#Triangular Symbols

[omegaphilosophia]

The Philosophy of the Triangle

The philosophy of the triangle explores the conceptual, symbolic, and mathematical significance of the triangle as a fundamental geometric shape. Triangles are deeply embedded in both philosophical and mathematical traditions and have been used as metaphors for balance, harmony, and the relationships between different elements.

Key Concepts:

Mathematical Foundation:

The triangle is one of the simplest and most fundamental shapes in geometry. In Euclidean geometry, triangles are the basis for many theorems and principles, such as the Pythagorean theorem, which connects geometry with algebra. The study of triangles also forms the foundation for trigonometry, which deals with the relationships between angles and side lengths.

Symbolic Significance:

Balance and Harmony: Triangles have been used symbolically across cultures to represent balance, unity, and harmony. For example, in Christian theology, the triangle is a symbol of the Holy Trinity (Father, Son, and Holy Spirit), representing unity within diversity.

Pyramidal Structure: The triangle is often seen as a stable and solid structure. In ancient Egypt, the pyramid, which has a triangular base, was a symbol of strength, endurance, and the connection between the divine and the earthly.

Platonic and Pythagorean Views:

Platonic Solids: In Platonic philosophy, the triangle is a fundamental element in constructing the four classical elements (earth, air, fire, water) in the form of Platonic solids. Plato considered geometric shapes to be the building blocks of the physical world, and the triangle was seen as a key to understanding the nature of the cosmos.

Pythagoras and Triangular Numbers: The Pythagoreans, who deeply studied geometry, saw the triangle as a sacred shape, representing the harmonious relationships found in numbers and geometry. Triangular numbers, a type of figurate number, reflect the pattern of dots that form equilateral triangles, symbolizing the order inherent in the universe.

Philosophical Abstractions:

Triad Structure in Thought: Triangles often represent triads in philosophy and systems of thought. In Hegelian dialectics, for example, the triad of thesis, antithesis, and synthesis forms the basis for the progression of ideas. Similarly, Aristotle’s three types of rhetoric (ethos, pathos, logos) also form a triangular structure in persuasive communication.

Metaphysical Triads: Triangles can be metaphors for relationships between three elements in metaphysics. For instance, the relationship between mind, body, and soul is sometimes represented as a triangle, with each corner representing a distinct yet interconnected aspect of human existence.

Psychological and Philosophical Interpretations:

Triangular Relationships: In social and psychological contexts, the triangle often symbolizes the dynamics of relationships, such as love triangles or power structures involving three individuals or entities. Philosophically, it reflects how balance or tension between three components can shape broader outcomes.

Jungian Archetypes: Carl Jung's theory of the collective unconscious includes symbolic representations, and triangles are viewed as archetypes for spiritual ascent, enlightenment, or the synthesis of opposites.

Ethical and Moral Philosophies:

Moral Triangles: In some ethical philosophies, the triangle is used as a metaphor for balancing different moral principles. For example, the relationship between duty, consequence, and virtue can be visualized as a triangle, where each point represents a distinct moral focus, yet all are interconnected.

The Golden Triangle: In economic theory, the "golden triangle" of production, consumption, and sustainability is often discussed in relation to the ethical management of resources, offering a metaphor for balance in human interaction with the environment.

The philosophy of the triangle is multi-faceted, blending mathematical rigor with symbolic meaning. It serves as a bridge between the tangible and the abstract, embodying balance, harmony, and unity across various systems of thought. Philosophers have used the triangle to express the relationships between ideas, numbers, moral principles, and metaphysical concepts. Its simplicity and universality make it a powerful tool for understanding the interconnectedness of different aspects of reality.

[smile-files]

i love bugs and i love professor layton so it's no wonder i'm into the layton bug au by @casualfr1days!! here's henry as a european praying mantis (mantis religiosa) :D

[bitemedotmp3]

✧!

"No."

"I've had enough messed-up triangles in my life, I don't need any more. Even if they do have funny little hats."

[anistarrose]

okay I still don't know the decryption of the new Bill code, but my IRL friend and I just figured out something incredible:

[ID from alt: a screenshot of the cipher in question, next to four of its symbols arranged so that they look like Bill Cipher. His top hat, triangular body, bow tie, and extended arms are present. Both arms come from one symbol, but one arm is reflected horizontally. End ID.]

you can make a little guy out of the symbols. it's a literal Bill Cipher.

[draconesmundi]

What’s your take on the idea that a “realistic” large flying dragon should have a short tail so as to lessen drag? Long tailed Pterosaurs and early birds were all fairly small. Birds have short tails, as did the largest Pterosaurs. Bats are variable but they’re small.

So when we say 'my take' are we meaning...

My Take As a Scientist

This is sound logic! In every large flying animal (we're talking Azhdarchid pterosaurs such as Quetzalcoatlus, or giant Cathartiformes birds like big vultures or Argentavis) the tails are short.

Image from www.prehistoric-wildlife.com

We just know this as a fact; every flying animal over a certain size has a small tail, and from our own experiments creating aircraft we can safely assume this is to reduce drag.

Image from NASA

Our long-bodied planes all have horizontal and vertical stabilizers on the end of the tail - the horizontal ones act as an extra earofoil to generate lift - similar to the tail feathers of birds. Our long bodied planes lack the dexterity of fighting planes, who are triangular (so the 'wing' extends down the full body, no tail) or have much shorter tails compared to the long bodied planes.

Image from Aviationfile.com

Planes have the added benefit of being lifted by jets rather than powered muscles. To make a dragon or monster a similar size to a plane, it would need equally novel ways to propel itself, and then it's tail would need to be short, ideally with horizontal flukes (think whale tail) so the tail could provide lift to perhaps counteract the drag. A creature of this size would not have nippy, fast flight; even thermal currents would be difficult for it to soar on (which is how large vultures manage to fly most of the time). Sure the dragon could get from A to B but it could not maneuver or hunt like a hawk or falcon while doing so. And it's tail? Kinda short.

Link to some cool dragonlike aliens designed by Cydork with short tails.

My Take As A Dragon Designer

As a dragon enjoyer I think dragons should have long tails - it ties them back to being majestic serpents from cosmology. Behind every legend that's "a dragon was slain here" is a "loathesome wyrme spat poison in a ditch" and behind that is a "ancient serpent symbol of dark and scary waters". Dragons should have the tails because they are fun.

So how do we make fun snakey dragon tails work when we know that logically, physically and biologically we need less tail to reduce drag while flying?

We could accept the dragon has short and powerful flights like a galliform (chickens, pheasants, peacocks) - peacocks can fly (not long distances like an albatross, but enough to be in the sky and get from A to B) while having 60% of it's length be long, dramatic tail feathers. Tail feathers are lighter than a meaty tail, but from an artistic perspective you can get a good wing-to-tail ratio for your dragon designs.

Image source: Haribabu Pasupathy/Wikimedia Commons, found attached to This Article

Alternatively you could go down the route of one of my favourite dragon designs ever and basically make a plane-shaped dragon and stick a swishy tail on the end for fun - the Ikran from James Cameron's Avatar are basically fighter-plane shaped with a thin tail sticking out the back. Realistically that little tail is contributing drag, but aesthetically we're enjoying this very cool dragon design.

Another take is something like the Legiana from Capcom's Monster Hunter games - this dragon has a thin whiplike tail which has extendable flaps - these flaps can form another lifting surface (think horizontal flukes on the plane tail or tail feathers of a bird). Legiana would still experience drag, but the way it can change it's surface area to meet it's aerodynamic needs is something fun you could consider in dragon design.

Of course Avatar and Monster Hunter take place in fantasy worlds with lower gravity (actually stated in the Avatar film about Pandora, and Monster Hunter's low gravity is just a fun theory because all the weapons and monsters are huge and you never suffer fall damage) - this doesn't affect drag but does affect the amount of lift compared to creature body size needed to be airborne!

My Take As Author Of Dracones Mundi Specifically

So this issue does not affect the Dracones Mundi dragons because they fly by levitation magic. This allows me to even allow wingless dragons, such as East Asian dragons, to fly around. As my dragons 'swim' through the air, long tails are permitted as they move like crocodiles, eels, sharks - all things that benefit with added length to their anguilliform-to-subcarangiform locomotion.

(images from my blog @draconesmundi )

To get into the gritty details, my dragons have magical fat throughout their bodies, and these fats produce a magic field that interacts with atmospheric magic, so they are 'swimming' through the atmospheric magic rather than through the air, their bodies pushing and pulling against unseen forces. So their tails aren't dragging as much because they are being used to actively push through the magic to propel the dragon forward.

[the-liars-art]

Konrad and Tarot Cards: Compiled Excerpts

Tarot cards have been a part of his motifs, imageries, and aesthetics since the very beginning of the Horus Heresy publications (featured heavily in two short stories from 2007, and much less so in later stories where he gets more character development) and in his official miniature sculpt. Our primarch the Night Haunter used his deck of cards, a 40k Nostraman version of real tarot cards, for divination. The cards helped him interpret his visions, before the precognition became vivid and clear enough to do without. He used to consult his cards frequently and not in secret.

He and his Nostraman deck could have played a part in the later development of the Emperor's Tarot (though it won't be featured in this post), with the appearance of the card "the Dark King" and such, but Black Library inconsistency says no.

Also if I have a nickel every time Konrad is looking at his cards and one of his good sons walk in, I'd have 2, which isn't a lot but it's fun that it happened twice.

Now, the excerpts galore, in publication order:

Night Haunter turned over the last card and his jawline tightened as the familiar pattern emerged once more. The strategium of his flagship was kept dark, the faint blue light of consoles and hololithic displays islands of light in the darkness. The Primarch of the Night Lords paid no attention to his surroundings, ignoring the pregnant pressure of anticipation that bristled from every member of his bridge crew. A deck of worn cards sat on the softly glowing lectern before him, their edges scuffed and curled from decades of shuffling and dealing. Little more than a parlour game played by the indolent rich of Nostramo Quintus, he had since discovered that variations of these cards had been employed in the hives of Merica and by the tribes of the Franc as a means of divination in the time before Old Night had descended. The cards apparently corresponded to the stratification of society at the time, with the various suits representing warriors, priests, merchants and workers. Ancient belief held that the future could be read in the patterns of cards known as the Lesser Arcanoi, but such traditions were outmoded concepts in this colourless, secular galaxy… Except that no matter how thoroughly he shuffled the cards and dealt them on the polished glass of the lectern, the pattern was always the same. The Moon, the Martyr and the Monster lay in a triangular pattern. The King lay reversed at the feet of the Emperor on one side of the pattern, and on the other, also reversed, was the Dove – a card academics postulated was a symbol of hope. The card he had just dealt sat at the top of the pattern, a card that had changed little over the centuries and the meaning of which, though often misinterpreted, was unmistakable. Death. He heard footsteps and looked up to see Captain Shang approaching, clad in his battle plate and wrapped in his ceremonial black cape of gleaming patagium. His helmet’s flaring wings framed a death mask of an alien skull, its tusked lower jaw thrust beyond his throat. Behind his equerry, Night Haunter could see the gently rotating orb of Nostramo displayed on the viewscreen. Thick clouds of pollutants ringed the grey planet, shot through with emphysemic yellows and leprous browns. The radiation-blasted moon of Tenebor was just visible as a sickly orb emerging from the stained-lung corona of Nostramo’s dying sun.

--the short story The Dark King, by Graham McNeill (2007)

‘There is one other thing,’ said Malcador, setting his glass down and rising to his feet. ‘Something I want to show you.’ Malcador crossed the chamber, and took something from a drawer in an old bureau. He walked back to Dorn, and spread that something out on the low table between them. Dorn opened his mouth but no sound issued. Fear gripped him. ‘You recognise these, of course.’ Old cards, worn and fraying, discoloured and liver-spotted with time. One by one, Malcador laid them out. ‘The Lesser Arcanoi, just gaming trinkets really, but used widely before the coming of Old Night for divination. This deck was made on Nostramo Quintus.’ ‘He used them,’ Dorn breathed. ‘Yes, he did. He relied on them. He believed in cartomancy. He dealt his fate out, night after haunted night, and watched how the cards fell.’ ‘Oh, Holy Terra…’ ‘Are you all right, sir?’ Malcador asked, looking up. ‘You are quite pale.’ Dorn nodded. ‘Curze.’ ‘Yes, Curze. Had you forgotten him, or simply blocked him out? You have bickered and sparred with many of your brothers over the years, but only Konrad Curze ever hurt you.’ ‘Yes.’ ‘He nearly killed you.’ ‘Yes.’ ‘On Cheraut, long ago,’ ‘I remember it well enough!’ Malcador looked up at Dorn. The primarch had risen to his feet. ‘Then sit back down and tell me, because I wasn’t there.’ Dorn sat. ‘This is so long ago or like another life. We had brought the Cheraut system to compliance. It was hard fought. The Emperor’s Children, the Night Lords and my Fists, we affected compliance. But Curze didn’t know when to stop. He never knew when to stop.’ ‘And you rebuked him?’ ‘He was an animal. Yes, I rebuked him. Then Fulgrim told me.’ ‘Told you what?’ Dorn closed his eyes. ‘The Phoenician told me what Curze had told him: the fits, the seizures that had plagued Curze since his childhood on Nostramo, the visions. Curze said he had seen the galaxy in flames, the Emperor’s legacy overthrown, legionaries turning on legionaries. It was all lies, an insult to our creed!’ ‘You confronted Curze?’ ‘And he attacked me. He would have killed me, I think. He is insane. That’s why we drove him out, sick of his bloodletting. That’s why he burned his home world and took his Night Lords off into the darkest parts of the stars.’ Malcador nodded, and continued to deal the cards. ‘Rogal, he is what you are truly afraid of, because he is fear incarnate. No other primarch uses terror as a weapon like Curze does. You are not afraid of Horus and his sallow heretics. You are afraid of the fear that sides with him, the night terror that advances alongside the traitors.’ Dorn sat back and breathed out. ‘He has haunted me, I confess. All this time, he has haunted me.’ ‘Because he was right. His visions were true. He saw this Heresy coming in his visions. That is the truth you fear. You wish you had listened.’ Dorn looked down at the cards laid out on the table before him. ‘Do you believe in this divination, Sigillite?’ ‘Let’s see,’ said Malcador, turning the cards over one by one: the Moon, the Martyr and the Monster, the Dark King askew across the Emperor. One other card, the Lightning Tower. Dorn groaned. ‘A bastion, blown out by lightning. A palace brought to ruin by fire. I’ve seen enough.’ ‘The card has many meanings,’ said Malcador. ‘Like the Death card, it is not as obvious as it seems. In the hives of Nord Merica, it symbolised a change in fortune, an overturning of fate. To the tribes of Franc and Tali, it signified knowledge or achievement obtained through sacrifice. A flash of inspiration, if you will, one that tumbles the world you know down, but leaves you with a greater gift.’ ‘The Dark King lies across the Emperor,’ said Dorn, pointing. Malcador sniffed. ‘It’s not exactly a science, my friend.’

--the short story The Lightning Tower, by Dan Abnett (2007)

One brief mention of cards and pre-discovery Night Haunter:

The pale man knew he’d have to appear before many of them tonight – the cards had revealed that much to him. The thousands gathered into this place of sleazy sanctuary would see him for the first time. A necessary indulgence, nothing more. He’d learned from them. Now they would learn from him.

—the novella Prince of Crows, by Aaron Dembski-Bowden (2012)

Then we reach the most recent mentions in the primarch book:

Ledgers and data-slates were piled around his chamber upon the iron table. The mortal Ekra Trez worked quietly in the ­corner of the room. When the darkness came upon Curze, Trez’s psychic talent blunted the horror. At other times he aided his master, autoquill scratching on an accompanying screen as he compiled the data Curze himself had processed. The information was there to see, all aspects of each recruit meticulously recorded: genotype, origin, records of crime, set out in plain language. The men destroying his Legion from within were either confident they would not be discovered, or were so proud of their actions they felt they had nothing to hide. Curze glanced at the spread of worn cards in the middle of the table. Their reading suggested that could be it. They could believe they were doing the right thing. False rectitude was no shield against justice. The door to his chamber opened. ‘Sevatar,’ said Curze, without looking up. [...] ‘We shall see it done after Cheraut. Before then, I have another task to perform. It is time I spoke with my brothers.’ Again he looked at the cards. ‘What will happen is unclear to me, but perhaps all this horror can be forestalled. Perhaps the rumours are inflated, and Nostramo might be saved,’ murmured Curze. ‘Maybe Balthius is alive still, and this situation can be rectified.’

--Chapter 11 of Konrad Curze: The Night Haunter, by Guy Haley (2019)

Shang reached up and removed his helmet. His scent hissed into the room more strongly with the escaping air. ‘My lord,’ he said. He licked dry lips, eyes flicking about the scene of ruin. ‘They are getting worse. Your visions.’ Curze nodded his head. His mouth swam with spit that tasted of blood. ‘They are, my son,’ said Curze. ‘Once, they were but images flitting through my mind, presaging events that I must labour over my cards to fully predict. Now they come to me wholly formed, and their violence flows out from me.’ Curze hauled himself up to his feet.

--Chapter 11 of Konrad Curze: The Night Haunter, by Guy Haley (2019)

In pride of place, at a table by his side, sat the battered deck of cards he had consulted so many times. He meant their presence to be his last comment on fortune’s cruel grip. But the cards dragged at his attention, forcing him to reappraise them as a tool of his delusion.

--Chapter 13 of Konrad Curze: The Night Haunter, by Guy Haley (2019)

Make of the it what you will. Ave Dominux Nox🦇

[simon-roy]

One of the funnest parts of doing a kickstarter (perhaps the only TRULY fun part) is asking online pen-pals if they'd like to contribute to the book. I was very keen on getting something from Tom Kilian - @tkilian on here - who I've followed for ages (and talked with about a couple story ideas, too) to do a piece, and lucky for me, he went WILD on it!

Above is the incredible final piece he cooked up. But below, here is his exhaustive process, in his own words:

When Simon approached me to do a pinup for A STAR CALLED THE SUN I was torn between impending deadlines for other work and the fact that I really wanted to do one. One of my all-time favorite Simon Roy stories, “The Oxpecker and The Elephant,” is appearing in this volume, and I’ve spent years wondering what happened to the two tiny human figures visible among the wreckage at the bottom of the last panel. That, I decided, would be my hook: imagining one of those possible futures where the events of the comic had become an oral history or creation myth for future generations of humans. 

I initially had this overly elaborate idea of showing the same story told three different times around three different fires: one of miserable survivors in the comic’s immediate aftermath, one in this world’s equivalent of the Neolithic era, and one involving the ritual dance of a rich and prosperous culture. 

First I dashed out a quick thumbnail for the Neolithic cave-painting scene. I figured that this idea was strong enough to stand on its own if I couldn’t make the more complicated idea work or started feeling pinched for time, which ultimately is what happened. I like the concept work that I did for the invented history though!

I started by feeling out some ideas for repeatable motifs that I could pull from the comic. Since I wasn’t drawing anything directly from the book, I still wanted readers to be able to make that visual connection. I also wanted there to be some visual link between the three time periods, and settled on four red dots (for the elephants’ eyes), paired braids (for their main feeler arms/trunks), the triangular “assemblage” symbol, and some kind of draping brood-skin shape that would be associated with motherhood in some way.

You can also see me working out some stuff like “how to abstract that weird spaceship from the opening into a 2-D symbol” and “how many points does a Simon-Roy-style star have?” (it actually varies, but I think the stories set on Altamira all use 4-pointed stars), as well as what materials would be available (leather, bone, something very like wood, probably pigment derived from the planet’s yellow soil). 

The local mammal-equivalents don’t seem to have hair, but the ticks at least have quills. The idea of quillwork suggested a Native American inspiration for clothing and decoration, and since the first human settlements would likely have gone up near the shores of the Great Lake that pointed me towards the First Nations people of the Pacific Northwest.

Since the world of the comic appears to be very hot, I tried to communicate the idea of an advancing material culture without leaning on the crutch of “more clothes = more advanced”. My main angle was that in the Later Period the clothing could be more embellished and less practical, to reflect increasing wealth and specialization. Going by the comic, the standard seems to be that you can be totally comfortable in a loincloth, but that my prospective Oxpecker Lake Culture would have inherited the crew’s taboo against women displaying their breasts (the dresses seen here evolved out of the undershirts worn by the female crewmembers in the comic). Dusting red ochre skin dye on the shoulders and hands to mimic the pattern of the crew’s spacesuits then became a way to decorate oneself while still wearing minimal clothing.

I went through several different iterations of a formal shawl or wrap that could symbolically mimic Elephant brood-skin, as well as what they would be used for. I eventually settled on the multi-purpose blanket. Highly detailed to be given as gifts or to form dowries, with the elders draping them about the shoulders of the young in symbolic mimicry of how Elephants nurture their offspring.

Here I started working on ritual masks and costumes for the Later Period ritual dance. The events of the comic are now re-told in ritual dance during yearly solstice festivals. The three Elephants are represented by large, heavy, and expensive costume/puppets, whose fringed shawls (again reminiscent of brood-skin) and tasseled trunks move with the dancer. Each of the three Elephants from the comic would by now have accumulated various symbolic associations, as seen in the masks’ crests (meant to resemble assemblages) and robe decorations.

Settler and Tick masks are less elaborate, allowing the dancers more freedom of movement for athletic displays as they act out the story around the Elephant dancers. The male and female Settler masks are based off of the first two humans to approach an Elephant in the comic, while the War-Maker is based on that one guy with an atlatl. I imagined that in the mythic version of the story the last Tick bargains for its life with the War-Maker, teaching him how to kill his brothers in order to take their possessions.

Really surpassing my brief now, I started thinking about wall art for an Oxpecker tribal leader's grand hall. In a hypothetical 4th Age, new god images are emerging: filling similar roles but less 1-1 in their symbolism, and more work is going into glorifying the accomplishments of the Lake Culture – by this time now only one of several extant human cultures in the region. Notably the ship of the original settlers has been conflated with the boats that the people of the Lake Culture use to traverse the Great Lake. Many people probably believe that the spaceship was a fanciful metaphor. The double triangle, which originally meant "Elephant's Assemblage" is now a generalized one for "Land/Home". Possibly the conflation has religious origins: the visible world is Greatest’s assemblage.

I imagined that by the later period the humans would have spread out from their original home on the lake. Some people would move into the forests as hunter-gatherers (the Elephants appear to eat entire trees in the comic, which would regularly open up large forest clearings that could be exploited for game and fast-growing shrubs), some might have crossed the great lake, and some might build huge towers along Elephant migratory paths where they could latch on, hunt for ticks, and then hop off at the next tower. I like the idea that the Elephants would appreciate these humans, like reef animals visiting a cleaner-fish station, but that other humans would consider them unclean due to their diet of blood (by way of the Ticks, which at this point have been demonized).

Each culture might interpret the "two trunks, four eyes, red shoulders and hands" elements that I'd settled on for the original culture in different ways. Their religion and culture has probably morphed too: does the Lake Culture consider themselves superior, as the original humans? Are the Far Shore traders a Lake Culture splinter group who sailed across the lake, or are they the descendants of a different group of survivors who floated across in the aftermath of the Eviction? Are their weird island castaway cultures descended from a handful of people who floated away on a log at the end of the comic? How long until somebody realizes that megafauna are made of very large quantities of meat and other useful materials? Can Elephant and Man ever learn to communicate, perhaps in some far future Age?

At this point I’d realized that my original idea was much too ambitious and I tried a few layouts to prove it. We can also see some me working out different bonfire building methods and trying to work out a few steps of the ritual dance – a big development here is the idea that the elephant costume heads would be more like a hat rather than a mask to give the dancer added height. I also attached marionette poles to the end of the trunk tassels so they could be used for big, stately gestures in the dance.

The last bits of development went into the dress and appearance of the Stone Age storyteller. I scaled the headdress back to a simpler four reddish stones and four tassels (two long manipulator arms and two short feeder ones). Her dress is a costly garment representing her respected position within the group. It’s made of the skins of several animals and decorated with their bones, quills, and teeth (the ticks have them, it’s gross!), as well as shells from the Great Lake. I hypothesized a Tapir animal – essentially a larger ground-dwelling relative of the Tick – to provide the settlers with meat and hides. This conveniently let me base all the colors and stuff off of the animals in the comic.

Lastly, here is the full set of cave paintings, since in the final image I prioritized atmosphere over legibility. Read from left to right they retell the story of the comic in simplified form. Due to the way I organize my color photoshop painting I wanted this linework on a separate layer from the final drawing, seen below. Huge thanks to the ancient artists of Lascaux Cave for the inspiration!

Huge thanks to Tom Kilian for this post, and all this marvelous world-building - I absolutely love it all! A whole new world, implied through a single piece...

[indecisivekatz]

DAY 1 OF KPOP DEMON HUNTER ANALYSIS!: Analysing the Costume Designs in KPop Demon Hunters And Subtle Visual Storytelling Before it Releases

Oh yes, you heard me right-- I've only got this theory and another one in the works, but I might think of some other things to hyperanalyse eventually!!

(Contains potential spoilers for the movie!!)

And warning, as my inner analyst comes out, and I start speaking both formal and casual back and forth-- XD Andd-- I uhh, I'm sorta writing this in one go, so if I start repeating myself, I'm sorry lol XD

The Starting Stage Outfits:

Something I really loved about the HUNTR/X's design is how they balanced looking both uniform and unique! And you can REALLY see that with their outfits at what I'm pretty sure is the beginning of the movie.

I like how they establish Rumi as being different to Mira and Zoey (more on this soon), as they put all their yellow around their lower parts of their designs, whilst Rumi keeps it to her jacket.

I especially love how the designers chose purple for Rumi's hair as it's almost complimentary on the colour wheel against the yellows of her jacket, so there's a really high contrast of colours in her design which again, helps her stand out from the two. She seems to have a more rectangular shape in her design (the jacket, the short pants, the bulky platform boots), and rectangles have often been associated with 'sturdiness'. And judging what we've heard about Rumi, this matches her perfectionist personality.

It's interesting that her hair is the one thing that's not 'rectangular', but it still matches her perfectionist personality as it's super high up (which can at times be uncomfortable). Hair symbolism is a lot of fun- but I'm getting ahead of myself, I swear I'll come back to this later on in the post.

Zoey's outfit features very baggy trousers, which goes well with her round buns. Round shapes are often associated with 'good' characters and safety. In this case, I'm pretty sure it captures her fun goofy personality. She's also different from Rumi and Mira who both sport boots. She instead wears sneakers, which potentially indicates that she values comfort over what's aesthetically pleasing. This theory is further corroborated by how she's the only one of the two who hasn't dyed her hair (assuming she wasn't a brown haired aha).

Mira on the other hand has a "very sharp" (not super sharp honestly, but noticeable enough) design with the sharp half pigtails in her hair and sharp sidebangs in her fringe. Her skirt has a very triangular sharp which further exacerbates her sharp design, and whereas Rumi has much bulkier boots (which I assume would be easier to walk in, but don't quote me, sneakers all the way lol), she wears "pointed" boots (not the sharp ended kinda ones you see in high-heel pumps). I think this is indicative of her seemingly more harsh personality...? We haven't seen too much of these girls, so I can't be too sure about this note lol.

A little crumb of a much bigger theory I'm going to talk about, but I also like how Mira and Zoey have black in their tops, whereas Rumi wears white. Once again, making her stand out.

The HUNTR/X's Awards Outfits

So this one I can't really talk about without getting into my bigger theory but, the there's more shape language in this with the 'belts' for the girls! Zoey's got these half-round jewellery (??) stuff that connect her belt. Whereas Mira's got a long fabric knot thingy (I'm sorry I don't know the name 😭) which kindaaa calls to her triangular shape language.

Honestly, Rumi's is the most obvious one, with her rectangular belt.

(EDIT: These outfits are not to be confused with these ones

because if I acknowledge this version of their outfits, everything I'm about to say will be undone- LOL XD)

Pyjamas:

Nothing too much to note, but I love how Mira and Zoey both have purple in their pyjamas, indicating what might likely be a subconscious show of their love and respect for Rumi.

Okay, onto our favourite bad boy band:

The Saja Boys:

On Wednesdays, we wear pink yellow. Except if you're Jinu--

I'M SORRY- there's not much I can really analyse since we don't know too much about these boys. But I find it interesting how these guys copied the HUNTR/X by all of them (except Jinu) wear yellow + pink together what I assume to be their public debut.

Love that Jinu's the only one who didn't dye his hair. I like to think he tricked the other four into thinking he was going to dye it, but then backed out immediately after the others did it. "Actually, as the leader of this team, I don't need to dye my hair. It.... uhh- makes me stand out. Yeah!"

Saja Boys After Watching Mean Girls

Jinu finally got the memo that you need to MATCH your bandmates.

Nothing TOO much to say just that if you look carefully Jinu's shirt patterns have got a tiger stripe design! These guys aren't very subtle.

Notice how now suddenly, the boys are all wearing pink... they're starting to all look the same in terms of uniform. But hey, there's still some distinction in their outfit styles!

The Boys After Watching Wednesday ON Wednesday:

Nothing too much to say again (this one is likely gonna be saved for my next theory in a different post), but their tiger markings are starting to show off in their outfits!

"Okay, it looks like our fans don't we care if we're demon-looking, so long as we're hot and can sing enough, they'll love us regardless lol":

Notice how now these guys are completely uniform, and they now kinda lose their individuality (apart from their hair WHICH, mind you is mostly covered by their hats).

I really like how what I'm pretty sure is going to be their final outfits in the battle, they're all pretty much the same. Any of their personalities in their outfits are just gone. It's likely that it's not considered important to them anymore, since they think they're gonna win.

It's really noticeable in the trailer how when they're in their Jeoseung Saja fits, they're really unindistinguishable for each other, especially in the dark.

It could indicate the Saja Boys' way of thinking, a more 'collective mind' sorta thing. Maybe they put aside some of their own wants and desires in pursuit of pleasing whoever the Big Bad is. (assuming Jinu isn't. And let's be real, it likely isn't him). Isn't it suspicious how we don't have any of the other Saja Boys names but Jinu? Maybe they're all gonna go nameless until the very end of the film.

We all know that identity is going to be one of the main themes of Kpop Demon Hunters, so for the Saja Boys to slowly strip themselves of their identities in favour of unity is really interesting!

THEORY TERRITORY:

Okay now we're into the meat of this post. The part I was the most excited to write for and decided to make this entire post on a dime.

So there's this theory floating around that SPOILERSSS! LAST CHANCE!!

Rumi might possibly be a demon! Or half! And I'm not gonna go into all these specifics about that, since plenty of people have already done that buttt- It's been noted that Rumi tends to cover her arms and neck with her outfits, which is pretty visually obvious ^^

So you know how I mentioned hair symbolism? I think the fact that Rumi has her hair up in a high braided ponytail, it's supposed to symbolise how 'trapped' she is in trying to make herself look utterly perfect. The hairstyle is very likely painful (it looks kind of tight) but it stops her hair from running wild everywhere. Just like how Rumi might be trying to hold back on being her true self.

But you know what's not too visually obvious? The OTHER ways Rumi's character outfits are always just slightly different to the other girls. Let's bring back those outfits again!

This could be coughed up to how Rumi is the leader and therefore, she must always have her outfit be different to the other girls, but I find it very intriguing how it's around the upper area, which is where Rumi always hides her skin the most (potentially due to having demonic marks there), is where she always seems to differentiate from the other girls.

And in this set of outfits case, not only is Rumi the only one wearing white compared to the other girls who wear black on their shirts, but she's the only one wearing the yellow in that area too!

Although, we do see a hint of black on her jacket!

We see this again in their awards outfits:

Notice how Mira and Zoey both wear black shirts, whilst Rumi wears a white shirt?? And how she's the only one with a black jacket. Again, this could possibly just to help her stand out. But I'm wondering if it's symbolic of how she's got a 'good' heart deep inside, but her 'outside' nature as potentially being a demon distracts from that.

And I think there's something to be said about Mira and Zoey having white on the outside, but black on the inside too! Perhaps it's symbolic of how they too are struggling too with appearances, though in their case it's more metaphorical. They want to appear perfect on the outside, but deep down, they have all these 'imperfections' which they consider to be bad, so they do their best to hide them with the white (perfection).

Alternatively, the black could be symbolic of their lives as Hunters. Rumi believes her job as a hunter to be everything, hence why she has a black jacket, it's all consuming her, wrapping itself against her tightly. Whereas with the girls, it's more of their 'inner selfs' and they're a bit more comfortable with it....? If I'm making any sense.

Now this one is really interesting. (I know I've said interesting like a hundred times already) Notice how when the girls first see the Saja Boys, Rumi is all consumed in pink, which is what I'm pretty sure is the Saja Boy's theme colour. And this time, Rumi's covered in black alongside the pink. And she's once again, visually separated from Mira and Zoey who both wear white.

And hey, Rumi's not the only one who does this sorta stuff! Jinu, the leader of the Saja Boys (a fun foil in designs), whilst not as obviously, also differentiates himself from the group. He's the only one who doesn't initially match the Saja Boys in their supposed debut. And if not for Abs Saja (believe me, I'm going to get into that guy next time!!!) he'd be the only one wearing short sleeves, actively promoting his demonic marks in comparison to Rumi who distracts everyone with her big hair (vs Jinu's natural hair colour) and covers her upper body up (verse Jinu who doesn't wear long sleeves)

Anyway, there might be more I have to say, so I may end up editing this later on, but I hope y'all enjoyed the analysis XD AND- I may end up making a following post to this when the movie comes out!

Stay tuned next time for when I talk about why Abs Saja both hates and admires Jinu.... yes, that's actually the next theory coming.

[neopronouns]

flag id: two flags in the same format. each is made up of half-circles coming from the top left and top right edges. there are 5 half-circles coming from the left and 4 from the right; the second circle on the left and first on the right are the same color, and so on, making it so that where the last two circles of each overlap, they become one rounded triangular shape. the leftmost circle is light yellow-green, the second left and first right circles are green, the third left and second right circles are medium dark cool purple, the fourth left and third right circles (forming a triangle) are very dark purple, and the fifth left and fourth right circles (forming a triangle) are near-black.

the left flag has the tunevillain symbol in the center, which is an outline of an erlenmeyer flask half-filled with a sloshing liquid, with bubbles leading up to its opening and liquid erupting from its opening. the flask is silver and the sloshing liquid, bubbles, and erupting liquid alternate between green and light yellow-green. the whole symbol is tilted 30 degrees to the left and is outlined and filled in with pale silver. end id.

banner id: a 1600x200 teal banner with the words ‘please read my dni before interacting. those on my / dni may still use my terms, so do not recoin them.’ in large white text in the center. the text takes up two lines, split at the slash. end id.

tunevillain: a neogender umbrella for terms related to cartoonish/silly villainy

[pt: tunevillain: a neogender umbrella for terms related to cartoonish/silly villainy. end pt]

concepts potentially included under tunevillain:

cartoon vilains, villains from childrens' media, silly/funny villains, etc.

nonsensical evil plans, rube goldberg-esque traps, etc.

silly and evil creations, such as potions/serums with odd effects, machines that do ridiculous things, inept robots, etc.

showiness and flamboyancy related to one's villainy, such as villain songs, flashy outfits, elaborate villain lairs, etc.

failing at one's evil plans, having one's evil creations backfire on oneself, etc.

absurd backstories/reasons for hating the good guys

eccentricity, evil laughter, goofiness, short-temperedness, pettiness, etc.

having a heroic nemesis

and anything else related to cartoon villains, silly villains, etc.!

derived terms:

lein, leinen: a tunevillain person (derived from 'vilein', old french ancestor of 'villain')

rupt, rupts: an older tunevillain person (derived from 'corrupt', in the moral sense)

mal, malae: a younger tunevillain person (derived from 'mal-' a prefix meaning 'evil')

evilanie: a tunevillain gender ('evil' + old french 'vilanie')

tuvilin: tunevillain-in-nature

tuvilline: having tunevillain qualities (equivalent of masculine/feminine). noun form is tuvillainy

evillaic: tunevillain gender alignment

transtuvilline, transtuvil: transitioning towards tuvillainy

the term combines 'tune', representing villain songs/musical motifs and pronounced the same as '(car)toon', 'evil', and 'villain'.

the flag was originally based on a cape that overlaps in the front (like this), but i liked the sort of off-kilter look that making the overlapping stripes the same color gave it. i suppose now it more represents a villain lair?

the symbol combines erlenmeyer flask (2) and the lava from volcano (1) from this folder, plus some bubbles i added myself, to make an exploding potion. here it is by itself:

[image id: two images of the tunevillain symbol, which is an outline of an erlenmeyer flask half-filled with a sloshing liquid, with bubbles leading up to its opening and liquid erupting from its opening. the flask is silver and the sloshing liquid, bubbles, and erupting liquid alternate between green and light yellow-green. the whole symbol is tilted 30 degrees to the left. the symbol on the left is outlined and filled in with pale silver, while the right is not. a blank image is placed between the two to make them take up less space on screen. end id.]

and here's the template for those who want to coin evilanies!

tags: @radiomogai, @liom-archive, @macchiane, @genderstarbucks, @en8y

tags cont: @p-rtyboy, @dragonpride17

dni link

[neptuii]

Okay, I've been fighting with Tumblr's quality issues for about 2 hours now and I just give up- tried re-sizing these pictures SO MANY TIMES its just ridiculous. Used every possible hack and tip I found and none had worked so I'm just gonna roll with this although I am upset as I spend a lot of time on these doodles- more than I would want to admit.

The middle drawing is still uploading and if it looses quality as I post this I will re-do this post because there is just too many details to loose on. If anyone has tips on how to deal with quality issues on this platform please let me know, the artist here is STRUGGLING.

----------- Anyway, some more detailed depictions of my human KMKY!Bill Cipher design. I mostly based it off the original description that is given in the 5th chapter; in other words, the moment Ford bought him his first own set of clothes. I really like the idea of him wearing loafers. I know that in the chapter 12 he ruined his first pair by running into a muddy forest while it rained. And so I imagined that after that event Ford bought him a new pair with golden buckles in shapes of triangles as these aren't uncommon, right? What I mentioned in the latest post was that Ford could've put in the effort and maybe sew in a triangle design into his og black sweatshirt as maybe Bill mentioned it was a bit too plain for his liking (even though its quite comfortable). First I thought of a possibilty of it being a bit of a too straightfoward clue for Fiddleford to connect the yellow triangular symbol with the traingle statues in Ford's study but then I thought that maybe Ford or Fiddleford himself would explain it as some sort of portal project personalized merch..? I mean, Bill IS the "benefactor" as Ford put it so that could be the excuse lmao. Anyway, I wanted to include some of my human Bill headcanons in this post but it's already quite lenghty so I might make it a separate post- especially if the quality of these pictures will be ruined as I upload this. fanfic mentioned: Knowing Me, Knowing You on Ao3 by @f-imaginings

[literaryvein-reblogs]

Word List: Fashion History

to try to include in your poem/story (pt. 2/3)

Exomis - a short, asymmetrical wrap garment pinned at the left shoulder, worn by men in Ancient Greece

Eye of Horus - or Wedjat eye, is an ancient Egyptian symbol that represents the eye of the falcon-headed god Horus and symbolizes healing and regeneration and was often worn for protection

Faience - a man-made ceramic material that was often used in ancient Egypt to make jewelry and devotional objects; it is usually a blue color

Falling Band - a flat and broad white collar often with lace on the edges, worn by men and women in the 17th century

Fibula - served as a pin to both hold garments together and to show status of those with prestige or power within society; was popular in Greek culture

Fichu - a triangular shawl, usually worn by women, draped over the shoulders and crossed or fastened in the front

Fontange - a linen cap with layers of lace and ribbon, worn flat and pinned to the back of the head

French Hood - a rounded headdress for women that was popular in the 16th century (from 1540)

Frock Coat - a collared man’s coat worn through the eighteenth to the twentieth century; rose to prominence mainly in the nineteenth century, especially Victorian England; characterized as a knee-length overcoat, buttoned down to the waist, that drapes over the lower half of the body like a skirt

Frogging - ornamental braid or cording that can function as a garment closure, or be solely decorative

Gabled Hood - a woman’s headdress that is wired to create a point at the top of the head and has fabric that drapes from the back of the head

Gigot Sleeve - a sleeve that was full at the shoulder and became tightly fitted to the wrist; also called leg-of-mutton sleeve

Guipure Lace - a type of continuous bobbin lace made without a mesh ground; its motifs are connected by bridges or plaits

Himation - a rectangular cloak wrapped around the body and thrown over the left shoulder worn by the ancient Greeks

Huipilli/Huipil - a woven rectangular shirt worn by women in Central America beginning in ancient times

Jerkin - a close-fitting men’s jacket, often worn for warmth, sometimes without sleeves; worn over a doublet in the 16th and 17th centuries

Justaucorps - a long-sleeved, knee-length coat worn by men after 1666 and throughout the 18th century

Kaftan - (also caftan) is an ancient garment, which originated in ancient Persia but then spread across Central and Western Asia; a kind of robe or tunic that was worn by both men and women

Katazome (stencil printing) - a traditional Japanese method for printing designs onto fabric using a stencil and paste-resist dyes

Kaunakes - one of the earliest forms of clothing; made from goat or sheep’s wool and meant to be worn around the waist like a skirt, it is recognizable by its fringe detailing

Kente - a Ghanaian strip woven textile that has striped patterns and bright colors with corresponding meanings

Knickerbockers - or “knickers” are full or baggy trousers gathered at the knee or just below and usually fastened with either a button or buckle; were initially worn by men in the late 19th century and gradually became part of women’s fashion; the garment was usually worn as sportswear and became especially popular among golfers and female cyclists, hence the term “pedal pushers”

Kohl - a black material made out of minerals such as galena and used for eyeliner and eye protection in ancient Egypt

Labret - a type of lip-piercing worn by various cultures to indicate wealth, prosperity and beauty

Love Lock - a lock of hair from the nape of the neck hanging over the chest to show romantic attachment; it was a popular hairstyle between 1590-1650

Lurex - a shiny synthetic fiber made of aluminum-coated plastic with a glittering metallic sheen

Mantua - a jacket-like bodice with pulled back overskirt that bustled in the back, often in elaborately patterned fabric, first worn in the 17th century

Medici Collar - a collar that stands upright on the back of the neck and opens in the front; this type of ruff was introduced to France by Marie de’ Medici in the 16th century, taking her name two centuries later

Moccasins - a type of soft animal skin shoe that were worn by Indians in North America

Muff - a tubular padded covering of fur or fabric, into which both hands are placed for warmth

Mule - a backless shoe

Muslin - a simple plain-weave textile made out of cotton and available in varying weights and finishes; historically, there were also varieties of muslin in silk and wool

Needle Lace -often known as “needlepoint lace”; is a term referring to the technique in which the lace is made of entirely needle work; it developed in the 15th century and then became very popular throughout the 16th century

Nemes Headdress - starched, striped linen headdress that draped on the shoulders and had a tail at center back worn only by royals in ancient Egypt

Panes/Paning - a method of decoration using long parallel strips of fabric arranged to reveal a contrasting fabric underneath that was fashionable from the 15th-17th centuries

Panniers - an under-structure used in eighteenth-century fashion that created a shape wide at the sides and flat at the front and back

Pantalettes - (also referred to as pantaloons) are loose, pants-like undergarments that covered women’s lower halves in the late 18th and early 19th century

Particolored - the combination of different colors within the same garment along the vertical axis

Passementerie - an additional accent or embellishment in silk or metallic threads, such as an embroidered braid, tassel or fringe

Pattens - wooden-soled platform over-shoes, which were commonly worn from the 14th century to the 18th century

If any of these words make their way into your next poem/story, please tag me, or leave a link in the replies. I would love to read them!

More: Fashion History ⚜ Word Lists

[girlkisser13]

zeus cabin headcanons

children of zeus

• over time, they develop lightning scars on their body from the sheer amount of electricity that passes through them whenever they summon lightning.

• the mortals call these "stretch marks".

• they have a hard time holding their breath for longer than a minute due to their father’s air-based nature.

• eventually, someone sets up a tent inside to make it feel less empty and uncomfortable.

• they have an intrinsic understanding of the law wherever they are and could pass a bar exam with no preparation.

• they can play electric guitars and basses without using an amp.

• they give off little shocks when they're happy.

• they have a natural charisma that draws others to them, coupled with an authoritative aura that commands respect.

• they are immune to static electricity.

• their personalities are intense, mirroring their father’s own mood swings. they are passionate and driven, but are also prone to sudden bursts of anger if things don't go their way.

• when chiron decided that the electricity bill was getting too expensive, he had the hephaestus cabin set up underground wires so they could extract electricity from their cabin.

• due to their strong personalities, they have a complex relationship with authority figures, sometimes clashing with them or struggling to fit into conventional roles.

• they’re extremely impulsive and quick to act, especially when they sense injustice or danger. their actions are often driven by a strong sense of urgency.

• a lot of them grow up to become pilots or meteorologists.

• the statue of zeus is constantly covered with blankets to prevent anyone from seeing his "hippie" face glaring down at them.

• they can move lightning-fast over short distances, becoming electricity in the process.

cabin exterior

• the cabin resembles a large, imposing greek temple. it is made of solid white marble, giving it a regal and timeless appearance. the building has a rectangular shape with a peaked roof, and it's elevated slightly above the ground, with steps leading up to the entrance, similar to ancient greek temples.

• the front of the cabin is lined with impressive, thick columns that support a triangular pediment. these columns are doric in style, which are simple yet strong, symbolizing zeus's power and authority.

• the triangular pediment above the entrance often has carvings depicting scenes associated with zeus. these include lightning bolts, eagles, and scenes of zeus sitting on his throne. the frieze running along the top of the cabin is decorated with intricate designs of mythological scenes involving zeus.

• the roof is tiled with golden shingles that catch the light, making the cabin gleam and stand out, even from a distance. it has a weather vane shaped like a lightning bolt at the top.

cabin interior

• the doorway of the their cabin is grand and imposing, with a large wooden door inlaid with lightning bolt designs. it has a high, arched entrance that makes every camper feel small as they walk in.

• the ceiling is a high dome with a large skylight in the center. the skylight is magically enchanted to always show the sky outside, whether it's day or night. during thunderstorms, the skylight shows the storm directly above, with lightning occasionally flashing across it.

• lightning bolt patterns are carved into the walls and furniture. the bedposts, chairs, and even the table have intricate designs that resemble streaks of lightning. these designs occasionally glow with a faint blue or gold light, especially during storms.

• the interior is primarily made of white marble and stone, giving the cabin a clean, powerful, and timeless feel. the floors are polished marble, and the walls have stone columns reminiscent of ancient greek temples.

• the cabin is never completely silent. there is a low, almost imperceptible rumble of thunder that can be heard, especially during quiet moments. it feels like the power of the sky is always present.

• the cabin is illuminated by electric lanterns that mimic the look of ancient greek torches. these lanterns have a bluish-white flame that flickers like lightning. they provide a soft, but sufficient light for the entire cabin.

• each bed has dark blue bedding, with gold trim and embroidery. the pillows are soft, and the headboards are engraved with thundercloud patterns. each bed is spacious and sturdy, resembling a king's bed, giving a sense of royalty.

cabin traditions

• whenever something bad happens to one of them, they kick the statue of zeus in the balls.

• to start each day with energy, the head counselor has a morning routine where they produce a loud clap of thunder to wake everyone up. it eventually becomes a competition to see who can make the loudest or most impressive thunderclap each morning.

• they take it upon themselves to predict the weather for the day, using their natural instincts and connection to the sky. they could even post a daily weather forecast outside their cabin door, which would often be surprisingly accurate and trusted by other campers..

• on the nights when the sky is clear, they hold a tradition called "sky bridge," where they create a makeshift bridge with ropes and wooden planks, connecting the cabin to a nearby high tree or structure. they use this bridge to sit and stargaze, feeling as if they're closer to the heavens.

divider by @plutism

[babyblankyerror]

Thinking of Villain!Stan:

♡ He is a big diva, as the og Stan is a showman at heart that is EXACTLY what he becomes.

♡ Stan's evil place is a Gambling house home and there are probably many levels where different games (carnaval/amusement parks- you name it) are.

♡ Idk why but he probably knows ballet

♡ As he made a deal with Pyramid Steve he can use powers so the Mystery Home is always changing and it's pratically impossible to make a map of the inside

♡ Again, he's got powers but bro doesn't even use it for actual evil most times??? He just ABRACADABRA and boom you now have a full dress on

♡ OH! His hands come off as Steve doesn't have hands :3

♡ Bro is pratically a living cartoon. That's it man

♡ YES he does have a soft spot for the tiny twins ("twinys!") And even if they're against him and all his evil doings like Stanford, he still loves them and refuses to hurt them

♡ Will probably break into song like he is in a musical.

♡ Sometimes he dresses feminine because he's fabulous like that. He usually wears makeup despite the masculine clothes (he feels undressed without liostick)

♡ Mabel loves his pizzazz and tries to connect with him through the power of love and friendship. She often forgets to try catch him ("Stop distracting me with your tea parties and amazing fashion choices!")

♡ Stanford has some main character syndrome in this

♡ Dipper tries to be a hero like his great uncle but slowly starts making his own opinions of Stanley Pines. He thinks he's barely a Villain (which offends Stan, he's trying thank you very much)

🔺️🔻🔺️🔻🔺️🔻🔺️🔻🔺️🔻🔺️🔻🔺️🔻🔺️🔻🔺️🔻🔺️

Appearance: Full white hair and goatee (because he likes sayjng goatee "goatEEEE"), bright blue eyes (used to be brown) and pale (slightly yellowed) skin. Likes to wear lipstick (red / hot pink) and sometimes will have a tear drop drawn on his cheek or other symbols such as triangles.

Attire: Usually seen with a purple top hat, yellow suit, heels, triangular earrings and cane. Clothes change from patterns in suit and color coordinations but he always uses the same colors: yellow, pink, purple, blue (Pyramid Steve's color schemes).

🔺️🔻🔺️🔻🔺️🔻🔺️🔻🔺️🔻🔺️🔻🔺️🔻🔺️🔻🔺️🔻🔺️

[meloo-melon]

Gen Z Adam & Lute in uniform

I experimented with my style a lot in this one and tried to keep their colours and silhouette as similar to their og’s as possible, especially when it came to Adam.

I wanted to keep his triangular silhouette with his jacket and wanted to keep his pattern on his robe with subtlety of the red streaks at the end of his jacket. I also added a chain and two golden spikes coming out of between of his horns to give his iconic A symbol. Which led me to make his horns more angled to resemble an A in some angles. His sleeves also go from light to dark like his og sleeves and I added white cuffs to represent his white pattern at the end of his sleeves in the show.

For Lute, I switched her belt for a corset as gen z girl teenagers, especially the more alt and gothic ones tend to use corsets a lot in their outfits as an aesthetic choice. She is wearing an oversized jacket with a night gown, making it more alt and modern. I kept all of her colours the same unlike Adam. And I tried to make it as similar to the og as possible without it being unoriginal, but not different enough to make her unrecognisable. I kept her mask the same expect for the two dangerous looking side metals that resemble her grey sidetails. She looks like she can pierce someone’s throat with that. As you can see in her jacket and boots she still has the grey streak just like her og.

I tried to make this drawing as similar to my og gen z drawing of them to maintain the same aesthetic people liked. As you can immediately see I kept a very angular and sharp edges with them to portray to the audience their villainy and dangerous and their threat to the main characters in HH.

If you finished reading this thank you and I appreciate you and this is in any way not a realistic depiction of gen z. It is highly exaggerated and simply made to be fun.

[maggore]

Flag id: Two rectangular flags which is formatted similarly to the top-down view of a pyramidal frustum. In the middle is a light grey square, with 4 triangular shapes coming from it. On the left and right of the square, the triangles are solid black. On the top and bottom, the triangles are separated into three lines, which get larger at the edge of the flag. These stripes are colored, from top to bottom, very dark red, cherry red, light red, sky blue, jeans blue, and very dark blue. On the left flag is an eye symbol with black outlines, and black drips coming from the iris of various lengths and sizes. /end id

Vemörrorive [vē-möre-or-iv] — Neogender related to analog horror and common tropes found in it- including:

Analog technology

Body horror

Cosmic horror

Greyscale filters

Jumpscares

Monsters

Parasites

Psychological horror

Poor quality or blurry photos

Space imagery

Static

The colors black, grey, white, ( dark ) blue, and red

The fine line between human and beast

Over the top gore

This can also be called Vemorrorive, Vemörr, or Vemorr for the sake of ease

Terminology

VemIN — Vemörrorive in nature

Vemörrortine — Equivalent to masculine or feminine

Vemörrity — Equivalent to masculinity or femininity

Vem — Equivalent to masc or fem

Conspi — Equivalent to man or woman

Strum — Equivalent to boy or girl

Planian — Vemörrorive loving Vemörrorive

Magnaian — Full galactian alignment

Flarian — Partial galactian alignment

Coined on 12/14/2024 | Flag colors based on the definition, flag template inspired by Scrap 199 (link) from Pride-Flags on Deviantart | Unedited symbol source (link), symbol is meant to represent the heavy emphasis on eyes in analog horror, with the drips being a reference to the idea of incomprehensible horrors and body horror

Vemörrorive comes from the words Vemödalen, meaning "The frustration of photographing something amazing when thousands of identical photos already exist", analog horror, and the suffix -ive, meaning something performs or tends toward an indicated action

Conspi comes from Conspiciunt, a latin word meaning "to stare", while Strum comes from Monstrum, a latin word meaning "monster"

[Tagging] @radiomogai @obscurian @horrormogai & @daybreakthing

[razzafrazzle]

i warned you about emails bro!!!!!!!!

[image description: a reference drawing for an original character named ily, who is a purple-skinned humanoid with an at symbol representing hair, yellow freckles, and a tail that is tipped with a computer mouse pointer. she is wearing a crop top resembling a love letter, as well as a matching miniskirt, armwarmers, and boots, with pink tights and yellow triangular earrings. next to her are blurbs that say her pronouns are she/he/it, that he is a nonbinary lesbian, and the following: "computer virus and typical 2000's mean girl. lives in your emails and eats files. the original gaslight gatekeep girlboss." end id]