#above is in a historical era

[wordsbymae]

(I will probably complete this later because I started to think of an answer but lost my mind)

I'll start by talking about bitter reader because I was already thinking about more things about her and you had exactly the same line of thought as mine regarding Alwyn

I also like the concept of persephone and hades and honestly it's one of my favorite promps mainly because I find it very realistic, I think a depressed reaction on the part of the reader is very logical and expected because she only married for money and even though Alwyn already has her loved it she didn't know him well.

The reader's breach of expectation is probably one of the main reasons for your reactions, remember when you mentioned that the reader imagined Alwyn as a blond and handsome guy like a charming prince, not talking about appearance but about personality I see what the reader wanted a charming prince (a gentleman) ++ the romance that accompanies the stories, much of her attitude comes from the sadness of having to see all the girls being courted and acclaimed while she is ""auctioned"," grabbed and thrown on top of a horse for a stranger.

But still the reader feels the need to at least make an effort to love Alwyn because it was """he""" (among many quotes because it could have been anyone) who saved her people from poverty and hence the lack of attitude against Alwyn.

I feel like I just rambled too much so a summary: reader is sad that she couldn't have a traditional romance, that she didn't go through this experience but still lives with Alwyn out of obligation

What else could have helped her sad attitude: her sisters who would probably condemn her for marrying a thug, watching her father fall apart, the fact that Alwyn is a no-nonsense person (I imagine she gets even sadder when Alwyn mentions any sexual relationships past and worse compare her with the prostitutes), and also the change of environment because even if there are other women in the gang most are probably made up of men who laugh whenever her new husband talks about her breasts

Communication between the two is extremely complicated as in this AU there was not all that conversation that led Alwyn to show a more sentimental side so he just took her to bed and took what he wanted and later on while Alwyn has a death grip around her reader and mutters nonsense reader can feel tears running down her cheeks.

Alwyn realizes something is wrong when the other day he asks reader what she would like to eat/do she mutters a "You choose I don't care"

He takes you around the place and introduces you to the members and the whole time you keep a polite smile and he realizes why when he saw these nobles at events they had the same kind of smile

And from there the flattery begins, the dresses, rings and necklaces never stop arriving and the reader is just suffocated

The reader's attempt to stop the flattery is to try to initiate more affection with Alwyn just leaning her head on his shoulder while you sit together hug his arm as you walk reader is just trying to live one of those novels she always read in the library books but this one dumb man thinks that everything is an initiative for sex and tries to have sex in totally random places and the reader gets uncomfortable which makes her start to look at him with disgust and try her best to not start some kind of contact which only makes the situation worse

There comes a point where the reader is just depressed around the corners and seems like she doesn't even listen anymore when alwyn asks which of the dresses you want him to steal for you and Alwyn is on the verge of insanity

I don't remember what I was going to say

I'm sorry if it's hard to understand or the punctuation/grammar is wrong because I use google translator and it doesn't always understand what I mean

Also I'm sorry if it's a bit ooc for Alwyn because I talked so much about the reader that I forgot to talk about Alwyn

*For anyone else reading, the following is all discussing an Alternative Universe where the reader is a lot more miserable marrying Alwyn and thus it does not affect my 'canon' unless explicitly said. I hope you guys still enjoy it! I love the thoughts anon^^^ has and how realistic, in-depth and multidimensional they are :D

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Anon you just get me. You understand everything going through my mind before I can even make sense of it all. To be honest, if I hadn't been in such a (needy/insecure) mood when I wrote the original fic (and I actually thought everything out rather than winging it as I wrote), I would have done something very similar. Cause it was a vent fic I did base the reader off of me in certain ways and I made it have a happy ending cause I wanted a 'resolution' as such that I could control. But if I was to be completely honest I love the idea of the reader being so depressed and sad at the prospect of her fairy tale romance being ripped from her.

I almost don't want to say this but hell why not, I can relate to it a lot in the sense that the reader has watched as her sisters have fallen in love and have gained true romance. Their husbands actually fell 'in love' with them (i did quotations cause they got married in like a week) and they got everything the reader has prayed for and she has just had to sit and watch it happening in front of her. I think I said something in the original fic where the reader's hope was shattered of ever finding love when some men took steps back when her name was called by her father. It was at that moment everything fell apart and she realised that she really might never fall in love. She was forced to finally face the prospect that she really was undesirable or unattractive to men (You do not need to be attractive to anyone to be deemed worthy of a happy life!!) In her eyes that last chance has passed, cause now her father is seeing it as a business transaction rather than ensuring his daughters' happiness. I mean think about it, if he really wanted to he could have married them all off to the highest bidder first thing, but he gave them a chance at love, and seeing that his youngest daughter failed to ensure a match changes his attitude towards her. He still loves her don't get me wrong but now he is forced to act like a Lord rather than a doting father. So yeah, the reader feels like she has lost her chance and will never get to fall in love or do all the romantic stuff that comes with it. Like shy hand-holding or secret notes or long walks in the gardens or outrunning their chaperones to sneak sweet kisses in dark corners. She'll never get that.

I think she still would have held out hope though (no matter how small) for her future husband to be (like you said) a charming prince, a person who would be romantic with her. But when she got told Alwyn was to be her husband that illusion shattered. All the stories of him were of a bloodthirsty, rough, vile man, so she really just was heartbroken at the thought of it all. To her there was to be no romance between them, instead of gentle touches, he would grab and grip and pull, instead of sweet words, he would shout vulgar and horrid things. And he didn't help himself at the wedding threatening the priest and saying he wanted to be balls deep in her by sundown, it really just reinforced her thoughts and feelings of him. In this verse I see her crying walking to the altar and her father getting quite mad with her. Telling her this is all her fault and that if she had just submitted to his wishes she would have married an old rich man who would have died within the year at best and at worst in 5. She doesn't stop crying and just stands there silent with tears slowly dripping down her cheeks. Alwyn was honestly expecting this reaction but he's got the rest of his life to make her love him so he doesn't really care (at this stage, he is impatient though and snaps in like 4 days).

And yeah Alwyn is not a romantic guy, he very bluntly stated that he was expecting sex at the end of all this in front of dozens and then slaps her arse as he has her thrown over his shoulder. To this reader it makes her feel like a very expensive prostitute, like you said she doesn't know he actually loves her (more like obsessed) so she views this whole thing like him just wanting to brag about fucking a Lady or having her around like an accessory or to be frank like prized livestock.

This was not the wedding she dreamed about at night. There was no sweet kiss or loving vows, there were no butterflies at the sight of him or an intense love between them. I don't know if you know the show Vikings but there is a scene where a princess is forced to marry a Viking and it is very much like that. I have linked it here so hopefully it works! The reader is coming to terms with the fact she will be bonded to this man for life and it terrifies her. And when there is no carriage?? And he begins to rip at her dress? when she is forced to 'pleasure' him while riding (Him making her grind against him doesn't really go anywhere, he was just teasing her, but to her, he might have well slapped her, it's humiliating).

And yes!!!!!!!!!!! it really could have been anyone!!!!!! It was just fate (and my writing) that had Alwyn being the first man to walk in to ask for her hand (he demanded it) and the reader would have been willing to try and be a doting and 'loving' wife to anyone who wanted her (its medieval times so feminism doesn't exist, my bad). She doesn't speak out of turn, she doesn't get mad when riding he says all those vulgar things about her, and she does what he says and submits to him. And Alwyn being an idiot sees this submission as almost an act of love (at least at first)

I LOVE THIS THOUGHT!!!!! In my verse, all of her sisters have left the castle except her eldest, but let's say they came for her wedding. I think those three would be so disgusted with her. Why did she have to have such high standards for men, why not marry some old man or whoever else father wanted you to marry. To them you dragged out your people's suffering, to them you were selfish and shallow, and now you have ruined your father. He will forever be known as the lord who married his daughter to a criminal. and let's not forget he fell to his knees in sorrow at the sight of you leaving him with Alwyn, to him you are ruined (not a nice thought but he is a medieval man so he really just sees you now as corrupted).

And I also really like the thought of him comparing her to past women (in a creative way, it would not be nice to the reader), she was obviously a virgin when they first were together and in this verse I see him getting frustrated with how unresponsive she is. She has been told by her sisters to just lay there and be quiet and to not fight him (they may be mean but her sisters still love her and they were worried he may hurt her) and to think of somewhere nice. But he is getting frustrated that she doesn't make a sound or won't touch him so he says something nasty about how he wished you at least faked it like a prostitute or showed excitement like all the other women he's taken to bed, don't you know how lucky you are? don't you know how many women wish to be in your position?

and yes! The casual mentioning of them having sex or him going into detail about how her body to his men makes her really uncomfortable. In canon, he stops telling his men all that when she is listening (he does it now behind her back) but that is because she had such a physical reaction to it, this reader is trying to be a good wife so she holds that all in which makes him think it's ok to talk about all that to his men when she is sitting right there.

Yes yes yes!!

" Communication between the two is extremely complicated as in this AU there was not all that conversation that led Alwyn to show a more sentimental side so he just took her to bed and took what he wanted and later on while Alwyn has a death grip around her reader and mutters nonsense reader can feel tears running down her cheeks."

exactly right!! He just takes what he wants and then holds her in a death grip afterwards maybe this is when he compares her to past women before going on to tell her what would happen if she tried to leave him.

"he’ll whisper to you in the middle of the night when he doesn’t think you’re awake that he doesn’t think he’s good enough for you, the bastard so of a lowly knight married to a lady. he talks of how he is terrified some lord is going to catch a glimpse of you and steal you away from him or worse you’ll freely go. he whispers how he will never ever let you go and if you try to leave he will butcher your father’s people before stringing your family along the castle walls, then he’ll find whoever you runaway with, watch as he disembowels them and then how he’ll fuck you next to their corpse. he says all this before kissing your head and going back to sleep."

(I didn't want to write it again so I just copied it from his alphabet and cut the bit where it says she loves him. )

But yeah after all that you just lay there crying.

Exactly right! when he figures something is wrong (wow what an emotionally intelligent person figuring out the wife he practically kidnapped might be having a hard time adjusting) he is going to try everything to get you to show affection.

"The whole time you keep a polite smile and he realizes why when he saw these nobles at events they had the same kind of smile"

I love that^^^^^^^ remember he is a master liar so he can see it from a mile away. he can tell you hate it here, that you almost hate him. But he thinks it's because you're a lady and you're not getting what you're used to. So yeah he'll steal all these expensive things and the reader is there drowning in gifts and jewels, while all she has ever wanted is gentle affection.

I love the idea of the reader trying to stop it, she's not silly she knows hes' trying to buy her love like he already bought her body. so she gives it to him in small doses, almost replicating the falling in love she's always wanted, shy hand holding and sweet notes left in his pockets about how she hopes he comes home safely (he's off burning a village down). and I ADORE the idea of the reader reading romance. as someone who only started reading romance start of this year but absolutely loves it, I love the idea of her trying to escape into romance books (giving him a small list of books she would like asking him to please get them for her, he's a dumb man so he doesn't realise what they are about but he sees it as a step in the right direction because he can prove he can provide for you and that you're starting to rely on him) and trying to replicate all that love into her life. Maybe with time, she would grow to love him.

and yes he would see everything as a yes to sex and the reader gets soooo uncomfortable and upset cause all she wanted was a nice picnic under a beautiful oak tree where they might finally get to know each other and now she is on her hands and knees while he ruts into her from behind, and her hand is smushing the cake she baked for him.

Oh yeah, she looks at him with disgust. she tried to fall in love with him but he makes it impossible, he is always calling her a heifer, always trying to have sex with her in the most uncomfortable of places, always discussing her body with anyone who would listen and he makes fun of her romance books when he finally figures out what they are.

I really like the idea of reader just falling apart mentally while he makes a list of all the colours and fabrics he thinks would look good on you and what dress styles he likes on you and which ones you like as he plans for a new heist while you just sit there, stewing in all this frustration and depression (not the mental illness just the extreme sadness) and he can see that and just snaps and like I mentioned in the last one he grabs whichever man he dislikes the most and forces you to tell him you love him while holding a knife to the poor man's throat. No matter how many times you say it he doesn't believe you.

Hope you liked it!!!!

Also no need to apologise!!! English is my native language and yet I still can't spell very well and kinda suck at grammar, so don't apologise for the mistakes google translator makes! Also if I put too much slang or abbreviations in please tell me and I can fix them up for you! And I love the thoughts you have for him! They are very much like the ones I have as well when I think of what could have happened if I made the canon a lot darker than what I have planned.

Thank you for your thoughts and all the best!!

Lots of love mae xx

[starswallowingsea]

you have no idea how much i want to like. make a list of common misconceptions about the 18th century/the site i work at but augh. doxxing.

[master-of-the-opera-house]

Me to a class of theatre kids w 0 historical literacy: yeah anyway. big fan of the cold war. Massive

[rongzhi]

do you have any idea when people in china stopped bowing to each other as a greeting? it seems like the most common forms of greeting now is to shake hands or wave both which were introduced from the west. it's the same in taiwan too.

Tldr: It never stopped because Chinese people never had the practice of bowing in greeting the way that Japanese people did/do.

-

(Note: there are types of greetings that involve a sort of bowing (ketou), but this is reserved for special occasions)

Back in the day, the greetings were made by clasping one's hands in front of them in the direction of the person being greeted. There might be some head lowering/slight bowing involved but it's done in conjunction with the hand greeting. You can see various forms of this in historical dramas and even hanfu shows and shortform videos. The exact way one held their hands changed in some years but the general idea is the same.

Women's and men's hand greetings differed back in the day. A women's greeting was called 万福礼 wànfùlǐ and consisted of holding the hands in front of oneself and bending the legs, or holding hands at the hip, etc. The exact way to hold the hands also changes through the years. Women also do what is called 肃拜 sù bài, which is an earlier form of a women's greeting and includes getting on one's knees (thus the 拜).

Some examples of greetings:

Men's vs women's hand positions

拱手礼 gōngshǒu lǐ ("cupped hands greeting"). The most common greeting. Top photo shows the gendered difference for proper etiquette for nowadays if you ware going to do it, for example, as a new year's greeting. Bottom photos: I think if you look carefully in modern society, you can still see examples of this greeting in China. It is a gesture that can also be used to expresses one's gratitude. It is still there, it's just fell out of vogue in favor for waving and hand shaking.

This can also be seen in The video above shows Ming era 万福礼 as well as men's 揖礼. 作揖礼 zuòyī lǐ ("bow with clasped hand greeting") is kind of the same thing as 拱手礼, but 作揖 specifically includes a slight bow whereas 拱手礼 is merely the raising of the hands.

叉手礼 chāshǒu lǐ ("crossed hands greeting") popularised during the Western Jin - Song dynasties, seen in the drama "The Longest Day in Chang'an", which takes place in the Tang Dynasty. This particular greeting started out as one used by Buddhists in the Eastern Han dynasty. https://zhuanlan.zhihu.com/p/489897518

抱拳礼 bàoquán lǐ ("cupped fist greeting"). This one is something done more so by martial artists. For men, you use your left hand to cover your right hand. For women, the opposite is true. It is also called 吉拜 jíbài when showing respect. If you flip your hand (keep in mind men/women do this the opposite way), it is called 凶拜 xiōngbài and it used to show respect to the dead. So one has to pay attention to this.

There's kind of a lot more etiquette rules you could get into but this answer has already sort of gone beyond the scope of your question lol. Chinese people wrote rites books over the many dynasties so actually there are descriptions of how these greetings were done and over time and that's how they are replicated in dramas and movies.

[vinceaddams]

Early 18th (and late 17th) century fashions are so under-utilized in vampire media and I think it's a damn shame.

I don't actually think I've ever seen a single image of a vampire character in an early 18th century suit. Hardly any movies set in that era either, and hardly any historical costumers who do it. (Even my beloved gay pirate show set in 1717 takes nearly all of its 18th century looks from the second half of the century. Not enough appreciation for baroque fashion!!)

Yes I love late 18th century fashion as much as anyone, and 19th century formal suits are all very well and good, but if you want something that says old, dead, wealthy, and slightly dishevelled, then the 1690's-1730's are where it's at.

(Retrato del Virrey Alencastre Noroña y Silva, Duque de Linares, ca. 1711-1723.)

There was so much dark velvet, and so many little metallic buttons & buttonholes. Blood red linings were VERY fashionable in this era, no matter what the colour of the rest of the suit was.

(Johann Christoph Freiherr von Bartenstein by Martin van Meytens the Younger, 1730's.)

The slits on the front of the shirts are super low, they button only at the collar, and it's fashionable to leave most of the waistcoat unbuttoned so the shirt sticks out, as seen in the above portraits.

(Portrait of Anne Louis Goislard de Montsabert, Comte de Richbourg-le-Toureil, 1734.)

Waistcoats are very long, coats are very full, and the cuffs are huge. But the sleeves are on the shorter side to show off more of that shirt, and the ruffles if it has them! Creepy undead hands with long nails would sit so nicely under those ruffles.

(1720's-30's, LACMA)

Embroidery designs are huge and chunky and often full of metallic threads, and the brocade designs even bigger.

(1730's, V&A, metal and silk embroidery on silk satin.)

Sometimes they did this fun thing where the coat would have contrasting cuffs made from the same fabric as the waistcoat.

(Niklaus Sigmund Steiger by Johann Rudolf Huber, 1724.)

Tell me this look isn't positively made for vampires!

(Portrait of Jean-Baptiste de Roll-Montpellier, 1713.)

(Yeah I am cherry-picking mostly red and black examples for this post, and there are plenty of non-vampire-y looking images from this time, but you get the idea!)

And the wrappers (at-home robes) were also cut very large, and, if you could afford it, made with incredible brocades.

(Portrait of a nobleman by Giovanni Maria delle Piane, no date given but I'd guess maybe 1680's or 90's.)

(Circle of Giovanni Maria delle Piane, no date given but I'd guess very late 17th or very early 18th century.)

Now that looks like a child who's been stuck at the same age for a hundred years if I ever saw one!

I don't know as much about the women's fashion from this era, but they had many equally large and elabourate things.

(1730's, Museo del Traje.)

(Don't believe The Met's shitty dating, this is a robe volante from probably the 1720's.)

(Mantua, c. 1708, The Met. No idea why they had to be that specific when they get other things wrong by entire decades but ok.)

(Portrait of Duchess Colavit Piccolomini, 1690's.)

(Maria van Buttinga-van Berghuys by Hermannus Collenius, 1717.)

Sometimes they also had these cute little devil horn hair curls that came down on either side of the forehead.

(Viago in drag Portrait of a lady, Italian School, c. 1690.)

Enough suave Victorian vampires, I want to see Baroque ones! With huge wigs and brocade coat cuffs so big they go past the elbow!

[inky-duchess]

Fantasy Guide to Education

I'm always asked what sort of education different people recieve throughout different historical eras and since I'm heading back to college soon, I thought it was high time I made this guide.

Disparity

Education is viewed as a right by many but for some and thoughout history it was a privilege. For the wealthy and those of high status, education can be easily accessed. They can afford to tailor an education to fit their needs, they can hire tutors, and they can afford tuitions to top schools. For the poor, education was a luxury. However this doesn't mean that it was available. Some communities would fund a school or send their children to a local teacher - usually they had to pay a daily fee or at least bring kindling for the heating. Many poorer children also worked so they could not attend school consistently or were pulled out very early into their education. However, some poorer students could gain access to high level education if they were extremely bright or caught the attention of a wealthy benefactor who could fund their education.

Education as a Weapon

Education could also be banned for certain groups in society. It could be illegal to fund schools or host gatherings for students of a certain background, race, religion or gender. Education against the law could be punished by imprisonment, exile or execution. This is a measure usually taken by oppressive governments in order to follow a moral code or restrict the betterment of a certain group. An example would be the Irish Catholics under the Penal Laws.

On the otherhand, there is education that is influenced by the state to inject certain values, moralities and Opinions into a population. This is the intense restriction of reading material, removal of books that contest the teachings of the government or the kidnap of children from their culture, in order to forcibly educated them in alignment to their beliefs. An example would be the residental schools of North America and Canada and the AHS schools of Nazi Germany.

Content

As above, content of what children learn usually falls into a certain category. This is also true for the education offered to the wealthy and the poor. The poor would be offered a basic education, learning literacy and arithmetic, usually with an expectation that the children would not go on to any jobs that needs a broader education. Any higher education would be hard to obtain because of cost and the discriminatory view of the enrollment panels. The wealthy would have access to an array of different subjects including: The arts (drawing, music, painting, poetry, dancing), sports (riding, martial skills, rowing, hunting), arithmetic, geography, languages, geography and history. While progression to higher education will still be difficult, any affluent families are legacies of prestigious colleges or can make a donation to grease a few palms. These schools would be where the wealthy make lifelong connections and get springboarded toward opportunities.

Private Tutoring

Whilst some affluent, aristocratic and Royal families send their children to schools, private tutoring in the home was a popular choice. Children would be educated at home but tutors who either lived in the home or come to the house. The children would be educated alongside siblings or the children of courtiers or neighbours. Private tutoring sessions would often be the only education for upper class women recieved, taught by governesses and tutors.

Premises and Equipment

As mentioned above, wealthy and aristocratic families would usually attend established schools or attend school at home. They would be provided any equipment they needed. If they attend school, they would often wear a uniform. Some schools had multiple variations of the uniform for different activities. Many of the schools attended would be boarding schools. Boarding schools offered education to those who boarded and day students, however day students were often looked down upon as lesser than.

Poorer schools would be relient on donations and fees paid by students. As mentioned above, there may be a building reserved for classes - sometimes an designated schoolhouse or a teacher's home or a public building such as a gathering house or sometimes even outside - hedge schools. Equipment would be provided by the school. Uniforms at poorer schools were not a thing but students were expected to show up neat and tidy.

Corporal Punishment

Corporal punishment at schools was the go to punishment for students. Teachers had free rein to strike children for mistakes and bad behaviour. Punishments include insolation, physical stress positions such as standing on a chair all day, getting objects thrown at them, being slapped on the back of the legs with a cane, being rapped on the palms or knuckles with a crop or ruler. Students may also be humiliated by teachers through the use of dunce hats, encouraging other children to bully them or by the use of verbal abuse. Corporal punishment did extend to all classes except for royal children since that was either taken by proxy by whipping boys or left up to parents.

[writingwithcolor]

My alternate universe fantasy colonial Hong Kong is more authoritarian and just as racist but less homophobic than in real life, should I change that?

@floatyhands asked:

I’m a Hongkonger working on a magical alternate universe dystopia set in what is basically British colonial Hong Kong in the late 1920s. My main character is a young upper middle-class Eurasian bisexual man.  I plan to keep the colony’s historical racial hierarchy in this universe, but I also want the fantasy quirks to mean that unlike in real life history, homosexuality was either recently decriminalized, or that the laws are barely enforced, because my boy deserves a break. Still, the institutions are quite homophobic, and this relative tolerance might not last. Meanwhile, due to other divergences (e.g. eldritch horrors, also the government’s even worse mishandling of the 1922 Seamen's Strike and the 1925 Canton-Hong Kong Strike), the colonial administration is a lot more authoritarian than it was in real history. This growing authoritarianism is not exclusive to the colony, and is part of a larger global trend in this universe.  I realize these worldbuilding decisions above may whitewash colonialism, or come off as choosing to ignore one colonial oppression in favor of exaggerating another. Is there any advice as to how I can address this issue? (Maybe I could have my character get away by bribing the cops, though institutional corruption is more associated with the 1960s?) Thank you!

Historical Precedent for Imperialistic Gay Rights

There is a recently-published book about this topic that might actually interest you: Racism And The Making of Gay Rights by Laurie Marhoefer (note: I have yet to read it, it’s on my list). It essentially describes how the modern gay rights movement was built from colonialism and imperialism. 

The book covers Magnus Hirschfeld, a German sexologist in the early 1900s, and (one of) his lover(s), Li Shiu Tong, who he met in British Shanghai. Magnus is generally considered to have laid the groundwork for a lot of gay rights, and his research via the Institut für Sexualwissenschaft was a target of Nazi book-burnings, but he was working with imperial governments in an era where the British Empire was still everywhere. 

Considering they both ended up speaking to multiple world leaders about natural human sexual variation both in terms of intersex issues and sexual attraction, your time period really isn’t that far off for people beginning to be slightly more open-minded—while also being deeply imperialist in other ways.

The thing about this particular time period is homosexuality as we know it was recently coming into play, starting with the trial of Oscar Wilde and the rise of Nazism. But between those two is a pretty wildly fluctuating gap of attitudes.

Oscar Wilde’s trial is generally considered the period where gay people, specifically men who loved men, started becoming a group to be disliked for disrupting social order. It was very public, very scandalous, and his fall from grace is one of the things that drove so many gay and/or queer men underground. It also helped produce some of the extremely queercoded classical literature of the Victorian and Edwardian eras (ex: Dracula), because so many writers were exploring what it meant to be seen as such negative forces. A lot of people hated Oscar Wilde for bringing the concept to such a public discussion point, when being discreet had been so important.

But come the 1920s, people were beginning to wonder if being gay was that bad, and Mangus Hirschfeld managed to do a world tour of speaking come the 1930s, before all of that was derailed by wwii. He (and/or Li Shiu Tong) were writing papers that were getting published and sent to various health departments about how being gay wasn’t an illness, and more just an “alternative” way of loving others. 

This was also the era of Boston Marriages where wealthy single women lived together as partners (I’m sure there’s an mlm-equivalent but I cannot remember or find it). People were a lot less likely to care if you kept things discreet, so there might be less day to day homophobia than one would expect. Romantic friendships were everywhere, and were considered the ideal—the amount of affection you could express to your same-sex best friend was far above what is socially tolerable now.

Kaz Rowe has a lot of videos with cited bibliographies about various queer disasters [affectionate] of the late 1800s/early 1900s, not to mention a lot of other cultural oddities of the Victorian era (and how many of those attitudes have carried into modern day) so you can start to get the proper terms to look it up for yourself.

I know there’s a certain… mistrust of specifically queer media analysts on YouTube in the current. Well. Plagiarism/fact-creation scandal (if you don’t know about the fact-creation, check out Todd in the Shadows). I recommend Kaz because they have citations on screen and in the description that aren’t whole-cloth ripped off from wikipedia’s citation list (they’ve also been published via Getty Publications, a museum press). 

For audio-preferring people (hi), a video is more accessible than text, and sometimes the exposure to stuff that’s able to pull exact terms can finally get you the resources you need. If text is more accessible, just jump to the description box/transcript and have fun. Consider them and their work a starting place, not a professor. 

There is always a vulnerability in learning things, because we can never outrun our own confirmation bias and we always have limited time to chase down facts and sources—we can only do our best and be open to finding facts that disprove what we researched prior.

Colonialism’s Popularity Problem

Something about colonialism that I’ve rarely discussed is how some colonial empires actually “allow” certain types of “deviance” if that deviance will temporarily serve its ends. Namely, when colonialism needs to expand its territory, either from landing in a new area or having recently messed up and needing to re-charm the population.

By that I mean: if a fascist group is struggling to maintain popularity, it will often conditionally open its doors to all walks of life in order to capture a greater market. It will also pay its spokespeople for the privilege of serving their ends, often very well. Authoritarians know the power of having the token supporter from a marginalized group on payroll: it both opens you up directly to that person’s identity, and sways the moderates towards going “well they allow [person/group] so they can’t be that bad, and I prefer them.”

Like it or not, any marginalized group can have its fascist members, sometimes even masquerading as the progressives. Being marginalized does not automatically equate to not wanting fascism, because people tend to want fascist leaders they agree with instead of democracy and coalition building. People can also think that certain people are exaggerating the horrors of colonialism, because it doesn’t happen to good people, and look, they accept their friends who are good people, so they’re fine. 

A dominant fascist group can absolutely use this to their advantage in order to gain more foot soldiers, which then increases their raw numbers, which puts them in enough power they can stop caring about opening their ranks, and only then do they turn on their “deviant” members. By the time they turn, it’s usually too late, and there’s often a lot of feelings of betrayal because the spokesperson (and those who liked them) thought they were accepted, instead of just used.

You said it yourself that this colonial government is even stricter than the historical equivalent—which could mean it needs some sort of leverage to maintain its popularity. “Allowing” gay people to be some variation of themselves would be an ideal solution to this, but it would come with a bunch of conditions. What those conditions are I couldn’t tell you—that’s for your own imagination, based off what this group’s ideal is, but some suggestions are “follow the traditional dating/friendship norms”, “have their own gender identity slightly to the left of the cis ideal”, and/or “pretend to never actually be dating but everyone knows and pretends to not care so long as they don’t out themselves”—that would signal to the reader that this is deeply conditional and about to all come apart. 

It would, however, mean your poor boy is less likely to get a break, because he would be policed to be the “acceptable kind of gay” that the colonial government is currently tolerating (not unlike the way the States claims to support white cis same-sex couples in the suburbs but not bipoc queer-trans people in polycules). It also provides a more salient angle for this colonial government to come crashing down, if that’s the way this narrative goes.

Colonial governments are often looking for scapegoats; if gay people aren’t the current one, then they’d be offered a lot more freedom just to improve the public image of those in power. You have the opportunity to have the strikers be the current scapegoats, which would take the heat off many other groups—including those hit by homophobia.

In Conclusion

Personally, I’d take a more “gays for Trump” attitude about the colonialism and their apparent “lack” of homophobia—they’re just trying to regain popularity after mishandling a major scandal, and the gay people will be on the outs soon enough.

You could also take the more nuanced approach and see how imperialism shaped modern gay rights and just fast-track that in your time period, to give it the right flavour of imperialism. A lot of BIPOC lgbtqa+ people will tell you the modern gay rights movement is assimilationalist, colonialist, and other flavours of ick, so that angle is viable.

You can also make something that looks more accepting to the modern eye by leaning heavily on romantic friendships that encouraged people waxing poetic for their “best friends”, keeping the “lovers” part deeply on the down low, but is still restrictive and people just don’t talk about it in public unless it’s in euphemisms or among other same-sex-attracted people because there’s nothing wrong with loving your best friend, you just can’t go off and claim you’re a couple like a heterosexual couple is.

Either way, you’re not sanitizing colonialism inherently by having there be less modern-recognized homophobia in this deeply authoritarian setting. You just need to add some guard rails on it so that, sure, your character might be fine if he behaves, but there are still “deviants” that the government will not accept. 

Because that’s, in the end, one of the core tenants that makes a government colonial: its acceptance of groups is frequently based on how closely you follow the rules and police others for not following them, and anyone who isn’t their ideal person will be on the outs eventually. But that doesn’t mean they can’t have a facade of pretending those rules are totally going to include people who are to the left of those ideals, if those people fit in every other ideal, or you’re safe only if you keep it quiet.

~ Leigh

[nwarrior777]

Science Museum Group changed offensive object tittle after getting my letter

here's the story about it:

Wonderful @solariium commissioned me wonderful victorian-era wheelchair user character to draw. Refs were provided, and one of the links was an object in online museum gallery - vintage wheelchair.

solariium, who is wheelchair user theirself, mentioned that tittle of the object is incorrect but it was good picture for the ref. i wondered "what's with the tittle?" looked in the link and saw

ID: screenshot of online museum collection, vintage old wheelchai object page. the tittle of wheelchair says: Invalid chair, Europe, 1850-1890. end ID

welp. incorrect indeed! [i* is outdated offensive term]

so i decided to make a special move

ID: my drawing of a character from anime "mob psycho 100" - Arataka Reigen. He holds a phone next to his ear, his face epression is very confident. It's all anime sparkles lights effects around him and text "REIGEN SPECIAL MOVE". end ID

and USE MY POWER

of writing emails

i don't have problems with writing emails, so i thought why not

and

https://collection.sciencemuseumgroup.org.uk/objects/co120657/carved-wooden-wheelchair-europe-1850-1890-invalid-chair

ID: screenshot of online museum collection, vintage old wheelchai object page. the tittle of wheelchair says: Carved wooden wheelchair, Europe, 1850-1890. end ID

it worked!

As human who made bunch of projects, i can say that keeping museum gallery is tone of work.

And tittle change - no, it's not just changing few letters.

Changing tittle of object in museum is similar to changing name of game file. Catalogs changes, maybe they have irl gallery, so new card, they probably have some code objects system related to tittles, and scientists, students, make reference to this object in their researches and articles and etc etc.

So, yeah, it * is * a lot of work. Also, they changed description, it now says that this object was "historically referred to as ‘invalid chair’". And i think it's good, because it is not erasing fact of people used this word, and it's addition to the progress context - we literally see now old term clarified as past, and new one, now, in the tittle.

(and yes, web link. i just saw that i* word still there. yeah, not perfect but still, considering things i said above - big work done)

I used some conversation strategy in case "this is offensive can you fix" will not be enough — started on positive attitude giving compliment on their collection being big and interesting, gave them extra argument on why this should be fixed (more actual search key words on this now are "vintage wheelchair", not "i* chair"). Then we had a little letters chain, where they answered politely too, and in about few days i got detailed answer on this, and yep, changed tittle.

And i think this shows, that if someone did mistake and someone noticed it and giving feedback on it, if both sides are interested in progress and making good changes, no matter how hard it is, sides can make a change, working together and being kind. And i think we should be more brave about making such connections!

Thanks again to @solariium and museum workers!

[insipid-drivel]

Warhorses: Which horses are actually good candidates, anyway?

This post is in honor of @warrioreowynofrohan, who asked the question in the comments under my guide, "Horses: Since There Seems To Be A Knowledge Gap". Their question, "Given what you said about too much weight breaking a horse’s spine, how did that work with knights in plate armour?" is one I'm going to try to answer here, since the answer can be very nuanced depending on where and when you're talking about.

Also, while I was a stable hand for years as well as a rider, I never had the opportunity to directly learn more ancient styles of tacking, horse training, and combat, so I don't have any direct experience to draw from with regard to horses used for military purposes. I'm still gonna do my best here with what I know, and research what I don't.

As I've covered in the past, large horses (draft horses) make less-than-ideal warhorses, and so do carriage horses like the elegant and dramatic Friesians.

Let's begin by addressing this from the perspective of creative writing. For you writers and content creators out there, an essential part to the continuity of any historically-themed work you do involving horses will be depicting breeds of horses that didn't exist before a certain time in history. I'm going to approach this question from the stance of, "Medieval-type era warhorses". Horses were used in warfare as late was World War II, but actual horses you ride into battle with knights and archers and bannermen? We actually have to drop the subject of specific modern breeds altogether aside from using them for comparisons.

When discussing warhorses, various cultures have approached them differently. Some cultures will value a specific type of horse above all others, such as the Mongolian Steppe Horse or the American Mustang. Other cultures, which may be from biomes and territories where multiple types of horses are needed for different forms of warfare and tactics, value whichever horses can get their jobs done without their riders getting killed.

Carrying vs. Pulling:

Horses have been used in warfare since as far back as 4000 BC, but their first applications were more as chariot horses. Humans have been riding and working with horses since before we even had stirrups to more easily ride them with! As archaeologists and anthropologists make more discoveries, the more we learn that we humans have been working closely with horses since before we had specialized tools to ride them with. The very first warhorses pulled chariots or carts, which is much easier for a horse's anatomy to handle compared to carrying a heavy weight like an armored rider on their backs, which puts stress directly on their spines where they have very little supporting muscle for supporting a lot of heavy downward weight.

Warhorse Size Categories:

Really, any breed of horse can apply to a niche in warfare if it's needed enough. Even very small, delicate horses have had their place in the history of human combat! Before I continue, it's important to know that there's a unique unit of measuring a horse's height. Rather than measuring a horse's height in centimeters or inches, they're measured in units called "hands". A single "hand" = ~4 inches/10.16cm, and a horse's height is measured based upon the distance between the bottom of their hoof to the tallest part of their shoulders, just at the base of the back of their necks. We don't actually include neck length/head height in a horse's measurements with traditional measuring.

Another rule of thumb: The average horse cannot safely carry anything heavier than about 30% of their total body weight. This is a serious factor to take into mind when deciding on a type of or breed of horse for a mounted warrior of any kind: You need to factor in the OC's starting body weight, and then add on the weight of armor, weapons, and any armor the horse itself may wear along with the weight of its tack.

Light-Weight Horses:

A few examples of lightweight horse breeds whose ancestors have historically been used in combat are Arabians, Barber Horses, and the magnificent Akhal-Teke. Lightweight and delicately-boned horses like those are best applied for military maneuvers that require precision, speed, and endurance, and the rider themselves should specialize in some form of combat or reconnaissance that doesn't require them to wear heavy metal or laminated armors. Archers are good candidates for riding smaller horses, or lightly-armored swordsmen like an Ottoman Janissary.

Central-Asian and North African horses also benefit from having a higher tolerance for hot climates. They can absolutely suffer from heatstroke and cardiac arrest from being forced to run and work in extreme temperatures and should always be provided with the same protective measures in a heatwave as any other horse, but they have a little bit of an edge over horses descended from freezing and temperate climates.

Medium-Weight Horses:

Medium-weight horses started showing up in the archaeological record around about the Iron Age, where chariot warfare was becoming an increasingly utilized form of mobile combat, and people needed bigger, stronger horses capable of pulling heavier loads - such as a chariot with two passengers rather than just one. As cultures began to develop heavier-duty armors made of metals and laminated materials, it also became important to breed horses that were tall and stocky (muscular and with relatively short spines compared to their height), and therefore more capable of carrying riders in increasingly heavy armor. Medium-weight horses were also essential at the dawn of the gunpowder age when the cannon came into use in siege warfare for pulling the heavy, iron cannons into position.

Medium-weight horses are really where we see the beginnings of knights and other warrior classes on horseback come into the forefront of warfare. When you have a horse that's big and strong enough to carry heavier armor and heavier weapons along with a rider wielding them, you have a much deadlier force at your disposal. Strikes from a sword or spear from the back of a galloping horse basically results in a sword capable of cutting through enemy soldiers like a hot knife through butter.

Important Note: Traditionally, cavalrymen wield blunt swords when attacking from a charging horse's back. When a horse is charging at full speed, the sharpness of a blade becomes less important than the blade's ability to stay in one piece when it impacts hard armor and bone. A blunted edge basically turns a cavalryman's sword into a thin club that's better at holding up against smashing through multiple layers of armor and bone compared to a thinner, more delicate sharpened edge that can shatter from a high-speed impact.

Heavy-Weight Horses:

The direct ancestors of modern draft horses, such as the Shire Horse, only began to appear around about the beginning of the European Medieval Era, and were far and away not even close to the enormous sizes of the draft horses we have today. Any horse counts as a "Heavy-weight" classed horse if its weight exceeds 1500lbs/680kgs.

Heavy-weight horses were really more bred for pulling enormous weights rather than carrying knights. While yeah, there is some evidence that suggests that heavy-weight horses were used by heavily-armored knights, historians argue a lot about whether it was a rule or an exception (such as with Henry VIII, who continued to ride well after he had begun to weigh more than 350lbs/158kgs, and even went to war in France in his final years on horseback). Generally speaking, medium-weight horses tend to be the right balance of agile and strong for carrying someone that's going to actively be fighting. Heavy-weight horses were bred to be a lot more tolerant to the chaos and frightening stimulation of the sounds of battle, but medium-weighted horses generally tended to be more suited to moving efficiently through dense packs of soldiers and weaving around other horses.

Ponies:

While actually being the smallest class of warhorse, ponies were essential when it came to carrying cargo and working as pack-horses. In certain forms of terrain, such as mountains, large horses pulling big carts full of supplies or soldiers could often be extremely impractical. In situations where an army needed to move on foot and form a narrow line in order to travel, ponies were able to traverse much narrower and rougher terrain while carrying smaller loads to their destination, when heavier horses would struggle more under their own weight and dexterity.

Europe-Specific Terminologies:

If you're a writer reading this and writing a piece set in the European Medieval age, there are specific terms used for the different classes I listed of warhorses above that I'm gonna list:

Destriers: The Destrier was a universal term for the iconic knight-carrying, jousting horse. They were also sometimes referred to as "Great Horses" due to their reputations in combat settings. Destriers could have just about any appearance, but were rarely taller than 15.2 hands, or 62inches/157cm. They were capable of carrying heavily-armored knights (although knights in full plate mail rarely rode into battle and stayed on the horse the entire time - they tended to specialize at grouping up and killing a lot of footsoldiers swarming them at once and preventing breaks in defenses from being overwhelmed by an oncoming army; in the case of Edward the Black Prince, we have substantial evidence in the form of his surviving brigandine that a mounted soldier or knight was more likely to wear chainmail and brigandine with a tabard on their body with their arms, feet, and heads the most heavily armored in plate when they intended to fight on horseback, making them a little lighter and more maneuverable, but I may be waaay off base there because I'm thinking of more of Italian soldiers who used full plate and how they applied it in battle more than any other example) and wearing armor themselves.

Interestingly, the sex of a destrier was often chosen strategically. Stallions (horses that haven't been neutered) are more aggressive, and could both act as combatants on their own if their knight was dismounted or killed, but could give away an army's location if they were attempting to move stealthily. Stallions whinny and shriek a lot when they're horny or arguing with each other, which is most of the time.

Mares were often chosen by Muslim armies for being much less vocal, and therefore much more capable of stealth. Geldings (neutered males) were the preferred mounts of the Teutonic Knights, a Catholic military group, since they couldn't be stolen and used to breed more horses for the enemy army.

Coursers:

Coursers were the most common Medieval European warhorse. It's important to remember that in Medieval Europe, most armies were almost entirely comprised of common men - serfs subject to the will of their landlords, not far removed from slaves in many ways - who couldn't afford the highly-prized and expensive Destriers. Coursers were usually a bit lighter than Destriers, but were still strong enough to carry someone wearing armor. Coursers were also a little more utilitarian, because they were also sometimes used in hunting as well as warfare, so they had a valuable use outside of warfare that the owner could benefit from.

Rouncey:

A rouncey was an all-purpose horse that could be used for leisure and travel-riding as well as be trained for war. They were a lot more likely to be found on the farm of a serf or independent farmer of some kind, as they could fill a lot of different roles depending on what they were needed for. Their sizes weren't really important as much as their ability to get the job done.

It's also critical to remember that, when talking about warhorses, we're usually talking about eras long past. In general, thanks to resource availability and incredible advances in medicine, modern humans are significantly taller, and therefore heavier, than people from the European Medieval era and prior. While fatness was valued in many cultures for its suggestion of wealth, most working-class and serf-class people worked intensely physically-demanding daily lives just to maintain their own homes. They were a few inches shorter on average than we are today, had greater fluctuations in body fat distribution depending on how harsh or bountiful the harvest season had been and the season in which a war was taking place (the average person's weight would swing by 30lbs or more on average every year prior to the industrial era), and cavalry were usually chosen based upon skill in the saddle as well as physical size when considering the application of medium or heavy armor being placed on the horse's back and body.

[sovietpostcards]

Russian State Library

The biggest library in Russia and one of the biggest in the world. It was designed in late 1920s, soon after the birth of the new Soviet state, and fully finished in the 1950s. In includes 4 buildings and one 19-floor book repository. There are several reading halls, a cafe, and a whole bunch of book-filled nooks and crannies.

I'm writing this post sitting in the library's biggest reading hall - Reading Hall No. 3. It was opened in 1957 and still retains most of the original furniture and design (only there are now individual power sockets in every desk). Most of the tables are occupied by people with books and laptops. It's very quiet.

The book depository is a huge building that rises high above everything else in this historical area. It had 10 floors originally, each 5m high, but later it was divided into 19 smaller floors. We visited one of the floors. I was impressed to see that the windows are made out of Falconnier glass blocks (made specially for the library in Gus Khrustalny).

There are two automated delivery systems in the library: one delivers readers' orders into the depository (pneumatic tubes) and the other delivers books back to the reader (monorail). We had a chance to see both of them in action, very impressive! They also kept a bit of the old book delivery system that worked from 1953 until 2015. I saw it on pictures before, and it was great to see the granny in real life. :) There are a lot of "grannies" in the library, from the green lamps to rotary phones to wall clocks. The pneumatic tube system has been in place since 1975. People whose job is to preserve books are very likely to preserve everything else.

I loved this anecdote. In one of the reading halls, there's a big painting of Lenin (pictured below). Apparently it was put in place in mid-1950s to cover the bas-relief that was there originally. On the bas-relief there are Karl Marx, Friedrich Engels, Vladimir Lenin and Joseph Stalin. After Stalin's death in 1953 and debunking the cult of personality, images of him were quickly removed from everywhere. The library, being true preservers of history, kept theirs but covered it up. It just shows what kind of people librarians are. :)

Although the library is working on running a full digital catalogue of all their 48 million items, if you want access to older editions you'll probably need to use the old paper card catalogue. The room gave me major nostalgy - I remember using this kind of catalogue in my local library when I was a kid. The sound of pulling out a narrow box, then the little built-in table, going through the cards one by one, writing down what you need on library cards. It was a whole process! Of course, the local library's catalogue was WAY smaller.

A few more shots of interiors. Although the building itself was designed in 1920s (during the era of avantgarde and art deco), the interiors were mostly done in 1950s when the main design style was neo classicism.

I enjoyed this tour immensely, so much so that I had to go back and get a library card so I can see more of it, sit in every reading hall and drink a cup of tea in the marble hall cafeteria. Also, the idea of 48 million books at the tip of my fingers makes me giddy. Thank you to my followers for the monetary support and making this real for me: K. T., H. W., T. B., m., @depetium, @transarkadydzyubin, S. R.

[jinkiezzsstuff]

Back to Life

human!alastor x human!gnreader

Part 1 of 5+

summary for part: you had just been for a walk in the woods, and now suddenly you’re standing over a historical looking guy with a chipper attitude and… a gun? thankfully he’s here to help you in your bloodied and confused state, but as things play out you can’t help but notice nothing is like it was before your fall, and all you have to trust is the odd grinning man

summary for series: One day when waltzing through the woods a peculiar looking buck led you deeper in, while following, you fell hitting your head and woke to a stranger standing over you. You don’t know where you are, how you got here, or who this guy is, but he’s all you’ve got and he’s utterly insane.

warnings for part: short first chap, lowercase intended; i’m feeling quirkyyy, multiple parts-i put other things aside because my brain is STUCK on human alastor sorry lads ;-;, blood, descriptions of injury, kinda strange stylized writing, i’ve got like a whole story thing planned compared to the other ones-this one’s got a whole plot line. no descriptions of reader- of any kind, no pronouns, i looked up a shit ton of 1920s outfits & speech just for a couple lines lmao, OOC alastor my reasoning behind that is he’s not in hell yet so he hasn’t had that kind of demonic development yet, he’s still a psycho tho and we love him for that, also mommas boy <3, he uses 1920s slang a lot lads, throughout the whole series

warnings for series: homicide, morally grey reader, eventual smut, cannibalism, reader will eat a guy, unknowingly, alastor be doing witchcraft magical madness but it’s never in depth explanations, alastor is a mommas boy and it will be hounded on, annoying 1920s slang, alastor is more accumulated to the era he’s in so he may be OOC 100 years in hell would change a guy, varying descriptions of injuries and blood in detail, takes place in 1927, alastor is 27 oop born in 1899 tho, nothing here is canon, just loosely follows, reader is in their 20s at least; no younger, alastors mom is nameless mostly, maybe later on she’ll have a name; she’s 48, alastor has daddy issues bc same, mimzy may be added later depending,

you remembered seeing a deer while wandering through the woods, you were taking pictures of the scenery when you saw this curious looking deer.

it stood tall with large antlers, a beautiful reddish brown coat, you’d never seen a deer so close. brining your camera up slow you went to snap a picture when your phone crashed, you weren’t even able to get the buck in frame before your phone fizzled out.

the deer started to walk away, but you so badly wanted these pictures. slowly you followed behind, cautious of the leaves and sticks below your feet. you followed it over a fallen tree, through bush and branch. finally you entered an area filled with more foliage, closer trees that blocked off sunlight, more bushes and fallen trees, wild flowers, moss and random mushrooms.

you watched as the buck disappeared behind thick bush, and that’s the last conscious moment you remembered. you woke at the bottom of the hill, when you opened your eyes you didn’t know a thing.

it was like you were a blank slate, everything was as it was; there was no confusion, you were simply in the woods with no worry or question as to why. you laid there, your head lulling from side to side observing the tree covered sky above, the sunlight that shot through the trees highlighting the particles floating through the air.

there wasn’t a sound at all; the animals feared something near. inhaling deeply, you willed your head up, wincing and groaning in pain. suddenly life as you knew it came back to you, you weren’t just a mindless being in the woods, you were you, and you were out here taking pictures and then, fell?

you still weren’t sure what had happened just that you followed a deer and then… fell asleep and woke here. your body ached badly, specifically your forehead, your back, neck and shoulders. it seemed the brunt of the fall was your head, lifting your hand you touched your forehead feeling a flap of skin that wasn’t there before.

looking down at your hand you weren’t surprised to see some blood, in fact the top you had worn had been covered in it. “hello dear, funny place to snooze if ya ask me.” a voice joked, startling you. however your body was too tired to startle, so despite your heart rate increasing, and the jump you felt in your bones, your body remained eerily still, your head slowly turning toward the sound.

standing above you was a man with a soft smile, he wore circluar glasses and the strangest outfit. he wore a coat chestnut brown- a lumberjack coat; strange looking pants that puffed out at the hips, with boots that the pants cinched into them. his hands were covered by gloves, and tiny brown coloured coiled curls popped out from his hunting cap, and on his shoulder a leather strap that allowed a large shotgun to sit on his back.

you were taken aback by his looks, his outfit looked vintage, historical too, and he was, well, gorgeous. “you’re bleeding quite a bit dear, how’s about we getcha up and outta here, hm?” lending his hand to you, the man gave you a charming smile with lidded eyes. you felt something was off about the man, a lingering feeling that something beyond your understanding was telling you to run, get away.

instead you whimpered, pathetically so, and placed your hand into his, letting him hoist you up. he wrapped your arm around him, while he looped his own arm under you, helping you walk. it was hard to do so, your ribs hurt with every breath you took, your head felt like it was floating above your shoulders, your cheeks watered making you swallow constantly, and though you were shivering your body felt ablaze on the inside, like hot coals were lit under your skin.

the man looked down at you, you could see from your peripheral vision he was inspecting you, but you were too pained to care. “how’d you find yourself at the bottom of the hill my dear, someone try to bump you off?” his voice was way too chipper for your current mood, and all you did was mutter a confused ‘huh’ at him, thankfully he laughed that off.

“listen, i’ll take you to my joint my mothers over so we can getcha all patched up, but you’ve gotta spill whatever happened to you if that’s quite alright.” despite the sturdiness in his voice, asserting what was going to happen with expectations, he tone was somewhat kind. dryly you mutter out ‘name?’, your voice raspy and unlike your own. the man chuckled before he responded in a smooth tone. “alastor dear, pleasure to meet you.”

[heliza24]

A few Armand thoughts that currently have me in a chokehold:

1. The building in Dubai only “groans” when Armand is around, and specifically when Armand is mad. Some of my favorite times I’ve noticed it include when Louis tells him to go take care of Daniel’s room in ep 1, after Daniel slaps Louis in episode 5, when Daniel tries to put Dr Fareed “on the record” in episode 6, and when he declares “this session is over” after Daniel starts pressing Louis about the rats in episode 7.

2. This, along with the fact that Armand is literally controlling the windows and balcony doors with his iPad, really adds to the feeling that he’s holding both Louis and Daniel hostage in a trap of his own design. When he mentions the interior designer that pitied Louis and his separation from the natural world and added the tree to compensate? That was definitely Armand’s idea, to make the captivity a little more bearable.

3. I’ve always wondered why I find the Beethoven Sonata 14 to be such effective scoring at the end of episode 7. There are a lot of contributing factors I think— it’s dramatic, it’s recognizable and therefore builds suspense, it’s used in the beginning and end of the episode as bookends. But it feels so *right*— even though I LOVE all of Daniel Hart’s original score. But here’s the thing. Armand controls the diegetic music being played in the penthouse. That’s established in ep 2 when he turns it on before Daniel and Louis have dinner. And when the sonata is first playing at the beginning of episode 7, Daniel and Louis are back in the dining room (being served by Armand/Rashid). So we can assume that the music is diegetic in that scene, and that Armand is controlling it. When it comes back in the moment of conflict and reveal at the end of the episode 7, the music is nondiagetic. It’s not playing literally in the room for the characters, but is part of the score. But we’ve already established that Armand is controlling it. It’s like his control has suddenly spread to the entire narrative that we’re witnessing. He’s in control of the whole show.

4. This is kind of a separate thought and more oriented towards season 2, but Armand is always styled— costume but also especially hair— to match whoever he’s romancing at the time.

I kind of assume the Dubai aesthetic is what he has chosen, and Louis is more matching him (see above points for my reasoning on that I guess).

But when Louis meets him in Paris, he’s perfectly positioned aesthetically to be attractive to Louis (especially coming off his experience with Lestat). He looks mature, capable of leading the coven. He’s suave, with his well fitted suits and slicked back hair.

In the 18th century flashbacks (god I can’t believe we are getting to go back to the 18th century, my favorite of all historical eras) he is matching Lestat like, down to the color palette.

But in San Francisco (and forgive the bad quality screen grab for these, I don’t think we have any high quality stills of this yet) his hair is light and curly, and he looks a fully 5-10 years younger than the Paris or Dubai scenes.

Because he’s matching a 20-something Daniel.

*proceeds to internally combust*

[swamp-adder]

I keep wondering about the financial situation between Holmes and Watson after the Hiatus. At Holmes' request, Watson quits his job and moves back in with Holmes to continue helping him with cases. Did Watson receive any kind of payment for his help -- a cut of the money Holmes received from his clients perhaps? A lot of fanfiction seems to assume they were equal partners and Watson got half; but honestly any scenario I can imagine seems awkward to me in one way or another:

- Watson being treated as an equal partner and getting half the money seems awkward when according to what's depicted in the stories Holmes was doing the vast majority of the actual work and Watson was mostly there because Holmes liked having someone to talk to.

- Watson receiving some money, but not a full half, makes Watson explicitly subordinate to Holmes in an employer/employee relationship, which just seems like an awkward dynamic to introduce into any friendship.

- Watson not getting paid at all would be awkward because Watson just quit his job for the sake of helping Holmes out, and has also been forbidden by Holmes from publishing any more stories for the time being. Meanwhile Holmes at this point in his career we're told is absolutely rolling in dough, creating a serious income disparity between them which could hardly help but be awkward.

Watson's financial resources that we know of at this point would consist of his wound pension and whatever royalties he's still getting from his earlier stories, plus the money he got from "Verner" for his medical practice. We're told in DYIN that Holmes' "payments [for the flat] were princely. I have no doubt that the house might have been purchased at the price which Holmes paid for his rooms during the years that I was with him." That makes it sound like Holmes was more than paying the full rent for the apartment by himself, so at the least Watson was probably living there for free. (This quote is from DYIN, which seems to be set pre-Hiatus, so this arrangement might have begun even by then.) Which also seems potentially awkward -- like something that could make Watson feel like a freeloader or whatever.

Honestly it's very understandable why Watson never explicitly talks about money, because the whole thing is just awkward any way you slice it!!

In the earlier days the whole thing seems less awkward to me because a) Holmes had less money himself and b) Watson is just choosing not to get a job and to run around with his friend instead, rather than having given up his career specifically at Holmes' request.

One thing that makes the "Watson lives for free at Holmes' place, eats out at Holmes' expense etc but doesn't get paid in cash" scenario seem more likely to me is the fact that Holmes felt the need to give Watson a bunch of money sneakily through buying his practice -- it makes me think he felt like he couldn't pay him in a more straightforward, above-board way -- that Watson would be offended by it or whatever.

On the other hand I was also reading some stuff on the wiki about the concept of the "lady's companion", where a usually single upper-class woman would invite a single female friend to live with her and pay her an "allowance" in exchange for social companionship. The companion was technically an employee but was treated more like a member of the family. Now, there are reasons why this arrangement was specific to women: a) there were very few ways for an upper-class woman to actually earn a living that wouldn't compromise her upper-class status; and b) upper-class women were expected to stay at home most of the time, so a woman living alone (especially in the country) could easily become lonely. But it does show that there was at least some kind of concept in this historical era of "living with a wealthy friend and being financially supported by them as if you were family" without it being Weird. So yeah IDK.

[marzipanandminutiae]

The Snark Is Real This Morning

Oh no! Some patriarchal shill just had an Illegal Corset Thought on the Internet!

Maybe they said "corsets weren't invented by the patriarchy" or "comfort was actually often a prime concern for most women's day-to-day corset-wearing, as evidenced by mid-late 19th century advertising" or "women didn't go around fainting constantly because most of them didn't tightlace most of the time."

Maybe they brought up "survivorship bias in extant clothing" or "rampant photo doctoring in the 19th/early 20th century" or "treating satirical cartoons and fashion plates as gospel" or "museums displaying corsets laced entirely closed when wear patterns and primary sources indicate that lacing gaps were more common in many times and places" These concepts are actually conspiracies invented by Big Misogyny to sell more booze to depressed history workers!

Maybe one of them said that she'd worn corsets, or even that she and/or her friends actually found them more comfortable than bras! Clearly she believes this is representative of all women throughout history and in the present day. Besides, she is suffering from Femininity Poisoning and nothing coming out of her silly, weak little brain can be taken seriously. Remember, it is Peak Feminism to dismiss what a woman says because of her gender presentation!

Don't be fooled! All of these statements mean one thing: they are saying that corsets were and are, always and forever, universally feminist and empowering. That no woman in the past ever found them uncomfortable, and that GNC women didn't exist before 1960 and also are icky. Did they actually say that? Doesn't matter! You know what she Really Meant- you've seen P*rates of the Caribbean and Br*dgerton! Corsets were always torture devices meant to oppress women, and any statement contradicting that clearly means the extreme opposite.

So what's a right-thinking and concerned Internet Citizen to do? You have a few options:

See point above re: femininity. Feminine-presenting women are basically brainless, so if a woman talking about dress history Wears An Skirt, you can just write off whatever she says. Easy peasy! Be sure to say something derogatory about her appearance, so others know why they shouldn't take her seriously.

Accuse them of not knowing their history. Any degrees, professional experience, publications, academic accolades, etc. they may have are irrelevant. Their primary sources are...idk photoshopped or something? Best to ignore them altogether. You have Feelings on your side, and that's far more valuable than any research!

Accuse them of accusing you of being a t*rf. Works especially well if they've said anything about the preponderance of t*rfs expressing your True and Correct views- that just means they're calling everyone who thinks like you a transphobe, duh!

Tell them they're not believing women. If they have cited so-called "realities of historical women's lives," well, that's clearly just the rich elite of any given era (who were also brainrotted by Femininity, natch). If you're a woman, and you say corsets were the spawn of Beelzebub, that should be enough ~evidence~ for anyone!

Appeal to common knowledge. Everyone KNOWS corsets were evil; can they really be DEFENDING a KNOWN HATEFUL OPPRESSIVE HELL-GARMENT?! What is the world coming to! If they ask how exactly everyone knows that and where that collective belief comes from, reply with a snarky GIF and block them. There's just no reasoning with some people.

Call them a tradwife. Are they a tradwife? Irrelevant.

With all these tools in your arsenal, you are now well-equipped to fight the horde of vile corset apologists online. Remember: It's Only Real Oppression If The Oppressed Group Is Miserable 24/7!

[monster-disaster]

Request: Chimera inspired monster

Not necessarily a traditional chimera, just a monster that you mish mash together yourself since you’re the author! I wanna make sure you have a lot of creative reign to design the creature how you want to!

Scenario/Plot: A retelling/inspired story of Beauty and the Beast, but female reader agrees to be his bride from the very start. She has abandonment issues and just yearns to be loved by anyone who’ll take her. And reader found her monster groom to be very attractive from the beginning. She’s just enjoying her life living in opulence with a man that’s fully devoted to her. *Cute shenanigans ensue between the couple, that ends in a Gomez and Morticia Adams romance*

Not sure if this’d be good for NSFW, or just a super fluffy romance would be better!

It's spring, and I'm in my historically inaccurate Regency Era. I hope you will enjoy it!

chimera!Lord Elohim x human!Reader Good to know: no warnings, and I can't promise anything, but there is a chance that we will meet Lord Elohim again because I have more ideas for their pair

A soft 'thank you' slips past your lips as the carriage door opens, and a hand reaches out towards you, offering help. Your fingers find a firm grip as you step out onto the gravel path, gathering the soft fabric of your dress to pull it out of your way. The pebbles creak under your shoes, mixing with the bustling noises of the others around you. Your gaze scans your surroundings, finding a few familiar faces among the guests. The ladies are adorned in their latest gowns, following the fashion and expectations of their titles. Their necklaces and earrings glint and shine under the warm light of the lampions and candles like the stars in the dark sky above you. In contrast, the men appear dull in their dark coats and trousers.

"Y/N?"

Your attention shifts from the guests to the mansion before you. Your gaze sweeps over the sturdy walls and delicate carvings and details. Candles glow in every window, dancing and pulsing among the lush vines that climb the grandiose building.

"Y/N?"

A slight frown pulls on your brows as your attention pauses at the wide window above the entrance door. A tall shadow stands firm and straight. The lights streaming out from the house make it impossible to see clearly.

"Y/N!" Your gaze tears away from the sight as an arm curls around yours, pulling you away from the next carriage in the long row of arriving guests. You need a moment to drag your focus away from the window. The back of your mind still lingers on the dark figure, though. "Mother?" "What are you doing?" She asks. Your frown again with confusion this time. "What do you mean?" "Come." Despite her small, delicate form, your mother has every power in her body to drag you into the house after showing the man standing at the door your invitation. "Wow!" Your amazement escapes your lips before you can stop it. Your eyes are on the chandelier hanging from the painted ceiling. "Don't be so crude!" "I'm not!" You reply, looking at the older woman with an amused smile. It's so easy to rile her up. "Come on! Don't tell me you are not surprised." She looks around more discreetly than you. Her attention lingers on the wallpapers with golden details, lush plants, and framed paintings. "I mean…" You can't help but laugh. "See?" "Well, the King was generous," she hums quietly, making sure you are the only one who can hear her while the others come and go around you two. "He saved his nephew," you reason. "He almost died."

The ballroom is already buzzing with life as you and your mother continue further into the mansion, her arm still linked with yours. "Wow!" "Y/N!" You don't even bother with a reaction. You're too busy taking in the green walls with their glinting decor, the flickering candles, and the sturdy wooden furniture. The windows, wide and tall, are framed with dark curtains, offering glimpses of the garden behind the mansion filled with lush greens and flowerbeds. From what you can see, the whole house is elegant and stylish, with the obvious preferences of its male owner.

"I will bring us something to drink," you tell your mother when you see the familiar form of your neighbor coming your way. The woman's face is red with excitement, and her eyes shine with news and the latest topics to gossip about. You already know most of them anyway. "Thank you, dear," your mother replies, letting go of your arm to face the other woman.

The excited voice of your neighbor soon disappears in the cacophony of the soft music that is quiet enough to give space for the chatter in the room. Young couples dance in the middle in each other's arms, whispering and swirling at the melody while the others stand around with drinks. Their voices mingle together to the point you can't understand them.

Maybe it's for the better.

After the King bestowed a title, fortune, and lands upon a monster who saved his nephew from certain death on the battlefield, it became impossible to avoid the whispers circulating through the streets and social gatherings. Allowing monsters to earn wealth and find a way to integrate into human society, primarily through the military, was one thing; however, granting them titles and authority was an entirely different affair. The Ton found themselves uncertain of how to react without angering the King.

They don't dare to express their opinions to the monarch; they are not dense, after all. Yet, they can't readily accept the monster into their social circles, either.

Then, a week ago, everyone received an invitation from Lord Elohim, putting many between a rock and a hard place to your utmost amusement.

As you survey the room full of people of the society close to the King, you notice that their curiosity outweighs their resentment. For tonight, at least. The lack of your surprise is understandable; you are sure this party will provide rich fodder for gossip for weeks, if not months. You glance back at your mother and her friend, already chatting in hushed whispers. Yes, you think, it's already started. It started even before the night began.

The table is pushed next to the wall between two windows. Your eyes scan the various drinks, cakes, and fruits, all fresh and ripe. You're about to reach for two cups when your attention shifts to an archway nearby. Through it, you glimpse a narrow corridor and another open door with a tall bookshelf. Your hand hesitates in mid-air, halfway to the drinks.

You shouldn't.

Your gaze sweeps over the guests, observing everyone having a great time. People continue to dance under the watchful eyes of the wallflowers and eager mothers, while the men chat in small groups.

Your mother would kill you.

As you stand still, unnoticed by the others, you find yourself repeatedly turning your attention back to the door outside.

It would be really rude of you.

You take a few tentative steps away from the table, still focusing on the people around you. A few of them smile when your eyes meet, but nobody stops to start a conversation with you.

Just a quick glance, you tell yourself as you slowly back out of the ballroom. Nobody will know.

The corridor appears much darker in contrast to the ballroom, and when you step into the other room, you have to light a candle you find on the small table next to the door.

The small library is much simpler than the other rooms of the house you've had the chance to see. The walls are hidden by bookshelves, with two sofas and a small coffee table in the middle. From there, you have a full view of another part of the garden spreading out behind the mansion.

You move quietly and slowly with the small, burning candle in your hand. The floor creaks under your steps. The dancing flame warms your face as you lean closer to read the spines of the books. The soft glow illuminates the line of your eyes and the slope of your nose. Most of the books are worn and faded.

You glance at the entrance every now and then, making sure nobody has noticed your absence yet. The noises of the music and the guests seem far away through the half-closed door.

You should go, though.

You nibble on your lower lip until it's red and slightly swollen as you reach up to the shelf. The book you grasp is dark red with a golden title. You can see that it has been regularly read.

Just a peek, you try to convince yourself, and you'll be ready to go.

Before you know it, you're sitting on one of the sofas with the candle on the table and the book on your lap.

Your mother will definitely kill you.

"It's from a friend." The deep voice coming from the door almost makes you jump out of your skin. You grab the books at the last moment before they slip from your lap to the ground. "Oh!" Your heart throbs in your throat as you gasp for air. "He wrote it," he continues, stepping closer. His hands are behind his back. The dark blue coat stretches on his broad shoulders. "While he was traveling."

You have seen monsters before. Even though humans are not particularly fond of them, they are not banned from cities and towns. At least, not anymore.

But you have never seen anything like him before.

Your eyes rake over his tall, sturdy form. At first, you think he is a rakshasa, with a thick yet lean body and a dark mane around his head, but there are goat horns peeking out of the thick fur. And instead of the delicate lion tail, a crocodile one swings behind him, dark green and covered in scales.

"Lord…" You gasp again, standing up from your seat. You can't hide the surprise in your voice or wipe it away from your face. Your fingers are tight on the book, still open. "Lord Elohim," he says with a slight bow. "And you are…" "Lady Y/L/N," you tell him. You are still so overwhelmed by him that you forget your manners entirely. You stare at him openly without shame. He is barefoot. The white shirt he wears is a bit bigger than him, showing off a bit of his chest, and tucked into the creamy-colored trousers that hug his lean waist perfectly. A slight grimace pulls on his face, letting you see his sharp canines. "I'm not doing it right, am I?" He seems easy and amused. Even a bit awkward. Your tense posture relaxes a bit. Your shoulders fall. "I mean," you dare to tease him with a small smile. "You should be outside, socializing, but I shouldn't be here either. And for that, I'm sorry." "Don't be," he says, stepping even closer. Your breath hitches. "I love being here too, so I understand." His gaze runs over the shelves full of books before his attention falls on you again. "How do you like it?" He nods to the book still in your hand. "It's interesting," you tell him. "I didn't know orcs have such a rich culture." There is a glint of amusement in his eyes. "How many orcs do you know?" Heat creeps up on your cheeks. "None." "You can take it with you," he says, motioning to the book again. "It's really good." "Oh, I can't…" "You can," he says immediately. "I'm offering." He is so close that you have to crane your neck to see his face. The male is handsome, with his almost black snout and golden eyes. The realization shocks you. You didn't think monsters could be so attractive. "Well," you clear your throat. Your nose is full of his scent. Warmth and nature. "Thank you." You put it down on the table next to you, though. Maybe you can sneak in before you have to leave and take it home without your mother noticing. She wouldn't be happy with you leaving the ballroom and being alone with a man, monster or not. "You are here with…" "My mother," you tell him. "She is outside… where I should be." He grins. "Me too." None of you move. "Do you want me to introduce you?" You ask him. You can't just leave him here. Not after he offered you his book and was so kind to you. "It can be scary around the ton for the first time." There is something wolfish in his smirk that makes your insides tremble with excitement. You understand, though. You don't think there are a lot of things that can scare him. "Thank you," Lord Elohim says in the end, holding up his arm for you to take. He is warm under your touch as you accept his offer.

Your heart flutters at his closeness.

Eyes fall on you the moment you step into the ballroom on Lord Elohim's side. Your fingers tighten on the curve of his elbows, and he squeezes your hand softly as a reassurance. The room gets quiet as you make your way to your mother through the crowd. Her eyes are wide with shock as you approach her. "Mother," you smile at her, not caring about the heavy gazes on you and the monster. "Let me introduce Lord Elohim." Your mother curtsies, taking back the control over her face. A soft smile appears on her lips, and she looks up at the tall male. "My Lord." "Lady Y/L/N," he bows, still holding onto you on his arm. His paw-like hand is warm on your glove-covered skin. "Please," he straightens, looking around the room. "Continue. Enjoy the night."

His words are followed by silence, and everyone needs a few seconds to regain their composure and focus on their business. Quiet murmurs ripple through the guests, the music starts again, and the weight of the others' attention lifts off your shoulders a bit. Not entirely, though.

"Thank you for the invitation, my Lord," your mother says. You know she feels awkward even though she is really great at hiding it. "I hope everything is for your liking." "Of course," the older woman nods. Before another tense silence could fall on your small company, you turn to the male. He is already watching you, and you can see your mother's eyes widening with fear about what you plan to say. You understand her. "It would be really gentlemanly of you to ask me to dance." You hear your mother gasping, but your focus is on Lord Elohim and his sharp canines as he smiles at you. There is something satisfied and cheeky in the curve.

His golden eyes bore into yours as he gently tugs on your hand, leading you to the couples dancing in the heart of the ballroom. You're aware of the gazes fixed upon you, analyzing your every move, yet you couldn't care less. Your attention is consumed by the chimera before you. His paw-like hand trails from yours, grazing over your arm until it settles on the small of your back, drawing you closer until you're enveloped by his embrace. A tingling sensation courses through your entire being. A sigh escapes your lips before you can stop it. "Are you alright, my lady?" The rumble of his chest echoes within yours.

Are you okay? You're uncertain. Unable to tear your gaze away from his, you feel like a raw nerve, sensitive and on the verge of bursting as he encloses you against himself. The air around you grows hot and heavy, causing your chest to ache and throb.

A smirk plays on his lips. "Are you thinking of running?" Lord Elohim teases, regarding you like a deer he often spots in his garden at dawn. With wide eyes and slightly parted lips, you gaze up at him. He's certain the soft skin of your cheeks would be warm under his touch if he dared to act as he desires despite the attention of his guests. Oh, how he longs to send them all home and keep only you for himself. The pretty little lady with the tendency to sneak around.

"No," you breathe out, fighting for air when you find your voice, holding onto his shoulder more firmly as if he is the only one who keeps you on your feet. You can feel the softness of his mane on your fingertips. Your other hand is in the air in his grasp.

It takes a moment for you to register the orchestra and your body's response to the gentle melody. You move mindlessly under Lord Elohim's guide. Swaying back and forth, you follow the male's lead on the dance floor. His embrace envelops you in warmth, leaving you feeling giddy and breathless as he twirls you, pulling you back to him moments later. You smile up at him, on the verge of laughter.

"You're quite the dancer," you compliment him. "Well, thank you," he hums, his gaze still firmly fixed on yours. "In that case, I hope you won't mind if I ask you to dance with me again." And a few more times.

You don't answer immediately. A sense of certainty washes over you, Lord Elohim will be your lifelong dance partner. The thought fills you with excitement for your future as you stare up at him. It seems like the gold of his eyes swirls under the lights that dance in sync with you.

"I'd love to dance with you some more, my Lord."

For an eternity, if it's possible.

[ziseviolet]

Qipao/Cheongsam Taobao Shop Recs

A while ago I received a direct message asking for recs on where to buy qipao/cheongsam, and I figured I’d make a post for others who’d also be interested. 

First of all - I think qipao should be tried on and bought in-person if at all possible, since having the right fit is important - especially if it’s for a formal occasion like a wedding. However, since that’s often not possible, I’ve compiled a list of online shop recs, mainly for more casual occasions.

Since English-language online qipao shops are plentiful and easy to find, I’ll be focusing this list on Taobao shops only. Please note that these are my personal recs, based on my own aesthetic preferences. Thus most of the recs are for shops focused on retro-inspired, minguo-style qipao made using the traditional 平裁/pingcai (flat tailoring) method. Also, I have not actually purchased qipao from any of these shops (all my qipao were bought in person) - this is based mainly on how appealing I find the designs.

1. 嬉姷/Xi You - Elegant qipao modelled closely on historical designs, mainly from the Republican era/minguo. Careful attention paid to historical details. My favorite qipao shop to browse for fun:

2. 海上芳时/Shanghai Fancy - Specializes in chic minguo-style designs of the 1920s-1940s. Recently came out with a neat art deco-inspired collection:

3. 唐之语/Tang Zhi Yu - Retro-style qipao in a variety of bold prints, with a focus on the form-fitting designs of the 1950s-1960s, including those from the film “In the Mood for Love”:

4. 繁莳/Fancy Dream - Dreamy, delicate retro-inspired qipao and modified qipao. Also has a nice selection of winter majia (vests):

5. Top Ulara - A large selection of classic, retro-style qipao with a hint of glamour. Offers lots of long/thick/layered qipao suitable for colder weather:

6. 梦回故里/Menghui Guli - Nostalgic, conservative retro-style qipao for all seasons. Old-fashioned in a good way:

7. 柳园旗袍/Liuyuan Qipao - Retro-style qipao with bold and interesting prints, in styles from the 1910s to the 1960s. The shop currently doesn’t show any products, but hopefully it’ll restock soon:

8. 限时赏味/Xianshi Shangwei - Streamlined, retro-style qipao in subtle colors and prints that exemplify understated elegance: 

9. 茉茉/Momo - Tons of options for simple, cute, and casual retro-style qipao suitable for daily wear. Designs tend towards monochromes and all-over prints. Another review/rec here:

10. 珞珞如石/RoseEra - Simple yet elegant retro-style and contemporary qipao. I love the shop’s use of sheer fabrics & layering in its designs:

11. 向南飞FLY - Offers a selection of casually stylish retro-style qipao and modified qipao for daily chic:

12. 川黛/Chuan Dai - Soft, feminine, pastel-infused qipao & modified qipao in retro-inspired and contemporary styles:

13. 四斤自制/Sijin Studio - Creative, avant-garde takes on (modified) qipao & qipao-inspired outfits:

14. 密扇/Mukzin - Colorful, playful, and irreverent modified qipao and qipao-inspired outfits. There’s also an English website here:

If you like the above qipao but still want an English website, there are several Taobao resellers that carry similar designs - for example, Beth and Brian Qipao.

Finally, when it comes to in-person shops, I want to highlight Xiangjiang Silk Co., a relatively new boutique in New York City specializing in actual vintage 1950s-1960s qipao. There’s an article here on the boutique and its founder Heather Guo (who was featured in Vogue). Store visits are appointment-only, so you’ll have to reach out to Heather via her social media if you want to drop by.

If anyone has reviews of the above shops and/or more qipao shop recs, please share! ^^

Bonus: I also have online shop recs for hanfu (1, 2), modified hanfu/hanyuansu (1, 2), hanfu accessories, weimao, and hair accessories.