#and they're also specific to each region

[azusawrites]

7 n 13 for the non-usa ask!! would’ve said 8 but *gestures to unironic ‘all of (east) europe is the same’ dipshit gang*

Thank you for the ask, Patchy!! ❤️ 

7. three words from your native language that you like the most?

Oooh, ok, this is gonna be a bit hard cause there are quite a few but-

șod - as a Transylvanian person I am obligated by law to put this here. It's actually a word from our local dialect, but Hungarian in origin, which we use when we want to describe something as funny and endearing at the same time. Like it makes you laugh but you're also super fond of it, and it can be used when referring to people or animals as well!

grai - this is actually Slavic in origin, and it has several related meanings, such as "voice" or "language" or "dialect". It's a pretty literary word as well, that you're more likely to meet in older texts than in casual conversation but I still find it really pretty.

And since we're on the subject, another beautiful word for "voice" is "glas" which just sounds really nice.

Luceafăr - this one might be my favourite, though ngl, it's pretty cliche lol. But basically, it can mean two things: it's either another name for the Planet Venus (and comes in several "flavors" like Luceafărul-de-Seară or Luceafărul-de-Zi, which means Venus of the Evening or Venus of the Day) or can be an epithet given to a man with remarkable qualities.

The word itself actually comes from "Lucifer" which has so many connotations to it and I just find it utterly satisfying as a result, hehe.

13. does your country (or family) have any specific superstitions or traditions that might seem strange to outsiders?

So, so, so many-

I come from the countryside, and while my family isn't overly religious or even superstitious, I still grew up with a lot of stuff that I didn't realize was weird until later on, like:

when someone dies, you must cover all your mirrors in the house to prevent the spirit from being trapped in them. This is still practised to this day.

if you hear a voice call out your name during the night, do not turn around or answer it. It's an evil spirit coming to harm you.

if you drink water from a certain well in a village, you'll be bound to that place forever and will eventually return to it.

Tuesday the 13th is just as unlucky as Friday the 13th.

do not pick up mirrors or combs you find on the street, they belong to a witch which has placed a curse on them.

fortune telling is real, and you should be wary of having your future told to you.

during the christening party of a child, they will be asked to pick an object from a tray. Whatever they pick is indicative of what their future job will be.

moreover, you can guess what your future husband will look like with a small ritual, where someone places nine objects under dishes and you have to pick at random three. What those three objects are will define the sort of husband you'll get. (I remember picking a comb and a mirror, but not what the third might have been.)

if your right-hand itches, you'll receive money soon. If your left-hand itches, you'll give away money soon.

if you can't stop hiccuping, somebody is talking about you behind your back.

never bring a bouquet of an even number of flowers to someone, only bring odd-numbered ones. Even-numbered bouquets are just for the dead.

always wear red on New Year, because it will bring you good luck! Red also helps defend the evil eye, so babies here often get a small red bracelet made of thread gifted to them.

if you wish for something at exactly 11:11 it will come true!

And this is not even scratching the surface tbh, but I will stop here because otherwise, this post might get way, way too long lol.

[nemesis-is-my-middle-name]

11 for Ingo and Akari?

(character dynamic ask game)

11. what's something A knows about B that most people don't? alternately, what's something most people believe about B that A doesn't?

ooh this is a good one. okay. so there's a Lot, obviously, right? on account of their similar histories, there are things that they know/believe about each other that most people don't.

like, from the one pov, everyone in jubilife thinks akari is. kind of intimidating. like sure, sweet kid, very helpful, but uh. if she ever stopped being helpful she's got like an army of terrifying monsters at her beck and call. and she came from space?? and doesn't remember why?? what could she be forgetting or hiding. suspicious. and then ofc everyone who doesn't suspect her of being a secret deadly threat to the village are like "wow akari you're so good at doing things here let me assign you every dangerous task i have that is too scary for me. thanks bye."

but meanwhile to ingo, and quite possibly only to ingo, she's just... a kid. i mean, she's a pretty good trainer, and her dedication to her dex work is impressive and deserves praise, and she's dealt so well with all of the tasks people have given her so far—but some kind of divine and/or demonic entity with a terrible secret? what are you talking about? look at her. she's the most normal ass 15 y/o ingo can remember meeting.

conversely i don't think ingo's dynamic with the pearl clan is quiiiite as rough as akari's with the galaxy team, esp. by the time akari arrives and he's had some odd years for people to get used to him, but he's still regarded as like, strange? he's not scared of pokemon in the slightest and is in fact great at handling them. he's got a habit of saying the weirdest sentences known to man and then immediately moving on. he doesn't know the things he should, and knows other things he has no apparent reason to. why does sneasler like him so much. how'd he do that so fast. but even if akari weren't already used to some of these things by virtue of being from the same future, the rest of it doesn't even register to her. he's cool and nice and fun to hang out with and that is the extent of akari's opinions on anyone.

so in that sense i guess to summarize their main thing they believe about each other that nobody else does is that the other is just. a person. like, a cool person, who they are friends with, but still just a pretty average human.

and then obvi you could talk more about how being as that is they're also better suited to understanding each others' respective feelings on the whole spacetime abduction amnesia thing, but this post is already too long as it is

[ravenwolfie97]

okay i Finally feel like i have the time and energy to get back to genshin

it’s a small thing early on in the tcg grand prix thing but i thought it was interesting

so when kaeya greets charlotte, he says “enchantée”

which is initially in line with him being a smooth talking kind of guy

but since charlotte is from fontaine, which is mostly based on france, he’s probably just greeting her in her national language, which is really thoughtful and respectful of him

i just thought that was neat :0

[doodlepede]

hey Rain World fans. I'm gonna show you a lore interpretation that I personally have never seen anyone talk about except myself. If you know me as Sliverist, then you know what's up.

Everyone knows the first five Karma glyphs represent the so-called Five Natural Urges. Violence, reproduction, trade and social connection, eating, and self preservation. People generally believe the next Karma glyphs before the tenth are meaningless, but this is WRONG. Understanding this revelation requires seeing the big picture, which I will guide you through.

Rain World really likes to blur the line between organic and inorganic, with the most obvious example being the Iterators themselves, these biomechanical superstructures whose function in large part is outsourced to their "microbe strata" (Purple SL pearl), but it goes even further, into the very world design.

Five Pebbles' internal structure resembles a brain with its many sections all divided into specific regions with specific purposes. His chamber makes the resemblance even more obvious, where you can clearly see the brainstem.

Within Five Pebbles' dark interior swim swarms of colorful neurons which turn white in broad daylight, each one a carrier of information. Often, they are brushed along by cilia lining the computer halls.

The Void Sea writhes with a swarm of beings enormous beyong reckoning which closely resemble real neurons. The void worm that takes interest in the slugcat uses a dendrite to make a tether to drag the slugcat to its final destination.

As the slugcat swims and swims, it is joined by countless many just like it, and together they swim toward the light, referred to in the code as "TheEgg" (VoidSeaScene.cs)

This is the table of Karma, showing every level above Five. Doesn't it look rather like..

dividing cells being crossed out?

In Rain World, birth and life, cognition and enlightenment, death and ascension are all inextricably connected concepts. You might even say they're connected in a cycle. The imagery and themes are rich and complete, integrated fully into the world. This is even without mentioning the voidspawn which also resemble sperm, swimming to the same place. This is why Ascension is the best ending :artiyoy:

[ranticore]

eh i might as well just post em here. Sirenian humans for ya. ftr i never got round to doing this for selkies or the other guys

the individual drawings for these are.. not the best and the text formatting and typos are woeful but i have a lot of fondness for them (especially the hopper harpies, they're my favourites) and the reason i made this blog was originally to talk more about them in a more relaxed space

there's also... this attempt at describing the naming conventions of the most populated settlement

one thing i really wanted to avoid with these guys was the notion of culture being tied to what type of person you are (physically i mean). it's very rare that a settlement is limited to only one type of human. culture is instead related to settlements and geographical regions (can u tell I hate the common trope of Monolithic Fantasy Race Culture). because the humans who originally settled on siren spoke english, all of the languages spoken by modern sirenians are derived from english (and this is how scholars can back-translate ancient records about ishmael et al). some people with very specific adaptations (like hoppers) might be concentrated in the area that best fits their morphology but there are no exclusive groups based on body type.

the modern sirenians do not believe they are (or were, originally) aliens on siren, they do not know about earth, they know nothing at all aside from the fact that there were once Precursors who've left some technology behind.

the main story is about our guy Qedivar travelling from the spire to the old Precursor ruins to do some research, and on the way he hires Huarva as a tugboat and Terwy as an astronavigator. They have each lied to the other about some fundamental aspect of themselves of course so there's drama but eventually Qedivar gets home and publishes a preliminary report on what he found there (which is the record of Ishmael's life). Conservative factions immediately decry it as heresy and call for Qedivar to be killed, so he has to go into hiding and publish under a pseudonym.

[maximumzombiecreator]

I've seen a lot of posts recently where people say they can't find players to play non-5e TTRPGs with. As someone who moves countries every few years, I've had to rebuild my roster of local TTRPG players from scratch a number of times. Here's how I do it.

Caveats first: while I've done this in small cities, I have always done it in cities. If you're in, like, a rural environment, you might just not have enough interested people around. You can always do it online in that case. I'm not really going to cover finding players online, except to say you should probably look for communities for the specific system you want to play. Most of them are enthusiastically looking for new participants. Especially game masters.

Okay, first things first, you gotta find people. I generally find I get better results if the search is location first. That is, rather than using city-wide or regional Looking For Group type internet groups, I look for physical locations that host gaming groups. Local game stores, public libraries, gaming cafes/bars, etc.

Being location first helps avoid some common bad behaviours. Online LFG groups often have a few shitty people hanging around who can't find long term groups because they're shitty. They'll jump at the opportunity to join new groups where people don't know them, because everyone else knows better than to game with them. But location-based groups are better at filtering this. Someone who harasses people at an LGS can be banned from the store, but decentralized online groups struggle to handle these situations in my personal experience.

Being location first also solves the next problem, which is giving you a location to play. Eventually, when I have a long term group, I'll host games in my home. But there needs to be a level of trust before that feels safe, and we're looking for randoms, so for now we need a public gaming venue. If, for whatever reason, there aren't dedicated gaming spaces where you can do this, I've had the most success gaming in cafes or restaurants during off peak hours. I've run a bunch of games in restaurants from, like, 2pm-5pm on a Saturday, and as long as you're buying drinks and some snacks or something, and being polite and non-disruptive, it's typically not too hard to get permission.

Now, if that local group has enough interest in a non-5e system that I'm interested in running, I'll happily do that, and it's pretty free from there. Most people who are willing to play one other system will gladly try others if they find they like playing with you. But even in big cities, I feel it's pretty often the case that postings for local games of other systems don't wind up actually finding successful groups.

So, here is the bit where, unfortunately, finding people to play non-5e games with involves playing some 5e. Community groups are always looking for more GMs to run games, so I will set out to run a number of short 5e adventures, each with different groups. These are typically oneshots that I have the option of extending for another 1 or 2 sessions.

I always run adventures that I've written myself for these, because I want my particular GMing style to really come through. Looking for players is a two way street. I'm looking for people I like GMing for, but I'm also looking to make sure they know what they're getting. Especially if I'm going to ask them to play a system they've never tried, they should know that there's going to be something they enjoy. So, these short adventures are full of the types of silly but sincere NPCs I tend to run, the open-ended scenarios I prefer, the tropes I favour, etc. If someone isn't going to enjoy playing with me, I want them to know it from this adventure.

I structure the adventures to give me a lot of flexibility in terms of how long they run. They're nearly always mysteries, but with some active component to the mystery, so that if things drag or dawdle I can have the villain show up and force a final confrontation. They're also structured to have a natural "next thing." You find and defeat the villain, but there's an implied next villain you'll be going after. That way, if the group is working well and I want to continue, it's easy to present the option to the group. But if I'm not interested in continuing with the group, the next thing can just serve as an "and the adventures continue" implied epilogue, and the game still feels complete.

I don't like players just bringing their own character sheet to the table. Someone who brings a disruptive character can ruin a session without me getting much useful information out of it, other than that I don't want to play with that person. And if it ruins the experience for the other players, I'm often out the opportunity to game with those people, through neither of our faults. I've experimented with both asking players to submit their characters in advance or making them choose between a collection of premade characters. The former is a good check for whether people will put in a basic amount of effort and follow instructions, but it can dissuade people who are just looking to dip their toes into playing for the first time. The latter can turn off players who are into crunchy games and are excited about character building. As a result, I'll usually choose the approach based on what non-5e system I'm currently most excited about running. Do I want to get together a group for a rules-light game? Premade characters it is. Looking to run some PF2e? Please submit your character sheet in advance. Some locations also do more drop-in based games, in which case it's premades all day.

As I'm running the game, I'm observing the players. There's a simple vibe check, obviously. Do I like playing with this person? But I'm also looking at how they play. What are they here for, what's exciting them? Are they struggling with finding optimal turns in combat, or do they like mastering a system? Are they curious about the world, or do they glaze over when the spotlight isn't on them? Do they light up in dialogue scenes? Do they want to try crazy things outside of their on-sheet abilities? Remember, later, I'm going to try to persuade this person to try to play a game they've never played before. I need to know what specifically is going to excite them.

I have (always with permission) recorded sessions before to go over in making these choices, but honestly even just a few small reminder notes will help me unravel things later. If a session goes well, I'll ask at the end for people to give me their contact information if they'd be interested in playing again. Non-committal, at their comfort, and it doesn't single out people that I don't want to play with. I can always just not call them. Usually I find I'm interested in playing again with a little more than half of the players I meet this way. In my experience, it's fairly rare for a player to say they're not interested in playing again, TTRPGs rule and there's a DM shortage.

What I usually do is keep running these until I have enough people in mind to run something else, even if it isn't the system I'm most excited about. Probably it would be better to spend more time in this starter phase building up more connections, but after running like 4-5 5e adventures, I'm usually more than ready to run anything else, and if I have to shelve my Lancer ideas because I've mostly found crunch-averse players, I'm usually fine with that.

So, next comes the invites. Now, most players I meet this way will eventually be open to playing most games, but listen: you can put people well out of their comfort zone for their third TTRPG, but you gotta be real careful with their second. Most of the time, the game I'm inviting people to will be their first real exposure to a non-5e TTRPG. If they don't like it, they will run back to the safety of 5e and you will never get them out of it again. So I am very careful in picking the right system for the players I am inviting.

Whatever the new system I want to run is, I will set up a pilot session for it. I am very clear to players that I will teach them the system at the session, they do not need to know it in advance. Eventually, when I have a reliable group of TTRPG people to play with, I'll expect them to be able to pick up systems without a ton of help, but for players that are only used to the complexity of 5e, the idea of learning a new system is daunting. I rehearse the teaching of the game session. It's the only thing for TTRPGs I ever rehearse, but I want to know down pat how I'm going to quickly teach a new system and make it feel approachable and non-threatening. I'm also very clear that this will be a single session, with the possibility of turning into a campaign if we like it. All of this is structured to feel very safe. No initial learning required, no long term commitment, with a GM you already know you like.

But even as safe as that is, you still have to pitch the system. Why should the player be excited about playing this new game? Don't go all TTRPG nerd on them and explain all the details of the system, or use a bunch of jargon. Give them one or two things to be excited about with short, detailed anecdotes to back them up.

"We're going to be playing Blades in the Dark. It's a game where you play a gang of criminals in a haunted, steampunk dystopia. Every session you'll do heists, but instead of meticulously planning them, you start right in the action, and when you need to have planned for something, you can do a flashback scene to explain your preparation. One group I ran this for got busted by guards during an early heist, but used a flashback to create a scene where they had gotten a buddy of theirs a job as one of the guards, and he helped them out of the situation. And for some reason they fell in love with this bumbling goof I improvised to be the buddy, and then on a bunch of future jobs they kept using flashbacks to get him jobs wherever they were robbing. So this one idiot was just a de-facto crew member who worked a dozen different inside jobs despite being about as sharp as an eraser. And eventually they fucked up and got him killed, but they brought him back as a ghost, because you can do that in Blades in the Dark."

I find using a specific example of play really helps get peoples' imaginations going, which is what is going to help them say yes. And that example is tailored to what I know that player vibes with, what it is I think that makes them a good fit for this game.

The last detail about the invites is that I'm telling them, not asking them. It is not, "Hey, are you interested in playing this new game?" It's "I'm going to be running this new game. If you're interested in playing, please let me know what times work for you." If you're asking, you're going to get some "well but can it be 5e?" If you're telling, then they can choose to learn a new game in order to keep playing TTRPGs with a GM they know they like, or they can choose not to play at all.

Once you get enough yesses for a game, you run it, and then from there you're on your own. I think those are basically just friends you have at that point, and I'm not gonna tell you how to have friends.

Hopefully at least one person finds all that useful!

[homunculus-argument]

Fantasy worldbuilding time: What if different magic skills are inherent, but the different "genres" of magic are cultural?

Like you've got a specific set of different types of magic that one could become skilled in, and people with the inherent knack for the different types are born at roughly even ratios all over the world, but the cultural ideas of what one should do with these natural inclinations are so deeply ingrained to the people of each place that they're not even aware that the spark at the root is the same damn thing as something completely different.

A highly complex and politically sophisticated merchant region combs through the local children to find the ones with potential for magic, puts them to school and sorts them into careers based on skills. A child born as a nameless orphan beggar might be raised to become a mage emissary if she is found to have the ability to subtly shift peoples' hearts, minds and opinions - a skill invaluable in politics. Visiting a different region for negotiations, she is shocked to have her horse taken by a lowly stablehand who wields the same gift as she does. Around here, the spark to shift minds is interpreted as the knack to tame and train animals - it wouldn't occur to anyone that the gift for handling dogs and horses could also be used for handling people.

Or a large empire that has slowly drifted into decline during their long span of peace, that has been cultivating the gift of training healers. They have the odd gift to make the body do things - move one vein to meet the other while mending a wound, tie broken ligaments together, sense where a lump in the body is a cancerous growth and shift arteries away from it to starve the growth. They see through the body, move things around, and shift the off-centre, tilted things to be more properly aligned. Healers are known as the most gentle type of magicians, who could not be forced to do harm even at the threat of death.

It's a bit of a shock to discover that the neighbouring warlike kingdom - who does not have healers - also has people born with the same inherent way to see through bodies and move bone, ligament and vein. They, however, are trained to tear people apart.

[honoura]

Shaaloani: The Land of Enchantment Part Two

Hello again! First of all thank you so much for your responses to these posts -- I've really enjoyed reading your reblogs. I'm glad folks are enjoying this!

As I mentioned in the first post -- here is the second half! It's covers the plants and animals I thought worth special distinction. By that I mean animals that communicate how much research was done regarding this zone. So no rroneek, no uxtena. It's pretty clear they are both meant to be buffalo and rattlesnakes.

And if you're somebody who hadn't caught that, um... surprise! That's what they're based on.

If you're somehow getting this post without reading or seeing Part One first, here is a link to Part One. I'd recommend giving it a read first.

With that taken care of, let's pick up where we left off before!

Shaaloani Flora

Aside from the cacti, there are a lot of plants I recognize as native to the regions discussed in Part One! First is this scrubby, short and wide tree. It took a few screenshots and a lot of scrutiny. I was torn for a bit thinking it was a creosote bush, but upon zooming in close I'm of the mind it's a redberry juniper tree instead!

The leaves are long and thing, and the shape gives to mind of juniper needles more. Juniper 'leaves' kind of scale over each other and between texture resolution and my horrible eye sight I can't tell if this does the same. Still! There's a photo below my two screenshots for further emphasis:

These are also the trees turned red near the ceruleum fields -- junipers tend to do that when they are dying. They are also incredibly hardy so typically when you've managed to kill one it's likely not good.

I will say when I was out here I noticed the botanist gathering log has mesquite beans on it -- and you harvest them from these trees! Which is too silly for me; so here's a link to the the wiki about honey mesquite, and a photo of the beans on a tree.

It's probably a reach to try and ID this grass in the Yawtanane Grasslands, but given that it caught my eye I felt inclined to make a pitch. For context child me thought a fun and engaging after school club project was to learn how to identify grass and other plants native to Texas. So when I looked at it I wanted to take a guess based on other regional clues:

To me I think it could be cane bluestem, a grass that's drought tolerant and popular for grazing animals. And its seeds are dispersed from these little fluffy heads like this.

I will say as a caveat that a lot of grass in this area can be dispersed by wind. So it might not be cane bluestem -- hell it's a stretch to even try this. But I like to think they also considered the grass.

The bush above I also hmmed and hrmmed about for a bit before positing if it was meant to be black persimmon. It's commonly called Texas persimmon or Mexican persimmon -- and it's found in Coahuila, Tamaulipas and Neuvo León. They generally just look like big shrubs instead of trees.

I mentioned this in part one, but I'll go ahead and reiterate here a few things:

One is I think Lake Taori's about the only place that reads as specifically Texas

Two is it's not a bayou. That's an East Texas ecosystem and way too wet for Shaaloani

Three is there are cypress trees west of San Antonio growing along the Frio river, and doing quite well! Garner State Park has quite a few of them

I stand by this because these trees are show to be reproducing by making 'knees' -- offshoots from their root system. Think of it like Pando.

I also feel cypress is correct; the trunks are wider at the base than higher up, and the leaves are the right shape. I also appreciate there's Spanish moss hanging from them, which is also pretty common.

The last plant I want to cover is this flowering bush -- I'm going to admit this one was a struggle because I don't know of a lot of bushes with large white flowers like this. I've seen flowers of this shape, but most tend to be ground cover plants that grow very low to the soil.

What I think it might be, which would feel appropriate, is a take on the datura. They can get a bit higher off the ground than most wildflowers. And they were used by several native tribes for cultural practices.

The flowers are bigger in real life than depicted here -- so this is a reach! If someone has a better suggestion I'm open to it.

Shaaloani Fauna

When Fate farming out here, I've seen several players comment like 'huh, there sure are a lot of dinosaurs on this map'. And you're right! Because a lot of this region is home to some incredibly rich fossil formations.

Big Bend National Park contains part of the Javelina Formation -- home to large creatures such as the Quetzalcoatlus, a pterosaur that boasted a 39 foot wingspan. You can read about fossils found in Big Bend here. The Javelina Formation has its own wiki article that details some of the specimens found within it, including the Bravoceratops and the Torosaurus. The Ojo Alamo Formation in New Mexico is home to the Ojoceratops. Just south of these is the Aguja Formation in the Mexican states of Coahuila and Chihuahua. These formations are home to fossils of all three types of scalekin above -- as well as alligators, who are also on this map!

Other Formations in the Southwest home to great fossil finds are:

Kayenta Formation (Colorado & Utah)

Tepetate Formation (Mexico)

Black Peaks Formation (Texas)

There's even a fun sightseeing lore blurb which acknowledges this!

I think this is a fun addition to the zone that strengthens the real world inspiration sources and have fun with world building -- a lot of the formations near the Permian Basin were along the shore or under the waves of the Permian Sea!

And that's all I have! Thank you all for indulging me, and by all means take any and all of this to do with what you will in roleplay. Have fun with it!

[specshroom]

★~Kirara and Hakari flirting with you~★

(No actual smut but it's steamy so Read More just cus)

It starts with Kirara flirting with you to make Hakari jealous. Not anything serious, she just wanted to see what would happen.

She does this by paying more attention to you, touching you more, complementing you more and just being more flirtatious in general. Hakari knows what she's doing obviously, he does find it amusing that you don't seem to know what's going on.

So one day you're training your technique in the fight club training room and they're just watching from the side on a battered couch. Hakari pulls her onto his lap.

"You don't think I know what you're doing?" He says down at her, lazily stroking his hand up her thigh.

She pouts at him, "I don't know what you're talking about, Kin."

He scoffs and looks over at where you're trying to perfect a specific stance for your technique.

"Didn't even work, That dumbass can't take a hint." He mumbles resting his head back, still watching you.

"Well maybe I should try harder."

Kirara says, staring at the same place her boyfriend is.

"Good luck with that, Babe" he chuckles out patting her thigh.

She huffs at the condescending tone and brings all her attention back to him. "Cmon~ you never thought about it Kin?"

"bout what?" He knows what she's talking about and yes, he definitely has but he wants her to say it.

"bout the three of us..." she trails her slender fingers up his chest, looking up at him with lidded eyes, "Together."

Her fingers trails up his neck as she leaves light kisses there and he slides his hand up under the hem of her shorts to squeeze her ass. He leans back and hums for her to continue. She leans closer to his ear, "You could fuck them while they fuck me, or we could both suck you off." Her hand goes to palm the growing bulge in his pants as he smirks and closes his eyes, imagining the pretty picture she's painting for him. "Or we could fuck and have them watch, or you could both double team me, or we could-"

"OH MY GOD! COULD YOU GUYS NOT FUCK IN FRONT OF ME FOR EVEN A SECOND??!"

They both pause and turn their heads to look at you with wide eyes. You stand there, hands on your hips in your compression shirt and sweatpants. You've been trying to concentrate on your training while the lovers mumble and whisper to each other about whatever.

You've gotten used to feeling like a third wheel being around them so often, living with them, working with them. That doesn't mean it didn't bother you when you look over at them and they're half way to fucking right there!

After a second of silence they both let out light laughs. Both amused at your bothered state and the fact that they'd gotten so distracted with their shared daydream.

"Sorry, Y/n!" Kirara yells back, trying to look apologetic. Hakari grins at you and stands up, hauling Kirara in his arms as he walks out of the training room, a clear destination in mind. Kirara giggles as Hakari kisses her neck, her eyes still on you, waving goodbye as the door closes behind them.

You huff in disbelief, looking around the now empty room, definitely not imagining what your two friends are doing together in their room. You go back to training, trying to ignore the heat building in your lower regions.

After this, the couple gets a lot more touchy in front of you, even more than they already were. They also get more touchy with you. Hakari touches your waist and lower back when he's walking past you, he presses you up against the kitchen counter pretending he's trying to reach something above you. Kirara snuggles up to you on the couch and even gives you "friendly" cheek kisses. They also get much louder when they fuck, their moans and bed squeaking being very audible from your room right next door. Unknown to you, they can also hear the frustrated hushed groans coming from your side of the wall right after they fuck.

Safe to say you're pretty sexually frustrated as you sit on the couch trying to watch TV. The two menaces smirk at each other in the hallway, Hakari pats Kirara on her ass, encouraging her to prance into the living room and plop herself right next to you.

"Hey Y/n, You doing alright?"

She feigns concern, pressing up to your side, arms hugging one of yours.

"I'm fine, why?" You answer, confusion present in the tone.

"Well you just seem kinda...moody." She says leaning her cheek on your shoulder.

"Moody?" You arch a brow at her.

"Yeah, just- I dunno. You seem bothered, pent-up....tense." she starts massaging your arm before she places a hand on your thigh.

"Is there anything I can do?"

She says leaning closer to say it into your ear. That's when you realise what's actually happening.

"Uh No Kira it's alright. I'm f-" As you try to get up she pulls you down again and straddles you. Your wide eyes look into her pretty droopy ones, your hands hover in the air on either side of her waist, not sure what to do.

She runs her hands up your chest and shoulders, lowering herself until she rests her groin on yours. You sigh at the feeling and the way she's looking at you until you snap yourself out of it.

"What about Hakari?" Genuine concern very present in your hushed voice. As annoying as the couple was you didn't want to be the reason a perfectly good relationship ends.

"What about me?" A low voice hums right next to your ear, you were so caught up you didn't even notice Hakari leaning over the back of the couch. You suck in a breath, Is he mad at me? Is he mad at Kirara? Am I a homewrecker? You're so caught up in your panic that it takes you a minute to register Hakari's tone. Not one of anger but instead very amused.

Kirara giggles at your reaction and takes your hands in hers to place them on her bare waist. "Poor Y/n, so frustrated, huh Kin?" She says while softly kissing up your neck along your jaw, her cold piercings making you shiver. She slowly starts to grind down on your crotch. Hakari hums in agreement and gently places a hand around your neck to keep you from squirming away while he slowly kisses and licks down the other side of your neck to your shoulder.

"We can help with that." He says against the skin where your shoulder and neck meet before biting down.

You're soooo fucked.

[neechees]

How is the cult from Midsommer white supremacist? Because they are swedish and borrow from paganism? The nazis appropriated Norse culture, they even misused different runes and symbols, and Scandinavia is one of the most tolerant regions in Europe.

There's Nazi imagery throughout the film, & the fact that all the poc die first is no mistake. Ari Aster himself has said that the Harga are White Supremacists:

Defying an outdated horror trope, Aster does not kill off Josh (William Jackson Harper) — the only black character for miles — first. As Aster points out, though, the Hårga are racist, a callback to “a part of Swedish history and European history,” and all of the “outsiders” or “new blood” recruited for mating are purposely white.

“He’s thrown away in a way that the other members of the main cast are not," Aster notes. “And that is because these people have no further use for him.”

The Harga, when not inbreeding with each other, go out and groom new members to either 1. Be sacrified or 2. Introduce new genes by manipulating people into the cult or drugging & raping them (what they did to Dani & Christian), & they ONLY pick white people for this. There are no nonwhite Harga & that's not an accident.

The script also makes it crystal clear that the nonwhite couple were specifically chosen (bc they are not white) & brought there to be sacrificed & were never going to live. The member that brought the nonwhite couple displays hatred & malice towards them when they're not looking, but doesn't do this with the other white outsiders

(Ingemar is the Harga that brought Connie & Simon, the nonwhite couple). Connie & Simon didn't do anything wrong, they didn't do anything outright to insult the Harga. The only thing they did was be shocked about seeing the ritual suicide & express desire to leave (and they weren't the only ones who did this, Dani also did). And yet they were some of the first to die.

Even the visuals-- the Harga wear all White, it's always in blinding daylight. Whiteness is a GLARING theme. There's also foreshadowing early on in the film, where a book titled "The secret Nazi language of the Uthark" featured in Christian's room just before they go to Sweden.

There's also other Nazi ideology present within the Harga, such as the strict gender roles (the women all wear dresses & cook & clean & care for the children together but the men butcher the bear together), eugenics & ableism (the elderly are killed off at a certain age because they see disability & needing to be cared for as an elder "shameful", which is what one Harga states at the ritual suicide scene, & of course killing off the nonwhite characters), the "return to tradition" ideology (there are NO modern technology in the community, & it's in the countryside).

You see a cult full of ONLY White people, using Norse paganism (something VERY popular with Nazis) in an isolated area, who routinely murder poc, don't intermix with poc, kill off their elderly, Dani (the blonde, light eyed white girl) is praised for her beauty & made their May queen by the Harga, with strict gender roles, & this film was made by a JEWISH MAN to show the Harga as the bad guys, & you don't have a hunch that the Harga are maybe supposed to be white supremacists/nazis? That doesn't raise any red flags for you?

& let's not forget how Scandanavia committed genocide against the Saami, the Indigenous population who were there for hundreds of years before anyone else. That's a little off topic, but as a First Nations Canadian I aint gunna let that just go unacknowledged. Scandanavia has a white supremacy problem too, & Ari Aster is right for pointing it out

[sparkbeast20]

What if it wasn't Satan?

I always wonder if it wasn't Satan that came to earth and saved us from Gabriel... What if it was a different king.

Firstly, Lucifer... Yeah, no Gabriel won't even try and anger him. The two would exchanged glare before Gabriel up and left. Sure we don't know if Lucifer's power would even work in earth. But with what we know about Lucifer's history with his brothers I would assume that Gabriel would retreat like Michael in the two star event.

As for the contract... Would Lucifer agree to bring Minhyeok alive? There is a small chance of Lucifer agreeing to make a contract with MC, with his angel nature of disliking Solomon and that fact that in this possibility MC doesn't have "I'm here in hell to help you" plot armor. So, MC has to really think outside the box to convince Lucifer to make a contract with him. Also, it is a give if MC did manage to do it, they'll be staying in Paradise Lost, and it would a sure in that Paradise Lost would still get angel attacks but not that much, which also means there has to be a different way for MC to meet the other kings otherwise, why would MC leave Paradise Lost? Or they write it as though MC needs to get to each region and help the kings and nobles.

Next, Leviathan. The way I see how he'll agree to go to earth and save MC is by having an information about MC and that they have God's permission before hand and not later in Chapter 5 of the main story. He'll save only because of that.

Now with the contact in order to save Minhyeok, yeah no. That ain't happening with how his H scene went. He wouldn't make a contract with MC in order to save Minhyeok. So, the way I see it, Solomon would be a voice in MC during them and Leviathan's talk about saving Minhyeok, MC wouldn't know who Solomon is, but they'll believe anything at this point (I mean after seeing and angel kill your friend and slice you chest, who wouldn't believe what is real or not) Solomon would have to tell MC how to handle Leviathan. And they try and stand up to Leviathan, after that... He'll agree, only with specific conditions and he'll save Minhyeok, have a contract with MC (With a few death threats sprinkled here and there) and They'll both head to hell and to Hades.

Next, Mammon. Honestly I could see Mammon going the same way as Satan, only this time he'll and attack Gabriel as soon as MC was yelling at Gabriel, Mammon would see their display of anger adorable but also admirable. And knowing Mammon, he gladly take this human with him. Back to the attack, Gabriel insult Mammon before leaving.

MC mourns Minhyeok, and that when Mammon mention about the contract and MC begged Mammon to saved Minhyeok and Mammon agrees only if MC would answer him truthfully. MC agrees and when the contract is one and done, he asked if they desire his body and to that MC pour their thoughts about his body and that's when Mammon and taste their greed for him. He quick laugh and say that they'll be staying with him and quickly he picks them up in his arms and both headed to Tartaros.

Finally (For now) is Beelzebub, And Honestly Beelzebub would try and test MC as he dealing with Gabriel, and when the angel left. Beelzebub would just try to leave, and that when MC try and stop him. That was their first test and MC passed, next he taunt them like what he did in his selfie and MC did they're best to not let this taunting get to them and that was the last test and Beelzebub is interested of this human.

Next, is relative easy and I kinda see it going as Satan's contract. The hardest part is that MC would have Beelzebub interest and now that they have it, Beelzebub would be like "Okay" and form a contract with MC. As for where we be staying... There's actually two ways, one is obviously in Abysoss but only differences is that Beelzebub would just leave MC to Bael and leaves and only in occasions that he'll stay and spend time with MC. Next is that he'll pawn MC to one of the other three kings, high possibility is Leviathan or the other two.

Will make a Belphegor and Asmodeus once they are in the game, till then.

[hayatheauthor]

Crafting Character Voices And Distinct Dialogue

A well-crafted character voice can breathe life into your narrative, making readers feel as if they're eavesdropping on real people. Each character's dialogue should be as distinctive as their fingerprints, reflecting their personality, background, and motivations. 

Creating distinctive character voices is one of the first things I learned in my creative writing lessons. Whether you're a seasoned writer or just starting, understanding how to create authentic and unique character voices is a crucial skill. So, here’s my guide on how to personalise your dialogue. 

Understanding Your Characters

To craft dialogue that resonates, you must first get to know your characters inside and out. Dive deep into their psyche, exploring their backgrounds, beliefs, values, and desires. What drives them? What keeps them up at night? Understanding these intricacies is the foundation upon which you'll build their unique voices.

Additionally, consider their primary language or dialect. A character from Italy, for example, might have a different vocabulary and speech patterns than someone from India. For instance, an Italian character may use phrases or expressions unique to their culture, adding depth and authenticity to their voice. This not only provides cultural richness but also enhances the character's individuality.

Creating Distinctive Speech Patterns

Once you've delved into your characters' backgrounds and cultural influences, it's time to work on their speech patterns. Think of this as giving each character their own linguistic fingerprint. Here are some key elements to consider:

Unique Vocabulary: Each character should have a vocabulary that reflects their education, interests, and experiences. A well-read character might use more complex words, while a simpler character may prefer everyday language.

Sentence Structures: Pay attention to how characters structure their sentences. Some may favor long, flowing sentences, while others opt for brevity. This reflects their thought processes and personality.

Idioms and Colloquialisms: Characters from specific regions or backgrounds might use regional idioms or colloquial expressions. For example, a Texan character might say, "fixin' to" instead of "intending to."

Influences from Native Language: If your character speaks more than one language, consider how their native language influences their speech in another language. They might occasionally switch to their native language for emphasis or use idiomatic expressions from that language.

Accents and Pronunciation: If your character has a distinct accent, consider how this affects their pronunciation of words. You can subtly convey accents through dialogue without overdoing it, using phonetic spelling sparingly.

Tone Tags: Incorporating tone tags (e.g., nervously, confidently, sarcastically) can convey the character's emotions and attitudes during a conversation. These tags help readers understand the subtext of the dialogue.

Imagine a character named Maria, who hails from Mexico. She might use Spanish phrases when speaking English to emphasize her cultural background. Her speech could be peppered with warmth and expressions of hospitality, reflecting her upbringing.

Dialogue Tags and Character Expressions

Dialogue tags and character expressions are invaluable tools for conveying the nuances of character voices. They add layers to your characters' speech, giving readers insight into their emotions, intentions, and personalities.

While "said" is often your best friend because it's unobtrusive, don't hesitate to mix in other tags to convey mood and tone. For instance, instead of always using "said," consider alternatives like "whispered," "shouted," "murmured," or "replied." Choose tags that align with the character's demeanor and the context of the conversation.

Character expressions and actions:

Non-Verbal Communication

Beyond dialogue tags, describe how characters express themselves physically while speaking. Actions, gestures, and facial expressions can reveal a lot about a character's emotional state or their intentions. If a character nervously tugs at their collar while speaking, it conveys anxiety. If another character smirks while delivering a line, it hints at their amusement or mischief.

Using tone tags:

Incorporate tone tags like "nervously," "confidently," "sarcastically," or "gently" to clarify the character's tone of voice. These adverbs provide crucial context to the dialogue, helping readers understand the character's emotional state.

Social Influence

Remember that a character's social background can significantly influence their speech. For instance, a character from a wealthy background might use more formal language and have a refined way of speaking. They might avoid slang or contractions. In contrast, a character from a less privileged background might use colloquialisms, contractions, and have a more relaxed speech style.

Balancing character expressions and tags can breathe life into your dialogues, making them engaging and memorable for readers. Use them strategically to punctuate and emphasize key moments in your characters' conversations.

Balancing Consistency and Evolution

As you craft your characters' dialogue, it's crucial to strike a balance between consistency and evolution. Characters should maintain their unique voices throughout the story, but they can also grow and change. 

Consistency is key to character integrity. Readers should be able to recognize a character's voice from the beginning to the end of your story.

To achieve this create a character profile that includes detailed notes on their speech patterns, vocabulary, and idiosyncrasies. Refer back to your character profile whenever writing dialogue to ensure you stay true to their voice.

However, characters, like real people, can evolve and change over time. Events, experiences, and personal growth can influence how they speak. To reflect this evolution gradually introduce changes in their speech as they undergo character development. You can also use dialogue to convey their changing perspectives, priorities, or emotions.

For example, a shy character might start using more assertive language as they gain confidence throughout the story. Their evolution should feel natural and in line with their character arc.

By maintaining consistency while allowing for evolution, you can create dynamic and believable character voices that resonate with your readers.

Dialogue Exercises and Practice

First things first, get to know your characters like you're catching up with an old friend. Dive into their quirks, fears, what makes them tick, and what ticks them off. Once you've got a handle on that, it's time to let them speak their minds. Ever heard of character monologues? It's like giving your characters a stage to shine. Let them ramble, vent, or reminisce—it's like therapy for both you and your character.

Now, let's talk duets. Imagine pairing up two characters from different walks of life for a conversation. It's like a linguistic showdown, and you're the ringmaster. See how they bounce off each other, and you'll bring out their unique voices like a pro.

Last but not least, voice journals. Think of it as a diary for your characters. Let them jot down their innermost thoughts and feelings. It's like having a backstage pass to their minds.

Remember, mastering character dialogue is a journey, not a sprint. Your characters will evolve, and so will your knack for making their voices stand out.

Avoiding Stereotypes and Clichés

When creating character voices it's important to avoid those clichéd, overused character stereotypes. We've all seen them: the tough-as-nails detective with a whiskey habit, or the ditzy cheerleader who cares more about lipstick than world affairs.

As writers, our mission is to create characters that feel fresh, real, and relatable. So, let's steer clear of the tired old tropes and explore the vast spectrum of humanity.

Instead of falling into the trap of predictable character traits, dig deeper. Ask yourself: What makes your character tick? What are their quirks and passions? Sure, your character might be a brilliant scientist, but what sets them apart from every other lab coat-wearing genius out there?

Diversity is your friend here. Embrace the rich tapestry of human experiences and backgrounds. Give your characters unique voices that reflect their individuality, and you'll create characters that resonate with readers on a whole new level.

I hope this blog on Crafting Character Voices will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

[chaos0pikachu]

Is BL Being Overly Influenced by Modern Western Romance Tropes?

Short answer: No. anyways, in the following essay I will explain that James Cameron is a weeb...

(okay fine~~ lets actually do this)

TLDR: discussing what media globalization is, how fandom can distill it down to only American/European cinema, showcasing how a lot of current BL is influenced by countries within it's own proximity and NOT "the west" but each other, also James Cameron is still a weeb

I had seen a post that basically proposited that BL was being influenced by modern western romance tropes and had used things like omegaverse and mafia settings as an example. I found this, in a word, fucking annoying (oh, two words I guess) because it's micro-xenophobic to me.

It positions western - and really what we mean by this is American/European countries, we're not talking about South American countries are we? - cinema as the central breadbasket of all cinema in and of itself. Inherently, all following cinema must be in some way, shape, or form, influenced by American/European standards, and as such America/European countries are directly responsible for cinema everywhere else, and these places - namely non-white countries - do not influence each other, nor have their own histories in regards to storytelling or cinema and do not, in turn, also influence American/European film making either.

Now like, do I think all of that~~ is intentionally malicious thinking on behalf of folks in fandom? No, so chill out.

I do, however, think a lot of it is birthed from simple ignorance and growing up in an environment where ~The West~ is propagated to be central, individual, and exceptional as opposed to the monolith of "Asia" - by which we mean China, Korea, Japan don't we? How often in discussions of Asian countries is Iran, India, or Saudi Arabia brought up even tho they are all Asian countries? - or the monolith that is South America - in which some folks might believe regions like the Caribbean and/or Central America belong to, but nope there both North America.

Anyway, what we're talking about here is the concept of "media globalization":

"The production, distribution, and consumption of media products on a global scale, facilitating the exchange and diffusion of ideas cross-culturally." (source)

"The media industry is, in many ways, perfect for globalization, or the spread of global trade without regard for traditional political borders. [...] the low marginal costs of media mean that reaching a wider market creates much larger profit margins for media companies. [...] Media is largely a cultural product, and the transfer of such a product is likely to have an influence on the recipient’s culture." (source)

Typically when I see fandom discussing what falls under MG the topic is usually focused on how "the west" is influencing Thai/Korean/Chinese/Japanese media.

Enter, Pit Babe.

Surely Pit Babe was influenced by Supernatural right? Omegaverse is huge in the west - love it, hate it, meh it - it originated in the west - specifically via Supernatural after all.

Nah.

Omegaverse has been popular in Japan and China for almost a decade, if not longer. The earliest omegaverse manga I can think of is Pendulum: Juujin Omegaverse by Hana Hasumi which was released in 2015, almost a decade ago.

(what if you added furries into omegaverse? WHAT IF?? - Japan)

There's countless popular omegaverse manga too, and the dynamics only moderately resemble the ones we're familiar with in the west. Juujin is part omegaverse and part furry/beastmen - the alphas are all beastmen the omegas are humans - while something like Ookami-kun Is Not Scary only slightly resembles omegaverse dynamics as a hybrid series - beastmen are really popular in Japan in part b/c of historical mythology (you see the combination of romantic Beastmen and Japanese culture & folklore in Mamoru Hosoda's work The Boy and the Beast and Wolf Children).

Megumi & Tsugumi (2018) is so popular they're an official English edition published by VIZ's imprint SuBlime and that's a straight up omegaverse story.

(look at the omega symbol on the cover loud and proud baby)

So if Pit Babe was influenced by anything, it certainly wasn't "the west" it was Japan, Korea and China. Because those countries have a thriving omegaverse sub-genre going and have had such for 10 plus years now. Supernatural is popular in Japan, yes, and that may be where Japan and Japanese fans originally found omegaverse as a fictional sub-genre.

HOWEVER

Japanese fans took the sub-genre, bent it, played with it, and evolved it into their own thing. As such, other countries in their proximity, like Thailand, China, and Korea who read BL and GL manga, found it and were like "hey, we wanna play too!"

(is that an omegaverse yuri novel I spy?? yes, yes it is)

When I watched the Red Peafowl trailer, it had more in common with Kinnporsche, History: Trapped, along with films and shows like: Jet Li's The Enforcer, and Fist of Legend, Donnie Yen's Flash Point, Raging Fire, and Kung Fu Jungle, Han Dong-wook's The Worst of Evil, Kim Jin-Min's My Name, Lee Chung-hyeon's The Ballerina, Baik's Believer & Believer 2, Yoshie Kaoruhara's KeixYaku, popular Don Lee films The Gangster, the Cop and the Devil and Unstoppable alongside BL manga like Honto Yajuu and Bi No Isu (probably one of the most well known yazuka manga to date).

Like, we're seeing a rise in mafia based BLs and people think that's because of "western influence" and not the absolute insane success of kinnporsche??? Especially in countries like China, Korea, Taiwan, Philippines and other Asian countries???

Mafia films and gang shows aren't even that popular here in America/Europe; don't get me wrong, they still get made and exist, but the last full length film was The Irishman which did not make it's budget back, and while Power is still on-going it's not a smash hit either. The heyday of Breaking Bad, The Sopranos, The Wire, Goodfellas, and Scarface are long gone. And if you've watched any those shows or films they have very little in common with Kei x Yaku, Kinnporsche, or Red Peafowl in tone, or style.

(who knew martin just wanted to make his al pacino/robert de niro fanfic come to life all these years?)

Another example, The Sign, which is clearly taking inspiration from Chinese costume dramas: Ashes of Love, Fairy and Devil, White Snake (and it's many adaptions), Guardian, & Ying Yang Master Dream of Eternity. Alongside Hong Kong and Korean cop and romance shows like Tale of the Nine-Tailed, Hotel Del Luna, Director Who Buys Me Dinner, First Love, Again, and previously mentioned cop dramas.

Like, I know y'all don't think Twins is influenced by, what, American sports classic Angels in the Outfield?? Gridiron Gang?? Rocky?? Nah that shit is inspired by the popularity of sports manga like Haikyuu!!, Slam Dunk, Prince of Tennis (which even has a Chinese drama adaption), and the like. And also probably History 2, & Not Me but I'm like 87% sure Twins is just Haikyuu fanfic.

So like, does this mean that there's NO history in which American and European cinema influenced these countries? What, no, obviously that's not true, American/European totally have had media influence on countries like Korea, Japan, etc.

Astro Boy by Osamu Tezuka considered "the father of manga" was inspired by Walt Disney's work on Bambi. Another more recent and prominent example is director Yeon Sang-ho and his film Train to Busan.

"And it was Snyder’s movie [Dawn of the Dead, 2004], not the 1978 original, that filmmaker Yeon Sang-ho recalled as his first encounter with the undead. “That was when I started my interest in zombies,” Yeon said, in an email interview through a translator from South Korea. Even today, he added, “it’s the most memorable and intense zombie movie I’ve ever seen.”" (source)

HOWEVER, the global influence doesn't stop there. It's not a one-way street. Yeon Sang-Ho was inspired by Zack Synder's Dawn of the Dead, a remake of George Romero's own work, but Yeon Sang-Ho's work has inspired countless Korean film makers to make their own zombie media; following Train to Busan there's been: Kingdom (2019 - current), All of Us Are Dead (2022), Zombie Detective (2020), Zombieverse (2023), Alive (2020), Rampant (2018).

And hey, wouldn't you know it now we're starting to see more zombie media coming out of places like Japan (Zom 100 the manga, movie, and anime) and High School of the Dead.

Do you know what Domundi's series Zombivor (2023, pilot trailer only) reminds me of? It's NOT The Walking Dead (which is the only relevant zombie media America has created in the last decade) it's Korea's All of Us Are Dead (2022). Comparing the trailers, the settings, the tone, it's clear where Zombivor is pulling inspiration from: Korean zombie cinema. NOT American zombie cinema.

In fact a lot of Domundi's shows - Cutie Pie, Middleman's Love, Naughty Babe, Bed Friend - are all very clearly inspired by Korean filmmaking, specifically that of romantic kdramas from the 2016 - 2020 era. Not always in story, but rather in technique.

This is media globalization. It's not simply ~The West~ influencing non-American/European countries but countries who are often more close in terms of: proximity, culture, and trade are going to have more influence on each other.

It is far more likely that Aoftion (Naughty Babe, Cutie Pie, Zombivor) was influenced by watching Train to Busan, All of Us Are Dead, and other Korean zombie shows and films than a single episode of Walking Dead.

My point isn't that this goes one way only, but rather it is very literally a global thing. This includes American and European film makers being influenced by non-American and European cinema.

Martin Scorsese, Steven Spielberg, Darren Aronofsky, Christopher Nolan, the Wachowski sisters, George Lucas and James Cameron have all been influenced by Japanese film making, especially the works of Akira Kurosawa, Satoshi Kon, and Mamoru Oshii.

John Wick's entire gun-fu sub-genre is heavily influenced by classic Hong Kong action films, specifically John Woo films. Legend of Korra, The Boondocks, Voltron, Young Justice, My Adventures with Superman are all obviously inspired by Japanese anime but animated by a Korean animation studio (Studio Mir). Beyond that, the rise in adult animated dramas like Castlevania, Critical Role Vox Machina, and Invincible to name a few are very clearly taking inspiration from anime in terms of style. The weebs that were watching Adult Swim's Inuyasha, Bleach, and Dragon Ball Z have grown up and are now working in Hollywood.

Okay so like, what's the point of all this? What's the issue? Since American/European cinema does influence et all cinema does any of this really matter?

YES.

I take contention with this line of thinking because it centers "the west" and our supposed individual importance way to much. Declaring definitively that "BL is being influenced by western tropes" and then including tropes, narratives, and film making styles that aren't inherently western and actually have major roots in the cinema of various Asian countries, removes the existence of individual history these countries have which are rich, varied, and nuanced. It removes the "global" part of globalization by declaring "the globe" is really just America and Europe.

It distills these countries down to static places that only exist when American/European audiences discover them.

BL doesn't exist in a vacuum you can trace the development of Korean BL to the development of Korean het dramas almost to a T. You can also trace their development to the queer history of each country and how Thailand interacts culturally with China, Japan, Korea, etc and vice versa. It also ignores the history of these countries influencing American cinema as well. Don't mistake "the globe" for only your sphere of experience.

Anyway James Cameron is a damn weeb y'all have a good night.

Check out other posts in the series:

Film Making? In My BL? - The Sign ep01 Edition | Aspect Ratio in Love for Love's Sake | Cinematography in My BL - Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign | How The Sign Uses CGI | Is BL Being Overly Influenced by Modern Western Romance Tropes?

[like these posts? drop me a couple pennies on ko-fi]

[slavic-roots-western-mind]

Chinese musical instruments pt. 1

I was inspired by my research into the different types of Chinese opera, so I decided to write about the chinese musical instruments.

Usually, traditional chinese instruments are grouped into 8 categories, 八音 (bā yīn): metal, bamboo, wood, stone, silk, clay, gourd and skin so I'll try to group them accordingly.

Metal 金 (Jīn)

Bo 钹 (bó) This is a percussion type of cymbal, with the size varying on the subtype. This instrument is also used in some chinese operas, which makes it all the more interesting to hear.

Bianzhong 编钟 (biānzhōng) This is a set of bronze chime bells, arranged in a specific order with each bell having it's own two special pitches which are usually determined by the bell size. The structure is especially interesting, as all the bells are hung from a frame (typically wooden) from which they're played. Other countries also have similar instruments, such as Japan, Vietnam and Korea although their names vary and they may have their own specific features.

Luo 锣 (luó) Luo is actually a general name for a gong, which varies in size and pitch depending on its type. Depending on the size, luo can either be hung on a frame or if it's small enough it can be played in hand.

Yunluo 云锣 (yúnluó) Like the luo, these are also gongs, named cloud gongs. There are 10 small gongs in a frame with the same size but different thickness so that each gongs pitch would vary. There is a more modern version, which has over 20 gongs and is much larger in size.

Suona 唢呐 (suǒnà) The Suona is a double-reeded trumpet, with reed meaning a thin strip of material. As Suona is classified as a metal instrument, it's made from metal with the reed attached to it. It's actual origin is quite interesting, as some sources place the Suona all the way to the Jin dynasty (266-420), whereas some consider Suona's origin to be from outside of China.

Bamboo 竹 (Zhú)

Dizi 笛子(dízi) The Dizi is a Chinese flute, which has quite a lot of varieties, such as 梆笛 (Bāngdí). This flute is especially interesting as it's used in Chinese opera, Chinese folk music and also in Chinese orchestra. Depending on the region, different bamboo is used to create this instrument - Purple bamboo in the north and white in the southern regions, although other material can also be used, even jade.

Xiao 箫 (xiāo) This is a vertical flute, orginating from the Qiang people in ancient China. The material is usually bamboo, with black and purple bamboo considered to be the best type. There are also quite a few variations, such as the 北箫 (Běixiāo), 琴箫 (Qínxiāo) and 南箫 (Nánxiāo).

Paixiao 排箫 (páixiāo) The Paixiao is a type of a panflute, which has a noticeable difference from the western type, as the pipe holes are created via an angled cut or a notch.

Bili 筚篥 (bìlì) / 管 (guǎn) This is a double-reed pipe, which has a few names. Guan appears to be a general name for woodwind instruments, so if looking for this specific instrument, it should be searched using Bili. This instrument can be traced back to the Zhou dynasty, where it was used as a military instrument. Later it became a popular court and ritual instrument, but eventually lost it's court popularity. Instead, it's quite popular in folk music and in Peking Opera, especially for military scenes.

Xindi 新笛 (xīndí) The Xindi is a more modern type of Dizi (the name literally means a new flute), which first appeared in the 20th century. The xindi differentiates itself from the original dizi by it's additional 5 holes, allowing for lower tones which makes it quite important for the Chinese orchestra.

Wood 木 (Mù)

Muyu 木鱼 (mùyú) This is a wooden fish-shaped woodblock which is hit to create a beat during rituals, most commonly during Buddhist ceremonies, Muyu's name literally means a wooden fish, as it's origin stories are associated with fish, with one story claiming that a fish helped a monk but in turn asked him for a favour, which the monk promised to do but forgot. The fish became angry and splashed him into the water. The monk survived, but his notes were all ruined, which is why he made a wooden statue of the fish and beat it.

Yu 敔 (yǔ) On the topic of animals, this is a tiger-shaped hollow box with toothed edges on its back. Why a tiger? It may be because the tiger had a powerful association with strength and power, although I have yet to find a source confirming my theory.

Zhu 柷 (zhù) This is a wooden box that has an open middle, which is played by using a wooden stick to hit the inner bottom. This instrument is very rarely used nowadays, with the majority of Zhus being in museums and temples, but apparently they still remain in use in a few temples for ceremonies.

Paiban 拍板 (pāibǎn) The Paiban is clapper made of wooden or bamboo flat pieces. When it's played together with a drum, this combination is called a Guban 鼓板 (gǔbǎn), which is used quite often in various different music genres, such as Peking Opera, Yue Opera, Kunqu Opera and others.

[clanwarrior-tumbly]

Could I request a reader who has an espathra. Espathra is from Reader's grandma who used to be a model and singer. Espathra is walks like a diva but is an absolute sweetheart. Reader joined the academy as a student and told the trio (Arven, Nemona and Penny) the reason why I joined the academy was because I never liked those private schools as I was always bored and hated dealing with the others as the students tend to annoy reader or be mean.

Arven

Tbh when he first saw your Espathra strutting down the streets of Mesagoza, he rolled his eyes.

He's well aware of how sassy and aggressive wild ones can be, but he assumes that even those tamed by trainers aren't any different (and sometimes a Pokémon's personality can rub off on them, too).

Once he gets to really know you both, though, he quickly realizes how friendly your Espathra is around people--even Mabosstiff.

Ofc they're still sassy, although they don't have a single mean bone in their body and don't try to reach across the table to steal his sandwich ingredients.

During lunch, you share how they once belonged to your grandma--who used to be a famous model and singer until she retired, deciding to leave her treasured partner in your care.

Arven never watched much TV growing up, so he never saw her performances. He just shrugs and says "that's kinda cool, little buddy."

But he grows concerned when a random kid intrudes on your picnic, asking about your grandma and wanting to pet the Espathra.

Suddenly the psychic type makes them shut up by immobilizing them on the spot....as he sits there wondering why tf you allowed them to do that.

You explain that's exactly why you transferred schools--specifically from a private one in another region to the Academy here in Paldea.

The students there kept bugging you, asking for your grandma's autograph and getting angry when you refused to take something they wanted her to sign or deliver fan mail as though you're some messenger Noctowl.

In short, they only ever talked to you if they wanted to contact her...and that made you feel quite bored and lonely, never gaining any real friends.

Luckily, Arven was already your friend long before he knew any of this.

He can definitely empathize with people constantly bothering him because of his connection to his "famous" parents.

Nemona

Not only has she obsessively watched the gym leaders' battles on TV, she also followed each of their social media accounts for years.

And on Tulip's page, she discovers that both her and your grandma did a collab for a new makeup brand inspired by their Espathras.

At the time, she didn't know you at all, but after hearing your last name and seeing your main partner Pokémon--she pulls you aside after class, eyes sparkling.

"So [y/n]..you're related to THE-?"

"Yes." You brush her hand off your shoulder, already knowing where this was going. "If you want an autograph, go to her retirement home and ask for her. I'm not your messenger."

You storm off, your Espathra giving Nemona a soft apologetic look, before they follow you, hair swishing gracefully.

However being the stubborn girl that she is....she eventually catches up to you, huffing and puffing and apologizing endlessly.

All she wanted was a simple battle with your Espathra (she almost called it your grandma's Espathra but quickly corrected herself--something you appreciated her doing).

It takes you by surprise, but you listen to her wishes and end up defeating her final Pokémon with a brilliant Lumina Crash that lit up the night sky.

After the battle's won, you explain that her attitude when you first met reminded you of the kids who bothered you back at your old school--which became the reason you transferred to Paldea to begin with.

You found her annoying.

Now? She was slightly less annoying since she genuinely wanted to befriend you, and not because you're related to a retired celebrity.

Penny

Team Star's had their fair share of feisty Flittles invading their outposts, always having to chase them out or risk being attacked just for gathering berries for their Pokémon.

Arceus forbid an outbreak of Flittle ever happened...

Because of that, Penny's always been skeptical around that evolution line, convinced that most Espathras are hostile.

The ones down in Area Zero's caverns especially made her nervous.

However, yours is a special case as they showed no aggression towards her, Arven, or Nemona.

You really owe it all to your grandma, mentioning how your Espathra used to be her partner in concerts and modeling for magazines.

They enjoyed being by her side and were content with retiring to Paldea after she ended her career on a high note.

She always talked about how they've adored singing since they were a little Flittle, and that they inspired her to keep going whenever she felt overwhelmed by the paparazzi and self-doubt.

How you wish you had her confidence at the private school you used to attend...but it became too much to handle after so many kids annoyed you simply because you're related to her.

You begged to be transferred out of there--for your sanity and for Espathra's, too.

After telling Penny all these stories, she definitely sees a different side to the Flittle line now, realizing that maybe not all of them are aggressive sassy berry thieves.

But when a grunt comes over (only overhearing that you're related to somebody they used to watch on TV all the time), Espathra just immobilizes them on the spot.

It frightens Penny, but the ostrich just smiles calmly at her.

You laugh and pet their beak, reassuring her it's nothing to be scared of--that kid simply won't remember ever asking you for your grandma's autograph.

From there on, she sends a message to all of Team Star not to make the same mistake that grunt did.

[ursiday]

Okay im being so real do you mind if I use your art of cats as a reference? I’m trying to relearn on how to draw cat faces and I’m using your art to help me out. I’m not sure if you would be okay with that???

If you'd like to sure I don't really mind, but if you post anything referencing specific pieces I've done I'd appreciate credit! Though I'd be cautious in general about primarily relying on art when learning to draw something, especially any particular artist. I get that it's easier to reference drawings a lot of the time since they're already broken-down/stylized more than a photo, but you'll also be referencing whatever quirks and inaccuracies the artist has intentionally or unintentionally put in the drawing, and my cat drawings are certainly not perfect and also tend to be anthropomorphized lol

If anyone is interested in good sources for cat reference photos these are some of my faves :-)

https://www.warrenphotographic.co.uk/set12ff/1/cats-kittens

https://catza.net/en/

https://cfa.org/top-cats-2023-regions-1-9/

https://tica.org/breeds/tica-s-top-cats/2023-top-cats

(CFA and TICA have a bunch of pages of top cats from the last decade, as well as galleries for each breed)