#Feherlofia

[mamaangiwine]

Worship of a god is sometimes simple recognition.

It is recognition when a god is in the rain or in the snow. When a god is in the lightning or the wind. It is appreciating a god in the rising of the sun or the light of the moon.

But it is also recognizing when a god is in you- When a god moves through you. Feels through you. Lives through you.

When I crack open a book and blindly devour it, read it as though I am hungrily searching for something larger and terrifying beneath its words, seeking for knowledge that could both potentially destroy me and yet set me free, I know that is Odin.

When I challenge myself physically, when I test my constitution and my stamina, or when I have mornings where I don't want to get of bed on account of fatigue or executive dysfunction but I do despite the enormity of the task, I know that's Fehérlófia.

When I wakeup in my room when it's dark and still and am left with a lingering sensation of a dream, or walk through a quiet whispering landscape of snow and feel the cold within me, when I become suddenly aware of my own looming death, I know that's Morana.

The gods have many physical forms; rocks, trees, sea and river, but we are their vessels that allow them to experience humanity for all that it is worth. We are the glove through which they feel all creation as only humans can, and in return they lend us their power. Acknowledgment of this exchange is important. Acknowledgement of this exchange is sometimes enough.

[redpanther23]

Here's another great one. This one has subtitles...it was really hard to find so I kept it private for a while, but hopefully it stays up for everyone to enjoy

[serpentinequeen]

Fehérlófia - Son of The White Mare (1981)

[umbramons2]

Griffmadár simogatása /Petting the Griffin -2021

[beaktube]

Here I go back on my avatar related bullshit again, but! I think I have ideas about how I would like to attempt a 2D avatar of Beak.

Feherlofia (1981) has a lovely style (which frankly looks much better in motion than as screencaps)

If I were to try out a 2D avatar of Beak, probably I would go with this style, it's simple enough that I probably can do a lot of experimental sort of shape shifting and the like with them without worrying so much about how to make it technically feasible on a free to use license, and it is incredibly pretty.

[sorcipy]

from concept to skin・₊✧ Fehérlófia (1981)

[waeirfaahl]

Possible inspiration for Aku's final design

Okay, it isn't some facts, mostly my assumption. If to not dig deep, Aku's design clearly is inspired by dead trees and Japanese dragons.

But what characters could be an inspiration? Well, from what I know, Frank Miller's Ronin and anime The Little Prince and The Eight-headed Dragon were inspirations for Samurai Jack. So, both these properties have certain characters with familiar traits.

First of all, Agat the shape-shifting demon from the comics Ronin. And the magic sword was actually his, so he killed the emperor simply for returning the sword. So, yep, aside of the "samurai vs demon in the distant future" concept, the stories and the characters, their arcs and goals are nothing alike.

Second, the Fire God from The Little Prince and The Eight-headed Dragon. I guess, this anime and also Feherlofia were main inspiration for visual style of Samurai Jack. I can't say that this guy is a villain, just a little bit arrogant entity, who doesn't care about others and was disturbed by the protagonist due to his fire which harms others.

And you can notice familiar sequences. The segment with this character is one of the best. And the fight is more like a deadly and elegant dance. At least this fiery guy wasn't killed, but just cooled down.

In the episode with zombies Aku's body was like a black fire in some scenes. Not to mention, how he absorbed the graveyard in the dark and attacked from the ground. Truly the element of nature.

[tenobelisk]

Combat in Roleplay Storytelling

ughhhhhhh okay, so if you're talking about player agency in tabletop roleplaying games (ttrpgs) but you're NOT involving combat in the equation because you're focusing on "meaningful changes to the story" then i make sad face.

i'm sorry? so, what.. combat is a completely separate little playtime bubble where nothing characters do has a meaningful impact on the direction an adventure takes?

doesn't that indicate a problem with the way you frame combat within the structure of the story you're telling then? no wonder ive known so many who dislike or are indifferent about combat in ttrpgs.

combat can be an expression of interrelational conflict, emotional expression, moral dissonance. i mean.. just.. son of the white mare (feherlofia) pits demigods and monstrous minions against each other to echo the conflict of the eternal spirit of an ideal against occupation and the military machine.

..and south east asian media is absolutely RIFE with examples of amazing battles that are as symbolic as they are viscerally tactile. are you really saying you cannot weave interpersonal structure (and therefore directional agency and influence on the story) into combat?

just.. that's just a problem you have with how you treat combat. if you really want to unify different playing styles (which sadly means different players a lot of the time) into a single adventure, you need to understand the storytelling power of a good fight.

[malazansapper]

going to see feherlofia / son of the white mare, with a live score tonight!

[kallenchi]

Fanart of Fehérlófia (Son of the White Mare), one of the most visually striking films I have ever seen.

[mamaangiwine]

Fehérlófia descends the twisted roots of Turkey Oak. Apollo calls into the darkness of Python's cave...

Michael flies into the gaping mouth of Hell.

Michealmas is upon us. In my practice this is the time of year in which we say goodbye and goodnight to The Sun.

The Sun will slumber and will not awake until spring.

The Sun will descend into darkness and will not return until The Beast is slain.

While Michael traverses the bowels of Hell, there is no one to survey the skies- and so The Wild Hunt begins.

[serpentinequeen]

Son of the White Mare (1981)

[everyanimatedmovie]

477. Son of the White Mare (AKA Feherlofia) (1981)

8/10

For what it lacks in conventional narrative structure, this Hungarian movie more than makes up for visually. Based on Hungarian folklore, it tells the story of a celestial kingdom in the branches of the world tree, rent by dragons from its roots, who kill the three princes and steal their three suitors away to the underworld. The queen, transformed into a white mare, gives birth to three new sons, but the third she raises to be stronger than the others by giving him her life (via breastfeeding for eighteen years...desperate times, I suppose.) This son has to go to the underworld with help from his brothers to kill the dragons and free the princesses.

The beauty of the animation in Janos Vitel is mirrored in Feherlofia, and both movies are a sight to be seen. The delicacy of using the animation to touch on subjects not mentioned in dialogue, and to draw parallels between characters and subjects, gives the art a distinctively dreamlike quality, which is something to be appreciated compared to the American and Japanese tendency toward literalism in animation. You could easily use this movie to teach symbolism in a classroom - it seethes with metaphor like a rotting log in a forest does with fungal growth. The impressive and unusual design work alone makes Feherlofia worth watching, and the rich color palettes are very pleasing to the eye. If you decide to ruin family night with a weird art film, there’s a small chance your family will actually enjoy this one, though I wouldn’t bet on it.

The director, Marcell Jankovics, later was involved with the art department on Disney’s The Emperor’s New Groove, though development on that project eventually moved away from the mythological and mystical tones of his prior work, for better or worse.

[archosaur-automaton]

I’d like to introduce Tumblr to one of my absolute favorite movies.  https://en.wikipedia.org/wiki/Son_of_the_White_Mare Fehérlófia (Son of the White Mare) is a 1981 Hungarian psychedelic film based on ancient Hungarian/Hunnic/Avaric mythology and legends. It follows Fanyüvő (Tree-Tearer), the aforementioned Son of the White Mare, a superhuman hero who quests to find his lost brothers and rescue the world from the grasp of the evil dragons. The term “dragon” here is used extremely loosely -- they are less ‘reptilian beast’ and more “malevolent manifestation of great and terrible power”. Here’s a clip showing Fanyüvő facing off against one of them. (FLASHING / STROBING LIGHT WARNING) https://www.youtube.com/watch?v=nmJR3srPR6M Look at the amazing use of color, of solid two-dimensional images that move as if they were a natural part of three-dimensional space! Look at the fluidity of scale and perspective used in a way that serves to heighten the narrative rather than seeming sloppy or out of place! Look at how seamlessly the animation and lighting meshes with sound and music! Look at the creature design on the Dragon, how it feels like an unrelenting force of malice more compelling than most monsters you see in fiction! When the Dragon turns its skin into a mirror and disguises itself as Fanyüvő‘s bride (the blue woman)! The pathos! The artistry! Groundbreaking!! Now imagine experiencing 90 minutes of this, drunk on the richness of it and cloaked in the lights, the colors, the score that straddles the border between orchestral masterpiece and 2001: A Space Odyssey.   In addition to the technical artistry, I am wholly in love with its subject material -- Hungarian mythology, a subject I find that the world does not know nearly enough about. From the upper-mid-lower worlds divide, unified by the World-Tree (the undeniable parallels with Norse mythology!), to the great Turul birds that live in the upper branches of the World Tree itself, the sárkányok (dragons) and the gods, Hungarian mythology is brilliant and beautiful and it is a shame it is so unknown.  Despite great effort, the only full version of it I’ve ever been able to find is with the original Hungarian dialogue (which I do not speak) and no subtitles. Nevertheless, the plot is actually relatively easy to follow, and it gives infinite capacity for the mind to roam and fill in the gaps.  Fehérlófia deserves so much credit for being a masterwork of storytelling and animation and it would be a shame if it continued not to receive the love it deserves. If you can get your hands on a copy, by all means do so, even if it’s the Hungarian dub. It’s well worth it!

[carmeltheslimy]

⬜🐎😪

[waeirfaahl]

About 2 season of Primal and about the horned entity

1 season of Primal is one of my favourite series of all time. Gorgeous animation, breathtaking and brutal fights, stunning music, mesmerizing prehistoric world with dinosaurs and various animals and magical tribes, perfect combination of drama, humour, horror, adventure and emotional relationships of incredibly relatable characters. By far, 1 season of Primal is the pure masterpiece. Hence, 2 season had really great potential for epic story in unique setting and with various new creatures, magical tribes or even supernatural beings.

But 2 season happens (and it doesn't explain how the vikings found Mira, who travelled many miles with Spear and Fang, and why they so wanted to capture her again, but didn't capture her friends from her tribe), and with the first two really powerful episodes, the other episodes and the story itself in this season are bad. I was incredibly skeptical and even negative toward the idea of adding modern humans, because it simply made 2 season primitive, boring and bland. Evetything what made 1 season and the series itself so unique, deep, tragic and fresh in therms of setting, story and conflicts was erased. The ambiguity, maturity and complexity of 1 season (with wild world, where everyone tries to survive) is erased. Even the fight scenes in 2 season are downgrade, as well as the villains die in bland way (falling from height as in most Disney movies). 2 season has several absolutely unneeded, one-dimensional, faceless and stereotypical villains (the tyrant queen with typical cliche "Oh no, they capture and enslave people!"), and the certain ones even have hypocritical shades (vikings "Oh no, I and my tribe enslaved and killed people, so how dare Spear and Fang to kill my tribe, protecting their friend we enslaved!"), who just happens here and has no importance for the story and characters. The queen is the brightest example. (and how the f*ck many sea dinosaur didn't attack and eat/kill vikings and Egyptians, if they travel in ocean/sea?!)

The Egyptian queen and this sub-plot with enslaved Africans are just waste of time, pointless waste of time (Spear had all chances and moments to easily kill her in 7 or 8 episodes)— especially with the fact that Kamau and his family obviously died after the fire viking arrived. So what's the f*cking point?! So 7, 8 and 9 episodes have to be removed, as well as 5 episode, which is literally The Big-Lipped Alligator Moment, coming from nowhere.

Not to mention Genndy's creepy preg-fetishes again. Now I'll make it clear, I have no problems with Fang laying her eggs with detailed demonstrating her cloaca. The problem here is in Genndy's boasting by this scene like "If it never was in animation, so you have to add this type of content!" — oh yes, there never were animated films, where characters are pregnant or give birth, right?! No "Feherlofia", no "Spirit the stallion of Cimmaron", no "Krtek", no "Ice Age 3", no "A hen into the wild", for example?! I even don't want to make jokes about hentai with specific genres, where this "groundbreaking" aspect happens for eternity.

And not to mention the f*cking blatant necrophilia Genndy forced Mira to do in the finale. Yes, if many people scorned the scene where Fang gives birth, the scene between Mira and dead Spear in the finale bothers me much much more. Absolutely disgusting sh*t, which literally humilates dying Spear and breaks the logic! Really, Spear has the most serious and fatal burns. He experiences unbearable pain and he had to die almost immediately. But somehow he is still alive all these hours for Mira's coming and somehow he still has genitals and somehow he f*cking was able to make a child to Mira for a few seconds before death — that moment destroys the logic and every grasp of reality!

I can not for the life of me understand, why the author is so obsessed with pregnancy and childbirth (so he shows it in almost all his projects) and "You have to make babies before death or any other trouble! It's your main purpose!" idea — I won't be surprised, if the ending in "Fixed" will be about this, i.e. the protagonist dog will mate before his neutering, so his female friend will have pups. Not to mention the author's obsessiveness in giving daughters (lots of daughters, lots of sudden daughters) to some awesome male characters, especially to the ones who always were asexual and lonely and never interested in carnal pleasures, in getting wife and making children. Plus, due to the fact that every main female character in Genndy's shows is literal Mary Sue (except Mira), I am afraid for 3 season and Spear's daughter, because Tartakovsky can turn her into Mary Sue, whose only excuse for all-powerfullnes is "My daddy was cool, so that's why I am cool! His genes made me cool!".

I was against continuing the show, I was against the idea of making 3 season, because the final scene (above) was at least poetic, but more I am against the anthology idea. But my main issue in 2 season is the horned deity, who's either Surtr or Vidarr or some kind of revenge/hell god (Genndy said it's unstated, who this entity is). And the main problem is that this character literally is a plot device. He's absolutely real in the story, he's not some symbol or whatever, and he affects on the events in the story. He has no motivation and goal for things he does in 2 season. He was created simply because the authors were unable to make logical events for Spear's heroic death in successful attempt to protect his friends (if they so wanted to kill Spear).

Seriously, the viking and his son died in 6 episode — the end of the conflict. But the horned entity in exchange of Eldar's resurrection offers the viking-father to bring Spear and Fang to him/it. WHY?! What this entity wanted from Spear and Fang?! And why he/it offered/ordered this exactly to the viking instead of own demonic servants, if he/it didn't want to do this by self?! What is the benefit for him here and in what?! Absolutely no explanation.

The biggest WTF-moment happens in 10 episode. The viking, even being in demonic form, is scared of Spear, who kicked his ass, and although the viking seriously injured Spear and hurted Fang, they both were still alive, but the entity grabs the viking into the underworld, absolutely ignoring Spear and Fang. THEN WHAT THIS HORNED THING WANTED?! Seriously, a third-party incomprehensible character comes from nowhere and gets into someone else's conflict already completed in episode 6, continues it and eventually resolves it himself in episode 10! What kind of nonsense is this?!

What's a point to add this random supernatural sh*t, if it has no development, no personality as a real character, no explained nature and role, no motivation and goal to be here and to do something?! The horned entity is a plot device, the function for the events the author wants to happen, ignoring plot or logical holes and contradictions in favor of "higher messages/symbolism".