#I do a lot of traditional art typically

[doodlingbiscuit]

I like to imagine Donnie just said like the best diss ever

[spaghetticat3899]

Grinning Companion scribbles

Assorted Aggie/magma doodles of me and my friends’ critters (plus Allan and Charlie). I have a crittersona whom I have yet to name. Some sort of goblin shark, bird, rat thing. Yes that is a Charlie plush doused in milk. One day…

You can somewhat see the evolution of the critter-sona here, they’d originally had a small brow ridge and Allan-ish eyes. I gave them dot eyes because only Charlie had them to my memory. They’d also were meant to just be a background character, never interacting with the canon fellows, minus the crossing of paths on occasion… but then I had fun imagining them being coworkers, so. I don’t know if it’s an AU or not, just roll with it. Important details: teeth and long ass fingers

Mr Boss and Pim are surprisingly pains in the ass to draw, if you were wondering. Somehow I get the Boss more correct than Mr pink circle somehow.

[dreampearls]

honestly I went into the sumeru archon quest ready to hate nahida or at the very least be very indifferent to her bc I was so like. Tired of how blatantly orientalist every aspect of sumeru seemed to be + nahidas design compounded w the fact that she's an archon using the chibi model reaaaalllly did not leave a good impression. .....However !! ! I actually ended up really liking her as a character despite my reservations. i think she might be my favorite archon if I'm going to be honest

[cochart]

Some SMT5 Characters in P5T style because it’s cute

I’ve been enjoying P5T during my little self-assigned winter break. I haven’t cleared the game yet, but it’s been a nice distraction.

Below is some of my thoughts on P5T if you’re interested or if you’re trying to decide whether or not to buy.

Overall, the game has been pretty enjoyable. It’s nice to see the characters you’re familiar with again and the story is decent. The art style is cute and the battles are enjoyable. The game is definitely more on the casual side and might be a tad bit disappointing for people who want a proper SRPG. On the flip side, even if you hate SRPG, you’d be able to pick this game up easily. I’d definitely recommend the game for P5 fans.

On the other hand, compared to P5S, the game does feel a little short for the price. I don’t regret preordering the game at all, but if your finances aren’t doing so well at the moment, I’d say wait till it goes on a sale.

1. As a Persona 5 spinoff

As a spinoff, I think it’s a pretty nice game. It’s nice to see the characters you love again in a different context, and the new characters are fun and likable. I’m actually quite impressed by the new characters as it can sometimes be difficult to insert new characters into a well-established franchise without making them overpowered or otherwise upsetting to the existing fans. Both Toshiro and Elle are likable, fun characters with decent stories of their own.

It’s also nice to see your favorite Phantom Thieves again. Overall, the tone of the game is more playful, so you can’t expect an in-depth character exploration you get in P5R, but it still feels like a treat.

2. As an SRPG

I think the game translated the elements of Persona franchise well into an SRPG genre. With 1 MORE and Tribangle system, you really do feel like you’re playing a Persona game. While it might be a tad bit disappointing that you can only use three characters per battle, trying to find the most efficient way to exterminate the enemies with Tribangle is pretty fun.

That said, for people coming from a more traditional SRPG like Final Fantasy Tactics or the Fire Emblem series, P5T can be a little lacking. Part of the fun in an SRPG is customizing units and building your army. In P5T, you level up the Phantom Thieves as a whole instead of individually. I think this was necessary to prevent users having to grind to level up different units, but it also makes it harder for you as a player to customize each unit meaningfully. In FE3H, for example, you can decide whether you want Felix to be a sword master or a wyvern lord. You can also decide whether you’d want your army to be sturdier with a lot of armored units or whether you’d take your chances by raising your units’ agility and hoping that they’d dodge enemy attacks. That you can’t do such customization can be a huge disappointment for people who enjoy SRPG.

On the other hand, adopting such traditional job/class system might have turned P5T into a poor man’s FE. I feel like the developers had to choose between a traditional approach at the risk of making the game look like a FE ripoff and trying to make use of Persona-typical systems at the expense of being a solid SRPG.

Overall, the game plays more like a fun puzzle game than an SRPG. If I were to compare P5T to any game, I’d actually compare it to some of the puzzle maps in FEH. My advice is if you’re looking for a solid SRPG like Fire Emblem, you should pick up a Fire Emblem game.

3. Others

While the game doesn’t feel unfinished—like Crimson Flower route in FE3H in which you feel cheated out of Edel’s story—it does feel a little short. I haven’t gotten to the final boss, but I can look at the level and guess where I am. I’ve been playing this game in bits and pieces, but I’m already 60% finished with the game. I think at this rate, I’d finish at about 35~40ish hours. Keep in mind that when I play games, I eat and drink, so it takes a little longer than it would if I were to focus completely on the game.

One thing that shortens the game is that there isn’t anything to do aside from battling. I know some people hate it when games involve little side activity like walking around and talking to characters—though you can technically talk to characters in P5T when there’s a Talk event—or farming, but I do wish there was something to do. The quests are fun, but there aren’t that many of them.

On the other hand, because you don’t have anything to work for besides getting on with the story, I’m not sure if the developers could have made the game longer without making the battles feel too repetitive. If there were job/class systems or any unit customization available, there would be something to work for, but there isn’t.

I do think there is more potential to the premise of the game though. The Kingdoms of P5T is sort of set up like Silent Hill in that the bosses are incarnations of one’s fear. I think the developers could definitely have expanded on that.

I’ve also seen some complaints that the game is too easy. The game is definitely easier than some SRPG I played. But then, I don’t think this game was made with hardcore SRPG players in mind. Also, despite the game being a bit more casual, I didn’t feel bored playing the battles. So I think the difficulty level might actually be more suitable for the general public. Aside from something like Dark Souls, games of all genres have been getting easier over the years. I know it might be disappointing to people who want more challenging games, but I don’t see the trend reversing soon. I think the best course of action if you want more challenge is to try looking into some indie games.

[windvexer]

Using tarot to read on magical events in your own practice: quick theory, new card meanings, and spread ideas

this post is OC based on my personal tarot practice; the examples given are hypothetical for the sake of this post.

Well-meaning guy: "If you think that event was a bad omen, why not read tarot to clarify?"

Person who learned tarot from popular online resources and introspection-focused art decks: "I drew the 6/Cups, so I guess my ward falling off the wall is about my inner child?"

Tarot meanings change and evolve over time. Historical meanings are often not the same, or even contrary to, modern meanings. (Consider, 6/Pentacles: the French present moment was misinterpreted to mean presents, gifts).

By acknowledging that many modern meanings available for tarot cards are modern interpretations for modern concerns, many of which have fuckall to do with witchcraft, we can also acknowledge that we can apply our own sets of meanings to tarot to achieve personal interpretations in pursuit of personal goals.

I call this concept symbol sets, and you can apply your own symbol sets to certain tarot readings in order to rapidly obtain information about magical events in your life.

Symbol sets can be swapped out for each reading. You can intend to operate on your "normal meanings" for a typical reading, and then intend to operate with "magical omen meanings" for another reading.

There are no such things as universal tarot card meanings; there are some traditional meanings, some historical meanings, and many modern meanings. Adjust what each card means to you to your heart's delight.

The more symbol sets I've developed and practiced with, the more versatile and accurate my tarot reading has become. Working with custom symbol sets might be the single biggest leap in my reading ability in 16 years of practice. At least, it feels that way!

Quick n' Dirty Symbol Set for Magical Omens, Appropriate for Everyday Use

1. Apply general portents to each suit which matches your magical practice.

Here is one set that could be suitable to troubleshooting potentially magic events:

Swords, or Air: Misfortune, betrayal, malefica, ill-intent, adversity, due to harmful (even if unintentional) spirit action, pointless or wasted effort. Sometimes, banishing, binding and hexes.

Wands, or Fire: A lot of power, excessive power, due to your own actions, uncontained energy, something you did was very much overdone. Sometimes, protection and empowerment.

Pentacles, or Earth: Mundane, physical and normal reasons, an everyday occurrence, mundane but natural growth and change. Sometimes, unlocking and unblocking.

Cups, or Water: Blessings, magic working as intended (even if unexpectedly), the normal course of magical events, magical growth and change. Sometimes, cleansing and purifying.

Major Arcana: Guiding spirits and gods; their behaviors, guidance, or messages.

A spirit worker might like to add an additional layer of complexity, which modifies the prior set:

Court Cards: The actions of another being, such as a practitioner, god, or spirit, whether they acted intentionally to bring about the event or not.

(Further breakdown, as an example: Swords courts are beings intentionally acting badly; Wands courts are the most important spirits of your path; Pentacles courts are mundane folk or spirits unrelated to your path; Water courts are other practitioners, or spirits related to your path without being in your "inner court.")

Interpret any card drawn within these principles. Here are a few random examples. Let's say, a money spell has failed to produce results, and we'd like to know why.

5/Cups [disappointment, failure]: This is the normal course of magical events; the spell wasn't cast well, and so nothing is happening.

9/Wands [determination, boundaries]: A lot of energy was raised, but incorrectly targeted or released; the energy is cooped up.

Judgment [judgment]: An important spirit in your path wants you to deal with what you have been avoiding, and will interfere with your magic until you face them.

Spread Ideas

"What's going on with that thing?" | 3 cards

Card 1: The source or cause

Card 2: The current state of affairs

Card 3: Suggested action

Example; the money jar doesn't work: Card 1, King/Swords: The source of failure was the person in the discord server who promised to curse you for not feeling the same way about Destiel as they did. Card 2, Page/Pentacles: The current state of affairs is that as a symptom of the curse, an unaware person or spirit is blocking the prosperity you seek. Card 3, Queen/Cups: Ask a benevolent spirit or helpful practitioner friend to assist you in unblocking the situation.

Determining responsibility | 2 cards

Card 1: Why this thing happened

Card 2: Why it didn't happen; one thing that wasn't the cause at all

Example; the ward fell off the wall: Card 1, 10/Pentacles: This happened because of random happenstance in the home; it was not a magical event. Card 2, Ace/Swords: This action was unrelated to malefica or bad spirits or things like that.

Foresight Before Acting | 4 cards

Card 1: The current state of affairs

Card 2: The outcome of your intended plan of action

Card 3: Recommended plan of action

Card 4: The outcome of the recommended plan

Example; the spirits did not seem to appear during a spirit petition spell: Card 1, 3/Wands: Sufficient energy was raised to attract the attention of spirits, but they may not have been properly called to action. Card 2, 6/Swords: Your plan to call the spirits back and re-cast the spell is a fruitless attempt at a transition into a new plan. Card 3, Empress: Communicate with your primary goddess or powerful spirit of the earth and obtain input and guidance. Card 4, Magician: This plan will result in obtaining important magical information about this type of summoning spell you are trying to achieve.

[catskets]

From Desires to Demo: How to Write a Good Demo for your Visual Novel

I'm deciding I want to expand on some topics in longer, fuller-length posts based on points I made in this general VN development post.

There is a problem that players have expressed to me about visual novel demos, especially in horror/romance/yandere circles these days: they are not demos at all. Rather, they feel like introductions to the characters and the setting, and nothing happens at all. No one wants to have to go find out everything good about your game by going to your Tumblr and going through 10+ months of asks to get themselves hyped up for your game. Most people are not going to do that. They will instead play your demo and go "this isn't enough for me to come back to" and never think about it again.

How, then, do you get people playing your demo and being excited for the full game? This is my personal guide on how to make a compelling visual novel demo.

In case you've never heard of me, I'm Kat, also known as catsket. I have a Bachelor of Fine Arts in Game Design. I've been making games for nearly 5 years, and I've been doing visual novels more "professionally" for 2. You may know me for Art Without Blood, 10:16, God is in the Radio, or Fatal Focus. I'm here to help you make your first visual novel, or, perhaps, improve on what you've already made.

What is the purpose of a demo?

A demo is short or a demonstration. Your job is to demonstrate a portion of your game to players. In more "traditional" games, a demo typically takes place in a very tightly-constricted space that is meant to show off how the game feels. Maybe this is the first few levels of a platformer that showcases the general atmosphere and gameplay of the game.

We aren't making action and adventure games in explorable spaces. We are making visual novels. Most visual novel demos just showcase a small portion of the game, maybe the first few scenes.

What your demo should have is this:

A general vibe for your game. You're writing a psychological horror game. Give me a taste of that! Show me a bit of the gore, a bit of the horror.

A sense of urgency. A lot of demos I've played and discarded have been discarded because the game itself does not give me a motivation

An established plot. What is going to happen in the future? Why am I in this world?

In general, think of your game as the back cover of a book. That's where the hook that draws you in to read it. Just give me a proper taste of your game!

There are cases in traditional games where things are hidden from the player in demos (let's all remember MGS2) and where things are changed in from the demo to the final product. That's perfectly okay! You are not obligated to update your demo unless you find gamebreaking bugs and other issues. If things change from the demo to the final product, let your players be surprised and intrigued by these changes!

I can make this a list of do's and don'ts:

Before writing your demo...

Do: Outline, plan, and everything else.

Unless you're blessed by Mnemosyne herself, you need to outline where your story is going to go.

When starting a project, I write a 1-2 page document that has this information:

Name of the game

The target audience

The genre and moods

A paragraph summary of the game

1-2 sentences describing main characters and their roles

Write a short scene that captures the essence of the game

Write a basic outline. You don't need to fit everything in and outline it all, but give yourself an idea. A beginning, a middle, a climax, and an end. Some people just write the start and the finish, and then the middle gets all muddled and convoluted.

While writing your demo....

Do: Make it clear how the choices will impact the game

Visual novels are a medium where player choices affect the game. Make sure those choices actually matter. They don't all have to, of course. They might matter later in the game, but you should at least try to write an example of how a choice may matter.

For example, in Art Without Blood's new demo, certain choices mean you meet the characters in a different order and experience different sides of them.

Having a certain amount of a sanity stat will cause characters to give you some flavor text.

Here's a very simple idea: if you're running your game on a "love points" or other points system, you can make it so if player gets 10 points with love interest, get a different scene. It shows that your choices are impactful. Just let players have a taste of the consequences of their actions.

Don't: Character dump.

Many demos I have played were just character dumps. This means using the demo just to introduce to us the characters but not giving them room to truly show their personalities or their attachments to the problem.

For example, I played a game recently that had the player complaining about their living situation, showing us the characters in the same living complex, showed off the yandere, and then had the player deal with an annoying, evil boss. That sounds like lots of games, right? And that doesn't sound very fun, does it?

Do: Ground the player in the world

Try to immerse your player character in your world. I want to read like I'm part of it. What is our purpose? If we are a stranger, how can you immerse us in a world so far removed from ours?

Do it slowly, and do it with necessity. You don't necessarily want an exposition dump either.

Establish the world, establish the conflict, establish why they got into this conflict, and leave us off with a reason to come back.

Don't: Make your players have to visit other sites to get important information

Your ask blogs or other social medias should contain supplemental material that keeps players engaged, but it should not be a place where you should go "well, actually, in the demo, x y and z should have happened but it didn't."

Try not to spoil your game on your socials. What's the point of playing if I can just read it all on your blog?

I should learn about the plot and the characters from the game itself. I should not have to get a sense from your blog about a character because they were so dry in the demo.

Obviously, this isn't to say you need to include everything about a character in your demo. But we need to get a sense of personality. I shouldn't have to go to Tumblr to find that personality.

Do: Ask for help

Making a game on your own, especially for the first time, is scary. It's okay to ask for help. It's okay to get people to help you out with parts you aren't so familiar with. It doesn't make you any less of a developer. A lot of people need some degree of help. There is nothing wrong with that.

Don't: Start your marketing until you know you can finish the demo

I've seen lots of demos that have been in the works for years. It can be disappointing for fans and demotivating for the developer to have an idea, tell the world, and then not see a demo for a long time. This is especially the case when money is involved, but it's still irresponsible to promise a product and never deliver it. Be honest about the status of projects and your life.

Do: Outline content warnings properly

It is up to the player to decide if they think they're capable and ready to play your game. Make sure to outline your content warnings. Cover the basics, and feel free to leave an extended warnings list in your game or on your game page for specifics.

Content warnings are usually things like blood/violence, profanity, sexual content, etc. Trigger warnings typically get into specific things, like suicide, dentists, or religious trauma. Think of content warnings like the ERSB.

Put a splash screen before the game starts that showcase the content warnings and a place to find trigger warnings.

Don't: Pull back punches with what your characters are capable of

It's fiction. It doesn't necessarily mean you support your characters being crazy stalkers. Know the audience you want to write for, and don't feel a need to cower. Let them be filthy. Let them get their hands deep into someone's chest cavity and rip a body apart.

What I'm trying to say is you really shouldn't tone down what you think your characters are capable of because you're afraid of making fans sad or upset because pookie isn't acting the way they thought pookie acted in their head. It's your character. You're commanding the story. You are choosing where it goes, not fans. Just because you have an audience doesn't mean you need to tone it down to be more palpable to others.

Once your demo is released...

Do: Keep a balance

Making games is very, very hard. And the world is very, very harsh. It is okay to let your fans know about delays or potential cancellations, such as through the devlogs on itch.io for your game, in your community spaces, or on your blog. Please be honest. If you do not think that, after a demo's release, you can continue on the project, make it clear that it has been cancelled or on hiatus.

People will be understanding. The world sucks, and it sucks the life out of us. People are more forgiving if you are honest with the status of your game, rather than leaving it in a perpetual limbo.

Don't: Think that the popularity of your demo constitutes how "good" your game is.

Your demo may not do well. That could be a number of factors. Maybe your marketing didn't hit where you think it should have. Maybe you posted it at the same time as another game. Not your fault. The full release may do better. Don't let the numbers be the reason you give up.

Do: Network!

Get to know fellow developers in the space so you can learn from one another and get more ideas for improving your own games.

Don't: Use developers.

Use a developer's resources. You should not be making friends with other devs if your desire is to try and become friends with big people. That's a parasocial relationship, buddy!

Do: Tell your fans the course of action

Do you have a development timeline set up? Writing multiple days? Give fans a general outline that you planned before writing your demo. It's okay to miss things as long as you're honest. But a timeline will help you hold accountability for yourself.

Don't: Charge for it.

I've seen at least 3 games take the "I'm going to charge for a demo" route in an effort to sway children from playing the game. This is going to sway everyone. Especially if players have not seen a complete + finished product from you, they will not be buying an unfinished game. There are other ways to hide your games from children, such as using itch.io's adult content filters and applying them to your projects.

Main takeaway: Be honest.

I say this a lot throughout this post, but it's because it pushes on a particular trend I see in beginner visual novel developers. There's this desire to create, but there is also the desire for fandom centered around what characters and world spawn from your creations. To maintain that fandom, you need to create. You need to be consistent. It may be harsh, but it's the reality.

Life is hard, and a large majority of us are NOT doing this for a living. Life will get in the way. It always has, it always will.

That's why it's good to practice integrity. Know yourself and your limits. Take steps back and be willing to be open + honest.

Fans won't be happy if you keep saying a game is delayed and show little to no work. Posting unrelated artwork and spending months answering Tumblr asks instead of making a game will eventually run you in the mud without anyone to enjoy what you have the potential to create.

Live up to your promises, and if you can't, be honest. Your community will support you as long as you're open.

[blue-devil-of-the-lord]

What kind of desert do you think Kurt would like? Is there any German deserts in particular he would like?

This is an interesting questions, thank you. So...

We don't really know a lot of what he likes in canon, however I seem to remember to have read that he is fond of chocolate and biscuits, which means I'm going from there.

I'd like to think, that Kurt is something we call a "Naschkatze" where I'm from. Don't know if it's used in other parts as well, but it's quite common from where I'm from. It's basically someone who loves to nibble on sweets as often as they can. Literally translate to "snacking cat" or "nibbeling cat"

He's got a sweet tooth, you could say. So, going from there:

He loves pastry. Doesn't matter if it's cake or cookies or cupakes, he loves it. If it got chocolate? He's in heaven. So, it's good that he's from Germany because we've got some really good cakes, if I may say so:

Schwarzwälder Kirschtorte: This is one of the most stereotypical cakes that you can find when looking up "German Cakes" but it's really good. It traditionally consists of several layers of chocolate sponge cake, cherries, cherry liqueur, whipped cream and chocolate rasps. It named after the "Schwarzwald" which is a region in Baden-Wüttenberg, the "neighbour" of Bavaria. It's really tasty and I'd like to think that he would love that.

Baumkuchen: Literellay means "tree cake", originating from it's looks. It consists of several layers of dough when baking it, making it look like the age rings of a tree. It's art to explain, but it's really good, one of my favourites actually.

Kalter Hund: Literally "Cold dog", also referred to as "Kalte Schnauze" or "Kalter Platt". I think this would be one of his all-time favourites because it not only consists of chocolate but also of biscuits. It is made from layers of chocolate cookies and a cream of chocolate and coconut oil. There are different variations of it, which can differ in the ingredients used. It's a little harder to make, at least in my experience, but it's really worth it.

Pudding: Kurt is in love with this stuff, especially chocolate, however only when it's hommade. The incredibly overly sweet stuff from the stores does not taste good in his opinion, so he refuses to eat it. He may have a sweet tooth but not that sweet.

Spekulatius: Another typical german sweet, that's an alltime favourite among Germans. It's usually just sold during Christmas time, due to the different spices that are used for it.

Mousse au Chocolat: Of course he's not restricted to German desserts only. It's a french dessert and since France is a neighbour of Germany it's not that far-feched that he loved it growing up. It's fluffy, it's chocolate... What more could he ask for?

Grießbrei mit Roter Grütze: "Semolina porridge with red fruit jelly" It's not really a dessert but it's quite famous and I personally know many many Germans who love it, me included.

Germknödel mit Vanillesoße: Germknödel are a traditional specialty of Austrian and Bavarian cuisine and are also popular in other regions of the Alpine countries. They are steamed yeast dumplings filled with a plum jam filling (Zwetschgenröster). Although the classic version is filled with plum jam, there are also variations of yeast dumplings with other fillings such as poppy seeds, apricots or curd cheese. Personally, I have always loved the fruit filling. Top it with vanilla sauce and poppy seed sugar and it's perfect.

Pictures in order

It's a bit much, but there are so many good desserts. In general I think he loves anything with chocolate in it, as long as it's real chocolate and not some fake stuff from the industries. He prefers usually darker chocolate but especially in cake she doesn't mind so much. He also likes a bit more heavy desserts such as Germknödel or Grießbrei, especially since he's from Bavaria where such desserts are more common, from my experience. You are welcome to correct me though.

Hope this was helpful :)

[turnaboutfix]

Oh yes of course!!!

I meant specifically like her very early concept art (blue haired) and like, one of the first ones where she has short hair (but still with those 2 loose locks at the front)? I hope you know which one I'm talking about lolol

BUT if you wanna speak your thoughts on like. All of them. I want to hear 👂❓️

( @ellivcca asked what I thought about Maya's concept art and I replied in priv if they could be more specific)

Let's talk about Maya's designs! ✨

I will skip the blue-haired art for now, since I have more to say about her other early designs. They're in a few Japanese AA Guidebooks, but "逆転裁判2 真相解明マニュアル", or "Gyakuten Saiban 2: Fact-Finding Manual" has the most in one place. There are blurbs that discuss the designs, and I'll do my best to summarize them. My Japanese isn't amazing and I had to mostly rely on machine translation + cross referencing dictionaries, so it's possible I may be inaccurate. Also, I'm a novice at Japanese culture, so if I'm misrepresenting anything please bring this to my attention and I'll correct things accordingly!

The book acknowledges that Maya was intended to be of high-school age, hence the the sailor suit artwork. They seem to suggest that the loose socks was a hint at Maya's spunky personality.

When they began to explore her as a spirit medium (1), they wanted her to come from a wealthy, noble family. It looks like a lot of these explorations made it to Franziska's design, with some of the shapes of the shoulders and the jabot-looking neck wear, which is interesting!

As they kept exploring in the second round of sketches (2), they stressed traditional/folk dress as being an important part of her design. They noted they had her carrying something on her back at the time, which I think hints more to her "folksy" feel.

The beaded necklace she's wearing in (2) are drawn from Mala bead necklaces, which are prayer beads rooted in Hinduism and Buddhism and are said to help focus the mind during meditation. They seem present in a lot of spiritual figures in Japan.

Later (3), they explicitly comment drawing inspiration from the Matagi, a group of hunting clans in the northern Japanese mountains (be careful looking them up, they do bear hunting and there's a lot of explicit imagery, even on the wikipedia).

They comment on that this version of her early character might be very athletic. She also seems to be more stoic in these explorations.

Then, for (4) and (5), they evolved the design to make it look appear more feminine, giving her long hair, but making a note that her look isn't typical of modern people. The large orbs in (3), (4) and (5) I think are supposed be drawn from "Yuigesa"(結袈裟), or harnesses decorated with pom-poms worn by Shugendō practitioners, hermits who live in the mountains and practice asceticism.

Then in (6), they added the magatama and committed to her having black hair. They note shortening the hem of her costume from design (5).

The magatama addition is pretty significant! Magatama necklaces are used by noro priestesses of the Ryukyu Kingdom from the islands in the very south of Japan.

Their religion broadly speaking, involves ancestor worship and the relationships between the living and dead, gods and spirits. It seems to me like the culture in Kurain Village draws a lot from the Ryukyuan people--and you can even see this with the beads along with the magatamas.

But there seems to be a lot of generic imagery of Spirit Mediums that I've been able to find in Japanese media which have shared elements of design in Maya's final design. The most interesting of these to me is "ほんとにあった!霊媒先生", or "It Really Happened! Spirit Medium Teacher". The design similarities are striking (and make me wonder if Maya was an inspiration?)

So, to summarize it all up, it seems like the early designers (and there were only two! Kumiko Suekane and Tatsuro Iwamoto) wanted a character who was different, folksy, feminine and spunky that displayed unique spiritual power to aid in the narrative/game mechanics of the games, and they explored the different facets of their own culture--from the northern Matagi clans to the southern Ryukyuan people--Japanese iconography, and tastes into Maya's final design.

And I think that's Real Neat. :)

Thoughts about other designs (Blue-Haired/SoJ Maya) under the cut cuz oh my gosh this post is already huge.

Blue haired Maya!

What's interesting to me is that a lot of the design language on this early Maya art seems to have been carried over to Ema's design (glasses, boots, coat/skirt). She also has similar vibes to Lynne from Ghost Trick.

I definitely enjoy Maya's final design a lot better, but I like the triadic color harmony and spunk here!

And then her design update in Spirit of Justice! These concepts are from "逆転裁判6 公式ビジュアルブック", or "Gyakuten Saiban 6: Official Visual Book". :)

Takuro Fuse (the character designer) comments that he never drew Maya before when he took a stab at updating her, so he wanted to get that down first before tackling the designs. He wondered how she would change over the course of 11 years, and first experimented with a design, thinking about how Mia would look like as a spirit medium. He thought it would be interesting if Phoenix wouldn't be able to tell if Maya channeled Mia. (Me too tbh.)

I feel like this design has a bit too much going on, but I do like the longer cream colored sleeves!

Takuro talks more about how he was exploring all sorts of designs before landing on something more simple. He wanted her to have what he called a "traveling costume" and was very fond of the hat. These designs seem to pull from similar places I've discussed with Maya's early designs, as well as Japanese pilgrims.

As fun as the additions and changes to her design are, I think it was very smart to just add subtle changes: the longer robes, jacket, and the additional beads to her necklace. The shawl is a nice touch, too. This reflects how post-7yg Phoenix and Edgeworth also have subtle changes to their designs as well, which I love and I think were very smart moves from a design-perspective as well as personal taste. Their designs are very iconic and I think it was a service to maintain that iconography.

This was a very fun thing to explore! Thank you kindly @ellivcca for the ask!

[lilbeanz]

hello beanz, hope you're doing well! do you have any useless worldbuilding headcanons or jodt facts which are utterly useless or very mildly useful to the plot?

Hello lovely💗 I'm doing well, and I hope the same for you!

And gah! This is such a good ask! Definitely a thinker, too 🤭

The Useful Headcanons:

• The Wizarding World is called the Wixen World because fuck the patriarchy. (And yes, I realise both "wizard" and "witch" can be perceived as gender neutral, but typically, wizards are male, and witches are female (ugh👎))

• There are more magical schools than just eLEvEn, because as a wise man once said:

Take it from Hermione and Draco in GS,ch4:

“There’s around fifty in all of Europe,” Hermione began.

“Another fifty in Asia,” Draco carried on.

“Several in the Americas.”

“A handful of smaller schools scattered across the Pacific Islands.”

“And near a hundred in Africa.”

• Generally, wix are not homophobic, transphobic, or racist. Their prejudice problems revolve around blood and magical creatures.

Historically speaking, the Victorian era really fucked up Muggle society. And, yes, there was homophobic/racist ideology pre-Victorian era (1600s - 1700s), but by then, the magic and muggle world was already at odds with each other (Statute of Secrecy was eatablished in 1692) -- why would purebloods concern themselves with such trivial Muggle bigotry?

• Which leads me to my next worldbuilding point; Paganism. Traditional witchcraft and its influences on both the Wixen and Muggle worlds. Pureblood families are known to celebrate the Wheel of the Year -- equinoxes and solstices etc... Paganism existed before the statute and still exists into the Muggle world of course, which is how Muggles have wicca and the craft. Why Wiccan Muggles gather at Stone Henge for the summer solstice and all sorts. It just makes sense 🤌✨️

• Wolfstar. That's it. That's the whole bullet point. Just. Wolfstar.

• In Pureblood society, there is an unspoken hierarchy. The Malfoys' circle consisted of the Goyles, the Crabbes, and the Notts (and other notable Death Eater names), as well as the Parkinsons, the Greengrasses, and many other blood purist sympathisers.

Draco grew up with Greg, Vince, Pansy, Daphne, and Theo. The coming war will surely test the strength of childhood bonds...

• The divide between Draco and his father means Draco is becoming his own person as opposed to following in his father's footsteps. Draco finds himself striving to be a little more like his mother, and a lot more like himself.

The fire of rebellion flourishes inside him, but how far can he go before the flames grow out of his control?

The Not So Useful & Sort of Silly Headcanons:

• Crabbe and Goyle are not as thick as some people (*cough* Harry *cough*) perceive. Vince is a Transfiguration whizz-kid & Greg enjoys art.

• Pansy Parkinson falls in love very easily, but also very quickly moves onto her next meal -- ah, her next fixation.

• Mad-Eye Moody enjoyed a very relaxed year of his retirement from 1994 to 1995, with absolutely no home intrusions or attacks from dark wix.

• Lucius Malfoy has an unhealthy obsession with white peacocks. Especially his prized darling, Bartholomew Armand Malfoy the Third.

• Dobby has a cupboard specifically for storing all of his socks at Hogwarts.

• Professor Burbage had a groovy flower-power phase in the 70s.

• Harry sometimes finds himself talking to Draco's embroidered portrait on the Black family tapestry at Grimmauld Place.

• Erik, Nikolaj, and Katrina embark on a journey across America after graduating from Durmstrang. In their travels, they may discover many things...

I'm sure there's more! But here's what I can think of off the top of my head! 🥰💕

[jennamoran]

The Far Roofs: Systems

Hi!

Today I’m going to talk a little bit more about my forthcoming RPG, the Far Roofs. More specifically, I want to give a general overview of its game mechanics!

So the idea that first started the Far Roofs on the road to being its own game came out of me thinking a lot about what large projects feel like.

I was in one of those moods where I felt like the important thing in an RPG system was the parallel between that system and real-world experience. Where I felt like the key to art was always thinking about the end goal, or at least a local goal, as one did the work; and, the key to design was symmetry between the goals and methods, the means and ends.

I don't always feel that way, but it's how I work when I'm feeling both ambitious and technical.

So what I wanted to do was come up with an RPG mechanic that was really like the thing it was simulating:

Finding answers. Solving problems. Doing big things.

And it struck me that what that felt like, really, was a bit like ...

You get pieces over time. You wiggle them around. You try to fit them together. Sometimes, they fit together into larger pieces and then eventually a whole. Sometimes you just collect them and wiggle them around until suddenly there's an insight, an oh!, and you now know everything works.

The ideal thing to do here would probably be having a bag of widgets that can fit together in different ways---not as universally as Legos or whatever, but, like, gears and connectors and springs and motors and whatever. If I were going to be building a computer game I would probably think along those lines, anyway. You'd go to your screen of bits and bobs and move them around with your mouse until it hooked together into something that you liked.

... that's not really feasible for a tabletop RPG, though, at least, not with my typical financial resources. I could probably swing making that kind of thing, finding a 3d printing or woodworking partner or something to make the pieces, for the final kickstarter, but I don't have the resources to make a bunch of different physical object sets over time while I'm playtesting.

So the way I decided that I could implement this was by drawing letter tiles.

That I could do a system where you'd draw letter tiles ... not constantly, not specifically when you were working, but over time; in the moments, most of all, that could give you insight or progress.

Then, at some point, you'd have enough of them.

You'd see a word.

That word'd be your answer.

... not necessarily the word itself, but, like, what the word means to you and what the answer means to you, those would be the same.

The word would be a symbol for the answer that you've found, as a player and a character.

(The leftover letters would then stick around in your hand, bits of thought and experience that didn't directly lead to a solution there, but might help with something else later on.)

Anyway, I figured that this basic idea was feasible because, like, lots of people own Scrabble sets. Even if you don't, they're easier to find than sets of dice!

For a short indie game focused on just that this would probably have been enough of a mechanic all on its own. For a large release, though, the game needed more.

After thinking about it I decided that what it wanted was two more core resolution systems:

One, for stuff like, say ... kickstarter results ... where you're more interested in "how well did this do?" or "how good of an answer is this?" than in whether those results better fit AXLOTL or TEXTUAL. For this, I added cards, which you draw like letter tiles and combine into poker hands. A face card is probably enough for a baseline success, a pair of Kings would make the results rather exciting, and a royal flush result would smash records.

The other core system was for like ... everyday stuff. For starting a campfire or jumping a gap. That, by established RPG tradition, would use dice.

...

I guess technically it didn't have to; I mean, like, most of my games have been diceless, and in fact we've gotten to a point in the hobby where that's just "sort of unusual" instead of actually rare.

But, like, I like dice. I do. If I don't use them often, it's because I don't like the empty page of where to start in the first place building a bespoke diced system when I have so many good diceless systems right there.

... this time, though, I decided to just go for it.

--

The Dice System

So a long, long time ago I was working on a game called the Weapons of the Gods RPG. Eos Press had brought me in to do the setting, and somewhere in the middle of that endeavor, the game lost its system.

I only ever heard Eos' side of this, and these days I tend to take Eos' claims with a grain of salt ... but, my best guess is that all this stuff did happen, just, with a little more context that I don't and might not ever know?

Anyway, as best as I remember, the first writer they had doing their system quit midway through development. So they brought in a newer team to do the system, and halfway through that the team decided they'd have more fun using the system for their own game, and instead wrote up a quick alternate system for Weapons of the Gods to use.

This would have been fine if the alternate system were any good, but it was ... pretty obviously a quick kludge. It was ...

I think the best word for it would be "bad."

I don't even like the system they took away to be their own game, but at least I could believe that it was constructed with love. It was janky but like in a heartfelt way.

The replacement system was more the kind of thing where if you stepped in it you'd need a new pair of shoes.

It upset me.

It upset me, and so, full wroth, I decided to write a system to use for the game.

Now, I'd never done a diced system before at that point. My only solo game had been Nobilis. So I took a bunch of dice and started rolling them, to see ... like ... what the most fun way of reading them was.

Where I landed, ultimately, was looking for matches.

The core system for Weapons of the Gods was basically, roll some number of d10s, and if you got 3 4s, that was a 34. If you got 2 9s, that was a 29. If your best die was a 7 and you had no pairs at all, you got 1 7. 17.

It didn't have any really amazing statistical properties, but the act of rolling was fun. It was rhythmic, you know, you'd see 3 4s and putting them together into 34 was a tiny tiny dopamine shot at the cost of basically zero brain effort. It was pattern recognition, which the brain tends to enjoy.

I mean, obviously, it would pall in a few minutes if you just sat there rolling the dice for no reason ... but, as far as dice rolling goes, it was fun.

So when I went to do an optional diced system for the Chuubo's Marvelous Wish-Granting Engine RPG, years later, to post here on tumblr ... I already knew what would make that roll fun. That is, rolling a handful of dice and looking for matches.

What about making it even more fun?

... well, critical results are fun, so what about adding them and aiming to have a lot of them, though still like rare enough to surprise?

It made sense to me to call no matches at all a critical failure, and a triple a critical success. So I started fiddling with dice pool size to get the numbers where I wanted them.

I'm reconstructing a bit at this point, but I imagine that I hit 6d10 and was like: "these are roughly the right odds, but this is one too many dice to look at quickly on the table, and I don't like that critical failure would be a bit more common than crit success."

So after some wrestling with things I wound up with a dice pool of 5d6, which is the dice pool I'm still using today.

If you roll 5d6, you'll probably get a pair. But now and then, you'll get a triple (or more!) My combinatorics is rusty, so I might have missed a case, but, like ... 17% of the time, triples, quadruples, or quintuples? And around 9% chance, for no matches at all?

I think I was probably looking for 15% and 10%, that those were likely my optimum, but ... well, 5d6 comes pretty close. Roughly 25% total was about as far as I thought I could push critical results while still having them feel kind or rare. Like ...

If I'm rolling a d20 in a D&D-like system, and if I'm going to succeed on an 18+, that's around when success is exciting, right? Maybe 17+, though that's pushing it? So we want to fall in the 15-20% range for a "special good roll." And people have been playing for a very long time now with the 5% chance of a "1" as a "special bad roll," and that seemed fine, so, like, 20-25% chance total is good.

And like ...

People talk a lot about Rolemaster crit fail tables in my vicinity, and complain about the whiff fests you see in some games where you keep rolling and rolling and nothing good or bad actually happens, and so I was naturally drawn to pushing crit failure odds a bit higher than you see in a d20-type game.

Now, one way people in indie circles tend to address "whiff fests" is by rethinking the whole dice-rolling ... paradigm ... so you never whiff; setting things up, in short, so that every roll means something, and every success and failure mean something too.

It's a leaner, richer way of doing things than you see in, say, D&D.

... I just didn't feel like it, here, because the whole point of things was to make dice rolling fun. I wanted people coming out of traditional games to be able to just pick up the dice and say "I'm rolling for this!" because the roll would be fun. Because consulting the dice oracle here, would be fun.

So in the end, that was the heart of it:

A 5d6 roll, focusing on the ease of counting matches and the high but not exorbitant frequency of special results.

But at the same time ...

I'm indie enough that I do really like rolls where, you know, every outcome is meaningful. Where you roll, and there's never a "whiff," just a set of possible meaningful outcomes.

A lot of the time, where I'm leaning into "rolls are fun, go ahead and roll," what it means to succeed, to fail, to crit, all that's up to the group, and sometimes it'll be unsatisfying. Other times, you'll crit succeed or crit fail and the GM will give you basically the exact same result as you'd have gotten on a regular success or failure, just, you know, jazzing up the description a bit with more narrative weight.

But I did manage to pull out about a third of the rolls you'll wind up actually making and assign strong mechanical and narrative weight to each outcome. Where what you were doing was well enough defined in the system that I could add some real meat to those crits, and even regular success and regular failure.

... though that's a story, I think, to be told some other time. ^_^

[bump1nthen1ght]

Goblin Knight NSFW Headcanons

Pairing: Male!Knight!Goblin x GN!Reader

Genre: NSFW headcanons

Warnings: None

Word Count: 520 words

Goblin Knight SFW Headcanons

Goblin Knight is a very traditional lover; He thinks the only proper place for lovemaking is a bed, where he has ample space to attend to your body and make you feel good.

He’s on the more ‘vanilla’ side, but is far from boring. He’s willing to try most positions, especially ones that capitalize on your size difference. 

(There is something about missionary though that drives him wild. Something about being slotted in between your thighs, laying kisses into the fat and digging his nails into your hips. He looks directly into your eyes, and the intensity of his gaze is almost too much)

Big fan of mutual masturbation, although it makes him blush like crazy. He knows it’s a little silly to be embarrassed while jerking off when you’re lovers, but it feels different. When you have sex his focus is typically on you, you, you. But to feel your eyes go up and down, watch as he strokes his cock and pleasures himself? He can’t help but scrunch up his eyes and blush like a newlywed

His dirty talk is on another level, making each time feel like a beautiful display of art.

“My love, The flavor of your skin lingered on my lips, like an oasis in the desert when I am away. Please, bless me with another taste.”

He’s not very vocal, but his grunts and moans are downright sultry. They’re deep and so passionate.

(Touch the base of his tail and he’ll melt in your arms. It’s such a sensitive spot)

Prefers to be on top, once again focusing on your pleasure, but also doesn’t mind being a bottom. Any excess attention gets him flustered, but he’ll still hold a lot of the control.

“M-my darling, you make me feel so good! Please, right there.” His voice lilts melodically and you can’t help but follow every command.

Not a very rough person by nature, but he is a seasoned knight, and can get tough if you request it. You’d be surprised how masterfully he can manipulate your body, knowing exactly where to grab to keep you in place.

(He got rough once on his own accord, after someone disrespected him and your relationship, tried to imply he couldn’t ‘satisfy' you because he was a goblin. That night he took you for a ride.)

(No degrading talk though, thats a hard boundary of his)

Huge praise kink, both giving and receiving. It makes his toes curl

Absolute master of oral, using his size to his advantage to get very creative. 

(His dirty secret is that he once fantasized about giving you head under the table at a public banquet, none of the other guests any wiser. He’d never actually do it, too improper, but maybe you could coax him into a roleplay 👀)

Gets very affectionate when you give him head. Lots of compliments and loving words, petting your hair and telling you what a good job you’re doing.

Not very experienced, but eager to learn. Like swordsmanship, he throws himself into studying you and what you like. Always an excellent scholar of the physical arts ;)

[canmom]

Hello! I absolutely love your blog, everything from your festival recounts to animation analysis and programming (one of tumblr's recommended posts was the one where you made your own rasteriser, and I liked your attitude in what I've read so much that I'm gonna attempt to conquer my 3-year-long grudge against using opengl during college and do something similar now that I'm a bit older and have no deadlines :D).

But anyway, I have 2 questions (sorry if there's easily accessible answers, tumblr search is not helping): 1. During your animation nights, does the screen stay black while everyone watches their own video while you provide commentary? I haven't caught any yet but maybe someday! And 2. do you have any youtube channels or just one-off video essays that you like that also cover animation/directors? Or, even programming lol.

Sorry for the long ask have a nice day!

hiii! i'm very touched that you like my dorky eclectic blog <3

For the Animation Nights, I just stream the video over Twitch from local sources on my computer, typically by playing the video in mpv and recording it in OBS. This is obviously not ideal from a video quality perspective, but it's the easiest way to watch video in sync without making everyone download files in advance. Then we all chat in the Twitch chat box (in large part to crack stupid jokes, it's not that highbrow lmao). I've gotten away with it so far!

As for youtube channels, I can recommend...

anime production/history (i.e. sakuga fandom)

SteveM is likely the most sakuga-fan affiliated anituber. He makes long, well-researched and in-depth videos on anime history, usually themed around a particular director or studio.

Pyramid Inu might be my fave anituber - very thoughtful analysis of Gundam, obscure mecha anime and oldschool BL and similar topics. tremendously soothing voice too.

The Canipa Effect does excellent deep dives into the production of specific shows, both western and anime. I appreciate the respect he gives to the Korean animators of shows like AtlA in particular!

Sean Bires's 2013 presentation on sakuga is pretty foundational to this whole subcultural niche, and a great place to get an introduction to the major animator names to know and significant points in the history of anime. unfortunately a couple of the segments got slapped down by copyright but the rest holds up!

animation theory (for animators and aspirants)

I'm going to focus here on resources that are relevant to animation in general, and 2D animation. if I was going to list every Blender channel we'd be here all week :p

New Frame Plus is one of the best channels out there for game animation, describing in tightly edited videos how animation principles work in a game context and analysing the animation of various games. highly recommend

Videogame Animation Study is similar, examining the animation of specific games in detail

the 'twelve principles of animation' (defined by Disney's Ollie Johnston and Frank Thomas) remain the standard approach to animation pedagogy; there are various videos on them, but Alan Becker (of Animator vs Animation) has quite a popular series. I haven't actually watched these but many people swear by them! Dermot O'Connor expands the list to 21. Note that some of the terminology can be a little inconsistent between different animators - c.f. 'secondary motion'...

Dong Chang is an animator at Studio NUT, who produces a lot of fantastic, succinct videos on standard techniques in the anime industry, timesheet notations, etc. etc. Studio Bulldog, a small anime studio, are a good complement; they focus more on douga than genga and are generally a bit more traditional.

programming

big topic here, I'm going to focus on game dev and tech art since that's my field. but also some general compsci stuff that's neat

SimonDev - graphics programmer with a bunch of AAA experience, fantastic explanations of advanced optimisations and some of the more counterintuitive aspects of rendering

Acerola - graphics programmer who makes very detailed guides to a variety of effects with a very rapid and funny 'guy that has seen monogatari' editing style. When he's good, he's really good. His video on water is probably the best one I've seen (though I can recommend a couple of others).

TodePond - the most charming, musical videos about recursion and cellular automata you've ever seen. less programming tutorial and more art in themselves.

Ben Eater - known for his breadboard computer series, a fantastic demonstration of how to go from logic gates up to the 6502 with actual hardware. worth watching just for how clean he puts the wires on his breadboards like goddamn man

Sebastian Lague, Useless Game Dev - both do 'coding adventure' style videos where they spend a few weeks on some project and then document it on Youtube, resulting in a huge library of videos about all sorts of fascinating techniques. great to dive into

Freya Holmér - creator of the 'shapes' library, makes videos on mathematical programming, with gorgeously animated vector graphics. Her video on splines is a particular treat.

There are definitely many more channels I can recommend on these subjects, but I'll need to dig into my history a bit - unfortunately I need to rush out right now, but hopefully that should be good to be getting going with!

[lilmajorshawty]

which venus placements make someone have a good taste in fashion art movies etc.???

Venus in Aries or the 1st house:

They tend to be very stylish and might where clothes that have a more street look. This could be trench coats and or sports ware or they can even wear ripped jeans and a sort of masculine look. The men and women can tend to be into anything that involves the body as art, so sports or movies that have action and or confrontation may be more their aesthetic. If We are talking romance this would also include movies like the notebook where their involves a open and more confrontational expression of feelings for one another.

Venus in Taurus or the 2nd house:

They can also be very stylish but they tend to wear clothes that are more comfy and skin tight. They like the touch of fabrics and can be super picky with what they wear and how they wear it. Very rarely will they “dress up” unless they have Saturn aspecting or 10th house energy as they tend to seek comfort over looking “cute.” Ironically because they have very nice bodies they tend to have extremely sensual looks in their sports or casual wear because of how well it fits their bodies. Art wise they tend to be painters and drawers. They can also adore exotic dancing or make up but this is lesser as compared to painting. Movies wise they tend to be traditional and like the oldies. But I would say even some shows like the OA, stranger things, Dark, or some of the older shows like F.r.i.e.n.d.s or seinfield fit them as they love security and sensuality

Venus in Gemini or the 3rd house:

These guys and gals tend to be very spontaneous when it comes to style but as a rule most with this placement love their dark colors maybe even more than Scorpio’s. They tend to wear a lot of crop tops or ripped jean looks. They love form fitting looks but also anything that has a sort of flowy and eccentric twist to it. Movie wise I’d say movies such as mr. and mrs. Smith, pulp fiction, kill bill, or even noir films, pesky blinders, anything science fiction related like “life” or Prometheus suit them as they tend to be into the darker themes of life but also like a light duality if serious vs joyous. They are advant dancers and can be very into tarot readings or astrology as an expression of themselves. Many tend to enjoy all forms of art but might be more in the observant end then actually doing it.

Venus in cancer or Venus in the 4th house:

They can have a moody way of dressing. This can sometimes be dressing indie or goth depending on their emotional state. They tend to have this e-boy, E-girl look to them at times but most of them tend to dress very soft and gentle almost in a way that makes them look tiny and fragile. They have a natural sad girl and sad boy aesthetic that can make their outfits seem unknowingly grunge without really trying. They also have a very strong ability to project themselves so many are into YouTube, or having vlogs because they naturally see outsiders and people around them in a mothering light. Art, for them can include drawing, creating clothing or literal branding. Movies for them I would say anything that is rom com! Anything that reminds you of home.

Venus in Leo or Venus in the 5th house :

They have a bright way of dressing! Similar to Aquarius Venus, they like their bright colors and tend to really place a focus on their lower back so you can see those curves. and if it’s a man typically the outfit somehow manages to center to their face so you can see that smile. They typically enjoy very high class material and can be sticklers for an old homage to a brand! So don’t be surprised to see them rocking classic ware. Movies wise? They tend not to watch very many and if they do they have to be emotionally significant or make an impact on them. A lot of their movie choices have to do with impossible choices or moments of passion. Mission impossible or friends with benefits with Mika kunis and Justin Timberlake come to mind. As far as art? They tend to be very good at dancing! Naturally too, some of their other talents include performing and acting and I also mean this literally, they make amazing actors.

[these-posts-arent-real]

(masterpost link)

Aaand we have returned to the madness on a larger scale! What are these cats up to...

#sighh #i know i've been away from dash sim posting for a while #was dealing with my last few days of school #but #that is Over Now #i can return to fulfilling everyone's need for Warrior Cats But Tumblr

57 notes

🐦 s3afow1s--sc0wl Follow

PLEASE stop talking about the most recent TTDV slates without spoilers, it hasn't made its rounds to ShadowClan yet and I don't want to know what's going to happen before I read it!!!!

#ttdv discussion #ttdv:rp #through the desert vast #ttdv: rattlesnake path #ttdv #through the desert vast: rattlesnake path #especially since i heard the newest slates have seafowl in them a lot #he's my specialest guy...

9 notes

🔁 🛤 carnation-stem-02 reblogged

🍲 ex-thundrclan-kipper Follow

I think the worst thing about no longer being a Clan cat is that a lot of the time I have no idea what y'all over there are talking about. What is TTDV?

🦁 lionsight-x3 Follow

TTDV stands for Through the Desert Vast. It's a new slate series everyone's going bee-brained over... I haven't read it yet because I prefer for a series to be finished before reading, but I've heard good things. Queer rep within the first couple chapters of the first slate-set, a non-traditional setting and cast (a rogue group living in the desert), and complex characters... needless to say I'm excited for when it finishes and I can read it!

#it's been on my to-read list for a while #maybe this is a sign #it seems pretty cool #ttdv

2,070 notes

🔁 🐦 s3afow1s--sc0wl reblogged

⛰️ fc-rockpaint Follow

In honor of Through the Desert Vast becoming popular, I've decided to make a rock-dye project on all of the main characters. Today's character is... Seafowl!

Unfortunately I don't have the right paints to portray him accurately (I haven't been able to find any white herbs for his patches, but I'm still on the lookout!) but this is mostly accurate to how he is described in the slates.

🌠 nightshade-tast3s-yummy Follow

Pssst... @s3afow1s--sc0wl

#eeeek! seafowl! #i looove him so much... my precious boy... #art #ttdv #ttdv seafowl #thanks for the tag!

162 notes

🔁 🌻 l1llyst3m reblogged

🌻 l1llyst3m Follow

Aahhhh I've finally gotten into TTDV and... NOBODY was gonna tellme that one of the characters is heavily implied to be transfem? Nobody thought I'd find this interesting????

🌻 l1llyst3m Follow

SCRATCH THAT. IT'S CANON. PIT VIPER IS CANONICALLY TRANS.

🐚 hermitcrabfriend Follow

I had wondered if you were talking about Pit Viper when I saw this post a cople days ago! Apparently so ^w^ yeah, it's canon, gets confirmed in the second slate set.

🌻 l1llyst3m Follow

This makes me wonder. Why is everyone on this site talking about Seafowl saying he gives "egg vibes" when we have. An actual confirmed trans character. Right here.

Nothing against Seafowl but the only vibe he gives off to me is traumatized.

🏞 trouttail-prefers-bass Follow

He's your typical prettyboy cishet protagonist type and everyone is pissed off that he's a side character rather than ttdv's ✨️specialest boy✨️. So they're trying to make him special by claiming he gives off trans vibes when he clearly does not and is happy as a tom.

🌻 l1llyst3m Follow

#wait till op reads rattlesnake path

What do you mean by that-

#what do you MEAN by that— #im gonna need context #is this /pos or /neg #does something bad happen in rattlesnake path?? #help someone pls #through the desert vast #ttdv

103 notes

🔁 🥬 rxttencatmint reblogged

🥬 rxttencatmint

Im so fucking irritated... my mom wont let me read TTDV because it's "inApPrOpRiAtE." Which. Of course. Is because it has lgbtqia+ characters.

🥬 rxttencatmint

WONDEDFUL NEWS. MY MENTOR LET ME BORROW HIS COPY OF THE FIRST SET. AHHHHH!!!!! I GET TO READ IT!!

#YIPPEEEEE #òwó im so exCITED!!! #ive been wanting to read ttdv for a whileee #i love my mentor sm

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🪵 i-eat-moss Follow

My unpopular opinion (TTDV:RP SPOILERS INCOMING)

Keep reading

#ttdv:rp #ttdv #rattlesnake path spoilers #ttdv spoilers #ttdv:rp spoilers #nothing against pit viper!!! #i like her as a character #i just dont get why we got a whole book explaining her backstory

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🐚 hermitcrabfriend Follow

I LOOOOVE RATTLESNAKE PATH SO MUCH. IVE JUST GOTTEN TO READ IT AND IM SO EXCITED. OMG.

Not only is it a whole set dedicated to my favorite character !!! like a dream come true!!! It ALSO contains good intersex rep (Ball Python my beloved!!!). Over all just a FANTASTIC set in a fantastic series.

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🌱 dirtdigger-23 Follow

I'm... back?? I'M BACK ON CLANBLR!!!! WOOOHOOOOOOOOOOO

#i thought i'd never get back #stuck on Tumblr...

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🍽 the-post-maker

I hope y'all enjoyed this insight into what the cats do when they get fandom-y... and if you want to discuss TtDV further... well, there's a server for that ;) now back to your regular dash

[mask131]

The gods of Gaul: Cernunnos

Cernunnos is without a doubt one of the most famous gods of Ancient Gaul, and yet he is actually one of the most mysterious Gallic deities. Sure, he definitively marked the imagination of people - I mean he was literaly used as the basis for the Wiccan Horned God, and you will see lots of Cernunnos-copycats in fantasy RPGs and the like. But... we actually do not know the truth about this god, and despite everybody on the Internet trying to make it sound like we have an easy and simple summary of what he is, we only have strong theories and conflicting hypothesis.

I/ What we actually have

As with a lot of Gallic gods, Cernunnos exists not in legends or myths, but through a name and a visual. The name Cernunnos is found three times all on its own in Gallic documents. One was a Greek inscription from Montagnac that only says "This is dedicated to Karnonos of Alisontia". The other two are identical inscriptions found in Luxemburg (near Steinsel), votive inscriptions of wish-offerings merely saying "Deo Ceruninco". There is actually a fourth inscripton of the name Cernunnos - and it is from this one that we get the spelling we use today - but it is a special one. Unlike the other three, this one has a picture alongside it identifying the god visually. It is the famous "pilier des Nautes" found under Notre-Dame-de-Paris, the "pillar of the Nautes", the "pillar of Boatmen", considered one of the most important Gallic monuments (because it depicts a set of divine portraits with their names explicitely spelled out).

It is only thanks to this pillar that we know today that the many depictions of a male horned god found across Gallic art are meant to be Cernunnos. There are too many visual depictions of him to be listed here (sixty or so were found by archeologists), but among the most famous is the one I put a picture of above: the Cernunnos of the Gundestrup cauldron found in Denmark.

Here is what Cernunnos looks like on the pilier des Nautes:

So, we have a name and a bunch of pictures. Let's try to break it all down.

When it comes to the name, Cernunnos/Karnonos, it is commonly agreed by etymologists and those that studied the Gallic language that it means "the horned god". "Carnon/Karnon/Karn" was known to mean "horn", both in the sense of animal's horn and a blowing instrument - it was tied to the Gallic tribes known as the Carni and Carnutes, and to the Celtic carnyx. The "kern" part is also considered to be equivalent to the Old Irish "cern", which was associated with horned beasts. Some have pointed out that if the "Cern" of "Cernunnos" means horn, the "unnos" could be a suffix meaning "beautifully" - so instead of Cernunnos being the "horned god" or the "horned one" it would mean "He who is beautifully horned" or "He with beautiful horns". But all in all, his name stays connected to horns.

[But is it truly his name? This is another debate typical with the gods of Gaul: we do not know the differences between the proper names, the titles and the nicknames. It could be (to take a Greek comparison) like Hestia's case, where he names literaly means "hearth" but is a proper name ; or it could be like the "Old Man of the Sea" which was a generic nickname for a whole group of sea deities.

Now let's talk about the images of the god. Thanks to having so many depictions of him, we can identify recurring traits that define his visual.

Cernunnos always appears with his legs crossed, in a position (the "lotus" or "yoga positon" to take Asian terminology) that is considered, depending on the sources, either "very unusual for a god of Gaul", either "absolutely typical of Celtic representations of gods, warriors and heroes"... Well, he is almost always in the "lotus position" - in rare cases, he can be standing up. Cernunnos is also always wearing a torc, the traditional Gallic ornament, though he isn't always wearing it around his neck as one would expect: sometimes he holds it in his hands, other time it hangs from his antlers. Speaking of antlers: as we said, Cernunnos is a horned god, and he is usually depicted with antlers. But sometimes, more rarely, he rather sports goat horns - maybe it is a Romanization effect, as he got confused with Pan?

Cernunnos is always a male figure, though his actual age is unclear. Sometimes he is a mature and bearded man, but we also have "ephebe" depictions of him as a beardless youth - that some researchers even go as far as to describe as "child-like". Similarly, he keeps oscilatting between being a singular entity, and a triple-god with three heads or three faces. The disposition of the three faces can be really weird and freaky - for example, he can have a regular human head, and two small human faces growing from either side of his neck, or from the top of his head.

He usually always has a bag or basket with him, a bag that he eithers opens or that is simply sitting before him, spilling its content: sometimes the bag is filled with food, other times with coins, and other tims yet with grain. Cernunnos is usually sitting in the middle of a trio (as in two other humaoid or divine figures are by his side), or he is surrounded by various animals - which he can be seen holding with one hand, or petting near his lap. There are various animals he is associated with - we have seen him with stags, with bulls, with rats, with dogs, with lions, with goats... He is most notorious for being often depicted with the symbolic-mythical beast of Gaul known as the cryocephal snake: a ram-headed snake, whose exact meaning is still unclear to this day. However, Cernunnos seems to really like them: sometmes they just sit side by side, sometims he holds it by the throat, sometimes he feeds it, and other times two of them sit on his lap.

(This depiction above lacks any horns, but there are two holes at the top of the head implying that the horns were a different part of the statue added separately - which is very interesting in the theory of Cernunnos having antlers that "fall")

One of the problems with the Cernunnos visuals is that it is not clear where they stop, as we got a wide range of variations between the animal and the man. For example, there are strong theories according to which Cernunnos appears on the Strettweg chariot, as the tiny deer with oversized antlers that two men are holding (which would mean Cernunnos could be depicted as a full stag without human traits):

And on the opposite spectrum, a Gallo-Roman statue was found in Amiens of a fully human deity... except for one deer ear on the side of his face. One of the theories to explain this bizarre statue of the first century claims that it is an hyper-Romanized depiction of Cernunnos - though other theories do exist (for example, when the statue was discovered, it was originally believed to depict Midas, with a variation of the "donkey ear" punishment):

And you also have in Bouray a cross-legged god with deer legs rather than antlers or ears:

Given how "late" the visual depictions of the gods of Gaul was, and how the Romanization of Gaul strongly encouraged and favorized the depiction of deities as humanoids (to fit with the Greco-Roman deities), it is very likely that Cernunnos started as a divine stag, as fully animal, and then slowly, especially under the Roman influence, became more and more humanized... (There's also a fascinating case of antlered-goddesses at Clermont-Ferrand and Besançon, but that's for later).

II/ Some theories

Now that we have the name and the visuals done... What's Cernunnos deal? Again remember we can only make theories based on these fragments and their context - but we do not know for certain if it is the truth.

A: It is agreed that Cernunnos is a nature god, and a god of abundance. The fact he is half-stag, and usually depicted with animals, and even holding them in a gesture of domination or use, shows that he is a fauna god, which prompted some researchers to identify him as one of the avatars of the "Lord of Animals, Master of Wild Things" archetype of Indo-European myths. But more importantly we are certain that he dealt with abundance and prosperity - thanks to him always having a big bag of grain, food or money. He was very clearly a god of riches and wealth - be them natural (grain, food) or manufactured (coins). Some have highlighted the idea that this tied to the symbolism of "forests that have big strong stags in them are bound to be fertile places filled with resources". Cernunnos' ties to abundance cannot be denied because in some Classicized depictions of him (such as the silver goblet above), he is literaly seen holding a cornucopia, aka a horn of abundance.

Some people even want to push the domain further by thinking Cernunnos might have been a god of sexual and reproductive fertility - but this is not based on any visual or religious clue. Rather this theory ties on the European symbolism of the stag as a symbol of virility and reproductive prowess, so it is a purely contextual reading, to be handled carefully. We are only truly certain that Cernunnos offered lots of money, lots of grain, lots of food, and lots of animals (him being surrounded by animals might be an extension of the "I offer you this bag of grain" visual, since animals were hunted down for food, so he isn't just a god of good crops and economic riches, but also one that ensures a plentiful hunt).

B: There is a strong theory going around that Cernunnos might be a seasonal god, or a deity of the seasonal cycle. This idea comes from various elements pieced together - and which added with the A theory above, would make this go a sort of "Father Nature" figure. It all starts wth the European symbolism of the antlers and the stag in general: given the antlers fall and grow with the turn of the seasons, the stag has been used heavily in Europe as a way to measure the year or symbolize seasons. Some researchers theorized, based on how the size of Cernunnos antlers changes through depictions, and on how he is sometimes a beardless youth sometimes a bearded mature man, that Cernunnos, like the stag, had a seasonal cycle. For some he just loses and grows back his antlers (there is a Cernunnos depiction at Meaux with what seems to be the stubs growing back after antlers fall, which would support this theory), but others push it further by claiming the god died and was reborn each year with winter/spring - an idea inspired by the Indo-European archetype of the dying/sacrifical vegetation god.

There is a specific depiction of Cernunnos that ties into this whole - and I will have to trust Yann Brekilen's word for this, as I couldn't find any picture of the engravings he described. According to him, on the Gallo-Roman Germanicus Arch/Arc, by Saintes, there is a dual depiction of Cernunnos. On one side of the Arch, he is part of a trio: he is sitting crossed-leg with antlers on his head, but naked (usually Cernunnos s clothed in some ways). By his side there is a man armed with a club/mace (which might be tied to the "god with the mace", we'll see that in later posts), and a woman holding a cornucopia. Now, that's on one side of the monument - but on the opposite side, the scene is reproduced... with both the armed man and the antlers of Cernunnos missing, only leaving a regular cross-legged naked man, and the cornucopia-woman. Speaking of this cornucopia-woman: there are repeated talks and interpretations of any female figure by Cernunnos' side to be a "Mother-Goddess" or Earth-Goddess supposed to be the wife/companion/lover of Cernunnos. This is all part of an effort to make Cernunnos a "father-god" (which makes sense in some ways), and it ties into the whole reading of his myth as being a seasonal cycle (the god dying and resurrecting after impregnating his female counterpart ; something the Wiccan mythology for example reused in their beliefs), but... If you ask me, I am not really convinced? A lot of people insist on there being a "Mother Goddess" clearly by Cernunnos' side, but sometimes you see these people reinterpret a lot of the visuals, and it is not obvious that the female figure is with him (Cernunnos is usually surrounded by male figures rather than female ones). Plus, we know the Mother Goddess of Gaul tended to come in three (the famous Matronae) so... I am a bit doubtful of that, but that's just me and because of a lack of convincing evidence.

III/ Comparisons and equivalences

As I said in my introduction post, a lot of what we know about the Gallic gods comes from the syncretism the Romans operated with their own deities. And with Cernunnos it is... complicated. Because we do not know exactly who was the Roman equivalent of Cernunnos (since the Romans did not speak of him), and based on researches we have two likely candidates. It is very possible Cernunnos might have been split into those two Roman deities, or at least that his attributes led him to be interpreted as two deities mixed in one.

On one side, there is a very strong and popular theory that Cerunnos was the god Cesar, in his description of the religion of Gaul, called the "Dis Pater". "Dis Pater" was the Latin god that was equated and synthesized with the Greek Hades under the share nickname "Pluto", "the rich one". This was because Dis Pater was not originally a god of the dead in the old Italian religion - he was an underground god, indeed, but a chthonic god of riches and wealth, an earth-god of fertility (his very name meant "Rich Father"). This is what tied him to Hades, the richest of the Greek gods - and made him the new god of the underworld and the dead, Pluto. So, equating Dis Pater with Cernunnos makes sense as we do know that both deities were strongly associated with an earthly form of fertility: Cernunnos, just like Dis Pater, brought grain and earth-grown fruit, as well as precious metal (in the form of coins). Not only that, but Cernunnos was strongly associated with the ram-headed snake, and while we don't know much about this mythical being (typically a companion of male gods in Gallic art), it seems to have been a chthonian symbol, and perhaps even a form of guardian of the world of the dead (or a guardian of underground riches cousin of the dragons of legends). This is what led many to interpret Cernunnos as a chthonian deity, perhaps even an afterlife deity - a tradition that seems to have been in early Christian art, where Cernunnos was often associated with the "mouth of Hell" or the "entrance to Hades" (like the 9th century manuscript Stuttsgart Psalter, which illustrates Cernunnos in a depiction of the Christ descending into Limbo.

If Cernunnos is indeed Cesar's Dis Pater, then it would be extremely interesting, because Cesar wrote in his records that the peopleof Gaul believed Dis Pater to be their divine ancestor, and the "father of their race". Aka, the Gallic Dis Pater is meant to be an All-Father, the first ancestor of the Gallic tribes, and the origin of the human race (or at least of the people of Gaul). If Cernunnos is this Dis Pater, it would confirm his role as a "Father-God" and his links to a potential "Mother-Goddess". (It could also explain why he so persistantly wears a torc, as an emblem of the civilization and traditions of Gaul) If Cernunnos is also the Dis Pater, it would give him a role as a nocturnal god, since Cesar resumed in his texts (or rather "recaped" since he was doing a report based on Posidonius own records) that it was because the people of Gaul descended from Dis Pater that the druids measured the time not in "days" but in "nights"...

The other very likely candidate for the Romanized Cernunnos is the one we call the "Gallic Mercury". We know that Mercury was one of the most popular and widespread gods of Gallo-Roman gaul. Cesar did mention him as one of the most important gods venerated by the Gallic tribes before the omans arrive (though this would contadict the is Pater theory, since Cesar identifies Dis Pater and Mercury as two different deities in the Gallic beliefs). Still, Mercury was a god of commerce and riches before all - even more so than his Greek counterpart Hermes - so it makes sense that he would be present in the Gaul province of the Empire, which was big heart of commerce. And where Mercury has a pouch of coins, Cernunnos has a full bag of them... And in several Gallo-Romans depictions one of the two gods that surround Cernunnos is very obviously Mercury... [Several of the images in this post are of the altar of Reims, which depicts Cernunnos surrounded by Apollo on one side and Mercury on the other] And Cernunnos' presence on the Pillar of Boatmen implies he was tied to the fluvial sailors, and to the fluvial commerce and travels... And in Luxembourg we have Gallic depictions of stags vomitting coins, again insisting on how the stag was associated with riches... Even if you take Cernunnos as a chtonian god or death god, it ties to Mercury's role as a psychopomp inherited from Hermes ; and Mercury's presence by Cernunnos side on the altar of Reims for example makes sense if you consider one of the deities Cernunnos was conflated with was Pan (hence the goat horns) - aka, the son of Hermes... Everything is tied together into one big convoluted web of inter-mythologies.

And when it comes to comparisons to other Celtic mythologies, things are a bit... In French we say "vaseux" - basically there were parallels drawn between Cernunnos and Celtic figures of the Isles, but they rely on very meager if not unstable links. For example some have tried to identify the Cernunnos of Gaul with the Irish figure of Nemed (interpreted as a "stag-god" leading "stag-people" or "deer-people"), and in return the battle between Nemed and Balor for the land of Ireland was projected onto the scene depicted on the Arch that I described prior - a battle between the horned god and the god with the mace for the "earth-mother", the cornucopia woman, the land-goddess. The acceptance of this scene between the horned god and the mace god as a battle for the mother-goddess (which, I insist, was not PROVEN in any way and is completely hypothetic and theorized with no definitive proof - maybe the mace god is here to sacrifice the horned god for the cornucopia-woman, or maybe he is just here to cut off his antlers, or maybe the cornucopia woma cheats on Cernunnos wit the mace god, we cannot know), also led to vague comparisons being drawn to the story of Pwyll and Arawn and how they exchange each other's identities, but we are really in a stretch here.

More interestingly there is a Welsh comparison that could indicate a leftover of a Christianized Cernunnos in an Arthurian setting: the Owein tale (Mabinogi): Kynon, a knight of King Arthur's court, describes how in his youth he had to encounter an ugly knight clad in a black armor who had the information he needed to find his enemy. The knight lived by a "fountain" (a water stream) surrounded by wild and ferocious animals - and to give Kynon the information he needed, the ugly black knight struck a stag nearby, and the animal lowers its head in the direction Kynon must follow. It is very plausible that this supernatural knight who hits an informative stag and who lives surrounded by wild animals is a form of Christian censorship or caricature of a Cernunnos figure, going from a wise and benevolent stag-god to an ugly evil knight who abuses animals, and who has his duality human/beast split between the knight and the stag.

There were also tenuous elements that made people consider the Irish Conall Cernach (known for being one of the sidekicks of Cuchulainn) as a diluted version of Cernunnos as a "Master of Beasts" - more precisely an episode in "The Cattle Raid on Fraech" where instead of killing a monstrous snake, Conall somehow tames it and wears it as a belt, has been compared to Cernunnos' handling of snakes and ram-headed snakes. And don't even get me started on the many, MANY saints of Catholicism that are supposed to be leftovers or reinventions of Cernunnos (saint Ciaran of Saighir, because he tamed wild beasts including a stag ; or the saints of Bretagne Edern and Théleau both supposed to ride a stag instead of a horse...).

The complicated thing (well ONE of the complicated things) with Cernunnos is that he is tied to the stag, and the stag was one of the most prominent smbols and images of the medieval and proto-medieval imagery in Western Europe. You had lot of old mythology stuff that survived in modern days, but you also had lots of medieval symbolism and images (like how the flying stag was one of the symbols of the king of France), and a HUGE re-use of the stag by Christianity in various forms (from the antlers falling being used as a symbol of the Resurrection, to the hunt for the white otherwordly stag of Celtic myths suddenly becoming a hunt for Christ incarnate when a glowing cross appears above the stag's head...). As such it is hard to pin-point what the Gauls truly believed the stag meant, versus the stag symbolism that arose in the Middle-Ages.

To conclude this post, while I said I had my doubts with systematic identifications of Cernunnos as a companion of a Mother-Goddess, I want to briefly return about a fascinating trivia of Gallic researches: the existence of a female version of Cernunnos, a "Cernunna" we could jokingly say.

Little figurines and statues were found of a horned goddess - sometimes with antlers! - in both the area of Clermont-Ferrand (which was the domain of the Avernes folk) and around Besançon (the Séquane folk). Who were these goddesses? Local variations of Cernunnos? Sisters, daughters or wives of the god? Or completely unrelated deities? Were they one or several (some are more matronly, motherly figures such as the one with antlers above, others have Venus-like poses unveiling their breast and legs such as the bull-horned below)?

We will probably never know - but while they can be incarnations of this famed "Mother-Goddess" companion of Cernunnos everybody speaks about (and links to the importation of the cults of Demeter and Cybele in Gaul), it is VERY likely these statues date from the Gallo-Roman era and from a Romanized version of the Gallic religion. Indeed, they are all tied by their attributes - they hold a cornucopia, and a "patère" (sacred vase for religious libations). Attributes present in very Romanized Gallic goddesses (such as Rosmerta), but also in typical Roman deities (mainly the lares). Add to that how the adjunction of a male attribute (the stag antlers or bull horns) to a female figure is VERY unusual for Gallic depictions (where the genders are neatly split), while the divine androgyny was a feature of Greco-Roman mythology (the effeminate Apollo and Dionysos, the masculine goddesses Athena and Artemis, the mythical Hermaphrodite...), and it is very likely these statues of the "Cernunna" are the result of the Roman religion "breeding" with the Gallic beliefs...

[bitchy-craft]

What Planet You Are Associated With | Pick A Pile

Hello and welcome to this Pick A Pile! In here you'll find out what planet you're associated with. I hope you guys enjoy and find this useful. Do make sure to leave comments down below on your experience! I do want to remind you all that this is a General Pick A Pile which means this is for a lot of people; therefore keep what resonates and leave what doesn't.

Note: tried to mix up the way I talked / explained, hope you guys like it.

Masterpost > Questions > Paid Readings

Pick A Pile!

Pile 1:

Saturn represents discipline, responsibility, and the lessons we learn through hardship. The symbolizes the process of maturation, self-discipline, and the development of wisdom. Saturn is traditionally associated with the zodiac sign Capricorn and is also considered the ruler of Aquarius.

People influenced by Saturn tend to be practical, disciplined, and responsible. They are often hardworking, ambytious, and strive for success. Saturn's influence can also make said people serious, cautious, and mindful of their limitations. They value tradition, structure, and are often determined to achieve their goals.

Pile 2:

Venus represents love, beauty, harmony, and creativity. It symbolizes our capacity to form relationships, apreciate art, and experience pleasure and sensual enjoyment. Venus is traditionally associated with the zodiac signs Taurus and Libra.

The ones influenced by Venus are often charming, affectionate, and have a strong appreciation for beauty and aesthetics. They are typically social, friendly, and seek harmonious connections with others. Venus-ruled people tend to have a romantic and gentle nature, valuing love, harmony, and emotional fulfillment.

Pile 3:

Neptune represents intuition, spirituality, dreams, and illusions. It symbolizes the realm of the subconscious, imagination, and the pursuit of higher truths beyond the physical world. Neptune is traditionally associated with the zodiac sign pisces.

People influenced by Neptune are often highly intuitive, imaginative, and sensitive. They posses a deep sense of empathy, compassion, and are drawn to artistic and spiritual pursuits. Neptune-ruled individuals may have a dreamy or idealistic nature, often seeking experiences and connection to something greater than themselves.