#Visual Composer Integrated

[shepherds-of-haven]

It's here.

The Shepherds of Haven Twine alpha build is live on Patreon!

What's New:

UI! A new UI for the game awaits you, including a range of visual themes to switch between light and dark mode, each with its own ‘minimalist’ version for those who favor strict readability! Stat screens, achievements, notifications, codex entries, newspaper articles, journal entries, storefronts, the day off hub, relationships, the character guide, the inventory, your room, trading cards, gambling, and so much more have been redesigned from the ground-up!

Miss the old look? Switch the font to Georgia and use the "Scholar" theme in your settings. You can even toggle "prioritize stat bars" if you want to change everything back to just stat bars!

A vast range of settings to customize your game! Includes several fonts and ways to read the text, including OpenDyslexic font, as well as toggles to disable or enable visual effects, music, and character art. 

Robust save system! Now, you can not only use 10 different save slots on your browser (including autosaves), you can also download saves directly to your device, arrange and rename them as you like, and even use them to play the game between different devices and browsers!

Interactive maps! Explore and learn about the world of Blest like never before!

Music! A gorgeous custom soundtrack for the game was designed and composed by Ivan Duch and will play at key moments in the story.

Art! New character art, character cards, collectible trading cards, background art, codex documents, bestiary notes, and so much more have now been integrated into the game. Don’t miss the absolutely gorgeous cover designed by Angela Wang!

Fully mobile compatible! Though desktop is strongly recommended for the best gameplay experience, Shepherds is mobile-compatible and feature-rich regardless of what device you play it on.

Other gameplay improvements:

Trouble and Briony are now romanceable by players of all genders.

All players can change their pronouns at any times. Pronouns do not affect romances.

Gambling is now unlocked earlier.

Two day offs is now unlocked earlier.

You can now allocate different points in magic and weaponry training to different skills, not just one at a time.

For now, the new alpha build is only available on Patreon, primarily because this is all new to me and I was working under a severe crunch after the abrupt closure of Dashingdon. Once all the bugs have been ironed out, I feel less nervy, and the dust has settled down some--and I get some semblance of a functional daily life back again--I'll get to work making a public demo available to everyone. It shouldn't be too long of a wait!

In the meantime, please consider signing up for the Shepherds of Haven newsletter: you'll be notified of only the most important announcements--including the release of the public demo, beta-testing opportunities, DLC announcements, and more. Plus, you'll get a free exclusive digital wallpaper based on Shepherds of Haven! :)

Other new links:

manifold-studios.com - official website for my games

@manifoldstudios - this (shepherds-of-haven) is still my main account, but you can follow this one for a cleaner way to receive just announcements as well!

linktree

newsletter

And, of course, if you want to give the new Twine build a try, you'll want to...

Play here!

I sincerely hope you enjoy! ✨

[jolynesmom]

reasons you’re unable to enter the void or shift while lucid dreaming or in sleep paralysis

recently I received a couple of messages from followers and other blogs explaining how, when they were in sleep paralysis or lucid dreaming, were unsuccessful in reaching the void or shifting after stating their intentions

this also happened to me a couple of times, seemingly at random; sometimes it works, sometimes it doesn’t

I did a bit of research and also analyzed my own experiences to figure out the root of the problem and how to fix it:

you’re not completely grounded/you’re rushing

this took me an embarrassing amount of tries to realize this, but every time I’m lucid dreaming or feeling myself entering the void, I would instantly start to spew out my intentions/desires instead of completely grounding myself in there and I would be instantly kicked out from that state. I guess it just doesn’t work that way — you have to be completely grounded in your ld or sp for your desires to manifest

a lot of you (me included) get so excited or scared when realizing we’re in a certain state that the connection, I guess, breaks. as an example, when I wasn’t very knowledgeable on the void state I entered it and chilled there for like 10-15 minutes before exiting willingly, but after discovering it can be used for shifting or manifesting I could barely spend 10 seconds there before waking up unintentionally

mental exhaustion

your psyche is exhausted and it simply can’t proceed the instructions anymore. imagine you stay awake for more than 24 hours and someone asks you to do a task that requires concentration and precision. would you be able to do it perfectly? I highly doubt

to get over this issue you need to take a serious break, and I don’t mean you can’t attempt anything for a day or two, I mean a BREAK — don’t even think about shifting or entering the void and chill and sleep as much as possible. I mean it, especially sleeping! fix your sleep schedule or sleep lots for 2-3 days

after you start your attempts again, if the first few instances are unsuccessful, you need to take another break before continuing, otherwise you risk of repeating the same scenario over again — reaching your desired state but not being able to do anything from there due to mental strain

brain activation trigger

brain activity changes — realizing you are dreaming changes how your brain works, especially in parts that help you think about yourself and make decisions. these changes can wake you up; knowing you are dreaming can make you feel excited or surprised - these strong feelings can wake you up too

mental blockages and expectations

your subconscious mind might have doubts or fears regarding the process. if you unconsciously expect that your attempts won’t work or fear the consequences of them working, this can create a mental block — this is actually more common than people think and a lot of you don’t even realize you have these blockages

overexcitement

if you become too excited or anxious about the possibility of your desires manifesting, this can trigger your body to wake up. remaining calm and composed is very important (even though we can’t help ourselves at times). overexcitement goes hand in hand with other strong emotions such as fear, so make sure you’re in a neutral state

subconscious programming

your subconscious might need more time and positive reinforcement to accept and integrate the idea of shifting realities, entering the void or manifesting desires. using affirmations, subliminals and visualizations regularly can help reprogram your subconscious mind

timing

certain times of the night or stages of sleep might be more conducive to successful lucid dreaming/sleep paralysis and shifting. experimenting with different times and conditions can help you so much!!

as an example: I have an easier time entering the void by meditating at night after 1 a.m., but I have an easier time doing wbtb and lucid dreaming between 8-11 a.m.

I honestly think that what can help you overcome this is self reflection — a lot of you search for answers but never bother to answer them yourselves. by self reflecting throughout my journey has helped me identify my weaknesses, how to fix them, what works for me and other tricks to speed up the process or make it more enjoyable

[gor3sigil]

Trans drag performers deserve better.

Okay so since y'all seem interested, here we go.

[This is about MY experience as a “former” transmasc drag king, in my local scene. This isn't representative of the drag scene as a whole because drag is a wide, huge scene with pretty much any type of people in it. I have never done paid gig. I only performed a couple of times before deciding to stop.]

I discovered drag with RuPaul like a lot of people, and for a long time, I only knew about drag queens. It’s when I learned about an initiation to drag king happening in my town that I decided to try it. I did a bit of research before the event took place and that's how I learned that drag king is widely undocumented, compared to drag queen. A bit disheartening but I was excited to do something new and especially to get back in my local queer community after 2 years or so of “no contact” with it because trauma (see my post about my first T4T relationship to understand why).

First surprise when I got there, I was the only transmasc present as an attendee. The organiser and person who teached us is agender and go by he/him, and his at the time SO is a transmasc enby but appart from them, I was the only trans person. Most of the others were cis lesbian women. Makes sense. The initiation weekend went really well and we ended up performing in an open scene at the end. I can't count the amount of times I got misgendered by other kings during this weekend and I have to say, it pissed me off so fucking bad because I was the only one getting consistantly misgendered. But I brushed it off and had a blast.

My drag persona is more of a dragula king, really goth, and I did a lipsync performance on a Black Dresses song. I loved it and had a blast. A year or so later, we decided with other drag kings to do a little group to perform together.

Once again, I'm the only trans person.

And that's when the shitshow kinda happened. From all the drag kings present, I was also the only one who wasn't already part of a collective. So the group we had was composed of people from 2 collectives who would basically cheer each other out at every show, and it's great !! But I wasn't being integrated into the group, and I felt defeated. One of the main reasons why I didn't go to drag shows was because I was FLAT BROKE. I couldn't attend these events as they were always or in a bar so you have to at least buy a drink, or had a fee, and I couldn't afford that.

We started doing rehearsals and I set up a discord server for us all to use and organize the said rehearsals. It soon became apparent that they weren't really serious about this group, that they were more involved in their own collectives and it was HELL to have at least one rehearsal a month. But we had a show scheduled for september, and half of the kings weren't ready, didn't know their texts nor songs. I knew it was going to be bad. Also we were confirmed that the gig was going to actually happen 3 days only before, because the people who said they were going to do the visuals NEVER DID and we had to fumble something quick so the event was promoted very fucking late and we weren't sure we could even afford to do it, because not many tickets were sold.

During the rehearsals I got singled out for everything. My voice was dropping because of the T (I had started 8 months prior) and I tried to do my best with the singing parts but got told a few times that my low voice would sound “weird” amongst the sopranos. Also, one of the solo part a king was going to perform was on a very upbeat music and he said we could join IF WE WANTED.

I said I'd pass since it wasn't my style at all.

And when we got to the venue, the venue didn't have any backstage and I had my solo part just after that, so I couldn't just stand there on stage and do nothing. The others in my group KNEW IT as they had performed in this venue BEFORE but just told me “oh, too bad, improvise something” when they were the same ones who told me that taking part in the number was not mandatory.

Regarding the other artists, man, I hated everything. I got misgendered constantly IN KING LIKE - I'M A DRAG KING FFS. Even by others in my group.

When I corrected another performer, a cis gay dude, he laughed at my FACE and told me “but you're trans aren't you like, against gender or something ?”. As I was pre op and still early in my transition I was basically outing myself everytime I told my pronouns and I got so many cis performers ask me invasive questions about my sex life, or being like “yeah I have a trans friend who goes by X but I knew them as Y so it's Y to me but it's not in a disrespectful way you see”.

So yeah, I didn't have a great night. :)

The cis kings called me “girl” or “sis” because “I'm one of them” even after telling them time and time again that I wasn't comfortable with that.

And after this quite disastrous experience, the same ones who called me “girl” and me got into an argument because they wanted to change a song about forced toxic masculinity which is an INCREDIBLY POWERFUL AND BEAUTIFUL SONG into lyrics to talk about femininity. I said that we could use another song then, because there's so few cis men singers who sing about being forced into toxic masculinity and virility that I found that a bit disrespectful to take this important message and make it about women and femininity. There's plenty of songs about that that we could use.

And now guess what ? I was a MEAN MAN who wanted women to NOT TALK ABOUT THEIR ISSUES because I was a very MANLY DUDE DISGUSTING MALE.

The same people who couldn't gender me correctly and called me “sis” a WEEK BEFORE.

So yeah, I got the fuck out and gave up.

I really wish I can perform again one day, but it'll be in another scene.

So PSA: book drag kings, because they are so underrepresented it's disheartening, RESPECT trans drag performers, don't but bioessentialism in drag for the LOVE OF GOD IT'S DRAG. Like imagine being transphobic as a DRAG PERFORMER. Learn the history. And fucking do better.

[literaryvein-reblogs]

hello, i was wondering if you could help me with describing hands? one of my characters is using sign language to communicate, and while the facial expressions are fine it's the hands i struggle with. thank you for your hard work!!

Describing Sign Language in Writing

Sign language - a nonverbal communication method that relies on physical movement instead of spoken words.

The figure shows the well-defined structure that distinguishes sign languages from simple gestural communication or mime, imbuing them with the complexity and depth characteristics of the spoken language.

Sign languages, distinct from the many communication methods employed by humans, exhibit expressions of complex linguistic systems rooted in visual-manual modality.

Rather than merely gestures, these languages are structured and intricate, evolving in response to cultural and societal influence.

At the core of sign language lies manual articulation complemented by non-manual elements (such as facial expressions and body posture).

This combination yields a rich communication tapestry in which each sign or gesture has a specific meaning organized by syntactic and morphological rules.

Visual-spatial language uses visible cues from the hands, eyes, facial expressions, and movements to convey meaning.

Although sign language is primarily used by individuals who are deaf or hard of hearing, it is also used by many hearing people.

Like spoken languages, sign languages have their own grammar and structural rules and have evolved.

However, there is no universal sign language, and different countries have unique versions of sign languages specific to their regions and cultures. Example: the ASL differs from Auslan in Australia and the BSL in the United Kingdom. A person fluent in ASL may need to understand a local version of sign language in Sydney, Australia, instead of different dialects or accents in spoken languages.

There are more than 300 different sign languages in the world, spoken by more than 72 million deaf or hard-of-hearing people worldwide.

Each individual gesture is called a sign. Each sign has 3 distinct parts:

the handshape,

the position of the hands, and

the movement of the hands.

PHONOLOGY. At the heart of all languages, spoken or signed, lies the study of phonology. This discipline investigates the systematic arrangement of sounds in spoken languages and the corresponding organization of meaningful units in sign languages. In the case of sign languages, these units are not acoustic but instead composed of distinct hand shapes, locations, movements, and facial expressions. These elements work harmoniously to serve as essential structures for the sign-language framework.

Handshape: This refers to the specific shape of the hands when producing a sign. Different hand shapes can change the meaning of a sign, as different vowels or consonants can change the meaning of a word in spoken language.

Orientation: This involves the direction the palms or fingers face during the sign. The orientation can be towards or away from the signer, up, down, or to the side, and like a hand shape, it can significantly alter the meaning of a sign.

Location: This refers to the location in the signing space where a sign is produced, such as in front of the face, on the body, or in the neutral space in front of the signer. Location helps differentiate signs that might otherwise be similar in hand shape, orientation, and movement.

Movement: Sign languages use various movements, including direction, path, and manner (smooth, fast, or slow). Movement is crucial for expressing different concepts and can change the tense or aspects of verbs, among other things.

Facial Expressions: In sign languages, facial expressions are not just emotional indicators but are integral to grammar and lexicon, conveying distinctions in meaning, mood, tense, and sentence type (e.g., declarative, interrogative).

Understanding the phonology of sign languages is similar to acquiring the alphabet of a spoken language. The distinct characteristics of these elemental units lay the foundation for forming more complex structures and meanings.

CLASSIFIERS (CL) in sign language are a group of hand shapes used to represent general categories of objects, people, places, or concepts, as well as their orientation, movement, and relationship to one another within the spatial context of the signer’s narrative.

These handshapes are not standalone signs but are employed within the structure of signed sentences to provide descriptive or locative information that complements the narrative.

Classifiers allow signers to convey complex visual-spatial information efficiently and vividly, making them essential to sign language’s grammatical structure and expressive power.

Object Classifiers: represent objects or people with various shapes and sizes. For example, a flat hand may represent a flat surface or vehicle, whereas an upright index finger can denote a person standing.

Locative Classifiers: describe the location of objects or the spatial relationships between them. They can indicate where something is situated or how items are arranged relative to each other.

Plural Classifiers: used to depict groups of objects or people and their distribution in space. These classifiers can show the arrangement of objects, such as items lined up in a row or randomly scattered.

Element Classifiers: convey information about natural elements or substances such as water, fire, smoke, and wind, illustrating the movement or texture of these elements.

Body Classifiers: represent parts of the body or whole-body actions. They can show how a body part moves or is positioned in space.

Movement Classifiers: illustrate how an object or person moves within a space, including the direction, manner, and speed of movement.

Instrument Classifiers: show how an object is manipulated or used, often indicating the type of grip or action performed with tools or utensils.

Size and Shape Specifiers: provide specific details about the size, shape, or orientation of objects, enhancing descriptive accuracy and visual clarity in narratives.

Examples

A Quiet Place. The depiction of sign language—specifically, ASL—was heavily researched. They cast a deaf actress to play Regan for the express reason that she could help tutor the cast so they feel fluent. Individual characters also have their own "accent": Lee signs in a stern manner, Evelyn is elegant, Marcus is laconic, and Regan is sassy.

In Dune, multiple characters use hand signals to give orders to their subordinates. In fact, there are entire sign languages developed separately by both the Atreides and the Harkonnens, as well as even more subtle ones developed by the Bene Gesserit, that allow them to communicate irrelevant information verbally and important stuff with their hands, making sure that even if they are overheard, the enemy won't learn anything.

Beauty and the Beast (1987 series) has a deaf character who had grown up in the tunnels in "An Impossible Silence" and "Sticks and Stones" who communicated through ASL. The second episode was groundbreaking in that there were several scenes where deaf characters communicated in on-screen silence, with no voiceover or even background music, something the deaf actors involved fought hard for, not wanting someone else's voice to overshadow their own "voices".

The Shape of Water: Elisa is mute, and thus uses real-life American Sign Language to communicate. She also teaches the fish person how to sign, since he can't physically talk either.

Koko the Gorilla: Sign language is a powerful way for people of all hearing abilities to communicate. It can even be used to communicate with gorillas. In the 1970s, language researcher Dr. Penny Patterson began working with Koko, a western lowland gorilla, teaching her sign language. Research has shown that gorillas (and other large apes) have language skills similar to those of small children, and throughout her life, Koko learned more than 1,000 different signs. Koko was able to have entire conversations in sign language, as well as play word games and make up her own signs.

Sources: 1 2 3 4 ⚜ More: Notes & References ⚜ Writing Resources PDFs

Thank you for your kind words, really love doing these! Studying how other media accurately depict these hand movements could also be helpful. More examples and information in the sources linked above. Also have these previous posts:

Writing Notes: Deaf Characters & Sign(ed) Languages

Hearing Loss in Children

[headlinxr]

( 瘋狂的 ) HEADLOCK, P. SUNGHOON ، ݃ •

𓏲 ┈─ ៵ʾpassion is a positive obsession. obsession is a negative passion. . ㌐

̼ ̼ ̼ ̼ ̼ 𓆸 TO THE OTHER SIDE ⸝⸝ you are sung-hoon's muse ˖ ៹

𓈒 𓄹 ⊹ , 夫妻 photographer!sung-hoon x fem!reader × ִֶ

𓆤 ; 廣告 IN THE NIGHT, I SPILL THE LIGHT ຳ reader is jake's girlfriend, jake is a little red flag, reader wants to be a model 𓏲

٬ ៶ ૂ 通告 , This is a work of fiction. Unless otherwise indicated, all the names, characters, businesses, places, events and incidents in this book are either the product of the author’s imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental. ༉‧₊˚

៹ 𓂃 HEADLINXR ִ ۫ ּ ֗ ִ 為了你，為了我 ؛ ៹

The camera doesn't lie. Or at least, that's what Sung-hoon has believed for years, a truth he has carried with him in every step of his life. Through his lens, the world unfolds before him with absolute clarity, a universe reduced to lights and shadows, to shapes and textures, to a moment frozen in time that, according to him, reflects the immutable truth of existence. As a renowned photographer, Sung-hoon has achieved what few can: He has mastered his art with such skill that his images not only capture reality but also penetrate the very essence of his subjects, stripping their souls bare with almost surgical precision.

Each click of his camera is a sigh, a heartbeat, an attempt to capture the elusive. For him, photography is much more than a technical act; it is an unceasing quest for something deeper than a simple pose or a well-composed scene. In each photograph, Sung-hoon seeks to unravel the hidden essence of what he sees: that spark of vulnerability, that fragile beauty that lies behind everyday masks. The faces he photographs are not mere portraits, but windows to the truth, as if each image could decipher untold stories, repressed emotions, silenced fears. In his mastery of the interplay between light and shadow, he has found his most authentic voice, a visual language that allows him, with each shot, to transcend the limitations of the physical and touch the intangible.

He is a master in creating atmospheres, an alchemist of light who transforms the ordinary into something sublime. He knows that light, as elusive as life itself, has the power to reveal and conceal, to create depth in the superficial, and to give shape to what seems inert. For him, each shadow is a promise, and each flash of light, a revelation. In his hands, the camera becomes an almost divine instrument, capable of immortalizing moments that, in their transience, seem eternal. And yet, behind this unparalleled skill, there is a reality that Sung-hoon has refused for so long that he has come to forget it. His camera, which has been his most faithful companion, has also been his jailer.

Because while his art has elevated him to the pinnacle of recognition, it has condemned him to a solitary existence. The dedication he has put into his work, unwavering and absolute, has cost him much more than his time. He has sacrificed a personal life, a life he could never integrate with his vocation. He never had a partner who understood him, nor friends who shared his universe, nor family members who dared to call his attention outside of the studio. Love, friendship, human connections, seemed to him minor distractions in the face of the greatness of his photographic mission. In his mind, there was no room for anything other than visual perfection, the constant search for that transcendent image that could touch the very essence of life.

But while his world was being built through the lens, a subtle and silent darkness began to take shape within him. Each photo he took was a window to the outside, but at the same time, it closed the doors of his soul even more. The camera granted him the power to see and capture everything happening around him, but it denied him the ability to see what was happening in his own heart. In that space where shadows intertwine with light, where the ephemeral becomes eternal, Sung-hoon got lost. He became a distant observer, trapped in an endless cycle of images, but with no real contact with the life that existed beyond his lens. The loneliness he dragged along, hidden within the folds of his success, grew deeper, more overwhelming, until one day, he could no longer escape it.

As Sung-hoon's recognition grew, so did the shadow that loomed over his life. Fame, like a brilliant reflection, mirrored an image of success that the world applauded, but he felt increasingly disconnected, more alien to that applause, as if everything were part of a movie that was not his own. The galleries, the exhibitions, the critics' laudatory comments, the flashes capturing his moments of glory: none of it managed to penetrate the ice armor he had forged over the years. The camera, his tool of revelation, had made him an expert in the truth of others, but not in his own truth. And, despite being a creator of worlds, within himself lay a deep, unfathomable void that even the most powerful images could not fill.

In the stillness of his studio, surrounded by thousands of stories frozen on photographic paper, Sung-hoon found himself in a strange space, filled with foreign memories but empty of his own. The walls, adorned with his best works, offered him a vision of the world he had captured with meticulousness, but the images did not speak to him. Those faces, those gazes frozen in a second that seemed eternal, watched him with a fixity that overwhelmed him, as if judging him in their silence. The gestures he had halted in his journey through life now appeared to him as ghosts of a past he himself had lost. Each photograph was a masterpiece, yes, but also a cruel reminder that he had been a spectator in the lives of others, without truly participating in his own. The distance between him and his art had become an insurmountable abyss.

The studio lighting, which he had so expertly mastered when capturing the essence of others, now seemed distant and cold to him. The shadows he had used to build atmospheres in his photos now enveloped him like a mantle of darkness in his own life. His soul, which he had learned to sculpt in each image, slipped through his fingers like water, like a film unrolling before him, but which he could never touch. Sometimes, at the end of the day, when the last light of the day began to fade, he found himself in front of his photographs, in a silence that devoured him. A feeling of incompleteness overwhelmed him, as if his constant search in the eyes of others had been a way to evade his own face. Why, despite the fame, did he feel that something within him was slowly crumbling? The answer was not in the lens of his camera, but in the absence of a real connection with himself.

It was a typical work afternoon, without any preambles or announcements, when something inside him changed. While reviewing the photographs that would soon be part of his new exhibition, one in particular caught his attention. It was you, a young woman, with your gaze lost on the horizon, as if your thoughts floated beyond your body. In your expression, so laden with melancholy, Sung-hoon saw something he had never perceived before: His own reflection. The sorrow in your eyes, the fragility emanating from your face, the sadness seeping through your gestures, everything seemed so familiar. It was as if he himself, in his bewilderment and emptiness, had become you, trapped in a moment he couldn't let go of.

In that instant, the camera stopped being a simple tool to capture reality and transformed into a mirror. A mirror that reflected not only the image of its subject but also that of his own soul, slowly crumbling, invisible to the eyes of others. You were not just another subject in his photographic archive; you represented what he had left behind, what he had never been able to live. The melancholy of that image seeped into his very being, like an underground river that had finally found its way to the surface.

In that instant, the camera stopped being a simple tool to capture reality and transformed into a mirror. A mirror that reflected not only the image of its subject but also that of his own soul, slowly crumbling, invisible to the eyes of others. You were not just another subject in his photographic archive; you represented what he had left behind, what he had never been able to live. The melancholy of that image seeped into his very being, like an underground river that had finally found its way to the surface.

Sung-hoon was forced to confront the question he had been avoiding for so long: How many times, while observing others, had he seen his own emptiness reflected in their eyes? How many times had he searched in the gestures of his subjects for the humanity he had lost, as if he could find something of himself in the faces of others? Each photograph, he thought, had been a search to find what he had not been able to find in his own life. He had spent years chasing a truth that only existed in the shadows of his lens, without realizing that, in the process, he had stopped seeing the light within himself.

That night, when the studio lights went out and darkness began to fill the corners of the room, Sung-hoon found himself in front of the mirror. The reflection he saw there was not that of the renowned photographer, the man admired for his skill, for his unique vision. It was the face of a weary man, marked by years of sacrifices, of renunciations, of living in the world of images without ever daring to live in his own flesh. The dimness of the room was reflected in his eyes, filled with shadows, unfulfilled desires, lost affections. And as he looked at himself, he saw the traces of loneliness that he could no longer hide, the marks of a being who had been running for too long, without really knowing where to.

It was at that precise moment when something broke inside him. As if a window in your soul had opened, finally letting in the fresh and renewing air of introspection. The camera, which had been his refuge, his lifeline, his prison, ceased to be the only means of expression in his life. And for the first time in years, Sung-hoon began to wonder if it was possible to live outside the lens, if he could find a new way to connect with the world, to stop being a spectator and become a participant. Would he be able to find a life that was his own, without the mediation of the camera?

The search for truth in others had brought him there, to that breaking point. But now, something was beginning to take shape in his mind. Maybe the story he really needed to capture wasn't that of others, nor the image of a distant subject, but his own. The camera would no longer be his only way of seeing; perhaps the time had come to learn to look, for the first time, without filters.

Despite the internal storm that was tearing him apart, Sung-hoon found himself being pulled by an almost mechanical impulse towards the meeting he had with Jake. The appointment was marked in his agenda like a beacon guiding him towards a destiny he could not evade, a point in time that, no matter how much his soul screamed in resistance, he had to fulfill. In his mind, chaos reigned, a whirlwind of doubts and unease that rose like black clouds above him, so dense that he could barely see the light that once propelled him. Despite the years of success and recognition he had harvested in his career, an unfathomable void devoured his being. That void, which neither fame nor applause could fill, was his constant companion, his inseparable shadow. But still, he got up that morning, with a heaviness that crushed his shoulders, and headed to the café where he would meet Jake, his long-time companion, a man whose relationship with life was so different from his that he seemed from another world.

Jake had always been his counterpoint, his antithesis, and at the same time, his reflection. While Sung-hoon got lost in the dark depth of photography, searching for the soul of his subjects, Jake glided over the surface of life, finding beauty in simplicity and human connections with an ease that Sung-hoon had never experienced. Jake was a man who saw life in bright colors, with a cheerful disposition that contrasted with the photographer's somber and analytical gaze. For him, each encounter, each face was a story told without the need for capture, while Sung-hoon looked through the camera, searching for shadows and reflections, the invisible that could only be observed through the lens. But despite their differences, Jake was his companion, and that meeting was a bond that still maintained the appearance of normalcy in a world that was slipping through his fingers.

Upon arriving at the café, the feeling of unreality enveloped him strongly. The bustle of conversations, the sound of coffee being poured into cups, and the aroma that filled the air seemed like distant echoes to him, as if he were looking at the world from the distance of a photograph, frozen and distant. Each object in the place, each face that crossed his path, seemed like a lifeless painting, a static image that had nothing to offer him beyond its fleeting existence. Only the constant buzzing in his mind kept him anchored to that reality, but everything felt like a dream he hadn't chosen himself.

When Jake greeted him, his face lit up with that broad and contagious smile that had always been so bewildering to him. Sung-hoon looked at him, recognizing in him the unyielding energy that he so often wished to possess but never could. Next to Jake, there was a figure that seemed familiar, but he still couldn't put a name to it. A young woman, whose presence seemed to fill the space with a natural light that had nothing to do with the shadows Sung-hoon had grown accustomed to. It's you, your smile was so open and generous that it contrasted with the coldness surrounding Sung-hoon, like a ray of sunshine entering a gloomy room. Despite your apparent tranquility, your energy was so vibrant that it seemed to fill the air around you, flooding the room with a vitality that Sung-hoon felt was foreign.

—I'd like you to meet (Y/N)— said Jake, with a spark in his eyes that Sung-hoon couldn't ignore. —She's my new model and, well, also someone I've been dating lately.—

Sung-hoon nodded mechanically, unable to find words beyond polite formality. His mind, on the other hand, was already beginning to process the image of you. Something felt unsettling to him, as if your presence challenged the stillness he had sought in the photograph. When you extended your hand to him, your gesture was warm and filled with that energy that Sung-hoon had never understood, as natural and genuine as the air he breathed. Despite his attempts to maintain emotional distance, Sung-hoon, inside, was as tense as a wire, with his jaw clenched and his fingers closing around his hand with a rigidity he couldn't disguise. It was as if he were touching something that didn't belong to him, something he couldn't possess.

—(Y/N), it's a pleasure to meet you— he said, with his usual cold and calculated tone, but despite his control, a small crack opened in his voice, a slight tremor that betrayed the internal storm shaking his chest.

You looked at him with a smile that, although warm, never wavered. Your posture was relaxed, completely oblivious to the conflict raging within him. It was a sight that seemed out of place in Sung-hoon's world. In the photograph he had captured the day before, you had been a shadow of yourself, a figure breathing sadness, deep melancholy, as if the world had stopped offering something worthy of your gaze. He had captured that essence, that gaze lost on the horizon, that fragility that so attracted him, seeking in you what he himself felt was missing: A naked truth, almost painful, that could only be understood through a lens. But now, in front of him, stood a completely different woman. The melancholy he had imagined was replaced by a vibrant light, an energy that seemed so foreign to the image he had created in his mind. It was not the sad figure he had seen in his camera, but a beacon of joy, a warm glow that illuminated everything around him.

Sung-hoon, for a moment, was paralyzed, as if time had stopped. The figure of the young woman in front of him was not the same one he had captured. The reflection he had found in his camera, the sadness and depth he thought he understood, crumbled before his eyes. Reality was imposing itself with a force that bewildered him. This woman was not a shadow, not an emptiness; you were the very antithesis of what he had sought. Something twisted inside him, a mix of frustration and fascination, as if the image he had created, the one he had conceived through his lens, was being torn from his being.

Was that the same woman he had portrayed? Was it possible for a captured image to be so radically different from reality? Confusion overwhelmed him, frustration began to take shape, mingling with a strange feeling of jealousy, as if your life were a slap in the face to the truth he had tried to find in his work.

While the conversation continued between Jake and you, Sung-hoon remained silent, his gaze fixed on you, who now seemed an impossible enigma to decipher. Every word you spoke, every move you made, confirmed something he feared: The image he had built of you no longer existed, and he was unable to comprehend the real woman standing before him. The photograph, which had always been his refuge and his way of understanding the world, now betrayed him, crumbling in his hands.

With each breath, a small dark spark began to burn within his being. It was no longer about admiration, no longer just fascination. It was something deeper, something that awakened in him an even greater sense of emptiness. There was something he couldn't reach, something he had touched in his chamber but that now seemed to slip through his fingers, like the light he had tried so hard to seize.

And as his heart beat with growing anxiety, he realized something terrifying: Perhaps photography hadn't given him what he thought it had. Maybe what he needed to capture wasn't in the world he saw through the lens, but in the darkness that hid within him.

From that day on, something in Sung-hoon began to crumble like an old film that, exposed to light, starts to tear and disintegrate. His initial fascination with you, a light curiosity, an admiration fueled by the desire to capture your ephemeral beauty, slowly transformed into an excessive obsession. The lens of his camera, that object he had used for years to spy on the human soul, now took on a different weight, a dark power that seemed to dictate the rules of the relationship. He no longer saw you as a fleeting muse, but as an immaculate canvas, a virgin territory that had to be conquered over and over again. Each click of the shutter was not just a reminder of his technical prowess, but a twisted validation of his need to possess the image of you, to freeze it in a perpetual instant, to impose his will upon you. Each shot was a subtle, almost imperceptible affirmation that what he captured through his camera was his. In his mind, distorted by obsession, each shot reinforced the idea that his love, his devotion to you, was reciprocated, that his control over the image meant control over your being.

The first time Sung-hoon photographed you without your consent, it wasn't an accident; it was a chance disguised as an opportunity. You were sitting on the edge of a window, motionless, looking out at the garden as if the outside world were an extension of your thoughts. The soft afternoon light slipped through the curtains, illuminating your face with an almost celestial clarity. In that moment, Sung-hoon raised the camera instinctively, almost as if the gesture were an extension of his own being. There was no time to think about it, no space for reflection. It was a visceral impulse, a need to capture the image before it faded, as if your beauty were a flash of light that only he could capture, preserve, and, in his mind, possess. The sound of the shutter, so familiar, vibrated in his chest with an indescribable satisfaction, a shiver that ran down his spine. In that single second, something inside him broke even more. The image he was creating was not simply that of a beautiful woman, nor just another of his artistic photographs. It was an attempt to possess you, to trap you, to hold you in a space that he controlled. Through the lens, you became a static object, a being that, for him, no longer existed in the unpredictable flow of time, but in a capsule of light and shadow that only he could decode.

The camera, which had once been his tool to capture the essence of reality, began to transform into a channel to something much darker, a means to impose his will, to create his own distorted version of the truth. Thus, he began to photograph you compulsively, without rest. The sessions were no longer scheduled or agreed upon; they were driven by an uncontrollable impulse fueled by the need to see you in your purest, most fragmented, most his form. Sung-hoon was not just a photographer; he saw himself as a sculptor in the darkness, molding reality, shaping your figure with the precision of his lens, seeking perfection in every angle, in every light. He asked you to stay for an "improvised session," suggested poses with an apparent delicacy that disguised itself as professionalism, but in every gesture, every instruction, there was an insatiable need for control. The power of the camera, the ability to capture a moment in time, became a game of manipulation, a dance in which he was not only the director but the absolute creator.

Each image created was another step towards the achievement of his ideal, an ideal that distorted both your figure and reality itself. There was something perverse in the way he looked at you, a fascination that went beyond mere aesthetic pursuit. It was no longer just about capturing the beauty he had found in his other subjects; in you, he sought something more, something that belonged to him, a beauty he could hold in his power. And, like a painter who wants to capture the soul of his muse in every stroke, Sung-hoon aspired for that beauty to be his, only his, until it merged with his own vision. The camera was no longer just a medium; it had become an instrument of control, an artifact that, in his hands, could strip the woman of your humanity, transforming you into a frozen and manipulated image.

The sessions dragged on indefinitely, and you, although initially immersed in the fascination of art, began to feel increasingly uncomfortable. At first, you thought that Sung-hoon was simply an eccentric, a man trapped in his art, like those cursed geniuses of history who saw the world through a unique, distorted lens. You tried to convince yourself that your concerns were an overreaction, that you weren't seeing things clearly. But as the days went by, something inside you began to resist, as if a small alarm in your subconscious was going off. Every glance Sung-hoon directed at you, every moment he spent in front of the camera, made you feel as if his presence was constantly being analyzed, dissected, reduced to a series of visual formulas that he controlled at will. It was no longer just about capturing his image, but about taking possession of you. Each gesture, each instruction, felt like another strategy to strip you of your identity, to make it fit into the image he had created of you.

After one of those long sessions, you met with Jake to talk about what you had been feeling, even though the words seemed inadequate to describe the discomfort that was overwhelming you. You feared that by expressing myself, your feelings might seem excessive, melodramatic. However, something inside you told you that you couldn't ignore it any longer.

—Jake— you began, your voice wavering, —I'm not sure how to explain it, but... Sung-hoon is being weird with me. He is constantly taking pictures of me, but it's not just for work. Sometimes I feel like he isn't seeing the person I am, but rather an image he has created in his mind. It makes me feel… Uncomfortable. As if he were watching me to decipher something I can't control.—

Jake looked at you thoughtfully, but in his expression, there was something that suggested indifference. In his world, your image in Sung-hoon's camera was not just a portrait; it was an open door to fame. The name of Sung-hoon, so well-known, could be the key that launched your career. What better way to rise in the artistic world than to be under his lens?

—Come on, darling— he said with a confident smile. —Sung-hoon is eccentric, I know, but he's not doing anything wrong. You have to see this as an opportunity. Not everyone is lucky enough to be photographed by him. This could be just what you need to take the next step in your career.—

Despite Jake's reassuring words, you couldn't shake the feeling that something was off. The discomfort you had started to feel with Sung-hoon persisted, growing with each session. Every time he looked at you through the lens, his eyes seemed not only to capture your image but to scrutinize, to penetrate deep within. In his mind, the photographs were not just images, they were not simply captures of a moment. They were symbols of his control, his power, his one-sided and uncontrollable love. In Sung-hoon's universe, each photograph was a declaration: I possess you, I have understood you, I have made you mine.

Meanwhile, Sung-hoon continued his obsessive collection of images. Each click of the shutter was another step towards the creation of a distorted version of you, a version that only he knew and that no one else could understand. In his mind, the photographs wove together like threads forming an invisible web, a space he controlled, where his impossible and unrequited love could live, eternal, beyond the truth.

As Sung-hoon's obsession deepened, his once contained and meticulous nature began to crumble slowly, like an hourglass whose grain of sand never ceased to fall. The darkness that surrounded him grew denser, like a thick fog that took over the room, the air, the space he occupied. Your perfection, so incandescent and ephemeral in its image, was no longer just your face, nor the curve of your body under the soft light of the sunset. No, you yourself had become the very essence of his vision, the focus to which Sung-hoon had dedicated every millimeter of his art. For him, you were no longer a woman; you were a symbol, a canvas yet to be painted, a mystery yet to be solved, and the camera, that extension of his being, was his only passport to that distorted world he had begun to build around you.

The photographer, trapped in his own twisted conception of love and beauty, no longer just captured the light that fell upon you like a brush caressing the canvas. He had become a sculptor of shadows, an architect of moments, a man trying to redraw reality to match the chaos that inhabited his mind. And while his lens rested upon you, his gaze went far beyond the visible, beyond the external appearance that so fascinated others. His eye, always trained to capture the raw and natural beauty of life, now dedicated itself to observing every crack in your soul, every fragment of vulnerability you tried to hide. His vision, once purely artistic, had become an act of possession.

Sung-hoon was not just a mere observer; he infiltrated, like a painter delving into the history of his muse before putting a single stroke on the canvas. He began to explore your intimacy with the same precision with which he composed a perfect shot. In every word you let slip unintentionally, in every sigh that was just for him, the photographer saw an opportunity to discover something new, something deeper. He knew you more than you could imagine. The cracks you had tried to cover with an impeccable facade were now his field of study. He knew of your fears, your dark memories, the scars you carried in your soul, those stories that, had it not been for Sung-hoon's meticulous patience, would have remained as secrets buried in time. He was not simply an observer, but a collector of broken memories, a gatherer of the fragments of your being that you had never shown to anyone.

In his daily interactions, his deep knowledge of your personal life slipped into the conversation with the subtlety of a sharp knife. In a casual comment, Sung-hoon inserted fragments of his private life, as if they were simple, unimportant observations. —I remember that time you mentioned your father, as if you were still seeking his approval— he said quietly one day, while adjusting the lights in the studio. —And that little corner in your apartment, where you keep the old letters... You always keep it closed, why is that?— Each word, each insinuation was like a fishing line cast into the wind, trapping you in an invisible net of your own past, a net that, although as fine as a thread, tightened over time until you could no longer move without being aware of Sung-hoon's constant watchfulness.

For him, it was not enough to capture the light that surrounded you; he had to seize your soul. With each shot, with each scene he asked to repeat, Sung-hoon was searching for something deeper: A distorted truth that only he could see, a facet of you that existed only in his mind. The camera, which had once been his tool to capture the essence of others, transformed into his chain of control, a tool of power that connected him to you, an invisible bond that kept you close, that kept you in his line of sight. And although you began to feel the pressure, the threat of the invisible, you couldn't escape. At first thinking that it was all part of Sung-hoon's eccentricity, his dedication to perfection. But soon, the truth became evident: you weren't being photographed; you were being observed, studied, dismantled piece by piece.

Sung-hoon never resorted to brute force or open threats. He was much more skilled than that. His control was not in strong words or confrontation; his power lay in subtlety, in silent gestures, in the whispers that accompanied each shot, in the way he manipulated the perception of reality through the lens of his camera. He didn't need to say it openly: He knew you were beginning to understand the extent of his influence. Each suggestion, each gesture of support, was imbued with a tacit expectation, the expectation that you would follow him, that you would continue playing your role in the image he had created. He offered you opportunities, but those opportunities were nothing more than carefully woven traps, designed to make you more dependent on him, to draw you even closer to the distorted picture of yourself.

And, like a photographer who discovers an imperfection in a seemingly perfect image, Sung-hoon begins to notice the cracks in your facade. Your smile, which had once been natural and carefree, was beginning to seem forced. Your responses, once so full of life, were now shorter, more evasive. The sparkle in your eyes, which I had captured so many times, was now subtly fading. For Sung-hoon, each of these moments was a revelation. He was not only seeing the woman you pretended to be, but he was also seeing the woman he had begun to shape in his mind, a creation that had no escape. The pressure, invisible but palpable, was his signature. In the tremor of an unspoken word, in the imperceptible shift in posture, Sung-hoon found what he had been searching for: Beauty in fragility, art in oppression, control in broken perfection.

Meanwhile, you began to feel trapped in your own image, a distorted reflection that Sung-hoon had created around you. He, the god of shadows and light, saw the truth behind the masks, and you could no longer hide what he wished to see. The worst part is that, in his mind, you were already part of his creation, a muse that only existed through him. In the web he had woven, you found yourself trapped, not knowing if the exit was an illusion or if the only way to escape was to become someone else, someone completely different from the image he had shaped. But, as always happened in photography, there was no turning back: The exposure had been made, and what remained was a fixed, unchangeable image that only he could understand.

As the days slid by slowly, like a movie advancing in slow motion under the relentless direction of fate, you began to perceive how the walls of your own world, once open and full of possibilities, were closing in, trapping you with a subtle but devastating force. It was as if you were trapped in a photograph that never stopped being taken, each moment immortalized, each gesture meticulously framed. Every word Sung-hoon uttered, every glance he cast, were no longer mere interactions; they were fragments of a story he had written without your permission, a tale in which you were trapped, like a porcelain figure in the lens of a photographer obsessed with capturing your essence, with no voice or vote over your own portrait. It was a story that had ceased to belong to you, a narrative from which you had become an unwilling spectator, watching yourself from a distance that stripped you of your humanity.

In his mind, the perception of time and reality began to blur like the light dissolving on the horizon, tinting everything around him with increasingly dense shadows. Before, your world had been clear, like a well-exposed photograph; but now everything seemed to be revealed through a dark filter, as if the image were taken with a defective lens that distorted colors and shapes. The man who had been, until then, your mentor and companion, began to reveal himself as a dark, twisted, and distant figure, whose influence had infiltrated her life with the subtlety of a rising tide. Sung-hoon, with his gaze fixed like that of a predator, had managed to weave his control over you in such a subtle and meticulous manner that, at times, you wondered if you had ever been free. Freedom, once a natural right, now seemed to You an illusion fading among the folds of a photograph that had been taken without her consent.

Sung-hoon had transformed every corner of your life into a stage where only he dictated the rules. In his mind, every scene had to be directed by him, and you were nothing more than the actress chosen to play a role you didn't know. At first, you had believed that his obsession with you was the passionate fervor of an artist who seeks, like a painter lost in the meticulous details of his muse, to capture every nuance of your essence. But soon you realized that the camera, that extension of the human eye in which he trusted blindly, had become a watchful eye, an unrelenting lens that not only captured your image but also disfigured you, twisted you, and reduced you to a distorted shadow. The light, that sublime element which once revealed beauty, had ceased to be your ally. Now, each ray of light seemed like a threat, a deadly trap in which you found yourself ensnared, trapped within the frame of a reality he had created for you.

Sung-hoon's camera was not simply a tool for creating art; it had evolved into a weapon of control. Each click, each capture, was an assertion of his dominance, a manifestation of his power over your life and identity. In his eyes, you were not a complete woman, but a canvas on which he could paint without your consent, a blank page that had to be molded according to his will. And the most devastating thing of all was that, at first, You had believed he saw you as you truly were, that his work as a photographer had allowed him to delve into the very essence of your being. But, over time, the truth began to slowly unveil itself, like an old layer of paint peeling away, revealing the cracks in the facade he had built. Sung-hoon didn't see you. He didn't understand you. I had reduced you to an image, a figure projected onto the wall, a puppet whose only mission was to fit into the distorted vision of your world.

However, something within you began to awaken. It was a small spark, almost imperceptible, like a glimmer in the darkness, but it grew with each passing day under Sung-hoon's control. The feeling of being trapped became increasingly unbearable, as if his room were an invisible prison, a glass cell that only reflected your own image, as if You were looking at yourself through a mirror that only returned your despair. Every time he looked at you, every word, every seemingly innocent gesture of affection, transformed into a symbol of his manipulation. The casual comments about his past, the insinuations about his darkest secrets, no longer seemed like simple observations; they became sharp knives buried in your skin, constantly reminding you that he knew your vulnerabilities, that he could destroy you if he wanted to.

Each day that passed under his dominion, you felt your freedom fading more and more, like a photograph that, as it develops, begins to dissolve in the water, losing its definition, its life, its color. The pressure that was once subtle had transformed into an unstoppable force, a rising tide that pushed you towards the unknown, towards the disintegration of your own identity. The camera, which had been your refuge, your art, your way of seeing the world, had now become your jailer. And Sung-hoon, the man you had admired, had transformed into the architect of your destiny, a god who shaped reality at his whim, playing with light and shadow like a puppeteer who manipulates humans to his will.

Like a lighthouse in the midst of the storm, the possibility of escape began to become clearer, though still vague. You knew you couldn't keep living trapped in the shadows that Sung-hoon had cast over you. The struggle to regain your freedom turned into a frantic race against time, a desperate sprint to prevent him from completely destroying the public image you had so carefully cultivated. You began to search for clues, to scrutinize the details, to look for the cracks in the perfect facade of your life that Sung-hoon had built. You were like a detective in your own life, unraveling the web of lies he had woven around you, with every word, every action of his turned into a clue about his hidden intentions.

As your thoughts organized themselves, You began to notice details that had previously gone unnoticed. The photo shoots, which once seemed like an artistic ritual, now revealed their true nature: A carefully designed strategy to keep you close, to continue controlling your image and, therefore, your life. The compliments I once considered sincere, the insinuations that seemed like flattery, the intense looks from Sung-hoon, were no longer mere displays of admiration. They had become tools of manipulation, like the light a photographer uses to highlight only the elements they want, the viewer to see, darkening everything else. The truth, like a film that has been exposed to the sun for too long, began to reveal itself with blinding clarity.

Sung-hoon, however, was not a man who could be disarmed so easily. In his mind, each interaction with you was another shot, another take that brought him closer to his ultimate goal: to possess you completely, to break you until only the perfect image he had forged in his mind remained. He knew you were starting to notice his control, but, like a photographer playing with light and shadow, he remained in the shadows, hidden, manipulating every piece of the puzzle without your seeing it. His power lay in the ability to make you feel vulnerable, to introduce thoughts into your mind that would leave You trapped in your own confusion, like a poison silently seeping into the current of your consciousness.

Time, that elusive abstraction that had always slipped through his fingers like fine sand, began to take on the texture of an impenetrable wall. The days, which once stretched like an endless chain of empty moments, now intertwined in a spiral of shadows that faded and dissolved into a whirlwind of uncertainty. Each attempt to flee, each fleeting glance towards an exit that became increasingly unattainable, evaporated with the swiftness with which shadows succumb to light, leaving behind only the sensation of emptiness. In the course of your silent resistance, you came to understand, with painful and dizzying clarity, that escaping from Sung-hoon was not a tangible option, not a viable alternative. Like photographic film that, when exposed to light for too long, develops prematurely, the fate of your actions was already marked, predestined. And as this truth settled in his chest like an unbearable weight, hopelessness began to wrap around his soul, as heavy and dense as the camera hanging from his neck, like an extension of his own being, relentless, like the presence of a specter.

The air, once light and breathable, became thick, like the tension-filled atmosphere inside a dark room, where harsh and cold lights create a palpable sense of claustrophobia. The flow of life, that incessant and turbulent river, seemed to have halted its course, gently moving you towards an abyss from which you could not escape. You no longer fought against the current. The tide of your destiny enveloped you, absorbing you with an almost hypnotic force, as if everything were in its place, as if everything were part of a carefully composed picture. Your resistance dissolved, like an image fading in the developer, when the chemical envelops you and erases the edges of what was once defined. The contours of his will blurred, softening, fading, until the unquenchable impulse for release that had burned in his chest extinguished, fading like the last light of day when the sun sinks below the horizon, leaving only the cold darkness that follows.

Sung-hoon, the man who had been your mentor, your companion, your torturer, and your savior, had taken on the form of a dark, almost mythical figure, a silhouette in which light and shadow merged into an incomplete portrait. Throughout your time together, you had believed you knew him, that you understood each of the intentions hidden behind his icy gaze, like the reflection on the calm surface of water disturbed by a stone falling without warning. But now, in the midst of the silence that surrounded you, you realized that you had been nothing more than a piece in a work that you could not fully comprehend. You were part of a photograph revealing itself before you, an image constructed by a photographer whose vision had transformed you into something even you didn't recognize. And yet, instead of rejecting that truth, something strange began to well up in your chest, like a subtle whisper, a spark of light filtering through a crack in the darkness. It wasn't love, at least not in its purest form, but it was something that resembled it, something more enigmatic and complex. It was a fatalistic acceptance, a kind of silent submission that was beginning to reshape your perception of Sung-hoon.

You had feared it before, that light emanating from his chamber, which you had believed revealed the truth behind the masks. That same light, which now trapped you like an invisible spider's web, kept your soul captive. The intensity of his gaze, that tireless observation that never seemed to leave you, had become the core of your anxiety, a focal point of unease that consumed you. But, as time passed and the concept of escape faded as quickly as shadows succumb to the first ray of sunlight, you began to see something different, something new. Like a photographer examining an image on their screen and realizing that what once seemed blurry is, in fact, a photograph with a disturbing and unique beauty, you began to perceive the complexity of Sung-hoon. The darkness that once terrified you now contained nuances you could not ignore. Each of his gestures, each word he uttered, each glance, contained a profound truth about his being, something that transcended mere manipulation. It was like a lens that distorts the world, but at the same time, captures a raw beauty, a beauty that was undeniable, though incomplete.

Sung-hoon, in his obsession with perfection, was not simply a man with selfish desires for control. His need to capture the essence of the world, of humanity itself, through his camera, was something more visceral, more profound. The photographer was not just an observer of the world; he molded it, took it in his hands like a sculptor shaping clay. And you, caught in that web he had woven around you, began to see, even to admire, that skill, that tireless drive to dominate nature through art. Sung-hoon's vision was not a desire for manipulation, but a primitive impulse, a need to freeze the essence of the moment into a pure image, albeit devoid of all compassion. Somehow, you felt a deep admiration for him, for his ability to distill the chaos of reality into something simpler, more comprehensible. Light and shadow, those two opposites, were no longer enemies in his world. Now they were your allies, and you found yourself trapped in a scene where you were not only the subject but also the spectator of your own existence.

Sung-hoon was not just a man. He was the architect of his world, the demiurge who wove reality around him, undoing and redoing the threads of fate with the same skill with which he adjusted the frame of a photograph. Somehow, you understood that his own complicity in that process had given him the power to transform you. Like an old photograph that, over time, fades and changes, your resistance to him began to crumble like a negative dissolving in water. You no longer saw him as a jailer, a monster who kept you trapped. Instead, you saw him as the creator of a world in which, despite yourself, you felt special, unique. Sung-hoon's control was no longer oppressive; instead, it became a reflection of his own essence, a control woven with almost artistic patience and precision.

That feeling was an amalgamation of fear, fascination, respect, and acceptance. You disliked him, yes, but at the same time, there was something about him that attracted you, something impossible to ignore, something that overflowed the surface of his being. The shadows that once surrounded you now illuminated the truth of your existence, and what once seemed like a prison, a space of despair, now became a refuge where your soul, marked and distorted by Sung-hoon's lens, found itself. The light and the darkness, the contrasts and the shadows, began to weave into a single thread, creating a new reality, a new identity.

Each shot from Sung-hoon's camera not only kept you under his control. It offered you a strange form of comfort. In each image he captured, you saw not only a distorted version of yourself but also a more authentic, more complete one. The light and shadow, which once disturbed you, now took on a new dimension, one in which you found acceptance, transformation. Somehow, you had learned to embrace the image that Sung-hoon had created of you, an imperfect, broken portrait, but essentially true. A portrait that, like humanity itself, reflected fragility, internal struggle, and the inevitable beauty of the struggle itself.

Sung-hoon hadn't destroyed your identity. He had transformed it. And, slowly, as you began to understand the depth of that transformation, you realized that you were no longer a victim of his control, but a work in progress, an image still taking shape under the relentless lens of a man whose art had learned to reveal the deepest essence of your being. Without being able to help it, your feelings towards him became a whirlwind of contradictory emotions, a spiral in which love and fear, submission and admiration intertwined, trapped in a portrait whose exposure was not yet complete. And, like a photograph that is yet to be fully developed, you found yourself trapped in the endless process of its own revelation.

[the-necromancer-wife]

"I could explain more about the Laplace Demon concept if you, dear readers, are interested but that would be for another occasion. Another essay hehe."

Pleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleasepleaseplease 🛐

Explaining Laplace's Demon tehory in the context of 14dwy.

Thank you so much for giving me an excuse to talk about this dear anon!

In this post i'll elaborate further about something i said in the end of this super long post. As always TW for 14dwy spoilers!

(Joke's on you, sir, i DID come here for the tales of old)

And this tale in specific is really old. Around two hundred years old to be specific. In 1814 a man known by the name Pierre-Simon de Laplace wrote an essay about a deterministic concept known later as the "Laplace's demon" (although he already seemed to be exploring this concept since 1773)

We may regard the present state of the universe as the effect of its past and the cause of its future. An intellect which at a certain moment would know all forces that set nature in motion, and all positions of all items of which nature is composed, if this intellect were also vast enough to submit these data to analysis, it would embrace in a single formula the movements of the greatest bodies of the universe and those of the tiniest atom; for such an intellect nothing would be uncertain and the future just like the past could be present before its eyes.

(Pierre Simon Laplace, Philosophical Essay on Probabilities.)

But what does this all mean? Well basically this man spoke about a hypothetical "intelligence" (he didn't precisely used the word "demon") that, knowing the precise location of every particle in the universe and where they were headed, they would be able to guess the past and future values for any given time. In other words, we would be referring to an almighty hypothetical "thing" able to see the past and future of every single thing in the universe.

Of course this is all a model, a theory, an exploration on what would happen if something like this existed in the first place. After all, it was all a philosophical essay in the first place, wasn't it?

"Une intelligence ... Rien ne serait incertain pour elle, et l'avenir, comme le passé, serait présent à ses yeux."

Of course, Mr. Laplace wasn't the only one to explore the idea of an almighty intelligence since other philosophers like Condorcet, Holbach and Diderot also wrote about it.

Now there are several theories (some more modern than others) to explain why an intelligence of this nature will never be possible to exist but there is one that might ring a bell for some people "The Chaos Theory"

Or as some might know it: The butterfly effect.

This theory basically poses that minor variations between the starting conditions of two systems can result in major differences. That's why you say that "A butterfly flying in certain direction today can lead to huge catastrophes tomorrow" it's not something (so) literal but it is useful to illustrate how small can be the variation and how huge can be the result. Of course the change doesn't have to be huge. It can be a minor change, but a change nonetheless.

Btw chaos theory is applicable when knowledge of the system is imperfect, whereas Laplace's demon assumes perfect knowledge of the system, therefore the variability leading to chaos in chaos theory and non-variability in the knowledge of the world Laplace's demon holds are noncomparable.

But, What does this all has to do with 14dwy?

Glad you ask. Actually a lot.

Starting off with the idea of how perfect is this game integrating even its genre (Visual Novel) to the theory. I believe there is no bigger example of the butterfly efect than a Visual Novel, where choosing (or not) certain options can lead to certain results (big or small). Very much like the butterfly effect. And funnily enough, it's us, the player, the embodiment of this umpredictability, since we are the ones that make the choices in the game. We are the antagonists of a hypothetical Laplace's Demon. We are it's antonym. We are an angel. The idea of a change that the system cannot predict. Of course this is questionable. Because as much as we have certain "freedom" we still need to abide by the choices that the very game gives to us.

This takes us back to the question of who is the entity that speaks to us in this cryptic messages on day four? Who is this (allegedly) Laplace's Demon? and what are my personal arguments on why i don't think it's [REDACTED].

Let's start by breaking down the messages. I have them all decoded in my previous post along with a really easy (i hope so) explanation on how the cipher works.

"...ATTEMPTING TO REWRITE WHAT HAS ALREADY BEEN ORDAINED SINCE THE BEGINNING"

Here, the entity mentions the certainty of the past, but not the certainty of the future.

"...ATTEMPTING TO DIG UP THE ROOTS OF FATE AS THOUGH IT WERE A WEED AND PLANTING YOUR OWN CORRUPT SEEDLING IN ITS PLACE"

Here, the entity presumably refers to the idea of our (very limited) free will and how we're pushing the limits of the system (in this case by attempting to keep advancing on a route that supposedly leads nowhere else). To make this more clear, this entity speaks to us when we load the save file multiple times trying to keep advancing down that path when the course of action contemplated is that we should just stop and load another save file. We're persistent creatures, after all.

"PERHAPS WE ARE THE SAME, THEN"

Of course fucking ✨not✨

"I TOO FIND ENJOYMENT IN DISRUPTING THE VINES OF KISMET AND WATCHING HIM STRUGGLE"

Now i swear i never heard the word "kismet" before this day. But it seems to be some sort of archaic synonim of the word "fate". Although according to Cambridge Dictionary it is actually "A force that (some people) think controls what happens in the future, and is outside human control"

Also, this entity seems to be having its fun with Ren/REDACTED's struggles. It doesn't really see our unpredictability (yet) as a threat.

"TWAS I WHO GAVE HIM HIS GIFT, AS I DID WITH OTHERS..."

AND THIS

This right here boy oh boy.

I gave him his gift: A rant about human deities through the holy act of programming.

(As pretentious as this title is, please hear me out)

There's a really interesting article named Embracing Λόγος: Programming as Imitation of the Divine that basically says:

The programmer must begin by defining things – material or conceptual. “We are unable to reason or communicate effectively if we do not first make the effort to know what each thing is.” (Rayside, Campbell) By considering the ontological questions of the things in our world, in order to represent them accurately (and therefore ethically) in our programs, the programmer enters into the philosophical praxis. Next, the programmer adds layers of identity and logic on top of their ontological discovery, continuing in the praxis.

But the programmer takes it a step further – the outcome of their investigation is not only their immaterial thought but, in executing the program, the manifestation of their philosophical endeavor into material reality. The program choreographs trillions of elementary charges through a crystalline maze, harnessing the virtually infinite charge of the Earth, incinerating the remains of starlight-fueled ancient beings in order to realize the reasoning of its programmer. Here the affair enters into the realm of Ethics.

“The programmer is attempting to solve a practical problem by instructing a computer to act in a particular fashion. This requires moving from the indicative to the imperative: from can or may to should. For a philosopher in the tradition, this move from the indicative to the imperative is the domain of moral science.” (Rayside, Campbell) Any actions taken by the program are the direct ethical responsibility of the programmer.

Furthermore, the programmer, as the source of reason and will driving a program, manifesting it into existence, becomes in that instant the λόγος σπερματικός (“logos spermatikos”) incarnate. The programmer’s reason, tapped into the divine Reason (λόγος), is generated into existence in the Universe and commands reasonable actions of inanimate matter.

Basically the programmer goes through each and every stage a deity would go through when creating the universe.

AND GUESS WHO IS A PROGRAMMER IN 14DWY???

(Ren/REDACTED in case you don't know hehe)

When the entity says "I gave him his gift" i believe this is exactly what he is referring to. While a Laplace's Demon knows every particle in the physical systems (and assumes it's knowledge of said system is perfect), a programmer works with Operative Systems (Windows, Linux, Ubuntu).

As for us, the angel, the antagonist of the demon of Laplace, we are the chaos theory, the one that conceives the knowledge of the system as imperfect.

Btw the person manipulating some choices in certain moments? Totally Ren/REDACTED. As they have the power of messing with the game and are totally self-aware of this being a visual novel.

But who gave Ren/REDACTED this power? Was Ren/REDACTED so skillful that they were able to defy the laws of worldbuilding? Picture this: the equivalent would be a programmer in the real world so skillful that they become able to defy the reality itself.

I believe the responsible is this "all knowing entity" since it just said it itself "It was I who gave him his gift". After all he is, and i quote, "THE PAST, PRESENT, AND FUTURE, COMBINED INTO ONE" really ominous shit.

There are obvious gaps in this theory but it's the best i can do with the limited knowledge i have. I am not a physicist so i can't really dwell in formulas and numbers as much as i would. Maybe i'll interview a professor in college in the future but for now i hope this is enough.

[hazamacore]

The Interweaving of Desmond & Eloise

an analysis on how they have been established as a pair

Collection of all essays so far

At the stage we are currently at, the end of chapter one with around thirteen hours of content to watch and even more outside of direct canon to examine, Desmond and Eloise have established themselves as a pair in a similar vein to Damon and Eva or Mark and Jett. Their pairing feels obviously deliberate and indicative of deeper meaning, which we’ll no doubt see more of as the game proceeds. In this essay I want to cohesively lay out all of my current thoughts on them - developed from TikTok posts I have made (x / x / x) with other newer points from my notes that do not appear in said posts. 

While I personally enjoy their relationship in a romantic context, this is not intended as a ship post, and you are of course free to interpret it how you like. It’s just looking at how they relate to each other as characters and their canon relationship and giving my thoughts on what that means for them! Regardless of how you interpret the context of their relationship, that these two are being set up as close is undeniable.

SPOILERS FOR CHAPTER ONE AHEAD!

Firstly, I want to establish the significance of pairs in Project: Eden’s Garden overall. So much about the game circles back to pairs: the killing game ‘officially’ ending when only two remain, everyone waking up in pairs, Toshiko being the Ultimate Matchmaker, Tozu and Mara being a pair, bunking in pairs, splitting off into pairs… and much of this can be put down to the theming of the Garden of Eden with Adam and Eve. With everyone’s animal motifs, another Biblical story in Noah’s Ark comes to mind. The point is that the abundance of pairs is both relevant and very deliberate. 

Fundamental design

From the moment we first see them in the train CG, Desmond and Eloise are together. When we first formally meet them, they are the only ones in the courtyard. They are a pair from the beginning in the same way as Mark and Jett and Wolfgang and Grace. 

And, on first looks and first meetings, I’ll begin my thoughts on how they as individual characters relate to each other as foils with their visual designs and names. Being fictional characters, there was an entire design process filled with intent that went into creating them, and I really think Desmond and Eloise were created with the other in mind to make them both contrast and complement each other. 

Their contrasting colour schemes of blue and black VS red and white immediately relate them to one another and put them in proximity of one another. Through their colour schemes they have been designed to be seen next to each other. 

It is also their colour schemes that give instant insight into how they contrast each other in personality. Desmond’s blue suits his cool, composed disposition, his observant nature and how, although he is more reserved, he still integrates with the group and is a primary contributor. Throughout the situation and throughout all the suspicion he endures based on his talent, Desmond remains calm, in part, I think, because he knows he cannot afford to appear angry lest it confirm people’s biases. Considering how prominent that idea of prejudice has been with Desmond so far, I also heavily doubt him being designed as Black is coincidental or without connotations. Especially when you consider just how irrational the suspicion and assumptions placed upon him are. 

(Desmond’s third Free Time Event, talking about how difficult a confined space like the academy is for him) Damon, internally: And yet, that cool demeanour of his never falters - even when talking about his situation. Is this what he means when he talks about discipline…?

Conversely, Eloise’s red speaks to her being more volatile - prone to outbursts of fear, panic and, notably, rage. It is interesting to me that Eloise’s colour scheme is primarily white/grey, with her reds as secondary and, in her clothing, beneath her uniform. But her eyes, the “windows to the soul”, are red. Eloise at first impression seems only timid, and this leads both characters and audience alike to assume that she is weak, and she is also reserved and rather closed off especially in conversation with the likes of Damon. But Eloise has a strong fortitude that manifests later in chapter one as she gains confidence in the setting - standing up to and threatening Grace, leading the accusations towards Grace in the trial, and her Free Time Events most notably. Her red is closed off until triggered. Damon notes that “the most confident she’s ever sounded” is when she’s expressing her belief that the runners of the killing game should receive the death penalty which so starkly contrasts with Desmond’s focus on resolving things peacefully. Similarly to Desmond being Black, I also heavily doubt that Eloise being designed as fat is without connotations regarding this theme.

The meanings of their names push this even more blatantly. Desmond’s name is of Anglo-Saxon origin and means “Great defender” which adds to how spelled out the theme of guarding, protection, defence becomes in his character during chapter one - notably in relation to himself and Eloise. In his blackmail, which I will go into in more detail later, it explicitly says he “guards the only one he trusts”. This defence finds contrast with offence in Eloise’s name being of French and Teutonic origin meaning “Fierce warrior” which speaks to how assertive she becomes when pushed. Her Free Time Events serve as good indication with how she says outright to Damon that she plans to fight back if targeted for murder and expresses anger when he starts “prying into [her] personal life” in an outburst of “It’s none of your f-fucking business!”. Down to their names they present as foils.

Linking to this talk on personalities and first impressions is how these two contrast in how they are perceived by other characters and audience alike - their shared theme of “judging a book by its cover”. 

While Eloise has a talent centred around combat and wielding a blade, she is not nearly suspected the same way Desmond is due to her appearance as pale and soft in conjunction with her timidity, with the decision to make her fat adding to this as well. She is actually afforded first impressions based on personality, where Desmond is instead defined by potential threat in his marksmanship - the first thing Wolfgang ever says to him is, “With all of those weapons, I must ask…you…haven’t killed anyone, have you?”, and Eva’s belief that everyone is out to get her and have marked her as an easy target merges with preconceived notions about Desmond’s character and talent to lead her to assert that telling Desmond about his blackmail could “put [her] in danger”.  Contrasingly, in building up to their confrontation of Grace, Damon perceives Eloise as “bumbling”, “uncoordinated”, and not of “any help in a verbal shutdown”, and he proceeds to be utterly proven wrong - with the use of “uncoordinated” in reference to the Ultimate Fencer giving great indication of his poor judge of character. This contrast, then, makes it notable how they stick together and understand each other in a way others do not. 

(RE his bunking idea: Eloise understands what Desmond’s intentions are while others assume ill of him) Cassidy: I mean - hey, don’t expose us! That’s unfair! Desmond: Hold on, I’m not trying to expose anyone…! Eloise: Um, I think I get what he’s trying to say. Eloise: You just want everyone to be honest with each other…so we can cover all our bases…right? Desmond: Yeah…that’s right… (During the chapter one investigation as Grace guards Wolfgang’s room and denies everyone entry) Desmond: That’s what I tried telling everyone else, but they pretty much gave up. Jett and Mark went to the dining hall, Diana went to the laundry room, and Toshiko and Ingrid went to the courtyard.  Desmond: Eloise and I, though…we’re not gonna let this slide.

When going through their Free Time Events, it becomes clear that Desmond and Eloise even contrast each other when it comes to their backgrounds and honing of their talents. Desmond comes from a notably wealthy family who have a history of Ultimate Marksmen - that talent being as hereditary as literal genetics. From the start, Desmond has been showered in opportunity - he mentions having an expansive field that puts the academy’s courtyard to shame, a personal shooting range, a personal tennis court, and a personal swimming pool. He used to attend competitions on a local and regional scale until he got the opportunity to compete in the Olympics. 

Comparatively, Eloise had no such influence when it came to getting into fencing and simply joined a club and her honing of her talent was defined by a lack of opportunity. She rose through the ranks via forfeits - her opponents were so afraid they point-blank refused to fight her and so she had to take matters of improving into her own hands by practicing alone or with her teacher. Her lack of opportunity stems from how her family is certainly not as well-off as Desmond’s and she comments on giving her prize money to her mother and sisters. This is a point of similarity between the two - they both disregard the money they have earned through their talent for themselves and instead place focus on their families. Desmond cares more about making his parents proud, and Eloise cares more about giving the money to her family. 

Beyond every aspect in how Desmond and Eloise foil each other is how similar thematically they are in a way that allows them to understand and trust one another in a way they don’t seem to lend to anyone else. They understand that the other is perceived by strangers in a way that doesn’t necessarily align with their fully realised selves, Desmond’s calmness soothes Eloise’s volatility, Eloise’s sword takes the front while Desmond’s guns and bows take the rear - they are an inversion of each other and interwoven as a pair.

To finish off with their fundamental designs, official art for Project: Eden’s Garden is, in my opinion, interesting to look at. Desmond and Eloise are depicted next to or interacting in some way with each other in every piece of official art they share which pushes them further as a ‘pair’. It really emphasises how rarely in-game they’re apart - with the only instances of that being during nighttime, every free-time after the first one, and most prominently the Prologue’s investigation. Otherwise, they are always at least in the proximity of each other. I don’t think official art and seeing which characters appear together the most and how exactly they are interacting is insignificant at all - two sets of Halloween official art stand out to me as entwining Desmond and Eloise by their talents. In one, Desmond is dressed as Link from the Legend of Zelda and wielding a blade and, in the other, Eloise is dressed as Artemis from Greek Mythology - the Goddess of the Hunt who was known for her archery, a choice that becomes especially interesting once you remember that Artemis’ fellow archer brother, Apollo, was heavily associated with swans. 

Blackmail, blackmail

“With his weapons at hand, Desmond guards the only one he trusts.”

Since I posted my initial interpretations of this on TikTok, I’ve seen more discussion on it, and I don’t think it is controversial at all to suggest that the “only one” referred to here is Eloise. The only other options, to me, are this “only one” being someone outside of our main cast or Desmond himself. However, I have found myriad evidence that points towards it being Eloise that I’ve spread across different videos on TikTok but can now relay all in one place here. 

First, what is meant by “weapons”? As the Ultimate Marksman, Desmond has access to guns and bows in the literal meaning of that and this is how Eva, Damon and everyone else interprets it. It is also true - Desmond is always depicted with his quiver slung over his back, so he does indeed have his weapons at hand. However, there is another way of looking at this - Desmond’s “weapons” do not have to be literal. 

During chapter one’s trial, Grace admonishes everyone for “trusting Desmond so easily” after he defends himself from accusations based on the taser gun and Damon has the option of commenting on Desmond’s charisma that persuades people to trust him (or… “charm” as he puts it). Desmond’s “weapons” could refer to his rhetoric, especially with how he utilises the angle of ethos in comparison with Damon’s logos and Diana’s pathos - that being, focusing on getting across and defending his character, something that as previously discussed Desmond is exhaustively used to doing. His “guard” could manifest in him coming to this “only one”’s defence in verbal bouts just as much as it can be taken literally, something that we have in fact already seen if you subscribe to the idea of that person being Eloise.

Next, the meaning of “trusts” should be dug into. It is easy to assume that because Desmond behaves cordially with everyone and seems to possess a vested interest in getting everyone out of the killing game and to safety this means he is openly trusting in the way Diana is, but there is a lot once you start looking that proves otherwise. Desmond does not vehemently deny the possibility of murder like Wolfgang or Diana do but instead accepts the reality of their situation and approaches it with the knowledge of murder in his mind. He is against exploring the Alpha Sanctuary due to whatever Tozu has hidden within it, he takes note of the dangers of the pharmacy and what drugs could possibly be used to murder - even saying that “we should all start paying more attention to our food” - and is the one to come up with the bunk buddies idea due to the broken locks. Desmond does not trust that his peers absolutely will not be tempted by murder. Most illuminating is during his second Free Time Event when Damon tries to use the trustworthiness of the other students as a debate topic and Desmond becomes noticeably uneasy and closed off. 

Damon: How about… we debate the trustworthiness of the other students? Desmond: Huh…? What do you mean? Damon: Isn’t it self-explanatory? You and I argue about whether or not the others are trustworthy. Desmond: Uh… I don’t know, dude. I’m not really comfortable with that. Damon: Why? Desmond: W-what do you mean why? I can’t just say my… (own emphasis) Desmond: I mean, I can’t just throw doubt at people for no reason. 

Despite this, he still wants said peers to trust him. His motivation to escape the killing game and prevent murder, I believe, is genuine - however, he remains beneath the veil of hypocrisy in how he expects everyone to trust him without him trusting them. 

So, how does this link to Eloise? 

From the prologue, the theme of Eloise and Desmond being each other’s alibis and backing each other up is established. Wolfgang asks Desmond to keep a shaken Eloise company and he does so for the duration of all the other introductions. When the fake body of Cara is discovered, Eloise insists that she heard no screaming from the courtyard nor did anyone run out, and calls on Desmond to back her up, which he does. This is the first exchange of trust and reliance between them, and it only strengthens during chapter one. 

The first major instance is in relation to Desmond’s idea of sleeping in pairs. Knowing his distrust towards his peers and that he has this one person he has an interest in protecting, it is notable both that he would be the one to raise concerns about the broken locks and that he would proceed to input that, “As the one who suggested the idea, I’d say we just pick our buddies ourselves-”. Desmond wanted to choose his bunk buddy, ostensibly so he would be able to more readily “guard” them, and this, I think, is crucial as evidence that the “only one he trusts” is someone among the class. While he doesn’t respond outwardly negatively to Toshiko’s desire to be in charge of the pairs and Ingrid’s subsequent assertion that they split by gender, this is easily explained by how intent he is on maintaining a calm disposition. 

Eloise’s behaviour in this scene is equally noteworthy. She defends Desmond from accusations that he’s making people vulnerable and that she harkens to ideas of honesty and understanding Desmond’s intentions speaks to a building closeness between them. Much like Desmond, Eloise appears selective with her trust through how focus is repeatedly placed on her as ways to assign bunk-buddies is discussed, combined with how her character profile notes how she is “always ready to make her escape if anyone gets too close to her”, which I believe can be applied in both a literal-in-regards-to-fencing and figurative sense. We can discern from her Free Time Events that Eloise holds her privacy close to her and that she has certain people that she openly does not trust nor like - she doesn’t want to have a decision like who is going to be with her at her most vulnerable just chosen for her. 

Toshiko: Fear not! In all my infinite wisdom and kindness, I shall pair the rest of you! Eloise: Ah… that’s not really necessary… (...) Ingrid: Strangers’ll usually be more comfortable spending the night with the same gender. Eloise: Then… we’re splitting it by gender…? (...) Wolfgang: We won’t have Ms. Kayura’s help, but I’m sure we’ll figure something out. Let’s go. Eloise: … 

Furthermore, it does not feel at all coincidental that the scene directly after Desmond’s blackmail is revealed by Eva sees Grace pressuring Eloise to hand over her blackmail and Desmond attempting to defend Eloise before she reassures him. Eloise’s silence after Grace says that she better not have shown anyone speaks volumes - from the map during Free Time and their alibis for the time of Wolfgang’s murder alike we can explicitly see the amount of time these two have been spending around each other in the courtyard.

Grace: That fencer girl has been giving me the side-eye ever since the blackmail was announced. There’s no other explanation! Grace: Give it! Desmond: H-hey, stop that! Eloise: It’s okay…I’ve got it…

On the morning of Wolfgang’s murder, Desmond and Eloise spent all their time together in that courtyard, paralleling their positioning in the prologue. Just as then, they are each other’s alibis and they are the main one backing the other up. They proceed to stay by the other’s side literally throughout the investigation and figuratively throughout the trial. It is notable that textually Grace and Kai underscore how defensive Eloise and Desmond have been of each other throughout chapter one’s investigation and trial to accuse them of working together - ostensibly, Desmond being the murderer and Eloise his accomplice. When the two of them and Damon confront Grace during the investigation, they are largely backing each other up and adding to each other’s points while Damon chips in on his own - even going as far as to threaten Grace, knowing that she was shot at by Mara before.

Eloise: Um…for us to believe that, we need to see it ourselves… Grace: You think I’m lying? Desmond: There’s a chance you could be, unfortunately.  (...) Eloise: Also, um…couldn’t this be considered breaking the rules…? Eloise: Tozu wants this game to be fair, but… being prevented from searching every room doesn’t seem very fair… Grace: …Even if it isn’t, what are you gonna do? Eloise: … Eloise: I’ll…report it to Tozu. Grace: A-ah? Desmond: Nice idea. What do you say we look for him now? Desmond: If Tozu agrees this is sabotage, he might call Mara to help…

In the trial, when Eloise first accuses Grace, Desmond backs her. When Grace’s innocence is proven and Eloise apologises for accusing her, Desmond continues to press Grace when she shouts at Eloise by insisting she “must know something about [Wolfgang’s] last known whereabouts”. When Desmond brings up the golf clothes and equipment in Wolfgang’s room, Eloise backs him. When Mark accuses Desmond of having access to weapons like the taser gun, Eloise reacts before Desmond does. During the nonstop debate about the taser gun, Eloise brings up her and Desmond’s shared alibi as they were together the whole morning. If the player takes the Pathos Route during the trial, it is Eloise’s voicing of her doubts in voting Diana and wanting to hear her side of the story that then leads into Desmond’s own agreement to hear her out. This series of events, I think, proves a degree of trust that has built between the two that they have not extended to anyone else - even during Eva’s execution and Diana’s speech, the two are depicted together. 

The nature of Desmond’s blackmail combined with how he and Eloise are written in this chapter as consistent supporters of each other and consistently shown together leads me to be rather firm in my belief at the moment that Eloise is this “only one” his blackmail refers to. Their relationship is given as much focus as Damon and Kai and Wolfgang and Grace, which indicates the importance of it and really, really doesn’t bode well for their survival. My personal speculation at this current moment sees Eloise killing in self-defence, in which instance we will see Desmond’s ‘guard’ come to fruition. 

Sharks and swans

It can’t be a P:EG analysis without looking at the characters’ animal motifs - especially with how chapter one confirmed their relevance with the focus on Wolfgang, Eva and Diana in particular!

Desmond’s animal motif is a shark as represented by his shark’s tooth earring and this is immediately notable in tying into the dominating theme of prejudice and “judging a book by its cover” that has presented itself in contrasting ways in his and Eloise’s characters. Desmond being instinctively assumed to be dangerous and a ‘threat’ due to his position as the Ultimate Marksman directly correlates to how sharks are perceived in the media and, by extension, society. One way his shark motif is relevant lies in how it conveys this theme of being misunderstood. 

As previously noted, the first thing Wolfgang ever says to Desmond is an interrogative question about whether or not he has killed someone before, it does not take any amount of mental gymnastics for Eva and Damon to agree Desmond’s blackmail makes him dangerous, and it does not take much convincing for the majority during the trial to agree on his likelihood of murdering Wolfgang due to the taser gun originating from his room. Surely, we are instantly reminded of how sharks are similarly misunderstood as obvious killers due to how they have been negatively sensationalised by the media - leading to a general consensus in society to view them as an inherent threat. 

“Sharks have been vilified in human culture for centuries, and negative attitudes toward sharks continue to pervade mass media, perpetuating stereotypes, often conveying inaccurate information [7–11]. One way the public’s fear of sharks, which resonates deeply and viscerally, manifests itself is a pervasive overestimation of the likelihood of being ‘attacked’” (Andrew Nosal et al, 2016, The Effect of Background Music in Shark Documentaries on Viewers' Perceptions of Sharks, p.2)

Eva asserts that Desmond finding out about her having his blackmail could make her a target and, generally, the other characters are quick to assume ill intention from him. For example, him bringing up how everyone’s locks to their dorms are broken raises accusations of him exposing people and him testing people’s locks sparks similar reaction - with Wolfgang even denying him future agency by saying Desmond should go to him first. 

Desmond’s shark motif combines with how his talent is perceived to beg us as viewers to deconstruct assumptions of him being this ticking time bomb waiting to explode - to pick apart preconceived notions, examine what makes you think that way and why. It is simultaneously fascinating and frustrating to see predictions from fans about how the rest of the game will play out position Desmond as an ‘obvious’ killer due to his marksmanship and because his animal motif is an apex predator painted as a “man-eating monster” by the media, ignoring how his talent has been handled thus far and contributing to the dominating narrative about sharks that does not reflect reality. 

The majority of shark attacks on humans are results of curiosity bites on the shark’s end or mistaking humans for, say, seals. In personifying sharks and acting as if they have the same moral decision making as humans and go out of their way to maim and kill, they have become severely endangered themselves. In an article on shark conservation that analysed how sharks are portrayed in American and Australian media, it was identified that there were “four types of risks from sharks and fourteen types of risks to sharks in the articles” and that “Forty-four percent of the articles mentioned elevated public risk perceptions or fear of sharks” (Bret Muter et al, 2012, Australian and U.S. News Media Portrayal of Sharks and Their Conservation, Conservation Biology, Vol.27, No.1, p.190), which is to say that humans are more of a risk to sharks on the whole than sharks are to humans such as through overfishing, finning and habitat destruction and that this can directly parallel the ‘attacks’ on his character that Desmond has endured so far in the story.

In direct contrast in this respect, there is Eloise and her swan motif represented by her hairpin. The dominating cultural perspective on swans is that they are uniquely beautiful and elegant, they are symbols of purity and aristocracy and are a protected species in many countries including the US, UK and across the whole of the European Union. This places them at the utter opposite end of a general consensus scale to sharks and their features in popular culture reflects this from Hans Christian Andersen’s Ugly Duckling fairy tale to Tchaikovsky’s Swan Lake ballet.

Swan Lake is of particular note to me due to its duality of the white and black swan that can be applied to Eloise’s characterisation. Through her white clothing, fencer-defined elegance, and timid demeanour, Eloise brings to mind Odette the white swan - or the Swan Princess - who was cursed to be a swan by day and woman by night and who is revered for her beauty and purity. Contrastingly we have Odile, who impersonates Odette while she is bound to her swan form and is the ‘black swan’ - more conniving and wicked. Traditionally, Odette and Odile are roles performed by the same ballerina and so represent this idea of duality even more. Now, Eloise is neither conniving nor wicked, but she certainly is not the ‘Odette’ that people perceive her as on a surface level, and has assertive and, really, quite aggressive talons that unsheathe when she deems necessary. 

(Eloise’s first Free Time Event, unprovoked) Eloise: If…if you ever try to do something to me… Eloise: …then…I’m going to fight back.  (...) Eloise: Once, I completely overpowered a person using just a pen… Eloise: And, uh…if you don’t believe me… Eloise: …I…can give you a taste of what that person felt. 

Additionally tied to this is the Medieval moralist view on swans as symbolic of hypocrisy. The idea stems from Hugh of Fouilloy’s Aviarium where he asserts that swans’ white plumage concealing their supposedly black flesh is reflective of a sinner who conceals their sins with a faux pious front…this line of thinking of “white = morality, black = immorality” is notoriously flawed and susceptible to challenge, and this specific idea alluding to black flesh even more obviously so. However, as a spiritual Christian belief, it is relevant when considering Project: Eden’s Garden not least because the game’s religious allusions ask us to question the very concept of Eden and how Western institutions use religious imagery - especially in how they distort it and use it for their own narrative. Every image of nature in the academy being artificial highlights this. Thus, this old idea about swans and hypocrisy may be taken into account… it is not so much direct hypocrisy that relates to Eloise, but the theme of appearance not reflecting reality and a warning to “not to be deceived by outward appearances” (Natalie Jayne Goodison, Introducing the Medieval Swan, p.12). Eloise’s character profile outright tells us to “not be deceived” (by her “size”, but this can apply generally). 

And this neatly leads into the fact that swans themselves, despite their innocent and pure iconography, are fierce - especially when it comes to defending themselves or their nests. As Aristotle puts it in his (outdated by over two millennia yet still incredibly interesting) work The History of Animals, “[swans] will repel the attack and get the better of their assailant, but they are never the first to attack” (Trans. D’Arcy Wentworth Thompson, 9.12) and Eloise explicitly references this in her fight against her own underestimation and to combat the perception of her as weak both in form and fortitude. Despite what Damon believes, I refute the idea that Eloise’s volatility makes her emotionally weak because chapter one’s trial proves otherwise as does chapter one’s investigation that instantly sees Eloise disprove Damon’s idea of her. Speaking of Damon, it is interesting how he comes to respect and almost understand Desmond who is misunderstood as a threat by others much like himself, but cannot extend the same to Eloise whom he has no axis of relatability to. 

“Still, it is significant that the administrative and agricultural experts voiced concern that aesthetic, cultural, and sentimental ideas about swans guide the birds’ protection in a strange or illogical way, and the resources expert agreed that the main—if not the only—value associated with continued protection of the whooper is sentimental value.” (Shauna Laurel Jones, 2018, Feathered majesty in the grainfield? Conflict, conservation, and the whooper swan in Iceland, p.39)

Desmond’s shark motif presenting through a shark tooth earring is not merely an aesthetic choice and instead possesses symbolic connotations. It is the choice in his design of a shark tooth earring that allows us to connect indigenous beliefs about sharks to his characterisation, as in indigenous Hawai’ian culture, shark teeth are traditionally worn as protective talismans, and certain species of sharks in indigenous Hawai’ian culture also relate to the concept of ‘aumakua’ where under certain conditions a deceased person is reincarnated as a shark and acts as a “beneficent guardian spirit” (Leighton R. Taylor, 1993, Sharks of Hawai’i: their biology and cultural significance, p.19) towards their family, both of which link to the increasingly potent theme of “guard[ing]” in Desmond’s character. 

Similarly, we find ideas of “guard[ing]” with the swan, especially the idea of being guarded. Most blatant is the fact that swans are a protected species in many particularly Western countries such as the United Kingdom, the United States, France, Denmark, Germany, and Iceland, meaning it is illegal to kill or injure them. In a literary sense, we have the Finnish national epic Kalevala wherein the hero Lemminkäinen is tasked with killing a swan that swims and sings in the Lake of Tuonela that surrounds the underworld, but instead he is killed - not textually because he has attempted to kill a swan, but the context of swans as a protected species and how they are symbolically viewed certainly influences this narrative.

However, as a point of contrast, while sharks can be associated with life in the sense of survival and their integral position in ecosystems, keeping them intact, swans are associated overwhelmingly with death. Firstly examining the former, it is notable to me that Desmond’s animal motif is one heavily concerned with conservation efforts to protect against endangerment and extinction, conditions that are in no small part due to human impact. When one sees apex predator their mind tends to swipe to violence, to these creatures being bloodthirsty, instead of taking it for what it really is: an animal that plays an indispensable role in regulating ecosystems. Already, Desmond has cemented himself as a secondary contributor in trials alongside the likes of Jean, Ulysses and Wenona, and within the group he assumes a position not the extent of leadership like Wolfgang and Jean but certainly as a prominent initiator. Sharks have lived for millions of years and their survival is integral to the smooth management of marine ecosystems, to remove them would cause a disastrous knock-on effect. In tandem, the condition of its ecosystem is integral to the survival of the shark, which raises the aspect of Desmond’s Free Time Events that has him lament the lack of open space in the academy. 

“As apex predators, sharks play an indispensable role in regulating marine populations, maintaining biodiversity, and preserving the health of our oceans (amongst many other parts they play in the tapestry of life that is below the waves). However, despite having roamed our oceans for millions of years, they currently face a myriad threats that of our own doing, including overfishing, habitat degradation, and climate change.” (Melissa Cristina Marquez, 2024, Exploring the Intersection of Indigenous Knowledge and Shark Science)

Turning to the association between swans and death is the ever-omnipresent swan song. The myth that swans are silent their whole lives until just before they die, when they sing their haunting song. Eloise can be interpreted according to this in how “silence” can be applied to her initially reserved and shy nature, with the more she develops across the story akin to the theme of transformation found in many European folktales and, unfortunately as a result, becomes closer to death her development in becoming more openly confident will be her “song”.

My personal speculation at the moment is that Eloise will become the blackened through killing in self-defence - something I find fitting for her characterisation, predicted character arc, fencing talent, and swan motif all in one - and so her swan’s song will manifest as her final plight during her trial before she is inevitably sent to death. Relatedly, the conclusion of Swan Lake sees Odette, the swan princess, and Siegried, the prince, die together. I view Desmond and Eloise’s relationship to end in one of two ways - either one of them kills/is killed and the other kills/is killed the chapter after, or one of them kills/is killed and the other survives. Either way, they cannot both live. 

The silver Swan who living had no note, When death approached unlocked her silent throat; Leaning her breast against the reedy shore, Thus sang her first and last, and sung no more: "Farewell all joys! O death come close mine eyes, More geese than swans now live, more fools than wise." (Unknown author)

And so arrives the final point to wrap this whole essay up in one neat bow: Eloise’s swan motif presents in her unwavering loyalty as a pair with Desmond. This is so unsubtle that it is underscored by Grace and Kai in the chapter one trial, sending accusations of them working together to murder their way. As has been reiterated, the two are seldom not depicted together, react to accusations towards each other with the same intensity were they to be directed at them, and defend each other with a consistency they do not afford any other character, with only Diana coming close in Eloise’s case. Like swans who mate for life, Eloise and Desmond have essentially become pair bonded. This happening so quickly is not necessarily a cause for doubt either in my opinion as that also connects to swans who bond as a pair even before they reach sexual maturity at twenty months despite living for a good two decades, and we know Eloise and Desmond’s time is far shorter than that. 

“Someone has to leave first.  This is a very old story.  There is no other version of this story.” (Richard Siken, War of the Foxes)

With everything we have of them so far, regardless of how Desmond and Eloise’s individual stories play out, they will be in one way or another entwined. 

Thank you for reading, and I would love to know your thoughts!

BIBLIOGRAPHY:

Aristotle, Thompson D. W.,The History of Animals

Goodison N. J., 2023, Introducing the Medieval Swan

Hugh, 1172, Aviarium

Jones S. L., 2018, Feathered majesty in the grainfield? Conflict, conservation, and the whooper swan in Iceland

Lönnrot E., 1835, The Kalewala

Marquez M. C., 2024, Exploring the Intersection of Indigenous Knowledge and Shark Science

Muter B. et al., 2012, Conservation Biology, Australian and U.S. News Media Portrayal of Sharks and Their Conservation, Vol. 27, No. 1

Nosal A. et al., 2016, The Effect of Background Music in Shark Documentaries on Viewers' Perceptions of Sharks

Taylor L. R., 1993, Sharks of Hawai’i: their biology and cultural significance

Tchaikovsky P. I., The Swan Lake Ballet

[deerteatime]

NEVERMIND I JUST HAD A COHERENT THOUGHT

it’s been reported that there’s another casualty from the beam that makes you think about guys you made up

[traceytonight]

Tracey rambles about Tron Ares again

Tron Ares fills me with so much dread, each passing day is like a countdown to the death of a franchise I care so much about.

The producer, title & main character, is literally Joker Morbius alleged pedophile since the early 2000s himself Jared Leto. That alone ruins the movie for me, and yet every following bullet point makes everything about and around it so much worse.

-Premise is explicitly "What if the Grid came to the real world".

NO, the interesting part of the series is THE GRID, where all of the deeply meditative commentary about our world and visually interesting splendor is supposed to be! Yes we had the lingering plot thread of Quorra coming to our world, however;

-Nothing directly tied to Tron Legacy is specifically being followed up

So no seeing where Sam Flynn could have taken Encom, no Quorra adjusting to our world, No Edward Dillinger Jr scheming with the resurrected MCP; But most disrespectfully of all, they didn't even bother to get Bruce Boxleitnter back, THE GUY WHO PLAYS TRON (and Alan Bradly & Rinzler). The one guy who actively loved this series and campaigned for a Third Tron film for over a decade, and previously Tron Legacy for even longer. But you know who they are bringing back?

-Kevin Flynn is back

THE GUY WHO FUCKING DIED IN THE LAST MOVIE. Undermining the noble sacrifice that was integral to the core themes of the film.

And just today we got this:

This is so far from an advancement design wise of the Light Cycle from either film. None of the simple shape language of the original. None of the sleek visual melding of human & technology of Legacy. While the light cycle was always cool for being a futuristic video game-ass motorcycle, its was just one of the multitude of visual elements that served the thematic purposes of Tron flawlessly.

Meanwhile, this not only physically separates the driver from the cycle, they further emphasize it through all the little gaps where there were none on either prior design. They so easily could've had the red line on Ares connect into the obviously aligned part of the bike.

Even if this is meant to show the separation of the programs from the grid for some thematic element we're unaware of at the moment, we're already going to be getting a lot of that considering the movie takes place in an average ass city.

Also, to be truly nitpicky, it looks really uncomfortable to sit in & I don't like all the added greebles.

To circle back around, what I really hate about the cast, besides the obvious one, is that there are a lot of actors who I think will work extremely well in the world of Tron. Greta Lee, Gillian Anderson, Evan Peters? Inspired casting choices.

Meanwhile production wise we're literally taking David Fincher's collaborator trifecta. Jeff Cronenweth (Cinematographer), Tyler Nelson (Editor), and Trent Reznor (Composer, backed up by Nine Inch Nails) all worked on The Social Network, another one of my favorite films. Jeff is literally the son of Blade Runner's cinematographer, Nelson was co-editor on The Batman, a film with incredible pacing thanks to their hardwork, and while I'm not the most familiar with Reznor's full body of work, I've sincerely liked everything I've heard and think in conjunction with Jeff & Tyler he will make something fantastic and fitting for the tone of this film.

However, the screenplay is done by the writer of Harry Potter & the Cursed Child, and is being handled by the director of Pirates of the Caribbean 5. Choices that feel at odds with the prestige praise I was just handing out a paragraph ago.

Theres so many good elements that are eclipsed by its central glaring protagonist, seeming lack of the interesting setting/designs or integral thematic elements that I look for in Tron, and lack of expectation regarding the choice of director & writers.

Because my two greatest fears are not about if the movie is awful and destroys the franchise as I'm expecting it could, it's either:

What if the movie is genuinely good? Well acted and performed, somehow actually has the same level of philosophical inquiry that Legacy & Identity have? How am I gonna face that reality with the enormous horrific issue starring in it?

What if the movie is bad in everyway that I think it will be, but does financially and/or critically better than the first two? The franchise is not killed again, but revives and bases everything going forward around this awful outlier in the series?

Unless this movie fails so horrifically that Disney wants to scrub it from existence, as they tend to do, the future of any Tron media will undeniably be forced to cohere itself to the existence of Ares.

If you want something that actually expands on the musings and universe of Tron, play Tron Identity. A game so lovingly crafted for fans of those elements of Tron as a connected series. And I know this factually, as the writer of the game itself (who also created Thomas Was Alone) watched my twitch stream of it and confirmed my ramblings about the deep seeded lore and intent of design of the TREES that appear in the game. Only one example of the incredible attention to detail the game delivers on. Plus its also getting a sequel that unlike Ares, I'm awaiting with bated breath.

[talonabraxas]

Shiva and Uma from a set of modern Nyingmapa tsakli (initiation cards). Umapati is the form of Lord Shiva where he is depicted as the consort of Goddess Uma, also known as Parvati. This form emphasizes the harmonious union of masculine and feminine energies and the ideal of divine partnership.

Umapati, meaning "Lord of Uma" (another name for Goddess Parvati), is a revered form of Lord Shiva that symbolizes the divine union of Shiva and Parvati. In this form, Shiva is portrayed as the devoted husband of Parvati, highlighting the complementary relationship between the masculine and feminine principles in the universe. Umapati represents the ideal of a balanced and harmonious partnership, where Shiva and Parvati together embody the cosmic balance of power, compassion, and wisdom. This form is particularly significant in Hindu mythology as it underscores the importance of marital unity, devotion, and the spiritual partnership between the divine couple. Umapati also symbolizes the inseparable bond between Shiva and Shakti (the divine feminine energy), which is central to many philosophical teachings in Hinduism. This form is often invoked in prayers and rituals seeking blessings for marital harmony, family well-being, and spiritual balance.

Iconography:

In the Umapati form, Shiva is often depicted alongside Goddess Parvati, emphasizing their divine partnership. Shiva is usually portrayed in a calm and composed posture, with Parvati by his side or seated on his lap, symbolizing their unity. He is shown with his traditional attributes such as the crescent moon on his head, the third eye, and the snake around his neck. Parvati is often depicted with a gentle and nurturing expression, complementing Shiva’s serene demeanor. Together, they are shown as an ideal divine couple, embodying the perfect balance of power and grace. Sometimes, they are depicted with their children, Ganesha and Kartikeya, representing the divine family unit. The iconography of Umapati also includes elements like the Himalayas in the background, symbolizing the abode of the divine couple, and the presence of Nandi, Shiva’s bull, representing strength and devotion.

Symbolism and Significance:

Umapati holds deep symbolic meaning in Hindu tradition, primarily representing the ideal of divine partnership and the balance of masculine and feminine energies. This form underscores the importance of marital harmony, where Shiva and Parvati together embody the unity of opposites—Shiva as the ascetic and destroyer, and Parvati as the nurturing mother and creator. Their union represents the integration of spiritual and material aspects of life, emphasizing the need for balance in both worldly and spiritual pursuits. Umapati is also significant in the context of family life, as their relationship is seen as an exemplar of mutual respect, love, and devotion. Worshiping Umapati is believed to bring blessings for marital bliss, family harmony, and overall well-being, making this form of Shiva highly revered among devotees.

Cultural and Artistic Depictions:

Umapati has been a popular subject in Indian art, literature, and temple architecture. This form of Shiva is depicted in numerous sculptures, paintings, and temple reliefs, particularly in South India, where the worship of Shiva and Parvati as a divine couple is prominent. In temple iconography, Umapati is often depicted in the company of Parvati, sometimes with their children, in scenes that reflect domestic bliss and divine love. These depictions can be found in the intricate carvings of temples like the Meenakshi Temple in Madurai and the Brihadeeswarar Temple in Thanjavur.

In addition to visual art, Umapati is celebrated in classical dance forms like Bharatanatyam and Kathak, where the relationship between Shiva and Parvati is explored through expressive storytelling and dance. The divine couple is also a central theme in many devotional songs, hymns, and poetic compositions, where their love and unity are extolled as ideals for human relationships. Through these cultural and artistic depictions, Umapati continues to inspire and guide devotees in their spiritual and personal lives, reinforcing the importance of love, unity, and balance. The Shiva and Uma (Parvati) mantra: "Om Uma Maheshwaraabhyaam Namah", This mantra is believed to invoke the qualities of their relationship, such as unconditional love and understanding, and can be used to promote harmony and balance in one's own life. 

[fionapplesauce]

In Serve to Whom (2023)

Collaging sonic meditations with performance-specific scenography and digital-visual archive projections, “In Service to Whom” integrates Solange’s spirit in music, design, visual art, and cultural archive and preservation into one four-act performance.

This piece features Solange alongside a 10-piece ensemble and centers orchestral works composed by the artist between 2018 and 2023 (“Villanelle For Times,” “God Rest Your,” “Bridge-s,” and “In Past Pupils and Smiles”), alongside her contemporary music. These compositions were inspired by repetition, gospel vocal arrangements, minimalism, and the Black southern marching band music of football games frequented by the artist in her hometown of Houston, Texas. The performance also debuts the world premiere of two original works: a duo tuba piece titled “Not Necessarily In Arms Reach” for two tubas, and a solo cello and double bass number titled “If the Promise is Large”.

In each act, everyday mundane gestures demonstrate the personal expansiveness of the artist’s sustained creative process, culminating in a rare view into the immersive world of grounding practices that continue to evolve Solange’s artistic fingerprint. As she contemplates the evolution and maturation of her artistry, “In Service To Whom” was created and developed around the posture of rest, and speaks to the artist’s reemergence into the world of everyday life following periods of personal incubation and self-revitalization at home.

[ausantana]

𝐌𝐨𝐯𝐢𝐞 𝐑𝐞𝐯𝐢𝐞𝐰: Nosferatu (2024)

Written by: Au, also know as @ausantana on tumblr

"Come to me. Come to me. A guardian angel. A spirit of comfort. Spirit of any celestial sphere. Anything. Hear my call" - Ellen Hutter

Click below to continue reading! ↓

The reinterpretation of Nosferatu, a work that has been one of my favorites for years, manages, through its exceptional screenplay, to pay homage to the original while introducing modern elements that enrich its narrative and plot.

The cinematography is, without a doubt, one of the film’s great achievements; every shot is carefully composed to draw the viewer into a gothic and decadent atmosphere, a quality that excites me as a cinephile and gothic style enthusiast. The interplay of light and shadow, combined with contemporary filming techniques, molds each scene with a visual elegance that, in my opinion, few films have ever achieved. Its wonderful cinematography accentuates the dark and sadistic beauty of the settings, a very difficult feat to accomplish, yet one that has been successfully achieved.

I feel there’s no need to discuss the unparalleled special effects that very few films manage to execute, as I have absolutely no complaints. The historical representation, which aligns with the narrative, setting, and costumes, transports the viewer to an era dominated by pain, suffering, and cruelty. The reconstruction of this period is seamlessly integrated into the plot, allowing these historical elements to enrich the film’s story and atmosphere.

I would like to emphasize, its previously mentioned, gothic and dark side. The film stands out for its romanticization of the sadistic, presenting it not merely as a mere shock tactic, but as a complex and, in some ways, poetic expression. The approach to this theme adds depth and sensuality to the genre, transforming the rawness of the sadistic into a motivating force for the plot—infusing it with sensitivity and passion, and capturing the very essence of gothic romanticism.

@scizemzv created an edit of the film that has become my favorite so far, here is the link!

tyy for reading!! xoxo, Au.

[kolajmag]

COLLAGE ON VIEW

The Noise of Us

At the Brattleboro Museum and Art Center in Brattleboro, Vermont, USA through 8 March 2025. This exhibition features the work of four artists who visualize the cacophonous experiences of memory-making and recall through their collage-like practices. Felipe Baeza, Ori Gersht, Simonette Quamina, and Maika’i Tubbs each integrates various materials and techniques to create art objects that are physically, visually, and conceptually layered. In the resulting works, forms continually appear and disappear, raising questions about how certain figures and narratives fade in and out of conscious memory. Composed of numerous distinct elements, these works draw attention to the interweaving of selective memories that contribute to experiences of migration, formations of identity, and senses of belonging. Curated by Elissa Watters. (image: Flower 02 (Rijksmuseum) by Ori Gersht (46.5″x35″; archival pigment print; 2021.) © Ori Gersht. Courtesy of the artist and Yancey Richardson.) READ MORE

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Kolaj Magazine, a full color, print magazine, exists to show how the world of collage is rich, layered, and thick with complexity. By remixing history and culture, collage artists forge new thinking. To understand collage is to reshape one's thinking of art history and redefine the canon of visual culture that informs the present.

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[venusianpulp]

Venus in Uttarashadha Nakshatra, Pada 3

Astro-Self Edition...

This is a personal placement... if you like this, I will take reuqests for your own personal placements...

I have been told by countless people I look like Sandra Bullock. there are 2 placements in vedic astrology we have in common and this is one of them.

Appearance: Venus in Capricorn in the 5th house suggests that you may have a classic, elegant, and refined appearance. You may have striking facial features, such as well-defined cheekbones or a strong jawline. Your demeanor may be serious, composed, and dignified, reflecting the influence of Capricorn. You may prefer a sophisticated and timeless fashion sense, opting for quality over trends. Uttarashadha nakshatra is associated with a tall, slender build and a graceful, regal presence.

Love and Relationships: With Venus in the 5th house, love and romance are likely to be central themes in your life. You may have a strong desire for a committed, stable, and enduring partnership. In Capricorn, Venus suggests that you approach relationships with a practical, responsible, and mature mindset. You may be attracted to partners who are ambitious, successful, and reliable. You value loyalty, integrity, and emotional security in your relationships.

However, the placement of Venus in Uttarashadha nakshatra, pada 3, can add some complexity to your love life. Uttarashadha is associated with independence, leadership, and a strong sense of purpose. In pada 3, which is ruled by Saturn, there may be some challenges or delays in finding a suitable partner or achieving stability in relationships. You may have high standards and a fear of vulnerability that can sometimes create barriers to intimacy.

At the same time, this placement suggests that you have a deep capacity for love and devotion. Once you commit to a relationship, you are likely to be a loyal, supportive, and nurturing partner. You may be attracted to partners who share your values, goals, and sense of responsibility. You may also find fulfillment in relationships that have a spiritual or transformative quality, as Uttarashadha is associated with the deeper mysteries of life.

Creativity and Self-Expression: The 5th house is associated with creativity, self-expression, and the pursuit of pleasure. With Venus in this house, you may have a strong artistic or creative streak. You may enjoy expressing yourself through music, dance, theater, or visual arts. In Capricorn, your creative expression may have a practical, disciplined, or professional quality. You may be drawn to art forms that require skill, precision, and mastery.

Uttarashadha nakshatra is associated with leadership, innovation, and the ability to inspire others. You may have a talent for taking creative risks and exploring uncharted territory. Your artistic expression may have a transformative or healing quality, as Uttarashadha is associated with the power of spiritual growth and self-realization.

Other Qualities: Venus in the 5th house in Capricorn can also indicate a strong sense of responsibility and a desire to be a good role model for others. You may have a nurturing, protective quality, especially towards children or those who are vulnerable. You may also have a talent for teaching, mentoring, or guiding others in their creative or personal development.

In Uttarashadha nakshatra, pada 3, you may have a deep connection to your spiritual path or a desire to explore the mysteries of life. You may be drawn to esoteric knowledge, metaphysics, or the occult. You may also have a strong sense of intuition or psychic ability.

However, this placement can also indicate some challenges or obstacles in achieving your goals or expressing your true self. You may struggle with feelings of inadequacy, self-doubt, or a fear of failure. You may also have a tendency to be overly critical or perfectionistic, which can sometimes hold you back from taking risks or pursuing your dreams.

Overall, Venus in the 5th house in Capricorn at 4 degrees in Uttarashadha nakshatra, pada 3, suggests a complex and multifaceted personality. You may be a creative, disciplined, and responsible individual with a strong sense of purpose and a deep capacity for love and devotion. At the same time, you may face challenges in expressing your true self and achieving stability in relationships. By embracing your unique qualities and working through your fears and doubts, you can tap into your full potential and create a life of beauty, meaning, and fulfillment.

[animefeminist]

Author and scriptwriter Watari Wataru on cynical heroines, getting a lesbian kiss onscreen, and keeping his day job

Watari Wataru’s appearance at Otakon 2023 was announced with copious mention of his 2011 light novel series My Teen Romantic Comedy SNAFU (sometimes known by the shortened portmanteau of its Japanese title, Oregairu). While it has its issues (like a spate of fanservice-heavy anime promotional material rather disconnected from the novel’s mentality), it’s also drawn comparisons to era contemporary Toradora for trying to integrate more grounded character dynamics into the extremely archetype-dense school rom-com genre. The series earned a dedicated fanbase, three anime adaptations from 2013 to 2020, three separate manga adaptations and three visual novel spin-offs (including one in 2023).

Even more of interest for AniFem readers, though, is Girlish Number. Its heroine, Chitose, is a cynical young voice actress who finally manages to snag a major role; convinced she’d just never been given a chance to shine, Chitose’s ego takes a serious blow when she can’t keep up with her costars. The series isn’t a brutal indictment of an industry a la Perfect Blue or Oshi no Ko, but a work-com closer to SHIROBAKO – ultimately upbeat but unafraid of airing its complaints, or of letting a cast of adult women have a few rough edges.

Stepping into the role of anime scriptwriter and series composer first to adapt his own work, Watari has increasingly taken up work on adaptations. In 2023, that included AniFem staff favorite The Magical Revolution of the Reincarnated Princess and the Genius Young Lady, an ambitious fantasy series that turned heads for managing to include both a love confession and onscreen kiss between its titular couple.

Such a move is almost unprecedented outside of titles marketed exclusively as yuri or BL, and despite the many beautiful queer love stories that anime has told over the years with one, the other, or only subtext to wield, it’s easy to see why this achievement touched anxious viewers: this interview was conducted only one day before Bandai Namco attempted to declare the couple at the heart of Mobile Suit Gundam: The Witch From Mercury as being “up to interpretation” despite, among other things, their matching wedding rings (the creative team, in an admirable answering power move, released a staff art book at Comiket that included wedding and honeymoon art).

We were able to sit down with Watari, as well as SNAFU editor and Gagaga Bunko Chief Editor Hoshino Horinori, for a short interview.

Read it at Anime Feminist!

[oneslimybastard]

A lot of people can tell AI generated art Looks Off but lack the technical terms to be able to describe why in ways that doesn't swerve back to just vibes or the lack of a ~soul~, but worry not, papa snail is here to tell u exactly what feels kinda off about AI art when you look at it:

AI knows how to render like a beast but it's severely lacking in skills when it comes to image composition. Elements present in an AI piece rarely harmonize, they are not put there as part of an intentional scene, merely collaged in to fulfill whatever prompt was put into the machine. If you prompt an AI image generator with "Mushroom fairy in a forest" the machine will search through its database to diffuse something which checks off the correct labels while looking technically impressive; but it will not add any context or interiority to the scene. Basically; nothing visualized will have a reason for existing other than to fill a quota, which makes for an uninteresting and bad illustration.

This is something that isn't unique of AI, beginner artists operate in a similar manner, since composing a compelling narrative within a scene or a character design or abstract mural or what have you is its own skill-set that you have to learn. Where AI differs is this steep skill difference that clashes against itself. A technically lacking drawing of a sparkledog on DA is internally consistent, the composition is kinda ass the linework is kinda ass the colors and shading is all kinda ass, adding up to an earnest effort that still has charm because you can tell this was made by a 13 yr old doing their best with GIMP or MS Paint, you can tell that they probably like dogs and rainbows and theorize that they will get themselves some neopronouns in like 10 years. There was probably more the artist wanted to say with the piece but they lacked the skill to communicate it any deeper than "here is my rainbow dog oc that is half angel", give them 5 years and intent will start to materialize.

Enter an AI Generated sparkledog sourced from data scraped off the internet. The rendering is detailed and beautiful and there's a background and complex lighting but none of these things still say anything more than "here is my rainbow dog oc that is half angel", that is where the clash happens. Since the technical skill is so high, we look for depth, we look for intent, we look for artistic choices but there are none present. Even if a prompter wanted the AI generator to express something more specific, the amount of re-rolls needed to get even close to what whatever that is are plentiful and will still yield something very surface-level. You can probably make the dog look sad or angry, but it's going to be difficult (if not impossible) to make the dog look divorced or gay repressed or so distraught all of their brain synapses stopped working. That is what this vague sense that AI art lacks ~soul~ is, the machine simply isn't competent in visual communication deeper than a kiddy-pool, nor do I think it can be since it doesn't have its own interiority to begin with, which is what you need to pull from to develop this skill yourself as an artist. What you like, why you like it, what it means to you, learning how to put that on a canvas is integral for a compelling illustration.

Because I will simply say it; some human people artists are also very technically good, but can't communicate for shit. Sakimichan is my go-to example for this, her art is Very Rendered, she is good at Rendering and Anatomy but to me her art is still mid since she prioritizes conventional attractiveness above all else in her pin-ups. This is allowed, of course, and it gets her the patreon moneys, get that bag, but it is also kind of just slop. A lot of glossy anime people artists have a similar thing going on, which unfortunately makes them harder to distinguish from the output of AI Generators. Mind you, I can usually tell the difference, because there's still a lot of intent that goes into these pin-up pieces (choice of lighting, what to render/fade into the background, what kind of background would be best, color, outfit, which material textures to emphasize etc. etc. etc.) that AI still doesn't have since it's only concerned with aligning with the prompts, but it's way more subtle and lots of normies can't pick up on it, I can't pick up on it either all the time.

Similar things can be said about AI Writing, AI Music and AI Graphic design, it boils down to AI Generators not having any desire nor ability to add their own input, only replicate whatever elements are shoved into their database and align it best they can with whatever prompts gets typed in; which makes for sparkly products that remain terminally mid at best. Sometimes "Mid" is what the people want unfortunately which is why Pinterest is full of AI slop —but people interested in compelling art will gravitate towards it. The first step to making compelling art is meditating on what you want out of it to begin with, a shortcut is to make shameless fetish-art catered to you and you alone because it's gonna make you confront the things that you want to hide from people, and meditate on if maybe you should start shoving it in their faces instead. The sfw version would be other visual interests or fixations that foster this sense of shame or fear of judgement. AI generally veers conventional across axises, it always looks exactly like you'd expect it to because it's composed of such a big melting pot, so if you want to carve a space out for yourself where AI can't touch you just figure out the niche specific things your heart wants, and draw that, and get really good at drawing that.

AI Art is the fast fashion of illustration, basically, it's just cyberwaste instead of landfill-fodder and I do think AI technology utilizes slightly less slave labor (key word: think), not a fully consistent analogy but it is the gist. Which I have my own more-nuanced-than-average onions on fast fashion but that's for later, or never. if i feel like it.

anyway that's why AI art usually looks wonk. cus it has noob tier compositions and concepts with advanced technical execution. the most efficient way to distinguish urself from ai is to git gud at compositions and also be cringe and free. and people who turn to AI generators would have more luck visualizing their ideas if they commissioned an artist instead of editing prompt chains until the image kinda sorta looks like what they had in mind (if you squint), or used picrew or something, if ur gonna generate AI art at least dont fuckign poooost iiit maaaaaaaan MY PINTEREST FEEEEEEEED!!!! MY DA HOME PAGE!!!!!!! RUINED!!!!!!! BY SCARY GLOSSY ANIME PEOPLE!!!!!!!!