#de / re / formation

[frankehstein]

JESSICA DE GOUW as THE WITCH HOLDA

Gretel & Hansel (2020) | dir. Oz Perkins

“Women know things we’re not supposed to.”

[llovelymoonn]

favourite poems of march

miki schumacher de / re / formation

craig arnold pitahaya

brian turner here, bullet: “what every soldier should know”

eileen myles not me: “peanut butter”

noor hindi breaking [news]

jane hirshfield my species

annesha mitha you are a tyrannosaurus rex

mary ruefle among the musk ox people: poems: “blood soup”

alice notley mysteries of small houses: “as good as anything”

nomi stone on world-making

k. silem mohammad poems about trees

franz wright the break

fred marchant the looking house: “night heron maybe”

carl phillips cortège: “domestic”

alexa luborsky connotations

bruce smith the other lover: “to the executive director of the actual”

nikky finney head off & split: “the aureole”

alice fulton personally engraved

amy beeder because our waiters are hopeless romantics

chiagoziem jideofor self-preservation

carol muske-dukes skylight: “the invention of cuisine”

joyce peseroff a dog in the lifeboat: “april to may”

rigoberto gonzalez other fugitives and other strangers: “other fugitives and other strangers”

toi derricotte the undertaker’s daughter: “my dad & sardines”

tarfia faizullah yr not exotic, but once ya wanted to be

jenny george the artist

jack spicer a second train song for gary

victor hernandez cruz maraca: new and selected poems 1966-2000: “red beans”

xi chuan power failure

jean valentine door in the mountain: new and collected poems, 1965-2003: “sanctuary”

duane niatum drawings of the song animals: new and collected poems: “consulting an elder poet on an anti-war poem”

kofi

[zedecksiew]

Monument vs Shrine

In "Replica, Aura, and Late Nationalist Imaginings", the political scientist Benedict Anderson (most famous for his Southeast Asia scholarship and that definitive critique of nationalism, Imagined Communities) muses on the Lincoln memorial:

Within a temple explicitly mimicking "the religious edifices of a safely pagan Greece";

Mazda Corp floodlights designed "to ward off unnatural, indifferent sunlight";

The abstract enshrinements of "Lincoln's memory" in the "hearts of the people", while neither Lincoln's actual remains or any rites for people to perform are present;

The sense that ultimately the most reverential thing to do there is to take photographs.

+

The Lincoln Memorial; the Jefferson memorial next to it; both figures repeated again on Mt Rushmore; both figures repeated ad nauseum on dollar bills.

These monuments are designed to proliferate. Not only must they create a sober, stately experience for the visitor---but they must also do so consistently, because they are built for visitors: the mass audience of the national population.

Otherwise they must be physically replicable: a memorial to a particular national hero, erected in every city.

The very format of monument-building get copied:

Post-colonial countries, in need of new myths, choose to manufacture national cenotaphs of their own, in imitation of Western models.

Malaysia has Putrajaya, a federal capital sprung ex nihilo from palm-oil agricultural land, its buildings all arches and onion domes and imitation arc de triomphes in inhuman scale, its avenues broad and utterly unwalkable in the tropical heat.

+

At such monuments the citizen is cast as tourist.

Of this state-sanctioned object of devotion you are encouraged to take photographs, sell merchandise---ie: continue the process of replication. With every copy nationalism is reified.

God forbid you tweak the official monument with your own meanings, though! While writing this post, I found the following story, from December 2023:

"Lincoln Memorial temporarily closed after being vandalized with 'Free Gaza' graffiti"

+

Anderson's essay cites instances where the personal and irreproducible sneak back into, or leak out from, or vandalise, national monuments:

"Early in the 1910s,"---in Manila's Cementerio del Norte, a municipal cemetery planned by an American urban designer---"a small pantheon was constructed for the interment of Filipino national heroes."

This monument was to emulate the Pantheon in Paris, where "great Frenchmen" of the national canon are memorialised.

But the Filipino version failed.

"Today, hardly anyone in the Philippines is aware of this dilapidated pantheon's existence ... What has happened is that the Filipino Voltaire and Rousseau have managed to escape, summoning devoted, often familial bodysnatchers, to convey them to home-town shrines."

+

Not that the municipal cemetery itself is deserted. Custodians and their families live in the very mausoleums they care for.

Further, Anderson describes All Saints' Eve in the Cementerio del Norte, when thousands pour into its precincts.

But these multitudes adjourn to their own myriad family graves and small ancestral shrines: spending the day with immediate loved ones, "drinking, praying, gambling, making offerings ..."

Most of the Philippines' presidents have mausoleums in Norte, "but no one pays attention to them ... and only their separate descendants come to attend them."

"There is something exhilarating here that one rarely sees in national celebrations, maybe because the structure of the ceremonial is not serial, but entirely cellular."

+

Hometowns re-exerting themselves within the nation; ordinary people scrawling meaning onto the edifices of the uppercase-P People. A multitude of the singular, instead of a single mass.

Despite nationalism's efforts to centralise and clone a national identity, still we mutate, still we bootleg, still we graffiti, becoming once again ourselves.

And---particular to post-colonial societies---in doing so we casually continue the work of liberation, sneaking the idea of freedom away from our own architects and elites and prime ministers, who would seek to seize its meaning for their own purposes.

The churches or mosques or temples to demos that the federal government builds are ours to transform. To take from. To ignore.

"No need. We've got our own shrines at home."

+

National heroes become local saints and slip out of national control.

Does the Filipino government really control the various Rizalista sects? Karpal Singh is now a datuk kong, without his political dynasty's consent.

Across Melaka and Negeri Sembilan there once existed shrines dedicated to Hang Tuah, Malay folk hero, now a powerful figurehead of Malay-Muslim ethno-nationalism.

One such shrine existed at Tanjung Tuan:

With a plain altar---more a porch, really---of poured cement, for folk to leave food offerings;

Sunlight mottled from the surrounding forest, and fluorescent lights from a nearby gazebo;

A large rock, with an indent on its crown, said to be Hang Tuah's actual footprint;

The idea that this was a sacred space, where you could come to ask the spirits of the place for love or children.

The shrine that existed was sited in a forest reserve. It was swept clean of leaves by locals; its adherents belonged to all faiths and ethnicities; following the transactional logic of folk religion, those who had received its blessing would've paid for its maintenance.

+

"Existed".

Because the Religious Department of the State of Melaka destroyed the Hang Tuah shrine sometime in 2022, for the crime of idolatry.

A double heresy. An affront to both orthodox Sunni Islam---

But also to the Malaysian state, that sanctions Sunni Islam as its official religion; whose nationalism requires its mythic hero to have only the attributes and magics the state ulama and historians say he must have---and no others.

Local shrines are destroyed, because the nation-state intuits them to be threats to its exclusive franchise.

+

Image sources: https://en.wikipedia.org/wiki/United_States_five-dollar_bill https://en.wikipedia.org/wiki/Arc_de_Triomphe https://en.m.wikipedia.org/wiki/Putrajaya https://www.facebook.com/PilipinasRetrostalgia https://www.globaltimes.cn/content/984521.shtml https://www.facebook.com/PerakPress https://en.m.wikipedia.org/wiki/Malays_(ethnic_group)

[vickyvicarious]

It seems like the general first impression was "The Demeter crew is suffering and sleepless and dying, while Mina is having a nice sightseeing vacation", but... Doesn't it seem less of a contrast than that?

Lucy's now increasingly odder sleepwalking was there from day one of Mina's arrival, making Mina sleepless. While the crew sleeps with one eye open.

Even on the first day on Whitby, Mina was taking about death and lost ships. While the crew was beginning to lose men. Mina and Mr Swales talk about tombstones and suicide. While the First Mate jumps to his death.

*Mina voice*: the reports of my hot girl summer have been greatly exaggerated...

You're onto something here, definitely. Of course, in the original book, we don't see anything from the Demeter until a little ways into Mina's stay, so it (re)reads as more foreshadowing than it seems like a parallel, but that's one of the really fun things to notice in the daily format! I'm reminded of Lucy's three suitors and her letters about looking into her mirror coming so soon on the heels of Jonathan's encounter with the three vampire women and with his mirror getting broken.

I never noticed just how much a lot of Mina's storyline here lines up so well with the Demeter though. And now that I'm thinking about it... There's a bunch of those kinds of connections!

Of course, there are overall ones. Like you said, Lucy's sleepwalking begins right away, and it robs Mina of her sleep. Meanwhile, the crew of the Demeter are kept awake by storms, by double-watches, by having to pick up the work that no one else is left to do. But though that's pretty overarching, there are also some moments that line up really well. For example, July 27: "Lucy walks more than ever, and each night I am awakened by her moving about the room." and July 28: "Four days in hell, knocking about in a sort of maelstrom, and the wind a tempest. No sleep for any one. Men all worn out."

Then there are Mina's conversation with Mr. Swales, especially the latter one with its talk of suicide, of going to hell - only two days before the mate leaps to his death rather than allow Dracula to get his soul. Mr. Swales also parallels the first mate a bit in being, as Mina says, "a most dictatorial person in his day" and very insistent that there's nothing supernatural going on, though as yet he's not been proven so terribly wrong about that the way the first mate was.

On July 24, Mina says there is "a buoy with a bell, which swings in bad weather, and sends in a mournful sound on the wind. They have a legend here that when a ship is lost bells are heard out at sea." That same day the Demeter is approaching more bad weather, and later on they get lost in the fog. (Though we never get mention of any bell ringing.)

Mrs. Westenra is afraid of Lucy's sleepwalking because she "has got an idea that sleep-walkers always go out on roofs of houses and along the edges of cliffs and then get suddenly wakened and fall over with a despairing cry that echoes all over the place." On August 2, the captain is awoken by a cry that sounds close, but which he cannot see the source of in the fog. The next day, the mate runs up onto the deck crying out after being figuratively 'wakened' to the true horror of who he's up against just before he leaps over the side of the ship. Also on August 3, Lucy goes about searching for the key so she can get out, and the mate went searching through the boxes in the hold. He clearly found what he was looking for, and it had terrible consequences; if Lucy finds what she seeks in her sleepwalking, what might happen to her?

And, one that I can't believe never occurred to me before... Mina's not only worried about Lucy, of course. She's very afraid for Jonathan. Because he, much like the men on the Demeter, has vanished unseen. He went off to his work (on watch/work trip) and hasn't been seen since. Even when she hears from him, it's brief and she can sense the letter is uncharacteristic of him, short and lacking detail. The reason, though she doesn't know it, is of course that Dracula stopped him from saying anything else/more. Jonathan's real sentiments and words were 'lost in the fog' so to speak (the false trail laid by the letters being the metaphorical fog here). It reminds me of the one sailor's cry that awoke the captain. And even with that, she's still waiting for more word of him and should have had it by this point. But he's simply gone.

It's not endless horrors for Mina at the moment, but the ominous tone is certainly building over time despite more positive moments happening too. To use a weather metaphor, more and more stormclouds have been gathering over time, looming threateningly overhead. And it looks an awful lot like the weather Dracula brought to the Demeter.

[howtofightwrite]

So happy you're back after all this time! I have a question, do you happen to know how people fought in ancient rome? Particularly gladiators and soldiers? Sorry if this isn't the blog for this question tho!

I think we've covered both of these questions independently over the years.

Gladiators were a performance sport. It was more about glorifying the Roman Empire and its victories, than a conventional fight. As a result, most Gladiators were armed with specific variant, “loadouts,” designed to cosplay as various enemies that The Empire had conquered, and they only fought against specific countering variants. Specifically, the variants would be matched in such a way that it would be difficult for either combatant to have a decisive advantage over the other, with an eye towards creating situations that would result in a lot of visible injuries, without serious harm to either participant.

In case it needs to be said, gladiators were a significant financial investment, and they weren't casually killed in the arena. The point was for visible injuries, and a bloody spectacle, not a slaughter. Sometimes someone would die, but having them die on the field wasn't the intention, and they generated a lot of money, and on the rare cases when they were killed, it was meant to be a climactic moment, not someone taking a blade to the gut and collapsing mid-fight.

Obviously, I'm barely scratching the surface here, because it gets a lot deeper, but the simple answer is that in the vast majority of cases, gladiators were armed with weapons that were designed to make seriously harming their foe difficult to impossible. Also, the gladiators were something that evolved and became more complicated over time. When they first started in the Republic, it was a much more stripped down structure with prisoners of war being given a sword and shield and forced to face off against one another.

As for the Roman Legions. I'm not sure I've ever seen a comprehensive description of their training techniques. The Testudo, (or Tortoise) is one of the more famous examples of their specific combat style. Legionaries would create a shield wall, and the soldiers behind the front line would raise their shields to cover the formation against attacks from above (usually arrow fire, or thrown spears.) While being able to strike with javelins. In practice, the formation had issues, including being vulnerable to siege fire, and mounted archers were able to easily flank the formation. It's a neat story, but the formation had serious limitations.

One thing we haven't talked about before (I think) was the Roman's use of biological warfare. During sieges, they would load (locally sourced, I assume) corpses onto catapults, and then launch them into the besieged city.

Beyond, the major thing about the Legions was the extremely disciplined and orderly combat formations, with a lot of attention paid to managing battlefield movement. It wasn't so much about exceptional individual performance, so much as their ability to operate as a unit. This isn't a particularly mind blowing concept today, but in an era when professional soldiers were the exception, or limited to the elite forces, it had slightly more impact.

Regarding the details of their training, I've never seen any of that come up. Now, granted, I've really tried to research that degree of Roman history. So, if you're asking, “how, exactly, did they swing the gladius?” I don't know, and I don't remember ever seeing anyone credibly claim they had that insight. As far as I know, the only surviving Roman training manual was De Re Militari, (there's around 200 surviving Latin copies) which is far more concerned with overall strategic planning and command. If you're trying to write Roman era military fiction, it's probably worth reading. So, I'm not sure this is exactly what you were looking for, but I do hope it helps.

-Starke

This blog is supported through Patreon. Patrons get access to new posts three days early, and direct access to us through Discord. If you’re already a Patron, thank you. If you’d like to support us, please consider becoming a Patron.

[deepdreamnights]

The Secret Origin of Wally ManMoth

Scans from TyrannoMax #26

Cocytus was one of the better-performing comic companies outside the big 2 in the 1970s before the whole company was bought out by Buzby-Spurlock Animation in the early 80s.

TyrannoMax was its biggest title, so almost everyone in the character stable teamed up with the Dinoids eventually.

Process under the fold.

TyrannMax is created via use of Dall-E 3 and Midjourney as pencilers, and me doing essentially everything else (writing, editing, inking, lettering, layout, etc.) DE is on most of the character art, MJ on backgrounds and select characters.

Each panel utilizes anywhere from one gen/prompt (for a handful of very simple head-shots) to around 20 for stuff like the DinoHydra action shot or the hero/villain showcase panels.

Once I know what I want for a page I lay out the rough dialog and panels, then start generating pics. Basic prompt format and a few examples:

, , , , comic panel by 1968, in the style of 1968

A portly 50 year old man, resembles Alan Hale Jr, jolly smile, wearing a tweed jacket, slacks, sandals, a fedora, sweatervest and a loosened ascot, full body character design, comic panel by Jack Kirby and Alex Toth 1968, in the style of 1968 Marvel comics

a mad scientist mid-transformation into a green anthro-tyrannosaurus, asymmetrical transformation, boils and growths, screaming/roaring, bald, portly, with round glasses. wearing a tattered lab coat, vest, slacks, tie. Comic panel by jack kirby and alex toth, 1968, in the style of vintage horror comics

Then I take the pics into PS, arrange and composite them, and then remove all the color. I don't tend to prompt for my final colors on characters and instead choose light tones I can easily extract. Why not just do B&W prompts? Style impact.

Then I start to re-ink over errors and details that don't match the mood I want, match line thicknesses over various elements, etc. Through this process I adjust dialog placement and panel arrangements, and do generally the things and editor and letterer would be up to.

Once I have the inks, flat colors, and the text on various layers, I do the weathering and compositing to simulate scans of a 1970s comic book. This is also where the deliberate flaws in coloring and print alignment are added for authenticity.

[mostlysignssomeportents]

Nalo Hopkinson’s “Blackheart Man”

I'm OFFLINE UNTIL MID-SEPTEMBER, but you can catch me in person at BURNING MAN! On TUESDAY (Aug 27) at 1PM, I'm giving a talk called "DISENSHITTIFY OR DIE!" at PALENQUE NORTE (7&E). On WEDNESDAY (Aug 28) at NOON, I'm doing a "Talking Caterpillar" Q&A at LIMINAL LABS (830&C).

In Blackheart Man, the new Nalo Hopkinson novel out today from Simon & Schuster, we get a tour-de-force from an author in full control of her prodigious powers: a story that will make you drunk on language, on worldbuilding, and on its roaring, relentless plot:

https://www.simonandschuster.com/books/Blackheart-Man/Nalo-Hopkinson/9781668005101

The action is set on Chynchin, a fantastic Caribbean island(or maybe Caribbeanesque – it's never clear whether this is some magical, imaginary world, or some distant future of our own). Chynchin is a multiracial, creole land with a richly realized gift economy that Hopkinson deftly rounds out with a cuisine, languages, and familial arrangements. Blackheart Man boasts some of the finest "in-cluing" (Jo Walton's marvelous term for the way that sf/f writers can assemble a world in their readers' minds with subtle clues that act as a made-to-be-solved puzzle the reader delights in assembling) you could ask for, and before you know it, you've completely internalized this world, with its racial politics, its cultural institutions (like the colloquium, where every scholar is also a musician and getting your doctorate requires scoring a book to be sung – and thus memorized and preserved by a choir of your fellow students), and its relationships (the stable configuration is a thruple, with most women married to two co-husbands).

Chynchin was founded through a slave rebellion, in which the press-ganged soldiers of the iron-fisted Ymisen empire were defeated by three witches who caused them to be engulfed in tar that they magicked into a liquid state just long enough to entomb them, then magicked back into solidity. For generations, the Ymisen have tolerated Chynchin's self-rule, but as the story opens, a Ymisen armada sails into Chynchin's port and a "trade envoy" announces that it's time for the Chynchin to "voluntarily" re-establish trade with the Ymisen.

The story that unfolds is a staple of sf and fantasy: the scrappy resistance mounted against the evil empire, and this familiar backdrop is a sturdy scaffold to support Hopkinson's dizzying, phantasmagoric tale of psychedelic magic, possessed children, military intrigue, musicianship and sexual entanglements.

Hopkinson's protagonist Veycosi is the kind of flawed hero whom you want to give a hug to half the time, and whose neck you want to wring. An aspiring scholar, Veycosi has the brash certainty of youth, convinced that he's the smartest (and sexiest) man in any room, and he's right just often enough to encourage him in a series of self-inflicted catastrophes that build to a terrible crescendo that sets up one of the most satisfying endings you could ask for.

Hopkinson – a SFWA Grand Master and Macarthur Genius Grant awardee – is justly famed as one of the field's great afrofuturist pioneers. Her prodigious talent has been obvious since her debut novel, Brown Girl In the Ring, and her career is an unbroken string of literary feats that went from strength to strength. I've known her since we were both teenagers working at the same library in suburban Toronto, and I never cease to be dazzled by her talent, her wit, and her warmth. But even by those high standards, Blackheart Man is a triumph.

On SEPTEMBER 24th, I'll be speaking IN PERSON at the BOSTON PUBLIC LIBRARY!!

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/08/20/piche/#cynchin

[leleaulait]

Je suis pas méga présente sur Tumblr en ce moment mais j'ai une grosse dose de stress à gérer. La MDPH demande que je vois un médecin de chez eux, et quand je vois les retours de potes à moi des médecins de la MDPH de Savoie...comment vous dire... j'ai quasi zéro espoir du coup, donc je sais pas trop ce que je vais foutre (je dis pas ça en l'air, une pote à moi en fauteuil roulant et qui ne peut plus s'alimenter s'est fait dire qu'elle devrait aller bosser au lieu d'avoir l'AAH par un médecin de la bas 🫠). Je dors plus, je re perd mes cheveux et je commence à retrouver les bon vieux trous sur le crâne, j'ai peur de retomber dans la boulimie parce que le chéri est en formation 2 mois donc il ne rentre pas le midi et je ne sais plus manger seule depuis des années. Bref c'est un peu la merdouille en ce moment.

Prenez soin de vous les Tumblriens et Tumblriennes 💕.

[needlesandnilbogs]

writer asks! 13, 36, 81

ask game in question

13. talk about a writing experience that has pleasantly surprised you.

uhh... I have too much of a Complicated relationship with mirrorverse to totally call it pleasant, but it's nice that I've managed to stick with it and I'm still happy to write it most of the time, that should count?

really, a better answer might be the recent fic I published about mb going to the equivalent of the state fair, which popped mostly formed into my head, complete with both format and several lines already written, so it didn't feel like I was ever stuck on it! I liked that a lot lol

36. do you base your characters of real people or not? If so, tell us about one.

Sort of. I steal bits of outfits and personality from people I know for canon characters, but really the one-off OCs are more of real people. Two examples come to mind obviously: high school au mensah, who is very much my school's stage manager during my jr year, a senior who was like the epitome of coolness to me that year and remained enough of an inspiration to be a big part of HSAU Mensah, and Arden fairoak, a character I made up for a one-off mirrorverse thing who is now. not a one-off character. and also is very much based off my high school best friend.

the rest of the mirrorverse one-off OCs, excluding Arden's family who are all except for Bharadwaj named for local libraries, are named and loosely personality based off of historical figures or fictional characters, including: Caroline Bingley and Emma Woodhouse from Jane Austen books, Nikita Gill, Vikram Seth, Fabiola Cabeza de Baca Gilbert...

81. if you could go back in time and give your younger self a piece of writing advice specific to you, what would it be?

Okay, there's two answers to this. both apply to my past self in 7th-9th grade

Generically: Stop being embarrassed of your stuff, idiot. (Expanding slightly more on that, you're not going to be seen as stupid for writing fanfic and (tagging @kellumnights and @clustxr because they'll know who and what I mean and laugh) if kellum could literally do That Story and JdS could do Hot Day in Hotwrong about it, you could totally put your stuff in the writers guild magazine and not just rolls and role-players original flavor.)

extremely specifically, re a thing I started then which became my favorite original universe:

Dear Past!Prime!Bardic,

actually write down exploring frontiers, please. I want that stuff now and I want more than I put on paper.

relatedly, you did not need to write the whole boring story to introduce everyone before you wrote the fun chapter. but thank you (genuinely) for the seven paragraphs of auri lore that I needed in eleventh grade when I restarted it

you did not need to feel so embarrassed about Plory and Ara having A Thing. it was what you needed to write at the time.

stop naming characters after your irl cousins bc eventually they find it and mock you

don't name the main character after yourself. they might be a self insert but you'll make it ten times harder to share it when you're my age because then you have to check every snip and make sure you renamed [name] to Ampara every freaking place.

seriously. names. Ampara, not [name]. Danessa is good, keep that. Savfira is gonna become stupidly hard to get spellcheck to understand but it's fine. Zynnia's great. dump Ariya and find a better R name that still lets you use Rya as a nickname. Ladira, not Lady. also by the way you add a seventh house later.

love,

present!prime!Bardic (PS we change our name.)

[connorsnothereeither]

Not exactly an official episode release for Cantripped, BUT I thought I’d throw this up here anyway:

Goode’s Old Fashioned School of Lover Boys (Romance Remastered) is now uploaded to YouTube and Spotify!!

Bringing with it a new look and a new sound, we’ve cleaned up the audio quality, sound mixing, and more, in this re-edited version of our Valentines Day One Shot!

The remaster also contains 5 additional minutes of content which was cut from the original episode, AND VERY EXCITINGLY an amazing new “Goode’s Variation” on the Cantripped theme song by @the-uninformed-zennial bringing a brassy, Bond-inspired twist to the show’s intro!!

I’m really proud of how this remaster turned out and I’m so very appreciative to Jamie for letting me take a swing at cleaning these up to match the newer format and style of the show!

If you’re hoping to catch up on the world and story of Goode’s before Tour de Amor drops on the coming months, there’s never been a better time! :D

[thecreaturecodex]

Protean, Renegwe

"Fang of Nulzann" © Hex Entertainment, by Martin de Diego. Accessed at his deviantArt here

[My final original species of protean, this time embodying plate tectonics as a manifestation of change. I knew I wanted to do a continental drift-themed protean, and this was one of the first art pieces I found when embarking on this project. As a reminder, all of my protean species have a name that's an anagram. I'll be posting the solutions to those at the end of the week.]

Protean, Renegwe CR 19 CN Outsider (extraplanar) This massive creature appears like a snake with a humanoid torso, its body composed of black volcanic rock. A snort hood grows between its head and neck, and a pair of horns like bent stalagmites grows from its head. It shimmers with heat.

A renegwe is a protean devoted to some of the most dramatic changes in the cosmos—plate tectonics. Renegwes are the shepherds of whole continents, observing them move over the course of thousands or millions of years, and steering them if their whims dictate they speed up or slow down. Rather than the immediate thrills of transforming a person into an animal, or the destruction of killing enemies and overthrowing governments, renegwes prefer the gradual pleasures of growing mountains, eroding canyons and rock formation. That is not to say that they cannot be dramatic—a renegwe who grows bored with a landmass’ progress might start earthquakes with magic, or heat up a lava reservoir to re-activate a dormant volcano. 

Few renegwes care much about the short lives of humanoids directly, but may become territorial of particular mineral deposits and protect them from mining or other exploitation. They might also come into conflict with magical creatures that seek to stop or mitigate the destruction their earthquakes and volcanoes engender. A renegwe prefers to fight atop or within a solid surface—although they can fly, they feel much more comfortable when touching earth or stone. Renegwes spew lava from their mouths and can fire exploding boulders from their hands. They have relatively few spell-like abilities compared to other proteans, and prefer simple melee tactics to pitched battles at a distance. 

Renegwes are more common outside the Maelstrom than in it. They dwell mostly deep underground on planets of the Material Planes, or in places where the Planes of Earth and Fire overlap. From these magma-rich bastions, they may plot against the shaitans and efreeti—both of these genies types are lawful, and seek to impose order where the renegwes prefer chaos. Renegwes are natural allies of magma dragons, but these allegiances may be fractious and marked by power struggles. Few renegwes have much interest in the politics of the protean choirs, but may work for a given protean lord on a temporary basis when their interests overlap. The protean lord most sympathetic to the renegwes is Etna, herself a being of volcanic power.

Renegwe        CR 19 XP 204,800 CN Gargantuan outsider (chaotic, earth, extraplanar, fire, protean) Init +6; Senses blindsight 60 ft., darkvision 60 ft., Perception +31, tremorsense 120 ft. Aura cloak of chaos (DC 26)

Defense AC 34, touch 12, flat-footed 32 (-4 size, +2 Dex, +4 deflection, +22 natural) hp 330 (20d10+220) Fort +23, Ref +20, Will +26 DR 15/adamantine and lawful; Immune acid, fire; Resist electricity 10, sonic 10; SR 30 Defensive Abilities amorphous anatomy, fiery body, freedom of movement, rock catching

Offense Speed 40 ft., burrow 80 ft. (earth glide), fly 80 ft. (good) Melee bite +31 (2d8+15 plus 2d6 fire), gore +31 (2d8+15 plus 2d6 fire), 2 claws +31 (2d6+15/19-20 plus 2d6 fire), tail slap +29 (2d8+7 plus 2d6 fire plus grab) Ranged 2 lava bombs +18 touch (4d6 bludgeoning plus 2d6 fire) Space 20 ft.; Reach 20 ft. Special Attacks breath weapon (80 ft. cone, 20d6 fire, Ref DC 31), earth mastery, trample (2d8+22 plus 2d6 fire, DC 35)

Spell-like Abilities CL 19th, concentration +27 Constant—cloak of chaos (self only, DC 26) At will—chaos hammer (DC 22), scorching ray, stone shape 3/day—earthquake, empowered flame strike (DC 23), greater dispel magic, quickened wall of stone, word of chaos (DC 25) 1/day—clashing rocks (DC 27), repel metal or stone, wall of lava (DC 26)

Statistics Str 41, Dex 15, Con 32, Int 14, Wis27, Cha 26 Base Atk +20; CMB +39 (+41 bull rush, +43 grapple); CMD 55 (57 vs. bull rush, cannot be tripped) Feats Awesome Blow, Combat Reflexes, Empowered SLA (flame strike), Flyby Attack, Improved Bull Rush, Improved Critical (claw), Improved Initiative, Multiattack, Power Attack, Quicken SLA (wall of stone) Skills Bluff +29, Disguise +26, Fly +25, Intimidate +29, Knowledge (geography, planes) +23, Perception +31, Sense Motive +29, Survival +29 Languages Abyssal, Draconic, Ignan, Protean, Terran, telepathy 100 ft. SQ change shape (dragon or elemental, elemental shape IV or form of the dragon III), no breath 

Ecology Environment underground (Maelstrom) Organization solitary, pair or geoform (3-6) Treasure standard

Special Abilities Breath Weapon (Su) Any creature that takes damage from a renegwe’s breath weapon is coated in lava, taking 10d6 points of fire damage for the next 1d3 rounds (no save). Change Shape (Su) A renegwe can change shape at will, but does not gain the healing from changing shape as is typical for proteans. It can only assume the form of dragons or elementals with the earth or fire subtypes. Earth Mastery (Ex) When both a renegwe and its opponent are touching the ground, the renegwe gains a +1 bonus on attack and damage rolls. Fiery Body (Ex) A renegwe’s body is blazing hot. It deals 2d6 points of fire damage with all of its natural attacks, and any creature striking it with a melee touch attack, natural weapon or unarmed strike takes 2d6 points of fire damage. Lava Bombs (Su) As a standard action, a renegwe can fire two lava bombs, one from each hand. Each lava bomb is treated as a ranged touch attack with a range of 200 feet and no range incremenent. A creature struck takes 4d6 points of bludgeoning damage and 2d6 fire, and then the lava bomb explodes, dealing 10d6 points of fire damage in a 40 foot radius (Reflex DC 29 half). If a creature is in the radius of both lava bombs, it makes a single save at a -4 penalty, and treats the fire damage as coming from a single source. A renegwe can use its lava bombs once every 1d4 rounds. The save DC is Charisma based.

[dailyanarchistposts]

A.5 What are some examples of “Anarchy in Action”?

A.5.1 The Paris Commune

The Paris Commune of 1871 played an important role in the development of both anarchist ideas and the movement. As Bakunin commented at the time,

“revolutionary socialism [i.e. anarchism] has just attempted its first striking and practical demonstration in the Paris Commune … [It] show[ed] to all enslaved peoples (and are there any masses that are not slaves?) the only road to emancipation and health; Paris inflict[ed] a mortal blow upon the political traditions of bourgeois radicalism and [gave] a real basis to revolutionary socialism.” [Bakunin on Anarchism, pp. 263–4]

The Paris Commune was created after France was defeated by Prussia in the Franco-Prussian war. The French government tried to send in troops to regain the Parisian National Guard’s cannon to prevent it from falling into the hands of the population. “Learning that the Versailles soldiers were trying to seize the cannon,” recounted participant Louise Michel, “men and women of Montmartre swarmed up the Butte in surprise manoeuvre. Those people who were climbing up the Butte believed they would die, but they were prepared to pay the price.” The soldiers refused to fire on the jeering crowd and turned their weapons on their officers. This was March 18th; the Commune had begun and “the people wakened … The eighteenth of March could have belonged to the allies of kings, or to foreigners, or to the people. It was the people’s.” [Red Virgin: Memoirs of Louise Michel, p. 64]

In the free elections called by the Parisian National Guard, the citizens of Paris elected a council made up of a majority of Jacobins and Republicans and a minority of socialists (mostly Blanquists — authoritarian socialists — and followers of the anarchist Proudhon). This council proclaimed Paris autonomous and desired to recreate France as a confederation of communes (i.e. communities). Within the Commune, the elected council people were recallable and paid an average wage. In addition, they had to report back to the people who had elected them and were subject to recall by electors if they did not carry out their mandates.

Why this development caught the imagination of anarchists is clear — it has strong similarities with anarchist ideas. In fact, the example of the Paris Commune was in many ways similar to how Bakunin had predicted that a revolution would have to occur — a major city declaring itself autonomous, organising itself, leading by example, and urging the rest of the planet to follow it. (See “Letter to Albert Richards” in Bakunin on Anarchism). The Paris Commune began the process of creating a new society, one organised from the bottom up. It was “a blow for the decentralisation of political power.” [Voltairine de Cleyre, “The Paris Commune,” Anarchy! An Anthology of Emma Goldman’s Mother Earth, p. 67]

Many anarchists played a role within the Commune — for example Louise Michel, the Reclus brothers, and Eugene Varlin (the latter murdered in the repression afterwards). As for the reforms initiated by the Commune, such as the re-opening of workplaces as co-operatives, anarchists can see their ideas of associated labour beginning to be realised. By May, 43 workplaces were co-operatively run and the Louvre Museum was a munitions factory run by a workers’ council. Echoing Proudhon, a meeting of the Mechanics Union and the Association of Metal Workers argued that “our economic emancipation … can only be obtained through the formation of workers’ associations, which alone can transform our position from that of wage earners to that of associates.” They instructed their delegates to the Commune’s Commission on Labour Organisation to support the following objectives:

“The abolition of the exploitation of man by man, the last vestige of slavery; “The organisation of labour in mutual associations and inalienable capital.”

In this way, they hoped to ensure that “equality must not be an empty word” in the Commune. [The Paris Commune of 1871: The View from the Left, Eugene Schulkind (ed.), p. 164] The Engineers Union voted at a meeting on 23rd of April that since the aim of the Commune should be “economic emancipation” it should “organise labour through associations in which there would be joint responsibility” in order “to suppress the exploitation of man by man.” [quoted by Stewart Edwards, The Paris Commune 1871, pp. 263–4]

As well as self-managed workers’ associations, the Communards practised direct democracy in a network popular clubs, popular organisations similar to the directly democratic neighbourhood assemblies (“sections”) of the French Revolution. “People, govern yourselves through your public meetings, through your press” proclaimed the newspaper of one Club. The commune was seen as an expression of the assembled people, for (to quote another Club) “Communal power resides in each arrondissement [neighbourhood] wherever men are assembled who have a horror of the yoke and of servitude.” Little wonder that Gustave Courbet, artist friend and follower of Proudhon, proclaimed Paris as “a true paradise … all social groups have established themselves as federations and are masters of their own fate.” [quoted by Martin Phillip Johnson, The Paradise of Association, p. 5 and p. 6]

In addition the Commune’s “Declaration to the French People” which echoed many key anarchist ideas. It saw the “political unity” of society as being based on “the voluntary association of all local initiatives, the free and spontaneous concourse of all individual energies for the common aim, the well-being, the liberty and the security of all.” [quoted by Edwards, Op. Cit., p. 218] The new society envisioned by the communards was one based on the “absolute autonomy of the Commune … assuring to each its integral rights and to each Frenchman the full exercise of his aptitudes, as a man, a citizen and a labourer. The autonomy of the Commune will have for its limits only the equal autonomy of all other communes adhering to the contract; their association must ensure the liberty of France.” [“Declaration to the French People”, quoted by George Woodcock, Pierre-Joseph Proudhon: A Biography, pp. 276–7] With its vision of a confederation of communes, Bakunin was correct to assert that the Paris Commune was “a bold, clearly formulated negation of the State.” [Bakunin on Anarchism, p. 264]

Moreover, the Commune’s ideas on federation obviously reflected the influence of Proudhon on French radical ideas. Indeed, the Commune’s vision of a communal France based on a federation of delegates bound by imperative mandates issued by their electors and subject to recall at any moment echoes Proudhon’s ideas (Proudhon had argued in favour of the “implementation of the binding mandate” in 1848 [No Gods, No Masters, p. 63] and for federation of communes in his work The Principle of Federation).

Thus both economically and politically the Paris Commune was heavily influenced by anarchist ideas. Economically, the theory of associated production expounded by Proudhon and Bakunin became consciously revolutionary practice. Politically, in the Commune’s call for federalism and autonomy, anarchists see their “future social organisation… [being] carried out from the bottom up, by the free association or federation of workers, starting with associations, then going into the communes, the regions, the nations, and, finally, culminating in a great international and universal federation.” [Bakunin, Op. Cit., p. 270]

However, for anarchists the Commune did not go far enough. It did not abolish the state within the Commune, as it had abolished it beyond it. The Communards organised themselves “in a Jacobin manner” (to use Bakunin’s cutting term). As Peter Kropotkin pointed out, while “proclaiming the free Commune, the people of Paris proclaimed an essential anarchist principle … they stopped mid-course” and gave “themselves a Communal Council copied from the old municipal councils.” Thus the Paris Commune did not “break with the tradition of the State, of representative government, and it did not attempt to achieve within the Commune that organisation from the simple to the complex it inaugurated by proclaiming the independence and free federation of the Communes.” This lead to disaster as the Commune council became “immobilised … by red tape” and lost “the sensitivity that comes from continued contact with the masses … Paralysed by their distancing from the revolutionary centre — the people — they themselves paralysed the popular initiative.” [Words of a Rebel, p. 97, p. 93 and p. 97]

In addition, its attempts at economic reform did not go far enough, making no attempt to turn all workplaces into co-operatives (i.e. to expropriate capital) and forming associations of these co-operatives to co-ordinate and support each other’s economic activities. Paris, stressed Voltairine de Cleyre, “failed to strike at economic tyranny, and so came of what it could have achieved” which was a “free community whose economic affairs shall be arranged by the groups of actual producers and distributors, eliminating the useless and harmful element now in possession of the world’s capital.” [Op. Cit., p. 67] As the city was under constant siege by the French army, it is understandable that the Communards had other things on their minds. However, for Kropotkin such a position was a disaster:

“They treated the economic question as a secondary one, which would be attended to later on, after the triumph of the Commune … But the crushing defeat which soon followed, and the blood-thirsty revenge taken by the middle class, proved once more that the triumph of a popular Commune was materially impossible without a parallel triumph of the people in the economic field.” [Op. Cit., p. 74]

Anarchists drew the obvious conclusions, arguing that “if no central government was needed to rule the independent Communes, if the national Government is thrown overboard and national unity is obtained by free federation, then a central municipal Government becomes equally useless and noxious. The same federative principle would do within the Commune.” [Kropotkin, Evolution and Environment, p. 75] Instead of abolishing the state within the commune by organising federations of directly democratic mass assemblies, like the Parisian “sections” of the revolution of 1789–93 (see Kropotkin’s Great French Revolution for more on these), the Paris Commune kept representative government and suffered for it. “Instead of acting for themselves … the people, confiding in their governors, entrusted them the charge of taking the initiative. This was the first consequence of the inevitable result of elections.” The council soon became “the greatest obstacle to the revolution” thus proving the “political axiom that a government cannot be revolutionary.” [Anarchism, p. 240, p. 241 and p. 249]

The council become more and more isolated from the people who elected it, and thus more and more irrelevant. And as its irrelevance grew, so did its authoritarian tendencies, with the Jacobin majority creating a “Committee of Public Safety” to “defend” (by terror) the “revolution.” The Committee was opposed by the libertarian socialist minority and was, fortunately, ignored in practice by the people of Paris as they defended their freedom against the French army, which was attacking them in the name of capitalist civilisation and “liberty.” On May 21st, government troops entered the city, followed by seven days of bitter street fighting. Squads of soldiers and armed members of the bourgeoisie roamed the streets, killing and maiming at will. Over 25,000 people were killed in the street fighting, many murdered after they had surrendered, and their bodies dumped in mass graves. As a final insult, Sacré Coeur was built by the bourgeoisie on the birth place of the Commune, the Butte of Montmartre, to atone for the radical and atheist revolt which had so terrified them.

For anarchists, the lessons of the Paris Commune were threefold. Firstly, a decentralised confederation of communities is the necessary political form of a free society (”This was the form that the social revolution must take — the independent commune.” [Kropotkin, Op. Cit., p. 163]). Secondly, “there is no more reason for a government inside a Commune than for government above the Commune.” This means that an anarchist community will be based on a confederation of neighbourhood and workplace assemblies freely co-operating together. Thirdly, it is critically important to unify political and economic revolutions into a social revolution. “They tried to consolidate the Commune first and put off the social revolution until later, whereas the only way to proceed was to consolidate the Commune by means of the social revolution!” [Peter Kropotkin, Words of a Rebel , p. 97]

For more anarchist perspectives on the Paris Commune see Kropotkin’s essay “The Paris Commune” in Words of a Rebel (and The Anarchist Reader) and Bakunin’s “The Paris Commune and the Idea of the State” in Bakunin on Anarchism.

[pyrotechnicarus]

what's your experience re: the difference between writing prose and scripts 😭 i have to write plays for the first time for school and i miss my wife Purple Prose

Congrats on writing your first play! And I definitely empathize -- switching from one form to the other was hard for me, and something I still struggle with. Musical theater is arguably the novelist's crutch into scriptwriting because we have access to songs -- the kind of access to the characters' thoughts and intentions you get throughout a novel, you can inject into a song, whereas straight playwrights (especially realist playwrights) don't always have that built-in genre convention for theatricalizing their character's minds.

Unless you're working at a level of heightened text in your play that allows interior monologues to be spoken aloud or narrators to describe things (which, hey, you might want to consider!) then you'll have to really work on externalizing both beauty (your beautiful descriptions of things in your short stories? now someone has to say them out loud. Who would? What sort of person would speak this way? Would anyone?) and character development (often my playwriting teacher says that every shift in a piece has to be signaled through an action. A character can't just change their mind. That change doesn't exist to the audience until they do something with that new perspective -- hurt another character, avoid a situation, indulge in something they've opposed before, etc.) Writing for theater really forces you to make your character arcs visible in a way that prose doesn't.

On the other hand, you now have access to a ton of other tools that you didn't have as a prose writer! These usually fall under the broad umbrella of "theatricalization," but really just mean everything you can do in the theater that you can't do in any other medium. The intercut scene before Me, Myself, and I in Adamandi -- the casual, silent cohabitation of the past couple and the present couple at the start of Ghost Story -- the use of the edge of the stage to represent suicide in Adamandi -- all only work because the theatrical audience is willing to accept thematic intersections of space, time, and character because of the boundaries of the stage. When can two things happen simultaneously? When can your character make eye contact with an audience member? When can they leave the stage? What does having collective physical bodies perceiving your art allow you to do - when are they crying together, laughing together, when does their pulse race? Can you make them feel scared? Try out writing scenes that take place in the dark, in a spotlight, with a silent actor onstage, or with significant costume changes that can carry an equal amount of the story to your stage directions and spoken text.

Finally, I guess my overall advice would be to study plays you admire (my benchmarks are currently Is God Is, Escaped Alone, Streetcar Named Desire, M. Butterfly, and various Paula Vogel plays -- And Baby Makes Seven is my fave but The Baltimore Waltz is probably a gentler introduction to her) for their conventions and copy the shit out of them. Imitate their formatting, for a bit. Steal a staging that works in your context. Cut your dialogue down viciously -- words and exchanges that take a few seconds to read on the page take precious minutes to say out loud. Watch out for conversational cul-de-sacs -- ideally each line should advance the scene, advance the characters, and advance the plot. If your character is saying stuff like "What's your name?" then maybe the scene needs to start later -- you want every line to be one that only that character would be able to say.

Relatedly, and I think a failing of mine when I made the switch that is now getting better: don't rely on tone indicators to do the work of adaptation. Your actors and directors will ignore them, first of all, but also each line should contain its proper reading -- it should be clear from the context of the scene whether your character is saying "Hello." (angrily) or "Hello." (haughtily). I try to limit myself to 10-20 tone lines per 90-page musical script, if that's a helpful benchmark for you (this is different from stage directions, but you should also not be using stage directions to take the place of good dialogue. Anything inconsequential -- he paces or chewing his lip or with a sly grin -- ought to be cut.)

Anyway, overall, have fun and do whatever it takes (including disobeying all the advice above) to FINISH IT! You'll only know once you have a full draft A. whether you want to keep going with this medium and B. what your storytelling is Like; how you can improve it. Good luck!

[glitcheslikeslego]

Show Me Your Moves! (Chapter 11)

AO3 STORY

Chapter 11 : Aromatherapy

Aromatherapy is a non-damaging move that heals the user, user’s allies and user’s party of all status conditions. 

You know, with all the back to back adventures and episodic format layout that the first season has, it’s actually pretty nice to have a day where you know nothing is bound to happen. 

You and Sandy had mourned over your shop window, it was nice and clean and even had the design of the ships logo on it. 

It’s since been boarded up with wood, and the shop had to be closed for a few days to make sure everything else was in good working order before you reopened. 

But today, you were in your apartment, finally finishing off the last of your cleaning. 

You had the tv on for white noise, playing some re-run of Monkey King; the Animated Series. 

You put your broom and dustpan away and replaced the trash bag in your bin with a new one. You slipped out of your slippers and into your shoes and grabbed the bag of garbage, plus the gross mop water and went outside to the alleyway between your apartment and some random building. 

You tossed the bag away and dumped the water out, and you turned to go back up to your apartment. 

“Hey!” A yell caught your attention, and you turned to see a duo of yellow and green blues rush at you.

You screamed as MK and Mei tackled you to the ground. 

“You’re okay!” Mei exclaimed happily. 

You tilted your head curiously. “What’s this about?” 

MK excitedly held up your previously injured hand, that you had taken the bandages off. The bruising hadn’t completely healed from the punch you dealt, but it was starting to clear up. “Your hand looks better!”

“That doesn’t answer my question.” You deadpanned. 

The two sheepishly chuckled. “We were kinda worried after that whole window crashing thing, sorry about that by the way.” Mei rambled. 

“Sandy said you were stressed about it too, so we got you some things to de-stress!” MK held up a bag he had and handed it to you. 

There were some diffusers with different scents, as well as some face masks and some packs of instant noodles. 

“We thought that we could all have a relaxing night in, just the three of us.” Mei finished. 

The two looked back at you and were startled. You felt your eyes burn as tears threatened to come out. These two were so sweet…

You feel bad for what’s to come. 

“Wait! Please don’t cry, we’re sorry!” MK frantically apologised, taking you into a hug, with Mei joining immediately after. 

You let out a watery laugh. “Don’t be sorry. You two are such sweethearts.” You ruffled both of their heads with a grin. 

The two smiled and let you wipe your tears away before leading them back to your apartment. 

 

 

 

Of course, with these two around, your apartment was bound to return to its previous state of mess. The packets for the instant noodles were haphazardly thrown in the trash and there were some mishaps with the diffuser before you got it properly set up. 

Now the three of you were sitting on your couch, the episode of Monkey King; the Animated Series you left on had changed to another, and you had absolutely no context for what was going on. 

So with your apartment vaguely smelling of peach blossoms and vanilla, face masks placed carefully onto your faces, a nice bowl of noodles in your lap, and a cup of loose leaf tea in your hand, MK took it upon himself to lore dump every single thing he could to catch you up to speed on the animated series. 

“And then, Monkey King fought the Monstrous King of Havoc and saved his adorable baby monkeys, but we’re not done there! Monkey King decided to make a monkey army so that—“

You nodded and ate as you let MK babble on about his favourite show, letting Mei lay back on your shoulder, periodically interrupting MK to show you something funny or cute on her phone. 

Eventually, the afternoon grew to night. Your food was all done, the teapot was refilled and emptied many times, the TV was shut off at some point, and MK was not done with his story. 

“Turns out he was kidnapped by a scorpion demoness, and so Monkey King flew off to save him after being cured of the poison!”

“That’s quite an interesting story, MK.” You said, adjusting yourself so Mei was more comfortable. 

The girl had fallen asleep at some point, her phone rested on her face, which made you laugh. 

MK hummed. “Sorry for keeping you up, we weren’t supposed to be here for so long…” he apologised as he looked at the time on the clock. 

12:03 am. 

You shrugged. “It’s fine, a little sleepover never hurt anyone.” You winked mischievously.

MK nodded with a smile. “Yeah, that’s a good point. Good thing I don’t have to work so early tomorrow.”

“Oh? Why’s that?” You ask curiously. 

“Every week, Pigsy opens up shop a bit later since he’s out at the local market buying produce for the week.” MK explains, yawning at the end. 

He followed Mei in sleeping on your other shoulder immediately, oblivious to your new state of panic, like that self-care night didn’t even do anything. 

Ah shoot…here we go again.

~~~

<PREV ~ NEXT>

[bergdorfverse]

Sneakers Drop 01

Hey everyone, as I mentioned last month I've been working on releasing my content in pack format to give you all more content to enjoy and here is the first sneaker pack! This drop features 4 sneakers inspired by Nike collaborations in original colorways as well as my additions. I hope you will enjoy these pieces 🤗

You will get:

Comme Des Garçons Foamposite Sneakers

5 Swatches Male & Female CAS Versions 1 Decor Version

Martine Rose Air Monarch Sneakers

10 Swatches Male & Female CAS Versions 1 Decor Version

Supreme Uptempo Sneakers

10 Swatches Male & Female CAS Versions 1 Decor Version

Swarovski Retroreflective Sneakers

5 Swatches Male & Female CAS Versions 1 Decor Version

All LODs // Disabled for Random // Custom Thumbnail

DOWNLOAD

Conversion // Do not recolor or convert without permission // Do not re-upload

Special thanks to @sxlisvxrse for these amazing showcase photos 🤗

Base Mesh Credit: Vincent Page 

Instagram // Pinterest // Patreon // Tumblr // Simsfinds

[redstringraven]

TMNT’s 40th anniversary ask game ~ May I ask for number 22) , 26) and 35) ? Lots of love <3

TuT!!!! THANK u, cherry. loves of love to you, too 💜✨

(please excuse that this ask is visually a bit more of a mess. i wrote too much again for tumblr to be chill with my usual formatting. why am i like this.)

TMNT's 40th anniversary ask game!

22.) what is your favorite kind of pizza?

terrible news, everyone: i'm a pro-pineapple bitch. you may block and unfollow me now; i forgive you for being incorrect (/lh). i tend to be pescatarian if i can help it (i'm flexible due to money, and also i hate inconveniencing others especially if i'm a guest), so i prefer pizza without meats. i'm happy to eat any kind of veggie combination with the exception of banana peppers. never liked those for some reason. i also really like mushroom and eggs as pizza toppings. i'm kind of just an egg fiend in general; i love the taste of a well-made egg.

26.) what is one of your favorite pieces of TMNT fan art?

these things keep asking for one, but i'm gonna continue responding with however many i feel like. because it's not my dad. the scarf, by @hamsterandturtlesoup weakness is a sickness and a virtue, by @tatortart various candid illustrations by richard chen vis dev by kellan jett

35.) which character relationships are your favorite to write/draw?

...since we're both OC people, i'm gonna take this as an opportunity to gush about canon and OC relationships: two of my favorite brotps. because they're character relationships i adore writing with all my heart and soul.

mikey, gwyn & ash i mentioned previously that @plantdonutwrites (jenn) writes for mikey in our RPs, so i consulted her for mikey's perspective on this brot3. i will paraphrase her answer in this paragraph:

"all his life, mikey's been used to only having his bros as company; they're family in a way that puts the rest of us to shame. but as they grew older they met all sorts of people, some became an extension of that family. raph has casey or maybe angel when he wants to dip for a bit. don has leatherhead or the professor (bree, too), and leo has usagi even if he's not 'as regular' (and min-ji, too). his brothers have their separate circles of friends, but, against all odds, mikey doesn't seem to have that (at least not until cassia shoved her foot in the loneliness door). then he bonded with gwyn and ash... but then they left. he realized that it wasn't just that they didn't treat him like 'the annoying brother who tags along' but because they'd actually become friends, and they were friends who didn't humor him. they liked the comics he talked about, they love klunk, and they're interested in his art and ideas. it meant a lot to him to have that--to know what it was like--and when they weren't around, he really felt the difference. in an odd way they helped him become a more empathetic person, too."

it's harder to answer in ash's perspective because she has a lot less agency than gwyn and, because gwyn's paranoid/won't let ash out of her own hands much less her line of sight, ash doesn't get a lot of one-on-one time with mikey. she's interacted with him a LOT more than she's interacted with most people--which absofuckinglutely means something--but since she does consider herself 'dead' and is at peace with the possibility she'll be a literal shapeshifting weapon for the rest of her sentience, i think a lot of his meaning to her (right now) is very rooted in what he means for gwyn. THAT being said.

mikey is gwyn's first real friend. like. ever. in all the time she's been alive. very much in the same way that the brothers only had each other for most of their lives, gwyn only ever had ash. her community considered her a parasite and an omen, so she was essentially outcast. gwyn grew up feeling she wasn't wanted, had to earn any love she received, and when ash died and became trapped in the weapon, all that transpired and followed afterward re-enforced that. i haven't talked about darach a lot--deliberately--but know that he's a masterful manipulator in more ways than one. if ch'rell was brute force and intimidation, darach is more like the pot you put a frog in and slowly turn up the heat. you don't realize you're being boiled alive until it's too late. thanks to his influence, gwyn's been tricked, back-stabbed, cornered, and watched people suffer 'because of her' countless times. when i said she was paranoid, i wasn't really being hyperbolic. she has SEVERE trust issues. ...then came mikey. someone who, unknowingly, had already given them a taste of his character.

gwyn and ash had heard of mikey's rematch with kluh during their travels--that the match was made mortal, that mikey had not only won but had spared kluh's life when he had every reason not to. darach wouldn't approach someone like him, they figured. and as time passed, mikey continued to not just be open and kind with them, but again and again he's emphasized to gwyn that they just... CARE. to quote him "we don't keep you guys around for any benefits other than being able to know you". which, in so many ways, is unheard of for gwyn. she still struggles to believe him sometimes, but she trusts him. mikey is her first and best friend, he's someone she admires, and he's proven time and time again that ash isn't the only person capable of loving her, and that she's worthy of that love by just being herself. i had to spend a lot of this answer on exposition because OC, but... i earnestly can't emphasize enough how much mikey's come to mean to gwyn. he asked her not to leave again without them, and she promised she wouldn't. that promise to him has kept her from running away and isolating. even though she's terrified--for herself, for ash, for them--she trusts him. writing them makes me so happy. it's been such a delight to see their relationship evolve and the influences they've had on each other and their worldviews. i love this brot3 so goshdang much.

min-ji & raph min-ji belongs to jenn and, oh my god, i love her relationship with raph so, SO much. when we rp, jenn's obviously writing for min, and i write for raph.

again! consulted jenn! her answer paraphrased below:

"raph's pretty much the first assertive person in her life that had her back early on? her home life is complex; her family DOES love her but sometimes that love can veer controlling and toxic (responsibilities/obligations). raph was a type of personality she'd never been around before, and he cared about her well-being in a way that was unconditional. hanging out with him more helped her become more assertive and in touch with parts of herself she was forced to suppress to be more palatable to her family. she's found that being angry about something that happened to her, or something that was said to her, doesn't make her bad or a burden. raph doesn't expect her to shy away from her flaws or nuances. he lets her be a person."

as for raph's end, it's kind of hard to put into words. but i love that min-ji has become one of the very few people he will allow himself moments of vulnerability around. like. instead of it just happening, he makes the choice to let a wall or six down. they've created a mutual safe space between each other.

i think this has cultivated from a lot of things. min was much more timid when they met--raph even made a bit of a point, initially, to not interact with her so much because she was skittish and on-edge thanks to surrounding events. but through the events of our writing, he's watched her grow in self-confidence, be more open, and allow herself to 'take up' more space. she's also survived two major threats to her life, now, both of which have scarred her physically and emotionally, yet she persists and continues to extend kindness to people who, in his opinion, don't deserve it. but that's HER business (while he makes his feelings known, he stays out of it unless she signals him otherwise). she may not be a fighter in a literal sense, but he sees her as an equal. like, he's still protective of her in dangerous situations since she's not trained to fight--obviously--but... i dunno, i guess it's more like "i've been through shit; you've been through shit; if i say things look bad right now, you won't like it but you also won't give up". he doesn't feel a pull to coddle her if things are looking grim, i guess is what i'm trying to say?; he'll shoot straight with her because he knows she IS a fighter. even if she doesn't fight. does THAT make sense?

like i said, it's hard to put into words. but i think it's a combination of min-ji's emotional strength and kindness as a person, as well as the fact she's not an immediate family member, that make it easier for him to let those barriers down around her and have severely needed moments of vulnerability where he doesn't dismiss pain or fear or anything else he might be feeling. he knows min would never lash out at him, physically, emotionally, or however else. min-ji is kind, and she's strong, and she's safe. he trusts her, values and respects her judgment and input. much in the same way his presence lets her feel like a person, she's extended that grace to him. just in a different way. i love getting to write interactions between them. there's always something warm and comforting in their exchanges, light-hearted or more melancholic. it's nice. the love is very much there.