#and it also seems strange considering how it loos like the kings at least have mostly moved on from solomon

[odysseys-blood]

concerning the fact that devils in whb traditionally cant lie (or rather lying being something that had to be learned from an outside influence, like with leviathan an orias after being kidnapped and tortured in the heaven lab) i do like that its often shown that they still circumvent this however they can, ESPECIALLY beelzebub. it makes him seem very wishy-washy but in most of his conversations that veer towards the personal he just will not answer or will give a non answer. because it doesnt feel wrong to him like lying would. he can just refuse to speak. it honestly makes me want to know how much personal information we do know about him because its seeming like....not a lot at all.

on another note i wonder if its something that we've also seen mammon do. he seems the most open and truthful out of them all (all in reference to the kings anyways), and it doesnt seem like he ever worries about keeping his thoughts to himself but i wonder all the time if he evaded so hard on breaking his contract because of how it would affect his health. like he gave a straightforward answer about not needing to break his contract because his strength was overwhelming even with it, which is true he didnt lie about that! but i do think often that its possible that the contract has kept him more stable for the time he's been under it (looking at the conversation about the clone lab in tartaros that was shut down). if his life is constantly under threat by the fact that his body can't physically handle all of his power then it would make sense that he wouldn't give up his contract, especially when there are no other stable options available to him right now

[mable-stitchpunk]

Jester Lure: A Massive Character Questionnaire

Here’s a long list of questions and answers detailing Jester Lure, the lead character in my book A Fool’s Endeavor and the upcoming A Fool’s Golden Cage. The questions were taken from Charahub, a website for creating and tracking characters that was unfortunately shut down. Thankfully, a kind soul saved the list of questions- so here we go!

Short Description: Name: Lure or Jester Lure by title.

Pronounced: Like lure usually is- “Loo-er”.

Age: Early twenties.

Extra: Nickname: None, just Lure.

Occupation: Court jester to the princess of Acalathoy, full-time jester.

Species: Human

Gender: Male

Physical Description: Usually seen wearing a full jester ensemble of navy and cyan, fit with hat, gloves, and boots. Wears a gold and ivory colored mask that fully covers his face. Underneath his costume, he has sienna skin- affectionately called ‘cinnamon’- and soft brown hair that is usually bedraggled from his costume. 

Personality: Lure is vibrant and full of life, with a sarcastic streak and an ounce of wit mixed in. He tries to keep things optimistic even when his words portray him as a bit more cynical than that. He can be reckless at times, but is smart enough to prefer talking himself out of a situation before jeopardizing himself, and is rather good at it. There are parts to him that are sly and cunning, but Lure is not without morals, and he is very loyal to those who become close with him. He relishes his job as jester and holds his title with pride, but begrudgingly accepts that few others respects his role. He loves his young princess and enjoys the life he has with her, enough so that he is able to stifle the desire he has for travel and adventure. (Though if given the proper means, Lure will throw himself into an adventure without much preparation and find a way to stay on his feet.)

Fandom: A Fool’s Fables (A Fool’s Endeavor, A Fool’s Golden Cage, ect.) 

Sexuality: The only person Lure’s been attracted to has been another man.

Voice: Naturally warm, going between cheerfully chirp to dead flat to go with the mood.

Back Story: The backstory Lure spreads is that he was found by the queen as a baby, who was so endeared by him that she took him in and raised him as her personal jester. Sadly, the queen passed on shortly after the birth of her daughter. Lure became the princess’ jester to help make up for the lack of a mother figure. Even though the king wasn’t entirely fond of him, he helped raise her alongside the nursemaid who helped raise him.

Ongoing Story: In A Fool’s Endeavor, an attack on the castle led to the king being killed and the princess being kidnapped. Lure went on a foolhardy quest to rescue her, joining up with Apprentice Balsam, Sir Morrick, and Hunter Yves. In A Fool’s Golden Cage, Lure will be afflicted with a strange ailment and need to journey for a cure, again accompanied by his companions.

Likes: Music, Astronomy, Astrology, Divination Cards (Tarot), the overall act of jesting, reading fables, extravagant costumes and colorful fabrics, roasted pheasant and pastries, feeling like he won an argument, traveling, his close knit group of allies, tending to his princess, and being able to witness extraordinary things up close. 

Dislikes: His costume getting destroyed and needing mending, ‘peasant food’ such as sop and gruel, ‘evil’ jester stereotypes, loss of control or choice, his princess being upset, and stagnation. 

Strengths: Lure is athletic and acrobatic, and knows some self-defense techniques. He’s capable with a dagger, which he always keeps in his boot, and by the second book begins bringing a poleaxe with him. However, Lure’s greatest strength is his ability to find ways around direct fighting. If he can find a way that avoids direct conflict then he will take it. He also uses a more theatrical persona to convince others more easily, usually to mislead or get assistance. 

Weaknesses: Lure can be a bit reckless and get in over his head without considering the repercussions. He’s also of slender build and wears no armor, meaning that if confronted head on he has a mark disadvantage.

Favorite color: Blue, all shades.

Kind of clothing: As said before, Lure typically wears a navy and cyan jester costume. He has a few of these, most in the same colors but with different patterns on them. Instead of typical jester shoes, he wears leather boots, and typically carries a card pouch at his waist. 

What element would they be?: Fire. Burns warmly, glows brightly, and doesn’t handle water too well.  (At least, at the beginning of the first book.)

Theme song: Lure might write his own, but personally I could see ‘The Show Must Go On’ or ‘Seven Seas of Rhye’ by Queen.

Deadly sin that best represents them: Maybe lust- not in the typical sexual sense, but that lust for life and his job in life being to literally entertain and enthrall. 

Hobbies: Divination Card reading, instrument playing, reading, and dabbles in astronomy and alchemy at times. He also enjoys playing games like chess, cards, and backgammon.

Special skills/talents: Lure is a gifted virtuoso, learning how to play the harp and lute at a young age. As such, he can pretty much work with any string instrument and make some form of music, even if it is new to him. He’s also good with making up song lyrics on the spot. There are other various things, such as juggling, tumbling, and various ‘jester’ acts that would be expected. Knows some self-defense. 

Patience level: Depends on the circumstances, but Lure’s capable of grin-and-bearing through many situations if the need comes. If in a situation where it doesn’t matter what he says, he will willingly speak his mind.

Regrets: During A Fool’s Endeavor he regrets letting the princess get captured, even when he truly tried to protect her, but gets over it by the second book. Lure’s not the type to linger on past stakes after they are no longer relevant.

Favorite places: Lure has a few special places. The princess’ bedroom and playroom is one of them, as this is where he spent most of his time in raising and playing with the young girl. The courtyard is also a place where he frequently gets away to. Even though introduced to it at a poor time in his life, Lure is fond of Alchemist Coffcord’s home. It is the only ‘quaint’ home he would prefer over the castle setting.

Role model: He looked up to both the queen and the king while growing up. 

Favorite foods: Roasted pheasant, venison, tarts, pies, mousse, freshly baked bread, rich cheese, sugared and glazed nuts, and fruits such as figs, plums, and pomegranates. 

Favorite book: He loves fairy tales, fables, and legends that he can read and then retell to others later.

Mode of transportation: Across the books he’s used various means of transportation- mostly walking- but he knows how to ride a horse.

Weapon: Keeps a dagger in his boot that he got from Balsam. During the second book, Morrick gives him a poleaxe to defend himself.

Smells like: herosmellslike.com claims Lure smells like ‘spring water and desert’, so lets go with that.

How do they feel about love: Lure has experienced familial, platonic, and romantic love and is for all three. As cynical as he is, he makes bonds with people and then does all he can to keep them.

Least favorite color: Dull grey or sunken brown- if it is worn out and faded. 

Home town/Where they live now: the Kingdom of Acalathoy

Makes a living by: Being the court jester and personal playmate of the princess.

Fears or phobias: During A Fool’s Endeavor, Lure copes with a fear of water and drowning, but he slowly overcomes it and faces it by the end of the book. One of his biggest fears is, ironically, to lose his title of a jester and be forced to the life of a nameless, faceless jester.

Race, ethnicity and nationality: Lure is a citizen of Acalathoy and of mixed ethnicity, with his mother being fair skinned and his father having a darker skin tone. Music they listen to: He likes most kinds of music, but especially likes flute music- perhaps because it is the one instrument he has limited access to and is completely unpracticed in.

Bad habits: The closest thing would be Lure’s pickiness with food.

What turns them on: He’s excited by displays of strength and passion, but also has an extreme soft spot for those who are willing to show a gentle hand.

What turns them off: Romantic-wise, he is not interested in anyone like himself, ironically enough. He’s also disinterested in ‘stuffy’ people who lack passion in something.

If they transitioned from their world to ours, how would they react: Lure would put on a bright face and be full of quips, all while withholding the inward horror that none of his survival tactics would work here... Though he would probably like how accessible entertainment is. 

Religious and to what extent? Any spiritual beliefs?: There are various religions in Lure’s world. He worships one that may be titled ‘Fateism’, which worships the Creator, Death, and Fate. While Lure is not overly religious, he does seem to believe in some divine being.

Pet peeves: The biggest one would be the constantly passed around belief that jesters are evil and shady. Though he also doesn’t like narrow-minded folk or people unwilling to listen to reason.

Personal problems: Lure must constantly wear a mask to hide a secret that isn’t just his.

What ONE item would they take to an uninhabited island: Probably his dagger. It has so many uses.

Outlook on life: A cynical realist, Lure actually has a positive outlook, believing that it is worth fighting for a better life.

Most important person in their life: Even with a romantic partner and friends, Princess Vivianne would still be the most important person in his life. He does all he can to protect her and keep her happy.

What was your character like as a child: He was attentive and well-behaved, listening closely to his queen and learning everything she taught him.

What (if they can) does your character eat: Usually whatever the princess is dining on or served to the court.

What is something other people assume about your character?: That he’s evil, both in story and out of the story. That evil jester plot point is tough to shake. XD

Do they like the name they were given: Lure loves his name so much that the fake name he occasionally uses, Cajole, is just a variation of his own name.

Nervous habits: He tugs at his collar when he gets flustered or overheated.

Siblings: Short answer: Yes.

Wears jewelry: Only if the mask counts.

Have they ever wanted to commit suicide: Never. Even at his lowest point, with his princess gone and his home destroyed, him at a loss and running out of options, Lure was desperate but unwilling to give up. He will risk his life for the slim chance he can succeed, but he is not suicidal.

Close friends: Balsam would be Lure’s closest friend. Their clashing personalities fill a void that each of them has and over the course of the books they become almost like brothers. Though Lure might worry Balsam at times, but he also guides him to be more bold. Likewise, Lure trusts Balsam’s word and is the first to assure him that he is more skilled than a simple apprentice.  Morrick originally start at odds, but then they start to acquire a mutual respect and understanding. Which then involves into something deeper and less friendly. While Yves is largely standoffish with everyone, Lure and Yves do become friendly and respect one another. They also share a similar interest in dry humor. Elia is the nursemaid who Lure has been close with for years, and is more of a motherly figure than a friend. In the same vein, Lure seem to look to Coffcord like a grandfather figure.

First kiss? (when and with whom): Spoilers: . Lure’s first kiss was with Morrick. If counting non-mouth kisses, his first is one Morrick gives him on the neck while on board a ship to Olaylark. The first true kiss would be between Lure and Morrick in an inn not too long after this. 

Views on gambling, lying, killing, etc...: Lure’s views on morals are not black and white. He makes playful jokes about those who give into temptation, but he doesn’t show real disdain for them. While he doesn’t think highly of lying and stealing, he is willing to do either if it is a situation where the greater picture is more important. Especially if it might lead to a life or death situation. While Lure believes self-defense is justified, him actually having to kill someone would horrify him- as seen in the first book. 

How much do they value money: Because of Lure’s circumstances- growing up in a court without much need for it- he sees money as just a tool and a means to an end. When in the castle, he’s willing to hand over shillings without care. Outside the castle, he’s willing to perform and tell fortunes to make shillings if it means supporting him and his allies.

Wants to get married: A private ceremony would be fine with him.

Wants to have kids, raise a family: He pretty much raised the princess, but he wouldn’t be against raising a ward or orphan offered to the court. Chances of him having his own children are unlikely.

Sworn enemy: None anymore.

Is their name a pun of anything: Lure’s name is literally a play on entertainment. That being said, the name Lure can be a stand-in for the name Leroy, which means ‘the King’. This was something I found out after naming him, so it wasn’t on purpose. XD

Anyone they really hate: During the first book, he despised the King of Olaylark, who was the one who attacked his kingdom and took the princess.

Most traumatic experience: Even with the horrible attack on the castle, the death of the queen is still what he considers one of the worst periods of his life. Largely because of how quickly she passed.

Favorite holiday: The Feast of Fools, a jester themed holiday that falls close to what we would see as Christmas. Slightly different than the Feast of Fools from our history, the day is seen as a celebration of merriment, playfulness, indulgence, and gift exchange. 

Well, that’s it for now! Hope you enjoyed!

[arcticdementor]

Architecture is suffering a crisis of confidence. More and more mainstream figures in the field are admitting that the profession has lost its way. As I previously mentioned, Frank Gehry, the world’s most famous architect, recently said that “98% of everything that is built and designed today is pure sh*t. There’s no sense of design, no respect for humanity or for anything else.” Architectural thought-leaders seconded and thirded him. And he’s since been fourthed by another.

…

And now The New York Times, the ultimate arbiter of elite opinion, recently published an op-ed that declared, “For too long, our profession [architecture] has flatly dismissed the general public’s take on our work, even as we talk about making that work more relevant with worthy ideas like sustainability, smart growth and ‘resilience planning.’” The authors are not kooks on the fringe but architect Steven Bingler and Martin C. Pedersen, former executive editor of Metropolis magazine, both of them very much in the establishment.

The authors observe that self-congratulatory, insulated architects are “increasingly incapable … of creating artful, harmonious work that resonates with a broad swath of the general population, the very people we are, at least theoretically, meant to serve.” Bingler and Pedersen note that this has been a problem for over forty years (my emphasis), and that things are even worse today.

As a case in point, they mention the 2007 “Make It Right” charity program, founded by amateur architect and furniture designer Brad Pitt. The program invited firms, most of them avant-garde, to design housing for poor New Orleanians whose homes were destroyed by Hurricane Katrina. The architecture world was exhilarated: The initiative was to be a showcase for how the best contemporary design could improve lives.

The predictable result was weird, sometimes discomforting houses of non-native motley futuristic design that have virtually no relation to each other or the beloved historic architecture of the city. A story in The New Republic called the 90-some houses a waste of money and a distracting sideshow: The homes were expensive to build ($400,000 on average) and the high-tech fabrication has made them expensive to fix; mold has grown on the untested experimental materials, and the eco-wood decks and stairs are already rotting.  The neighborhoods are wastelands—failures of urban planning that isolate residents from social networks and public services.

…

While most of the architectural establishment has responded to the op-ed with noticeable silence, Mark Lamster, architecture critic for the Dallas Morning News, did bravely publish a post on Facebook in which he began by quoting the opinion piece: “We’ve taught generations of architects to speak out as artists, but we haven’t taught them how to listen.” Lamster then commented, “super-smart nyt op-ed from Martin Pedersen and steven bingler [sic].”

What is most telling, however, is the vitriolic response the op-ed triggered in Aaron Betsky. Called “one of the 21st century’s architectural power brokers,” Betsky is the former head of the Cincinnati Art Museum, and was director of the 2008 Venice International Architecture Biennale, the most important architecture show in the world. An architectural priest and patrician, he is to the profession what The New York Times is to the chattering classes: a voice of the high-status quo. Indeed, he writes for Architect, the official magazine of the AIA.

Betsky rained down on Bingler and Pedersen with ridicule and scorn: Their piece was “so pointless and riddled with clichés as to beggar comprehension.” He summarized their position: “we have three of the standard criticisms of buildings designed by architects: first, they are ugly according to what the piece’s authors perceive as some sort of widely-held community standard (or at least according to some 88-year old ladies); second, they are built without consultation; third they don’t work.”

Yet Betsky then admitted, “All those critiques might be true.” They are irrelevant, he claims, since architecture must be about experimentation and the shock of the new. (Why this should be the case he does not say.) And sometimes designers must stretch technology to the breaking (or leaking) point: “The fact that buildings look strange to some people, and that roofs sometimes leak, is part and parcel of the research and development aspect of the design discipline.” Ever brave, he is willing to let others suffer for his art.

At no point did Betsky consider the actual human beings, the unwilling guinea pigs who live in the houses. He implicitly says of the poor residents: Do their roofs leak? Let them buy buckets. And as for sickness-inducing mold, there’s Obamacare for that. Betsky also does not consider what a leaky roof means to people whose prior homes were destroyed by water. The architects, having completed their noble experiments, effectively say like the arrogant King Louis XV of France: “Après moi, le deluge” [After me, the flood]. No wonder architects have an image problem.

Betsky also would not appear to care that some of the new houses look like they have already been damaged by a flood. As he wrote in May, “Buildings under decay are much sexier than finished ones, perhaps because they remind us of our own mortality.” It logically follows that the “decaying” Katrina houses are simulated ruin porn, a pleasing mix of sex and death. He had previously said that the decay of New Orleans even prior to the hurricane could seem “elegant” to some. One of his favorite architects, the Dutch firm MVRDV, proposed a Make It Right house that looked like a trailer broken in two, and another one that looked like a house piled on top of a house.

…

Modernist architecture, like Modern art, has tended to be a revolt against bourgeois taste (and values): If granny, abuelita, or bubbe is for it, they’re against it. But if bourgeois taste is bad—all that chintz and those lace curtains, those cushy sofas, that flag flown from the front porch—just imagine what architects think of the working class and poor. If the architects had their way, elevator music in New Orleans public housing would be screeching Stockhausen, not native Louis Armstrong or Fats Domino. Modernists have no room for harmony, rhythm, or soul; they are high-culture elitists, not multiculturalists who celebrate class and ethnic diversity.

Many leading 20th-century architects, including Philip Johnson and Mies van der Rohe, were openly disdainful of the public’s preferences. On occasion they evinced subtle and overt racism. In 1913, in one of the most influential essays in the history of Modernist architecture, “Ornament and Crime,” [PDF] the Austrian architect Adolf Loos declared that modern man (read: white northern Europeans) must go beyond what “any Negro” could achieve in design, and strip away all that is superfluous, all that is morally and spiritually polluted. It is Papuans and other primitives who, like innocent children, ornament themselves with tattoos. Loos’ race has superseded them: “the modern man who tattoos himself is either a criminal or a degenerate.” The same held for ornament in architecture. (To this day, architects—who continue to believe they are the vanguard of civilization’s progress—find ornament retrograde. Yet ordinary people stubbornly continue to adorn themselves with cosmetics, jewelry, and, yes, tattoos.)

In the 1920s, during the time he was a member of the French Fascist party, the seminal architect Le Corbusier said he was disgusted by the “zone of odours, [a] terrible and suffocating zone comparable to a field of gypsies crammed in their caravans amidst disorder and improvisation.”  He also chimed in with Loos: “Decoration is of a sensorial and elementary order, as is color, and is suited to simple races, peasants, and savages… The peasant loves ornament and decorates his walls.”

…

Betsky, to his credit, doesn’t pretend that architects should even try to make outreach. Showing little sympathy for democracy, he says that appeals to the public are “mystical.” The people—the 99%—do not deserve a seat at the table. Yet Betsky would have us believe that he and the architecture he supports are “progressive.”