#category: collector terms

[revenant-coining]

Lonxiecollector

[pt: Lonxiecollector /end pt]

[id: a rectangular flag with 7 equally-sized horizontal lines. colors in this order from top to bottom and reflected after the last listed color: darkish green, green, dull green, light blue, purple, darkish purple, dark grey-purple. in the center of the flag is an hourglass-shaped section of lighter versions of the line colors. /end id]

Lonxiecollector/Lonxiehoarder; a collector/hoarder term for one who collects/hoards to cope with loneliness and/or anxiety.

etymology; lon(ly), (an)xie(ty), collector/hoarder

for @acespec-lesboy!

tagging; @radiomogai, @thecoffeecrew404

[id: a rosy-pink line divider. /end id]

[shytastemakerthing]

please matchmake this hopeless romantic LOL ♪ (romantic please!! not platonic.) I’m someone who loves to dress up in pink, frilly dresses and I tend to wear j-fashions like sweet lolita or hime gyaru, both very pink and frilly, I love love love cats and tbh I’m a big dork, I’m ambiverted(leaning towards introverted) and I think I’m enfp/infp, I can be hyper sometimes but also tired, I’m a little emotional sometimes too , i love video games, manga, anime, I have an anime figure collection (most of them being pink) and I love cute stationery♪

Hello! It wasn't specified as to which Fandom you wanted this for so I went with the most popular, which is TWST! I would usually send a message to ask but given this is an anonymous request, I can't do that lol🤣😭

I hope you enjoy!

Note: Dont really pay attention to the poll at the bottom. I accidentally clicked it and now it won't go away and i can't post this until i put something in that poll😭😭.

I match you with......

Idia Shroud

🎮 This guy seems to be pretty popular within tne matchup sections of things (not that I am complaining, I love writing about him xD).

🎮 This is a clear story of the whole 'opposites attract' trope that we see going on all of the time. Between the both of you, it's like night and day. His gloomy disposition and state of dress (I hope he washes that hoodie bevause he wears it all of the time), and then your pink and frilly clothing really makes the both of you stand out when you're next to one another.

🎮 This doesn't mean that he isn't a fan of the way that you dress. In fact, it's the complete opposite. Do you know how many of his favorite anime characters dress the same way that you do? He's already express ordered quite a few outfits just for you...... and if you happen to wear a cosplay of one of said favorite characters, the man has ascended on the spot with this derpy grin on his face.

🎮 Movie and Anime marathons are a MUST in this relationship. The fact that you love them as well is a huge bonus to him. Why go on actual dates when you coild both curl up in the comfort of his room with plenty of snacks and binge watch the latest series that the both of you are into?

🎮 Speaking of dates, it's rather hard to get him to go on one outside of the confines of his room, but given your love for cats and his love for cats, if you manage to get you two a spot at a cat Cafe during one of the less busy times of the day, then he will consider going with you. Spoiler alert, he does go and tiu had to keep him from trying to take some of the cats home.

🎮 Cute stationary (I am also an avid collector of things in this category), he knows you love it. He knows you collect it. His family is very well off and he has an account that he has been saving and wracking up for years now. You best believe that he will be splurging on you to get you you the best and cutesy stationary supplies. Honestly, seeing the smile on your face causes his heart to race and that love meter to keep on filling.

🎮 No matter the gaming set up you had before, as said before, he is very well off in terms of finances. He has 100% gotten you a brand knew, latest off the line, gaming setup in your cute, pink, over the top style. It was an anniversary gift and he is still reeling in from the mass attack of cuddles and kisses he received from you after this.

🎮 Hybperneess isn't exactly his strong suit and he is well known for avoiding the extroverts at the school. Your hyperactiveness is a bit different, though. Unlike other people, you are emotionally aware and are able to see when he begins to grow uncomfortable with tbe amount kf energy you are excuding and are able to quickly bring the energized atmosphere down to the levels where he is the lost comfortable.

🎮 Overall, the relationship took time to get used too, but now he's latched onto you like a leech (no pun intended). He honestly can't get enough of just how adorable you are, your state of dress, and just how tou carry yourself. This is certainly a romance route he wants to carry out until the very end.

[dmagedgoods]

A headcanon for Eneas, if I may: he collects people, as one would collect books or stories. Some are more memorable or thrilling, or sentimental, other would need refining, but I imagine it'd be a spectacular "library" over the years

20/10. That's exactly what he's doing and in the very way you describe it here. 😁 Eneas is a collector by nature, jewelry, magical artifacts, special books etc., he owns and/or rents secret rooms in different places where his treasures are hidden while he travels. But none of his collections is as precious and exciting to him as his "library" (nice term for it 😌) of people. They are divided into different categories, those whose lives he only brushed in passing and who still left a strong impression, those he influenced and guided and used, those who loved him and he took something valuable from that can never be replaced, and the rare group he loved in return. Though, it needs to be said that he looks back fondly (and sometimes melancholically) to all of them. In certain cases even with regret, in others with humble pride. Eneas changes the lives of those he picks after they caught his interest (often for the better, sometimes for the worse) and plays his games wherever he goes. It's an impressive collection by now, indeed.

[armthearmour]

Armor: Beyond the Extants

The casual study of armor is dominated by an obsession with the extants, the surviving elements of armor that have been preserved in museums, private collections, and armories or that have been recovered archaeologically. While these pieces remain an invaluable source of information for scholars and laymen alike, there are a great many things they cannot tell us. In order to fill in these gaps in the record, scholars in the study of armor make heavy use of both artistic depictions of armor and the historical record, each of which brings its own advantages and disadvantages. Artwork is a particularly valuable resource, as it allows scholars to see precisely what the artist intended, without the vagaries of interpretation frequently left in the historical record.

There are many disparate kinds of artistic works from the medieval and early modern periods which depict armor and are used by scholars of armor. Here, they will be divided into three broad categories: Paintings, Sculpture, and The Rest.

Paintings

Paintings are among the most commonly utilized and widely recognized forms of medieval artwork. Here, the term “painting” is used in a broad sense; while this category does include the typical paint on canvas framed upon a wall, other varieties of painted works are also included.

Portraits are some of the most instantly recognizable forms of painting. Typically in the traditional form, many wealthy and influential men have had their portraits painted over the years, a tradition that lasts even to this day. The practice of being painted in one’s armor is one that came to be common in the 16th century. The portrait pictured below depicts Alfonso I d’Este, Duke of Ferrara and a commander in the Italian Wars.

The portrait of Alfonso d’Este radiates wealth, power, and military prowess. Trimmed with gold, his armor represents the height of Italian fashion. The golden chain hanging around his neck displays even more wealth, as well as clearly marking him as a military man and a member of the prestigious knightly order of St. Michael. His surcote is made from an expensive blue silk velvet, and his gilded sword suspended by a blue silken sash. In one hand, he wields a gilded mace (a stand-in for the baton of command, a typical symbol of authority at this time), while the other rests upon the muzzle of a cannon. Though his gauntlets are doffed, they are placed prominently on the table before him, and in the background a battle rages.

This portrait speaks to many things which could not otherwise be known. Even had this armor which Alfonso wore survived, the velvet surcote almost certainly would not have. Additionally, many surviving elements of armor have had their decoration fade over time, or be scrubbed clean by modern collectors. The gilding which decorates this armor may also have never been known to us.

Portraits such as this one are invaluable, and extremely reliable, references for the study of any material culture, including armor. Typically, the portrait depicts what the artist had seen, what actually lay before them. They leave little room for misinterpretation. This is in contrast to our second category of painting.

Religious and Historical Paintings were common throughout the medieval period and well into the 16th century. This category generally includes framed paintings, frescoes, and painted altarpieces. While the paintings of this category are extremely prevalent, and common across the entire medieval period, they require a special degree of caution. While many religious paintings depict religious and historical figures in gear contemporary to the time the figure was painted (see below, an altar panel depicting the Saints George and Sebastian painted c. 1507-1510) some artists also made attempts to make their scenes feel more ancient to a medieval audience.

Below is pictured a detail from the Santa Croce altarpiece, painted between 1325 and 1328 by Ugolino di Nerio. This particular panel depicts the betrayal of Judas and the arrest of Jesus by Roman troops. The Romans in question are depicted in a mix of contemporary and fantastical equipment. The feathered frills on the Roman’s arms and skirts (sometimes called pteruges) are indicative of this fantastical style, and the closely-fitted, almost muscular garments the soldiers wear over their bodies are meant to mimic the “heroic” muscled figures of classical sculpture, indicating an ancient scene to the medieval viewer.

The final category of painting which will be discussed here is the Miniature. While miniatures often contain religious or historical imagery, and so are subject to the same needs for caution as listed above, they operate by different enough rules to warrant their own discussion.

Miniatures are a form of marginalia, tiny paintings added into the margins of manuscripts. As such, though they frequently bear incredible levels of detail for such small works of art, they leave much room for error and interpretation. Miniatures are extremely plentiful, and a very popular source for the study of armor, and when utilized with the appropriate degree of caution, they are indispensable.

Perhaps among the most famous manuscript miniatures are those in MS M.638 at the Morgan Library in New York City. Also called the Maciejowski Bible, or the Crusader Bible, MS M.638 was made in Paris in the 1240’s. Filled with remarkable illustrations, this manuscript is an incredible source for all manner of 13th century material culture, but is especially well renowned for its depictions of 13th century knights and men-at-arms.

Sculpture

In the category of sculpture, we will first discuss Architectural Sculpture. While with all pieces of art it is best to determine when the individual piece was made, this is particularly true for architectural sculpture. For instance: pictured below is a piece of sculpture off of the Santissima Annuziata in Florence. Though this church was originally built around 1250, it has since been renovated many times. This piece of stonework is not a part of the original structure, but instead was added during one of the renovations. As such, this sculpture does not date to the middle of the 13th century, but instead to the first half of the 14th century, and is representative of military equipment of that time.

The second sculptural category is Effigies. A form of artwork that has seen a recent intensification in use by armor scholars thanks to the Armour of the English Knight series by Dr. Tobias Capwell, effigies (which are typically carved in stone, alabaster, wood, or even bronze) represent a particular individual. Much like portraits, effigies are extremely reliable sources for armor. In his first book, Armour of the English Knight 1400-1450, Dr. Capwell includes an essay defending the accuracy of effigies. He states:

Concepts of purgatory and the way that it worked developed substantially during the twelfth century, with one of the central principles becoming this link between the living and the dead. The living could come to the aid of the dead through intercession- the offering of prayers for the departed soul. As Saul has shown, effigies were intended to work as a kind of intercessionary lens, focusing memories of the deceased and thus facilitating the success of the prayers on their behalf.

As such it was the effigy sculptor's spiritual duty to create a sculpture which was as close to real life as possible, so as to aid the departed soul on its path through purgatory. Frequently, these effigies were even painted. Pictured below is the effigy of Thurstan de Bower at the church of St. John the Baptist in Tideswell, England, dated to 1423.

Like other forms of sculpture, however, it pays to know when the effigy was made. In many cases, the effigy was commissioned either before the individual’s death or after by their loved ones. Very rarely does an effigy actually precisely represent the year of the individual’s death, and typically the effigy will present armor contemporary to the time of its manufacture, not the time of the deceased individual’s death.

Many other forms of sculpture persist from the middle ages which occasionally depict martial material culture. Commonly altar pieces carved from wood and alabaster survive, as do statues of saints and other similar sculptural elements. These sculptures follow the same rules as listed above in regards to their usefulness and elements to be weary of.

The Rest

With the primary sources covered, it’s time to move on to The Rest. While the above constitute the most important and most consistently utilized artistic sources for the study of armor, they are by no means the only sources. The armor-clad man-at-arms was central to the image of the ruling medieval class, and as such it suffused every aspect of medieval art. Men-at-arms may be seen in tapestries,

on eating ware,

and even on gaming boards.

What’s important is that, no matter the source, you approach it with a keen, critical eye and that you never stop looking.

[redtail-lol]

I didn't expect myself as a (partially) cis person and mainly orientation collector to end up with contradictory gender identity but here we are

I'm a binary person. I'm also nonbinary. I'm also midbinary and abinary. I'm trinary as well as midtrinary.

Being bigender is so complicated. Under the cut I'm gonna explain how these contradicting terms coexist for me

Okay so we're sorting things into 3 categories

Applies to my girl gender

Applies to my aporagender gender

Applies to me as a whole

Some terms fit more than one category

Terms that apply to my girl gender:

Binary, trinary

Terms that apply to my aporine gender:

Nonbinary, abinary, trinary, midtrinary (my aporinity feels partially neutral just because it's relation to masculinity and femininity is neutral, even though it has it's own qualities, so whether it's trinary or not is a bit of a gray area but I'll say it's midtrinary and trinary since initially it felt like a "third" gender)

Terms that apply to me as a whole:

Nonbinary, midbinary, trinary, midtrinary

Gender is fucked up and funky and complicated and it's so fun

[agniyagrif]

What is your opinion on wizards

Traveler, I guess you didn't expect me to answer this question and you're probably just asking anyone about it because it was pretty random. But if my assumption turns out to be wrong, I apologize for assuming. But I will answer your question using it as an excuse to talk about things I like (so thanks for this question) and also I can draw some stuff and also I think it can be considered practice in english so it is useful or something and in short, this answers your question - I DO like wizards, they're cool Now I will proceed to elaborate on that (I apologize for grammatical mistakes if they happen to happen)

I love magic, so I like wizards. I also like magic systems. If there are some rules, it might help you understand how this stuff works, even if it's not real. Everything becomes a very neat and clear system, cool. Although it becomes a problem when you try to come up with such a system yourself, because it is difficult((( thinking is hard…

I like wise (or silly) old wizards with long beards, big hats and long gowns or some young amateur wizards with big books in which they write down new spells, nerds with glasses who are excited about the new magic they see.

I also really like the idea of wandering wizards. Well, actually, I really like the uh… archetype of the traveling collector. I actually have a couple of those characters. So it's kinda… Romantic (?) to be a wandering wisard. You're kinda amateur or just want to expand your knowledge because it's never too late to learn!!!!)))!))!!! ;D You leave your hometown, travel on lands and seas and gather knowledge about the different types of magic used in different cultures/places. Perhaps in your travels you will write a report on how the environment, the work of the people, influence the predominant types of magic. Maybe you visit various magical schools and sort of… you know… sneak into lectures in big spacious halls to learn about the theory of magic. Ooohhh sounds fun))

Huh… They… they ARE nerds… BUT LIKE… Being nerd can be fun) Being excited about the things you like is cool, isn't it? Maybe you'll be traveling through the woods, seeing the wild magic in nature, and also just the beauty of it all. You get excited the moment you understand how to draw magic from your surroundings or from within yourself, when you just understand how something works. Because if you start to understand, it will be easier for you to control it.

I don't know what wizards you were asking about, so I'll expand the meaning of the term as just magic users (and now it's more things to talk about HAHAHA) Warlocks fall into this category. I like warlocks) You cross your path with some powerful being/god/demon, make a deal and now you are THEIR BITCH HAHA because they fucked you over in this contract you didn't read hahaha… It's pretty funny… and also sad and scary, but let's not talk about it…

I also like… the magic that comes from religion/faith. I'm not religious, but I love the idea of powerful gods who depend on the faith of their followers to maintain their powers. OR the idea of some not-so-powerful beings trying to gain… power by finding followers. Gods in making, so to speak. These may not be as noble or honest in their ways as real gods.

Wizards… wizards… Magic schools are a wizard thing. Because they collect and share knowledge. I think magic schools are fun too. Eh… yeah… Different… houses (?) that specialize in different types of magic. It makes sense, it's neat)

Wizards use magical tools! Crystal orbs, staffs, books, potions, magic stones and other jewelry… That's cool) YOU CAN COLLECT THEM. YESSS!!! COLLECT THE SHINY EHEHHE!

Necromancy is magic that a wizard can learn. Some sort of… mad scientist wizard) Someone who sees the rules of nature and says, “Rules are made to be broken. I'll turn back time!" or "I'M A HEALER 100%, GUYS" and proceeds to raise the dead. Or other mad scientist-wizard who sees two creatures and says, "What if they were one, hmm" and proceeds to sew them together… magically. There's room for body horror, I kinda like that stuff.

I have some wizards of my own))) I have… a couple of warlocks… A mad scientist wizard, something like Frankenstein, kind of a necromancer… Maybe I'll also make a traveling wizard collector… I have an old wolf teacher who also uses necromancy to get his powers, but I think he'll get better eventually… Hmm… yeah… I like wizards)

[dittolicous]

(I am so sorry for the essay I accidentally wrote in advance, I was just going to write a paragraph or two but I blacked out and woke up to what can only be described as the ramblings of the pokemon lawyer that seemingly possessed me.)

Ended up reading the entirety of catching trains in one sitting and then proceeded to binge read your tag for it too LMAO. It’s so good! And in particular, one ask caught my attention. Specifically in regards to fossil Pokémon legalities and intelligence of Pokémon and where they stand as a person standing in the court of law!

I think that the best comparison for fossil pokemon, and legalities regarding conservation work, would fall under the same category as domestic and pet animals.

Yes, they can go feral and exist in invasive pockets like boars in the American South, Feral horses and Burros in pockets of Australia and the American Midwest, The occasional "wild" fossil pokemon you can find in situations like some parts of Pokemon Snap, the SwSh DLC, and probably more I'm forgetting. But like domestic animals, they were sprung up from human intervention, and centuries of domestication means that, generally, they haven't existed in a wild state outside of a handful of cousin species since the dawn of livestock re-rearing. They won't really thrive if suddenly released in the wild most of the time because the resources that theyre wild ancestors depended on (see; plant species that only exist thanks to human cross-pollination). Sure, they could survive, but chances are they wouldn't really be able to breed back up to significant numbers unless placed in an environment that reflects their old habitats (Horses, Wild Hogs, The Feral Australian Camel population that I recently found out existed)

Now add in the fact that these fossils have been extinct millions of years. These fella's are hella cute and very much existing in a world where they only exist thanks to the desire of trainers wanting to recreate Jurassic Park but executed correctly. It would absolutly be argued that fossil pokemon should be treated as modern invention that can be categorized as a domestic animal! And like you said, an animal who has only been extinct for less than a century, who's native environment is still intact, could not be classed the same as a fossil pokemon. I feel that the conservation work around the Spix Macaw, and the legal amnesty case surrounding them regarding the government of Brazil against pet/collectors of the species in the 1990's, is a very apt comparison for what could happen with Sinnoh vs Funky Train Man and his emotional support Goth Mean girl.

And speaking of birds ( I am, so, so, so sorry for rambling so much btw, my brain just is riding the high of reading good fiction and wanting to info dump on my favorite topic, parrots and endangered animal law) legal cases regarding animals are WILD BRO.

Any one who's been around parrots ('specially greys! from personal experience) will argue that they are very very aware animals. Dr.Irene Pepperburg's work with Alex is very vindicating for us parrot owners, as she puts them up there with dolphins and chimps in terms of intelligence. They are, from a conscious point of view, around the emotional intelligence of a toddler. They, and other intelligent animals in that range, can express desires, as some semblence of questions and to a degree, comprehension of implications. Hell, Alex was proven to be able to formulate some questions and string together sentences (again, owners of Grey's who give two darns and properly pay attention to their animals can attest to this) This rising awareness in intelligence really does remind me of how pokemon interact in canon (although, not to that insane extent, but close!)

And, IRL, animal's in court cases are interesting cases. While researching a similar topic, I found the following case:

Richard Cupp, Cognitively Impaired Human, Intelligent Animals, and Legal Personhood, 69 Fla. L. Rev. 465 (2017). 

and this line in the abstract instantly came to mind when reading your legal musing's:

"For example, a human asserting to act on behalf of an intelligent animal might seek a writ of habeas corpus to demand release from a restrictive environment where less restrictive environments, such as relatively spacious sanctuaries, are available. "

Several cases have been legally fought over the right of an intelligent animal and they're right to decide where they reside with several chimps, a orangutan, an elephant, and so on. I cannot imagine what insane Phoenix Wright Orca Court trials are happening in the Pokemon world when literally almost every animal seems to be at least around the smartness we see in our most intelligence at MINIMUM.

LIKE. PEOPLE USED TO MARRY POKEMON, HOW DO YOU WORK THE LAW AROUND THAT.

Gamefreak please drop more slice of life anime shorts your fandom desperately wants to know even the most mundane details. Like what about the existance of Alakazam. And Mewtwo. Im pretty sure most psychic types are lie detectors but can also brainwash. Where do we even start to untangle this disaster of bureaucratic migraines.

ANON. ANON COME CLOSER.

SHHHHHHHHHHHHHHH DO NOT APOLOGIZE!!!!! THIS IS BEAUTIFUL FANTASTIC INCREDIBLE!!!!!!!!!!!!

Fossil pokemon - YES THAT'S BASICALLY IT. like, they're only around cuz humans took their bones and reanimated them SOMEHOW. while in the pokeani there appears to be SOME natural fossil pokemon habitats (if i recall right sometime in the first two seasons ash and co came across kabutops and omanyte in the wild on some island and then in the bw ani, juniper sets her acheops free to live with a group in the wild) but it's all man-made in the end.

PLUS going by the work of one cara liss (i will kill her), it's possible that revived fossil pokemon might not even totally resemble what they once were!!! if it's possible to revive them with different pieces and create something that can 'technically' survive, then that means that its possible that the process of revival is adding something to the mix that enables survival/life regardless of the prior life.

so that means these guys are basically something entirely new and have no true natural habitat!

pokemon intelligence - like, they are at LEAST as intelligent as human toddlers give that they're able to communicate as well as most pokemon do, understanding battle tactics or show coordinations. so, at the minimum, they can be treated like human children when it comes to legal stuff right?

does that mean that if a couple gets a pokemon while together, but then later separates, can they go to court for visitation rights or to determine who gets the pokemon, but the pokemon can also go 'no i wanna be with so-and-so!'?

and like.... with pokemon marriage and pla, it's all but outright stated that not only did humans marry pokemon, THEY WERE ABLE TO HAVE KIDS TOGETHER. ACTUAL HONEST TO GOD KIDS. ARE THE KIDS POKEMON OR HUMAN???? DID THEY HAVE POWERS????? WHAT DOES THAT MEAN FOR THEIR BLOOD LINE????

ARE HUMANS TECHNICALLY POKEMON??????

god, i would kill for an ace attorney style pokemon game because that would LITERALLY be the FUNNIEST fucking thing ever. it'd be nothing but the orca trial times 100000000. CROSS EXAMINE THE CHATOT, WRIGHT, JUST DO IT.

with sneasler, like of course most of the researchers or conservationists would agree its best to stay with ingo, she's happy, he knows what her needs or wants are, BUT as you pointed out, SPACE to thrive is needed!

its entirely valid to claim he isn't giving what she needs to allow her species to be properly brought back into the world! sneaslers are CLIMBERS, they mostly belong in mountain ranges, with plenty of room to move and build nests! not a cramped city near an UNDERGROUND SUBWAY STATION. like, what happens if he disapears again or dies or whatever??? what then? there needs to be checks and balances and a SYSTEM in place, and can he really be the center of it all?

from an outside perspective, ingo is being very selfish! by keeping lady sneasler AND staying in the city, at his conductor job, he's forcing everyone ELSE to change THEIR lives. why does he get special treatment, why are HIS needs more important than an entire community of pokemon conservation specialists? is it right to expect people to gladly rip their lives up to come live in another country, just because he doesnt want to move? lady sneaslers habitat exists, if he truly cares and wants whats best for her, why does he not simply move to sinnoh? or at least move to a mountain area? he's basically having his cake and eating it too!

now we know all those whys, and we all think he deserves to be able to live his best life... but it puts everything in a gray area, even iF lady sneasler is technically happy and 'thriving' with him.

in addition, i think it's important to remember how, outsider perspective... ingo hording an extinct pokemon after mysteriously vanishing, along with having strong charisma and people who are willing to follow or go to bat for him... can seem a LOT like the makings of a villain team. lysander was a huge and beloved ceo and cafe owner! chairman rose was literally THE CHAIRMAN. HE BASICALLY RAN GALAR. giovanni was a gym leader!!!! lusimine WAS A POKEMON CONSERVATION SPECIALIST. LITERALLY.

just because the world views him as good at large, does not mean he is good. to an outsider, they have no more reason to trust him than they did lusimine, rose, lysander, or giovanni.

so, yeah, he kinda does need to prove he's doing the right thing! what is the right thing? who fuckin knows bruh!!!!!

i lOVE ALL OF THIS THOUGH LOVE LOVE LOVE IT ANON NEVER STOP

[rusted-icicles]

Rating: Teen And Up Audiences

Archive Warning: Graphic Depictions Of Violence

Category: Gen

Fandom: The Owl House (Cartoon)

Relationships: Hunter | The Golden Guard & Philip Wittebane | Emperor Belos, Philip Wittebane & Philip Wittebane's Brother, Caleb & Philip Wittebane | Emperor Belos

Characters: Hunter | The Golden Guard (The Owl House), Philip Wittebane | Emperor Belos, Luz Noceda, Lilith Clawthorne, Caleb (The Owl House), The Collector (The Owl House)

Additional Tags: Vomiting, Choking, Bad Parent Philip Wittebane | Emperor Belos, Unreliable Narrator, Episode: s01e18 Agony of a Witch, Alternate Universe - Reincarnation, less obvious here but still, Kidnapping, Captivity, Human Hunter | The Golden Guard (The Owl House), belos x his loose grasp on reality, Hunter | The Golden Guard and Luz Noceda are Siblings (The Owl House), I honestly don't know what to tag this, Delusions

He heard the witchlings first before he saw them.

"-Anything you want to try out, Hunter?" A girl asked.

"Nah, I'm just here as a look-out," answered a painfully familiar voice. 

Belos's eyes snapped open to the bright lights of the Relic Room, his heart suddenly pounding in his throat as his gaze swept over the various displays.

He knew all the grimwalkers were dead. He knew how each and every one of them died, knew where all of their final resting places were.

That voice should not exist, could not exist, no matter how much Belos longed to hear it again. And yet…

~*~

After wasting all his brother's bones on failed attempts, Philip tries to bury his regrets. After giving his brother so many second chances, Philip tries to come to terms with the fact that his brother didn't want to be saved.

He thought he succeeded.

Fortunately for him, a ghost tries to steal the Healing Hat.

(An AU where instead of being a grimwalker, Hunter is the reincarnation of Caleb Wittebane.)

.

Finally gonna try promoting my fics here on Tumblr, so here's the Belos WIP I've been working on for a while! Hope you guys enjoy!

[the-unseen-servant]

Fantasy Race: An Essay

You can read this post on my website here

In high fantasy, we have this idea of a peculiar little thing called "race". We don't use the term in the same way as in the real world, we're instead talking about Elves, Dwarves, Orcs, and any other more original races that authors come up with.

In this post, I'd like to explore what fantasy race is, looking at both its history in the fantasy genre, and its real world "counterpart" — ultimately to try and figure out how we should present race in fantasy.

Heads-up: This post was born out of a pet interest I had a while back, and it isn't the most well-researched or academic. It's just some ideas that have been floating around in my head that I would like to put to paper.

Race in Fantasy

Before Tolkien, before George MacDonald, and before the Brothers Grimm, we didn't have the genre of fantasy. What we had was folktales — stories not told by any singular author, but instead passed down through oral traditions; stories which are intimately linked with religious beliefs and cultural practices.

In folklore, there aren't fantasy races. There are spirits: Fairies, Yōkai, Jinn, Nymphs, Yakshas, Angels, Demons, and so on. These spirits aren't parallel civilisations to humanity; they're beings that comprise entirely separate cosmological groups. They're not seen as people, but more so as things that are to be, in some cases, revered, and in others, feared.

In the Renaissance, folktales began to be written down. There were collectors like Charles Perrault and the Brothers Grimm, and that's not to mention the other writers who adapted the style of folklore to spin their own tales. Through them, a new genre was born — the literary fairy tale — a genre which later writers like George MacDonald expanded into the genre of fantasy.

But race as it is found in modern fantasy didn't really begin until Tolkien. Earlier writers still talked of elves and fairies as spirits, but Tolkien took those spirits and slotted them into his world as parallel societies. They still have different fundamental natures to humanity — Tolkien's Elves and Dwarves are connected to nature and divinity in a way that Humans are not — but he also gives them unique societies, languages, and cultures.

Tolkien's works use the term "race" to refer to this combination of cosmological nature and societal culture — and by being the prototypical example of high fantasy, they set the precedent still used in almost all works of the genre today.

Race in the Real World

I find problems in how Tolkien writes his fantasy races, and to frame this, I'd like to look at it in context of what "race" means in the real world, to highlight how fantasy race is different. I am, by no means, qualified to explore this topic, and so I am leaving out a lot of depth here.

At its simplest, race, in the real world, is a category of people created based on perceived physical qualities, such as skin tone, eye shape, or facial structure. These are features which, on a biological level, have no significant impact on people's lives. They're as inconsequential as hair or eye colour is.

However, there is no doubt a cultural significance applied to these perceived qualities. This significance is constructed, often for some purpose. In the best cases, it's to allow people to create identities for themselves and find a sense of belonging amongst their peers. In the worst cases, it's to let people exclude and categorise others. To vilify, control, and justify killing and stealing from them.

The other consequence of race being culturally constructed is that different people will understand it differently; they'll categorise people differently, and see different traits as being typical of a particular race. How one person understands race is necessarily different to how people from other cultures will understand it.

Returning to fantasy, there are two ways the Tolkienian style of fantasy races are significantly different from this.

Firstly, Tolkien's different races actually are of different natures to Humans, both biologically and cosmologically. Elves live thousands of years and grow wise in their old age. They have a connection to magic and divinity, and cannot survive without it.

Secondly, Tolkien's races aren't portrayed as culturally constructed. He doesn't discuss how different people understand race, or why and how it's constructed as it is in the first place. Race is instead created and presented by him, the author. Race is almost god-appointed; impressed upon Middle Earth by a divine creator. Tolkien's races aren't quite spirits, but they aren't quite people, either.

How Should We Present Race?

With this in mind, fantasy races feel a bit iffy, to me, at least. I don't want to write fantasy race, which shares a name with the real world construct, as being other than culturally constructed.

The obvious solution to this dilemma is to cut off that comparison. Change the name; you can call it "species" and be done with it. This has been done in the past, and like, I guess it works. It's fine. But to me, it still feels icky to talk about different people having different natures, even if we choose to call them different species. Unless they're completely alien to the human experience, they still appear as people.1

So, in my worldbuilding, instead of disconnecting race from culture, I instead emphasise that it is culturally constructed, or at least culturally influenced. The main idea is to only ever describe race in the fiction as it is perceived by the people of the fiction. There is no god-appointed authorial description of race, only the mudded cultural perceptions of it.

In my worldbuilding project, Ittoril, I have four main "races": Humans, Dwarves, Elves, and Orcs. Together, I describe these as a single biological species, but the individual groups are constructions of culture. Of one culture in particular; that of the Leonid Empire. The Leonids use "Elf" as a term of reverence to describe the people of the seafaring nation that used to live on the Meridán. Leonids will brag about any slight Elven ancestry they might have to assert their superiority over other groups, calling themselves "Half-Elves" even when in most cases, the vast majority of their ancestors would've been thought of as Humans.

With this method, I can still have and explore biological differences, but only insofar as people in the world conceive of them — I portray these differences as culturally invented, or, when that's not possible, I maintain that the significance of those differences has to be culturally interpreted; Elves in Ittoril have demonstrably longer lifespans than Humans, but while The Leonids interpret this as making them glorious and powerful beyond the other races, other groups completely disagree.

And, at least for me and for my worldbuilding, I find this a better, more meaningful way to construct fantasy races, rather than just calling them "species".2

But like I said before, this isn't at all an academic essay, and I, frankly, don't really know what I'm talking about. You don't have to pay mind to any of what I'm saying; you can live your life how you want, and you can write your own silly little make-believe elves however the hell you want.

Footnotes

The polar opposite to this approach is to write fantasy race as analogous to the real world social construct, and abandon the idea of having races be biologically different. I dislike this, because it cuts us off from some interesting worldbuilding opportunities. Tolkien's Elves aren't like people, sure, but that means he can look at the ways they're different. He can explore how they are immortally tied to magic, and what that means, how that does affect people's lives. If fantasy races didn't affect people's lives, why have fantasy races at all? ↩︎

Tabletop RPGs further complicate the issue, because race also serves a game design purpose, in that it allows players to better understand the world and integrate their characters into it. It doesn't help that TTRPGs are derived from wargames, which require all things to be reducible to numbers and categories, including race. I think the best solution to this is to do something like what Pathfinder 2nd Edition does; combining species and race into "ancestry", which retains the benefits of being quickly picked up by new players, while also only giving suggestions of characteristics; never having it be absolute or fundamental. ↩︎

[revenant-coining]

Scenecollector

[PT: Scenecollector /End PT]

[ID: a rectangular flag with 7 equally-sized horizontal lines. colors in this order from top to bottom and reflected after the last listed color: black-blue, purple, grey-purple, pale purple, grey-purple, purple, black-blue. in the center of the flag is an hourglass-shaped section of lighter versions of the line colors. End ID]

requested by 🍬 anon

Scenecollector/Scenehoarder: a collector/hoarder term for one who collects/hoards scene genders.

Etymology: scene, collector/hoarder

we feel like this should exist, so let us know if this is a recoin!

@radiomogai

[ID: a line divider gradient from left to right as red-pink to pale pink. End ID]

[saengineering1]

How Technology Plays a Role in Solid Waste Management

Introduction

The Role of Technology in Solid Waste Management and Effluent Treatment explores the transformative power of technology in addressing the complex challenges of waste management. In this blog, we delve into how innovative technologies are revolutionizing the way we handle, process, and dispose of solid waste, paving the way for a more sustainable future. Discover the latest advancements in waste management technology, from smart waste collection systems and IoT-enabled sensors to advanced sorting and recycling technologies. We explore how these technologies optimize waste collection routes, minimize collection costs, and improve overall operational efficiency.

Categories of Solid Waste Disposal Management Services:

The following are the different sources of solid waste management services

Residential Waste: It consists of various types of waste produced by individuals or families in their daily lives. Residential waste can be categorised into different types based on its composition, such as organic waste, recyclable waste.

Commercial: Commercial waste refers to the waste generated by businesses, commercial establishments, and institutions. It includes a wide range of waste materials resulting from various commercial activities

Industrial: Commercial waste refers to the waste materials generated by businesses, industries, institutions, and other non-residential sources. It encompasses a wide range of waste types and can vary in composition depending on the nature of the business or industry. Commercial waste includes both non-hazardous and hazardous waste materials.

Agriculture: Agriculture is the practice of cultivating plants, raising animals, and producing food, fiber, and other products used for human consumption or industrial purposes.  In agriculture, farmers and agricultural workers engage in various practices to grow crops and raise livestock, with the goal of maximizing yield, quality, and profitability.

Cities: Cities are densely populated human settlements that serve as centers of social, economic, and cultural activities. They are characterized by a concentration of buildings, infrastructure, and people. Cities play a crucial role in shaping society, fostering innovation, and driving economic growth. 

Benefits of Solid Waste Management

Many people may not be aware of this, but solid waste Management has many benefits for our health and our environment.

An important benefit of proper Solid Waste Management is that it improves air and water quality throughout the country, which keeps us healthier by removing less harmful particles from the air and water. Technology in Solid Waste Management: A Role for Solid Waste Management

Another benefit is that it ensures the safe disposal of any residual or wet waste through proper waste segregation. Direct handling of solid waste could result in many types of infectious diseases for collectors if the waste is not properly secured. Exposure to this hazardous waste can affect health and could cause long-term illness.

Proper solid waste management also protects citizens from biohazards and physical harm, fosters community health, promotes sanitation, and provides opportunities to earn money from recycling.

This is where the local government unit and barangay will step in to help educate residents on how to properly separate waste according to the correct bins and areas to ensure the well-being of other residents and people in this line of work.

Conclusion: 

In conclusion, solid waste management plays a crucial role in creating a sustainable and healthier future for our planet and communities. Through effective waste management practices, we can reap a multitude of benefits that extend far beyond simply getting rid of our trash. Proper waste management minimizes environmental pollution, protecting ecosystems, wildlife, and human health. By reducing the amount of waste sent to landfills, we conserve valuable land resources and extend their lifespan, ensuring their availability for future generations.

[redaynia]

Penda's Fen

by Sukhdev Sandhu

There's scarcely a speech like it in British cinema: 'No, no! I am nothing pure! My race is mixed! My sex is mixed! I am woman and man, light with darkness, nothing pure! I am mud and flame!' So cries Stephen, the teenager whose transformation from sanctimonious parroter of establishment values to apostle of cultural alterity, is chronicled in Penda's Fen. It's a moment of awakening and of revelation, a jailbreak holler, a vision of a new kind of nationhood that anticipates by decades the work of historiographers and academic theorists who later speak of inseparability of 'nation and narration', of 'the invention of tradition', of 'imagine communities'.

And yet, although widely hailed as a visionary work -- troubling, beautiful, unforgettable -- almost as soon as it was broadcast as part of BBC1's Play for Today strand in 1974, Penda's Fen had never been made commercially available until the BFI'S current DVD and Blu-ray releases. For years it existed in the form of rumours and hand-me down memories, a folk myth about a lost televisual civilization. Then, after it was repeated in 1990, wobbly, nth-generation videotapes circulated among aficionados and collectors, one of which was uploaded to YouTube in 2008; its final scenes -- as if in tribute to the internal revolution Stephen himself was undergoing - were especially buckled. This disappearance -- or, at best, spectral existence -- seems almost pre-ordained. Penda himself (d. AD 655), the last pagan king of England, leader of a province where intermarriage with the Welsh was common and which was noted for its racially mixed population, a once-celebrated warrior whom Michael Wood describes as 'bestriding the seventh century like a colossus', is barely known today. The chief biographical source for information about his life, Bede's Ecclesiastical History, was completed 70 years after Penda's death.

Paganism itself has, in many quarters, been reduced to a synonym for something witchy and cabalistic. The film, though, treats it as being about the politics of scale, and draws attention to the word's etymology -- of the village -- to suggest that radical question and alternative answers are present not out there in universities, museums or sanctioned citadel of learning, but closer to hand, on the ground beneath our feet. Penda himself becomes a symbol of heretical nationhood, of pre-Christian identity, of an imaginative wildscape which has the potential to redeem us from the lies and orthodoxies of state knowledge.

The film's screenwriter David Rudkin was both an insieder and an outsider, He was of Northern Irish descent and his parents were evangelical Christians. He'd also studied at Cambridge, performed National Service in the Royal Corps of Signal, and taught classics at secondary schools. This proximity to and muscle memory of the architectonics of Englishness is palpable in every scene of Penda's Fen where he deconstructs most of its pillars. Stephen, a rather priggish adolescent, is defined by his education (a traditional grammar school), his religion (his father is a Rector), his home (a gorgeous stretch of the West Country whose green fields of forevermore his bedroom overlooks), and his politics (he believes in the sanctity of the nuclear family, and that the country is imperilled by left-wingers).

All these markers of a certain conservatism are bought into question by Stephen's growing doubts about his sexuality. Penda's Fen is not a film about homosexuality, it doesn't depict it as a subculture, a lifestyle, a social category, far less a cause. But it is, long before the term was first used to describe the work of directors such as Todd Haynes and Isaac Julien, a queer film. Stephen's vagrant, barely understood desires are fundamentally destabilising. They lead him to see through the values he used to espouse. The military masculinity of his school, mainstream Christian doctrine, the eternal benevolence of English pastoralism: all of these come to seem like fronts and conspiracies. Homosexuality provokes climate change, inspires heterodoxy, is a gateway drug to a new enlightenment.

Penda's Fen is perhaps the most significant film to be made during the rural turn that, as William Fowler has noted, British Cinema took in the early 1970s. A decline in manufacturing had led to the shrinkage of many urban centres, and that, combined with a post-sixties vogue for communes, free festival, and pre-industrial ways of being, inspired artists such as Derek Jarman (A Journey To Avebury, 1971), William Raban (Colours of This Time, 1972), and Kevin Brownlow and Andrew Mollo (Winstanley, 1975) to explore the submerged histories, altered states and radical possibilities of the British landscape.

Rudkin shows the English countryside as a place, not of becalmed continuity and 'old maids bicycling to holy communion through the morning mist', but as a historical battleground and in constant turmoil. It offer wormholes and geysers, faultlines that fertilise, ruptures that release energy. It's a philosophy of pastoral -- and of what makes a nation -- that sloughs off Little Englandism and Middle Earthism in favour of something less self-satisfied and more attuned to its lurking darknesses.

No account if this film's making would be complete without mention of its commissioning editor, David Rose. Tasked in 1971 by David Attenborough to head a new regional television drama department as Pebble Mill Studios in Birmingham, he immediately set about developing adventurous projects -- by writers such as Alan Bleasdale, Alan Plater, Michael Abbensetts and Willy Russell -- that were steeped in the lore and soundworlds of non-metropolitan Britain. He has described Penda's Fen as 'a milestone, if not the milestone, of my career', though, 40 years after it was broadcast, he also admitted, 'I didn't understand it at all, but that's as it should be.'

If it's uncommon for films to be associated with their screenwriters rather than directors, it's especially strange when the director is Alan Clarke who, by the time of his death in 1990, had established an international reputation for the likes of Scum (1977), Made in Britain (1982), and The Firm (1989). Penda's Fen, with its rural setting, flights of dark lyricism and non-realist cadences, might seem a world away from the tough, urban milieus found in Clarke's work. Initially, Rudkin recalls, the director considered it too much of 'an intellectual piece'. Roy Minton, a playwright and regular Clarke collaborator, claimed, 'I didn't know what the fuck was going on with that piece. Nobody on the production seemed to, Much latter, in 1990, it was repeated and I asked Al, "Do you know any more now?" He said, "I had no idea what I was doing."' Stephen may not be as strutting or as vicious as Tim Roth or Gary Oldman's characters, but, like them, he bristles against authority and institutional power. The questions he poses -- in his yearnings and in his interaction with others -- are seismic. He talks up the value of community and group identity, but seems most himself when he's alone. 'When the chips are down, Penda's Fen is just about somebody who has to kick things over,' Rudkin has claimed. The film, like many which draw on horror motifs (Rudkin admired the baroque Romanticism of Hammer movies), pulsates and quivers, is often on the brink of a nervous breakdown, and it's Clarke, with his steely focus and mastery of dramatic stillness, who ensures it doesn't degenerate into a lysergic freakout.

For all its invocation of deep time and older Albions, and its revisiting of themes that Rudkin had been exploring for well over a decade, Penda's Fen is clearly a work of the early 1970s. It features a photograph-burning character based on Mary Whitehouse, the self-designated custodian of public morality who, from the 1960s to 1980s, railed against the permissive society. The film's discussions of cultural purity would have struck a nerve as, particularly following the arrival of almost 60,000 Idi Amin-expelled Ugandan Asians to Britain in 1972, funereal orations to true Englishness were routinely delivered by pundits and politicians, Enoch Powell's fear-mongering prophecies about immigration leading to rivers of blood were endlessly echoed. After a recent public screening of the film, Rudkin distanced it from the field of 'folk horror' -- 'psychogeography, hauntology, folklore, cultural rituals and costume, earth mysteries, visionary landscapism, archaic history' -- in which it has come to have hallowed status. 'It's a bloody political piece,' he observed, before adding, 'I've always thought of myself as a political writer.' Dread and paranoia permeate the drama: mounting industrial disputes, whispers about top secret military installations, withering denunciation of 'the manipulators and fixers and psychopaths who hold the real power in the land'.

There is so much to say about Penda's Fen. It is, as the poet and curator Gareth Evans has written 'an outrider of its origins and the era of its making, a singular far-seeing and multi-chambered work of art that has unravelled and reconstituted very many who have encountered it.' It is ceaseless and profound, dangerous and delirious. It is, in words that are spoken to Stephen at a crucial  scene in the film, 'strange, dark, true, impure, and dissonant.'

Sukhdev Sandhu is director of the Colloquium for Unpopular Culture at New York University.

References

Micheal Wood, 'That Waes God Cyning': Oenda, The Last Pagan King of Saxon England', in The Edge Is Where The Centre Is. David Rudkin and Penda's Fen: An Archaeology (Texte und Tone, 2015)

William Fowler, 'Deep Dreaming' in The Edge Is Where The Centre Is, pp 66-69

David Rolinson, Alan Clarke (Manchester University Press, 2005) p. 55

Richard Kelly (ed.), Alan Clarke (Faber, 1998)

Andy Paciorek, Folk Horror Revival: Field Studies (Wyrd Harvest Press, 2015)

Gareth Evans, 'Scored Being', in The Edge Is Where The Centre Is, p.72

Article sourced from the illustrated included with the BFI’s Blu-ray edition of Penda’s Fen (2016).

[roleplay-abiogenesis2]

YOU. [I am holding a sign at you. Uhh, it says, "you", but has a lil sticker of Cyno at the bottom. It's less threatening than an emoji, but it does in a pinch.] Talk about Hope Estheim! What do you love about him? What is his family life like? How does he perceive his destiny?

//Such a SNEAKY question! That scared me!

Gushy time huh? VERY WELL!

Hope Estheim is a character who was capable of single-handledly getting me invested in a game as questionable and flawed as FFXIII was. It was the dark ages of the series (ever since Square and Enix merged, all of the main titles were cursed in some form), and I was already disillusioned by the game as a whole. I played for collector's sake, and was uninvested in the main character. The Prologue being a step-by-step copy-paste of FFVII's beginning didn't help either.

But then came Hope, and he absolutely captured me! For JRPGs, it was incredibly surprising and refreshing to see a real child character who was not a miniature adult, or a prodigy of some form. This kid absolutely starts from rock bottom in nearly every way, and character growth is a thing I am a total sucker for.

To see him fall into the darkest of traumas, to then slowly stumble his way out of a hole of depression and resentment throughout the game was an absolute delight that to me honestly made the whole thing.

It is... perhaps unsurprising then that I absolutely cannot remember a damn thing about the plot after Hope's character arc wraps up, honestly? My heart tuned out once they returned to Cocoon. I remember nothing past the car racing track raid where Hope shows off with Alexander.

But that's what it boils down to: Hope is a realistic child character, which is a shockingly underrepresented category in videogames (JRPGs are especially guilty of this, with their obsession to write very young teenagers as adult-minded superheroes most of the time) and I am proud of his progress.

What is his family life like? How does he perceive his destiny?

These questions honestly need no headcanons! They are both explored in excellent detail in the game and part of what makes him such an interesting lil bean. Hope's story begins with him witnessing his mother's death, and on top of that, his relationship with his father is skewed and resentful. If I have a critique about that, honestly, I feel the father/son arc could've been extended and expanded upon a little bit. But it is also realistic (and honestly rarely seen in fiction) for it to boil down to the kid having a misguided impression of his parent, only to open his eyes to the truth after the two are forced to bond over their shared loss.

I am not stopping at blood ties either. I think Hope's most interesting dynamics are with Lightning and Snow, who both develop as familial figures to him over time (Light's attachment to Hope honestly saved the character in my opinion. I love their bond.).

Also elaborated on is his perception of his 'destiny', this is something that all members of the player's party go through actually, and probably the focal core of FFXIII's plot. To suddenly be branded as a L'Cie, becoming the enemy of one's own home. Like everyone else, Hope struggles with this new reality and has to come to terms with the inescapability of his fate. That is SO MUCH to ask of a kid his age. It is honestly surprising he didn't go mad... though there are moments where he almost did.

I could say more but I strongly encourage you to pick up the game or watch the playthrough as a movie sometimes~ I think it is worth it!

Saru-mun\\

[fizziigoth]

Hi! Do you know of any queer goth/punk online spaces, like discord servers? I know the best way to meet other people from the subcultures is going to events, but there are very few events in my area and they tend to be too loud to actually talk to anyone...

Hey! No idea how long this has been in my asks BUT in terms of online spaces, have a gander at Facebook groups (I'm in a couple of UK goth/punk groups, as well as more specific groups within that category, so that can be specific as in area or specific as in hobbies/collector item types/specific fashion/etc). In terms of discord, I'm not really sure on that one as I barely use it (other than for DnD lmao), but my best bit of advice would be find your local scenes and have a crack at getting involved! Apologies I can't offer more advice 😅

[longveil]

♥ When it comes to shipping, what factors are absolutely necessary for a ship to develop?

I'll try not to ramble on this one. I'm pretty picky about who I'll ship any of my characters with, in part because I want to write long-term stories and intertwining my story with another's has a lot of risks (breakups, ghosting, and retcons suck!) But the “necessary factors” would include:

A max-lev character with a filled-out TRP. To me, this means you've committed to to the character. I also like to RP out in the game world, and that's just not possible if you're bringing a low-level alt to the table.

Engaging writing. Not to be snobby, but this is all about the RP, after all! If we're shipping, we're going to be reading a lot of each other's writing. I don't expect Neil Gaiman, but be interesting!

A character with their own story and existence. I'm not gonna spent 100% of my time online with you, and I don't expect you to do so with me. Your character should have their own existence, their own development, and bring story of their own to the table (same goes for me!)

A reasonably compatible schedule. I'm not a discord-only roleplayer, and honestly prefer in-game roleplay when possible. So that means having a schedule that overlaps suitably.

Up for long-burn, not here as a collector. Relationships develop over time for my characters - if you're expecting a quick "win" or a sure thing, you should probably look elsewhere.

I might as well add two things that aren't factors:

So long as you're 21+, I don't care about your age, sexuality, or how you express your gender. Similarly, I'm very private. Been stalked before, don't recommend it. I won't offer my personal details. I don't do voice chat. I'm here for the roleplay, not a dating service.

ERP not expected. I fade to black at PG-13 or soft-R content by default, and only write adult content with trusted, long-term RP partners. Not to say I won't dance at that line or write sensual content, but overall I'm not here for ERP.

And one last thing. If you're an HMP or male worgen rogue who spends most of their time as worgen? Not ruling anything out, but you're starting off with two strikes against you - I've had enough dreadful interactions with those categories that they have to be extraordinary to overcome pre-existing bias. Sorry-not-sorry.

Thanks for the ask, anon!

[melon-official]

HI. for ramen water (if. u don't want to do all of these. understandable. i'm most curious about the bold ones)

[Tier 0] 6, 8, 29

[Tier 2] 8, 26

[Tier 3] 10, 11

[Tier 4] 2, 13, 23, 28

[Tier 5] 13, 16, 28

of course im going to do all of these what do u think i am? sane?

6. Living situation; where do they live? How did they end up there?

ramen water shares an apartment near the square with seven roommates. they all found each other through turf war or squid craigslist, and their place has the energy of that one tiktok of the eleven person brownstone house tour (wait, it's actually sixteen. oh my fucking god) and it's like an ecosystem in there. somehow their individual chaos balances each other's out perfectly

8. Favorite weapon class and why? 

chargers, probably! although the heavy splatling is his all-time fave and he's quite fond of the splatana wiper. his favorite "category" of weapon is really anything with a wave breaker; the only reasoning for his choice of weapons is a note in his earlier concepts that says "mains what i main". he's evolved a bit from that, but he's still a player-character guy at his core

29. What’s a situation that would make them cry? Do they cry easily?

this is an interesting one. i don't think ramen water's opposed to crying, but i don't think it comes quite as naturally to him as it would to most of my other characters. he's more the type to simmer, speak his mind, or outright get into a full-blown argument first, and crying is more of an afterthought for serious stuff when he actually manages to sit down and process for awhile

8. Any details about their appearance that they’ve put a lot of thought into?

all of it all the time!! his "standard" appearance/mimic is crafted to suit him and it's something he's done for so long that calling it to mind is second-nature. in that context, he's not keeping specific tabs on it—if he's messing around with smaller features he does have to keep them in mind for awhile or they'll change back. —that being said, mimicking top scars is something he's put long-term thought into + worked through a host of doubts about.

26. Do they care about “being fresh”? Have they ever cared and how did it show?

yeah, lol! but in the same way that he cares about being (his version of) put-together, or being good at turf. i think it's just something that's part of his life so he wants to be decent at it. (he also loves barazushi merch so the freshness rating is like a bonus collectors incentive to him)

10. Something they feel is extraordinary about themself?

rw absolutely revels in his self-created whimsy and his refusal to care about how others see him. he thrives in his own unknowability + while that in and of itself can cause him issues, he's also really comfortable in his own skin + knows what he's capable of!

11. Something other people see in them that they don’t really see?

in general, his persona's so carefully crafted (physically and socially) that there's really not an assumption someone could make about him that he isn't already aware he's implying :/ this isn't really an answer to the question, but i think the closest anyone gets to this kind of thing is isaiah, who can relate deeply to his relationship with the nss and why glory's argument with him tore such a rift in their friendship for awhile. that, and he'll occasionally mimic features of someone he's thinking about without realizing it, cuz his mimic ability is that ingrained in his life/thoughts. (and thats my justification for swapping hairstyles/gear in-game without going thru the whole character creation screen)

2. Have they ever intentionally hurt anyone? How?

that is a GOOD ASS QUESTION and almost for sure the answer is no, he hasn't. i think the closest he comes to this is being a little too defensive over misunderstandings or the time he was playing softball with his roommates and broke a window (one of the roommates was the softball)

13. What kind of morals do they follow and where did they learn them?

ramen water grew up in his moms' very kind and even more matter-of-fact care, which i haven't really put a lot of thought into besides that they're kind of like this and he loves them very much. so he's very dedicated to his passions + goals and lets smaller things slide off his back easily, but when something offends him, BOY is it an offense. on a similar note, one of the reasons he works so much is cuz he's determined to make it on his own and insists on paying his rent + expenses out of pocket, even though he wouldn't have been desperate to escape his living situation. he just wants to be a big kid. he definitely still visits home regularly

23. How do they deal with bad emotions? Do they have any tried-and-true coping mechanisms?

as his mom(s(??)) would say, "While we can use the label negative [...] it’s important to acknowledge that all emotions are completely normal to experience." i'd say he's better-equipped than most his age on handling stress + knowing how well he can navigate different situations... he's solid on terms of accepting his emotions + putting effort toward understanding them. howeverrrr, that doesn't make these situations easier to handle in the moment... he spends a lot of time in his own head trying to unpack that without reaching out for another opinion, working late or even just doing menial tasks instead of sitting down to feel the weight of those emotions. it's a coping mechanism as much as it is an avoidance tactic; if a situation's dire enough he's prone to thinking about it way more than he needs to, ruminating over all sorts of possible explanations and generally not giving himself very much credit at all.

28. Are they a person that gives or takes more? Is it intentional?

in small ways he takes more: there's a perpetual battle over snack stealing in his apartment and he tends to act in his own best interests whenever he gets the chance. on a larger scale, though, he unintentionally tries to do neither; he's not a giver or a taker if he can just stay out of the way

13. How hard is it to get to KNOW them? Are they an open book or does NOBODY really know them?

one HUNDRED percent in FULL seriousness there is not a soul on earth who Really Knows them, ramen water included. his identity and his personality and everything he knows about himself is like a piece of the puzzle, but he's been swapping and layering all kinds of masks for so long that he really doesn't know what he's like without one. maybe under all those layers there's nothing. glory's the one who knows him the best, with isaiah and his moms at a close second. or, at least, he's the most genuine with them. his roommates and his penpal lemon see him w/o a decent amount of filter; his coworkers probably see about the same amount (maybe even less if he's particularly tired or running on autopilot). he defaults to oversharing just enough to keep people from asking questions about him

16. How would they describe themself?

exactly the way they want people to see them, really. talking about himself to himself is a whole other animal and the answer varies wildly with his emotional state, but he tries not to be mean

28. Has their appearance or character changed over the years? How and why?

metawise? ramen water, like honeydew, is sort of a stand-alone character in this hero mode universe, but the nature of him as an avatar in my game means that he gets all sorts of extra connections and bits that don't quite make sense. there's no canon reason for him to have a penpal or be on a competitive team, etc etc etc, but his persona is funny enough that i keep him around all the time + bits of those experiences leak into his character. i think it's also worth noting here that he and honeydew are distantly related + i made this happen for the sole reason that i make them both run around on my switch

since u read this far i'm also handing u half a fun fact: he does have a real, legal name that's not ramen water. i have made this name known to zero people and im trying to keep it that way for as long as i can so everyone just has to call him ramen water forever