#artists make art because we not only enjoy the final outcome | Explore Tumblr Posts and Blogs

galebrainrot2024 · 8 months

Text

Gale Seeking Godhood Part 6 Paths 2 & 3

Bear with me because after this part, paths 2 and 3 will diverge thus this one is shorter than usual. Hope you enjoy!

Gale POV

“See you soon.” Raphael's words spun in an endless web, muddling Gale’s mind. Now, more than ever, Gale was at a crossroads. What did Raphael mean when he said that celestial would quake? That he had presumed every possible outcome - that ambition was a delicious sin… and a dreadful weapon. Spewing useless nonsense, as always, Gale thought.

Gale had come this far and he didn’t intend to let an insignificant fool of a devil dissuade him. When he went to sit, he noted the parchment that was left on his desk resting atop the Annuals of Karsus. He fingered the page, the paper heavier than expected. It read:

It is a great paradox among wizards who so value the art of learning, that we believe ourselves ever cannier than the ones who came before. If envy is the disease of the artist, hubris, is that of the wizard. Though I fear my warning will fall on deaf ears, I will say it again: the closer, a wizard creeps to the domain of the divine, the closer oblivion creeps with him.

I thought myself an equal to Mystra and devised a plan to make myself her equal. I would pluck one strand of Weave and contain it within an amulet I spent the better portion of the years devising. How regret instantly heaved itself upon my head. I was trapped within the amulet instantaneously, and passed around from collector to curio-hall for the better part of a millennium. Only now that I am freed, with barely the strength to hold my quill, can I leave this final warning as a testimony.

Gale snorted and rolled his eyes. The drama of it all was starting to grate at his nerves. A wiser mind perhaps would have recognized the clear warnings, despite the message being delivered by a devil. A more sensible person may have heard the concerns of their loved ones at least if not that of the cambion. Gale did not realize that within Raphael’s words there was truth yet to be heeded.

Gale sat at the desk, putting the parchment to the side and ran his fingers over The Annals of Karsus. Within these pages was the preamble to Netheril's downfall, committed to parchment by the very hand that wrought its destruction. He had gotten to know the pages intimately, perhaps more so than himself.

As he felt the rough pages a memory returned to him, the moment that you and he entered the vaults at Sorceries Sundries, the moment you handed the book to him. He had been filled with awe, curiosity, and an intense need for the Crown when he held it in his hands. He allowed himself to fall into the memory.

“That devil Raphael was telling the truth. There is no doubt – the Crown of Karsus is what’s controlling the elder brain. And this – this is no mere journal. It contains the original plans for the crowns construction. His designs for godhood.”

He remembered you asking, “A design you can follow?” He tried to picture your face, tried to attune to the emotions that flashed before him, but that was lost to time. He was so enthralled by the possibility the crown offered he had paid little attention to your reaction. This realization sends a pang of regret through him as the memory unravels.

“Not from scratch – unless you happen to have several pounds of the purest Netherese metals in the pack of yours?” Gale had said cheekily, “What’s called for here is something altogether different. If we can collect the Crown’s setting, the three Netherstones, and with the correct invocation of certain spells and gestures, detailed in these notes… I think I could reforge it. It could be the best thing that ever happened to me.” Gale quickly amended, “To us. Just think of it… the power of the Gods in mortal hands at last. We’d be free of doctrine and dogma, confined only by the limits of our imaginations. We must discuss this further. Privately. Find me later and I will show you something truly divine.”

Gale held his head in his hands, his elbows resting on the desk at present. As the memory continued, he was wrought with the worry he should have done something different. Had you meant it? Had he pushed you too far, projecting his wishes onto you? Had he been so blind? His stomach churned as he thought of the moment he shared the outer planes with you, searching for your trust. Ensuring your belief in him. Declaring his love and devotion for you.

“Few mortals ever glimpse what you’re about to see - but don’t be alarmed. I’m here with you. Open your eyes.” Gale remembered how your hands lithely pulled at the strings of the celestial planes, the vibrant and surreal colors swirling around you. How lovely you had looked as you both marveled at the abyss. Gale was beaming, his eyes fixed on you.

“The outer plans… this is where the Gods dwell. Where they observe us from afar. Where they make play things of us. They would keep all of this from us – the power, the possibilities. They only want us to serve them, pray to them… and ultimately die for them. But what if we didn’t need them? What if we wielded their power instead and helped ourselves in all the ways they refused to. I could make that happen. I could make this illusion a reality, with you by my side.” He remembered holding your hands in his, how you both seemed to shake and buzz from the adrenaline of it all. How bewildered you appeared and how beautiful in the realms above. He had never been so in love with you.

“Claim Godhood?” He remembered the uncertainty when you said this so he quickly reassured you.

“I don’t want to join them, I want to better them. A Gods power paired with a mortal conscious, a mortal heart. The tadpoles, the orb - these threats to our existence – the gods could aid us if they wished, but instead they cower behind Ao. So let us act ourselves. With the power of the crown, any foe would be rendered impotent. Any obstacle would be dwarfed by our mite. I used to believe Mystra’s forgiveness was worth dying for. But I was wrong. You showed me just how much I have to live for.” Gale had pulled you closer, his brown eyes pleading you to understand. To accept him. “With you, I forget my goddess. I love you. Tell me you feel the same way. Tell me you want what I want. Please.”

His heart had sunk, your next words stung: “That power will corrupt you even if you can seize it.”

Gale had insisted, “I won’t, I swear to you. It’s merely a tool – a means to an end. You told me once to choose you, the one who loved me. That’s what this is all about. Do you doubt me?”

“If you believe this can be done.. then I believe in you.” Relief had flooded him then as you leaned in to kiss him, your lips crashing towards one another. Yet now, as he reminisced, your warning rang more clearly.

The power will corrupt you.

Gale scoffed, standing so abruptly that his chair nearly fell back. He felt betrayed - more than betrayed. He felt abandoned, left to lick his wounds like an animal despite sharing in that intimacy together. Despite you saying this is what you wanted, too. Did you have so little faith in him? The feeling was somehow worse than when Mystra cast him out. It felt more visceral. Human.

Gale sighed, rubbing his face with his hand anxiously. He was second-guessing things. This was the trouble with being clever - he had to be right, probe all avenues, consider all possibilities. He knew when he overindulged in impulsivity the results were often catastrophic. Yet, when you walked this path beside him he was confident in his actions - confident seizing the power of the crown was in your best interests.

Now, he was not so sure.

He once thought himself someone of reasonably sound moral judgement, his entire purpose of reforging the crown to behold a new kind of God. A better God. As he sat alone in his study with nothing but his thoughts for company, he wondered whether or not he was making the right decision. At the precipice of Godhood and he was sweatier than a bugbears armpit. He had never felt more alone.

He chewed on his lip, mulling over the memories and over what Raphael said. All of it would be irrelevant if he couldn’t decode the final markings in the text and Raphael would eventually find the stones if he didn’t act. Sighing, he sat back down and opened the heavy book to try again.

#gale dekarios #gale of waterdeep #bg3 gale #baldurs gate 3 #bg3 brainrot #gale #god gale #gale x tav #bg3 art #baldur's gate 3 #gale romance

27 notes · View notes

glysaturn · 7 months

Note

Your art has made me rethink the role of an "artist", because I don't use that word lightly and just art in general

Art is very subjective and I am just speaking about my own thoughts about it

Overwatch is a new fandom for me and finding your art and how I as a "viewer" interact with it made me think about how we perceive art in general

I think we take it as an objective thing, where theres "good" art and then theres "bad" art

But truth be told, I think all art is good as long as the right person is looking at it

I absolutely adore your artworks, they make me feel so happy and I keep coming back over and over again

Yet I see you doubting your arts worth

Which I entirely get as someone who used to create a lot

But it got me thinking about how something so meaningful to me, can to you as the artist seem very different as someone who actually creates it and judges it from an entirely different stand point

I never thought much about the "viewer" cuz I never had more than 30 eyes on any of my artworks

But thats all just to say

I haven't enjoyed creating art for a while now, so having taken the role of just a "viewer" and applying it to how I feel about my art

I may not like my art, but the thought of someone enjoying my artworks as much as I have enjoyed yours makes me believe that maybe my art isn't so worthless afterall

Because your art has not only inspired me to get back into drawing, but just in general has brightened up my days even if just a little bit

And my new definition of an artist I think is much healthier and forgiving

An artist is someone who creates from the heart

And if they manage to make someone feel with their art, especially if they manage to inspire or motivate them? Then thats art at it's finest

With all this AI talk and everything, I feel like we more than ever need to realize that art is the core of humanity

I believe theres nothing more beautiful than creating art and enjoying it, each person creating and interpreting art in their own unique ways

It's beautiful, it's why we are who and what we are

Nothing will ever be able to replace the joys of human creativity and passion, as horrible as the future looks I believe in a future where art is so much more than just another product, where it isn't so commercialized

And artworks like yours, with emotions, with depth and human touch, made from the heart, just fuel my hope even further

I hope your passion for art never extinguishes, favorite artist

i mean i know i do take art as an objective thing 😂 when i apply it to my own art, but not art made by others, strangely enough. or maybe not that strange at all actually. but anyway that's just my first thought, my second thought that comes next is that it isn't right at all and that i should apply same standards to myself as i do to others. and it gets a bit easier. especially after i was finally able to feel like i can stand alongside all the other artists as an equal. i never used the word artist (again, applied to myself only) lightly either, that's kind of a known thing about me i'd assume, but like i've expressed before, the recent years made me kind of rethink that position. and even now every once in a while i get an epiphany that further cements this new notion. it's still hard for me to call myself an artist but if others see me that way then they are correct and that's fine. so yes, i entirely agree with your definition of an artist. that is how i think of myself, and anyone else who creates. artists need to be more kind to themselves.

i have an overarching goal. to get to the people what is important to me. hopefully you will see when the time comes. but for now, reading the things that you've said, hearing that my works made you get back into art, that seems like a goal of its own that i've apparently already accomplished. i could not imagine a better outcome. i really, really hope you will get to get to the point where you are able to love your own works, too.

about a/i, it's nice to see whenever people do come together to support each other in these extremely hard times. but at the same time it's not exactly the same as it used to be like a decade ago. or maybe that's just my personal experience, i don't know. i feel like the way creators are treated online has changed, a lot. which kills me because people do need to stay united now more than ever, make connections that are stronger than ever before. if we want artists to remain viable and if we as viewers want to continue enjoying our favourite creators' works. that being said (negative rant incoming), the looming dread of capitalism! my god! we can stay together all we want yet companies still just go ahead and feed our stuff to a/i, without us even having a chance or an option or anything. it just happens. like what, were we supposed to predict that in 10 years t/umblr would sell our everything to a/i companies to save its own skin (allegedly) and we had to stop sharing stuff to prevent that from happening? but if you kept on sharing then your works can and should be scraped, because it's the internet! it's kind of in the same vein as "if you've put your art on the internet then people are free to talk shit about it", which is like no dude there's still rules and boundaries, why must you suddenly forget to be polite and decent just because it's "the internet", unless you're the exact same way in real life :/

but i've gotten stronger over the years. i am strong enough to believe in this better future that you're talking about. i believe because i want it to be that way. and my desire for the better will make me keep going, will drag me if it has to, despite everything. and i hope others find that strength, too, if they haven't already. the evil cannot win, i simply refuse.

thanks, i intend to preserve my passion at all costs. i've got comics to make after all 🤠

#answer

6 notes · View notes

alishbaf · 5 months

Text

Writing Initiative #8

You have now had a chance to present your finalized body of work (2D, 3D, 4D, Experimental, Reflective) to the class for feedback and discussion.

As we conclude the semester, please write a summary of your experience as a final blog post, including responses to the following:

What have you learned about yourself doing this self-directed assignment?

One big thing I've learned is how important it is to manage time well and stay disciplined. When you're working on your own project, you have to be responsible and organized. This experience has helped me get better at deciding what tasks are most important, setting goals I can actually reach, and using my time wisely. These skills don't just apply to art—they're useful in lots of areas. Additionally, this experience has shown me how important it is to try new things and be open to experimenting. When I step out of what's familiar to me, I often discover new ideas and ways of doing things that I wouldn't have thought of otherwise.

Another important part of this project was learning to let things happen naturally without trying to control everything.I've found that when I stop trying to control every little detail, I give room for unexpected and exciting things to happen in my work. Especially since most of my projects were drived with letting things unfold on their own. As I had to wait for the movement of the flowing paint to distinguish the final outcome of the pieces or the growth of the bacteria determine the overall look of the 4D project.

What did you find to be the most difficult aspect of your chosen assignment? Creativity? Research? Connecting design to research? Craft? Organizational skills? Time management? Something else entirely?

The most challenging part of my assignment was connecting my designs with research and translating them into physical pieces that reflect both the research and the meaning of my chosen word. I had to balance being creative with making sure my work had depth and meaning. It was important that my craft not only looked good but also communicated the ideas from my research. Additionally, working on the craft aspect proved to be demanding. I had to rely on letting some elements evolve naturally, which meant waiting and observing over time to see if they worked as intended. This took patience because sometimes I had to start over or try different approaches until it looked right. Overall, combining my designs with research and turning them into physical art was a big challenge. It pushed my artistic and creative skills while also testing how well I could adapt and keep going until I achieved the desired result.

What did you enjoy about this opportunity?

I really enjoyed this opportunity for several reasons. First, I loved learning new skills and exploring different art mediums. It was exciting to step outside my comfort zone and try things I hadn't done before. Working with hands-on materials was particularly enjoyable compared to digital platforms like design software. Another aspect I appreciated was the freedom from specific briefs or fixed outcomes. This assignment allowed me to pursue what I wanted creatively and have a unique outcome that differed from my classmates. I liked having the flexibility to present something different and explore different ideas without strict guidelines. I loved the flexibility to experiment and see where my creativity took me. Overall, it was a rewarding experience that allowed me to explore.

How would you rate your performance over the course of the semester?

This semester, I feel like I did well overall, especially in terms of giving and receiving feedback and learning from my classmates. I made a conscious effort to approach each class with an open mind, ready to absorb new ideas and insights. It was great to see how much I gained from these interactions and how much I could contribute as well. I must admit that I struggled with procrastination at times and didn't always push myself beyond what was comfortable. However, I worked hard with the resources I had and tried my best to make things work, even when they didn't go as planned. There were moments of frustration and feeling like I could have done better, but I remained positive and persistent, pushing through challenges and staying focused on improvement. Despite the ups and downs, I'm happy to say that I ended the semester feeling accomplished and satisfied with my progress.

Hindsight is 20/20. What would you do differently, now that you've had this opportunity to work this way?

Looking back, I realize that there were opportunities I could have approached differently. One aspect I would change is my willingness to tackle intimidating challenges, such as incorporating interactive components or working with digital editing. These areas felt daunting at the time, but now I see them as a path for growth and innovation. I think I could have tried harder to make artwork that was more challenging for me. Trying out new ideas or techniques could have made my portfolio even better and pushed me to be more creative. This experience has shown me that taking on challenges is important and can help me grow as an artist.

0 notes

zygosisproject · 5 months

Text

Writing Initiative #8

During this self-directed assignment, I have learned about my own personality as a designer and what it means to have boundless creativity in my practice. In other words, I struggled to think creatively without assuming that I was not doing the assignment correctly. In earlier courses during my first year, my limit was my fear - that I was not utilizing the typography grid properly or I did not understand the expectations for the pattern assignment. These assumptions led to frequent setbacks because I always assumed I was not performing correctly during critiques.

However, this course challenged me to expand my creativity to the furthest to develop pieces that I would have not made because I was too scared of failure. It taught me to embrace happy mistakes and the trial-and-error process that eventually led to greater outcomes. For example, I started my 3D piece (communication cubes) by tracing my designs onto a block using a wood burner pen from Amazon, but the pen was too difficult to work with, leading me to try rasterizing - then linear engraving onto 3 mm plywood ( which took a while since I just started to use the Rapis Prototype Studio). With the slimes, I made a few renditions to get the perfect recipe. As per the VR, I tried to create various iterations of the sound and animation, along with the VR headset to produce an outcome that visualizes how tinnitus is experienced by those who have this hearing condition. By constantly going through the trial and error process, I was finally able to achieve what I thought was the finished product ( something that I was happy with).

By having boundless creativity, I learned different processes and mediums (wood cutting, wood burning, vinyl labeling, and poster designs) in meaning-making practices. As long as there is a story, the work of art will resonate.

2. Creativity and self-sabotaging were the most difficult aspects of my assignment. At first, I did not have any ideas of what I would do for the other pieces, aside from the 2D. This was because I assumed that every idea I had would not work and they would not be successful- without ever testing them out. I was also impatient during the process when my productions were far from finished. For example, the communication cubes took me about three weeks to produce because I did not set up the file properly or there were minor errors that prevented my designs from being qued into the cutting process, and then the painting and building process took a while because there were 156 block parts that needed to be completed.

Limit is what kills creativity, and by un-limiting yourself from that chained emotion, the results become boundless. I had to release myself from that chained emotion, that allowed me to work to the fullest and produce outcomes that were successful and expressed the true definition of zygosis that I had attached to it.

3. I truly enjoyed having my own vision of the project and being able to create my own body of work without an assignment guideline attached to it. It allowed me to explore different artists, work with multiple artists in the classroom and beyond, and experience different craft methods and practices to produce outcomes that attach to my experiences and feelings of being hearing impaired.

4. This course was a very rewarding experience, where not only did I get to share my experiences of being hearing impaired through each produced outcome, but I also got to guide my classmates in their outcomes when they either questioned or struggled with theirs. As time went on, I started to see my feedback implemented into my classmates' work, which showed me that my inputs were valued and explored.

At times, it got difficult because I was getting impatient with the production process, I ended up doing my experimental and reflective pieces together which was exhausting and time-consuming (prevented me from being able to sleep well). I did set a schedule and attempted to follow it each week; however, some processes took hours while others took weeks. With that being said, my performance over the semester was stable and exceptional, considering that I was still able to work well in my part-time job, do coursework for other classes, and work on the production for this course, all while being creative and boundless in each outcome. I also attended class each week with something to critique or show for feedback in group discussions.

5. I think I would explore more ways to create art. This semester, I had the chance to work with the shops to explore different types of paper and their capabilities and texture, and the rapid prototype studio, to bring my designs into a wooden block. In the future (for my thesis year and beyond), I would also love to explore the MAAD studios (fabrication, pottery, etc), and the printmaking, and sculpture/ installation studios, to learn and expand my creative practice by learning different mediums and materials as an emerging graphic designer, to fearlessly create and explore new ways of creating meaningful pieces.

1 note · View note

lkimball02svad · 1 year

Text

Final Course Reflection

Although I have only spent two semesters here at UofSC, I have felt welcomed in ARTS 246. From sharing my sketches for a new project all the way to critique days, I get so much accomplished, and that is thanks to my peers and also Professor Nace. The system that the gd+i staff has constructed for each of their classes works so well, and it feels so much like a professional environment. This feeling of comfort also stems from the fact that I am learning from a professor who loves their job and what they do. In addition, it is inspiring to see Professor Nace help me and the other students grow as she accomplishes her goals. I can create something great in these classes that I take because I trust the input that I am getting from my professors, especially Professor Nace.

My favorite project in this class was the Dr. Suess Zine. It was entertaining experimenting with different styles of typography. This project was a challenge because we were not allowed to use illustrative properties, only type, which I have never done before. However, playing around with a Dr. Suess book I grew up reading was fun, and making it “my own” was exciting. It was amazing to see what everyone came up with and how everyone did something different. The amazing thing about design is that everyone can be given the same task, and somehow we will all come out with totally different outcomes.

My favorite part about this class is that each project was challenging. Each project inspired me to develop something even better than the last. I was initially going to create this process book in the order of best projects to the worst, but I put it in order starting with ARTS 102 and then going into ARTS 246. This is because I wanted to show the progress of my work and all that I have learned along the way. Also, I enjoyed taking this class with Professor Nace. I learned so much from her and saw myself grow as a person and an artist in many ways.

0 notes

kriittinenyksikko · 2 years

Text

Lukupiiri kerta 2

Willen levällä olevat pohdinnat (Yritin kääntää tekstini suomeksi(Suomi ei ole äidinkieleni), mutta merkitys muuttui liikaa)

What does authorship mean in the context of graphic design seems to be a central theme in Michael Rock's opinion piece called "Designer as Author". What does it even mean to be an author and how does it relate to the designers and their daily life? I personally don't understand what Michael Rock's argument is in a nutshell, the text is in a way very well written and considers many perspectives but as a non-native English speaker I can't help but wonder what are the focal point's in question and did he come to any conclusions? So I want to raise the question, what degree of importance do we give authorship? Why is the title there in the first place, is it so we can find whoever made a piece we come across or what other reasons are there to be found? I find it interesting that early sacred texts were authorless, the anonymity of who created "a thing" makes me think of a world where humans focus more on the work rather than who made it, also I find it problematic how humans attribute "fame, honor and look up to" others. In one sense it is great to be able to enjoy works of others but how important is it to know who made it, does it give the work more value or does the work give the person more value? How would the field of graphic design look like if all works were anonymous? Do people equate author to authority?

I must admit that for me the idea of designers submitting to the will of systems is problematic in the sense of artistic integrity. I've seen designers have to by their own will or by the company interests sake ditch their full input, which I find sad, but I understand that a capitalist system promotes these sorts of resolutions. On the one hand, designers work with others to solve problems but how and to what degree does the designer bring out their own "voice" and "values" in the work? Sometimes there seems to be a fear of getting laid off or a difficult power dynamic between collaborators. I find it best when in a project all collaborators have a flat structure, this is to say; everyone's input is equally important and this should be reflected in the final product. It is a team effort, not an individual one.

Both subjectivity and objectivity have their place in the realm of graphic design, one does not exclude the other. Is there a right and a wrong way to solve design problems? I personally think there is not, design serves the needs of the individual and collective. Over-commercialisation of design has been a hot button topic in the zeitgeist of graphic design, where does this stem from? How I interpret the problem is that there seems to be two schools of thought, and both of them think the other is diminishing the other, when in actuality they are separate things and should be studied by themselves. They clash because they both fall under the same umbrella of design and art, and ohh boy do humans love to be "right". I see that tried and tested methods of communication design and experimental/elevating/evolving methods go hand in hand, we must know the history but not get stuck in it.

I could not stop wondering when reading both texts, what all the fuss was about. I feel that this is because the polarities that were represented no longer exist to anything like the degree they once did, and the notion of there being only one position for the designer to adopt is redundant. There is a willingness to accept that there are plenty of ways of doing design and many equally valid outcomes.

0 notes

emisonme · 3 years

Note

This will be big but i felt like sharing my thoughs. I love camila, so so much…but I feel like sometimes people are praising her too much. Camila loves fame, no matter how many of you deny it, it’s pretty obvious that she does. I’ve seen plenty of arguments on twitter regarding the 4H vs C topic and I can’t help but notice some people saying stuff like “camila didn’t choose to be in this position”, “all the girls treated her like shit when it wasn’t even up to her decide”. Well obviously I know the feud between the 5H girls was fake, but it really messes with me that people still continue to paint camila as the victim. Even tho camila may have not betrayed the other girls as they tried to make it seem, she sure as hell accepted this full of privileges position she was given since the beginning. And I’m not saying this is a bad thing, because honestly which one of us would deny such opportunity, if we were in her place? But most of us and I’m also talking about me, tend to forget that camila is also a person who has negative traits, not only positives. Unfortunately one of her biggest negatives, is that she grew to love the spotlight. And if you really think about it, it makes sense since she was always so shy around people and when she got a taste of the “pop star” life, she felt mesmerised by it. From my point of view, as soon as she got that taste she also started craving the “bigger” things. Big arena concerts, awards, people loving her. For example lauren might love her job as an artist, but she undeniably hates the fame that comes with it. She’s just in it because she truly wants to share a piece of her soul and justify the definition of a true artist. And I’m not saying that mila is not, she sure as hell wants to create art. But if you ask me, the difference between these two is that lauren would be completely content with singing in a room full of people who simply appreciate her art, whilst camila would prefer to be in an arena full of people who sing her songs and scream her name. Not that laure wouldn’t like that, but I think you get the point. And I don’t know if anyone noticed, but until a few years ago well actually before the pandemic started, her management continued to push down the image of this “goofy innocent” girl who was happy all the time. She also pushed it herself because that was her job! No matter how much we think we know her,camila is still a pop star in the music industry who plays a part, just like everyone else who works in that damned department. And based on the above I’d like to point out that (no matter how many of you disagree with this) nobody is forcing camila to stay in the closet. Yes I know I sound ridiculous but hear me out. There isn’t a single contract which can legally force someone to hide their sexuality. Yes her management may have warned her not to come out in fear of losing profits and even blackmailed her, but at the end of the day it’s her choice. If she desperately wanted to come out as we all make it seem, she would’ve done it by now. The fact that she doesn’t, should tell us, that afterall she does care about her image. Even if that’s taking a toll on her now, it was her decision to follow that path. It was her decision to stay in the closet, it was her decision to accept the pr with shawn and it was her decision to keep playing the “happy” girlfriend to the media. No matter how much she was manipulated by this hell hole, camila is a pretty clever person. If she didn’t want any of this and simply wanted to be authentic to herself and the rest of the world, she simply wouldn’t care if she lost the title of the pop princess. But she does care. And it’s completely normal at this point, cause in this industry either you lose yourself or you come out stronger. Unfortunately I believe that camila’s case belongs to the first occasion. I don’t think that present camila we see in interviews or shows or whatever is the real camila. That camila is long gone. Anyway sorry if this was exhausting and thanks to anyone who read it all,cause I really wanted to share this with someone

someone

Good Lord, Anon, that's a lot to unpack. I will start by saying, I agree with some, and disagree with some of what you had to say. Now, where to start...

You say it still messes with you, that everyone still portrays Camila as the victim. Are you going to deny that Camila WAS/IS victimized? The truth is, they were ALL victimized. They are ALL victims of an abusive Industry.

You said, "she sure as hell accepted this full of privileges position she was given since the beginning." You are either forgetting, or just plain don't care, that Fifth Harmony was a highly controlled entity. There was no choosing, or "accepting" privileges. They each did what they were told to do, said what they were told to say, and acted the way they were told to act. They were each given a role to play, and they were contractually obligated to play that role.

Yes, they were contractually obligated to act a certain way. There has been ample proof given, that none of the girls had any control over their PUBLIC image. Camila still has no control over her PUBLIC image, because there has been ample proof, she is still operating under her original contract.

Did Camila choose to sign that original contract? Yes, she did. Did she read that original contract? According to Lauren, probably not. None of them did. Did Camila agree to sign her solo contract? Yes, she did. But as I've explained before, if she wanted to continue in the music industry, she had no choice but to sign the solo contract they offered her. That solo contract is still connected to her original contract.

Camila is a human being. We ALL have positive and negative traits. Camila, all the ladies of 5H, you and me, we all have our positives and negatives. None of us are perfect.

You said, "one of her biggest negatives, is that she grew to love the spotlight." Why is that a negative? Hell, they ALL wanted the spotlight. Every person who gets into the Entertainment Industry, wants to get themselves in the spotlight. They all want to succeed in the field of their choice. To succeed, they have to garner the attention, and live in the "spotlight", in one way, or another.

Every one of them auditioned on a NATIONALLY TELEVISED talent show. They wouldn't have done that, if they didn't want to be noticed, and hopefully thrust into the spotlight of success. They ALL wanted that spotlight of success to be as solo artists. It's didn't quite work out that way. But, they ALL chose to try and achieve that spotlight as a group.

If one has been paying attention, from the beginning, Camila made no bones about her desired dream. She has stated from the beginning, she wanted to be a "pop star". Of course she wanted the spotlight. Lauren has said, from the beginning, she wanted to be "famous and travel the world". She wanted to be a famous star, in the spotlight.

Since you have chosen to compare Camila and Lauren, I'll answer to them. You seem to think there is this big chasm between the two. There really isn't. The only difference is the outcome, thus far. Lauren STILL wants the spotlight and fame, she just wants it on her terms. The problem is, it's damn near impossible to get that success on ones own terms, in an Industry that insists on dictating the terms.

That's a more recent decision on Lauren's part, by the way. You seem to be conveniently forgetting, that until 2019, Lauren also "chose" to play the game on THEIR terms. It was most likely, a two year PR contract, with a drug addicted gang-banger that turned her off of THE GAME. Lauren was pissed, that after all that, her debut album got shelved in 2019. I DON'T BLAME HER!!! I'm sure that also contributed to her decision, that THEIR TERMS suck ass.

Does Camila "crave" the big concerts, accolades, and people loving her? Yes, she does. They ALL do, or they wouldn't have signed solo contracts after putting 5H on hiatus. Instead, they would have said "this Industry sucks" and walked away. They didn't. They ALL craved more.

Lauren wants the same thing Camila has, just on her terms. Lauren doesn't "hate fame". She hates the negative side of fame. She hates having her life dictated by terms and schedules. She hates being told what to say, and how to act. She hates that fans get all up in her business.

She loves the nicer side of fame. She wants to see a lot of people come and see her perform. She loves to be on stage and see her fans singing and dancing to her music. She appreciates the accolades. She loves the love she gets from her fans. She would love even more, if her fans would multiply, and buy and stream the hell out of her music, instead of always bitching, telling her who she is, and how she should be, and getting all up in her damn business.

All one has to do, is listen to Lauren and the anger inside her about all this mess. She wants more. She wants more than a fucking "room full of people" enjoying her art. She wants a stadium full of people enjoying her art. WHO THE FUCK WOULDN'T. She just wants that stadium full of people to enjoy her art, and not expect more than that from her. I'm sure Camila would appreciate the same damn thing.

Unfortunately, that's simply not how the music industry is set up, these days. The difference is, Camila has accepted the fact, that she IS the product. Lauren has not. Lauren don't want to be a product. She wants her music/art to be the product.

I've said it a million times, the music industry hardly sells music, anymore. The music Industry sells the artist. The music has become a bi-product of the Artist. The Industry knows which artists will sell, and which ones won't. They know what image will sell, and which ones won't. Be the artist THEY want you to be, THEY'LL make you a star, and maybe even famous. If not, good luck.

Finally, you are completely right. There isn't a contract out there, that says someone can't come out of the closet. That would be blatant discrimination, and wouldn't pass the muster of the legal system. But, when you sign away control of your own image in a contract, that gives the contract holder the rights to dictate what your PUBLIC image will be. If they want you to have a straight PUBLIC image, then you'll have a straight PUBLIC image. If THEY want you to have a "good girl next door" image, then that's the PUBLIC image you'll have. You signed away your rights to be your authentic self, when you signed away the rights to control how others see you, period!!!

IN MY OPINION, Camila has come out of the closet so damn many times, I can't even count any more. She just has to do so, in a way that isn't obvious to those who have control over how others see her. Take her last video, for instance. When one listens to terms she chooses to use, and does a bit of research, you'll discover, what I believe is the hidden meaning behind that video. If I'm correct in MY THINKING, she has yet again, screamed her truth from the rooftops, for those who choose to listen, and understand.

As for the PR contracts...I was the first person to say, Camila made the choice to sign into those particular contracts. When one signs away control over their own public image, it also allows those in control to dictate that one MUST enter into PR contracts to help THEM present the PUBLIC image THEY want for that particular artist. The artist gets a say in which person that PR is with, simply because they HAVE to agree to sign the contract with that particular person.

So, did Camila agree to sign into this PR contract with the human hair ball? She absolutely did....And NO ONE should be surprised by it. It is quite clear that this shit has been in the making, since June/July of 2015. Hell, after that shit show with the British Bore, even the majority of the fandom was asking for it. The timing was right, and here we are.

Lastly, Camila is always stepping out of the closet, like I said above. IN MY OPINION, she wants her fans to know who she truly is, but that doesn't mean she wants to tell the world in definitive terms. Like Lauren, she wishes people could simply appreciate the music, and leave per private life out of it, but she also knows that's a pipe dream, and not reality.

She knows, the second she decides to speak her truth aloud, her career takes, yet another, blow. I also think, that's one of the reasons THEY, through the media, make sure her ignorant youth is continuously brought up. The more she has to fight to get through that hardship, the more she will want to keep her truth a secret. (yes, a definite manipulation tactic)

Camila could decide to say, fuck it all, and come out with her truth at any time, after her contract is up. She could also decide never to PUBLICLY come out. It's her choice, unless people in power decide to take that choice away from her.

Whitney Houston took her truth with her to the grave. Taylor lives with her truth, one foot in the closet, and one foot out. That's basically what Camila is doing now. IN MY OPINION. Her public foot is in the closet, and her music/art foot is out. If people cared more about the music/art, they would get the authentic truth. If you care more about her public image, you'll get exactly what THEY want her to be.

People try to tell you, and others this all the damn time. Take the recent interviews. If you notice, Camila, and others are always saying how vulnerable, honest, and authentic she is, IN HER ART. Her truth is in her craft, whether acting or music. Her PUBLIC image, is just that, an image to sell to the PUBLIC. Everyone in the Entertainment Industry has one...Even Lauren. Yes, she did play the game. She still has her toe in the game, she just isn't playing it at a high level, right now...and, unfortunately for her, it shows!!!

There! I answered your book with a damn novel. As always, I could be wrong with my opinions, but they are my opinions!!!!!! !! !!!!

136 notes · View notes

lightthewaybackhome · 3 years

Text

Sorry this is so long. Probably should have done a 2 parter.

"My darling girl, when are you going to realize that being normal is not necessarily a virtue? It rather denotes a lack of courage!" - Aunt Frances, Practical Magic

My whole life, as far back as I can remember, I’ve wanted to be artistic. I’ve wanted to create. I love beauty. I love artistry. I love creation. I love the artsy look: jewelry, tattoos, flowing clothing, and funky hair. It is a personal aesthetic I keep returning to, especially as I get older. As a child, I tried so many different forms of art—painting, photography, drawing— but none of them seemed quite right. None of them got what was in my head out. All of them fell short until I started writing. Writing was a flame, a fire, a drug. Writing allowed me to express what was in my imagination. This is the first thing to understand.

Everyone is artistic and art is everywhere. I’ve believed this as long as I can remember. There are amazing artistic feats in our world: books, movies, video games, paintings, sculptures, and magnificent pieces of music. Yes, art can be very high and very special. But, art can also be found in charcuterie boards, homemade quilts, sourdough bread, cocktails, soup, and all ordinary things if we but look and see. Art can be high magic and art can be ordinary. This is the second thing to understand.

As I’ve embraced being a homemaker, a HearthKeeper, a woman where she’s meant to be, I came across the term domestic artist. As much as I didn’t like the book Eve in Exile by Rebekah Merkle, it gave me this. It gave me the term domestic artist. That stuck with me. It spoke to me because it captured both the first and the second thing. It captured the never-ceasing call to create which haunts me at all times, and it elevated and honored the ordinary in a sprinkling of fairy dust. It said, “Yes, you have to cook today. Three meals plus snacks and drinks. It’s your job, but, but, what if, what if instead of looking at it as some drudgery, some Cinderella enslavement, what if you looked at it as an opportunity to create beauty?”

Not every meal, every outfit, every moment of your day can be a work of art. Some days you just have to do what you have to do. Some days get upended in the opening credits with a broken washer or a sleepless child. Some days plans change. Life changes. One minute life looks like this, and then the next it’s on to something completely different. But, the beauty of being a domestic artist is that you can create art in any of these moments and in any setting. You can find art in any moment and in any setting.

See, the world tells us that homemaking, HearthKeeping, is boring. It tells us it’s pointless. A waste. You could be changing the world. Only dumb useless women keep their homes. And that’s because they’re either tied down by a dictator of a husband or the demands of children or the cultural trappings of their religion. Courage, dear heart. Courage! Homemaking is magic. Homemaking is flexible. Homemaking changes with the seasons and the woman. I, I am a bit bohemian, a bit rustic, a mixture of rugged and romantic. I grew up a tomboy, but have embraced being a woman in her home since I was a child. I love leather and lace. I love cottage-witch aesthetics. I love boots and long flowing things. I like deer heads, linen, skulls, and ruffles. I like feathers and dreamcatchers, but I also love to decorate with open space. I love pies and feeding my husband. But, look at this, one of my best friends is a classic. She loves clean lines, traditional and timeless pieces. She loves modern accents. She loves beachy highlights and hammocks. She’s not into farmhouse, rustic modern, or raw-edged wood. On any given Sunday, she’s in a pencil skirt, simple top, simple heels with her three daughters in matching dresses while I’m in distressed boyfriend jeans, a mullet-tucked top, and wearing my crow skull. We’re very different, but we’re both homemakers who love making our homes.

I have a woman in my life who quilts and that flows out into their decorating. So many of her things are beautifully hand sewn. If she wants it, she makes it. Another friend grew up in Africa and her home is filled with her love of that culture. One dear friend loves plants and grows amazing flowers that she uses to create Instagram-worth bouquets. Another woman isn’t super fluffy-feminine but she has an eye for remodeling and so is constantly making improvements on her home: flooring, painting, and more. My sisters, like me, both enjoy a minimalist approach to decorating and all three of us have a special place for coffee. Both my sisters’ homes are welcoming and peaceful even with kids running around like crazy.

That’s the point, the world tells women to band together, that we’re a sisterhood, that we should go out and change the world, abandoning our homes before we’re relegated to only kitchen and nursery work, but reality tells me that the most amazing women I know are busy in their homes. This is sisterhood. This is where we bloom. It is here that we have flexibility. For over five years, I’ve struggled with chronic health issues. Homemaking lets me decide each day what I can do and how I’m going to do it. Homemaking lets you change what you do for each season of life. Lots of littles? Keep it simple. Empty nest? Explore. Somewhere in between? Keep growing. Lots of energy? So many things you can expand into if you just refuse to believe the lie that homemaking is beneath you. Don’t be normal. Don’t believe that homemaking is a waste of time. Don’t buy into the lie that you are somehow being less than everyone else when you raise your children, love your husband, and create beauty. Have the courage to be strange. We were made for this! It suits us. This is an environment women thrive in.

When I got over my grammar inhibitions and started writing, I felt like my soul came alive. I felt like I’d finally found what I’d been searching for since I came into this world. It doesn’t matter whether I’m writing an epic story or writing about HearthKeeping or just word doodling, writing, words, stories just flow from me. Wonderfully, homemaking is like that for me, too. I want to read books, I want to learn, I want to talk about it, I want to do it. It’s not perfect. I don’t always feel glorious, but I do feel ‘right’ when I’m doing this. I feel like I’m where I belong. I feel like this is a place I can both rest in and grow in. I feel safe when I’m having a fatigue flare up and I feel excited when I think about all that I can do.

A real-life example: Sundays are long hard days. They’re days that generally spike my fatigue and my husband is worn out. They’re both the best and hardest day of the week. When we get home I make a cocktail and we crash. Inevitably, the minute I sit down my man asks for a snack and what we’re having for dinner. For several years, this drove me up a wall. It is Sunday. The day of REST, why is it my responsibility to always make food? Epic sigh. Epic whiny sigh. I would meal plan for the whole week and then wing it on Sunday and Monday, always with poor results and grumpiness on my part. Then, one week as I meal-planned, I realized that I could also prepare for the weekend. Lightbulb. Facepalm. Really? Why had it taken me into my 40th year of life to realize that if I want a quiet, restful, happy weekend, I should just plan snacks, drinks, and meals ahead of time? I’m going to blame it on my chronic health, brain fog addled mind. I’m going to blame it on laziness. I’m going to blame it on being a young homemaker. Some are understandable, some are inexcusable.

Sundays now involve way less stress because I can immediately prepare snacks and know what we’re eating the minute we get home. No more attitude issue. No more stress. Easy and nice.

Did this change the world? Does this matter to anyone but myself? Did my husband even notice? Maybe not, but this is homemaking. This is HearthKeeping. It is my job and my calling. Even without notice or world-shattering consequences, I’m pleased with the outcome. More than pleased, I’m really happy about it. It brings me joy and delight to find a better way to take care of my family. It allows me to sprinkle my Sunday afternoon with just a little bit of artistry. I make drinks, snacks, dinner. I feed my family.

See, one of the lies that the feminists preach is that we’re wasted in our homes. And yet, the majority of the women I know who work outside the home aren’t doing glamorous jobs. They’re not travel bloggers or world-renowned chiefs or CEOs. They’re cosmetologists, retail workers, bank tellers, nurses, teachers, and such. Now, none of those are bad. Working outside the home isn’t bad. (I think each family has to decide what family looks like to them.) Please, please, don’t read that as degrading. I worked retail and I think retail is important. These are all God-honoring employment in which you can strive and serve. I’m not bashing any of those jobs. I have many many dear friends who work outside the home. What I am saying is that I think we as women need to ask ourselves if leaving our homes en masse was worth it. Has it given us all the joy, delight, and fulfillment the feminists promised us?

I’ve done both. I’ve been a co-owner of a business that I helped grow from nothing to something amazing. I’ve worked as an everyday retail worker. I write and am the main editor for a small neighborhood magazine. And I’m a HearthKeeper. I will tell you right now, no qualifications, that HearthKeeping is the most satisfying job I’ve ever had. It not only challenges me every day but it also works with me. The boundaries are what I set in place and so I grow as I can. The work never ends, yes, but it also never ends. There is always something else to explore.

I think being a homemaker is largely attitude. You can buck against what you do, and most women do. Just spend two minutes on Pinterest looking at doing laundry or dishes and the bitter hatred comes pouring out. Look at the complaints women make against their churches: we’re relegated to doing nursery work and kitchen duty. What if, just for a moment, we decided to be Domestic Artists? What if, for just a moment, we tried loving our jobs instead of complaining? What if we thought that dishes meant food and good times and healing of the souls around us? What if we saw laundry as a way to keep beauty and cleanliness around us? What if we saw it as our privilege and delight to take care of the food, children, clothing, cleaning, cooking, gardening, growing of the next generation, and the men of the world? What if we embraced the domestic arts and saw them as truly magnificent, glorious, unique arts? How many of us would be able to say with a straight face that working retail is more fulfilling than managing a small world? Is it more fulfilling to go work in an office than it is to orchestrate a place of welcome, rest, and renewal for your husband and yourself? It might be more visible, but is it truly more long-lasting?

I can say that it isn’t. I can say that I think being a homemaker is uniquely suited for women and that we should have the courage to go against the grain of our world and say no. No, I’m not going to give all of myself to work outside the home when the home is far more challenging and interesting. No, I’m not going to believe the lie that homemaking is oppression and boredom. I will find beauty in the ordinary and I will embrace art in the everyday. This is one of those amazing jobs where it is what you make it. It is what you pour into it. If you think it’s boring or demeaning you won’t get anything out of it. If you think it is challenging and rewarding, you will get the world out of it. You will grow yourself and those around you. Think about what a wonderful thing it would be if we made our homes our careers! If we women really took on the label Domestic Artist in our own individual ways.

#homemaking #hearthkeeper #housewife #prose #trad wives #traditional femininity #domestic artist #writing #artists on tumblr #art

27 notes · View notes

simul16 · 3 years

Text

The Curious Case of the Original Women of Ravenloft (or Loose Canons Can Be Dangerous)

For many years, we in the Dungeons & Dragons RPG studio have considered things like D&D novels, D&D video games, D&D comic books, as wonderful expressions of D&D storytelling and D&D lore, but they are not canonical for the D&D roleplaying game. -Jeremy Crawford Those among us who are fortunate enough to become shepherds or stewards of the D&D game must train ourselves to become art and lore experts so that we know when we’re being faithful to the game’s past and when we’re moving in a new direction. We decide, based on our understanding of the game’s history and audience, what artwork or lore to pull forward, what artwork or lore needs to change, and what artwork or lore should be buried so deep that it never again sees the light of day. -Chris Perkins There is a very simple statement to be made about all these stories: they do not really come off intellectually as problems, and they do not come off artistically as fiction. They are too contrived, and too little aware of what goes on in the world. - Raymond Chandler, "The Simple Art of Murder"

There's been a bit of a stir in the D&D community over some comments that Jeremy Crawford made at a press briefing prior to the D&D Live event about how only the information published in a WotC Fifth Edition D&D product is 'canonical' for D&D. There was enough of a reaction that Chris Perkins, self-described as "one of the D&D Studio's principal game architects", published an article on the WotC site (linked under Perkins's name above) explaining this statement and explicitly calling out what it means when discussing an intellectual property with a long-standing and vast catalog of lore, where that lore is one of the primary positive features of that property.

On the surface, it seems pretty straight-forward. Crawford's comments focused on not overwhelming partners with lore requirements when producing peripheral products like novels and video games so that they can focus on producing their product rather than meeting arbitrary lore requirements (not that this seems to have helped the most recent video game product release). Perkins mentions this, too, explicitly evoking R.A. Salvatore's novels and how Salvatore (perhaps infamously) used to incorporate elements into his stories that were outright illegal according to the D&D game rules (such as Drizzt's dual-wielding of scimitars, only made legal in 5e, or his creation of Pikel Bouldershoulder, a 'mentally challenged' dwarf who believed himself to be a druid and even eventually displayed druid-like abilities, even though dwarves in the D&D of the era of the Cleric Quintet series, where Pikel appeared, were not allowed to be druids). Perkins's comments also refocused the discussion on players, DMs, and their games, making the point that every campaign develops its own canon, and that the version of the Forgotten Realms run at a given D&D table does not perfectly match either the version of the same world run at a different table, or even as presented in the official published campaign sourcebooks.

This position is easily defensible; I even presented it myself in a response on Twitter to Perkins's own comment on an event in the Acquisitions Incorporated campaign he runs and records for online consumption. A restaurant that exists in the Forgotten Realms of Acquisitions Incorporated might have been shut down for health reasons after a shambling mound attack in a different campaign, or a previous party of PCs might have made a disastrous error during the war with reborn Netheril that led to the fall of Cormyr, with the coastal area of the former kingdom being absorbed by their rivals in Sembia while the interior lands were allowed to be overrun with monsters migrating out of the Stonelands (which makes for a nearly ideal 'starter zone' for a new 5E Realms campaign, IMO).

But just because there are benefits to such an approach to canon doesn't mean that it's the best way to approach canon, particularly with respect to a property which has had a long lifespan and is expected to have an even longer one. There are plenty of ways to criticize such an approach, many of which have been brought up by other commenters:

In any long-lasting intellectual property, there is a core of fans that are devoted to the lore and canon of that property -- see Harry Potter, Star Wars, etc. 'Loosening up' the lore not only convinces your existing super-fans not to continue to support and evangelize your property, but also prevents the creation of a new generation of such fans to continue your property's life into a new generation of fans.

Since much of what is on offer in a published sourcebook is the current 'canon' (despite Perkins's statement that "we don't produce sourcebooks that spool out a ton of backstory", the reality is that much of the content of sourcebooks like the Sword Coast Adventurer's Guide and Van Richten's Guide to Ravenloft is setting material: i.e.: "backstory"), if you're not going to stand up for the lore of prior editions, and by implication make it clear that future editions aren't going to be beholden to the lore of even this edition, then why get heavily invested in the lore at all? (This ties into the above point, as the fewer people who get invested in the lore of a property, the fewer evangelists for that property you will produce.)

If you have any Organized Play for your game (which D&D does, as does so-called 'living card games' which are based on an advancing storyline), loosened canon makes it easier for those authors to produce content, but simultaneously makes it harder to incorporate the content that players enjoy into the overall game. In addition, the later stories can't take into account all of the potential outcomes that a given group might have taken through a given adventure, so in effect, this turns all adventures into "railroad plots" with respect to the larger campaign narrative, where the best outcome is assumed for each adventure and thus the PCs don't really have the ability to influence the overall metaplot. (This gets complicated, because it necessarily involves different campaign outcomes contesting with one another to become the 'canonical' outcome, which is itself pretty challenging. Regardless, one of the attractions of a 'living campaign' is that the campaign in theory adapts to respond to the actions of the players; a 'living campaign' that doesn't do this is no different than a traditional scripted campaign.)

Perkins's final point in his essay, though, seems just as important to the current 'administration' as any of the other explanations, and that's the quote referenced at the top. In effect, what Perkins is saying is that the 5E team wants to be able to take what they consider 'good lore' and keep in in the game, while revising or outright eliminating 'bad lore'. Again, this seems like a defensible position, but it also has a flip side: it assumes that your changes to the lore are not just lazy or arbitrary, but are made consciously and for specific reasons. This could work well if you actually follow through on your intention, but given the realities of publishing on a schedule, it's inevitable that some amount of lazy or arbitrary decision-making will occur, and in those decisions, you can inadvertently (or allow someone without your knowledge to deliberately) make decisions that harm the canon. The statement seems reasonable, but as we'll discover below, it's actually fundamentally dishonest.

With that in mind, let's explore...

The Curious Case of the Original Women of Ravenloft

The original Ravenloft setting as released in the early 1990s, like the game studio that released it, contained a lot of old white guys, and it didn't necessarily get any more diverse with time. The early 3E Ravenloft product "Secrets of the Dread Realms" by Swords & Sorcery Studios lists eighteen Domains of Dread, half of which were unambiguously run by old white dudes. Depending on how you want to define 'old' and 'white', you could even add a few more domains to the list (such as Verbrek, ruled by the son of the former old white dude darklord, and Markovia, depending on whether you consider Markov to still be human enough to qualify as an old white dude). Only five domains were ruled by female darklords, and one of those (Borca) isn't even wholly ruled by the female darklord. Comparing the darklords of Secrets of the Dread Realms to that of Van Richten's Guide to Ravenloft points out just how much of a priority it was for the 5E team to increase the diversity of darklords in the setting.

Curiously, though, the female characters retained from classic Ravenloft don't appear to have been changed in a manner that fits Perkins's explanation of what they consider when deciding what to bring forward from older lore, as in nearly every case, the character became less interesting and possesses less agency in her current 5E presentation than she did in her original pre-5E incarnation.

Jacqueline Montarri

Let's begin our survey with a character who technically doesn't yet exist in 5E lore, and thus by Crawford's definition doesn't exist in lore at all. It might seem odd to begin my presentation of 'female characters deprived of agency by their 5E presentations' by starting with a character who wasn't presented, but on the other hand, being removed from canon and thus from existence could be argued as the most severe loss of agency possible for a character.

Jacqueline doesn't exist in 5E because the organization she founded, the Red Vardo Traders, doesn't exist in 5E. In older editions, the Red Vardo Traders was both a legitimate trade company as well as a criminal organization engaging in smuggling, assassination, and other crimes, and are based in the Barovian town of Krezk. The version of Krezk presented in Curse of Strahd, however, makes no mention of the Red Vardo Traders, choosing instead to present Krezk as a small village dominated by the Monastery of Saint Markovia*, a location that does not exist in pre-5E Ravenloft. The Red Vardo Traders were founded by Jacqueline for a specific purpose, and thus both their legitimate business operations and their criminal pursuits are but shells for their true purpose: to find Jacqueline Montarri's head.

* - Saint Markovia himself was initially presented in the late 3E reboot adventure "Expedition to Castle Ravenloft", as one of the inhabitants of Castle Ravenloft's crypts; Markovia was changed from a man into a woman as part of Curse of Strahd, and the Sanctuary of First Light, the largest church of the Morninglord in Ravenloft pre-5E and placed in Krezk by its developers, was re-written in Curse of Strahd as the Monastery of Saint Markovia.

Montarri sought the secret of eternal youth, and in doing so, consulted with the Vistani seer Madame Eva to find it. Eva originally resisted, but finally revealed that the secret rested within the library of Castle Ravenloft, and Jacqueline, out of a desire to be the only possessor of such a secret, out of a need to do evil, or perhaps both, murdered Eva before departing for Strahd's castle. Unfortunately, Jacqueline's infiltration of Castle Ravenloft attracted Strahd's attention, and she was captured, turned over to the villagers in Barovia, and beheaded for her crime against Strahd. However, some of Eva's fellow Vistani asked to take custody of the body, explaining that the woman had murdered their leader, and Jacqueline eventually awoke -- wearing Madame Eva's head. She since learned that she could 'wear' the decapitated heads of others, and cannot survive long without one. Jacqueline's body has not aged, but her head ages a year for each day she wears it, requiring her to continually murder (and possibly assume the identities of those she murders) to survive while she searches for her original head, the only thing that can break the curse that Eva's kin placed upon her.

That's a pretty amazing backstory, and one I'd think would be very worth including in a new Ravenloft setting, save for one problem: Madame Eva's death. Now this isn't actually a big problem in the context of classic Ravenloft: both Eva herself and her tribe of Vistani were known to have a 'curious' relationship to time (former Ravenloft writer John W. Mangrum explicitly called Madame Eva a "time traveler" when it was pointed out that Eva's continued existence in Ravenloft canon suggested that she had not actually been killed), but it did cause confusion among those with a more static approach to continuity. Since Eva unambiguously exists in 5E Ravenloft, being referenced in both Curse of Strahd and Van Richten's Guide to Ravenloft, it appears that the decision to jettison Jacqueline and her Red Vardo Traders comes mainly from a desire to untangle that confusing bit about Eva actually being dead but still walking around.

Granted, the need for an organization like the Red Vardo Traders is perhaps less significant in a Ravenloft where the Core doesn't exist and every domain is its own Island of Terror, but given that Van Richten's Guide to Ravenloft still lists a number of organizations known to be capable of travel between domains, including two that they just invented out of whole cloth, it would seem as though making use of a pre-existing organization might have worked just as well. The other complicating factor is that Montarri is not herself a darklord; with the focus of the 5E Ravenloft experience on darklords as linchpins of the setting, having a compelling NPC who isn't a darklord (but who honestly could be made into one fairly easily, as her curse lends itself to a darklord's punishment and her formation of the Red Vardo Traders into her way of dealing with the limitations of being a darklord) would seem to detract from what the 5E designers were trying to do with the setting.

But this isn't the only or even the worst example of a female character deprived of her agency in the new regime...

Gabrielle Aderre

Unlike Jacqueline, whose elimination from Ravenloft seems like an editorial red pen taken to an otherwise merely irritating issue, anyone familiar with Gabrielle Aderre's backstory realized that her background would have to change significantly given the changes to the Vistani in Van Richten's Guide to Ravenloft.

In pre-5E Ravenloft, the Vistani were an exotic human culture of outsiders, driven by their heritage and abilities to make their own way within the Domains of Dread, and having developed mysterious abilities and customs to protect themselves from its dangers. Non-Vistani were viewed with suspicion, to the point where the Vistani had a specific word ("giorgio") for non-Vistani, and those who chose to breed with non-Vistani and their offspring were frequently outcast from Vistani culture. Female Vistani were often gifted with 'The Sight', a precognitive or divination ability, but the Vistani took great pains to ensure that no male children were born with The Sight, lest that child grow up to be a prophesied doom-bringer known as a Dukkar. (One such seer was Hyskosa, whose legendary prophesies eventually led to the Great Conjunction which nearly tore the realms apart.) Because of their separation from mundane society, more traditional settlements tended to fear the Vistani, especially their rumored skill with fashioning deadly curses when wronged, and though Vistani would often trade with such settlements, they were never truly welcome in them; ultimately, the Vistani would follow their wanderlust and move on, leaving even more strange tales and confusing lore in their wake.

Van Richten's Guide to Ravenloft changed all that. Now, the Vistani are simply a sprawling human culture who "refuses to be captives of a single domain, the Mists, or any terror." Their abilities are no longer unique -- there are a number of Vistani who "possess the Mist Walker Dark Gift" that can be taken by any character -- though they are said to "understand how to employ Mist Talismans" with their "traditional magic". Instead of being seen by others as mysterious outsiders, now "the news and goods Vistani bring ensures a genuine welcome" from more traditional settlements, and only "more dismal communities view Vistani with suspicion"; likewise the Vistani themselves no longer refer to non-Vistani as "giorgio", nor do they seem to have any issues with those of mixed Vistani blood traveling or dwelling among them. Most significantly, the legends of the Dukkar no longer exist, with both male and female Vistani serving as spellcasters "with many favoring divination magic for the practical help if provides in avoiding danger." In fact, Hyskosa is no longer a lost seer prophesying the doom of the Dread Realms, but "a renowned poet and storyteller" who is alive and leads his own caravan of Vistani through the Mists.

Given all of this, Gabrielle's pre-5E backstory would need to change quite drastically. Gabrielle's mother was half-Vistani, and possessed enough of The Sight to prophesy that Gabrielle could never seek to have a family or tragedy would be the inevitable result. Learning to hate the Vistani based on her mother's incessant refusal to acknowledge her desires for a family, Gabrielle eventually abandoned her mother during a werewolf attack, fleeing into Invidia where she was captured and brought before the darklord, who sought to enslave her to command her exotic sensuality. Instead, Gabrielle made use of the traditional Vistani "evil eye" to paralyze the darklord, murdering him and assuming his lordship over Invidia. Not long after, Gabrielle was visited by a 'mysterious gentleman caller', after which she discovered she was pregnant, eventually giving birth to a boy who proved to possess The Sight. Delighted that she had managed to give birth to a Dukkar, she failed to realize how quickly the boy grew or how powerful he proved to be until her son, Malocchio, usurped her throne (but not the dark lordship of Invidia) and cast her out of his court. Though there are definitely some problematic things in this story, it's not so terrible that it couldn't still serve as the foundation of a tragic Darklord's origin.

In Van Richten's Guide to Ravenloft, Invidia is detailed among the short descriptions of "Other Domains of Dread", and her pre-5E backstory has been utterly thrown out. There's no indication of how Gabrielle became darklord of Invidia, who the father of her child is, or anything from pre-5E lore. Instead, Gabrielle has become one of the parents from the story of Charlie and the Chocolate Factory -- a rich, bad mom convinced of her child's greatness and willing to accept anyone who supports that story while turning a blind eye to her child's misbehavior and cruelty toward his servants and teachers.

Pre-5E Gabrielle wasn't ideal, but at least she had a drive: she wanted a family, and refused to accept that her desire could not overcome the inevitable grinding wheel of fate. 5E Gabrielle arguably isn't even evil, just supernaturally deluded (ironically, her main flaw is her blind acceptance of the rightness of her own privilege), so it's not even clear why she rather than Malocchio is the darklord of Invidia. Rather than wanting a thing she can never have, 'modern' Gabrielle assumes she has a thing that doesn't exist, and is less a tragic figure desperately trying to assert her own agency than a deluded puppet, acting out a part in a drama that makes no sense. Granted, as we noted above, some degree of Gabrielle's old backstory would need to change to accommodate the other changes to Ravenloft lore as part of the 5E transition, but the decision to simply throw out the old Gabrielle and turn her into a character who isn't even aware of her own lack of agency in her situation is, in its own way, even more tragic than Gabrielle's original pre-5E story.

Isolde

Isolde is a fascinating character, because she was created after the Carnival, the group she leads in Ravenloft lore. In pre-5E Ravenloft, the Carnival was the Carnival l'Morai, run by a sinister being known as the Puppetmaster. The events that led to the Carnival breaking free of the Puppetmaster's influence are detailed in the 1993 Ravenloft novel "Carnival of Fear". Then, in the 1999 supplement "Carnival", John W. Mangrum and Steve Miller take the Carnival l'Morai and introduce them to Isolde, a mysterious woman who joins the Carnival and assumes the role of its leader and protector. Much of the internal story within the supplement itself involves the theories that many of the other characters have about who Isolde is and where she comes from, and how various aspects of the Carnival, such as the Twisting (a change that comes over those who remain with the Carnival for any signficant amount of time and seem to bring hidden or secret traits to the surface as exotic abilities or mutations), relate to her. In the end, though (spoiler alert!), Mangrum and Miller reveal Isolde's true backstory -- she is a chaotic good ghaele eladrin who voluntarily chose to enter Ravenloft in pursuit of a fiend named the Gentleman Caller (thus the Carnival supplement is also the origin of the Caller, one of the signature non-darklord villains of the setting). The Twisting is revealed to be a side-effect of Isolde's 'reality wrinkle'; as an outsider, Isolde can re-make reality in a short distance around her, and one of the ways she does this is by bringing someone's inner self out and making it visible to others. Honestly, if you wanted a domain or group whose underlying reason-to-exist seems tailor-made for a modern RPG audience, it would be one where having your inner self revealed to the world, one that you've been taught is freakish and strange, proves to be beautiful to those who accept you.

But that's not what we got in Van Richten's Guide to Ravenloft, perhaps because of the book's insistence on page 6 that "Nowhere Is Safe". Instead of the 3E ghaele eladrin, Isolde is now just an eladrin, a 4E planar elf variant. Instead of entering Ravenloft and finding the Carnival l'Morai in need of a leader and protector, she was manipulated first by a powerful archfey into leading a fey carnival, then inexplicably decided to swap carnivals with a different carnival run by a group of shadar-kai through the Shadowfell, even going so far as to accept the intelligent (and evil) sword Nepenthe, who is the actual darklord of the Carnival.

Again, as with Gabrielle, some simplification of Isolde's backstory was probably inevitable, as the original backstory made use of very specific Ravenloft mechanics that the 5E version simply doesn't want to deal with (mainly Isolde's 'reality wrinkle' which drives the Twisting). But not only did the designers take a character who had explicitly chosen both to enter Ravenloft in pursuit of the Gentleman Caller and to take leadership of the Carnival to serve as its protector and changed her into a character who is manipulated into doing everything she does that gets her into Ravenloft (and leaves her no memory of how or why she got there), the designers didn't even decide to keep Isolde as the most significant character in Carnival, allowing the sword Isolde carries to take that starring role.

Oddly, a lot of the changes to Isolde's story are reminiscent of the classic Ravenloft story of Elena Faith-Hold and how she became the darklord of Nidala in the Shadowlands, which suggested to me that perhaps at one time the Shadowlands were not going to be included in Van Richten's Guide to Ravenloft, and the changes to Isolde's story were meant to be a call-out to what would be the missing story of Elena. But the Shadowlands also exist as an "Other Domain of Dread", so in the end, the changes to Isolde served no real positive purpose.

Interlude

It's worth taking a moment to contrast the characters above with the domains in Van Richten's Guide to Ravenloft that gained female darklords who didn't have female darklords previously:

Dementlieu, formerly ruled by Dominic D'Honaire, is now ruled by Saidra D'Honaire; it is hinted but not stated explicitly in Saidra's backstory that she is not actually related to the former darklord, but simply assumed the family name as part of her assumption of the rulership of Dementlieu, in which the Grand Masquerade must be maintained above all else.

Falkovnia, formerly ruled by Vlad Drakov, is now ruled by Vladeska Drakov; Vladeska's backstory makes it plain that she is a female re-skin of the original Vlad Drakov, himself a character from the Dragonlance world of Krynn. Other than her origin, which is now no longer tied to Dragonlance, her backstory is largely the same as her predecessor's, save that instead of the dead rising to battle Drakov's attempted invasions of their northern neighbor, Darkon, now the dead rise to reclaim Falkovnia itself from Vladeska's attempt to 'pacify' it.

Lamordia, formerly ruled by Adam, the creation of the mad doctor Victor Mordenheim, is now ruled by the mad doctor Viktra Mordenheim; Victor's hubris in his attempt to create life are matched by Viktra's attempts to defeat death.

Valachan, formerly ruled by Baron Urik von Kharkov, is now ruled by Chakuna; in one of the few backstories in Van Richten's Guide to Ravenloft that acknowledges a former darklord, Chakuna's backstory is that she had to become a monster (a were-panther, specifically) to defeat a monster (a panther who was polymorphed into a man as part of a revenge plot, fled from the Forgotten Realms into Ravenloft upon realizing what he was, where he was transformed into a vampire...look, not every convoluted backstory for the old Ravenloft darklords was necessarily a good convoluted backstory).

I'd argue that each of the darklords above retains her agency in Van Richten's Guide to Ravenloft, but it's curious to note that each of those darklords seems to have inherited that sense of agency from her relationship to the male darklord that preceded her, sometimes literally (in the cases of Saidra and Chakuna) and sometimes figuratively (in the cases where Vladeska and Viktra are mainly female re-skinnings of the original male darklords). The designers clearly have the capacity to allow a female darklord to exercise agency and have drive and purpose to her existence, if that drive and purpose was inherited from or inspired by an original male character. If the character was a woman all along, though, then agency and drive and purpose are not really important to the designers, if they can fit that character into the specially designed hole the size of the concept they had for the new domain. Which brings us to the character who I feel was done dirtiest by the designers in moving from classic Ravenloft to 5E...

Jacqueline Renier

Jacqueline Renier is one of the original Ravenloft darklords, tracing her origins all the way back to the original "Black Box" campaign setting released by TSR in 1990. She appears in two different places in that boxed set -- once as the chaotic evil darklord of Richemulot in the Realm of Terror booklet, and in a portrait of the Renier family included as a handout in the box. The Renier family was actually an ancient wererat clan in the world they originally came from, and Jacqueline herself was the granddaughter of the patriarch of the clan, Claude Renier. When the Reniers fled into Ravenloft to escape the justice of their original world, they first appeared in Falkovnia, where they ruled the sewers until finally forced out by Vlad Drakov's troops. Fleeing into the Mists, the Reniers found themselves in the new domain of Richemulot, and Claude found himself the domain's darklord.

Jacqueline proved an eager student in the manipulative ways of her elders, however; both her grandfather, who maintained control over the clan through a combination of coercion and sheer force of personality, and her mother, who murdered Jacqueline's father seemingly only so that Jacqueline and her twin sister would not need to lose the Renier name. Jacqueline learned the game so well that one day she manipulated her own grandfather into his destruction at her hands, so cleanly that no one else in the family dared to oppose her ascension. Jacqueline was now the matriarch of the Reniers, and the ruler of Richemulot.

But 3E Ravenloft added a few additional wrinkles to Jacqueline's backstory. In the Ravenloft Gazetteers, it was revealed that Jacqueline's ambition to assume control of her clan and the domain of Richemulot were not just driven by a desire for power, but in the name of a vision of the future where wererats would reigns supreme over all other humanoids. She began encouraging migration into the largely undeveloped and underpopulated lands of Richemulot, while overseeing work in putrid laboratories to develop the Becoming Plague -- a disease that would transform humanoids en-masse into wererats under Jacqueline's ultimate command. In every speech Jacqueline would give about the glorious future of Richemulot, it was not the future of humanity she was referring to, but rather the coming age of the rat.

Jacqueline's backstory wasn't perfect -- as with other female darklords, she also got saddled with the 'she desperately wants to be loved and is terrified of being alone' trope -- but for the most part, this is a truly impressive backstory. And in our age, a domain featuring an ambitious politician pushing nationalism to motivate her partisans, only for that nationalism to not be what her partisans believe it is would seem to be an extremely fitting template for horror. It would certainly seem possible to re-write the few problematic aspects of her character with more modern tropes; make Jacqueline an 'ace' (asexual) but who still craves romance based on her upbringing and is both attracted to and terrified by anyone who might potentially prove to be her equal, and you've got what I'd consider to be one of the best darklords in the setting.

As you might expect, given Jacqueline's placement on this list, that's not nearly what we got in Van Richten's Guide to Ravenloft.

Instead, Jacqueline was born as a noblewoman within Richemulot, and was quick to notice that the rise of the bourgeoise would threaten the power of the nobility and lead to their diminution in society. Jacqueline's grandfather was not the charismatic, sadistic mastermind of a clan of wererats, but an aging nobleman growing infirm in his old age, and he proved unable and/or unwilling to work to change things, so Jacqueline would need to be the person to reverse her family's fortunes and the decline of the nobility in society. Not by doing anything herself, mind, but rather by trying to find an organization of nobles working to maintain the supremacy of the nobility. Finding them, she learned too late that they were secretly a society of wererats when she was forcibly made into one of them, but she quickly adapted, rising to command both the rat and wererat populations before finally unleashing a plague -- the Gnawing Plague -- upon the populace. Rather than converting the population into wererats, the Gnawing Plague just killed them, and when the people begged Jacqueline and the nobles for aid, Jacqueline made helpful noises but did nothing useful (it's not recorded if she uttered the words "Let them eat cake," as she watched the peasants die). Her 'torment' as a darklord is that she wants to return to the privileged life she had as a noblewoman, but can't, as the need to supervise the creation of new, more virulent plagues and unleash them to keep the peasantry from revolting and overthrowing the nobility prevents her from building the kind of society that would actually support a thriving nobility.

Instead of a domain where we have seen the future and humanity has no place in it, we have a one-percenter using every ounce of her privilege to stay above the ranks of the peasants she despises. Instead of an intelligent, ambitious planner capable of executing long-range goals flawlessly, we have a vapid, shallow socialite yearning to return to her days as a debutante. As villains go, Jacqueline has fallen a long, long way from her portrayal in pre-5E Ravenloft.

Probably the most offensive part of the redesign of Richemulot as 'the plague domain' is that we've spent over nineteen months living through a plague of our own, and the kind of horror that is presented as Richemulot's primary adventure cycle, the Cycle of the Plague, bears almost no resemblance to the reality we've lived through. Van Richten's Guide to Ravenloft presents a world where common people are to be feared, and authorities abuse their power to heartlessly quarantine the sick to stop the disease from overtaking everyone, yet say nothing about the horror of those who refuse to accept that the plague exists, or who profiteer from bizarre 'cures' and treatments. The designers present Richemulot as an example of 'disaster horror', where "the world has fallen into ruin -- or it's getting there fast," when the domain could be an example of the most classic of all horror tropes: humans are the most horrible of monsters.

Thus, the final quote leading this essay. It's not my place to argue that the folks who wrote Van Richten's Guide to Ravenloft are good or bad writers, and as Raymond Chandler noted, it's not really necessary. After all, "[t]he poor writer is dishonest without knowing it, and the fairly good one can be dishonest because he doesn't know what to be honest about." And ultimately this entire drive, to try to distance the product from the mistakes of the past by also distancing it from its successes, all while presuming that one can correct the deficiencies of the past without committing mistakes that, in hindsight, will seem just as obvious to our successors: that undertaking is fundamentally dishonest. The people writing, editing, and publishing Dungeons & Dragons today grew up on the old tropes that are now being rejected as no longer being relevant, as unnecessary complexity, as potentially harmful, without realizing that the harmful bits aren't just what was written down, but what was learned, such as a woman's motivation and agency meaning little unless they correspond with those of a man.

Yes, there's a lot of stuff published before 2014 that seems bad to us today that, for whatever reason, didn't seem bad to us back when it was published, read, and became part of our fictional worlds. But there's also no reason to assume that process ended in 2014. Update the lore where it's needed, but realize that the process never ends, even with the lore you're writing today to replace it.

#dnd

14 notes · View notes

tatertotthethot · 5 years

Text

The Doms Next Door 2.0

THIS IS A TEMPORARY REUPLOAD FOR THIS CHAPTER CUZ TUMBLR IS RAN BY A BUNCH OF BOTS. 2.1 HERE

Warnings/AN: frequent, casually cursing; comical, gay Jimin; insecure reader; steamy flirting; tattoo/sexualized Tae 🙃. Enjoy~ (TAEKOOK EDIT ABOVE IS ARTKOOK DONE BY NONCONMAN ON INSTAGRAM)

_________________________________

Your tires came to a stop outside of the tattoo shop you've seen online— a brick building, covered in spray paint and street-style art. A sign buzzed over the awning of the entrance doors, with the built-in UV lights and graffiti-styled font displaying the name of the place in neon-red letters. Kink For Ink! The name alone was what first caught your attention last week, when you Googled "Tattoo shops near me" and it pulled up a list, with "Kink For Ink" being the first option. It just seemed so uncanny and fitting at the time, considering the previous run-in you just had with the sex-crazed neighbors a couple nights before. You couldn't help but to click the link to their Instagram.

A profile came up with 53.4k followers, which immediately blew your mind... but you quickly saw why. Every tattoo and piercing, no matter the body-placement, skin-type, or quirky design, was vividly appealing— certainly done by the articulate hands of certified experts. Even in the comments of the piercings that were posted, people were praising them for the "minimal" amount of pain they experienced, despite the fact that some of piercings were done in places you couldn't even fathom the thought of having a needle jammed through.

It said in the bio that the shop is owned by the two artists that work there— Kim Taehyung and Jeon Jungkook. You couldn't find out much about them, all their pictures showed was their work. You even went back to search for a personal account of their own, but nothing came up. You then went back to the bio and clicked a link to the official website, hoping to find out something, but you were met with a disclaimer rule at the top that automatically deemed your chances of even getting your piece done by them, slim-to-none.

• No walk-ins allowed.

• Every request/idea must be sent in through the DMs of our Instagram page. You will only be accepted only if it spikes our personal interests.

Yikes; You were instantly discouraged by this. The piece you wanted was something so common and cliché, that you actually got the image out of a child's coloring book.... It was the cartoon layout of the glass vase and enchanted rose, from the Beauty and the Beast movie. Cheesy, yes. But it was something of personal, nostalgic value. You remember when you were little— roughly around 3 or 4 years of age— when your parents started fighting and would spend all day screaming and throwing things at each other, putting you in a constant state of anxiety. But then you'd go to bed at night and pop the VHS tape, and the movie never failed to put you in a peaceful state of mind— a hopeful one. It's remained as your all-time favorite love story throughout the years. Which, is ironic, considering that the relationship itself was different, but almost as dysfunctional as your parent's. However, the fact that even the Beast was capable of change, and everything wound up so perfect and happy in the end, makes your heart happy. And even now, at age 19, it still puts you in your feelings. The previous remake of a movie is what actually inspired you to get the enchanted rose as a tattoo, after seeing it in 3D not too long ago. But you're only willing to shell out up to $200 for it, at most. You've just started college, and even though Jimin's parents own the house and let the two of you live there, rent free, you're still responsible for half the utility bills from month to month. Blowing every bit of money you have saved up, right at the start of the semester, would just be irresponsible. But $200 was manageable, and you're looking for anything that'll give you a little extra "oomph" to break you out of this introverted shell you've always known. Pushing it off would just delay it, and you were ready for change. The nose piercing you want is just a small little thing that'll hopefully add a bit of flare to the features of your face. These two guys could probably do the piercing/tattoo with a blindfold on and a hand tied behind their back. So, if it meant that you'd be able to get these things done in confidence, without having to worry about the outcome, you figured it wouldn't hurt for you to at least ask, even if they straight-up ignore you. So, after spending an unnecessary amount of time overthinking the wording of your text, you finally constructed a message in your notes and DM'd it to business page, after sending them a small, simple outline of the cartoony rose, and pressed send.

• You: Hello! I've been wanting to get this tattoo done for a very while now, and was hoping one of you will be willing to do it for me... along with piercing my nose? I know it's a very mediocre and cliché piece, and a nose piercing can be done anywhere. But I'm new to the area and I've never gotten a tattoo/piercing done before and I haven't really checked out any other places either because I found this page first. And from what I can see, you guys are pretty efficient and CRAZY talented. So, I trust it'll get done right.... only if you want to! I'm willing to pay $200 for this, but if it costs that much for just the outline I've sent then that's fine as well. But I understand if neither of you want to do it cuz that is really cheap compared to the ones I've seen lol. But either way, thx for ur time 😁

A few minutes went by and you had just unlocked your phone to check the message again, when the word "seen" popped below the message. You held your breath for a second— but seconds turned to minutes, and time went by with no reply, what-so-ever. You figured maybe you sounded a little too immature to take seriously; kind of like a prepubescent 12-year-old asking someone out for a dance... and you blew it. Which was disappointing, but predictable. So fuck it. Maybe it's a sign; you shouldn't get it after all.

11pm rolled around, many hours later. You were now hiding beneath your covers, beginning your "amateur threesome" exploration on PornHub. You were ready to see what this whole "2 guys, 1 girl" thing was all about. But just when you were about to type it into the search bar, you were interrupted by an Instagram notification dropping down from the top of your screen.

"KinkForInk sent you a message."

You audibly gasped, eyes turning to saucers as you clicked on the notif and switched over to the Instagram app.

• KinkForInk: Hi (Y/N). This is Tae, one of the artists of the shop. The tattoo you sent in is worth roughly $100... but I want to run an offer by you in hopes that you'll be interested.

— Your brows scrunched in oddity, stomach fluttering. An offer? For you?

• You: Okay, sure. What's that?

• KinkForInk: I've been looking for someone willing to showcase the custom design I've come up with, specifically for a much more... exclusive version of the Beauty and the Beast tattoo you sent. And if you'd be down for letting me and my partner put it on you, it'll be free. No charge. BUT you'll also have to sign a contract saying that you'll do a little bit of modeling for us once it's done. You think you'd be in to doing something like that, even if you get it?

— Your head spun for a second, reading the message over and over again until you could fully wrap your mind around what he was saying.

• You: Hold on... YOU wanna put a tattoo on ME so that I model for you? And it's FREE? Are you sure about this? I'm not even model material lol.

• KinkForInk: Yes, yes, and yes, you are. You'd be perfect for this.

• You: How do know that? Is it a face tattoo? Cuz I only have 6 selfies on here and you can't see anything past my shoulders.

—"Seen" came up as soon as you hit send, but a couple of minutes rolled by with no reply to the message, nor was he even typing. Maybe you came off a little rude. But it was already sketchy and it was a logical question.

— An image suddenly popped up: a screenshot of your Facebook profile. Then another— and much to your horror, it was the photo Jimin tagged you in last week, when the two of you were swimming at a local community pool. You were wearing a simple two piece, sitting at the foot of the lawn chair Jimin was also sitting in, as his legs were visible on either side of you and his lap was practically framing your ass. The photo was at an upward angle and looked so scandalous— but really, you had just asked Jimin to put sun screen on your back and he didn't want to stand up because the pavement was too hot against his bare feet. But you actually liked the picture at the time; it was just a silly joke and your ass actually looked quite nice from that angle. Plus, everyone knows nothing sexual actually goes on between the two of you, for obvious reasons. But Taehyung doesn't, so you couldn't help but dreadfully cringe when you saw the caption of the screen shot.

"Babymama 💦🍆"

• KinkForInk: Is this you??

• You: Yes, that's me. The caption is a joke tho... pay no mind to that. But this is like, really happening? You really think it'd look good on me?

— Why that picture though? You couldn't help but wonder.

• KinkForInk: Yes. Like I said, you're perfect for this piece. Are you down to at least see what the tattoo will look like? We don't expect you to be experienced with modeling or anything, but if you listen to us and cooperate, you'll do just fine.

• You: Yes I wanna see, and I'll do the best I can if I decide to get it... I'm just a bit shy, is all.

• KinkForInk: You'll be in good hands. I promise.

• You: Okay... are you going to show me??

• KinkForInk: Can't send it over a message, I don't want it plagiarized or the concept stolen. But the piece itself isn't necessarily crazy or anything, just more creative. I'd be more than happy to show you at my shop some day this week, if you'd be willing to swing by.

• You: Yeah, I can do that. When should I come?

• KinkForInk: Are you available after 5 tomorrow?

• You: I am, I get off at 4:30.

• KinkForInk: Great. Be here by 5:30, and make sure you've eaten in case you like the piece and wanna get started. It's pretty big for a first timer and gonna take a lot of time and patience. It'll have to be done in sessions but I hope you have a fair enough pain tolerance to at least get the outline of it done first.

— It can't be any worse than a bikini wax, you thought, shivering at the memory. That a story for another time. You decided on an alternative scenario.

• You: I give blood from time to time... but that's easy and doesn't really hurt that much. I think I can handle it though... maybe. I honestly don't know lol, I'm sorry 😣. But I can try my best. Can I ask where it's supposed to go?

• KinkForInk: That's okay, I'll work with you. It's supposed to go down the middle of your back. Starts between the center of your shoulder blades, and trails down the length of your spine to your lower lumbar. You'll see how it looks once we transfer a template on your back. But if you don't like it, there will be no hard feelings from my end. I can still do the tattoo you want if that's the case, free of charge just for your time.

• You: Oh no, you don't have to do that! I'd still pay!

• KinkForInk: Not if I don't accept your money. Trust me, I'm not worried about it. The nose piercing is gonna be $30 regardless, though. JK isn't so lenient.

• You: Of course. Will I have to take my shirt and bra off for the tattoo?

• KinkForInk: Yes, and for the pictures once it's done.

— Your mind blanked at that; thumbs froze over the keypad. He was typing again.

• KinkForInk: Don't let that discourage you. Again, you're in good hands. You can bring something to cover your chest. And the pics will be if your back as well.

• You: Okay, I can handle that. So 5:30 tomorrow?

• KinkForInk: Yes, please don't flake on us!

• You: Lol, I won't. I'll be there.

"They're gonna knock us the fuck out and sell our organs to the black market," Jimin declared. He had parked next to you outside of the shop, and was now sitting in the driver seat of his car with his door locked and windows all the way up, refusing to get out. You were standing right outside his door, still having to talk on the phone. "And is this Tae-guy an AllState representative or something?"

Jimin is petty. You wanted him here for moral support— which he's usually reliable for— but this time, he's just plain salty right and doing everything he can to remind you of that. Reason is, he's been begging you to get a matching tattoo with him ever since your 18th birthday, and you've always refused because of what he wanted to get.

Cupcakes. Jimin wanted to get matching cupcake tattoos... in honor of Cupcakke the legend. Sorry, but H E L L no.

You rolled your eyes, growing frustrated. He only has enough time to pop in and confirm that these two aren't gonna kill you, and then he's gotta head home to get ready for work. You were already supposed to be in there. It was 5:33pm, 3 minutes past the time.

"Jimin, you're the one that insisted on coming along! And now you're making me late!" you ranted. "I'm going in without you."

"Hold your horses, hoe! I'm finishing my blueberry slushie," He retorted, sassily bringing the straw to his mouth and loudly slurping it into the phone. He then abruptly flinched away from the straw with a disgusted expression, nostrils flared, body locking up; lips drawing into an air-tight knot that was so extreme and unnatural, it caused an ugly snort to break out of your nose.

He smacked his lips in exaggeration to the taste, face falling back into stone as an eyebrow arched over the top of his aviators; unamused and saltier than before... Like you were at fault for that, too.

"Or... Blueberry-ass, I should say."

That forced another giggle out of you as Jimin stiffly rolled his window down, phone still pressed to his ear and eyes still scowling at you behind the inspector shades. He bit down on the straw and withdrew it with his teeth before dumping the dark-blue contents of the drink out of the window, making it a point to shake the styrofoam cup empty of every drop before tossing it over his shoulder and into back seat. He then spat the straw out of his mouth with an audible "PLUUUUH!" of a French accent, and waited until the window rolled all the way up again, just so he could hang up the phone. You scoffed at this as you shoved your phone back into your pocket, scornfully watching Jimin exit the car and slam the door behind him. He snatched his glasses off his face as his cotton-candy hair swayed in the breeze, revealing his scornful eyes right back at you as he gestured for you to lead the way in exasperated manner— as if you were the one wasting his time now.

"Go on, lead us to the grave," He shooed, a snippy little shit. You sauntered away, walking up the side of the shop, then paused just before reaching the glass entrance door, when you remembered how much of a coward you are. You've never even stepped into a parlor before, and supposedly, this was a famous one. Which makes it more and more surreal when you think about it.

"Are we doing the mannequin challenge now? Is that what we're doing?" Jimin sardonically inquired.

"You go first, I'm nervous!" You whisper-hissed.

"You don't want me to go in there first— I'll show out," he reasoned, simply stating a fact.

"Please don't," you whined.

"Then, again, I'll show out?" He reiterated, as if to say duh. "How else am I supposed to break the ice? I look like Timmy Turner's Fairy-Gay- Parent."

You gave him a wary look... he's right. You sighed, slightly kicking your foot in distracted defeat. Fuck, you hated making an entrance to new places—

"Hold up— is that Drake?" Jimin suddenly blurted, holding his hand up to silence you. You honed in on the muffled track playing from behind the glass door, and Jimin's face soon light up like a Christmas tree before he spun around you, unstoppable.

"Jimin, NO—!"

"KIKI, DO YOU LOVE ME—?!"

It was already too late. The door was flying back behind him as he Milly-Rocked his way into the shop, leaving you no choice but the chase in behind him.

"—ARE YOU RIDING? SAY YOU'LL NEVA-EVA LEAVE FROM BESIDE ME— hello there."

You were panting, coming to a stop right behind Jimin, where you instantly latched on to the back of his shirt as you met the face of the man behind the studio counter. And, as corny as this is gonna sound: the world actually stilled for a solid beat... or maybe you were in the verge of cardiac arrest.

A pair of glossy-Black eyes looked up at the two of you; A series of silver-studded earrings trailed along the outer cartilages, peaking out beneath a head of soft, layer-swept hair. It was a Carmel-tinted blonde in color— thick and shaggy, and neatly spilling in waves around a headband that proudly sported a high-dollar brand-name you've never seen anyone wear in person before. G U C C I, it read— Meaning that the headband alone was probably worth more than some of your college text books, put together. It sat just a few inches above a pair of dark brows, that oddly brought out the shape of his cat-like eyes— irises like polished marbles. His ample lips had a sharp, well-defined Cupid's-bow, and a natural shade of pink that fit the porcelain appearance of his melanin-kissed complexion, to the finest degree.

And here you are, looking like an actual bum. You had just enough time to clock out of work and head straight over here to make it in time. You didn't even have any makeup on, and the only thing hiding your raggedy hair from those captivating eyes is your old baseball cap from high school. It took a second for him to take the bold presence that was Park Jimin— who was also frozen to the spot as he openly checked the guy out. He was hunched over the counter, a v-neck hoodie covering the rest of him with a thin, loose-fitting material. It was Black and allowed a full visual of his tan neck, and prominent collar bones. And it certainly didn't hide the fact that he had a pair of wide-set shoulders, either. A pencil sat in his hand— one that was laced with masculine veins, and lot of decorative ink. There was a silver ring on his thumb.. and a very heavy-looking Rolex watch.

The man cracked a grin at Jimin— a boxy one that dimpled in at the corners.

"Love the hair," he humorously began, twisting a quirky eyebrow at Jimin. You subconsciously snagged the bill of your hat as your eyes went a little wide at how mature the man's voice was.

"Love the watch," Jimin retorted, then reached around and gripped you by the wrist before pulling you into full view beside him. "You wouldn't happen to be Taehyung...?"

"Mhm," the man hummed, absentmindedly moving his wrist at the mention of his watch. His eyes cut over to you, and you swore you could see a minuscule reflection of yourself in his eyes, before they flashed back at Jimin and blinked. "You must be the babydaddy?"

Blood rushes to your ears. It's really him... a guy who looks like a high-dollar model himself, asking you to be his canvas model. Your own conscious didn't even know what to say right now. So you stayed quiet and still as Jimin took charge... which was a mistake.

"She wishes, but no. I'm the best-friend— and a gay one, at that," Jimin replied, and you knew he did that for his benefit. Thot. "I'm just here to make sure you're not gonna sacrifice her to Satan, or anything of that nature. I need her around in case I ever forget the Netflix password."

Taehyung chuckled at that, mouth opening to reveal a row of teeth shinier than Chip Skylark's. But then, you caught something behind his teeth that caused your gut to leap. A silver ball... a tongue ring. Your thoughts clouded over for a second.

"Well, I can assure you, she's safe with me," he said, looking over at you again. You blinked, nothing more. His brow arched at your lack of response, but this time, it was done more handsomely as he was still smirking at you. "Still, you don't look too thrilled to be here... You sure you wanna do this?"

"She's just nervous because you're really fucking hot," Jimin announced, unyielding. "You should feel how sweaty her hand is."

"Don't listen to him— I'm gay too," You lied in panic, trying to defend yourself from the absolute truth Jimin spoke just then. You snatched your hand away from him and jutted a finger at the door, eyes beading and lid twitching as your nerves ran amuck. "Goodbye, Jimin."

"She's a lonesome hetero," Jimin told Taehyung, assuring him with a face that showed no bluff. "One look at her camera roll, and you'd see for yourself—" You were yanking him away by the arm now, in a tug-of-war game that Jimin obviously could've won if he really wanted to. But he figured you suffered enough and eventually let you drag him out of the shop, waving bye to Taehyung before turning to look at you with beading eyes.

"I think he wants to fuck you— text me as soon as you can," Jimin uttered with unmoving lips as before he walked to his car. You stopped for a second, noticing he was actually being serious. How could he possibly think that he wants to fuck you, just from that small encounter? And what is the odd sensation currently coiling in your stomach? Things grew awkward again when you re-entered the shop, coming to a stand at the same spot... only alone now. He was still amused, it seemed. And so calm and cool despite this odd, intense look in his eyes. It gave him a Casanova effect, where all he had to do was give you that look and it'd instantly make you blush.

"He seems like a fun person to be around," he noted, somewhat honestly, but more so making fun of the red-hot appearance of your face.

"He's a pain in the ass," you muttered, trying to conjure up a smirk but hardly even able to speak properly from how dry your mouth was. It felt like there was a white-hot iron expanding in your throat. "I'm really sorry about him."

"Don't be. I'm just glad you're here— thought you'd chicken out." You nervously wiped your clammy palms over the back pockets of your jeans as Taehyung got up from the barstool behind the counter and approached you on the other side of it, a whole head-and-a-half taller than you. He was wearing black cardigan jeans and matching combat boots.. his headband and jewelry the only thing not black on him. And oddly enough, he made it look fucking fantastic.

"Mh-mm," You hummed, not trusting your voice. You've never needed a sip of water so bad in your life— he even smelled expensive.

"Well, It's very nice to meet you," he formerly began, and you mustered up the normality of placing your (dried) hand into his much larger one, as he held his out to you in greeting. And boy, was he close. So close that the heels of your spine itches to lean back from the proximity.

"It's nice to meet you, too. I'm really sorry if I'm acting weird. I'm just nervous." — Your mind struggled to stay focused on your words, arm tensing at the skin-to-skin contact. You were extra-effected by the firmness in his grip. You really wanted to look down at all the bold ink you saw dashing across the veiny surface of his tanned hand, or see if those were images or scripted letters on the knuckles of lengthy fingers... But you were held captive by those God-blessed eyes... And that fucking tongue ring. It was infecting your head in ways that weren't necessarily healthy for your current state of mind, as you saw it peering in and out at certain words.

"And physically shaking," Taehyung pointed out, brows twitching down at your trembling hand in his as if he was concerned for it. But his smirk gave off an odd sense of fascination to the involuntary symptom, like it was cute or something? Hm. He glanced back up at you, causing your dehydrated throat to bob as his other hand came to clasp over the rest of yours, swallowing it completely from the wrist down. "Intimidated?"

"V-Very," you spluttered, a small slither of saliva copulating down your throat as you looked back up at him. He absentmindedly rolled his tongue ring over the button row of his teeth as he watched you with tainted eyes— undoubtably getting cocky with that damn grin of his and proudly teasing you about your reaction to him. It gratified the effortless sex-appeal he had. You were even beginning to imagine that tongue ring elsewhere, and you literally just met him. Then, as you felt the band of a ring move along with the pad of his thumb as gently ran it across your trembly knuckles, chills shot up all the way to your shoulder. Oh... oh wow. You glanced down at his knuckles on reflex this time, and saw a four-letter word scripted in black ink across the bottom row of his knuckles, and another word scripted on the middle section of his fingers. A silver band on his naked thumb. STAY TRUE, it said.

"And why's that?"

"I.. feel like you're a celebrity," you sheepishly admitted, your other hand wedging into your back pocket as you had to stop yourself from reaching for the bill of your hat again. Is he flirting? The words seem too innocent for the way he was making you feel. It was getting so hot in the oven of his massive palms, and he wasn't even squeezing you hard enough to cut off any circulation, but yet your fingers were beginning to tingle.

"Mm, no. Just a little popular, really," he granted, teetering his head a little as he pondered the thought. You could see his vocal chords contract in his sleek neck as they project his smooth, pungent voice. "You still trust me?"

"Mhm," was all you could muster. He'd gotten even closer, to where his hand had gone into a prayer stance around yours. You were aware of how wide your eyes had gone from the awe you... you knew this was just the beginning. He was going to be very handsy throughout this whole process. But in a very twisted way, you were more than okay with that. Even if it meant you were at risk of fainting from actual dehydration. Maybe you were in over your head. But you couldn't will yourself away from this now. And then, just as a wide, heart-stopping smile edged out on that mind-numbingly handsome face, the door at that back of the room swung open, and heavy-metal rock blasted through the quiet vibe of the scenery and caused you to jump a little at the disturbance. Taehyung shot a wicked smile over his shoulder, and his next words nearly knocked you out right then and there as you beheld yet another, breathtaking sight.

"Oh, there you are," Tae eagerly acknowledged, one hand still holding yours as he walked around to grab your with the other, presenting you to the.. hulking presence in the room. "This is (Y/N), our next little experiment."

924 notes · View notes

princesssarisa · 4 years

Text

Assorted thoughts on “Little Women”

In no particular order.

*I’m glad I waited this long to read the original, unabridged novel. If I had read it as a teen or a preteen, I just might have followed countless girl readers’ example of having a crush on Laurie and being angry that Jo doesn’t marry him. Reading it now, I’m able to see him as the well-rounded, likable yet flawed character he is, not just as a girl’s prize, and realize that while he and Jo have a beautiful friendship, they wouldn’t have worked as a couple. The canon pairings of Jo/Friedrich and Amy/Laurie are the right ones.

*About the controversial issue of the characters’ ambitions... None of the young leads achieve their childhood dreams in the end; Alcott’s intended message was clearly “We don’t always achieve our dreams, but life can still be happy in ways we never expected.” That’s all well and good. But apart from Meg’s gender-neutral dream of being rich, the characters’ “castles in the air” are all in defiance of their expected gender roles: Jo wants to be a famous author and Amy a famous artist, two fields normally reserved for men, while Laurie wants to be a composer instead of going into his grandfather’s business. And all three of their endings are distinctly more gender-conforming: Jo becomes a schoolmistress, Amy becomes a society lady, both become wives and mothers, and Laurie goes into business “like a man.” I think it’s fair for modern readers to be disappointed by that conformity, even while appreciating the realistic message about childhood dreams. Those feelings aren’t mutually exclusive. For modern audiences, I think the standard adaptational change of Jo publishing her own version of Little Women at the end (instead of 20 years later in the last sequel) is a good change.

*About Jo needing to control her temper... I understand why this annoys some feminists. So often women are expected to suppress all anger and never stand up for themselves. Maybe it is problematic that role model Marmee explicitly never shows her anger, but only purses her lips and leaves the room. But personally, I think it’s presented in a healthy, gender-neutral way. Jo’s anger isn’t a problem because it’s “unseemly” or “unfeminine,” but because it can lead her to do cruel things to others. The mistake that teaches her the lesson in “Jo Meets Appolyon,” letting Amy skate on the thin ice, isn’t a loud, aggressive act of rage, but a cold, silent act (or rather inaction) of spite. Besides “control your temper” doesn’t mean “never stand up for yourself.” The book has several examples of women calmly yet firmly calling out other people’s bad behavior (most often Laurie’s ^–^) and it’s portrayed as entirely right. And though it’s tempting to be annoyed by Mr. March putting his finger to his lips when he sees his wife starting to get angry, it’s also a nice subversion of gender stereotypes to see a marriage where the husband is gentler by nature than his wife and is a calming influence on her. Stereotypical couples are the other way around.

*As a person on the autism spectrum, I relate strongly to Beth. I fully embrace the headcanon that Beth herself is autistic and that Lizzie Alcott might have been diagnosed as such if she had lived today. So it hurts a little to see other readers call Beth “boring,” “annoying,” a “doormat” and “the worst of the sisters.” Although she is idealized because she was Alcott’s tribute to her dead little sister, she’s not the cardboard cutout of bland feminine virtue she’s so often been stereotyped as being. It’s clear from the start that Beth isn’t “normal,” either by our standards or by past ones. Her crippling shyness isn’t just “sweet Victorian modesty,” but portrayed as a real flaw that she struggles to overcome. She’s been homeschooled because as a child her social anxiety made regular school unbearable for her. She still plays with dolls, believes in Santa Claus and has imaginary friends at age 13. She has no desire to get married, or to have any kind of career, or ever to leave her parents’ house. And because of all this, she clearly has a low opinion of herself: hence she tells Jo that she was never meant to live long, because she would never have been anything but “stupid little Beth, trotting about at home.” But the narrative belies her words. In both of her illnesses, so many people rally around her and reveal how much they love her and how valuable her quiet kindness has been in their lives. Ultimately she dies in peace because she realizes her life hasn’t been worthless after all. With my own social struggles, my tendency to be “younger than my years,” and my own desire to have a quiet life close to my family instead of going out into the big, overwhelming world and doing big, overwhelming things, I find her storyline beautiful, because it gives me hope that my life is just as valuable as anyone else’s.

*I also relate to Jo, as so many readers do. The result is that I’m of two minds of the chapters “Calls” and “Consequences.” On the one hand, there’s no doubt that Jo is at fault in those chapters and does more-or-less deserves to lose the trip to Europe. She’s genuinely, purposefully rude to her aunts and to the other people they visit and she humiliates Amy and harms her social life – at the subsequent fair, the Chesters ban Amy from the art table because Jo insulted them. Plus the only reason why she has to join Amy in the calls in the first place is because she promised she would, so it’s hypocritical of her to whine about it. But on the other hand, I do empathize with Jo. With my own my social difficulties, I relate to her hating formal occasions where she has to dress up, mind her manners, make small talk about topics that don’t interest her with people she dislikes, and always be “agreeable” and “docile.” For Jo and for so many of us, it’s so hard to be that way, yet it’s the mold that all women were expected to stuff themselves into in the 19th century and to an extent still are today. Amy is lucky that she enjoys playing that social game and that it comes naturally to her. So it’s easy to sympathize with Jo’s envy when Amy is chosen to go to Europe, to feel as if Amy is rewarded for her social conformity while Jo is punished for failing to conform, and to feel as if the message is that all girls should conform like Amy. Fortunately, the book as a whole doesn’t send that message: even Amy achieves her ultimate happiness by letting herself be a bit more like Jo and call Laurie out on his laziness and apathy, when back in “Calls” she had argued that a lady should never show disapproval to a man.

*I don’t understand why some commentators think the chapter “On the Shelf” is so horribly sexist. Well, actually, I do. It’s tempting to find fault with John for being “jealous” that Meg is focusing more on their babies than on him and for “neglecting” Meg and spending carefree evenings out while she slaves away with the twins. And for Meg to be told by her mother that this is her own fault for “neglecting her duty to her husband” understandably rankles some feminists. But I honestly don’t think there’s any real problem. Meg genuinely neglects John and overtaxes herself by devoting every waking minute to the twins and letting neither John nor anyone else help her, because she’s afraid that otherwise she’ll be a bad mother. John isn’t jealous of the babies, he understandably feels ignored and useless. Nor (despite what some critics think) does he cheat on Meg, or want to. He just goes to a friend’s house rather than sit alone at home; Meg’s fear that his eye is roving to Mrs. Scott is just a product of her own stress. The resolution is arguably just the opposite of sexist: Meg finally lets John take an equal share of child-rearing duties, lets Hannah babysit often so they can both have time for themselves too, and steps out of her domestic sphere to share talks with John about politics, literature, etc. By the end of the chapter, their marriage is more egalitarian than ever.

*I’d like to read a fanfic where Jo meets Rodolfo from La Bohéme. I wouldn’t ship them, since they’re even more “too much alike” than Jo and Laurie are, but I’d like to see them meet. They’re both lively, passionate, temperamental ENFP writers, whose minds are full of “castles in the air” (they both use that exact phrase), yet whose lives both turn out differently than they had hoped, although Jo’s outcome is much happier. Both also adore a sweet, gentle, sickly young girl (Jo’s sister Beth/Rodolfo’s love interest Mimí) whose death they both regard as the end of their own youth. Furthermore, both of their authors modeled them after themselves. Jo is more down-to-earth than Rodolfo, though, and I’m not sure if they’d be friends or hate each other – Jo would definitely be indignant to learn how Rodolfo emotionally abused and broke up with Mimí because he couldn’t bear to watch her die, when she herself nursed Beth day and night through both of her illnesses and never left her side. But it would be an interesting meeting.

@fairychamber, @thatvermilionflycatcher

#little women #meta #opinions #rambling

44 notes · View notes

ineffableeraszine · 4 years

Text

Ineffable Eras Zine

BASIC INFO AND GUIDELINES: Soho 1967

What is this edition about?

"Ineffable Eras: Soho 1967" is a Swinging Sixties focused GOOD OMENS zine, with a printed and digital publication date aim of 12 June 2021. This date was chosen because Crowley’s love of James Bond films: You Only Live Twice premiered in London on this date 54 years ago! (Look closely at the driver’s side window of the Bentley during this scene: the only time Crowley bought petrol was to get those free James Bond bullet-hole-in-the-windscreen transfers.)

Who’s organizing this zine?

The Edition Lead for “Soho 1967” is North (SeedsOfWinter). Joining for the Blitz are fellow teammates Caspian (CaspianTheGeek), Claire (sungmee), Sam (D20OwlBear), and Lauren (Ditherwings).

Will this zine be printed?

Yes! We intend to physically print this zine, in addition to the digital version. The print version will include all written and visual art, which is highly likely to contain 18+ material. (If it makes sense for the amount of non-adult contribution received, we may offer a SFW digital download in addition to the full digital download.)

What is the schedule for the zine?

Applications Close at 11:59pm EST on 22 December 2020.

All Applicants will receive a message by 9 January 2021 whether one of their general proposals is accepted OR passed on. (We wish we could accept everyone who loves these Eras as much as we do but have very limited space!) Accepted Applicants will receive information about which of their general proposals has been accepted for Soho 1967.

Contributors will have roughly 7 weeks to complete their pieces.

Application Open - 16 November 2020 Application Closed - 11:59pm EST on 22 December 2020 Inform of Application Outcome - by 9 January 2021

Work Weeks for Creators - 10 January through 2 March 2021 First Check - 1 February 2021 Final Check - 15 February 2021 Pieces Due - 11:59pm EST on 2 March 2021

Pre-orders Open - 31 March 2021 Pre-orders Close - 11:59pm EST on 19 April 2021

Release Day - 12 June 2021 Email Digital Zines - 12 June 2021

Physical copies may arrive after Release Day depending on shipping to your home, but all Digital copies will mail on the 12th!

What are the requirements for contributing?

Any artists, writers, or cosplayers interested in creating content for this Era are encouraged to apply! We ask that works for the zine be new, and that applicants have enough example work for us to get a good feel of what they intend to submit. This zine welcomes NSFW content, so you must be 18+ to apply. Thank you for understanding!

Basic zine guidelines? Contributors are expected to create new pieces for the zine.

For Written: - No longer than around 1967 words - For Fiction, 1k-1.5k is ideal; Poetry can be shorter - Must feature the Swinging Sixties Era: before, during, or after the events of the “Hard Times” Soho 1967 sequence from the television series - No other era may be visited in-story, though past events may be referenced

For Visual Art: - Limit to 2 pages per artist - Art may be any visual medium—including appropriately themed cosplay, photography, and comics—that tells a visual story fitting to the era - Must feature the Swinging Sixties Era: before, during, or after the events of the “Hard Times” Soho 1967 sequence from the television series - No other era may be visited in-story, though past events may be referenced - Specs for art contributions will be available upon application acceptance

We encourage interpretation over recreation.

Basic content guidelines?

This zine is strictly GOOD OMENS but not strictly focused on Aziraphale and Crowley. While the Ineffable Spouses are likely to be the main focus of accepted contributors, we'd love to see proposals for other era-appropriate Good Omens characters. Example: any other angels or demons enjoying Soho in the Sixties? A scene where Aziraphale learns about Crowley’s robbery? Something wholly unique? Delightful!

Characters may be in any or no pairing, using any pronouns, and presenting or perceived as any gender. ("Ineffable Wives" can present masculine; "Ineffable Husbands" can present feminine; etc. Genitalia and secondary sex characteristics do not equal gender.)

No contributions may feature: - Physical violence/Graphic depictions of violence - Major character death (temporary discorporation acceptable) - Sexual violence (including both noncon and dubcon) - Abuse (including emotional abuse) - Underage and grooming - Slurs and bigotry - Drug or alcohol abuse (canon-typical drinking acceptable) - Eating disorders - Suicide and self-harm - AUs (alternate universe) - Crossover with other fandoms

Anything that could be considered heavy kink must also be cleared with the mods.

Further guidelines and information will be available to Accepted Contributors. Thank you!

Questions, comments, concerns, fan mail? Message us here, on Twitter @IneffableEras, or email [email protected].

#good omens zine #ineffable husbands #ineffable wives #inefformation #soho zine

18 notes · View notes

rpgmgames · 5 years

Photo

January’s Featured Game: Roji's Room

DEVELOPER(S): Spicy Roll ENGINE: RPG Maker MV GENRE: RPG, Adventure, Mystery WARNINGS: Shifts in consciousness, Spooky, Strong language SUMMARY: Roji's Room is a turned base RPG about lucid dreaming, consciousness, emotions, friendships, meditation, wholesome, sleep paralysis, and adventure. You play as Jae who is an avid lucid dreamer, he wakes up in a room with no memory. You sleep and enter a dream world full of many entities that view their world as the real world. You meet Roji who is the key to solving what makes this dream world different from any other dream.

Download the teaser demo here! Our Interview With The Dev Team Below The Cut!

Introduce yourself! *Jaies: Hello this is Jude S. (Jaies) and I’m the lead composer for Roji’s Room! I’ve always loved making video game music, and following indie projects, and now I get to pair that love with a really great game. It’s a dream come true! I hope everyone enjoys the music and the game (: *Spicyroll: Greetings! This is Jaeroll the game developer for Roji's Room! For now I am mostly working alone with the game along with Jude who composes the music. I am a intro/extrovert who is in love with life and its inhabitants. I am a registered nurse and a Reiki master. I love meditating , yoga, anime, JRPGs, indie games, crystals and music. I have been dabbling with rpg maker since 2006 with RPGMaker XP. Making so many projects but not completing them haha. I am grateful for the indiedev and rpgmaker community met so many awesome people through this development.

What is your project about? What inspired you to create this game initially? *Spicyroll: Roji's Room is an experiment for self discovery there will be many choices and activities that the player will be doing. It might be risky but my goal is not only to benefit the characters in the game but also the player themselves. Meditation, actions, emotions, wholesomeness. Display the rewards to practicing self love and the outcomes to not. I am a strong advocate to self love, I would love to deliver inspiration to people to practice more self love for themselves. I hope the game can invoke such emotions. But as the story its a mystery involving a boy who is a master at lucid dreaming but lost his memories. He was able to enter a dream world that is in disorder because the moderator lost it's body and is only a brain. The brain is Roji, its your quest to help retrieve the body and restore order to this special dream. While hopefully restoring the memories of Jae. Meeting many dream entities along the way your choices are really important. What inspired me is the many years of playing RPGs, and creating projects that was very surface and generic. I love art, creation and the helping of others.

How long have you been working on your project? *Spicyroll: It's been a good year (:

Did any other games or media influence aspects of your project? *Spicyroll: Many games like Moon remix RPG, Undertale, Mother 3, Nino kuni. Artists Bryan lee O maley, Rebecca Sugar, many more. I love the aspect of alternatives to fighting in RPGs. Wholesome.

Have you come across any challenges during development? How have you overcome or worked around them? *Spicyroll: Yes there were many, sometimes just like many other developers you would get dev block or whatever. Burnt out for overworking and what not. Fear of people not liking the concept. Also a big one is the the limitations of rpgmaker, however I am grateful to the engine because just as an artist its easy to use. How I worked on it was giving time to myself, self love, doing other things other than game dev where it sparked that flame. Staying positive and interacting with other game devs. Playing story driven games.

Have any aspects of your project changed over time? How does your current project differ from your initial concept? *Spicyroll: Many aspects! It was going to be REALLY spiritual and concepts were thrown onto you to "wake you up" However I realized it would be very jarring to people who aren't open to such concepts so I thought I should make it gradual. Current one is much more simple and I feel like more organized.

What was your team like at the beginning? How did people join the team? If you don’t have a team, do you wish you had one or do you prefer working alone? *Spicyroll: Well my team is basically just me, I have many friends who produce music but most of them just wanted to chip in one song or two. I found an amazing composer online and built a cool friendship with him. I like working alone in terms of directing but I would be open to members. I just have the fear of butting heads and what not.

What is the best part of developing a game? *Spicyroll: The BEST part of developing a game is just creating something in general and to share in a interactive medium of your tastes of music and design. My most favorite is in hopes of invoking emotions for the player to release to help them in their daily lives.

Do you find yourself playing other RPG Maker games to see what you can do with the engine, or do you prefer to do your own thing? *Spicyroll: I have played many RPGMaker games most are on this list, the big ones Oneshot, Lisa, To The Moon. I realized the limitations of the engine but just remains grateful to be able to create a functional game with little knowledge of coding. Shout out to them plugin creators!

Which character in your game do you relate to the most and why? (Alternatively: Who is your favorite character and why?) *Spicyroll: Although majority of the characters haven't been introduced in development, I relate to the main character. The name is a self insert but the character himself is at his core wanting to empathize with entities and connect. Its up to the player who is the guide to flesh those out or go a different route.

Looking back now, is there anything that regret/wish you had done differently? *Spicyroll: I actually dont have any regrets, I am just grateful to the whole process cause everything negative was a learning experience (:

Do you plan to explore the game’s universe and characters further in subsequent projects, or leave it as-is? *Spicyroll: TAs of now I would leave it as it is and if characters are likable maybe some side stories?

What do you most look forward to now that you have finished the game? *Spicyroll: I look forward to the many smiles and emotions players give while playing the game. Also just art in general characters in many different mediums of art. I would hope that any concept or action can help the person in their waking life.

Is there something you’re afraid of concerning the development or the release of your game? *Spicyroll: It would have to be the engine, I know that sometimes errors will occur and hinder the process of completion. But it will work out ^^

Do you have any advice for upcoming devs? *Spicyroll: Practice self care for yourself, you only have one body, mind and soul. If you practice those things and better yourself you can bring your best self to work on this project. Its sometimes unavoidable due to habits but when you realize that overworking yourself doesn't do any good to yourself or the project you can evolve into higher conceptualization? Also make the game YOU want, like as a love letter to yourself (:

Question from last month's featured dev @grimmshollow: What tricks do you use to make playtesting/debugging easier? *Spicyroll: Tricks? Uhhhh keeping save points and such around? Having your friends play your game with unbias so you can get the whole picture. Which cuts out time doing final edits at the last min of release.

We mods would like to thank Spicy Roll for agreeing to our interview! We believe that featuring the developer and their creative process is just as important as featuring the final product. Hopefully this Q&A segment has been an entertaining and insightful experience for everyone involved!

Remember to check out Roji's Room if you haven’t already! See you next month!

- Mods Gold & Platinum

#rojis room #rpgmaker #rpg maker #rpgmaker mv #rpg games #indie games #game demo #rojis room game #games #gotm #game of the month #gotm 2020 #2020 #january #january 2020

265 notes · View notes

seyaryminamoto · 4 years

Note

Yakuza Sokkla AU headcanons?

Well, for starters I can point you to a Yakuza AU fic that already exists and features Sokkla, though it’s not the main pairing... here you go!

Now then... let’s toy around with a set of headcanons, shall we?

Azula of course belongs to the biggest baddest yakuza clan in the nation, spanning back who knows how many generations, probably since the Edo period. It’s a pretty violent clan, with complicated and gruesome rites of passage. For instance, Zuko could’ve even been burned in this setting for the sake of proving himself a worthy successor to his father :’D it may sound insane, but there’s a real-life yakuza tradition of amputating their pinky fingers to settle conflicts or as punishments... so in their case, the burning is a rite done to the clan’s heir -- if the heir survives, he’s proven himself, so, strangely, in this AU Zuko’s burn is a mark of pride rather than shame :’D (and Ozai probably has a burn of his own too). Theirs could be, perhaps, the Homura clan (as a reading of Homura 炎 would mean “flames”).

Sokka would belong to a smaller yakuza clan, but his father could be a little like Hanzo and Genji’s father from Overwatch, a wise old man who actually reels back his more criminal and wild associates, who surely want their clan to outdo the Homura at all costs, even if by breaking their more traditional and respectful (and samurai-ish (?)) approach to their work. I’d think their clan can be the Kawakami clan (written 川上, means “above the river”).

The Kawakami are renowned for having THE coolest tattoos so that’s one nice thing they have over every other Yakuza clan around, bahahaha. Sokka has been learning (amongst other things) how to make tattoos of his own too, so he gets plenty of art education here and is damn good at what he does because this boy has the soul of an artist and if it were nurtured properly he’d go the distance with his talents, MARK MY WORDS!

Eh-hem, Sokka fangirl rant over... as they’re from rival clans, Sokka and Azula have bumped into each other on occasion, whenever friction rises between their groups. They’ve known of the other’s existence (and their respective siblings) all along, and they’ve been raised to hate each other’s guts :’D as kids they probably only saw each other on a few occasions, but once they’re old enough to take up missions of their own, their paths will cross more often.

The Homura clan traditionally handles most the drug trafficking and arms trading, and of course, the Kawakami are trying to deal in those things too... which results in frequent spats over suppliers, even outright fights between group members, until Hakoda Kawakami decides he’s had enough of the nonsensical rivalry and determines their clan will benefit most from a truce and an alliance with the Homura clan. He tasks his son and heir with arranging it, since this could be their rise to yakuza glory!

Of course, Sokka Kawakami has a lot of possible ways to achieve success at his father’s request. He starts by making peace offerings to the other clan, yielding some suppliers, for instance, in a show of good faith. But Ozai Homura is not amused and not impressed because he can tell these people are up to something: as he wants his heir Zuko to stay focused on learning the elements of the business that matter, such as learning to read stock markets and such (legit, it seems the Yakuza do this to find out which companies to extort :’D), he dispatches his daughter to handle the lesser threat of the Kawakami clan.

This means a huge cat and mouse struggle begins between Azula and Sokka: she decides to turn his displays of generosity against him, by extending Homura “protection” AKA extortion to people within Kawakami territories, arguing that the Kawakami’s displays of weakness these days mean they’re no longer upholding their duties to “protect” their people as they should. Naturally, Sokka is outraged that she’s fucked up his plan but he counterattacks by reaching out to the people she’s trying to steal away to prove that he’s indeed going to protect them. From HER! :’D The people in question are just plain confused because who should they believe at this point? xD

After a few weeks of this pretty pointless tug of war, Sokka decides he needs to step up his game and take a new approach to fulfilling his father’s request: he asks Azula for a peaceful private meeting in an empty park at night (and by private I mean they’ll talk alone while about 20 members of each clan point guns at each other from the shadows of the park), and he explains what’s going on and why he’s been up to what he’s up to. Azula is uninterested in any alliances, for the Homura are perfectly strong as they are, but Sokka points out... their tattoo game ain’t as good as the Kawakami clan’s. Azula is confused but intrigued.

Next thing Ozai knows, Azula is offering to take one bullet for the clan: she will receive a tattoo from the Kawakami heir to see if they have ONE worthwhile thing to offer their clan or not. Ozai is utterly uninterested but fiiiiiiiiiine, their artists have been pretty lackluster lately and it’s known decent tattoos are needed for people to respect a yakuza clan as it should be.

As these tattoos are very difficult, painful and time-consuming, it takes more than one session. Sokka of course insists he must be alone with Azula or he won’t be able to focus -- not that he’s focusing too much while she lies down naked to the waist on his tattoo parlor and he works on inking her back as best as he can :’D the very FATE of his clan rides on whether he can do wonders on Azula’s body or not... (?)

... Obviously, this ends up taking a whole other meaning when it’s time for him to work on other, more intimate parts of her body...

Ehem. Things are no longer PG-13. Not that they ever are when it comes to the yakuza. Or to me writing these two.

Azula goes home after the final session of her hugely-detailed epic tattoo with the biggest, stupidest smile on her face because ahaha that tattoo was good “ahaha yes father he’s TALENTED I mean, very talented, the things he does with his HUGE needle...! Um, y-yeah, I’m totally talking about tattoos, not about anything else, that’s not it (?)”

A temporary alliance is crafted then, despite Ozai thinks Azula’s approval of the Kawakami clan is super weird and isn’t exactly crazy about allowing this puny clan to even breathe in his direction, but he’s always had a weakness for his daughter + has no idea she’s doing the tattoo artist so he lets everything run its course (?)

I guess one day he finds out and legit war blows up between both factions (?) buuuut that’s too much plot to plot and I have enough big stories in my head as it is x’D feel free to imagine that war and its outcome for yourself, anon (?)

(as a bonus, looking into the yakuza wikipedia article revealed that, amongst their TONS of criminal activities, the real life yakuza actually offered relief and assistance during big catastrophic events in Japan, like the Kobe and Sendai earthquakes? How epic would it be for the Kawakami clan to offer relief and earn the loyalty of a fuckton of people, turning them into a clan big enough to rival the Homura before Ozai is the wiser... :’DDDD further spice into the clan war, eh, ehhhh?)

Well, that was fun xD I hope you enjoyed it too, Anon xD

#sokkla #sokka #azula #yakuza au #I hadn't really pondered making one of my own #since my friend wrote that other one #and I'm not exactly super-knowledgeable about yakuza despite having written about them ages ago #but this was hilarious to ponder #and now I put this potential story up for auction (?)#if anyone out there wants to write a sokkla AU story and doesn't know what to do #feel free to nab this one (though PLEASE let me know you're writing it because I wanna read it xD)

29 notes · View notes