneath, so above. What is a tree but a throne to birds, and what is Sky but a crown for birds? What begins in sky ends in soil, and so the first lesson of the gardener is to look up.

Nectar is the pulse of the seasons, the ripening, the wild vigor of new life. Sky is the principle of balance and harmony, mathematics and law—moderation, but also music. The wind in the branches, the bird in the nest, the lightning-strike that fells the tree and lets in the sunlight so that new flowers can grow. I rest my case.

& Fin. (ominously) for now.

I would apologize for the sheer amount of things I've glossed over things to the tune of "but we don't have time for that now" but in my defense, 1. I'M FIGHTING FOR MY LIFE (this post is 8.2k words long) and 2. I have half of a far more comprehensive disquisition regarding the various shadows-under-the-boat we carefully ignored in this post sitting in my drafts; perhaps a quarter of it is complete; it is pushing forty thousand words in length, so 3. It Will Happen Again.

Tune in next time for: VAMPIRE SUN, EGG MOON, & ...THAT GUY.

[muchmossymess]

uh oh guys, hot take alert:

i think revali may have invented hand held aerial archery HEAR ME OUT- (this is a long one boys)

okay. evidence one: why the fuck would a rito shoot like that. like, it makes nearly zero sense, it would be such a hindrance to their flight and their main stake is that they can be higher than you can shoot whilst still pinging you... which revali has overcome with his gale

evidence two: tulin and the concept arts. obviously rito style archery would be held in their talons. before totk came out idk if anyone had really thought about it too much, but the developers had, as you can see in concept art (from the creating a champion book). and like, its logical, powerful, and allows for peak maneuverability. also, when in flight revali (and teba) holds his bow in his talons before switching to his wings. surely its easier to keep it in your wing (obvi ignoring the effects to flight but hes doing that anyway firing the damn thing) rather than switch back and forth- unless you were taught that way, because why would you hold it elsewhere, you need it in your talons to shoot.

evidence three: we dont see any other rito do it (...kind of). throughout botw and totk, we never see another rito flying with a bow in their hands. in totk, its mostly tulin, who holds it in his talons, but in botw the big one is teba. during the medoh quest, he actually gives *link* his bow, and therefore does no shooting in the sky. teba and harth had both tried to take on medoh before, but we never see this, and while they holds their bows in their hands *on the ground,* we dont see it.

...except for aoc (uh, spoilers?). there are two times we see a rito other than revali hold their bow in their hand for aerial archery. but it is not with any rito soldiers, either during cutscenes (the bows are only on their backs) or gameplay (they swoop down, and then hand hold bows on ground. they arent seen flying at all but thats prolly for the same reasons as botw: its very hard to code that (and so they write the lore around that fact)). the first time we actually see another rito do this, we dont see it. Its teba, as he comes thru the portal, but all we see is the arrow shot, and then him freeze frame with the bow in one wing. we dont see the bow in his hand for the rest of the fight. the second time we actually see him fighting like this, it *is* in the air, but its noticeably different to revali.

hes a lot slower, it clearly takes a LOT more effort to shoot the bow, and he only pulls off one arrow at a time. its canon that revalis bow is heavier/harder to draw, and he manages to effortlessly stream arrows whilst fucking floating midair. i think teba, forever a revali fanboy, heard of how the champion mastered his own style of archery and sought to teach himself, but lacked one key thing: revalis mastery of wind.

evidence three point five: revali could easily use his powers to hold him in the air longer/slow his descent long enough for him to fire his shots. it makes sense, really. if he can use his gale to propel him, he can sit on the updraft for a hot sec, or even curve the path to carry him along while he lines up the shot. this would mean he wouldnt need to flap as much as other rito, who would obviously need to keep flying

evidence four: revalis fighting style and his needs. revali works with non rito, obviously. he needs to be able to communicate with them on the battlefield, and they wont understand the muffled chirps if he holds his string in his beak, so he needs his mouth free to speak hylian. also, revalis main tactic is fly up with gale, shoot, fall, either shoot more or use velocity and weight to knock around opponents, and then fly back up. he often needs both feet planted firmly on the ground to get a good hold of his gale, something that is harder to do if you have a bow in the way.

also, take for example the kick he delivers link in their fight (aoc). that would possibly damage the bow, or give the opponent a chance to grab his weapon, if he held it in his talons. and to switch from feet to back is a risky maneuver during freefall, and could lose precious seconds, and then when you get back in the air you need to get it off your back again. its much easier to keep the bow loosely in your wing the whole time, meaning your free to attack melee, land and rise all while not wasting a single moment getting your next shot lined up.

so yeah, i think the rito used the talon grip for aerial archery, and would often use the hand held method on the ground for a variety of reasons (more powerful shots?, easier in some situations like hunting), but revali was perhaps the first to use hand held aerial, another reason he was one of the greatest archers ever.

[baijiukissed]

More enkiramus headcanons (as a treat for I have finished a very long assignment)! Please note some of these might be suggestive and they will have 2 slashes at the beginning of the sentence with tiny font if it makes you uncomfortable!

-Time is actually a thing Nosramus keeps up with in the mines. They’ve actually invented a makeshift clock that happens to line up with whatever time of day it is outside and keeps up with the dates on a calendar! How that happened we will never know and it’s best to not know. Enki does have a portable version of it if he were going to Ma’habre for a day or so.

-Enki likes to have a little wine before bed, as a sweet treat and it soothes his mood after being out for a while. //Sometimes it’ll make bed activities a little more interesting for him as he’s still learning//

-The two have also adopted a pet Moonless who Enki grew to love and the two are usually traveling buddies when visiting Ma’habre. He didn’t want her at first but the two did begin to bond when lounging around the room for reading! It’s like having a very light weighted blanket!

-Speaking of Ma’habre, Nosramus does like giving more lore about the fellowship to Enki(if traveling together!) and has taught him ancient languages he spoke around that time. Our beloved dark priest has caught on with the language really fast and the two converse in it at home or when traveling out of the dungeon for supplies. It also makes it easier to read old ancient texts from Valteil’s library.

-Traveling out to places on the surface such as Rondon can be a hassle, but Nosramus insists they won’t take too long(they’re both stuck at booths looking at goods all day). Also one of the few ways Enki actually distributes his skin bibles with the hassle of having someone come to the dungeons. Results in Nosramus yapping a lot with vendors because socializing is fun for him yippee! Traveling also gives the two insight on what’s happening/what’s new in the modern world

-Both of them know how to cook but Nosramus cooks better. Enki knows how to cook meat and simple soups but Nosramus would add a little more seasoning. (It’s mercury) (Jk)

-Their first date was exploring the thicket more and talking to bugs in the daytime! At night they check out past Ma’habre and Nosramus would be in awe as it’s like he never left home. He would also get the view of a present version of the city in the Tower of Endless 🥺

-If the two happen to argue, there would be a good amount of the silent treatment and they would apologize to each other when taking their minds off of it doing something else. Fortunately it’s never malicious and the two are mature enough to realize it

-Enki managed to marry both of them because of his role as a priest and immediately told Nosramus that their wedding is the only wedding he will ever officiate 😭

-Gifts typically vary between the two of them: Nosramus likes finding old ancient texts/scrolls that intrigue Enki’s knowledge while Enki likes foraging pretty herbs that Nosramus would use in experiments or to preserve. The two of them have similar tastes so it’s not hard to figure out what they’d like 🥺✨

-The two have explored the entirety of the dungeons due to their dates taking place from one iconic place to another. For some reason they’ve found a way to floor 10 and greeted the god of fear and hunger, with the help of advanced blood portals Nosramus wanted to test out ✨

[sabrinbrin]

To no one's surprise the theme park nerd whose favourite character is the little purple mascot has fallen in love with the video game about a theme park with a little purple mascot. In addition to watching playthroughs and secrets videos about Indigo Park I also rewatched the character introduction video and noticed a few things: (spoilers for chapter 1 below!)

In Mollie's intro, UniqueGeese says that she's "a loyal bird who would do anything to protect her friends." This may be why she's the first one to face us, but also why she waits to take us down until after we fend off Lloyd. (While we technically don't see her head on until after then, she does show up multiple times on the train ride, including very close behind us in Lloyd's section, and probably could have killed us sooner if she wanted.) We weren't seen as a threat until our critter cuff causes Lloyd to flee in the theatre, and from there she may have decided to target us to try and protect everyone.

In the cast intro video UniqueGeese also speaks about how Mollie's his favourite, which makes it surprising that she's the first to die and makes me think that we're not done with her quite yet (though he did say on a recent livestream that we wouldn't be seeing her for the next few chapters, so this is just my speculation).

In Lloyd's intro, it states that he "struts across the stage with an air of arrogance that could rival any monarch. He's friends with the main cast, but he's really starting to push it." I think this may be why Rambley doesn't like him, and I wouldn't be surprised if we learn that other members of the cast dislike him too.

For some reason, Finley's intro censors that he collects sea shells. While it's understandable that some info aside from his name and image would be censored to preserve some mystery prior to the game's release, it strikes me as odd because it seems like a small and innocuous detail when stated in chapter 1. As well, Salem, a character who we are shown a lot less of and is still shrouded in mystery, has no extra details censored from their intro.

Not lore related but Salem uses they/them pronouns! Just wanted to add it because I've seen people online asking about their gender.

Speaking of Salem, their intro says that they're "quick, cunning, but try to hide it with their 'punk' exterior." Being quick and cunning don't strike me as things to be hidden with a punk exterior, and while I may just be looking deeper where I shouldn't, this leads me to think that Salem may have a softer side we haven't seen yet. This combined with the later note that they "can use countless inventions to get out of a sticky situation" makes me think that they may actually help us later on, despite their actions in the arcade game showcasing them as a villain.

My only note for Rambley is that his intro states he can get "a bit too excited, [but he's] always there for his friends" which fits what we've seen so far. I think he's trustworthy and just happy to see someone back in the park, and that if he does turn on us it will be against his will (though this is my own speculation and not from the intro).

Not from the character intros, but in another video (specifically the one about the knockoff merch), UniqueGeese says that we receive an item from Rambley in chapter 1 that will be used a lot more later on in the game. I think it's safe to say that's the critter cuff (as it's the only item we get from Rambley directly), and I'm curious to see what more it can do – so far, we know it can get us into various areas, fend off attacking mascots with a specific frequency (from Lloyd's encounter), and will eventually be able to resuscitate us (possibly being a checkoff's gun to be used later).

[velvetvexations]

Are we really certain that Tingle is even a homophobic caricature to begin with? I mean, maybe he has some unfortunate connotations, but his lore seems to be just that he is an eccentric man who wishes to be a fairy, a real race in the games. I just find it more likely that his design and personality was invented to explain why he was selling maps, then later got more and more problematic as further iterations went on, as we tend to equate eccentricity in men with femininity. And this reading of Tingle being a gay man instead of just a weird guy seems to be from the West.

It makes more sense for Tingle to just be the result of a designer needing something to explain why the player should be able to get maps, and then just kept one-uping himself, and basing his design off of Peter Pan.

This is all to say that sometimes not everything is a caricature. We equate weirdness to being queer, and so someone making a weird character might accidentally use traits associated with queerness. This doesn't make the design then a caricature or homophobic, but simply made in a world where many have unintentional bigotry.

Tingle's original conception is definitely in stereotypes of gay men. Something that OP didn't even bring up, because they are self-admittedly not a Zelda fan, is that Tingle's relationship with his father is very obviously mapped to a dad who's embarrassed to have a gay son.

It is true, however, that I cannot speak fully on the matter because there are nuances to Japanese culture and Japanese queer subculture that I cannot claim to be overly familiar with. It's a very different thing that I'm not equipped to articulate in a way that promises accurately...but I don't think the Japanese version of these issues are so alien that people are totally making it up when they point to queer elements of his character.

[makotoismyson]

Thoughts on Dragons Rising Season 3 (episodes 1-5)

I put a read more underneath because some of the notes are long and I don’t want to spoil anyone who hasn’t watched it yet.

-We’re still getting new lore even to this day, huh? Remember when the show was just “long before time had a name”

-Frak is so adorable and I love how he’s a bit of a know it all but at the same time it’s probably a result of his previous conditioning by Ras which is kind of sad honestly. Also I joked to myself about Sora x Frak being a thing but I didn’t THINK THE SHOW WOULD ACTUALLY HINT AT IT WHAT. Guys Sora and Frak are both T4T and autistic trust me bro

-Kai doing that lip smacking thing in the first episode totally proves he’s canonically ADHD for real

-Speaking of the first episode and Kai why did they MAKE FUN OF HIS VOICE LIKE THAT like bro what did Vincent even do to deserve that kind of shade.

-also I was kind of expecting Kai to be an overprotective dad towards Wyldfyre and her new relationship but I love how (so far) he’s been supportive of not teasing about it, it’s so cute.

-speaking of which I don’t really know how people feel about Roby but I think he’s…fine. Like yes, his gen-z slang is annoying, and “influencer” characters are annoying, but with Roby he at least genuinely CARES about Wyldfyre and the rest of the ninja team. Like, last season he seemed like he genuinely just wanted a good, fair tournament while making it as entertaining as possible in order to pull in new audiences, but not at the risk of anyone getting injured. He was genuinely concerned when he noticed the challenges were rigged and when Lloyd was put into a coma.

-Also Roby actually LIKES Wyldfyre back so like??? Guys this could’ve been so much worse they could’ve played it as Wyldfyre constantly making moves on Roby and Roby being disgusted by her affections because she isn’t “feminine” or “attractive” or whatever but they didn’t do that HE LIKES HER FOR HER AND I LOVE THAT!!!

-Arin sweetie I know you’re upset but PLEASE go back to the ninja you are not good at being a bad guy.

-Rogue (Jay) is finally here and omg I love how the mechanical wings he has is a callback to the invention he was working on in the pilot that’s such a great detail! Honestly I’m not super invested in the plot about Jaya reuniting but I am interested to see more of Rogue. Also it’s really funny how they’re disguising Rogue’s voice even though we ALL know it’s Jay lol.

-I cannot believe this show used the word “serpent-splain” like seriously what timeline are we living in.

-And for the most hyped part of this season, Morro’s return! It’s good to see him again, I really like how his character is being handled so far and the realm he resides in is pretty cool too. I hope we see more of him in the latter five episodes. I’m SO curious how he’ll react when he finds out that Arin’s former mentor was Lloyd.

-I really hope Zane gets some better character development this season because he’s kind of done nothing so far…

-also Pixal is back! I love Pixane so much and I’ve missed them it’s so refreshing to see them back together again. Also Zane calling Pixal the “smartest and most attractive member of the team” in the first episode was WILD like why is Zane so weirdly smooth sometimes?

-Good to see the superior couple (sorry Jaya stans) fighting side by side again, also I literally started cackling like a mad man when Zane sacrificed himself and they played his death music AGAIN like it’s a running gag at this point.

-I REALLY hope Zane’s mech form isn’t a permanent thing because it’s…not great.

-The reveal that Arin’s parents are (presumably) dead is SUCH a dark note to leave on like wow I wasn’t expecting that.

-I don’t really care that much about the Forbidden Five or the Thunderfang stuff going on but maybe it’ll be more interesting as time goes along but right now it just isn’t very compelling to me despite it being the main conflict of this season.

stay tuned for my thoughts on the latter episodes…whenever that’ll be. Idk I’m really busy this month and I barely want to post here anymore anyways so…

[elbiotipo]

So when it comes to distance in a fictional setting, is metric king? I wrote some fantasy post-apoc recently where the protagonist measured it in Oranges and Aevums (the latter being their own name), but more generally speaking is it worth it to hash out bespoke measurement systems for fictional cultures, do you think?

Oranges as a measurement unit sounds so funny, and a measurement based in... yourself makes surprising sense, given all the measurements based on body parts. Why not YOURSELF?

Well, I would think in a real post-apoc world metric would be king indeed, scientific and technologic instruments are in metric even in the US and you could always get a ruler from a school or scales from a grocery store, so eventually you could get back on track to reforming the metric system. It would be interesting, though, if every society during isolation had slightly different measurements for the same units because of faulty equipment (say, ohms or amperes or even grays) and they had to make a congress to clear things up.

Returning to your main question. My perspective here is the same as conlangs. It's very, very fun to have them, but it's not fun to force your audience to read them. When I write something set in a fantasy or science fiction setting, in my head I'm assuming the characters are speaking different languages and I DO explain them and even give examples of them, but the story itself is written, for both the reader's and the writer convenience, in a language we can understand (Spanish in my case, and then it can be translated). Same with units of measurement. I seldom use direct units of measurement like writing "the ship was 110.3 meters long" (in science fiction, it's often a trap as they force you to stay true to them), when more descriptive language can be used...

In any case, you could do, for the kind of immersion I love, say something like "she was 14 oranges* tall, rather small for her age" and do an asterisk like "*A.N. : 1.39 meters tall". This is very fun when used sparingly, because it gives the worldbuilding obessed reader something to play with, you can do the conversion yourself and learn more about the world, without interrupting the story. Some understandably dislike this approach, but I think that if you know what you're doing, you can hide some pretty deep lore behind it. In one of my favorite retro games, The Ur-Quan Masters, there is an alien race called the Slylandro who live in a gas giant. When they tell you their ancient history, they use their own system of measurment based on the rotation of their planet with its own names like Dranhasa and Dranh. The game actually provides you with the rotation time on "Earth" time, so some dedicated fans did the conversion, and found out the dates fit with major events in the game's past. I thought that was an awesome bit.

But I digress again. Does this mean you should not talk about measurements in your story? No, it can do for very fun plots and digressions, as well as make things more realistic and beliveable. A fantasy world sharing all the same measurement units can be as unplausible as everybody speaking "Common". Let's remember that the current metric system is a modern invention which took a long time to be adopted (and some, well one, country, still resists it). Just take a look at the many, many historical systems of measurement:

This was especially prominent in places like the Holy Roman Empire, where every statelet, county, principality, free city, prince-bishopric, duchy, archduchy, etc. may and most often did have different measurements from each other. Just take a look at how measurements varied from each German region, it's crazy. The systems of weight where particularily important. Before the introduction of standarized coinage, coins also varied not only between kingdoms, but between regions, and even towns, and coins made at different times with different alloys had different values. Rather than money in our modern sense, you could think of them as some kind of 'asset' that could vary in value depending on the circumstances. What's more, those values had to be checked by people who knew what they were working with. Silver and gold content could be weighed, ah, but you need good scales and weights, and someone who knows how to work them! And these people could easily rip you off, or you could lose value accidentally if those scales weren't done just right or fiddled with on purpose. In fact, this is where the word 'Mark' comes from.

It wasn't as easy to take say a 100 something bill and get the change in 1 something coins. There is a very interesting subplot in the anime Spice and Wolf where Lawrence, the trader character, has been paid in gold coins, and he has to trade them into lesser denominations. However, he has to be REAL careful so that nobody scams him given all I told you above. Even getting 'gold' coins was a gamble before modern coinage and banking (another long topic). How much of that is REALLY gold and not an alloy with silver or other metal? Who can you trust to tell you how much your coins are worth? Are they compatible between borders or even time, is this version worth as much as the others? Things that characters in fantasy who have just plundered a dragon's hoard almost never think about. Except in Spice and Wolf.

(here is a gif of Holo to break the wall of text)

This all of course, as again you can see in Spice and Wolf, can make trade very tedious and even unstable. This was one of the reasons why the metric system was so quickly adopted in Europe and then elsewhere; consistent units just allow for easier trade. Lots of other things involving measurement can have a major impact on your story. For one, you NEED consistent and accurate measurement to create even the most basic industrial and scientific equipment. You can wing it for a time like alchemists (and even they knew their measurements) but eventually, you need to measure things to understand them. To have working steam engines, steel production, chemical industries and more, you need to know your temperature is. If you want to do electricity, you need measurements for current, resistance and charge. If you're doing engineering, you need to have lenght, weight and volume very, very clear, or people will die. They don't necessarily need to be universal like the metric system (though it has lots of advantages, being coherent between units and decimal so it doesn't jump between different denominations) but they need to be standarized and measurable.

Most of the above, unless you're writing some kind of encyclopedia about a fictional scientific revolution (BASED BASED BASED) will not affect your characters directly. But IT IS worth keeping in mind for what kind of world your characters are living in. The standarization of measurement units always means SOMETHING in the state of your society, the strenght of the state and centralized authority, the state of scientific understanding (one could say that trying to measure the world was perhaps THE scientific revolution, "Man as a measure of all things"), the capability for industry and the standarization of coinage and trade.

Even if you don't have your characters interact directly with those things, they will interact with them. It's also, like I've said in the examples, fun to imagine characters having to learn or deal with different units of measurement, just as it is fun to imagine them learning new languages or cultural quirks. It's something I've done in the past, in my space opera setting, the worlds descended from the United States STILL use the imperial system, much to the frustration of the rest of the metric human sphere. There is also an alien character who has a hard time to learn human measurements, and that makes her melancholic about her past, as they can't intuitively see the now-extinct measurements she does. Again, man as a measure of all things... this does include other thinking beings...

There's more I could talk about here regarding time, but I did a post about that, though I'm not satisfied with it and will probably redo it in some time at the future. In any case, there's lot to talk about why every calendar in science fiction has 365 days and 24 hours.

As always, if you found this interesting and helpful, I would be very thankful if you gave a tip to my ko-fi! And feel free to ask about anything you'd like!

[murderofsomeone]

do you hav a guy for atomic copper claw

yeas

Dr. Pascual Rivera, I've drawn him a couple times but I haven't really explained his deal or anything

some lore under the cut

he's a human scientist who got trapped in funkytown along with three other independent scientists (who eventually became cabinet man, soft fuzzy man, and one of the scientists behind lifetime achievement award respectively). they all got picked off one by one until he was the only one left and has basically been in survival mode for nearly 30 years. he's actually responsible for a ton of background lore important things, like the time machine in dinosaurchestra (which he used to kill the archaeopteryx), THE machine (which ended up being his downfall), and the creation of the portals to the next dimension, which would later be repurposed by a revived scientist to let the no eyed people in. he's got a lot going on considering he's largely in the background.

speaking of the next dimension, he's not actually present for the song, but is the reason it happens. something went wrong during a portal test (made portals appear all over town) and it affected the structural stability of the lab he was in, causing some of the ceiling to fall on his arm. the only way to deactivate the portals before they caused more damage resulted in him amputating and replacing his arm with the atomic copper claw. since Dinosaurchestra is about time travel, this all happened in the past so we only learn about this after we already know he has the atomic copper claw. the song was entirely a misunderstanding as he was just trying to warn a new human of the dangers of funkytown, which funny enough has nothing to do with the actual song "funkytown", someone else sings that.

his only mildly interesting quirk is that because he's a human, most of the stuff he's doing shouldn't be possible at all, but because he knows the world he's stuck in has a very loose grasp of reality, he managed to manipulate his role as a scientist to do shit otherwise completely impossible. this is how he got away with inventing time travel.

anyway the scientist vaguely mentioned, the one in lifetime achievement award, was Dr. Amanda Khattar, who died in the 1980's, but he kept her body in cryostasis in hopes of eventually reviving her. unfortunately he died after finally giving up on leaving the town and creating The Machine in 2008. Amanda's body was discovered along with the rest of his research by the demons at the Crisis Actors Studio, who managed to actually revive her and get her to figure out the rest of Pascual's research. very intertwined with a lot of stuff going on

this is also why she has similar makeshift prosthetics to him. he built those while he was still alive, but they're definitely not perfect

[kaleidomoony]

CHARACTER ANALYSIS OF THE DISTORTIONIST

Featuring Market pliers

(CW: I TRY MY BEST TO STAY AS CANON AS POSSIBLE, BUT THE STORY HAS SO LITTLE INFO, SO PLS TAKE EVERYTHING WITH A GRAIN OF SALT)

Good evening everybody! Welcome back to another episode of Luce talking about their hyperfixation on The Distortionist and trying to milk as much information as possible related to a fucking almost 6 minute MV made by a vocaloid producer which most likely doesn’t care about the characters anymore (which is honestly ok, PLEASE don’t attack Ghost in any way for not giving more content, as they don’t owe us anything)

To understand a character as complex yet as unknown as Christopher, we have to try dechiper his actions and every minuscule thing he did, both in the MV and the small rants Ghost has made years ago about this character. (I wanted to write about more characters, but there is barely any lore about the antagonist, which ofc makes every other character’s lore even more impossible to understand or learn). As even a character has the name “Actions Speak Louder Than Words” which is very true in this context, as the way people act, even when pretending, always present their true colours, no matter if it’s all a lie or not. (WARNING! I know Ghost made Christopher for the haha funnies, but these were 3AM rambles cuz I had a vision and decided to analyze this guy like an English Teacher analyzing why the carpet is red even though it has no symbolism yet they always find ONE SINGLE MEANING TO EVERYTHING)

Personality and mindset

Christopher is, just as you’ve seen in the MV, a metaphor for a manipulative person who always gaslights his way out of things (ex: how he broke the mirrors, which we’ll talk about that in more detail on the next heading), which obviously makes him a very awful person, but that’s just the tip of the iceberg. Most don’t think about this, but people aren’t born awful, they learn in life to be like that, whether it’s from people they trust, trying to fit in, or as a defence mechanism. In the rant, it is explained that Christopher tries to trick Lilia (MC of The Distortionist game) into remaining in his manor. From what I understood, Christopher isn’t an awful person because he finds joy in that, he’s neither a grumpy, evil villain who wants to ruin others’ joy, nor a sadistic ‘yandere’, but he is an insecure teenage boy who finds the only way in ‘winning’ life is to be selfish. That doesn’t necessarily mean that he doesn’t care about anybody, from what I remember from an old tumblr post by Ghost that I tried to find desperately for this analysis (but couldn’t find), I remember somebody asked them what the difference about Ray from Communications case 1 and Christopher is, and Ghost said that Christopher can feel care and even love for another person (PLEASE TAKE THIS WITH A GRAIN OF SALT SINCE I’M NOT SURE IF MY MIND INVENTED IT OR IF IT IS TRUE, So please don’t take my info as canon). I believe Christopher learned the hard way how to keep others ‘close’ to him (probably due to childhood trauma idk), which is the reason why he’s manipulative and has a habit of gaslighting. He’s also seen as being very emotionally immature, blaming everything and everyone on things he’s done, which is most likely given by both his age, status and decade he was alive in. (Him being a young man, not even an adult ; living in a mansion which most likely means he’s rich, and we all know that people who get fed with a golden spoon without caring where the golden spoon came from act ; he’s most likely from the late 19th-early 20th century, and because of how close minded people were back then, he most likely believed how he was acting was ‘alright’, and even if he knew that he was harming others by how he was acting, he still felt ‘entitled’/too insecure to stop it. Overall, he’s not a good person, but he has a reason for the way he acts. He’s not pure evil as the fandom makes him look, but he’s still a VERY awful tough cookie.

Mirrors and Symbolisms (MV)

This is only my opinion, as there’s no canon reason for the music video and what happened there. Christopher looks more ‘charming’ and has a more ‘appealing’ character design compared to other characters for a very clever reason (i think this is the only canon thing IDK THO). His face, even if it has a cheshire cat smile, looks relatively “handsome” to most (personally I don’t find him handsome, but by the way everyone in the fandom had at least a crush on him once in their lifetime, I could probably safely say he’s handsome, or charming), with his ‘rosy’ (charred black) cheeks and his big eyelashes, as well as his fluffy hair, and much more, for the reason that he’s supposed to gain other people’s trust more easily, and in psychology, everyone (even animals) are more attracted to people/things we deem ‘beautiful’, since they don’t appear as hostile as others. Christopher is meant to appear like a nice chap who would salute you everyday, but only to have an ugly side, which is his charred version which we can see at the end of the mv). The twisted spine the fandom always jokes about is not scoliosis, but is a metaphor of how he twists his words to make him appear like the victim/innocent one in the situation. The mirrors, although unlikely to be canon, is a metaphor for the people who see past his ‘gentlemanly’ facade, and trying to show his true self (which is the charred version of him I mentioned earlier). The end of the mv is more quiet as a way to symbolise that the mc aka the viewer doesn’t believe his words anymore, and as a final grip to try and get the viewer back, he chants the same words that the viewer got used to as being lies, and we finally leave him to ‘rot’ in misery (unless you keep listening/watching the mv lol)

IN CONCLUSION

The character is still very vague, so don’t be ashamed to create as many versions of him as possible, it’s quite amazing to imagine a character that’s morally grey (like Christopher) as either a chaotic boy who only wants to have fun or a grumpy old man. The sky is the limit! And I have to admit, Christopher is probably mischaracterised here too, as I’m not his creator, Ghost is, and they know better than me about this guy.

On a final note, Subscribe to ChrissyPie so we can defeat T Frances

~This is Kaleidomoony signing out

[newvegascowboy]

I think im gonna save the majority of my thoughts on that poll for after it ends but like. Jeez. I iust wanna take everyone by the hand and ask why they care so much about whether or not people think theyre cringe/lame/unoriginal/not cool etc. Why do you care so much about what strangers think about you? We aren't in junior high anymore, guys. The popular kids can't hurt you by making you feel small.

And thats really the question that i wanna ask each of these people. Does it matter? Does it matter if people think its lame? Does it matter if your character is "unoriginal"? Does it matter if your character is a mary sue? Does it matter if your lore isnt airtight or you change your mind? Does it really?

I have a lot of sympathy for the people saying they were bullied and have internalized shame about their interests. I was also bullied! I was terrified to tell anyone about what i liked because i didnt want to gwt made fun of! If your friends and family are making you feel bad about your interests, then those are not your friends, but... why does it matter to you if a stranger thinks you're lame? Really?

The other common response seems to be "i know no one will care" and i iust want to say... do you? Are you sure you arent inventing a response to protect yourself from potential rejection? It IS a vulnerable thing to share something with the world, particularly a character in which you may have invested a piece of your soul, but i say again, there are worse things than feeling embarrassed.

Please share your joy. There's not enough in the world. Don't let anyone take it away from you and please don't take it away from yourself by speaking poorly of the things that bring you happiness. It's not a crime to take up space. Even if you're shouting into the void, the void echoes.

[brooklynisher]

ERM i just wanted to know… like what is the story behind the spg names..???? like the spine and the rabbit are a little obvious but what about zero?? and the others??

Even if they're obvious, I'll explain them all here!

Rabbit's name name came up when she was being invented. Peter Walter I was trying to teach her how to speak, so he showed her a rabbit. She was able to say rabbit, but after that, she couldn't identify anything else, all she could say was rabbit.

The Spine got his name from his titanium alloy spine! His head and spine were actually built before the rest of him, which is why he's capable of detaching his head and spine from his body. He could slither around like a snake if he wanted to.

The Jon got his name at a show (in lore, not an irl show) when he was asked to introduce himself. He was only referred to as his model number before. He overhears someone saying they need to use "the john (toilet)" and so he just used that name for himself without knowing what it meant.

Hatchworth has a hatch! It's a very crucial part to his being, so you could probably guess why they named him so. His hatch may be overpowered with it acting as a portal he both uses to transport things AND pull random stuff out of when he wants to.

Zer0's name comes from his initial role, "Prototype 0" he was put together by a bunch of other prototypes to be a great big war bot. The name "Zer0" likely started as a nickname before becoming his real name. I wouldn't be surprised if the others got tired of saying "prototype 0" over and over again when Zer0 suffices.

Upgrade has the least lore, so we don't know where she got the name Upgrade from exactly. What we do know is that Upgrade hasn't gotten an upgrade since 1996 due to being too stubborn to get one.

Those are the lore explanations anyway :>