#different mediums different purposes different expressions

[ferociouslycreativemystery]

Excellent video on the effects of colour grading and on storytelling

[guided-by-stars]

It baffles me when I see other people going through Stars and Time and they get frustrated when 1. Bonnie pushes Siffrin into the tear, and 2. Siffrin doesn't find the key in the Head Housemaiden's office and they get softlocked. There's frustration that comes out in other points as well, but those are the two situations where I've seen it be the most intense. I've seen people yell at Bonnie, yell at Mirabelle, yell at Siffrin, genuine anger and annoyance, some people will hold grudges. Say that this choice is stupid, try to find a way to avoid looping back. Usually at that point, I know I'm not exactly going to have the most fun watching them play.

I think some people trap themselves in the expectations of the medium. They're approaching it as a game first, and an expression of art or a story with people in it second. It genuinely surprises me sometimes when people treat characters as...characters, and not people. Do you not try to immerse yourself in the world and circumstances when you engage with media? Take it seriously? I see people try to justify these deaths. Most people aren't frustrated with the rock death, because they justify it as being a tutorial. At the same time, people who are already grumbling about having to go through Dormont again on loop 1... I'm not sure if this experience is for them. Considering on my completion file I ended far past loop 200... Acts 3 and 4 alone often have so much PURPOSEFUL looping, sometimes all the way back to Dormont.

People justify the softlock as a "tutorial" for the icon that shows when you cannot progress that loop...but at that point it had already been shown how tutorials were not made to be obtrusive. The fighting tutorial was centered around Mirabelle's own anxiety, an anxiety that progresses and grows throughout their journey through the house. The Bonnie taking down an enemy tutorial? That's not locked to any fight, it happens the first time that Bonnie has the chance to do so, it could happen anywhere! Adrienne could have easily coded it so that the first time the player was softlocked, the tutorial for that icon would play there. That's not the point of it. The point of it was to show how self-depricating Siffrin is, at that point in the game. How he puts so much of his self worth on his role as the trap disarmer and the key finder. How he blames himself for everything. How he sees himself as a failure. If you could just figure out where the key was if you tried really hard or something, you'd miss all of that. Almost everything in this game has a point and the point almost always is to show you more about the characters.

The game is meant to make you play through it countless times. It's meant to show you the experience of Siffrin, someone who has no choice but to go through it countless times. It's not for padding, it's not to be mean spirited or unfair or difficult, it's to give you an EXPERIENCE. When you want to fast forwards through text but you have a feeling that something might have changed and you stop just in time to see new dialogue, when you notice Siffrin's smile fading from act to act, when you make sure to pick up every souvenir from Dormont every time you loop JUST IN CASE you need to use it somewhere in the House, when you are so thrown off by the rock in the Death Corridor that you become paranoid and check every pillar afterwards just in case... and then you get the Memory of Pillars for your troubles.

When you check Loop's advice for quests you've already completed, just to see what they say about it, when you select text options that are already greyed out because you want and hope and desire there to be more to the conversation...maybe this time? When you do the friend quests again in Act 4 and you don't skip through them because you have a feeling Siffrin will be feeling differently now, and he does, and it's an entirely different experience this time. When you get the Bright Flower and you forget to give it to your party and then you go to talk to the king and see you can offer him the flower? When you bring the flower with you every loop after that just in case there's another person you can give it too and then you realize you can give it to the Head Housemaiden? That's what ISAT is about.

[metalichotchoco]

Robots and their voices

Get ready because this is a long one ;]

A lot of the time characters are defined by their voices but with ai/ robotic characters this works overtime since it’s usually the only outlet into their emotions or character. They can get away with being an off screen presence since they typically aren’t psychical in nature. For all purposes in most cases they are nothing but their voice

Like with Hal, the only way we receive information about this character in visual mediums is his voice. It’s soothing like a lullaby, careful with even tones,smooth.Prideful in the sense of confidence not arrogance. You can hear his ego at being a perfect machine but it’s not boastful there’s no smirk when he says that. It’s how he views himself. You can imagine Hal with a soft smile for most of the movie, trying not to alarm staff. Only at the end does his voice get small, when he pauses for more time than normal as if to take a breath you cannot hear and that he does not need.

Edgar is loud and brash when feeling intense emotion which is a lot. He’s screechy and almost awkward in tonality. When he’s in a better mood he’s still peppy and small sounding. A sense of confusion is what a lot of lines read as but once he looks it up or figures it out, he’s much lower and monotone. With the Cinderella dialogue it sounds like he’s reading the information straight off the website he found it from.hes hot and cold he’s immature. A pest more than a true menace, due to his “newness” he doesn’t talk down to the humans in the movie but he’s underhanded and petty, craving love and attention and begging to be heard. A lot of the time you can hear his voice sort of breaking. It’s probably an audio issue from the time the movie was made, a filter over the actors voice but it works incredibly well for him.

Glados and her lines ooze sarcasm. She talks down to you more like you’re a nuisance she has to deal with than an equal in any sense (until potato glad but she’s almost a completely different character,not quite though) you can hear the exact moment she lies to you directly, diegectically it’s as if she needs to find a loophole to lie to your face so there’s a slight disconnect. Glados has a very singsong voice, her pronunciation going into higher and lower registers to express emotion rather than actually putting in actual anger or happiness into the monotone. It does a good job of selling this robotic lady who doesn’t view you with any sort of respect until she has to in the second game.

Whealtey by comparison is very non robotic in his voice or manner which makes sense since he’s a personality core and none of the standard robotic traits like objectivity, rationality, intelligence or indifference are present in him specifically on purpose. He’s anxious but optimistic, he rambles to sound like he knows what he’s talking about but it makes it even more apparent he has zero clue what he’s doing. You can immediately tell he’s incompetent at his job from the second you first really talk to him and it makes him all the more endearing.his power trip doesn’t exactly change that either, just attempts to self aggrandize, look and feel important. He sounds “confident” but he talks to the point where you realize just how insecure and unsure he is about anything. The British accent is also weirdly enough feeding into his fake intellectualism since Americans tend to view people with said accent as smarter even if they aren’t saying anything particularly smart.

The narrator is what you’d get if you crossed glados and Whealtey’s attitudes to character voice work but that’s reductive to him and the Stanley parable in general. The whole game is predicated on whether or not you listen to him/ mess with him. It’s an interactive story in the most basic of descriptions. The narrator is literally trying to talk you through a story and gets more distressed and annoyed as the player tries to exert and wrestle control from him. When you think of a narrator this type of voice comes to mind, a British masculine monotone that ebbs and flows with the story. This whole game is a meta narrative so it’s a very smart choice for this to be the case. There’s no robotic tone to his voice because that’s not the point, he’s basically the only real character in the game which makes him feel more human than the actual human we control who cannot speak, only act. He’s the one that makes us feel anything about the game. More the most part the narrator conveys a self assured calm tone, a blank canvas to react to the players weird actions.

Last for today is am and oh boy is he a doozy. Mr Ellison really does his creation justice on how powerful his performance can be. Am in the game and radio drama are actually sort of different characters but it makes sense since in the game he’s literally playing a game with the survivors whereas in the radio drama we get closer to the actual book. For a lot of these characters, the protagonists tend to be silent or reclusive but for am to still be as dominant of a presence with 5 other speaking roles is a testament to the type of character he is. For game am, he sounds almost like a car salesman. He talks down to the survivors, even very obviously flirting with them. You can imagine the mile wide grin on his face when he pulls something. But he’s not exactly desperate, more just like he’s playing a sick little game. Am does things that not even the most human sounding ais do, blowing raspberrys, coughing, laughing, crying. His cadence even makes it feel as if he’s breathing even though you cannot hear it. He’s very intense and visceral. He can go from relaxed and playful to manic and deranged so naturally and it’s what makes him so scary. This computer is far far too human. Everything he does also reminds you that he cannot move or breathe, he cannot scream or cry but it’s clear that he should. The reality of what he is looms over this performance. For as sad as he gets, no tears will flow.his chest will not move because he does not have one.

[feuilletonette]

Bridgerton S3, they could never make me hate you.

I had been consuming a lot of contents albeit very much revolves around these two darlings, Penelope and Colin. I just couldn't get enough. I was simply never the same after Polin. Never.

It had been pressing weeks when I felt the shed of my old skin upon the compounding insinuations of loss affection toward men of haunting past. In which with all their might would do everything to sabotage the relationship, to run screaming and crying and throwing up to absolutely defy these insurmountable feelings, one could label within the word, love. Until they are utterly consumed by these thoughts and overwhelming need to express such affections where the only way to ever cope results to angry, passionate confessions of love.

I am wild to witness the stark difference of how we see Colin did none of those things because in my conclusion, he wasn't as emotionally constipated and the first three leads and it is such a refreshing medium to see without ever actually stripping him flat. That is what I want: a tender, loving, down bad softboy declaring that if his purpose was to love a woman as great as me, then he shall be a very fulfilled man, indeed.

The argument that he didn't say the 'I love you' enough debate was, in surface, quite understandable but if you start to analyse closely, after the proposal, almost every interactions he's had revolved around finding an opportunity to express his love and admiration to/for Penelope, especially in his conversation with his siblings.

He didn't need to scream his confession, he'd been attuned and embracing it (enthusiastically so) once realised, that is why he was never repulsed of having to speak of it the first place! In fact, he even actively communicates it in the most beautiful way possible.

He sought advice from Violet, followed Anthony straight away when he told him that he should tell her he loves her. Listen to Kate's marital advice. He's open, he's receiving help, he's trying to process his hurt and overcoming his triggers. He's learning to do better but it wasn't perfect. He made mistakes along the way but eventually led him to the path of acceptance.

He wanted to love her better, despite of and in spite of. Colin had always been introspective so when he had discovered the root of his actions, he gathered up the courage to be vulnerable and admit it to Penelope. That he was feeling envious because he never truly felt good enough. But this was recieve to be affirmed of his inherent worth. The thing I love about this couple is that they felt so human and that propelled them to move past such damaging beliefs of themselves to do better.

Don't even get me started with Penelope, I could make dissertations of how well she was written for all anyone could care. Miss girl is ambitious, I love how her mental glow-up was able to comply how well her physical glow-up was executed also. In the end, she needn't to choose between herself and the man she loves.

She can be both independent and cherished by a man, a man who constantly worked on himself because she mattered more than his ego. She may have wavered after various discouragement and she had tried, so so hard to give up her success but she couldn't. Whistledown is something she wouldn't compromise as it would mean betraying a part of herself. So I was glad that upon fighting for it, the people around her soon realised that this is something they could not deny and something they should fight with her not off of her. I'm glad that the show was able to depict that Penelope could have both. Being a succesful, career-driven woman should not cost you your love, or at least the right one. And it's a powerful message to have.

I also love this passage of weilding her power into more productive causes such as giving voice to the voicless. I hope we see more of it for the upcoming season.

Though, of course it's not perfect, with pacing issues and subplots with purpose I had hard time figuring. But if there's one thing I couldn't stress enough, season 3 has so much depth and I was very glad to dive upon the narrowest trenches of it.

It was so beautifully done and that is why I also stand that Polin have the strongest foundation so far as they navigate their biggest block and be the best versions of themselves together, and occasionally, with the help of one another.

P.S I am only talking about the show Polin, I hated the book, but I suppose this would be for another post.

[multiplicity-positivity]

Here’s some positivity for plural artists and creators!

Plural artists and creators, you are a wonderful, integral, and cherished part of the plural community. We so value your presence here, and we hope that your artistic endeavors bring your whole system comfort, joy, and fulfillment! Regardless of what kind of art you make, how long you have been creating, how popular your art is, or how skilled you are at making art, you belong here and your works are worth discussing, uplifting, and celebrating! Plural artists, this one’s for you!

🎨 Shoutout to systems who have just started making art, are beginners, or have yet to see many improvements in their art!

🖌 Shoutout to systems whose art styles vary between headmates, and to systems who share a collective art style!

🖼 Shoutout to systems who draw, paint, color, collage, sculpt, or make digital art! Your art makes the world a better place!

🖋 Shoutout to systems who are poets, novelists, essayists, or writers by other means! Writing is art and you are an artist!

🎨 Shoutout to systems who experiment with different mediums and forms of artistic expression!

🖌 Shoutout to systems who are makeup artists, have lots of tattoos, are fashion-focused or otherwise use their body to express themselves with how they look!

🖼 Shoutout to systems who often feel self-conscious or insecure about their art! Keep on making art for you, we know it will turn out beautifully!

🖋 Shoutout to systems who love to create art for and of their headmates, or who love to collaborate with their headmates on art pieces!

🎨 Shoutout to systems who use art to cope with trauma, mental illness, grief, conflict, or other heavy things!

🖌 Shoutout to systems who are interested in making art for the first time! You can do it, we believe in you!

🖼 Shoutout to systems who want to make more art, but struggle to do so due to disabilities or chronic illness! You are allowed to take your time and create what feels comfortable for you on your own terms!

🖋 Shoutout to systems who have been creating for as long as they can remember! Your artistic endeavors are always worth sharing and celebrating!

🎨 Shoutout to systems who have found purpose, belonging, meaning, and a zest for life through art!

🖌 Shoutout to systems who feel lost and confused about their art, but keep creating and making art anyway!

To all plural artists out there, we want to encourage, support, and uplift you however we can! We hope that you can find lots of inspiration in your own system and the plural community. Know that you don’t have to be the very best at what you do in order to consider yourself an artist and for the art that you make to be worthwhile. Your system’s creations are wonderful and uniquely y’all’s, and we are so grateful to share our spaces with artists like you!

We truly wish that your system will continue to create, even when it’s hard or slow going! Whether you’ve been making art for one week or many decades, please know that your creativity is unmatched and there is not artist out there who is quite like you or your system! We hope that you can find inspiration, motivation, energy, and resources to make all the art you want to make, and we’re wishing you the very best with your future artistic endeavors!

[velvet-games]

ficlet inspired by this post @theautotrophic made. it ended spiraling into something very different lol but it's still kind of the same idea? I just needed to explain why vox joins the hotel in my universe.

“Ugh! How is this still happening?” Charlie moaned, turning off the TV. “I don’t think we can make any progress if we don’t start creating our own news coverage.”

“What was that?” Alastor stepped closer to the couch she and Vaggie were slumped on, suddenly curious. 

“It’s Vox. He’s making almost every channel about how much of a failure the hotel is – even though we just proved redemption is possible – and I think it’s actually gaining a lot of traction.” Charlie sighed. “It’s just … I thought everything would get better after we saved the day and my dad could help out, you know? But we’re still fighting just to get people to give us a chance.”

Vaggie put a hand on Charlie’s shoulder. “Hey, it’s okay. We’re the ones with actual proof. I’m sure if we make our own announcement–”

“Wait! Alastor, you made that commercial last time, right?”

“Oh, uh, about that, Charlie–”

“You can make more to counter Vox’s stuff. Hey, and you were friends with him at some point too, right? So you know how to deal with him–”

“Charlie.” Vaggie spun Charlie around to face her. “Sorry. It’s just …”

“Vaggie made a deal with me so that I would never have to work with those picture boxes again,” Alastor finished cheerfully. 

Vaggie visibly deflated in shame. “Uh, yeah, something like that,” she mumbled. “I’m sorry.” Her expression became even more miserable as Charlie seemed to deflate too.

“Oh,” Charlie said. “Well, maybe you could–”

“But!” Alastor interjected, holding up a finger. He was far above drawing any attention to the Vees unprovoked, but this was about as good of an excuse as any. “The purpose of the deal was to prevent me from having any obligation to use the medium for producing entertainment. I would be happy to … take care of the interference from Vox.”

“Great!” Charlie’s eyes shone for one perfectly naive second before her face twisted in suspicion. “Wait … what are you gonna do?”

“Oh, just mess with his wires a little; nothing extreme, dear.”

—

A loud BOOM shook the building as Vaggie failed for the third time to get the TV to turn on. She sighed. “Goddammit.” None of the TVs were working, the Vees’ website had crashed, and Alastor had been gone for the last 24 hours. Vaggie could almost see the expression of horror on Charlie’s face when she found out Alastor had absolutely done more than “mess with his wires a little.” Vaggie rushed to the window, and yep. There it was: a giant red deer demon with shadow tentacles shooting out of it as a much smaller blue smudge darted around with trails of electricity following it. She sighed again. “Charlie? Come down; Alastor’s being an asshole again.”

—

“And I had a great idea for a new show that was gonna air today too!” Vox narrowly dodged another hit from Alastor’s shadows. 

“Another new show? My dear, you really are proving just how much you’re throwing rocks at the wall in the hopes that they’ll miraculously stick.” Alastor turned as Vox appeared behind him in a shower of sparks. “And was it really your idea? Or did you just have your little unpaid underlings come up with it for you?” 

“Fuck you!”

“Oh, I think we’re far past that possibility, darling.” Alastor chuckled, finally managing to grab Vox before he could jump into another streetlamp. “What was the idea? Another reality dating show with manufactured drama? Really, is anything you produce even remotely original nowadays?” The shadow tendril threw Vox into a nearby building. What remained of the terrified pedestrians scattered like ants as Vox fell, several bricks going with him. “What a pity. You used to at least come up with half-decent stories, even if the endings were always laughable.”

Vox groaned, trying to hold several shards of his broken screen in place. “N-No one cares. No one fucking cares what you think; I’m the one who built the empire. You have like, three listeners on that ancient radio show.”

“And each one of them has told me how much they like it, that it’s their favorite, even!” Alastor leaned down. “Would anyone watch you without the hypnosis, without other people’s hard work masquerading as your own?” He smirked. “Would anyone love you without manipulation?”

That last part caused Vox to look up, teeth bared. Several wires shot out of the building behind him and attached themselves to his head, lifting him up to be at eye level with Alastor. “Would anyone love you without manipulation?” Alastor kept smiling despite the surge of electricity that hit him; he quickly batted Vox out of the air, cutting off the attack. 

“I’ll have you know that nearly everyone who meets me adores me, whether they admit it or not,” Alastor replied smoothly. “Including you.”

Vox was on his knees, wires falling as he coughed up what became a puddle of blood. It was always startling how red it was, despite the mechanical nature of most of his body. “Yeah, have a fucking laugh.” His voice became quiet, muffled by static. “Have a fucking laugh about the fact that I loved you and you threw me away like a box of scraps.” He sniffed, standing up shakily and wiping a trail of red from his mouth. “Well, I’m the one with all the influence now, aren’t I? I’m the one with an actual team. You were fading even before you left; I bet you really did ask an angel for help, just to stay fucking relevant. Most of the other overlords aren’t scared of you anymore, and they’ll fucking kill you when none of them are.” 

Alastor narrowed his eyes. “You loved me? Is that why you ran away with that moth to make ‘entertainment’ even you won’t watch?” He started shrinking to his usual size, stepping forward. 

Vox scrambled back, one hand generating a few weak sparks. “Val loves me.”

“Valentino knows you’ll gnaw on any affection you get like a starving dog with a soup bone.” Alastor pushed Vox to the ground again, reaching down to wrap his fingers around Vox’s throat. The sparks in his hand died. “He knows you’re too selfish to make a real connection with anyone.”

Tears welled in Vox’s eyes, round and filling up nearly all of what was left of his screen. “I-I still love you,” he managed to choke out quietly. 

Alastor tightened his grip. “You love money. And I was stupid enough to care for you before I realized that.” Vox’s eyes managed to get even bigger as he started to really choke. “But you’re just dirt underneath my feet, and I’ll kill you every day that I have left here so you remember that.” Alastor just watched Vox’s face for a moment, then pulled out a small knife with his other hand. “Actually, you know what? I have angelic steel with me. I think I’ll just finish you here.” He drove the blade into Vox's side before he could respond, prompting a pained, strangled sound. It wouldn’t kill him quickly. He’d feel it for hours as he bled out if no one helped him. 

“Alastor!” a shrill voice called. He turned to see Charlie’s panicked face, her chest jumping with labored breaths as she stumbled to a stop. “Stop! Stop; I’m sure he’s had enough.”

Alastor stood up, giving one last petty kick to Vox’s leg. He put on an upbeat tune. “Hm, alright. I was just about getting bored with him anyway. How about we go get lunch at that new place around the corner? I’m absolutely starved!”

“I–” Charlie blinked. “No, Alastor, he–” She looked around his shoulder, flinching when she saw the state Vox was in. “Shouldn’t we help him?” she whispered. 

“And whyever would we do that?” 

“Well, I mean …” Charlie started, then appeared to brighten a little. “Actually. I have an idea.” She straightened her shoulders, putting on her “aggressively-kindly” face and voice. “As princess of Hell, I command you to leave the Vees and come help with the hotel. And make up with Alastor.” She glanced at Alastor apologetically before mumbling quickly, “onlyifyouwanttothoughyoudon’thavetodoanythingyou’renotcomfortablewith.” 

Vox blinked, managing to look unimpressed despite bleeding profusely and only having a quarter of his original face visible between all the cracks and glitching. “I would literally rather kill myself.”

Charlie blushed all the way to her ears. “O-Oh.” 

Alastor just burst out laughing, making a show of spinning his cane as he stepped closer to Vox. “Well, old friend,” he said, lifting a heeled boot above Vox’s chest and pressing down. “I’m sure that won’t be necessary if you refuse our help.” Vox sputtered a little as Alastor continued to push. “How about this: Lucifer can heal your wound, and you take a temporary break from working with the Vees, just long enough to help us create a presentation for the angels.” He let his gums show with a smirk that probably contained enough smugness to kill a horse. “And I would love to have you for dinner the night you leave. Is that a deal?”

Vox immediately blushed despite clearly being too lightheaded from blood loss to fully understand what Alastor was saying. “You bastard” – Alastor pressed harder – “Fine! Fine, yes. It’s a deal justliftyourfootholyshitfuck–”

“Wonderful!” Alastor lifted his boot, leaving Vox coughing and bending over on his side. “Now. you two have fun; I’m afraid I need another visit to the tailor,” he said. He brushed off his lapels and straightened his cuffs. “Oh, and Vox? It wasn’t angelic steel; I just think desperation suits you.”

Alastor was gone before the cries of indignant surprise assaulted his ears.

[hjemne]

I think a lot of the debates between fanfic writers / intra-community hostility (particularly around how 'accurately' characters are depicted in fic and how dominant explicit fics are becoming) are because the purpose and function of fanfic are fundamentally different for different people, and so fic authors play by very different rules while still using the same label of 'fanfiction' to describe it.

There's a spectrum to the purpose of writing fanfic that I think goes from 'fanfic as a form of literary character analysis' at one end, 'fanfic as smashing barbies together and putting characters in Situations' in the middle, and 'fanfic as a safe and communal space for exploring sexual fantasies' at the other end, which is an approach best summarised by this:

So fanfic writers and readers from the character analysis group might look at the fics written by that last group and go '??? WHY are they writing Mr Blorbo like this? this is so ooc what are they doing?' and the reason is that the fic has an entirely different purpose and is for an entirely different audience. We see so much in-fighting and morality policing over fanfic because people with VERY different expectations, motivations and priorities all share the same space.

A lot of the time when you come across a fic that makes you go 'what the FUCK is this, this is so ooc/fucked up', it makes a LOT more sense when you realise the author is much further towards the 'fanfic as a medium for pornography' side of the spectrum than you are. And when you see people complaining about the prevalence of x reader or explicit dead dove fics, instead of jumping into a pro vs anti 'fiction isn't reality' debate, consider whether they are a 'fanfic as character analysis' person expressing annoyance that it is (often) increasingly hard to find those types of fic.

Both of these uses of fanfic are valid, understandable and important to protect. It's no secret that the fanfic community is dominated by women and queer people, who haven't traditionally been the target audience of erotica/porn, and who absolutely deserve a space to express and explore sexual desires/fantasies. 'Fanfic as pornography' is not above criticism, but I think it's far more helpful to criticise it as you would more mainstream forms of porn.

'Thing X is getting increasingly common in fic and we as an entire community need to step back and consider the implications of X for how it fetishises Y minority group irl' -> yes

'Character A would NOT do [kink scenario]' -> you are missing the point of that fic, I fear

'I think it's frustrating how hard it can be to find fanfic about [theme in original work], everthing on AO3 is all just self-insert or ['''problematic''' ship no. 12457] fics :(' -> this statement is not a moral condemnation of these types of fic. people are allowed to not want to read 'fanfic as porn' fics. we don't need to start fights over this.

Horny fandom please remember you are in a fandom space where people are allowed to want fandom-centric stuff. Fandom-centric people please remember you are interacting with other people, who are allowed to be horny, and that fiction is absolutely the best and safest place to explore 'extreme' kinks. Yeah, it can be annoying that everyone gets crammed into the same spaces when we all have very different ideas of what we want fanfic to be, but this is the way things are, so we need to learn to understand each others perspectives and stop jumping into fights at the slightest perceived criticism of your personal way of doing things

[thydungeongal]

Any tabletop recommendations for broadening your horizons in the medium as someone who's mostly only ever played D&D adjacent stuff? I'm unfortunately one of those people who moved on from D&D's rules but not really its mindset. Show me the world beyond "Band of protagonists wandering around fighting stuff"

I know I must sound like a broken record recommending these games, but Apocalypse World and Monsterhearts are pretty much as far removed from the expectations of D&D. AW is the game that gave us the "Powered by the Apocalypse" (PbtA) framework and despite being the oldest of its type it's a damn fine game.

There's a reason I recommend these two games whenever I recommend PbtAs: most PbtA games tend to just take an adventure game formula and transport it into the PbtA rules framework. Which is like, okay, fine. But Apocalypse World and Monsterhearts are both fantastic games in the sense that they completely break away from the assumption of the player characters forming some "adventuring party."

Apocalypse World I would liken to a game about creating a post-apocalyptic prestige TV show with an ensemble cast with your friends, while Monsterhearts is teenage monster melodrama and all about the messy lives of horny monster teenagers. It is a fantastic game but also kind of dark and heavy, so like that one comes with an asterisk. Don't watch Critical Role play it they basically played it wrong.

If you want something a bit more trad but want to break away from fantasy and monster-killing, I recommend @anim-ttrpgs Eureka: Investigative Urban Fantasy. It is an extremely crunchy investigative RPG and a great piece of design, and really demonstrates how the medium of tabletop RPGs can be used for expressing many different genres. There's a free demo of it available, but they also have a book club where we read and play different indie RPGs (I'm there as help) if you want to check out indie RPGs with the express purpose of branching outside of D&D-likes, and if you join the book club you can get a much fuller version of the game for free!

[sylenth-l]

Hi hello, I love your art so much LIKE MY BROTHER. IT'S SO YUMMY, THE SHADOWS THE EXPRESSIONS, I love how you draw Timur , Felwinter and Osiris together 🙏 little bird with his two funky adoptive parents. I stare at your art like , I'm always ready and hyped to give traditional art another try ✨

If I was to go back, any tips for which watercolours to pick? I so far got only aniline colours.

Aah, thank you so much!! 😳💙

Hmmm, the thing is, I use fountain pen inks almost always for painting. I don't use watercolour much, so I can't really suggest anything in particular… I have a selection of colours from different brands, of course, I know quite a lot about pigments, and I like using watercolour from time to time to add some special effects to my works. For sketching outdoors it's also the easiest to use among all other paints, probably. But painting a whole artwork with it……… I try doing it sometimes, but every single time I end up thinking "God, I wish I used inks instead, I hate this so much, why is it so BLEURGH". I guess watercolour just isn't my medium 😂 

I can share my thinking process when building up a palette though, I use it with all mixable mediums I use, be it inks, watercolour, gouache, etc. I found it to be the most effective (and money-saving, lol) approach for me.

So what I want for my main mixing palette is to have 3 sets of primary trios. All colours also must be as smooth as possible, with no surprises or unwanted colour separation. For watercolour - not granulating ones.

(my camera tends to make all colours brighter and also fails to see the subtle difference between some shades, but you can still get the idea)

The first trio is extremely vivid, consisting of bright cool colours - lemon yellow, cyan, magenta-leaning pink. It gives you access to all the bright, open colours.

Second is the classic they teach in all art schools (probably, from what I've heard, I never went into one alkjdshfk) - sunshine yellow, bright warm red and ultramarine blue. This gives you a huge selection of warmer, natural colours, like all shades of golds, eggplant purples, olive greens, etc. It also allows some nice selection of wood browns.

Third is my personal favorite, the muted trio. You kinda can get similar colours from the previous trio, but I prefer having these separately, because of how often I use them all. It consists of golden ochre-leaning yellow, dark bloody red and dark indanthrone blue. It gives you the most beautiful browns, beiges, blacks and other rich, deep colours.

On top of that I also like to have at least one decent black (in my case it's Quink Black ink, I cannot live without it).  And these 10 would be my essentials. Other colours I add to my mixing palette are basically shortcuts to the shades I find myself mixing the most - like a few browns and violets. There are also a few inks that I need for some very specific purposes - like, I have a very vivid cold magenta ink to mix a certain bright cold shade of the Void, and also a fluorescent orange for adding shiny Exo LED lights. And etc.

(Actually I'm currently in the process of re-organizing my main palette and also considering making a few small sets for painting some characters specifically)

I also have a separate selection of chromatographic inks, which can probably be compared to granulating watercolours… But not quite. A few examples:

Here I don't have any special notes or advices, just get the ink you like and enjoy it. Some of these I use so often that I always keep them in my main palette, and others I only get out for some special occasion. These are also mixable btw - I constantly add other ink in Quink Black to get different shades of it.

However, I must say that not all of the ~special effects~ inks are polite and well-behaved, some will agree to work only on some specific paper after a significant amount of coaxing, and others will straight out say "fuck you" at the most crucial moment, even if they worked perfectly just a moment ago.

Btw, when working with inks, I really recommend to put it into smaller bottles with a dropper, so you don't have to open the big bottle each time. It's both easier to use for you and much safer for inks! 

ANYWAY, I hope this post was of some use for you 🌈

[monstersdownthepath]

Monster Spotlight: Vilderavn

CR 16

Neutral Evil Medium Fey

Bestiary 5, pg. 268

Unlike our last few articles, these horrors are decidedly not just little guys, and are in fact one of the most vicious Fey we've ever seen. Unlike many malevolent Fey which are merely born from mortal misery and anguish, Vilderavn were directly created by an unnamed fey lord for the express purpose of destroying mortal armies and kingdoms, something they excel at to such a degree that they make excellent overarching villains in a campaign featuring a looming war and political intrigue. A Vilderavn, more than any other monster we've seen in several weeks, is not a monster to simply be dropped on the party! These bloody birds thrive at being shadowy puppetmasters behind a conflict, advisors to (what the party believes is) the Big Bad, or even potential backstabbing allies and resources to the party themselves, turning on them at the climax of the adventure!

And the best part is that it's extremely unlikely the party will see it coming. Don't think it's just as easy as spotting an ominous black knight with a raven motif; Vilderavn are accomplished shapeshifters with an extremely wide repertoire of possible forms, able to take on the form of any Small or Medium Humanoid, a black-feathered Peryton, a wolf, or a Dire Wolf. You may find it strange that a raven-themed knight doesn't turn into a raven, and that's because it already is one! The above picture? That's after it's shapeshifted. A Vilderavn in its NATURAL form is a gigantic raven, and this is the form it uses to swoop over battlefields and kingdoms it plans to destroy... and to appear before prospective allies as an omen of fate, offering nobles, soldiers, and mages its skill as an advisor, an oracle, and spellcaster to give them the edge they need in the coming war.

If you can't believe some ostensibly smart people could be so easily tricked into believing a dog-sized bird is here to help them, don't be so judgmental! That might seem suspicious to someone from Earth, but on Golarion the culture surrounding such events is quite different; after all, not only do stories of heroes cursed into the forms of animals and deities appearing to people in the shapes of animals abound, but the Psychopomps as a whole are often associated with carrion birds and possess powers over fate and fortune, both of which Vilderavn can manipulate with their powerful spells and Raven Hexes. Those Hexes have numerous uses both in and out of combat, one of which includes the ability to send Dream spells to up to 6 people a day, letting them sculpt a first impression LONG before they appear physically before their target.

This isn't even getting into their skills, such as +30 to Bluff and +21 to Diplomacy (and further heightened by their Charm Hex), or their spells, such as at-will Suggestion or a 1/day Mass Suggestion to steer opinions, send anyone who could call their bluffs out on errands, and create trust where there was none before, or even a 1/day Modify Memory to completely rewrite a victim's knowledge of events until the fey appears to be some sort of saint or savior. They can also offer a Limited Wish once per month to a mortal being to sweeten any deal they make, making them seem trustworthy even as manipulative malevolence swells within their hearts.

Even if appearing as an animal doesn't work, they can freely change into generic wise sages, charismatic nobles, intelligent generals, or imperfect copies of just about anyone... unless they pull a kill-and-replace. Any creature killed by a critical hit from their bite (including a coup de grace if they're unconscious or helpless) has their soul devoured by the fey, and from there on out, the Vilderavn not only has the ability to perfectly assume their form, but has access to all of their memories, making their imitation literally flawless unless someone can see through their disguise with magic (and it will likely HAVE to be magic, because their Bluff and Disguise shoot up to +40 when imitating a devoured victim). Even then, good luck convincing anyone of what you see, as everyone else is likely under the raven's dewclaw as it steadily kills its way into more and more important positions until, eventually, it can take command of events entirely.

Wow, all this and we haven't even gotten to what it can do in combat! We're going to have to put the rest of this under a cut!

Vilderavn tend to avoid combat right up until the point they can destroy an entire army with a single blow to its leadership, right after it's spend weeks or even months carefully sculpting their confidence by leading them to numerous smaller victories. Until then, they serve as excellent advisors and powerful spellcasters, able to use Dispel Magic at-will to shield themselves and their allies from enemy magic, Detect Thoughts at-will to sniff out dissent and betrayers among the ranks (along with anyone who could view them with suspicion), and Scrying at-will to spy on anyone who lacks protection from such invasive magic. They also have a handful of constant spells which make it almost impossible to sneak anything past them: Deathwatch, True Seeing, and Tongues. No vampires, illusionists, or hidden conversations in foreign languages will corrupt and mislead the leader the raven is trying to corrupt and mislead!

And speaking of corruption, Vilderavn are masters of the corrupt art of curses. Immune to curses themselves, they can freely cast Bestow Curse to personally torment anyone they desire and Geas 1/day to force annoyances on petty quest, and their aforementioned Raven Hexes also have a menagerie of debilitating curses and debuffs among them as well, including the crushing Misfortune, the action-economy-ruining Agony, the absolutely Fighter-punishing Retribution, and the ever-reliable Evil Eye... and capped off by the damning Dire Prophecy, a permanent -4 penalty to not only their AC, but most d20 rolls as well, including saving throws. The Prophecy can also be cashed in at any time by either the Vilderavn (if it's nearby) or the DM (if it's not), imposing a -18 penalty on the victim's AC or on an attack roll, combat maneuver check, skill check, or saving throw.

Where's the -18 come from? Well, they use their Hexes as if they were an 18th level Witch, and all of their Hex effects (as well as the DC, which is 25) are modified by the fey's Charisma rather than its Intelligence. Powerful enough on their own, anyone who's played alongside a high-level Witch knows that Hexes are extremely potent force multipliers when the rest of the party can take advantage of them, and this means if a Vilderavn has allies, it can safely sit back and use its 110ft fly speed to keep it out of trouble as it debilitates the party with its powerful Hexes... and caw-haw-haws at them with Cackle, keeping the punishment of Misfortune, Agony, or Evil Eye rolling round after round as its allies tear into the debuffed party.

UNLIKE a Witch, forcing a Vilderavn into melee doesn't mean you're home free, oh no. They're dangerous enough in their raven form, where Bloodbird tacks a stacking 1d6 bleed damage onto its Claw-Claw-Caw-Caw attacks, the former doing 1d6+11 and the latter 1d8+11. If you think that's a mistake on my part, no, the Vilderavn can indeed make TWO bite attacks with its beak whenever it Full-Attacks thanks to a constant Haste effect on itself. If that beak damage looks low, it really isn't, because it's got a critical range of 15-20, threatening a critical hit 25% of the time instead of 5%. With a single Full-Attack, the unkind knight can deal an average of about 70 damage AND stack up to 4d6 bleed onto a single victim, then fly backwards the next round and strike them with a Hex or two before flying back in to do it all over again.

But of course, it's rare for a Vilderavn to have allies it doesn't plan to slay itself. When it has already used (or cannot use) its spells or Hexes to weaken its foes, or when it simply wishes to display its martial skill and fight on even terms with a human, it takes the shape of the Raven Knight, shedding its natural armor and its terrible beak and claws but gaining +5 Full Plate and a +5 Cruel Keen Falchion. Its AC goes from 34 to 38 in its knight form, and its melee goes from four weak natural attacks to four powerful sword swings (despite its low BAB; remember a permanent Haste gives it an extra attack!) dealing 2d4+21 damage... while also keeping the same 15-20 critical hit range AND the stacking bleed, potentially dealing around 50 damage with one swing instead of needing four attacks to achieve the same result.

So, let's see, that's the offense, how about the defense... High AC, check. High saves? +17/+21/+18, check. DR 15/Cold Iron and Good, check. SR 27, also check. Permanent Freedom of Movement? Of course, we can't have a battle end with a single Hold Monster now, can we? No elemental immunities, but it IS immune to energy drain, death effects, and all forms of fear. I'm also receiving a note about its saves, hold on. Ah, no, my mistake, its saves are actually +22/+26/+23, because the Vilderavn DO have power over fate, which includes the ability to add +5 to any one saving throw of their choice each round as an immediate action, something they're likely to save when they're targeted by a powerful Save-or-Suck that they're not immune to, such as petrification, sleep effects, or nausea. There's no per-day limit on this ability, only per-round, so maybe ask your allies to pile on all their most powerful abilities at once?

Hah. 'Allies.' There's no one here that's your friend. At least, that's what you're going to think while in combat with the Vilderavn; anyone within 30ft of it is not only vulnerable to its Frightful Presence, but its FP is also attached to Shatter Loyalties, an ability that causes anyone affected by it to treat all other creatures as an enemy, thwarting not only teamwork, but teamwork feats, as well as flanking bonuses, movement in tight spaces, and of course: willingly accepting beneficial effects. Any creature whose loyalty has been shattered has to be forcibly administered any positive effect (and is allowed to make a save to resist such effects), and doesn't count as a valid target for any effect or ability that counts 'allies.' This shattering effect lasts until the victim is no longer within 30ft of the fey and bypasses fear immunity entirely, so the party Paladin may not be shaken up by the Frightful Presence, but if they fail the DC 26 Will save anyway, suddenly all their beneficial auras shut off for everyone else, leaving them more vulnerable to the raven knight's fierce spells and Hexes.

If the Vilderavn pauses its assault momentarily when it has someone at death's door, do not mistake it for a show of mercy. Remember that they can tear the souls from their mortal victims, but they can only do so while in raven form, as Soul Eater very specifically triggers from its bite attack. A party held at bay by its magic or laid low by its damage may only be able to watch in horror as it assumes raven form, climbs atop their fallen friend, and drives its beak deep into their chest, shearing their heart from their body and their soul with it (frightening everyone who sees it, or shaking them up if they succeed a DC 27 Will save). From there on out, it has full access to their memories, their personality, their very face, ready to destroy their lives and everything they had ever hoped to create... and if the DM is especially cruel, it may use Modify Memory on the only conscious witness to the act to make them think their ally is fine, that they managed to get away from that fiend! A fiend slithering its way into the party as it wears the fallen allies' face. Waiting for the chance to tear hope away from you all one final time.

You can read more about them here.

[magickkate]

Today, let's explore the world of spell mediums in witchcraft. These tools and methods help channel intention, energy, and manifestation, empowering your spellwork and connection to mystical forces.

1. Jar Spells: Manifestation Bottled

Overview:

Purpose: Jar spells involve placing specific ingredients—herbs, crystals, written intentions, and other symbolic items—into a jar or container. The jar acts as a vessel to concentrate and amplify the spell's energy.

How It Works:

Layering Intentions: Begin by layering your ingredients in the jar, each representing an aspect of your intention (e.g., protection, love, prosperity).

Sealing the Energy: Close the jar tightly to seal in the magical energy and let it work over time. Some practitioners bury the jar, keep it on their altar, or hide it in a sacred space.

Practical Applications:

Long-Term Goals: Ideal for spells that require ongoing energy, such as protection, prosperity, or healing over an extended period.

Concealment: Useful for discreet spells or when privacy is desired, as the jar can be hidden away.

2. Spoken Spells: Power of Incantation

Overview:

Purpose: Spoken spells involve verbalizing intentions, incantations, or chants to invoke and direct magical energy. The spoken word carries vibration and intent, enhancing spell potency.

How It Works:

Intonation and Clarity: Speak clearly and with conviction, focusing your intention into each word or phrase.

Rhythm and Flow: Incorporate rhythm and repetition to build energy and create a harmonious flow of intention.

Practical Applications:

Immediate Needs: Effective for quick spells or urgent situations where immediate energetic intervention is required.

Personal Empowerment: Enhances personal presence and connection to magical forces through vocal expression.

3. Candle Spells: Illuminating Intentions

Overview:

Purpose: Candle spells use candles of various colors, each representing different intentions, to focus and direct magical energy.

How It Works:

Color Symbolism: Select a candle color corresponding to your intention (e.g., green for prosperity, red for passion).

Anointing and Carving: Dress the candle with oils, inscribe symbols or words, and imbue it with your intention before lighting.

Visualization: Focus on the candle flame as you visualize your desired outcome manifesting.

Practical Applications:

Visualization Aid: Enhances focus and concentration during meditation and visualization exercises.

Ritual Enhancer: Amplifies the potency of rituals and ceremonies, providing a focal point for energy manipulation.

4. Sigil Spells: Symbols of Power

Overview:

Purpose: Sigil spells involve creating and charging a symbol (sigil) that represents your intention. The act of drawing or inscribing the sigil activates its magical properties.

How It Works:

Creation Process: Design a sigil by combining and stylizing letters or symbols that encapsulate your intention.

Activation Ritual: Charge the sigil with energy—through meditation, visualization, or ritual—and release it into the universe to manifest your desire.

Practical Applications:

Versatility: Can be used discreetly (e.g., drawn on paper, carved into candles) or incorporated into more elaborate rituals.

Personalization: Tailor sigils to specific intentions, allowing for flexibility and creativity in spellcasting.

Finally -

Spell mediums in witchcraft are diverse and versatile, offering practitioners various ways to channel their intentions and work with mystical energies. Whether you resonate with jar spells, spoken incantations, candle rituals, or sigil crafting, each medium holds its unique power to manifest change and enhance spiritual connection.

[rabbiitte]

Sight vs. Senses: Exploring perception in Only Friends.

Because many people seem to be confused by this scene and don't know how to interpret it or simply classify it as “creepy”, I have decided to share my interpretation of how this scene uses cinematographic techniques and symbolism to influence the visual and general narrative of the series. Let's talk about Top and Mew's relationship, cinematography, visual narrative, symbolism, cinematographic techniques and the difference between vision-based perception and sense-based perception as inherent concepts in Top and Mew's relationship.

1. An introduction to cinematography, narrative and the use of visual metaphors.

Cinematography is a central element when creating movies or series, it can be used creatively to support the narrative and emotions of the story. At the same time, it contributes to create a visual narrative through the choice of camera angles, framing, camera movements and composition of images.

Visual narrative: refers to the way stories are told using primarily visual elements, such as images, composition, colors, symbolism, and camera movements, rather than relying primarily on dialogue or writing. It's about transmitting information, emotions and messages through what is seen on the screen in movies, television series, photographs or any other visual medium.

Visual narrative uses visual elements to convey emotions, themes and meanings that affect the perception of a story. Among the visual elements that are used to enrich the narrative we find visual metaphors.

Visual metaphors are visual elements in a cinematic work that represent abstract concepts, emotions, or themes. These metaphors can be subtle or prominent and are used to enrich the narrative and understanding of the story.

With this concept in mind, we can say that the date in the restaurant is a visual metaphor to address the concept of perception.

Perception is the process by which a person interprets and integrates the sensory information they receive from their environment to form an understanding of the world around them. It involves the ability to take sensory data, such as what you see, hear, smell, touch, or taste, and turn them into meaningful and understandable experiences.

In the restaurant, diners cannot see the food they're consuming until the lights are turned on at the end of the meal. This reflects a lack of literal vision, as they cannot use their sense of sight to identify food. Due to the lack of vision, diners must rely on their other senses, such as taste and smell, to experience food. This scene highlights the importance of trusting feelings and intuitions rather than relying solely on what can be seen with the eyes.

2. Narrative, cinematographic techniques and perception.

Another element that enriches visual narrative and, finally, narrative in general are cinematographic techniques. Visual narrative can use a variety of cinematic and visual techniques to guide the audience through a story, create atmosphere, reveal characters and their emotions, and convey underlying themes or messages. For example, the moment when Top asks Mew to use his senses and the camera focuses on Mew's face is a cinematic technique called “close up” and the following moment when the camera loses focus is a cinematic technique called “generalized blurring”.

Close up in cinematography and photography refers to the moment in which the camera gets very close to the subject, object or face of a character, filling most of the frame with that element. The main objective of a close up is to highlight details and facial expressions, allowing the viewer to concentrate on those elements with greater clarity and focus.

Generalized blurring in cinematography is a powerful tool in the hands of filmmakers to enrich the visual and emotional experience of a film. In this technique, the entire image is deliberately blurred or out of focus. It's used for various purposes like to set a specific mood in a scene or to represent the emotional or psychological states of the characters, among other uses.

In the restaurant scene, these techniques are used to concentrate on Mew's emotional or psychological state after Top asked him to use his senses and not his sight to perceive the food. Based on these cinematic techniques, we can infer that something important is happening in Mew's mind. In fact, judging by what happens after the scene, we can infer that something very important happened in the restaurant and that meant a change in Mew's attitude. What changed? The way Mew perceives Top.

3. Vision-based perception and sense-based perception.

In EP1, Mew told Top that he knew who was honest (about dating him) because “his sense was always right”. Basically, Mew is able to see people's intentions and, ultimately, their essence through sense-based perception.

Sense-based perception: this form of perception involves all human senses, such as sight, hearing, smell, touch and taste. It's based on the information captured through these senses to form a complete and rich understanding of the environment and people. Sense-based perception can be deeper and more accurate than other types of perception, as it involves multiple sensory modalities.

However, this isn't the type of perception that Mew has been using with Top until now. Mew is usually extra careful and suspicious around Top. His behaviour is usually guided by the mental image (of someone considered promiscuous) he formed of Top based on his immediate appearance. This type of perception is more related to what can be seen immediately and, finally, it's a type of perception related to the use of sight.

Vision-based perception focuses primarily on visual information. This is the most common form of perception in humans and refers to the ability to observe, interpret and understand the world through sight. Visual information is important, but it's often used along other senses to gain a complete understanding. In real life, things aren't what they seem at first glance and what it's seen doesn't always reflect the underlying reality.

An example of how Mew is usually guided by vision-based perception with Top can be found in EP2. When Top tells Mew about his trauma, Mew's immediate reaction is to laugh and not believe it. This is because what Top is telling Mew doesn't correspond to the mental image that Mew has formed of Top. The fact that Top can't sleep alone doesn't correspond to what Mew perceives based on his sight of Top.

Because visual-based perception is limited and must be used along other senses, this type of way of perceiving isn't enough to perceive the complete reality or, in this case, Top's essence.

Mew never stopped perceiving Top based on the apparent, based on the observable. We know this because Mew has never been around Top without his glasses (except in the water sports and shower scene) until EP5, episode in which Mew finally spends time with Top when he has broken glasses. The change in Mew's perception coincides with the episode in which his glasses break, coincidence? No, symbolism.

Mew's glasses: In this context, glasses could represent limited perception or distorted vision of reality.

In EP5, Top asks Mew three times to perceive him based on all his senses. All these times, Mew can't wear his glasses or Top suggests him to stop wearing them.

Situation #1: At the café, Top tells Mew that he wants to be clearly seen (although Mew can see him clearly while wearing his glasses) and recommends him to try a surgery. This time, Top suggests that Mew should stop wearing his glasses so he can perceive his essence/true self, while being guided by his sense-based perception.

Situation #2: At the restaurant, Top reminds Mew of what he said in the bookstore about sense-based perception and asks him to be guided by it. This is, again, a request to see Top as he really is and not based on a mental image.

That's why everything becomes blurry, it involves ignoring appearances or what's obvious in front of your eyes. Sense-based perception involves seeing Top's essence (and the affection he truly feels for Mew) and ignoring that which is easily perceptible to vision such as signs of lies. In this case, the generalized blur is a metaphor for saying that love is blind (in a cheesy way).

When Mew starts perceiving Top based on his senses, he loses control and shows how in love he really is with Top. Even all the people who were in the restaurant disappear because Mew and Top are not focusing on what can be perceived by sight, they're focusing on seeing the essence (and the love they feel for each other). This plane isn't on the same plane that the diners are, therefore they disappear.

I guess you can also say that people disappear because Mew is in love and he doesn't care about others, but I'd say it's more than that. It's a matter of perception. It has nothing to do with seeing, it has to do with looking and perceiving the essence of the person in front. It's not a passive activity, it's an active activity that requires collecting information based on all the senses.

No, I don't think it's a dream.

Situation #3: Before Top and Mew have their first time, Mew takes off his glasses and Top asks if he can see him. However, we know Mew can't see clearly without his glasses, so Top is actually asking him if he can perceive him based on his senses (if he can see his intentions and his deep love for him, that's why he keeps telling him that he loves him. He tries to supplant the sense of sight with the sense of listening).

4. The end of vision-based perception.

If we are guided by the idea that Mew's glasses are a symbolism that limits his perception to a vision-based perception, with no glasses Mew will be able to see clearly. Mew will see through Top's lies and that's why in EP5, Mew gets rid of his glasses and discovers Top's infidelity.

As you may have noticed, the restaurant scene is the climax of a topic that has been worked on, in relation to Top and Mew, since the beginning of the series. The restaurant scene marks a milestone in the relationship of both of them and the turning point in the narrative, this thanks to the way in which metaphors and cinematographic techniques shape the narrative. Clearly, this is one of my favorite scenes in the entire series and I think it has a high level of complexity and interpretation.

If you want to read more of my analyses, you can read my Mew analysis here. Stay tuned, I'll do a Ray analysis soon.

[lightning-and-sparks]

Hey! Are you writing a prequel fic and don’t know much about spray paint?? I got you💅

Sparks Guide to Spray Paint

Spray paint is definitely a strange medium that depending on who you are you may not ever get to interact with much. Graffiti culture as a whole is super cool and something that’d add more depth to your fics.

Something I found that isn’t as common knowledge as I thought is that people don’t know spray paint is toxic. It’s loaded with cancer-causing chemicals that you can’t inhale too much of. Many muralists I know use what is called a respirator

Respirators are probably the best layer of defense when dealing with spray paint but probably not something a runaway teenager would have. Which goes into what I have used/use. While it’s not as good as a respirator I have used a dust mask. They suck in the heat but are great at keeping stuff out of your airways and the next step of defense I’d recommend. They’re easy to find and more importantly, easy to carry.

I’ve used them for construction stuff and that metal band is going to keep them put and even leave a mark when you're done. They’re disposable and usually because they’re always near me I’ll replace them more frequently because they gross me out.

Options that aren’t as good but better than nothing are your typical bandana or shirt pulled over your nose and mouth combo. Easily the most aesthetic which would make a better look but not as safe. (I have done these but irl I’d try and get something that would protect you especially if it's something you do frequently.

Super great pro tip, don’t be stupid like me and put these in your hair after I don’t even know why I did that. Spray paint dries quick but somehow I managed to do that and get some black in my blonde highlights which sucked.

Okay! On to the paint.

Yes, they are runaways who probably don’t live in luxury but spray paint is pretty expensive, and rightfully so. There are cheap alternatives and even half cans which are super cute and tiny but totally inconvenient for tagging but can be used for tiny details.

Spray cans are heavy when they’re full so I like to keep my colors to a minimum. Usually, I have to walk far and into wooded areas so that’s my primary reason. Also, not as much paint as you think is there.

One way to get around costs and just get tags up are black tags. They take significantly less paint because you only really need the one coat. Depending on where you are they kind of blend in IMO. (I've used the can on the right and it worked pretty good.)

Had to pull out one of my own pictures because there aren’t many good ones on Google. There is a lot you can do with black and white. I’m a girly teen girl so I’d rather spring for a nice red, blue, or purple to go with it.

I think I could compare spray paint to nail polish. It has a similar rattle and needs to be shaken. There is a metal ball in each can. While you can control how you spray it, there still is a wild element especially if you don’t have different/angled tips but those aren’t necessary. Some people prefer to buy their own tips since the ones on the can usually suck. (especially cheap paint)

I know that gun-shaped handle is not aesthetic but believe me, holding a can and pushing down on it hurts like hell. People usually use those to spray paint like furniture but I just thought they were worth mentioning.

You can't really spray paint in the rain or it looks like shit. It does dry fast but it's better to have that window of a dry period.

The purpose of Graffiti is usually political. It's a way to get a message across and protest something. It has morphed into more of an artistic outlet but the roots stem from expression. I've never really made something that was in protest to something specific but I feel the whole point of what I do is to combat the boring and lifeless urban look. (I live in a city)

Tagging is the proper term for marking an area. A tag is usually between 3-5 letters and has creative liberties throughout. I used to use a three-lettered tag but I knew some people who knew it so I recently switched to a four-lettered one. I've seen longer and I've seen shorter. There aren't set rules for tagging and in some way, it is a free-for-all.

There are unspoken rules of tagging. realistically, it is bad sportsmanship to cover over tags but it happens. I know of people whose friend died and his tag got covered and they were devastated so I personally try to avoid that.

Contrary to popular belief, graffiti isn't illegal everywhere. There are areas where authority will "overlook" such as abandoned areas. Frequent hunts for me are usually underpasses (illegal) abandoned buildings (50/50 shot) and a semi-abandoned skate park (Legal; Sk8ter boi map cooked with that one)

Sometimes you can even get commissioned to do a piece. I've met a person or two who have.

Tagging for the most part isn't meant to be explicit or hagness. It is more so art. I like to take creative liberties with it like making "S" or "Z" into birds or other objects because, at the end of the day, it is about expression.

Quick tagging, or as I've deemed it. Is kind of premade tags on stickers where you just kind of leave them where you go and are common in high-traffic spots where you can't pull out the cans. (Whoever started the "Hello My Name Is" stickers, I love you)

The Lookout.

Graffiti is unfortunately a two-man/woman job. If you are somewhere you aren't supposed to be you need a lookout. Mine have changed over the years and I used to work with other artists and we'd swap. Not everyone will jump at the chance to do something kinda illegal.

Just for shits and giggles, I'm pretty sure the duo in Wasabi Extreme are supposed to mimic an artist and lookout/spotter whatever. I think that was a cute detail.

Style.

There are so many different types of graffiti styles that I could never talk about to the proper extent. I think the biggest takeaway is that no two people really tag the same. They may look the same but it's different. The style of tag can also reveal their skill type.

Where I am, graffiti is like a community almost. You meet people or recognize them by their artwork. your name and tag are one on the same and I've been called by my tag. It may seem punk or whatever but really it's just a bunch of artist that make their own gallery.

I've recently gotten back into it with a new name and look. It is really fun, very risky, but feels right. I'm not saying to go out and vandalize stuff but, ya know. Make something once in a while

I hope this is useful to anyone for fics or other stuff. I'd recommend like looking more into it if you're interested because this is definitely not a full guide.

[itsbenedict]

From the beginning | Previously | Coin standings | 8/18 | 22/23

(The results of this poll show us the players' priorities- but they've also been hard at work coming up with some specifics. HYENAS RETREATED summarizes some of the points discussed:)

Walter recalls a rumor- Ferninit University's medical department has been developing a soul-engineered healing plant, in a place known as... the TRENDED PENTAGRAM, if he recalls correctly. If the plant exists as a raw datasoul, they might be able to find it in there, and rely on it for food and healing.

It's on the way, too- they'll need to head back to the university to access its network and find more information on their condition. It's starting to sound like a plan- so you get moving, flying away from the ghost ship and back to the mainland, towards the overgrown ruins.

The WIFI ACCESS POINT is still installed, and the two remaining files can still be accessed.

ITCHY? AHA! RE-STAB REAR OF DRYER THE RAID ARRAY OF CYBERHEARTS is enlightening. The datasoul of the world, it seems, is stored on multiple redundant disks, used for error correction when parts of the world get damaged. When a datasoul is damaged and becomes a bug... unlike a normal RAID disk, where fresh data is overwritten on top of the damaged data, Cyberhearts seems to swap the damaged and fresh data, via a process called TENDERER REFORM. Something called the Infinity Server Unit supposedly spans all these disks, and dispatches data validators to clean up bugs and ensure the backup disks stay in accord.

...but there's a few obvious problems. Some are brought up by the file's author, one BASIC RESEARCH, who notes that information about the Infinity Server Unit is heavily restricted by the government. It's ostensibly a physical machine hidden somewhere in the city, but there's no civilian research access to it, and it's unclear who it was constructed by or why. Or, for that matter, how the world worked before the machine was built- or how it determines what a "bug" is for the purposes of swapping it out. The author has determined that there's a thing called YEP, INTENDED INTENT that's exempt from this swapping process, and human beings fall inside that category.

But moreover... if these data validators are supposed to be cleaning up bugs... well, this place is crawling with them, and the only one you've seen this whole time only went after Walter when he damaged the environment. Whatever cleanup is supposed to be taking place... clearly isn't. And furthermore- if the two of you are YEP, INTENDED INTENTs, how did you end up here? You're... not bugs, right?

Reading IF TEMPERATE, REPORT BOZOISM PROPERTIES OF ZOMBIE MATTER doesn't help clear up matters. This paper, by TROJAN HORSE, describes TOM, TIME ZEBRA- a form of matter that has no datasoul. It doesn't seem to occur in nature, but rather is produced by a YEP, INTENDED INTENT to paper over discrepancies between their datasoul and the IMAGERY DUELER DEMIURGE LAYER, the collective hallucination that we perceive as "reality". Someone whose datasoul is a snake may occasionally "step on" objects as if they had feet.

TOM, TIME ZEBRA, however, can't be observed being produced by the body. It seems to materialize independent of a bodily process, as if it were already there in the world- and then vanish as soon as it's no longer needed. It can be harvested, isolated, and stabilized- as well as created in a lab via a process known as A PLEDGE MOVEMENT. It's possible to create physical objects out of the zebra which cannot be perceived without the DEMIURGE LAYER.

(TROJAN HORSE theorizes that the world as we understand it is an expression of the world-soul through the medium of TOM, TIME ZEBRA, but that the same world-soul could express itself differently through differently-arranged matter. There's loads of equations that kind of go over both of your heads.)

...whoof! That's a lot of technobabble! You have no idea how to use any of that, really.

You decide to go looking for that healing tree, and proceed to the TRENDED PENTAGRAM. You're not sure why, or if, it's called that- but it's kind of dicey down here. The bugs are out in force- Adea's taken that sword Walter found in the holy tower, and is handily fending off dust storms of discarded chalk. Living roots from the ceiling keep grabbing at you, and darts and bats fly through the air wildly. It's irritating, but Adea's capable with a blade.

[ed: Also these are, like, chapter 1 enemies, so it's not like they were going to really pose that big of a threat, let's be real. Well... except maybe the big one.]

You duck into various classrooms and laboratories, having very little luck- until you finally find a room with a giant tree, branches laden with heart-shaped apples. This is probably what you're looking for! Maybe you can finally get it all sorted out, health-wise.

...But it's guarded by RR. An R, and an R. Two giant letter Rs, with sharp fangs, which haven't noticed you yet, but definitely will if you try to raid the tree. That, and... some other beasties.

Some sort of DIRECTION DISC, like an evil frisbee, is homing in on you to try to slice you in half with its razor-sharp edge and razor-sharp sense of direction!

The ghost of someone's target practice- a SKEET PHANTASM- rises up to take its bloody revenge by turning you into target practice! Watch out!

That illness babies sometimes get that makes them cry too much? It's prepared for combat. How can you fend off such a seasoned BATTLE COLIC?

Watch out- there's MONK TEETH AHEAD! This martial artist has realized that chompers, not fists or feet, are the deadliest weapon of all- and is determined to prove it by biting the hell out of you.

You might think that a mouse isn't that dangerous, but you would be wrong- A RODENT IS CAUSTIC! If it catches you, its bite will probably deal a ton of acid damage. Or Wash damage.

To be continued | 8/18 | 19/20

[rivensdefenseattorney]

Alfea Interdimensional College of Fae

(WIP)

Nestled in the epicenter of Magix, Alfea College is a revered institution in the Fae realms, a sanctuary where diverse Fae lineages converge to harness their magical potential. Majestic spires and enchanted architecture adorn the grounds, harmonizing with ancient forests, shimmering waters, and otherworldly terrains that cater to elemental abilities. Here, students immerse themselves in a comprehensive curriculum that spans elemental mastery, mystical arts, diplomacy, and enchanting expressions of magic. Professors, esteemed for their lineage and expertise, guide students through immersive classes while extracurricular activities, from spellbinding sports to research societies, enrich their understanding of the mystical realms. The academy fosters unity among Fae lineages, promoting camaraderie and understanding across the elemental realms, preparing students for a transformative journey shaping the future of their enchanted realms.

Average Graduation Time: 5-7 Years

Average Acceptance Rate: 4%

Annual Acceptance Rate: 1500 Students

Contribution Level: Tier 1

Departments

Department of Alchemy & Potionology

Department of Elemental Arts

Department of Magical Studies

Department of Diplomacy & Leadership

Department of Mystic Arts & Expression

Concentrated Studies

Potioncraft and Alchemical Arts: Centered around the Department of Alchemy and Potionology, this study delves deep into potion crafting, enchanted botanical studies, and healing/restorative magic.

Elemental Mastery and Defense: Centered around the Department of Elemental Arts, this study focuses on mastering elemental forces, defensive magic & combat, and advanced arcane arts & spellcraft.

Mythical Studies and Creature Research: Centered around the Department of Magical Studies, this study emphasize studies in mythical creatures, magical history & lore, and artisanal magic.

Diplomacy and Leadership in Fae Realms: Centered around the Department of Diplomacy and Leadership, this study fosters future leaders adept in negotiation, governance, and diplomatic relations within Fae societies.

Mastering Enchanted Performances: Centered around the Department of Mystic Arts & Expression, this study focuses on refining magical performances, combining multiple art forms, and creating immersive and spellbinding experiences through artistic expressions.

Cultural Synthesis through Mystic Arts: Centered around the Department of Mystic Arts & Expression, this study investigates how various Fae cultural elements can be integrated into artistic expressions, and explores diverse lineages and their influence on magical arts.

Minor Studies

Minor in Advanced Healing Potions: Aligned with the Potioncraft & Alchemical Arts study, this minor would focus on advanced studies in creating potent healing potions and elixirs.

Minor in Elemental Combat Techniques: Corresponding to the Elemental Mastery and Defense study, this minor would specialize in combat-oriented elemental magic and defensive techniques.

Minor in Mythical Creature Care and Studies: Tied to the Mythical Studies and Creature Research study, this minor would emphasize hands-on experience in caring for and studying mythical creatures.

Minor in Diplomatic Negotiation Strategies: Connected with the Diplomacy and Leadership in Fae Realms study, this minor would focus on honing negotiation skills and diplomatic strategies.

Minor in Cultural Magic Practices: Offering a specialization across studies, this minor would allow students to explore diverse magical practices across different Fae lineages and cultures.

Minor in Arcane Medical Applications: A specialized minor within the Potioncraft and Alchemical Arts study, focusing on using magic for medical purposes and healing spells.

Minor in Enchanted Visual Arts: Explores the infusion of magical elements into visual arts, offering a deeper understanding of mystical mediums and enchantments in artistic creations.

Minor in Harmonizing Magic in Music: Focuses on the integration of magical enchantments into musical compositions and performances, blending musical theory with Fae essence.

Alfea Contribution System

Merits

Merits are the currency of recognition and accomplishment. They serve as a tangible representation of the students' contributions to their community. Merits are mainly achieved through 3 distinct methods:

Unity Merits: Earned by bringing unity and raising awareness within the community through hosting public events. May include workshops, performances, art installations, and various charity events.

Service Merits: Achieved by undertaking missions that contribute to community well-being, donating magical items, elixirs, or resources, and engaging in public service initiatives that address the diverse needs of the magical realm.

Scholarship Merits: Attained through scholarly pursuits and magical research initiatives, students earn Scholarship Merits by advancing magical knowledge, contributing to innovative solutions, and exploring the magical arts within various disciplines.

[theflintwarlock]

Perfume and magic

Scent is just as much a form of self-expression as makeup or clothing. It says something about yourself and how you want the world to see you. It also helps set your intention for the day going forward. In this way, it is an excellent addition to your everyday magical practice.

Signature scents:

You'll see some talk in perfume communities about finding your 'signature scent', a perfume or cologne which you wear on an everyday basis, something that makes you feel more you. Some people swear by it, but I personally let my daily feelings, workings and emotions dictate what will be my signature scent for the day.

Finding a perfume:

One of the first things you do when finding a perfume, of course, is smell it. This will give you an idea of what you're going for, what scents attract you and feel comfortable to you. Are they light, heavy, musky or floral, masculine or feminine? There's a world out there to chose from of unique scents.

In your magical practice it helps to know what goes into a scent. Most perfumes and colognes have a breakdown on their box of what is in them, top notes, medium and base notes. These ingredients can be great for correspondence if you're big into herbal magic, or perhaps if there's a certain herb you work with regularly.

For example, I'm a big fan of the glossier "you" perfume, which is comprised of mainly base notes, including pink peppercorn. The pepper gives it protective qualities, but it's also floral and works with your own scent to create something alluring and perfect for glamour. Great for attraction magic.

Whatever you choose doesn't have to be expensive to be useful in your witchcraft, and it also doesn't have to seem "witchy." A perfectly modern body spray, when used with intention, can find its place in your practice. Hell, I sometimes use lynx body spray as a masculine glamour.

Using it with intention:

Putting on your scent with intention doesn't have to be a complicated process. It can be as simple as knowing that one of your perfumes has rosemary in it and you want a bit of extra protection today, or rose for connection to others, or pine for protection and energy. It's about being thoughtful about the process but also letting your intuition and nose guide you to what you want.

You can also dedicate a particular bottle for a particular purpose or deity: for example, I keep one of my colognes on my altar to Asmodeus so that when I wear it it helps bring me closer to him and keeps his infernal energies around me as a form of protection and glamour. This doesn't apply to just deities, however. If you have an altar for money or beauty, for example, you can add whatever bottle feels right to the display and use it to add to your workings.

Ritual uses:

As well as simple intention, scent can be a great and powerful addition to ritual magic. The energies you surround yourself with are important in a ritual, and the ones that you place on your skin are a powerful signal that can be used to boost your performance in a spell. In the same way incense or scented candles are used in rituals, so too perfumes or even room sprays have their place.

Glamour uses:

Perhaps the most obvious use of perfume that comes to mind when considering it's magical potential is as a glamour, and this is not without good reason. Glamours are chiefly about how others perceive you, and perfumes are a quick but effective way to help a person notice you with certain intentions. The right scent can draw someone to you, make you seem more powerful or interesting, or have a whole range of effects.

My favourite use of glamour magic when it comes to scent is to help make me seem more masculine. As a trans man, I find that wearing colognes is a gender affirming and simple way to help people perceive me more clearly as the gender I identify as.

I'm sure I'm not the only trans practitioner to use this method, but if you're non binary or gender fluid it can be great to experiment with different traditionally gendered scents and mix and match them. Floral and pine, sandalwood and roses, experiment! Find what works for you, and how you want people to perceive you when they're around you. Glamours are so much more than having people find you attractive as they're seen by many, and scent gives you a very real and immediate way to control how people are affected by your presence.

I hope this little guide is useful to some practitioners and helps you consider new ways to incorporate scent into your practice. Let me know if there is anything I missed!