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die-auster · 9 months ago

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Some "if Yue is alive and went travelling with the Gaang" designs

With a ton of text about cultural inspiration.

The main book 2 look

I wanted to show cultural differences between the tribes, so Yue's look is sort of Mongolian. There were Mongolian-styled hats in the Northern tribe, and Yue's dress under the coat looked like a Mongolian deel (thanks @atlaculture for all these posts about clothes and everything else!), so it's not much against the canon information.

So she's wearing a deel again with a second layer - there are chinese actors on photos as far as I know; I hope it's okay. One-shoulder silhouette refers to later Aang's clothes because Yue is still kind of a spiritual person (she wasn't a fighter, so I want her to have some other useful talent – not a bender or healer like Katara or a non-bender warrior like Suki). Violet, pink and white were originally her colors, no changes here. Three blue characters would be too much for a group of five, and total white is not practical at all. I like to think that violet color shows high rank in the Avatar universe; in the original series it was only worn by princess Yue, Kanna, the chief Hakoda's mother, and by king Bumi.

Yue's boots here are mongolian gutals/gutuls (the collage is already big, but I used them again for one of Book 3-looks).

Her hair become simpler – just two braids and a hairpiece, to match her previous decorated hairdo. I guess if she's travelling with the Gaang she's not that much of a Moon Spirit anymore (maybe she returned the part of the moon spirit that saved her and was healed other way?), so I decided to forego the moon-referring part. Also it will be easier to do by herself since she has no servants now... The headdress I took from modern Mongolian dancers; the front part is crescent-moon-shaped.

The Ba Sing Se dress

I fell in love with this Ao Dai dress, it's simple, long and elegant. But... it's mostly Vietnamese… and I'm afraid that it's modern and not historically accurate. Also it does not really go together with other Ba Sing Se dresses :( because I did not want to just copy-paste some background look. But there is at least one dress with a tail, thigh high slits and a standing collar on the dress underneath, so... I guess my choice is not that bad? The tail makes her look more royal. The fan is the same which Toph and Katara had. For the palette I chose Yue's white color with EK greens and warm yellow/ochre to match Katara and Toph. The hairdo is copied from the series; I chose one with the tassel on the right, to refer the NWT/Korean accessories.

The Fire Nation disguise

A confession – I don't like FN clothes. I wasn't sure if I would be able to do it properly, so I almost copied that attire (left one) – asymmetry, as a Thai touch, which again matches Aang's Invasion Buddhist-like clothes. The palette keeps Yue's signature white, with some pink of a warmer shade, as they wear it in the Fire Nation. And the "royal" long skirt, 'cause she's still not a fighter. The look is simplified so I could not keep zigzag ornament on her longyi skirt, therefore I moved it onto the top part.

I used Thai dancers jewelry and... flip flops? idk how they are called in Southeast Asia (don't like Sokka and Katara's FN shoes at all, why the design is so complicated?).

For covering her hair I used a turban, inspired by Myanmar turbans; a white one, so if some hair will show, it won't be too noticeable. Also Yue could still be easily recognised on screen/page by her white head. The long end of the fabric on her right resembles burmese hairstyle silhouette.

The Invasion-and-till-finale look

For her dress I used a deel (again); the sleeveless jacket is an hommage to her original design and has some Korean vibes, like Toph's Ba Sing Se dress (at least I hope so). Katara and Sokka's season 1 looks have Korean influence, so I guess it's okay. Gutals are from her Book 2 main look. I have a soft spot for them.

My favorite thing is her hair :)))) It's a mix of Inuit/Mongolian braids and a hairpiece, also from the Book 2 look. This time there will be more braids. Two on the front – I wanted to keep them from her original hairdo, but now they are braided together (I saw this on the Alaskan Inuit women photos). On the back there are five, inspired by a Mongolian hairdo for young unmarried girls, who wore multiple braids. I decided to make five, because Alaskian Inuit language uses this amount for counting and with two front braids it'll make seven, which is a lucky Mongolian number. And in theory a limited number should be easier to animate.

The post-canon noble look

After the final battle I thought Yue will come back to Agna Qel'a and become a more active political figure. I chose a white kuspuk (blue color is still for Katara and Sokka), showing that she is ready to lead her tribe after this journey, not the passive perfect princess she was before. "She is associated in canon with the masculine yang of the yin and yang and the moon which, in most Inuit and Eskimo cultures, is considered masculine as well. While white kuspuks are associated with men and specifically family patriarchs, a feminine kuspuk in white makes plenty of sense for Yue's character" – @mostly-mundane-atla helped me a lot with the cultural meaning of the clothes (I am so grateful!). Also it's an hommage to her total-white Moon Spirit look. And I changed her hair again to Greenland updo with two tied braids on the front – more complicated than the simple braids she wore during the journey. It looks formal.

NWT is less Inuit-inspired and has a strong Mongolian touch (to make them look more "modern"? dunno) but I guess the formal wear for the spiritual princess could refer to older traditions. Which should be the same with SWT, 'cause SWT was originally a part of NWT – or so I heard. For example, Kuruk, the NWT Avatar who lived about 400 years ago, has nothing Mongolian in his look.

All the looks are simplified to match the style of the original cartoon. I know there should be more details and embroidery, but my goal here was to draw something (at least theoretically) applicable for animation. And no Hahn's betrothal necklace of course.

Also I want to mention here other great Yue designs, since they are the inspiration behind the overall idea of the post – the moon looks and "Yue joins the Gaang" outfits by amazingly talented @chiptrillino.

P.S.: an important note

This is my first attempt ever to design outfits that could fit the world of A:tLA. I am not Asian or ingenious, not an expert in their cultures or costume history at all, not a professional character designer. I am just a fan who tried to create designs with respect to real cultures and people. Nothing here was supposed to be offensive in any way. If something still is – please inform me so I could fix it as soon as possible.

I hope, as a fan, I have the right to draw fanarts looking for an inspiration in the cultures that inspired the original cartoon.

If you see mistakes in my post, be it in drawings or a text, also feel free to tell me. I will deeply appreciate it.

#avatar the last airbender #atla fanart #princess yue #yue #yue's alive #yue redesign #yue atla #yue avatar #all these links almost killed me...#i am a nitpicker #bad alt text #sorry i'm so done

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papenathys · 2 months ago

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One of the things I find particularly interesting about the rise of cozy or "queernorm" fantasy books in the past couple of years is when authors want to specifically focus on one kind of oppression, while eradicating the rest from their fantasy universe.

This is NOT referring to some authors who don't want to overstep with alternate histories or queer stories. For example, I don't mind that Andrew Joseph White mainly portrayed the lives of white transmasculine folks in The Spirit Bares Its Teeth, a horror fantasy novel which is set in Victorian England, without his mentioning the plight of people of color, especially colonized subjects, probably living through the same harrowing cult-like medical experimentation and loss of bodily autonomy as the central white British characters did (and probably worse, because of race, colonisation and class differences). That is actually okay with me, because that is not his story to tell. This is not so much erasure, as discretion about choosing what you can write about, with tact and responsibility.

However, as for the Bridgerton-style rise of alternate fantasy or "diverse" historical romances, I notice that I often come across books where people use neopronouns and everyone is ok with gay marriage, and racism is also eradicated from the world (not just legally, but socio-culturally) but like.....upper class cis women are still somehow the most oppressed faction of all, and are getting bartered into arranged marriages with dukes and nobles.

And this bothers me to some degree, because it seems to contradict how the structures of oppression are interlinked, and how these structures depend on each other to keep functioning stably.

Take for example, marriage and capitalism. Like, you're telling me in your queernorm universe, people are okay with same-sex relationships and marriage. This implies, at least on a very simplified level, that society has overcome its prejudices (or never had any, to begin with) against

a) romantic relationships that do not replicate heteronormativity, or domestic structures.

b) alliances with high chances of non-traditional family structures, in terms of procreation, kinship and offspring. in simpler terms, more possibility of living together (not marriage), or alternately, child-free marriage, poly relationships, commune systems etc.

c) individuals with non-normative marginalized genders.

This would ideally imply that there is no need for women's bodies to be used as capital, and they are no longer dehumanized, used as material goods (in their roles as wives and mothers, in terms of labor and sexual service) and that society is chill with any type of union, even outside of institutionally sanctioned marriages.

However, instead, for necessary conflict, there is *still* intense and often violent social pressures upon women to get married and reproduce in these queernorm books. Why. Like let's just take a moment. Why. If the heteropatriarchy has been dismantled, or at least isn't so rigorously adhered to as in the real world, why is there one isolated axis of oppression that persists in this case (by isolated, I don't mean for individuals, I mean only applicable to one marginalized group)?

I feel like I'm not doing a great job explaining this, but you guys know what I mean right?

Note: I also know that historically upper class women were cordoned off from participating in labor, and often their duties were relegated to childbirth and upholding traditional marriage, while lower-class/caste women were expected to be the bread earners and participate in labor with the male members of their family. But again, let us consider the context of this diverse society and see how that system holds up. Why? Is the functionality of this queernorm society still contingent to the rules of capitalism?

#books #anti intellectualism #anti booktok #queer books #literature #representation #tropes #sff

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ha-youwish · 2 months ago

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Rating the FFXV official minecraft skins

Of course ffxv has a fucking minecraft crossover, but since theres not really that many popular major characters they have made some.... interesting picks for this. let's take a look

the chocobros. the guys. yup. thats them. its hard to see gladio's nose so it kinda looks like his eyes are hella far from his mouth.

either way they all look gay as usual 10/10

ardyn's look here is a little less detailed than i'd want it to be. it doesnt capture the look of all the layers he wears (maybe it needs more contrast?). his mouth is so wide for what. also i want his hat. where is it.

give me the hat. 7.5/10

lots to talk about here. regis is looking pretty damn accurate. luna is a little bland, even with her normal clothes being white i feel like there could've been more detail. the rest of these capture the general vibe tho the level of detail is unequal smh. i like how cute iris's outfit is.

overall, luna 6/10, the rest 8/10.

i was lamenting the lack of tits on cindy but the wise @orangenuggets let me know its bc of the top surgery. 10/10

aranea, wedge, and biggs. i pretty much only remember aranea, and honestly there should be another version of her skin with the helmet that shit went hard. i like the hat on biggs, even though i had to double check which one he was oops. the helmet for wedge looks a little awkward it doesnt feel like he's a character here

10/10, for aranea and biggs, 7/10 for wedge

this is what i call the "why are you here" section. we have evil science guy, that one blond bitch who like immediately explodes and dies, the fucking nifflheim emperor, gilgamesh??? daemon ravus??? whoever the fuck this is???? why are you here. who wants to play as any of these guys except for like. ffxv minecraft roleplayers.

the skins are accurate i guess. 5/10

they decided to put some of the enemies from the game in here. as someone who hardly remembers any of them its similarly as "okay. why" to me as the last group. the tonberry is cute and kinda dinky looking. i really like the mindflayer design surprisingly... that def brings it up a point

overall 8/10 for these guys

MASCOTS YAY, these are all pretty cute and bulky, really gives off the costume feeling. the chocobo bigass beak is adorable i like it a lot 11/10

gentiana's design here actually goes way harder than i thought it would. she slays 20/10

now for the astrals! shiva is so blue. i need like 10 more of her thank you. 10/10

the god of being sososo mad at everyone. i think if there were more raised textures on the body it'd be cool ykwim? 9/10

its ramugh. if only you could remove the leg walking animation so he floats ominously. i suppose there's mods... 9/10

titan. his design was pretty simple already but somehow this doesnt look like him to me? am i crazy? 7/10

bahamut that stupid god that i hate. i hate how sick this looks. i hate him. 10/10

and last but not least.... the design that sucks the most......

LEVIATHAN. WHAT THAT THING. 10000000000000/10

i think the lesson to be learned here is that you can tell how good the original design is when you're forced to simplify it. and also dont make minecraft skins of an angry water snake thing.

#shitpost #final fantasy #final fantasy xv #final fantasy 15 #ff15 #ffxv #noctis lucis caelum #prompto argentum #ignis scientia #gladiolus amicitia

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thydungeongal · 4 months ago

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I've made passing reference to my idea of "the best dungeon game I can imagine" and it's not like a coherent game concept but more like a grab-bag of ideas from other games/hacks/articles that, to me, would result in the ideal dungeon-crawling game

Exploration procedures in the style of Break!! and Errant. While calculating feet can sometimes be fun sometimes you can sacrifice a bit of granularity to give players discrete high-level choices. Exploration that is room-by-room, turn-by-turn sacrifices a bit of resolution but makes for easier top-down decision-making.

The overloaded encounter die can help reduce some of the mental overhead of resource-tracking. When it comes to resource-tracking there's an issue I haven't found a satisfactory solution to elsewhere: there's very little incentive for players to keep track of character resources in a system that mostly does depletion, which means that keeping track of when players need to count down character resources will often fall on the GM. Making the loss of resources part of the grind and making it a clear result of a mechanism outside of the GM and players' control simplifies it.

Speaking of abstracting some things to make them easier to keep track of on a top-down level, I think a Break!!/Old School Hack style system of measuring distance in areas can actually meaningfully allow for "theater of the mind" play while still allowing for informed tactical play.

Look I think d20+modifiers where you want to roll high is good, the feeling of rolling a natural 20 is unparalleled imo.

I feel keeping track of experience points is important in the context of a dungeon game because that type of gameplay benefits from objective goals that players can pursue for rewards. Most importantly, I think exploration in and of itself should be encouraged, so a system similar to the one used in Neoclassical Geek Revival where each new room explored grants cumulatively more experience points would be interesting to utilize.

The combination of an inherent incentive for the act of exploring in and of itself AND making the resource grind random actually has an interesting effect: while players can manage risk by making informed calculations like "okay with 1 ration per character our party should be able to explore for six turns on average which means that if nothing goes wrong we can expect six rooms' worth of experience points this trek" but they can't count on it. Managing risk is still the name of the game.

Idk I kinda like Break!! style character creation. As much fun as random character creation is I kind of ultimately prefer the flowchart where players can make informed choices about their character.

One issue I have with the traditional D&D endgame of domain management is that it often feels completely separate from the dungeon gameplay. I think it's great to have something to look forward to at higher levels besides more dungeoning in deeper dungeons, but as such I would like to make the domain management part of the gameplay from level 1. Maybe the characters need to go into dungeons to get resources to upgrade their base? Something like that.

Anyway this is like. Really high-level and barely even touches on what the potential character options would be and how the game would distinguish itself from other dungeon crawling games beyond obviously having the best list of hand-picked mechanics and systems all in one. And I haven't really thought about the interaction between all these systems at all. But anyway a girl can dream

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babyrdie · 3 months ago

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The fact that Hecuba and Iphigenia in Aulis are both by Euripides makes the whole thing really ironic, I think. And it kind of gives me feelings and opinions about the characters that I imagine some people wouldn't like much. But okay, I’ll share it here!

In Iphigenia in Aulis, Iphigenia is willing to die out of a desire for patriotism and for glory and renown, in a way. She wants her death to be a voluntary sacrifice, similar to how the deaths of warriors are a kind of voluntary sacrifice. She's not thinking sympathetically of the Trojans, she's actually expressing a desire for them to be conquered. Don’t get me wrong, Iphigenia has shown empathy, but not like that — she shows empathy towards her family, Achilles and the Hellenic men in general, but not the Trojans. Iphigenia wants kleos. And yet in Hecuba, Polyxena is clearly a Trojan parallel to Iphigenia, having her sacrifice ordered so that the Achaeans can set sail. This occasion can only happen because Iphigenia was sacrificed first (because if she hadn't been, the Achaeans wouldn't have left Aulis), a sacrifice that Iphigenia proudly saw as her contribution to the conquest of Troy — a pride that she saw as a way to take back her agency. Iphigenia declared about how the Hellenes were free but the Trojans were slaves, and here is Polyxena, her Trojan counterpart, claiming that she would rather be dead than enslaved. Iphigenia is often remembered as the daughter of Agamemnon and Clytemnestra when it comes to their feelings — I mean, how Agamemnon didn't want to sacrifice her and how Clytemnestra was filled with grief and anger — but it’s less often remembered that…as their daughter, Iphigenia also shared her parents' vision and desires regarding Troy, at least to some extent. And this makes her parallel with Polyxena, who is a victim of this Achaean desire, quite ironic. Iphigenia is constantly remembered as the pure and sweet older sister of Orestes and Electra, she isn't remembered as a girl who wanted to achieve kleos. And I don't understand why. Male characters who sought kleos through the fall of Troy still receive empathetic receptions from the audience, so why does Iphigenia only elicit empathy in her sacrifice if her morality has been simplified to be purely good? Polyxena, who shares a tragic destiny like hers, is seeing in this tragic destiny an escape from a destiny that she judges to be even worse… slavery, something that Iphigenia wished for the Trojans, which includes Polyxena.

They’re obvious parallels, but they’re different. They both have no real choice. If Iphigenia didn’t agree to her own death as a kind of contribution to the Hellenic “cause”, she would be dragged away and sacrificed anyway. If Polyxena didn’t see death as an escape from slavery, it wouldn’t matter because she would still be sacrificed. They cannot have full agency, but they can try to regain some agency — even if it’s little, even if it’s only what the context allows. And they can try to find some comfort in that; Iphigenia may say that it will give her renown as a benefit, and Polyxena may claim that if she were alive, she would suffer more while enslaved. They may try to find some motivation and some action in a scenario that strips them of that agency. They may tell themselves that this choice is the best possible one they can make, they may think that since this is destined to happen, then they can at least make less hopeful resistance bring less vain effort to their mothers (Clytemnestra, Hecuba). If they’re to be sacrificed, let them be remembered with dignity — let the Messenger inform Clytemnestra how brave Iphigenia was, let Talthybius inform Hecuba how Polyxena remained dignified even in the face of death. This was their way of trying to make this narrative, which everyone around them was trying to make not about them, really about them. But Iphigenia's comfort was ensuring the fall of Troy, and Polyxena's comfort was being able to escape a consequence of Troy's fall. Indirectly, Iphigenia's comfort is the reason Polyxena needed comfort in the first place. Iphigenia certainly doesn't have nearly the guilt of characters like Agamemnon, Odysseus, Achilles, etc, but her idealized desires weren’t entirely naive and harmless. Iphigenia is a victim of the war that she herself tried to justify as an honorable cause in the hope of giving meaning to her death, ironically.

But if Polyxena is a parallel to Iphigenia, then the grieving Hecuba is a parallel to the grieving Clytemnestra. And how ironic is this when we remember that Cassandra, Hecuba's daughter, will meet her fatal fate at the hands of Clytemnestra? Hecuba, in reality, demonstrated questionable morality as well by practically using Cassandra's status as a prize for Agamemnon to try to gain his favor in an attempt to prevent Polyxena's sacrifice…but she still loves Cassandra, even though she temporarily tried to use her in that way. And Agamemnon, in sympathizing with Hecuba, I imagine, was seeing himself in her for he too had lost Iphigenia. This didn't cause him to actively prevent the sacrifice, but it did make him empathize — as opposed to Odysseus, who wasn't touched even when Hecuba reminded him of Telemachus. In this sense, Hecuba is similar to both Agamemnon and Clytemnestra in the pain she feels at losing Polyxena because a superior desire required her sacrifice. She is similar to both the people who will take her daughter from her — Agamemnon, when he enslaved Cassandra, and Clytemnestra, when she killed her. The protective and vengeful violence shown by Hecuba towards Polydorus' death again makes her share a similarity with Clytemnestra. Just as Clytemnestra ignored any possible moral accusation that could be made against her (and here I'm including not only the murders, but the treatment of her remaining children) out of her despair and grief, so did Hecuba (both in the way she tried to use Cassandra to gain a favor because of Polyxena and in her violence in revenge for the unfair treatment of Polydorus). Both were the ideal female standard of a controlled, modest, maternal woman, etc until the moment when, despite all their attempts to be what was expected, both their marriage and motherhood (typically feminine spheres, which an ideal woman should care about) were harmed. Clytemnestra even reminds Agamemnon of this in Iphigenia in Aulis: about how much she tried. Again, an ironic air to the whole thing. Sharing similarities with people who are the indirect cause of your pain…

And okay, so Hecuba is similar to both Agamemnon and Clytemnestra and Polyxena is similar to Iphigenia…Odysseus is still Odysseus (he has the same role in both plays), so who is Artemis? Well, Achilles. He's the one who demands Polyxena's sacrifice just like her demands the sacrifice of Iphigenia. And the thing is…people always say "Achilles wanted Polyxena because he was in love with her", but in Euripides' Hecuba there is no 100% definitive indication that this is the version used. In fact, the justification is that Achilles would feel insulted if he didn't get some of the final "spoils" of the war. So I'm going to assume that in Euripides' Hecuba at least, Achilles wasn't seeing Polyxena as a bride he would obtain by force, but rather as a confirmation of his importance to the army. Even in death, he is assured that he will be remembered and recognized, that his death has indeed earned him the immortal glory he wanted. If both Iphigenia and Achilles desire kleos in Iphigenia in Aulis, they have both already achieved it in Hecuba and Achilles is ensuring that it remains that way in his case (in Iphigenia's case, she has already been sacrificed, so she is already immortalized in memory). In Hecuba, Achilles' desire doesn’t seem to be about Polyxena (about him wanting her as his bride), but it seems to be about him (about him wanting recognition even in death, because then he will feel immortal in the memory). In an interesting way, similar to how, in Iphigenia in Aulis, he initially protected Iphigenia because he saw his name being used without permission as an insult to his image and not because of the innocent maiden (only later it was because of her).

Indeed, the portrayal of Achilles in the play is more like that of an angry divine figure in need of appeasement than that of an common mortal ghost visiting the world of the living (compare the power Achilles seems to has in Hecuba with Clytemnestra in The Libation Bearers, Patroclus in The Iliad, Polydorus in Hecuba). He is depicted as a supernatural force, able to stop the winds and then bring them back when he is pleased, in a way that parallels the actions of Artemis in Iphigenia in Aulis. It has been suggested that Achilles' power can be explained by the detail that the ghost appeared over the tomb, i.e. the play is set within the area of influence of Achilles' tomb. In hero cults, the hero worshipped was believed to have power over a specific location linked to his death. In this case, Polyxena's sacrifice in the Euripidean version wouldn’t be about Achilles' desire for a bride, but rather about Achilles' desire for recognition and — feeling neglected in his own place of cultic identification — reparation, similar to the narratives in which deities who feel neglected send punishments to mortals, which end with the satisfaction of the offended deity (see, for example, Hippolytus, also by Euripides). Achilles isn’t a god, but in Hecuba he is playing the role analogous to the goddess Artemis in Iphigenia in Aulis.

But if there is an irony in how Iphigenia and Polyxena play the same role even though one's misfortune was verbally encouraged by the other, in how Hecuba plays a similar parental role with Agamemnon/Clytemnestra while they are still blamed for her losses as a mother, what is the irony of the Artemis-Achilles parallel? In particular, it’s the characterization of Achilles. In Iphigenia in Aulis, he is young and inexperienced, to the point where he is unsure about interacting alone with Clytemnestra when he first meets her. Not only that, but although he desires kleos, he is willing to risk it when he gives Iphigenia the suggestion that he can continue trying to prevent her sacrifice (remembering that her sacrifice is necessary for them to leave for Troy, and the war against Troy is necessary for Achilles' kleos). Not only is he painfully human, he is also willing to defy a sacrifice demanded by a superior will even if it implies an obstacle to his glory. But Hecuba's Achilles? He doesn't sound human, his trope is much more like the way deities tend to be portrayed as enraged. Achilles is so dehumanized that he doesn't even really have his personality exposed directly, all we know about him is what others say, in contrast to how we can see his personality in his own lines in Iphigenia in Aulis. In one play, even his own companions are willing to try to stone him for being an obstacle and show no fear in opposing him; in the other, although it is still Achilles vs. the army, they’re willing to cooperate and not even what Agamemnon, their leader, thinks will convince them not to comply with Achilles' wishes. And if in Iphigenia in Aulis he was willing to put an obstacle to his glory, in Hecuba he is so in need of glory and honor that even in death his ghost returns to ask for recognition. The Achilles of Iphigenia in Aulis was very mortal, the Achilles of Hecuba is metaphorically immortal in the sense that he has already achieved “immortal glory” and has already been “immortalized” as a hero. He is no longer an opponent, he is the one who demands it. Achilles achieved the glory he wanted and the process of obtaining it distorted him to the point where the character no longer seems the same.

And I personally find these bitter and ironic parallels delightful. Delightful in how, even though the Achaeans won the war, they didn’t emerge unscathed. In how they are each other’s distorted images. In how, while you deal with your own pain, you cause pain in someone else. In how everyone is desperate to live, survive and achieve their goals while robbing others of both their lives and their ability to dream. Given Euripides’ anti-war thinking, he is truly stupendous in his aim to show that you shouldn’t take for granted that you will be the winner, and that even if you are in the winner side of the war, you shouldn't take for granted that you will emerge unscathed.

Anyway, this is all interpretive. Using the part I've seen most debated as an example, Achilles isn't always considered to be responsible for the winds stopping depending on the commentator. I hope I have made myself clear, just too many thoughts…

#Iphigenia #Polyxena #Hecuba #Clytemnestra #Agamemnon #Achilles #Birdie.txt

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asktheritochampion · 26 days ago

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FOR THE PERSON BEHIND THIS ACCOUNT:

how'd you get started doing this account? also do you have any advice for someone who's thinking of doing a similar account? /genq

As someone who has run many an ask blog in different fandoms over the years, people asking me for advice in starting their own is something that happens pretty frequently.

Making an ask blog for your favourite character is a great way to explore that character in more depth without needing the narrative of writing a fanfiction, not to mention a super fun way to interact with the fandom community!

Ther's no right or wrong way to run an ask blog; but I'm happy to share some of the things I've learned over the years from trial and error for those just dipping their talon into this creative format for the first time.

There's two different ways you can start your ask blog; by creating a side-blog off of your main blog, or by creating a whole new blog. Either works fine, but I personally favour having a full blog - you can make a gmail in two minutes then bash out a full blog just like that. The drawback is that sometimes I forget to log back onto my main blog; but a side blog cannot send asks to other blogs and you have to remember to set everything you post to the correct blog, which can get confusing at times.

While decorating your new blog; make a rules page and write out a list of things you're not okay with people asking. Maybe you're uncomfortable with rude or violent asks - with topics of sexual harassment or racism or homophobia. Maybe you don't want to roleplay, or you only want to interact with people that follow your specific ship. You can put whatever you want on your rules page - but pin that post so that newcomers can read it and know what is and isn't okay to send in.

When you first start your blog, it can be a little tricky to get the ball rolling. I recomend following other ask blogs and active blogs in the fandom and interacting with their posts to connect with other people. Even then however, you might need to either get a friend to send you a couple of asks or send a few anonymous asks to yourself to get started.

Don't be discouraged if it takes a few days or weeks for people to starts sending in asks. It takes a long time to foster people's interest and engagement no matter how popular or interesting the character is.

A big question people often have is; should I post art with my asks?

From my experience, you could be the greatest writer in the world - but posts you make which have a visual aspect will always grab more attention on a social media platform designed for scrolling than just normal text posts. People have short attention spans. Keep text responses short, and add something sparkly to grab peoples attention.

Not everyone is an artist or has time to draw, but that doesn't mean you can't still make your posts visually interesting. You could use gifs or screenshots of your character, you could handwrite your replies to make them look like letters or diary entries (although if you ever do illustrated text, make sure to include it as a caption below for screenreaders to still be able to access), or even just make your reply fonts colourful or large or play around with different fonts to make them stand out from other posts.

If you do want to draw replies I encourage it because it's a great way to improve your drawing skills fast. If you're worried about your skill level, you can always make it part of the theme and say it's the character drawing their own responses.

I'd recomend if you're planning on sketching replies to draw out several different pictures of your character with different expressions and poses and to re-use them. However if you want to be a crazy person like me and try to draw unique responses most of the time; I'd highly recomend choosing a very simplified style of drawing.

Response pieces should take you less than fifteen minutes or you'll burn yourself out pretty fast. I sketch Revali in a simplified way and just do a flood-fill wash of tone so that my drawings are as fast and simple as possible to do - no colour or shading. If I was spending an hour on every response piece, I'd run out of spoons for this by the end of the week.

If you want to run a popular or highly interacted with blog, the most important thing is posting frequently. If you post a few times a day - or even just a few times a week, people will seek out your blog because it will keep appearing at the top of the tags. The key is churning out a lot of asks all the time.

Get into a habit of doin' your posts fast and rough, and don't worry too much about perfecting things. Nobody will notice if your art or writing is a little unfinished or sketchy. On social media, especially in this style of creating, people only look at your posts for a few seconds - so especially when you're first starting out and trying to get noticed, it's okay to choose quantity over quality.

Something I know a lot of people worry about when they first start out is lore and storytelling in their ask responses.

My best advice is to not take anything too seriously. On this blog, sometimes Revali is around before the Calamity, sometimes he's around in Totk times. Sometimes I draw him wearing modern clothes and using an ipad and other times he has no idea what a microwave is. Sometimes I answer an ask one way, then forget about it and answer something else with conflicting information a few months later.

Nobody really pays enough attention to everything you post to notice continuousy errors. These blogs are just a bit of fun and a way for you to play around with your character like a barbie doll. You can do whatever you want with them, and change it day by day. You don't have to stick to one timeline or ensure that every single thing you post is lore accurate.

Saying that; let's talk about something I like to call 'arcs'.

Every once in a while when things are feeling a little dry or someone sends in something interesting, I'll throw in an 'arc' for Revali. Maybe he gets turned into a chick or a Hylian or joins the Yiga Clan - and for a few days all of my ask posts will revolve around this.

While it's a lot of fun to play with arcs, I'd recomend keeping them short and sweet - lasting no more than a week at longest before returning back to a comfortable norm. Newcomers are always drifting into fandom, as are more casual fans, and if newbies or people who aren't as deep into this character's life as you stumble upon your posts while you're doing a crazy arc, they're likely not really going to understand what's going on. Returning to a more 'canon typical' version of your character between arcs is important for coaxing in newer fans and keeping people from getting too lost.

Another thing people often wonder about is roleplay.

I don't really make my ask blogs with roleplay in mind, but the format itself is kind of built for it if the concept interests you. Playing as your favourite character and enacting little scenes with other blogs can be super fun - great escapism and an interesting way to tell a narrative.

There are however some unspoken rules to roleplay; things you pick up over time that aren't always obvious.

First off - not every ask blog wants to roleplay. Some people just aren't comfortable with it - and that's okay. Check out someone's rules page or just pop them a DM to ask, and respect their decision if they don't want to.

When you do roleplay with somebody; it's common courtasy to keep your roleplay to under ten posts. While this isn't as big of a deal as it used to be (truely Hylia bless Tumblr's newly enforced read-more feature when a post reaches a certain length), it's still polite not to clog up people's dashes with tons of long replies. If the roleplay starts to get too long, try to wrap it up and start a new one.

Another important unspoken rule is something I like to call the 'ask blog universe'.

Every ask blog is their own little universe bubble, where you come up with your own ideas and headcanons for your character and others. Sometimes you'll roleplay with another ask blog - and those ideas will clash.

You cannnot force your headcanons onto another blogs universe, so try to keep your headcanons out of roleplay and leave them just for asks and posts. If I'm roleplaying as Revali with another blog, I'm not going to mention within that roleplay that he's transgender or that he's infatuated with Link - because that might not be the canon for that other blog's universe, and it would be rude to make them have to bend their established canon to accomodate me.

You should always have fun acting out your favourite ships and headcanons - but just try to be considerate when roleplaying with other blogs that not everyone will share your opinions, and maybe just avoid topics of debate within the play.

Another thing people often ask; Can I start an ask blog for a character if someone else is already running an ask blog for them.

The answer is yes, of course you can. That person does not own the character - if you want to start a Revali blog like me, go for it! You can bring something new to the table that I cannot - we will inevitably play very different versions of this character and explore things the other has not even thought of. The more fun writing and art for our favourite character in the world - the better.

Don't let anyone tell you otherwise. Which brings me onto my most important piece of advice.

No matter how you run your blog, inevitably at some point, some sad person with nothing better to do is going to come into your ask box and send something unplesent. Maybe it will be something gross and sexual - maybe it will be a rant about how they disagree with a headcanon you've made and why it's all wrong - maybe they'll just send you vauge death threats because they don't like the character (Revali gets a LOT of those...). This is unfortunatly an inescapable part of being online and creating.

The BEST thing you can do - and I cannot express enough how important this is - block them and delete the asks. Turn off anonymous asks if it starts to really bother you - even if it's just for a little bit.

Do not post them. Do not respond to them. Do not post ABOUT them.

These people are purely here for your attention, they want a reaction from you; and the second you give them that even if it's the most levelheaded response in the world, they will keep harassing you nonstop.

Whereas if you never acknowledge them; they will vanish so fast it will make your head spin.

Now, it's HARD not to post the scary, mean, or ranty asks that people send you for the validation of your kind followers telling you how wrong their harassment is. I get that. What I would recomend is befriending other ask blogs and sharing the woes with them instead. We even have a Legend of Zelda ask blogs discord group that anyone making an ask blog can join - go in there and screenshot post the garbage people send so we can all rant about it and validate you together.

Just never post it publically - it only feeds the wee beasts.

Ask blogs can be really fun to run!

They can also be hard work sometimes - whether it's because you're stuck on difficult asks, overwhelmed or underwhelmed with the amount of people interacting with you, getting mean anons, or burning out from trying to draw every response.

If you ever need a listening ear or a little advice or support, ol' Rahlin is always happy to share what I know. Don't be nervous to shoot over any questions or worries you have and we can talk them out.

I'm no expert in this genre by any means, but I have had a lot of experience with a lot of different issues over the years, and I'm always here to help anyone who is new to the scene and wants to join in the fun!

#Rahlin speaks #Rahlins guide to ask blogs #this took me a while lmao #hope it helps!#revali #tears of the kingdom #breath of the wild #age of calamity #legends of zelda #rito #rito village

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anim-ttrpgs · 5 months ago

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Eureka: Investigative Urban Fantasy Itchio Beta Update January 30th 2025

You can now get a much more polished version of Eureka: Investigative Urban Fantasy on itch.io! Payment is optional, but greatly appreciated!

I’m proud of this update despite it not really being quite as extensive as I would’ve liked it to be considering the three months in between the last big public update and now, but as if my some act of God, nearly every single member of our team had some kind of personal life issue (moving, illness, etc.) across all of November and December, which really slowed down our progress on Eureka. We were back full steam ahead in January, and that allowed us to at least push one really big improvement through in time for this update: The mystery-writing guide.

It was important to me to release a big public update this month because January 2025 is when we stated on the Kickstarter that Eureka would be releasing. Well, underestimation and unexpected complications have meant that the game isn’t finished yet as of January 2025, but this big update that you can download and play is us making up for that at least partially, it shows our fans that even though we haven’t met our deadline, we haven’t been slacking off, and we do have a lot to show for it.

In addition to new art, new traits, and rules clarifications, the Eureka rulebook now sports an in-depth mystery writing guide. This comes just in time for those of you participating in our mystery module game jam. (Sign-ups are open now, submissions are open from March to April of 2025.)

In addition to a rulebook update, we have released two previously patron-exclusive Eureka mystery modules, “The Eye of Neptune” and “FORIVA: The Angel Game.” You can find them at this link here. Payment is optional but highly appreciated!

Patreon updates will continue monthly as we work steadily on the project.

Oh and one more thing before we get to the full changelog. As many of you know, we run a “TTRPG Book Club” where the club votes on games to play and then splits off into groups to play them (it’s very schedule-flexible), and discusses them as we go. Well, at the time of writing this, Eureka: Investigative Urban Fantasy is currently in the lead, which means we are very likely to be playing that next. Join the book club during the sign-up period in the next couple of weeks if you want to play Eureka and discuss it with the developers!

Here’s the full changelog!

Copy-editing Progress: Thoroughly copy-edited up to p. 302. Half-ass copy-edited up to p. 322.

We also released Eureka adventure modules “The Eye of Neptune” and “FORIVA: The Angel Game” into free beta on itch.io. Scroll up to find the link and a game jam!

WHOLE BOOK

CHAPTER 1

Better clarified Unconsciousness.

Better clarified the penalty negation of Grievous Wounds, gave guidelines for what aid may negate what Grievous Wounds, and made it so that these aids can stack to a penalty negation of up to 4.

Edited and simplified the travel time math when using Ticks.

Worsened penalty for using Medicine on oneself from -1 to -2.

Added some quick fix patches to the Assistance Roll section to make it more clear when Assistance Rolls should and should not be allowed. May end up completely rewriting some parts of this section in the near future to make it so that the divide is less based on Investigative vs Non-Investigative, but instead provide clearer stipulations. One potential issue is we really have to be careful not to write the rules so that every character assisting with every Investigative Roll is the optimal strategy, because that would make the game less fun.

CHAPTER 2

New Traits: The Truth Comes Out, Poser

Buffed Believer Trait

Nerfed I’m Okay, You’re Okay Trait

Un-Nerfed I’m Okay, You’re Okay Trait

Made vampires and characters with the Arithmomaniac Trait immune to the “Click” Woo Roll effect

Added Crutches to Item List

More art has been added

Buffed Elementary! Trait

Buffed The Ascot Trait

Buffed The Other Trait

Buffed Poser Trait

Added Nobody’s Fool Trait

Added That’s No Way to Feel Trait

Made some clarifications on Tiers of Fear

Made it so there is a flat PM penalty for investigators that are living out of their vehicles.

Added RVs/campers/trailers to Homes

Lowered the PM of vans and SUVs

Moved Police from Optional to Mandatory on Tiers of Fear

CHAPTER 3

Added a Compromise Armor attack that is also a Movement and can only be done starting from a Grab

More art has been added

CHAPTER 7

Added “How to Write a Mystery” section, a big step-by-step guide on how to write your very own Eureka mystery module.

Added “Starting an Adventure with Disaster” section

Added more guidelines for Eureka’s tone, setting, and lore.

CHAPTER 8

Made it so fairies have to make a reflexes roll to be able to spirit away people with extremely brief contact.

Better clarified some other things about Spiriting Away and “voluntary” skin-to-skin contact.

Added that a Potion of Healing can also cure non-chronic disease.

Added that more potions than just the curse potions can be made curative by adding an extra Table 3 ingredient, and that curative potions can be bought with WP just like other potions.

Clarified that gorgons can’t eat rocks.

Clarified that advanced curses can override each other.

Changed Monsters Eating Monsters section to Monsters vs Monsters and made it a more generalized section about all kinds of edge cases that might come up when monsters interact with each other. The section is kind of disorganized right now but will be cleaned up in copy-editing.

Clarified that all wolfmen have a human form as one of their three forms.

Redid the hunting tables and added the tables for the Bar/Nightclub, Gay Bar/Nightclub, and Gaming/Hobby Store. They are not fully complete but they are at least functional at this time.

Vampires now have a chance to start partially phasing through objects when they are at 0 Composure.

Changed the standard Stealth bonus vampires have at max Composure from +3 to +2.

Adjusted the mechanics for how to permanently “kill” a vampire.

More art has been added

Buffed Learning by Example TFB Ability

Clarified fairies taking voices

Clarified the animal options for the Curse of Transformation

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annebrontesrequiem · 1 year ago

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Okay, so I saw Dune Part 2 and it was so very good.

Though I definitely felt the amount of cuts that had to be made, and the way it was simplified in some cases (see Feyd Rautha's birthday duel and how the subtext of the man being specifically drugged with a delayed agent was cut, making the scene in some ways much more straightforward). I'll have to reread the book especially before I really cement my feelings about Lady Jessica and the sheer amount her story was cut (no mention of her being a supposed spy and all that and the changes from cutting her inner monologue).

Still what Villeneuve does he does spectacularly. The two things that stood out the most were a. the sense of scale and b. the scale of tragedy.

The shifting around of plot points worked a lot more for me than I feared. Though at first I was worried about Paul's pseudo-training montage, it actually worked really well. Cutting between Paul becoming a fighter and member of Sietch Tabr, falling in love with Chani, getting dreams, etc. and the politics and perspectives of the other, bigger and more politically aware players, was a really good idea.

It gives you really the sense of how big the world is. Of how much Paul is struggling under the weight of it. Of how small it is to be one person. It filled me with such a sense of dread and anguish, which is pretty impressive considering how the book has a lot more pages and a very distinct writing style that conveys this sense of scale. But the movie really went for it, and from the great to the small, there's a sense of importance.

I like that Villeneuve delayed Paul's change in perspective until after he drinks the waters. This really emphasizes the change within him, and really ups the tragedy of his character. Seeing him seemingly capitulate so readily after all the agonizing he went through, the desperate attempt to stem the tide of the war that has already begun and which began the moment he stepped foot on Arrakis, it was really heartbreaking. It also helped with Jessica's characterization. You get to see how drinking the waters utterly changes you. And how Paul has accepted his fate, while still bearing all the pain of doing so.

I struggle with how bleak Dune as a book series is in some place. The movie really does tap into that. It's a tragedy through and through and while you hope so desperately that something will change, you are so staggered by the scope and scale of this struggle. By the scale of agony that is going to be wreaked on the universe. It's really phenomenal.

#dune #dune part 2 #dune part two #bern speaks

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mystxmomo · 21 days ago

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hi hiii

so. what if. iiii. enabled u to be autistic on the internet again :3c

i wanna hear your thoughts on eilistraee and vhaerauns relationship! the nitty gritty, the dynamics, how they think of each other vs how they act, and how thats changed over time+how its reflected in their church

im ADORING all your posts on it if i could id print them out and eat them 🫶

Okay. So this is officially the third part of my "I need to go crazy on some character analysis" Saga. My analysis on Vhaeraun is Here, and my analysis on Eilistraee is Here. I recommend, if you're stumbling across this post in the wild as tumblr tends to do, reading those two first so that you have an idea of how I see these two characters and where the basis of my argument for their characterization comes from. If I need to reference something from either post, I'll quote it here. But y'know. Need be said.

Okay so.

I believe this post is going to the most subjective of mine. I am going to try and pull up canon screenshots from War of the Spider Queen, The Lady Penitent, and Evermeet, but unlike how you kind of get told directly how the drow gods behave and hold themselves and a lot of things end up getting built on them, I would argue so many hands have touched DnD and so many interpretations of their relationship have sprung up over the books that it's hard to give a truly simplified "This is how they see one another."

Water is wet statement, relationships are complicated.

Anyway. Given what my thesis is, I am going to be talking a fair bit about abusive family dynamics in this one as well. My goal for this (and any character relationship I do, really) if to try and keep it very fair. I think a of people make the mistake when talking about Eilistraee and Vhaeraun's relationship of picking a side. Like this idea of one of them being right and one of them being wrong and needing to "Fix" the other. And I don't think that's true at all. I think to be able to understand why they feel the way they do about one another and why their relationship is the way it is, you need to respect both of their characters individually.

(Granted, I think this should be true of any relationship you're writing for in fiction. If I can preach for a second, I think even if you don't like a character, you have to be able to respect the character to properly portray them.)

Final note before I get into this. Everyone thank @abracadav-r again for being on screenshot duty. The posts wouldn't get done nearly as fast without them, they know exactly where to find these little moments.

So. That all said. Lets get into it.

I've made a smaller joke post about what I think their dynamic is like before here. But now that you're giving me the opportunity to do so, I will go indepth about it. Yes.

I'm kinda of the opinion that Eilistraee is more incorrect about Vhaeraun than Vhaeraun is incorrect about Eilistraee (But also that this is the result of DND Canon not being entirely fair to Vhaeraun.)

Let's get the discussion about my thesis about the Elven Pantheon being an analogy for an Abusive family on a divine scale out of the way first, because it's something I've mentioned a few time's, but only every really shorthanded. And I think here, in the discussion about relations, is a GREAT place to start and actually explore that.

Now. I should probably start by saying, I don't think this was intended by DnD. Like, I think when they were originally making this lore, it was the intention to just make a justifiable evil worth killing. DND came out of a time of the romantic fantasy, the very Tolkien and Fairytale esc ideas of good and evil and have this classic hero's journey power fantasy ideal to it. Other people have gone into depth about that origin with far better sourcing and dissection than I can ever hope to, but basically: DnD is absolutely (as all art is) a product of it's time and of the community it stemmed from.

However, I personally think those themes and ideas are a little outdated, and a modern audience (myself being the modern audience) tends to be more enthralled by very nuanced interpretations of good and evil, and find indepth character driven narratives more engaging. And I think that for what this mythos has become over the course of it's 60+ years of evolution, you can reinterpret the narrative to be a fascinating depiction of a mythos that echo's the abusive family structure.

Copying and Pasting from my Eilistraee Essay:

It is of my opinion that, when you look at the Eilistrae-Vhaeraun Dynamic and how they were treated by Lolth and Corellon, you're looking at a classic Golden Child/Scrape Goat dynamic. This is important to mention here because I do think that's important context within how Eilistraee (the person) see's and understands the world, and where her mind is at when it comes to the perception of her sense of self. To VASTLY oversimplify about how emotionally abusive family structures work by a lot, when you look at emotionally abusive families with siblings, you tend to find a pattern where one child ends up getting the bulk of the favoritism and affection (The golden child), while the other takes the bulk of the abuse and tends to take a of blame and is seen as being deserving of the abuse (The scrapegoat.) I'll get a little bit more into the specifics of what that means for their relationship in a later post.[*] Now. Calling her the Golden Child, but I don't think being the Golden Child is strictly a good thing. In a lot of ways, I think a lot of golden children end up very emotionally stilted, and I think you kind of see that in Eilistraee. She HAS to be the perfect one. And she's had this expectation to be The Good One placed on her shoulders since she was young. Golden Children are often blinded to the abuse their siblings face because they themselves are not subjected to the same kind of abuse.

[*] And well. It's that later post!

In emotionally abusive families, siblings tend to be pitted against eachother, either unintentionally as a result of the Golden Child being the subject of a parents time, attention, resources, and affection, or as a purposeful attempt on the part of a parent to put divides in a family. In the real life world, it is more often the first. I think a lot of people think Abusers are more like Lolth where there's an intentional "I looked at you and from the day you were born decided to make your life hell."

But I would argue the tricky thing about abusive family structures (Especially with parent-child situations), is that more often then not, the abusers love the idea of the person they're abusing. To them, what they're doing is love. It is very rare that an abuser is this knowing evil schemer that actively sits and thinks to themself that "That's my least favorite child, they don't deserve my attention."

(Though, as a small side tangent not immediately related to the fictional character, you might see this logic manifest more in the way finances are weaponized in abuse, especially see in America where college is more expensive and therefore often used as a control tactic. IE; My wonderful son wants to go into STEM, why would I waste money by giving it to my son who wants to do art college. Because people get comically evil about money.)

Instead, emotional abuse is often more insidious. It's... I'm going to put the blame on everything that goes wrong on my son (Who I left in the hands of his physically abusive mother to have his arm constantly bent behind his back by her) I can't bring myself to believe that my daughter would ever want to scheme against me. YOU could have been good once, but you're evil because you're not happy, you're too moody, you're too violent. I'm not even going to give you the chance or the environment to grow, because it's just in your nature to be evil, and because you are evil because you were born evil that all that goes wrong is your fault.

You know. That kind of logic.

So. Eilistraee was Corellon's Golden Child. She was the free spirited happy one. She was the one that loved to hunt and dance. She was the good one.

(But often, when a scrape goat leaves the family, the golden child becomes the new target.

Y'know. Like..

Corellon gave up on the idea of trying to turn his son Vhaeraun to abandon his ways. He vowed to kill Vhaeraun if he ever tried to hurt his sister. Nevertheless, the Masked Lord did threaten the Dark Maiden's life, without known action against him on Corellon's part.

Corellon's servant Solars claimed that, with this act, Eilistraee had exhausted her purpose, because the willing had been saved, and the unwilling cast down as a necessary sacrifice.

The in-story context for this being honestly worse and kind of containing bad racial implications:

“Her soul was destroyed,” Felarathael said solemnly. “But before she died, she saved many. She cleansed the taint from hundreds of drow who might otherwise have been condemned.” “But the rest!” Lashrael wailed. “Thousands! Hundreds of thousands! No hope of redemption for them, with Eilistraee gone. Condemned to darkness and despair, forevermore!” “Another necessary sacrifice,” Felarathael said without a trace of emotion. “Else the game would have been lost.”

This, to me, is the framework of Vhaeraun and Eilistraee's relationship.

Likewise, the Masked Lord nurtures an abiding hatred of Eilistraee. The Dark Maiden always held Corellon's favor more than her hateful brother, and she thwarted Vhaeraun's early efforts to bring all the Ilythiiri (southern, dark-skinned elves) under his sway, enabling Lolth and Ghaunadaur to make great inroads among those who would become the drow.

I'm under the impression that Eilistraee doesn't know Vhaeraun. She has this idea of who he is in her head seemingly both based on the what their father thought of him, and as a result of being an outsider looking at the things he did at the hand of his mother. (And again, let's be clear and establish in this post. That wasn't WHOLLY Lolth. Vhaeraun did play his part. But I don't think Eilistraee see's that, I think she strictly see's an eager climb for power) And then she makes a lot of assumptions about his motivations based on the idea of him she's made in her head that reaffirm that idea.

On the other hand, I think Vhaeraun understands exactly the kind of person his sister is, because it's really not that hard to understand who Eilistraee is. She really does just mean well. While I consider her to be a lot more guarded and lonely then people tend to give her credit for, I don't think she's being insincere with her wants and wishes and you don't have to doubt what her intentions are. Instead, the ways that I think Vhaeraun is often wrong about how well she can handle herself and how strong her allies are by 4e, and what that could mean for drow as a whole. Because he's so willing to discredit her as a threat, he doesn't pay attention to her, and because he doesn't pay attention to her I don't think he realized she'd gotten friendly to people like... Mysta the goddess of magic.

And being realistic, even if he had known, I don't think he understands the weight of her being friendly TO people like Mystra because he himself only ever makes allies, not friends amongst gods.

Now. The reason I capped that whole screenshot above is actually because it contains a very interesting bit of framework that I think proves this. Even back in the 2e source books, the phrasing of these things matters. If it was a matter of Vhaeraun thinking that something was the case, they would have mentioned it. However, the specific way that it's set up in that passage is: "It's not that Vhaeraun thinks Eilistraee's involvement in circumventing his climb to power allowed Lolth and Ghaunadaur to gain power. Her involvement DID allow Lolth and Ghaunadaur to gain power."

And I don't think she's aware of that. But Vhaeraun is.

To further this, we're to copy/paste a passage from Sacrifice of the Widow. Now. This is from the perspective of a Vhaeraun worshiper, and it holds as much bias as Eilistraee's priestesses have towards him. But. Because it correlates with metatextual information we have from all the way back in 1998, I'm inclined to say it's not a full dishonesty, just a biased truth.

The dance might have been beautiful, had it not been a violation of the sacred order. Had Eilistraee not interfered, Vhaeraun might have united all of the darkelves under a single deity millennia ago, but Eilistraee had proved as greedy as Lolth and had stolen the females away from the Masked Lord’s worship. She’d taught them to exclude males from her circle, to subjugate and revile them instead. Vhaeraun’s followers had learned a bitter lesson. Females could not be trusted.

Compare this to how Eilistraee speaks of Vhaeraun's influence in Evermeet: Island of the Elves.

Like... Eilistaee. There are bigger threats out there than your brother But. She's so blinded by her history with him that she can only ever see her brothers influence is a bloodstain on the land.

As I mentioned in my other post, I think Eilistraee is a biased narrator in this scene. I don't think Vhaeraun wants his sister to die for the crime of existing. I think his feelings on his sister are way more complicated than his feelings on either of his parents. And we know when Vhaeraun explicitly wants someone dead, because the text would have told us that.

...

So, to understand Vhaeraun and Eilistraee's relationship, I do think we need to talk about The Masked Lady.

Given how much of DnD is oral tradition and people building on concepts that the games give to us, I think people feel more comfortable engaging with some of these things through the wiki and building off of the idea of the ideas they get from the wiki without searching out the original source. And to be clear, this isn't like, judgement for doing that. Nevermind that the IP is older than I am twice over, that a lot of old blog posts are only acceptable through niche internet archive links, and that a lot the source books are neither applicable to 5e or still within print. I'M personally guilty of doing it all of the time.

Instead, the point I'm making is because of how the realms is set up and how people engage with DND, not a lot of people know when plot point comes from a source book, a blog post, a prose book, an official magazine, when something was fan-submitted and made canon, or Ed Greens personal twitter/discord. They all kind of merge together to create a collective canon. I think, as a result, a lot of people end up engaging with these concepts with the same amount of abstraction. But the thing about The Masked Lady is that they're like. A book character. This isn't just a concept that was placed out into world abstractly, they're a fully fleshed out character within The Lady Penitent.

This is important to us and our purposes of engaging with these characters on a more transformative level rather than at a dnd table. Being a character, we can look at how they behave and what the actual intent of their portrayal was. And I want to show you a few things, because I have an argument I would like to make given that portrayal.

A voice called to them: a voice that was neither male nor female, but both. A moment later, it became a pool of utter silence. Then song, then silence. Opposites, twined together, yet somehow harmonious. Side by side, the awarenesses that were Kâras and Valdar drifted to the place where the song-silence was coming from. It caught them like leaves and swirled them up toward itself. They drifted in front of an enormous face. Moonlight bathed the face’s upper half in shining radiance; the lower half was shadowed in utter blackness. A glint of blue danced across eyes the color of moonstones. Masked Lord, Kâras asked. Is it you? A feminine laugh rustled the mask. Masked … Lady? he ventured. The chuckle deepened, became male. Hands moved to the blackness that was the deity’s mask. Fingers gripped its edges. Kâras tensed, and felt the eager anticipation of the awareness that was Valdar. The mask lifted. Kâras wept. So did Valdar—and as he did, Kâras saw into the other Nightshadow’s heart. The emotions that had prompted their tears were as different as moonlight from shadow.

“Masked Lord,” Kâras prayed. “Is it your will the breach be opened? Have you—” He hesitated, then forced himself to say it. “Have you allied yourself with the Ancient One?” This time, the god answered. Not in words, but in the distant peal of a hunting horn. That alone wouldn’t have convinced Kâras; it might have been one of the priestesses, signaling the others. But as the horn sounded, a rectangle of darkness with two eyeholes appeared in the air a short distance away, within the tunnel leading to the ruined temple. The bottom of this “mask” fluttered, as if the mouth behind it were lending its breath to the hunting horn’s peal. Dots of angry red blazed where the eyes would have been. That decided it. Kâras wouldn’t run. He’d fight.

===

My argument about The Masked Lady is this: Despite taking a lot of Eilistraee's visage and Churches Iconograpy, When you look at how The Masked Lady behaves in practice I would argue that this isn't actually strictly Eilistraee. The Masked Lady feels like a new character that is both Vhaeraun and Eilistraee..... but also Neither Vhaeraun and Eilistraee. In that strictly esoteric kind of way, by merging their aspects together they've created a new god made of their parts.

And on one hand, you can read some of this as Eilistraee Masquerading as her brother to try and get his church to work with hers, but on an authorial level? I don't know if that was the intent. For one, I don't actually think Eilistraee is good at being manipulative, she's too well intentioned. She'd have fallen apart under the weight of that lie.

Granted, I do think with both of them being in there Eilistraee is more "in control." Vhaeraun is absolutely ""Dead"" in at least some ways. The piece he puts down representing himself is destroyed in the Sava game, Eilistraee ends up with his mask, and Lolth is able to show off his corpse in the astral plane.

But even all of that aside, I'm tapping in both Ed Greenwood's thoughts for this and something from Faiths & Avatars.

(I'm going to copy this summary from the FR wiki page on dead powers because, as always, it's quite good at summarization. But as always, I've double checked Faiths & Avatars to be sure)

Sometimes, the memory and personality of a deity was separated from their power and true form at the moment of their death, typically by the interaction of the magical turbulence of their death with the magic of a powerful relic or artifact into the same area. In such cases, the deity remained awake but imprisoned, in a sense, though vastly uncomfortable with their much-reduced state.

As such, I think during The Masked Lady era, three things were true simultaneously.

There was a part of Vhaeraun that was dead. That's the part of him on the astral plane. And even that part of him seemed to hold mild consciousness. But I also think a part of him was trapped by Mystra in a dream, and another part of him existed simultaneously within his sister creating a new entity as The Masked Lady, in the same way that Eilistraee seemed to both exist as herself AND The Masked Lady separate from herself as she's playing the Sava game. Because these are gods. Their existence does not exist in singularity.

But. Why does this matter to Vhaeraun and Eilistraee's relationship. Why do I think this is an important talking point for them.

Because I think the fact that they exist together implies a level of respect and understanding towards one another. This is not how this would have happened if they truly hated one another. What happened with Vhaeraun and Eilistraee seems closer to what happened with Zandilar the Dancer and Bast (Absorbed and became Sharess) or (Sehanine Moonbow, Aerdrie Faenya, and Hanali Celanil) > (Came together to become Angharradh and notedly, can separate to spent time apart as times have changed.)

This feels like. Notedly different, compared to what happened with (for example) Ulutiu and Auril, where he got entirely subsumed by her.

For a moment, they were one god. And they could have only synergized as one if they understood eachothers intentions well enough to agree to be one.

It's worth noting before I get into this section. Both the idea that Vhaeraun didn't actually die and was put in ⋆ ˚｡⋆⊹❇Mystra's Dream Prison <3 ❇⊹⋆ ˚｡⋆ and that upon returning to life he started working with Eilistraee are not actually ""canon"" to 5e. They are, like many things, Ed Green-ism's that a lot of people (myself included, because I do actually think he's an incredibly creative person with good character building ideas) take as canon. Despite taking it as canon, I think it's worth mentioning that there is no official source material to pull from for these ideas, because unlike the masked lady, these two ideas exist as concepts to be built off of rather than media to be examined.

We can only logic and reason what happened between them and how it's changed their relationship using everything else we have.

Posted from the FR wiki:

"The Grand History of the Realms explicitly says that Vhaeraun's assassination attempt failed and Eilistraee killed him. However, Ed Greenwood suggests that Eilistraee didn't actually kill her brother. The Dark Maiden defeated Vhaeraun with the indirect help of her ally Mystra, as the Weave frustrated the Masked Lord's magic while enhancing Eilistraee's. The goddess temporarily took her brother's portfolio, and trapped his sentience in the Weave, where it was enfolded in a dream by Mystra. The Lady of Mysteries did this to ensure that the two drow siblings would survive the cataclysm that she knew was coming—the Spellplague—in which she would be "killed" to renew the Weave and magic would go wild. After Mystra and the Weave were completely restored in 1487 DR, the goddess of magic could finally give Eilistraee her own lost power and do the same with Vhaeraun, after having awakened him from his dream."

It was one of Ed Greenwood's ideas to have the two deities reach a reciprocal understanding, and to make the personal enmity between them was no more. More to read here

So here's my take on this situation.

I think a lot of people like to paint the "Mystra and Eilistraee put Vhaeraun in Dream Prison" Situation in a very limited light. In the same way Eilistraee tends to get romanticized as a wholly good and Vhaeraun demonized as a firm evil, it tends to get boiled down to the idea that Mystra and Eilistraee managed to convince him to be "Less Evil."

But, I don't know. To accept the Mystra/Eilistraee tag team as something wholly good, you have to also accept the sentiment of Vhaeraun as someone who is evil and needed "fixed," and I don't think that's ever been the case. As I think my multitude of arguments have implied, I have never been under the impression he's an actual evil.

As such, it's always felt little bitter-sweet to me. I think it's more impactful if they just managed to rub off on eachother due to their time spent together as one. I think it was especially a turning point for Eilistraee, given how many changes came to the structure of her church as a result of that merger. She understands why he uses the tactics he does, she understands that what he's doing is coming from a place of (what I would argue) is sincere love for the drow as a whole, and I think she got a little bit more of a nuanced understanding of the uhh Sexism. I also like to think she understood his experiences more, and that his love doesn't come through the same lens as hers.

Likewise, I think Vhaeraun came out of that understanding that he was stretching himself thin. I think that he learned that he NEEDS to be able to rely on others, he NEEDS to start trusting the outside world more. While he's more accepting of drow as they are now, I think his goal has always been to put them back in power to the extent that they were when he had worship from the Ilythiiri. But, thats not the world they live in anymore. Even if he did pull all the drow from the underdark, they could not and would not manage to be that. I think he comes out of The Masked Lady era understanding that to get the drow away from his mother and to coexist is stability in itself. They don't need to rule to be powerful, they just need to coexist.

You know. It's choosing to forgive. We can't change what we were, but we can start this relationship over and grow something new from it. And sometimes, that might be enough.

....

And ALSO I think they had to start getting along, because it really didn't take their churches THAT long to start meshing together when they fused as the masked lady.

At the word “died,” the priestess glanced down at the male. The cleric didn’t look good; his eyes had fully rolled back in his head and his skin was turning gray. Halisstra reached out and lifted the priestess’s chin, forcing her to look away. “It’s only a weak venom,” she lied. “You have plenty of time to heal him. Plenty of time, still.” “Yes,” the priestess repeated softly. “Plenty of time.” Her eyes reminded Halisstra of another priestess who’d succumbed to Halisstra’s bae’qeshel magic, years ago. Seyll had stared just as trustingly into Halisstra’s eyes a heartbeat before Halisstra plunged a sword into her. And yet Seyll had told Halisstra, as she lay dying, that no one was beyond redemption—not even Halisstra. She’d been wrong. This priestess had a wide mouth and creases at the sides of her eyes that could only have come from frequent laughter. The frown of confusion looked out of place on her forehead. The slight bulge of her stomach hinted she might be carrying a child. Halisstra hated her.

Come on guys, The Masked Lady hadn't even existed for half a decade and there was already pregnancies. We don't know what their churches are like 100+ years out. But, for as much as Ed emphasizes the infighting of the churches (And I have no doubt in my heart there ARE factions who refuse to mesh, that's canon to the text) we are inevitably met with 1-2 generations where the combined churches are all that they knew. Vhaeraun and Eilistraee had to work together, because I think as much as they're their own people with thoughts and opinions and experiences, they are also a reflection of their worshipers.

I think, to summarize what I think Vhaeraun and Eilistraee's relationship is like in a few paragraphs

With the way their relationships are described, I think Eilistraee was the golden child and Vhaeraun was the scrapegoat in the earlier parts of their childhood. They become reflections of the parent that favors them, because those were the parents that acted as their main influence. Eilistraee saw Vhaeraun as a reflection of her mothers evil, and Vhaeraun saw Eilistraee as undeserving of the favoritism their father gave her.

This view of eachother was cemented when she followed him to Toril. She saw him and his power as an evil and bloodstain, unhelped when he exiled her (probably out of spite and due to the grudge he had as a result of the earlier years). As such, she worked to undermine the influence he had. And when that allowed their mother and Ghaunadaur to take hold, it was the same kind of evil to her.

Her enabling them to take that power worsened the grudge Vhaeraun had of her, because he knows he isn't the same kind of evil as Lolth or Ghaunadaur, and them having that power worsened things for everyone.

This grudge between them kept itself in the legacy of their churches, all the way until The Masked Lady Era. The Masked Lady era was one where they actually managed to come together for a similar goal. It was the first time they were truly about to understand eachothers motivations, experiences, and perspectives, and the first time that divide between them and their communities truly lessened.

And when they finally came out...? I mean. That's going to change anyone. I think not only their relationship changed, but they sort of managed to change eachother a little.

I don't know. I think their relationship is complicated and messy and such a product of their parents influence on them. There is no forgiving Lolth, and there really shouldn't be forgiving Corellon (though, dnd might disagree with me on that.) But I think theirs one that could eventually heal. Out of all of the relationships in the Dark Seladrine, theirs feels the closest to being one that can be refounded on equal ground and with respect towards one another, especially as drow return to the surface and find more acceptance (even outside of their communities.) Because they are to me, two sides of the same coin.

#Eilistraee #vhaeraun #Character Analysis #Anyway. As an aside #I'm totally willing to completely destroy what I think their dynamic actually is for the sake a good comic bit #Sometimes its funny when vhaeraun gets kicked #I think Vhaeraun does care a little about her even when he's got a thousands year old grudge against her #And I don't think anyone is arguing that Eilistraee doesn't care about Vhaeraun #Shes Saddened by his Selfishness. and I think scared of him #But true hate... nngh.

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starheavenly · 7 months ago

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hiii!!! loving your locket comics!!!!!! just wanted to ask a few questions about your process, if you dont mind :D

whats your general process like?

do you do thumbnails, how do they look like?

roughly how long does it take you to complete a comic panel or page?

how detailed are your sketches? do you do multiple?

do you have any specific techniques for lineart?

do you typically use references for your comics?

generally, how much effort and focus do you put into your comics?

do you have any advice for drawing comics?

sorry for for the absolute bombardment of questions, lmao. just really enjoy your art and comics and very interested in the behind the scenes!! feel free to skip any questions (or this whole ask) well wishes and salutations!!! :D

Hello! I'm so glad you enjoy my comics, and I totally don't mind breaking down the process!

For a normal comic page, I would likely actually write a script since it's much easier to keep track of dialogue and actions. But since these are short, I just write it into my thumbnails.

Step 1: Thumbnails. Easily one of my favorite parts, since I get to throw all my ideas down. I do these comics on a 2-panel grid, so I don't have to worry about actual paneling, and it allows me to focus more on the setup of each shot. Think of it like storyboarding!

Step 2: Add cleaner thumbs if needed. I actually made 3D models of Deadlock and Ratchet's chest in Blockbench, so I often trace them to save myself some time! (It might look insane, but I promise, for me, it's not.)

Step 3: Lettering! I actually like to get the lettering out of the way right away since it can take a while. Ever since I started treating lettering as its own form of art, my skills have gotten better, but it also takes much longer.

Step 4: Clean sketch! I'm just now finding out that people think I’m doing lineart for these? I am not… these are all just clean sketches. Maybe doing the blackwork gives the illusion of lineart?

Step 5: Color! Most of these comics are in black and white to save time, but it also lets me focus on values and shot framing again. I add my glow overlay to the eyes, and boom, done!

Roughly how long does it take you to complete a comic panel or page?

It really depends on how complicated the panels are. I like to step out of my comfort zone. I know the Grimlock and Misfire one took longer because of how many panels there were and the fact that I was drawing characters I’d never drawn before, but I’d say it usually takes around 5-8 hours for a whole page.

Do you typically use references for your comics?

I'm literally the reference GOD- we all know this. But yes, I love using references and doing character studies. I have yet to do a study on LL Drift, but I have a few references of him that I’ve made.

Generally, how much effort and focus do you put into your comics?

I mean, I wouldn't say I don't put in a lot of effort? I put in enough. I don't know… there's a point in the clean sketch process where you can kind of just turn off your brain. I'm passionate about comics, but we can all agree there's a point in a drawing where you just zone out.

Do you have any advice for drawing comics?

I think being able to balance dialogue and visuals is super important. I don't know if you guys have picked up a graphic novel from Barnes & Noble recently, but if you open a page, you'll see a character sitting with the biggest bubble you've ever seen, filled with paragraphs of text. While I get it—being a novel as much as it's graphic—I personally like to visualize emotions more. If it means adding two more panels to make an interesting dialogue setup, I don't mind doing it. Another thing to remember is that not all panels need to have details or 100% effort. Sometimes you need to simplify and move on, and that's okay! Those two extra panels that are giving you a better stage setup might be the ones that need fewer details and less time. I would consider my comic page work and my 4-panel work very different. One is about paneling, setup, and visuals, while the other is very much like storyboarding. Both are skills you learn with practice and study.

#long post #sawyersez #my art #artists on tumblr #tutorial #art tutorial

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isuckatwritingsobenice · 4 months ago

Text

𝐒𝐩𝐥𝐢𝐭 𝐑𝐢𝐯𝐞𝐫𝐬 𝐒𝐰𝐞𝐞𝐭𝐡𝐞𝐚𝐫𝐭˚˖𓍢ִ໋🦢˚

Synopsis: Split Rivers Sweetheart, a sweet little Junior who’s the lead singer of the schools show choir. The only issue is a certain head cheerleader has made it her life’s mission to disband your club with her family’s money. Unfortunately for her, you seem to have more support than you realize, maybe even from the golden boy himself. Wally Clark.

Notes: Modern AU! All characters are alive! Mentions of Alcohol, Drugs, partying! Reader and all characters are around 17-18 ish! Most of my inspo for this was from Glee since I’m rewatching the show. 80’s References & so on.

Masterlist // Chapter Four

The air in the show choir room was thick with tension. What started as an ambitious idea was quickly becoming a logistical nightmare. The cheerleaders stood on one side of the room, arms crossed, ponytails bouncing whenever they rolled their eyes. The show choir members stood on the other, looking just as unimpressed.

At the center of it all stood Claire Zolinski, clipboard in hand, her perfectly manicured nails tapping impatiently against the surface. Across from her, Charley had their arms crossed, gaze sharp. Maddie was beside them, shifting her weight like she was physically holding back the urge to say something snarky.

“Alright,” Claire exhaled, looking around at the divided room. “We’re running out of time. We need to at least get through Espresso before practice is over.”

Nicole clapped her hands together, trying to cut through the tension with enthusiasm. “It’s a high-energy song! If we nail the timing, it’s gonna look amazing!”

“It would help if the choreography actually made sense,” Charley shot back.

Claire stiffened. “It does make sense. You just don’t know how to keep up.”

Charley scoffed. “Right, because we definitely spend our time throwing people in the air for fun.”

“You don’t spend your time dancing, that’s for sure.”

“Okay, enough,” you interrupted, stepping forward before the argument could spiral further. “Can we at least try to get through this? Fighting isn’t gonna magically make the routine better.

Claire and Charley didn’t break eye contact for a moment longer before Claire finally sighed and looked away. “Fine.”

Maddie muttered something under her breath, but you ignored it, turning to Yuri, who was adjusting the mic stand. “Let’s start from the top.”

Simon cracked his knuckles, looking more excited for the dancing than the actual singing. “Let’s do this.”

Dawn hit play on the speaker, and the bass from Espresso filled the room. Immediately, everyone scrambled into position.

The first few beats started strong—Simon and Nicole nailed the footwork, and Yuri’s vocals were clean and controlled. But it didn’t take long for things to start falling apart. The cheerleaders weren’t in sync with the choir members. The formations were off. Some of the show choir kids were getting tripped up by the fast transitions.

By the time the first chorus hit, Claire threw her hands up in frustration.

“Stop, stop, stop!” she yelled, reaching over to pause the music. “This isn’t working!”

“Oh really?” Maddie shot back, voice dripping with sarcasm. “I couldn’t tell.”

Claire turned to her sharply. “You could at least try instead of rolling your eyes every five seconds.”

“I am trying. It’s just hard to take this seriously when it’s obvious you don’t actually care about us being part of this. You just need warm bodies to fill your routine.”

Claire’s jaw clenched, and for the first time, something flickered in her expression—guilt, maybe? But it was gone just as fast. “I do care. If I didn’t, I wouldn’t have come to you in the first place.”

Maddie crossed her arms. “Yeah, well, you sure have a funny way of showing it.”

Before things could spiral again, Yuri let out a sharp sigh, running a hand through his hair. “Enough. If we’re going to make this work, we need to simplify things where we can.” He turned to you, eyes sharp with decision. “You’re singing all the songs.”

You blinked. “Wait, what?”

“It’ll be cleaner if we don’t switch vocalists mid-performance. It gives the routine consistency, and let’s be real, you have the strongest voice for these songs.” Yuri’s tone was firm, leaving no room for argument.

Janet nodded in agreement. “It makes sense. Less moving around for us, and the focus stays on the performance itself instead of worrying about transitions.”

Claire, for once, didn’t argue, just crossed her arms and sighed. “Fine by me. As long as we can actually get through the choreography.”

You hesitated for a moment, but seeing everyone waiting for your answer, you finally nodded. “Alright. I’ll do it.”

“Good,” Yuri said. “Now, let’s actually run this thing properly.”

The two groups exchanged glances, tension still thick in the air, but eventually, they all grumbled in agreement.

“Alright,” Claire said, rolling back her shoulders. “From the top.”

The music started again. And this time, despite the mistakes, despite the hesitations, despite the obvious divide in the room—something clicked.

It still wasn’t perfect, but for the first time, it actually felt like they might be able to pull this off.

By the time practice was over, the tension had eased—but just barely. The cheerleaders and the show choir weren’t exactly friends, but at least they weren’t actively trying to strangle each other anymore. Progress.

As everyone started packing up, Nicole clapped her hands together. “So, I talked to the theater department, and they’re in.”

Yuri raised an eyebrow. “In for what?”

“The setup for the halftime show. You know how they’re the fastest at putting sets together? They’ll be responsible for whatever staging we have on the field.”

Janet grinned. “That actually makes this a lot easier. They work fast, and they’ll make sure everything doesn’t fall apart mid-performance.”

Claire, still slightly stiff from earlier arguments, nodded. “Fine. But tell them not to overdo it. We don’t need a Broadway production, just something functional.”

Nicole smirked. “Oh, don’t worry. They’re already planning something over-the-top. You know how they are.”

Claire groaned, rubbing her temples, but didn’t argue.

“Alright,” Yuri sighed. “We’ll meet up tomorrow to go over everything again. Let’s hope it actually looks like a halftime show by then.”

With that, practice wrapped up, and everyone filed out—some leaving in pairs, others in quiet groups, all exhausted but determined.

The sun hung low in the sky, streaking the field with gold as the football team pushed through their drills. The air was thick with sweat, the sharp scent of churned-up grass, and the distant echo of cleats slamming against turf.

But none of that mattered to Wally Clark.

Not when the coach was in his face, practically spitting as he yelled.

“Pick it up, Clark! You’re not running plays like you mean them! You want a championship or not?”

Wally gritted his teeth, helmet tucked under his arm, sweat dripping down the back of his neck. “Yes, Coach.”

“Then act like it! You’re the best we got! You don’t bring your A-game, we don’t win. And I don’t lose!”

The words sank deep into Wally’s chest, pressing against the already suffocating weight of expectations. He knew all of this. He didn’t need to hear it again.

But before the frustration could fester, Coach blew the whistle. “Five-minute break! Hydrate!”

The players scattered, some jogging to the sidelines for water, others flopping onto the grass with exhausted groans. Wally exhaled hard, rolling his shoulders, trying to shake off the stress.

That was when the whistles started.

A couple of his teammates nudged each other, smirking as they tilted their chins toward the field entrance. “Well, hello, ladies.”

Wally didn’t even glance up. He’d seen the cheerleaders walk onto the field a million times before. It wasn’t exactly a life-changing event.

But then—

The music started.

At first, it was just a heavy beat pulsing through the speakers. But then, a voice cut through the field.

Clear. Strong. Captivating.

Wally frowned, finally looking up as he pulled his helmet off.

The cheerleaders were moving into formation, rehearsing their halftime routine. The show choir had set up near them, their small group arranged with microphones, preparing to run through the setlist. But Wally barely registered any of that.

Because he was focused on her.

Or at least, he was trying to.

He couldn’t see her—she was too far, blocked by some of the other performers—but he could hear her. And that was enough to make something inside him pause.

She sounded good.

Not just decent, not just okay. Really, really good. Like she belonged on a stage bigger than a high school football field.

And it bothered him.

Because he wasn’t expecting it.

His feet moved before he could stop himself, stepping toward the edge of the field, trying to angle himself for a better look. Just as he was about to get a clear view—

“Clark!”

Coach’s bark snapped him out of it, and he turned sharply, setting his jaw.

“Get over here! We’re going over plays!”

Wally clenched his helmet in one hand, giving the field one last glance. He still couldn’t see her.

But the voice stayed with him.

Even as he jogged back to his teammates, even as the coach started barking orders again—he could still hear her.

And for the first time in a long time, Wally Clark found something slipping through the cracks of football, pressure, and expectations.

Curiosity.

Soft shades of pink and baby blue painted the walls, the warm glow of fairy lights strung along the white curtains casting gentle shadows. Jewelry clinked softly against the edges of a porcelain tray on her vanity, catching the dim light like scattered stars. The room smelled faintly of vanilla and fresh linen, an otherwise safe and dreamy space—if not for the muffled chaos drifting up from downstairs.

The shouting had started almost twenty minutes ago.

At first, you tried to ignore it. Pretended it was just another disagreement, a raised voice or two before everything settled down. But then something shattered.

Your stomach twisted.

You paced the length of you room, arms crossed tightly over your chest, fingers gripping the hem of your shirt. You didn’t know what to do. Could you do anything? If you went downstairs, you might make it worse. If you stayed put, you’d have to keep listening, the weight of every sharp word digging under your skin.

The sound of something else breaking made you flinch.

Your hands shook as you reached for your phone, quickly scrolling to Dawn’s contact. You pressed the call button and brought the phone to your ear, squeezing your eyes shut.

“Pick up. Please pick up.”

The line rang once. Twice.

Straight to voicemail.

You exhaled sharply, throat tight. Of course. It’s late. She’s probably asleep.

The voices downstairs swelled again, and you quickly set your phone aside, not trusting your grip. Instead, you crawled onto your bed, curling up against the plush comforter.

It was all you could do.

Just wait.

Wait for it to stop.

Wait for the voices to drop back down into silence, for the tension to dissolve into an uneasy stillness.

Eventually, exhaustion won out.

Even with the distant echoes of anger in the air, even with the weight pressing heavy on your chest—your eyelids grew heavier. Your body gave in.

And as you slipped into sleep, the last thing you heard was the sound of someone walking away downstairs.

The steady rhythm of a basketball hitting the wall filled the room, punctuated by the occasional swish as it landed perfectly in the small hoop hanging over his door. Wally leaned back against his pillows, tossing the ball absentmindedly, watching it spin in the air before catching it again.

His phone buzzed on his nightstand.

He ignored it.

Another buzz. Then another.

Probably the guys in the group chat talking about practice, or the game on Friday, or something else football-related. He just didn’t care right now. He needed a break. A second to breathe without thinking about running plays, winning streaks, or his coach drilling it into his head that he was the key to a championship.

He exhaled through his nose, tossing the ball a little harder.

His mind wandered back to practice, to the way his coach got on his case about picking up the pace. It wasn’t like he was slacking off, but lately, it felt like no matter how much he gave, it wasn’t enough. The pressure was there, constant, sitting heavy on his shoulders.

His grip tightened around the ball.

Then—his thoughts shifted.

To her voice.

The rehearsal.

That halftime thing the choir was doing with the cheerleaders. He hadn’t planned on paying attention, but he did. More than he wanted to admit.

The sound of her voice had cut through the noise of practice, weaving through the air in a way that made him stop. He hadn’t even seen her—just heard her, like something drawing him in before he could think twice about it.

And now he was wondering.

Who the hell was that?

His phone buzzed again.

He let the ball drop into his lap and ran a hand down his face, staring up at the ceiling, still hearing the lingering melody in his head.

And for the first time all night, it wasn’t football running circles in his brain.

It was her.

Whoever she was.

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