#homage to function

[darkstarnetwork43]

Stream

“Form follows function” is an homage to mediocrity. “Form as homage to the function” is the mark of excellence.

[quinn-pop]

woah semi future au magolor and sailor designs???

(slightly more in the future but still the same timeline???)

uh yeah. Magolor finally forms a bond with the lor and becomes its captain for realsies this time

he spends his time exploring and studying magic/dark matter/gem apples and if their power can be safely harnessed

he also just goes on side quests a lot. he may be reformed but he will still do a lot for a quick buck lol

he’s mastered his dimensional magic as well, which is why his cape looks like that :>

on the other hand, sailor is the new captain of the halberd and leader of the meta-knights. most of their job is taking down monsters but there is the occasional rogue wizard to stop from destroying the world or unleashing dark matter (huh, sounds familiar…)

they are usually very busy with work but make an effort to visit dreamland frequently in order to stay close to everyone. she’s always been a little distant from the rest of her family but i think she opens up a bit more after she, Bandee, and Kirby all start taking leadership positions. gives them something to bond over

by this point meta has retired from fighting completely but he’ll still give sailor advice when they need it. she appreciates having someone around who knows just how tiring a job it can be, and he’s very proud of her

oh, and one more thing

yea i let them get married. what are you gonna do about it? /silly

they don’t get to see each other much because of their jobs but they’re a thing

[wonder-worker]

"Some modern historians, apparently fascinated by the fact that Matilda was eleven years older than her second husband, Geoffrey of Anjou, have been quick to assert that the marriage was unhappy. The historical basis for this assertion rests upon the word of the Durham chronicler, who stated that when Matilda returned to Henry I’s court in 1129 it was because Geoffrey had repudiated her. [It has thus been assumed that their incompatibility led to mutual hostility and an eventual separation]. However, it must be noted that the northern chronicler was hardly in a position to have first-hand information about events across the Channel, and that he had the chronology of the affair completely wrong. The author placed Matilda’s marriage in 1129, and wrote that only a few days after King Henry returned to England on 13 July of that year, he was told that his daughter had been repudiated by her husband and had returned to Rouen with only a few attendants. The marriage actually took place in 1128, and Matilda was in Anjou with her husband in 1129 when the la Haye brothers brought a charter in favor of the abbey of Fontevraud to her for her confirmation. The other contemporary accounts of Matilda’s separation from her husband did not record her departure or suggest reasons for it, but only noted her return to Anjou in 1131.

It is possible that Matilda’s return to her father’s court in 1129 was not a marital separation at all, but rather a political mission. Perhaps Matilda and Geoffrey grew uneasy in their isolation and began to doubt the commitment of the Anglo-Norman barons to their cause. Leaving her husband behind to manage affairs in Anjou, Matilda may have travelled to Normandy seeking clarification of her position. A few scraps of evidence point in this direction. A letter that Hildebert of Lavardin wrote to Henry I in 1131 expressed pleasure that the king was now reconciled with the count of Anjou, who ‘had now fallen in with his wishes in everything concerning him and his daughter’. Henry of Huntingdon and Robert of Torigny stated that a ‘great council’ held at Northampton on 8 September 1131 decided that Matilda should be returned to her husband. The wording implies a decision made by the great men of the realm for political reasons, not a family’s success in persuading a tearful daughter to return to a husband whom she disliked. Furthermore, William of Malmesbury wrote that ‘no small gathering of the nobility being held at Northampton, the oath of fidelity to her was renewed by those who had already sworn and also taken by those who had not done so previously’. The renewal of the oath also suggests that Matilda’s mission may have been occasioned by concern over the succession rather than by the marital discord that historians have often taken for granted."

— Jean A. Truax, "Winning over the Londoners: King Stephen, the Empress Matilda and the Politics of Personality", The Haskins Society Journal 8 (1996)

[maddie-grove]

I don't think I'm a super-repressed person, but for some reason I am unspeakably embarrassed by writing any scene where somebody sits on top of a closed toilet (because they're, say, getting their hair colored at home by a friend or relative, or cleaning up some scrapes on their knees, or talking to someone who's taking a bath). I am embarrassed if I don't specify that the toilet is closed (because clearly the reader will think they put their clothed ass on an open toilet???) and I am embarrassed if I have to say "oh by the way the lid was down."

[symonynii]

exploration records - rise and fall of the knights of mordencamp (1-3)

volume 1 - establishment of the principality

The Principality of Mordencamp lies in the southern part of Seltavia. It's a powerful nation that regards Thunder Saint Gruk as one of its ancestors. The Mordencamp family name itself is ancient, and its first appearance in history dates back to the time of the Old Seltavian Kingdom. Gruk was one of them, and was one of the Four Saints that ended the War of the Dark King.

When the Dark King's army invaded and defeated Duke Darus of Mordencamp, Gruk initially declined the title. It's said that he gave his military power to the Wise King, Araithos, and asked to officially inherit his duchy once the war was over. However, it is widely known that he lost his life in the midst of the war.

Although the dukedom had lost its eldest son, the Wise King allowed the family name to continue in recognition of his achievements, and the dukedom name and territories were passed on to his nephew.

Therefore, although Gruk never inherited any formal titles, the principality regards him as a spiritual founder, as his achievements led to the later establishment of the duchy.

This dukedom had the largest territory in the Old Kingdom of Seltavia, and prospered greatly thanks to its fertile land. It originally possessed a powerful military, and as the Kingdom of Seltavia's unifying power weakened, it was only natural that the country would choose to secede and become independent.

In the final years of the Old Kingdom, amidst the widespread wars sparked by power struggles within the royal court, the military might of the principality exerted both tangible and intangible pressure on the surrounding areas, helping to propel its establishment. This military force not only protected the independence of the principality, but also became the direct driving force behind the annexation of the surrounding powers, propelling it to become one of the most powerful nations in the world.

The traditions of the principality's nobility were established through the accumulation of these historical events - they cultivated a martial spirit and considered their military strength to be the main pillar supporting the principality. This also had a major impact on politics. The display of their military strength influenced their ranking in the court and sometimes led to the increase or reduction of their fiefs.

This combination of military and political power with the court hierarchy proved extremely effective in the early days of the principality. It not only established the duchy's military superiority, but also served as a periodic evaluation of the nobles through regularly held military parades and other events, giving the duke a basis for rewarding and punishing the nobles who served him while also enabling him to skillfully stir up competition among them and exercise a certain degree of influence through increases, transfers, and reductions of titles. As a result, the military power of the feudal lords became inseparably linked to spiritual traditions and political practical interests.

volume 2 - rise of the lords

As time passed and a long period of peace reigned, these systems gradually became meaningless and their drawbacks became apparent. The decisive turning point was the rebellion of Count D'Aranzo during the reign of Guido II. It took three years to put down, and it made clear the relative decline of the duke's authority over the other nobles. A series of institutions that had exerted a certain influence in the early days of the nation's founding had, over time, nurtured the seeds of a potential threat to the duke.

The rebellion of Count D'Aranzo was only part of the story. The other lords, realizing this, became confident in their own military power, and some even openly threatened the soverign, saying "Have you forgotten the incident with the Earl of the South Seas?". The sovereign gradually became weaker in his dealings with the feudal lords, which accelerated their tyranny and the expansion of their armies.

As a result, the duchy's territories were fragmented among the lords, which hindered the concentration of capital. Excessively large armies were inefficiently deployed over tiny territories, and the increases and rewards demanded by the lords wore down the duchy's direct territories and worsened the duchy's finances.

As this political situation continued, some people began to speak out in opposition. These were the Cadas Duchy's knights, who were the direct vassals of the King, and the civil servants who were in charge of administration. Unlike the feudal lords, they did not have a power base. The main members of the Knights were the Weissers who came from the Kingdom of Seltavia.

Obtaining the title of Weisser was heavily influenced by personal quality and ability, and unlike other titles, was not hereditary. Although there were some nobles who held it, the title of Weisser was clearly distinguished by the premise that it was an honor that could only be obtained by oneself and lasted for a single generation.

For the Knights, many of whom were of commoner origin, the poverty of the people caused by the increase in military spending in political struggles was a real problem. Sir Wyngrid, the leader of the Knights, began to seel allies in the reform movement.

At that time, the chief civil servant Lucrezia Savulli was considered the central figure among the reformist civil servants. Savulli was also a close friend of Daphne Ruffo, the second in command of the Knights, and was considered a pragmatist.

The civil servants directly involved in running the principality's national government also viewed the principality's inefficient systems and growing deficits as problems, and on this point the two sides shared a common understanding. As a federation, they submitted a written proposal to the King, urging him to reform the system.

This proposal provoked strong opposition from the feudal lords, especially the nobles, and later developed into a civil war.

volume 3 - eve of the civil war

The proposals put forward by the reformists, mainly composed of knights and young civil servants, provoked strong opposition from the feudal lords. The original proposal has already been burned, but the currently available materials can be summarized as follows:

-Restoriation of the authority of the princes

-A central military system with Weissers at the center

-Reorganization of the feudal armies due to the above

-Abolition of the military reward system

The document is said to have contained many other proposals, but these were the ones that provoked the most backlash. The reorganization and reduction of feudal armies were linked to the reduction of territory - the allocation and legitimacy of which was guaranteed according to their military capabilities. As for the abolition of the military reward system, first we must explain it.

This system clarified loyalty to the Duke. The duchy would "later on" reimburse a portion of the expenses incurred in proportion to the military forces provided by the lords to the Duke as proof of their loyalty. These systems were created under the assumption that the provision of military forces by the feudal lords was a sign of loyalty, and in the early days of the duchy they were able to maintain strong military forces and quickly mobilize and organize armies.

However, this system was based on the premise that the expenses would be paid after the fact. This was fine as long as the duke had control over the feudal lords, but as mentioned above, as the duke's authority declined, the feudal lords began to use this system to move their armies or to inflate their accounts to unlock the treasury. (?)

In other words, changing these systems would have infringed on the interests of the lords and undermined their political superiority over the duke.

At that time, Duke Adelio of Mordencamp had just ascended to the throne at a young age, and was a lively man who dreamed of realizing his own rule of the country. For this reason, Duke Adelio was initially favorable to the reform plan, which he believed would put an end to the tyranny of the lords and restore his own authority. At the public council held in the capital, the final decision was reserved, but the Duke himself repeatedly spoke in favor of implementing the plan.

This, with the Knights, the civil servants, and the King all in agreement, it seemed as though the reforms would get off to a smooth start.

[eraserheadbabyabortion]

just got a papercut drawing out the armour fuck this gay earth

so i wrote a longgggg post even before i got to my thermodynamics rant but . whatever. anyways. exoskeleton, belt of first aid and misc junk, little skirt wrap to implicate wings, segmented armour for flexibility and airtime maneuvering , i think you get the drill

[fleuraliasave]

❤ Version 8.0 Fleuralia Save File ❤

Download link down below (please read entire post before installing)

This save file uses all EP’s, GP’s, SP’s and most of the kits (Except Sweet Slumber Party, Cozy Kitsch, Urban Homage, Goth Galore, Grunge Revival, Carnaval Streetwear and Modern Menswear kits).

What’s new in this update?:

Ciudad Enamorada and Ravenwood have been completely redone, added multiple new lots, updated other lots and provided make-overs for the households.

Added new households (when living in world; with jobs, friends, preferences etc).

Current Status of Worlds:

Finished worlds: Willow Creek, Oasis Springs, Newcrest, Magnolia Promenade, Windenburg, San Myshuno, Forgotten Hollow, Brindleton Bay, Del Sol Valley, StrangerVille, Glimmerbrook, Sulani, Britechester , Evergreen Harbor, Mt. Komorebi, Henford-on-Bagley, Tartosa, Moonwood Mill, Copperdale, San Sequoia, Chestnut Ridge, Tomarang, Ciudad Enamorada (NEW!) and Ravenwood (NEW!).

Finished vacation worlds: Granite Falls and Selvadorada.

Finihed other lots: Hospital, Science Lab and the Police Station.

To be updated: the Magic Realm and Grimm's office, will either be included in a future update or on the gallery (OriginID: fleuralia)

What do you get with this save?:

For my save file all lots are either completely new builds (almost all) or renovations, ofcourse created by me. Exception: I have added the official build for the release of the Paranormal SP by Dr Ashley to this save. This build is therefore not my own creation, credits are given in the description to Dr Ashley. The lots in newer worlds are largely created by GameChangers. The ratio is around 50/50 with my builds versus renovations (done by me but with the original as the base).

All the townies had make-overs plus I added new families to spice it up a bit. Some of the townies are made by other creators, who are given credits in the description of the household. All the townies in the different worlds have a story, some include sentiments and adjusted relationships to the story.

Added plenty of community lots to give your Sims something to do (YAY!). Almost every world has one restaurant, but it also includes festivals that represent the four seasons (park lots) and a fully functional shopping street in Magnolia Promenade (toy store, bridal store and more).

I have added rental lots so you can go on vacation in more worlds. For example in Sulani, Willow Creek and Windenburg.

Other details:

As mentioned at the beginning, this save uses almost all packs (except some kits). This means that if you download it without owning or installing most of the packs a lot of objects will disappear from the save, but if you are not bothered by this you can still download and play in it.  

I disabled the neigborhood action plan voting/environmental changes, you enable them again in the pack settings menu. I also disabled the neigborhood stories, you can enable them again in the household menu.

I would love to add some households in this save created by all of you! Add your household under the hashtag #fleuraliatownies in The Sims 4 Gallery, you can add a storyline and world in the description but thats not obligatory. If I respond on your creation it means that I have incorporated it in the save for the next update.

Sadly every game update comes with a lot of bugs. I suggest before reporting problems in the save to me, to check on forums if its related to a general bug/glitch or to mods (if you use them).

Questions and supportive feedback are always welcome, you can reach me here via a comment on this post, an ask or through a DM 😁

As said in my previous post I will be slowly starting on moving the builds and sims to a fresh save to help with bugs and incorporate fixes from the Sims team that only work in fresh saves (like Grimm not being able to woohoo). But this will take me some time, when its nearly done I will update on here as always.

How to make it work in your game:

Download the save file from the link below.

Drag it in your saves folder under: PC/Documents/Electronic Arts/The Sims 4/saves.

Change the numbers if you already have a save with the same name.

It should now show up in your game as: Fleuralia Save V 8.0.

DOWNLOAD (SFS) / Alternate (GD)

!!Don’t re-upload or claim as your own!!

Future updates will follow after each pack release (if it includes a world). The time the update will be uploaded after each release depends on how much I have to change and on my work schedule around that time.

Last but not least, enjoy and till next time! XX

Fleuralia

Feel free to support me ❤️: Ko-fi account

[keibea]

hello lovelies! i'm back making cc (well this collection anyway). i havent given up on the cottage picnic collab, i just got really inspired to do this set! i dont think ive said this before but i actually do ballet! have done since i was little and picked it up again last year. so this is my homage to my love of ballet. i hope you like this set :) the ballet shoes i used can be found here. glissade means 'to glide' for those that are curious.

DOWNLOAD (sfs) / MIRROR (patreon) ~ completely free + no ads

tou - downloads page

HOTFIX!! thank you so much @toadifylackoffantasy for your help fixing the legwarmers !!! please redownload! (everything else is fine, just the legwarmers. will update .zip too)

more info below the cut ↓

-> i will look into converting all of these for children, teen & elders if i have enough time :)

-> thanks jade for being the best tester this world has ever seen

🩰𓈒⋆⑅˚₊୨୧ legwarmers;

→ young adult - adult

→ fully-recolourable (1 ribbed texture, 1 plain)

-> found in rings

-> very HLOD; 4612 verts, 7276 polys - normal HLOD; 3273 verts, 4286 polys

-> there is this issue where, with too many accessories (i think this is the issue anyway), the ribbed texture disappears, but i dont believe there is a way to fix this (if there is, let me know)

-> additionally, high-poly (or even medium-poly) shoes can make the legwarmers go spiky. fine with the ballet shoes used.

-> thank you Deniisu for your help!

🩰𓈒⋆⑅˚₊୨୧ giselle leotard (& top version)

-> found in tops (top version) & full body (normal version)

→ fully-recolourable

-> young adult - adult

→ used swimsuit & bikini top as bases, no added mesh (aka very low poly)

-> the top version will clip with a lot of pants & shorts

🩰𓈒⋆⑅˚₊୨୧ swan skirt

-> found in bottoms

-> fully-recolourable (2 channels)

-> young adult-adult

-> HLOD; (group one) 655 verts, 1032 polys - (group 2) 3131 verts, 5936 polys

-> clips a little at the back, but it's the back so its fine

🩰𓈒⋆⑅˚₊୨୧ heart candle

-> found in table lamps & misc deco

-> functions as a candle

-> § 25

-> recolourable + 5 presets

-> HLOD; 1653 verts, 2041 polys

-> MLOD; 1041 verts, 1058 polys

🩰𓈒⋆⑅˚₊୨୧ posters

-> found in paintings (no images are my own)

-> non-recolourable, 8 presets

-> § 30

-> HLOD; 4 verts, 2 polys

[rosiethorns88]

Latest Sketch-a-Wish voted on by my lovely Patreon members for September, featuring Elspeth and Ravyn from ONE DARK WINDOW by Rachel Gillig! I don't know about you all, but I got Pride vibes (from Full Metal Alchemist) with The Nightmare and so paid a little homage to that here. I know functionally it would be more like Greed/Ling, but the patient and lethal personality reminded me of Pride.

[lesmana-enterprise-ltd]

The Griya Lesmana, Luxury Residence (NO CC)

The Griya Lesmana is a luxurious tropical modern mansion, valued at 1,2 million simoleons.

This exquisite residence seamlessly blends sleek contemporary design with intricate Indonesian cultural art. The home features expansive, open spaces that harmoniously connect the lush outdoors with the refined interiors, all while showcasing fine art that beautifully reflects rich heritage.

A masterpiece by The Lesmana Enterprise, this home exemplifies a perfect fusion of elegance and Tradition.

About Griya Lesmana

Welcome to Griya Lesmana, where modern elegance meets serene luxury. This breathtaking estate showcases a perfect blend of natural beauty and contemporary design, with lush greenery framing the sleek architecture. From the stunning pool area in the back facade to the peaceful study space inside, every corner of this home exudes sophistication and tranquility. It’s a haven of peace and a true reflection of timeless style in Del Sol Valley

Make Your Way In

Step inside Griya Lesmana and immerse yourself in a world of contemporary art and warm, earthy tones. Each piece in the home has been carefully selected to evoke a sense of culture and elegance, such as the Garuda Dwi Kencana (1977) by Oktaviano Sudarmadji and Gamelan (1960) by I Wayan Sudana. These art pieces, along with the striking Legong LempuYangan (1960), breathe life into the home, creating a refined and serene atmosphere. The rich wooden textures and soft lighting perfectly complement these works, making Griya Lesmana an extraordinary blend of modern luxury and cultural homage.

At the Peak of Del Sol Valley

Perched with breathtaking views of Del Sol Valley, Griya Lesmana seamlessly blends elegance with its stunning surroundings. The expansive windows showcase the golden landscape, while the Constellation Chandelier (Priced at §25,000) in the sunken conversation pit adds a celestial touch to the home’s refined, luxurious design. Every detail, from curated artwork to rich wooden textures, radiates sophistication in this contemporary masterpiece.

The Ultimate Home Kitchen and Dining

The dining room at Griya Lesmana is a refined space where art meets functionality. The stunning piece Transaksi (1992) by Chusin Setiadikara serves as the centerpiece, setting a tone of cultural richness, while the modern light fixtures bring warmth to every meal. Adjacent to it is the full-metal, industrial-grade kitchen, designed for the ultimate cooking experience. Equipped with top-tier appliances and plenty of counter space, this kitchen is perfect for everything from casual family meals to grand dinner parties.

Four Spacious Bedrooms

The bedrooms in Griya Lesmana are a true retreat, each designed with comfort and luxury in mind. Every room comes with its own walk-in closet, in-suite bathroom, and a private balcony to take in the stunning views of Del Sol Valley. Adorned with hand-picked artworks, like Pedagang Ayam by Hendra Gunawan and Roleplay by Made Toris Mahendra, these spaces blend art, culture, and modern elegance. Whether it's the rich wooden tones or the plush furnishings, each bedroom promises tranquility and style.

Step Into the Backyard

The backyard of Griya Lesmana is an oasis of relaxation and entertainment. Featuring a spacious pool area with a fully functional pool bar, it's the perfect spot for soaking up the sun or enjoying an evening drink. A BBQ patio invites you to indulge in outdoor dining under the warm glow of overhead lights, while the lush greenery surrounding the yard offers a serene retreat. With carefully landscaped gardens and ample lounging space, the backyard is designed to bring the beauty of nature right to your doorstep, all with stunning views of Del Sol Valley in the backdrop.

The Basement

The basement of Griya Lesmana is a hidden luxury haven. It features a spacious parking area that accommodates more than five cars, ensuring plenty of space for any vehicle collection. For fitness enthusiasts, the fully-equipped gym offers a private space to work out, while the sleek, modern sauna provides the perfect spot to relax and unwind. The basement also includes well-designed service quarters, ensuring that every aspect of living in this home is taken care of in style.

Packs Used

If the lot is recognized as modded, it is due to the paintings being registered as CC. There is no CC you need to download to use this build.

Download

Download here via Google Drive

Sul Sul!,

The Lesmana Enterprise Co., Ltd.

[artbyblastweave]

Thought has been percolating in my mind. Lung as a hero. Living embodiment of the Godzilla threshold. Banned from end-bringer battles and the one time he let loose caused the sinking of Kyushu. All villain activity in his city is forced to go non-violent or very fast as once lung arrives then he has won.

And you can totally see the exact point of divergence where it would have happened too:

Lung's interlude is one of my favorites in the book. There's a lot of dots about his one-note "boss monster" characterization in the first six arcs getting connected; why such an obviously powerful villain was so bizarrely unambitious, why the incongruous Pan-Asianism in his gang, why the comparative lack of powered subordinates, arguably even why he's specifically vulnerable to chemical attack. He had actual friends once, all of whom died due to their lack of caution, and he gets a power that necessitates not only an abundance of caution and timing, but witnesses, a retinue of the kind he lost during his trigger event and very pointedly never seems to attempt to build again. The entire interlude consists of him rebuking any attempt at genuine connection with anyone- The Yellow Sentai he saves during the Levithan fight, Bakuda, Marquis. Lung's characterization in this interlude is a major part of why I think Jack wasn't bullshitting about Oni Lee being functionally brain dead- who else would Lung, as characterized in this interlude, keep around as a henchman if not a blank slate who's nearly impossible to permanently kill?

The other thing I like about this interlude is that it's a brief foray into Doing Genre outside the American Superhero context; While I'm not very well versed in it, I strongly suspect that Lung's trigger event is intended to be a homage to the heroic bloodshed genre. With much more confidence I think that the Leviathan fight is an extended pastiche of both the Sentai and kaiju genres, and the deconstructive twist on both is an accelerated microcosm of what the book has to say about crisis crossovers; Japan gets (as far as we know) exactly one giant monster attack of the kind that it's casually known to receive in the American pulp fiction imagination, and the result is the functional collapse of the country, the cultural and geopolitical ramifications of which are present at the margins in the rest of the book; among other things, it's a major element of how Lung ended up relocating to America to get into it with Skitter at the start of the story. Even after all that it's still a very cool fight, though. The beat wouldn't work it it wasn't.

[thrawns-backrest]

A guide to chiss fashion

Alright, it’s finally done. I’ve managed to compile my headcanons in a format I’m more or less happy with so say hello to the chiss fashion guide. As I’ve said before, this is a homage to my love for fashion history and fashion illustration books so it’s written in the same(ish) kind of style, with made-up history and trivia behind it.

Mind you this isn’t about what your regular civilians wear – I can’t even begin to imagine what the spectrum of current fashion looks like for a species spread over multiple planets, that’s too much of a tall order.

Instead I’ll talk about what I imagine as ‘standard traditional wear’. A kind of traditional ensemble for formal occasions which is also the accepted dress code for the upper ruling classes and administration. The books give us many indications of how hung up the chiss are on rank so I imagine their fashion reflects that accordingly, with dress codes and etiquette and whatnot.

So without further ado, let’s start with structure.

The typical traditional ensemble consists of: underwear (plus any additional thermal underlayers), an underrobe, outerwrap robe, jacket (optional, mostly decorative) and top robe or coat (not pictured) for more severe weather and outdoor activities.

First we have the underwear layer (1) with a wraparound robe which can be long or short depending on the season, breeches and any other additional thermal layers underneath.

Next comes the underrobe (2) with a high buttoned collar and fitted sleeves. A slit starts at around chest level and ends in the usual overlap pattern at the ankles. This hem is often embroidered and is meant to be visible under the outerwrap robe.

This robe is also what I imagine is used as lounge wear at home (sometimes accompanied by a lounge robe) or as an outer layer in warmer climates and casual settings, though it’s usually decorated with accessories to make up for how plain it is. Some underrobes, especially padded styles for colder weather, have a waist string to pull excess material in in preparation for the layers to come.

Underrobes for low ranking administration are traditionally red, symbolizing specific qualities, but more on color symbolism later.

Then we have the outerwrap robe (3) with its flared bottom and sleeves which are also typically decorated. The outermost edge of the hem is important here because that’s where the trim that shows family allegiance goes.

These robes are closed with a pair of strings (usually at waist level but may be higher or lower depending on current trends) and the kind of knot used varies depending on social standing and occupation, again, a reflection of how classist the chiss are in my mind. For lower class administration, in case the knot is obscured by a decorative item (like a jacket or scarf), the item is required to have strings of its own where the knot can be duplicated.

The next part of the outfit is the jacket (4) which also varies in style depending on the wearer’s rank. A popular style for low ranking administrators is a waist or thigh level boxy cut with rectangular sleeves that don’t cover the embroidered hems of the robe under it.

Jackets can have individual trims and even small lapels. Structured shoulders and wide lapels are inappropriate as they’re reserved for upper level Aristocra.

Despite their popularity, these jackets aren’t a practical item since their cut provides little insulation and they prevent the use of garments like top robes and coats. Because of this they are either meant to be taken off or worn with cloak-like outer layers outdoors.

Fashion, especially that of the high class, is rarely all practical so I think it’s neat to include elements that are less functional and more so trendy, decorative or appropriate.

This goes in the opposite direction as well and I imagine there being plenty of modern modifications like hidden zippers for easier donning and a variety of false hems, cuffs and collars to minimize layering, making the outfits more functional.

As long as the overall silhouette and main elements are retained, the outfit is considered appropriate though more formal events are usually attended in proper full traditional wear.

Next we have accessories.

The most common ways to accessorize in traditional ensembles are scarves, jewelry, fans, and a variety of trims. Scarves are normally worn between layers and can be used to cover up the open hole at the neck in colder settings. The long sleeves make bracelets impractical but earrings and necklaces are hugely popular. Handheld fans are also a stylish way to elevate the outfit and different kinds of trims like feather and fur are used in less formal settings.

With all that in mind a complete outfit ends up looking something like (5).

Moving on to Syndics:

(traditional silhouette and some images of syndics to show the range of variety available to them)

With Syndics we start to see the appearance of structured shoulders (a strictly upper class element) and more extravagant lapels, particularly in jackets. Still no structured collars however as these are reserved for Patriarchs. Jackets, in contrast to those worn by lower ranking administrators, are longer and made of soft, flowing fabrics like silk, with the goal being to show off expensive materials and dyes (hence rich colors and light silky textures).

Proper etiquette regarding underrobes and outerwrap robes remains the same with one exception being the waist knot: higher ranking syndics aren’t required to replicate the knot if it’s covered by an overgarment or accessory (a syndic’s status is obvious from other elements of their outfit).

In general Syndics are the echelon with the most freedom when it comes to their fashion. With the exception of some traditional elements, there’s more room for variation in accessories, cuts and combinations: Low ranking Administrators need to follow a stricter dress code while Patriarchs are limited by the need to project a certain image so you see the most variety in the fashion of Syndics, the only exception being extremely formal events and ceremonies where the traditional silhouette is a must.

(Syndic Zistalmu with a more personalized interpretation of the traditional structured shoulders.)

And finally, there’s Patriarchs.

Patriarchs, in my mind, have the strictest and most elaborate dress code. Their outfits retain the most traditional elements so they’re like a walking museum piece in, sometimes literally because many of the pieces they wear are hereditary and come from famous artisans.

With Patriarchs we see floor-length jackets, very wide lapels, often with opulent linings like patterned velvet, structured collars (attached to the jacket separately), decorative skirts, silk undergarments and elaborate headwear. In addition, their outerwrap robes fasten with two twin knots rather than one.

Most if not all of these elements are strictly reserved for Patriarchs so they’re instantly recognizable.

The jackets are both long-sleeved and sleeveless depending on how lavish the robe underneath is and the wearer’s desire to show it off.

The separately attached collars are distinct and were originally meant to demonstrate proper posture, fitting best when the wearer was standing or sitting upright. Their rigidity and restrictiveness has decreased over time but they still serve to highlight the wearer’s stance.

The collars are the only element I think I’m willing to allow for Patriels as well, albeit I imagine them a bit more understated. I’m still in two minds about the rest.

For Patriarchs, the top of the white underwear robe is also visible above the underrobe collar – normally underwear garments are supposed to be concealed but these robes were given tall necklines to prevent chafing to the neck from the structured collars worn on top. In order to do that they were made from fine silk which eventually became a status symbol, both because of the expensive material and the fact that they were used in combination with structured collars and nowadays the high collar of the robe is visible at the neck.

The overskirt (pictured above and fastened with strings) is the most traditional element of the ensemble. It’s become obscure in other ranks and is distinctive as a result. The pleating is meant to demonstrate an abundance of fabric, usually heavy patterned or embroidered velvets, and I imagine these pieces to be especially heavy. Its only purpose is for layering and decoration.

Somewhat counterintuitively, Patriarch robes have less lavish lower hems (absent the usual flared shape and no trailing fabrics) to allow for ease of movement and compensate for the extra weight added by the rest of a Partiarch’s accessories. And when I say these outfits are heavy, I mean heavy.

Ceremonial robes in particular are notoriously a nightmare to wear and require practice and a good bit of stamina.

(ceremonial robes)

In terms of curiosities, the Stybla are an interesting case both because their Patriarch is allowed to wear ruling family regalia despite not being one of the nine and because they preserve some older elements in their garments from the time they were the only ruling family. Like the gold pin with their family crest, attached to the lapel. The curled hair style and ‘sun’ style headpiece are also elements that go in and out of Patriarch fashion but the Stybla stick to them because that’s the style that was prevalent in their heyday.

All of this is for the purpose of projecting the image of an innocuous quaint old family that still clings to its ‘faded’ glory.

Now for headdresses. There’s three main styles of headdress, labelled ‘moon, ‘planet’ and ‘sun’ accordingly. The main circular elements are meant to display family crests and can have various additional accessories attached to them like chains and ornaments.

I imagine there used to be more styles, at one point as many as the ruling families, but in time as fashions shifted they boiled down to the three main ones. These are usually worn with the traditional long hairstyles that all patriarchs conform to and are attached using a system of clips and pins to the topknot at the back.

The hairstyle itself is known as the ‘waterfall’ style, inspired by a classical style of sculpture.

Pictured below is a ceremonial style headpiece which are only worn at the most formal traditional ceremonies.

In general, these headdresses are somewhat unwieldly and unstable if the wearer moves too suddenly. This is again intentional as similarly to the collars restricting posture, it’s meant to restrict movement to ‘slow’ and ‘deliberate’.

And finally we have color symbolism

This is something I imagine as very important for no other reason than it gives me another fun element to play around with so let’s get into it.

In general, a chiss outfit is mainly made up of cool colors and a few warmer highlights though that can sometimes be flipped depending on the wearer’s preference or current trends. Overall there’s a preference for cooler colors and those close to the chiss’ natural coloration (skin and eyes) which also has biological reasoning but more on that later.

Most importantly, colors have culturally established symbolic associations, meaning the wearer can choose qualities they want to emphasize through their choice of color. This is often done through statement pieces to make the choice stand out, such as: eye catching clothing items or accessories, wear frequency, color predomination, etc. Often times the colors don’t reflect the wearer’s true qualities but rather the image they’re trying to project.

Because of the complexity of this system, most Aristocra rely on tailors and stylists to construct their outfits (and by extension public image) for them.

There’s also the so called ‘military colors’ (black and white) which are reserved for the army and navy and are only used as highlights in non-military contexts or by off-duty members of the military:

(General Ba'kif depicted in military colors with Stybla teal, decorative fan and robe trimming)

Colors are divided into ‘cardinal colors’ with long established traditional meaning and secondary ones whose meaning is fluid and depends on current trends. The cardinal color symbols are as follows:

Blue – order, duty, perseverance Red – passion, diligence, honor Purple – firmness, reliability Magenta – innovation, farsightedness, creativity, individuality, self-assurance Green – steadfastness, calm, security Orange – boldness, confrontation, certainty in battle Yellow – vitality, energy, enthusiasm Black – stability White – prestige, perfection, glory

(In chiss culture, light blue is a separate color from dark blue. The blue referred to here is what is commonly referred to as dark blue.)

Sometimes colors can be divorced from traditional meanings like when they’re used to denote family allegiance or as secondary colors meant to just compliment a palette. The color symbolism system is also all but irrelevant for the general public where trends and personal preferences take priority.

It still carries a lot of weight in the upper classes, however. For example, low ranking administrators are expected to wear red underrobes to symbolize their dedication and diligence.

An example of how colors can be used to make a political statement is Patriarch Thurfian, who upon being promoted to his post adopted a color palette of blue, purple and green to indicate a stable, orderly and traditional rule as opposed to Thooraki’s more maverick politics and preference for warm reds, yellows and magentas.

(Patriarch Thurfian in characteristic blue palette with 'moon' style headdress and purple collar. The jacket is sleeveless, showing off the decoration of the outerwrap robe sleeves.)

Overall, there are many ways to use color to indicate meaning. Warm vibrant colors are in general a bold choice so they’re seen as more of a statement, like for example a bright yellow scarf.

Syndic Thrass favored a bright magenta jacket with wide short-cut sleeves to emphasize his charisma. Zistalmu is an example of a more fashion-forward choice with a predominantly maroon color palette, a secondary color with fluctuating meaning. Colors can also underline subtle family and political allegiances, like Ba’kif wearing teal (a color traditionally associated with the Stybla) as a highlight color off duty.

Lastly, biology also plays a part in color preference, albeit a minor one. (Disclaimer, I’m not a biologist so take this section with a grain of salt.)

Unlike humans, chiss are tetrachromats, meaning they have four types of light-sensitive cone cells in their eyes. In addition to the cones most sensitive to short (blue), medium (green) and long (red) wavelengths, the ones found in humans, they also have ones that respond to the infrared spectrum, giving them their infrared vision.

They also, unlike humans, have a higher number of blue sensitive cones and a very low number of red sensitive ones. This is because even before Csilla’s shift to a cooler climate, the flora and fauna of their world had predominantly blue pigmentation, the same pigment that gives them their skin color, which is the main evolutionary reason for their sensitivity to blue.

This imbalance is somewhat made up for by their infrared receptors, as infrared is next to red on the spectrum, but the low number of red sensitive cones means they’re not as sensitive to shades of orange and yellow.

Despite this, they still use these colors in their wardrobe (albeit less frequently and with less variety) and the rarity itself has contributed to the specialness of their meaning. Red in particular has proved itself an enduring staple because of its presence in the color palette of natural chiss pigmentation.

The rarity of these colors could also explain why they’re assigned traditionally less desirable virtues in the color symbolism system.

(secretary Ronan (Lyron) as I imagine him in my fic, with a red administrator underrobe, embroidered outerwrap robe, and yellow scarf as statement piece accessory.)

I’ve also toyed with the idea that the bioluminescent properties of their eyes interfere with the natural perception of colors (much like a red filter) which has led to an adaptation where the brain filters out the excess light in the red spectrum, making them even less sensitive to different shades of red and its adjacent colors. It’s an adaptation similar to that which allows most species to filter out constant monotonous background noise to aid hearing.

But that’s another thing I’m in two minds about as it complicates things further and I’m not too sure of the biological mechanics of it.

[mustelidsinlove]

Dramione one shots that are never far from my thoughts

[in no particular order; mind the tags — some of these are dark]

As Sharp as Any Thorn by Argosy [E, 8.8k]

The road to redemption is a winding one. Christmas at Grimmauld Place, Post HBP.

Art: Night and Her Daughter Sleep (detail), Mary L. Macomber, 1902

Scenes from a Marriage by hiddenhibernian [T, 5.4k]

They say love isn't about what you say, it's what you do. If you see it that way, Hermione doesn't have any reason to complain.

Art: The Lovers, Akseli Gallen-Kallela, c. 1907-1917

Grit by witchsoup [T, 4k]

Hermione attempts to diagnose a secretive patient suffering major curse damage.

Art: Hands Grasping 7, Susan Manspeizer, 2018

remedia amoris by magneticwave [M, 14.7k]

The most amazing thing about Malfoy is not that he managed to build a successful Ministry career out of the total disgrace of his family, but that somehow Hermione only despises him half of the time that they work together.

Art: Circe Offering up the Cup to Ulysses (detail), John William Waterhouse, 1891

Inside by onebedtorulethemall [M, 7.5k]

Something is wrong with Draco Malfoy.

Art: Illustration from The West Wing, Edward Gorey, 1963

With Teeth by provocative_envy [M, 5.4k]

Albus Dumbledore had been wrong about Voldemort’s horcruxes.

Art: Escape Before the Dawn, Devinez, 2023

On the Virtues of Inexhaustible Burning by PacificRimbaud [T, 5k]

In which Draco Malfoy wrestles geology and Hermione receives several gifts.

Art: Saint Augustine (detail), Philippe de Champaigne, c. 1645-1650

I am Sleeping on a Time Bomb by i forgot to blink [M, 4k]

The war is over, and they go to Antarctica.

Art: Barne Glacier, Herbert Pointing, 1911

Tromp as Writ by a_rum_of_one's_own [E, 7.2k]

‘Merlin and Morgana, what’s that?’ he breathed. ‘Muggle underwear. We’re beyond chemises, you know.’ ‘Granger,’ he said. ‘Granger. You can’t. This isn’t fair.'

Art: Saturnina Canaleta de Girona (detail), Federico de Madrazo y Kuntz, 1856

Reset by provocative_envy [M, 4.5k]

And the fear—the fear that he’s learned to swallow, choke on, bury the crushed and fragmented shards of—it's turning the space between him and her and the last six weeks, the last six months, into a gaping yawning brutally invincible chasm; a wall to scale and a cliff to jump and a step he’s never quite been brave enough to take. She takes it for him. Of course she does.

Art: Joan of Arc, Dante Gabriel Rossetti, 1882

Chiaroscuro by ifyouwereamelody [T, 5.1k]

Draco Malfoy returns to Hogwarts for sixth year a changed man. Marked, dangerous, and tasked with something terrible, he finds himself haunted by memories of the year before — a bright spark of connection that now he's got no choice but to douse.

Art: Vengeance is Sworn (detail) from the Revenge Triptych, Francesco Hayez, 1851

The Street Where You Live by scullyvasan [T, 10.5k]

Muggle childhood AU. Single mother Narcissa Malfoy co-parents her son Draco and functionally parents the little girl down the street. Light homages to Books 1-4 but no wands, no wizards, no Hogwarts — just human magic and the passing years at work.

Art: Daydreams, Thomas Couture, 1859

The Running Club by winterwells [E, 10.4k]

Hermione returns to Hogwarts for the "Seventh Year Was A Cluster F*** So Let's All Do It Again!" year. The war has left its mark, and she copes in the best way she can. Running. And she might pick up some stragglers along the way...

Art: Stripes of Silence, Lu Guada, 2012

Whistle by witchsoup [T, 1.5k]

Hermione spends the majority of her time on the tube, or dashing around Sainsbury's hunting for the last of the vegetarian wraps for her two-thirds-complete meal deal. Though it would be somewhat off-brand, she feels that it's well within her rights to ask David Cameron to lower the price of a meal deal, while he's at it. Possibly her rent, too.

Art: Untitled, Isabel Bishop, c. 1940s-1960s

Lights Out by Phoebe [E, 10.2k]

She smiles, and it enrages him further. Granger is afraid of many things. She's afraid of what lies outside Hogwarts, what could be lurking within the walls. She's afraid of Voldemort, and probably of his father. And she is inexplicably, illogically afraid of the dark. But she's not afraid of him.

Art: The Woman with the Candle (detail), Cornelis Visscher II, c. 1643-1658

Salvage by storycat9 [T, 1k]

Who is Hermione Granger when there’s no one left to protect?

Art: After Igor Svyatoslavich's fighting with the Cumans, Viktor Vasnetsov, 1880

The Object Lesson by Fleurizel [M, 13.6k]

When Hermione is forced to spend a weekend at the Bulstrodes’ country estate glad-handing for the Ministry, she finds an unlikely ally in the only other house guest who hadn’t fled the country when the war broke out: Draco Malfoy.

Art: Hands of the Puppeteer, Mexico City, Tina Modotti, 1929

i think i've seen this film before by magneticwave [T, 24.8k]

It doesn’t occur to Harry until supper that night, while Luna makes a Spanish tortilla with pink and blue potatoes from her garden, that Granger might actually be his friend now. Not just a transferable friend, comfortable with him because she’d grown up with a strangely domestic alternative version of him with short hair, but a real friend. Since he’s not sure how to feel about it, he eats his half of the tortilla in a silent daze and then helps Luna go over the last of the proofs for next week’s Quibbler. 

Art: Still Life with Orange by Süleyman Seyyid Bey, c. 1900

Party Lines by PacificRimbaud [E, 10k]

As the dust settles in the 2000 United States Presidential election, Ivy League student Hermione Granger goes to three different parties, in an effort to think about something- anything- other than the state of Florida. So does that argumentative trust fund prick, Draco Malfoy. A college AU all about enemies who...aren't.

Art: Jasper Johns, Edisto Beach, Ugo Mulas, 1964

i have gone at dusk through narrow streets by i forgot to blink [T, 4k]

Draco, Hermione, and what came before and after the end.

Art: Interior Strandgade 30, Vilhelm Hammershøi, 1901

Breathe by Argosy [T, 14.5k]

The war is over and everyone wants something from Hermione. But that's nothing new; she can handle it. Really.

Art: Cupid and Psyché (detail), François Gérard, 1798

[fawfulydoo]

First drawings on my new computer!

Anyways, here's an official reference post for my take on adult (22-23) Dib :]

I designed and wrote him as a sort of hypothetical "what if when he became older he finally got away from his horrible situation and finally found a group of people who actually appreciate his presence, got whatever help he needed to function and just overall became happier?" I know that's not typically how Invader Zim goes but I don't really care lol. I wanted to put a bit more emphasis on his sillier side we see occasionally in the series, since he's probably not chronically depressed and/or stressed all the time now.

I'm basing his style on when the show aired, as he would be 11-12 in 2001-2002 so this would be in 2012. I have a soft spot for older internet culture given I grew up with it so consider this a kind of homage to it!

[jhoca-sims]

Carpenters' Hall - 30x20 (NO CC)

Carpenters' Hall in the Sims 4! Carpenters' Hall is a historic landmark - it hosted the First Continental Congress in 1774 and was home to Ben Franklin's Library Company, The American Philosophical Society, and the First Bank of the US (Source), just to name a few.

This building was historically used for different purposes, and its Rooms were rented out by different organizations. During the Revolutionary War, part of the first and second floor was used as a hospital. Ben Franklin's Library Company occupied the second floor until Dec 1791. The American Philosophical Society "rented the first floor West Room" from 1780-1789 (see the full timeline of Carpenters' Hall).

References: The official floorplans for the building are available here (Philadelphia Buildings and Architects). I referenced these floorplans alongside this essay on Carpenters' Hall by Charles E. Peterson (published in The American Philosophical Society's Transactions Vol. 43, Part I; accessed via the National Park Service archives), which includes written accounts of Carpenters' Hall as described by John Adams and others, and which ultimately served as my guide.

I tried to recreate Carpenters' Hall as it might've looked during the Revolutionary War, but because the building was undergoing changes during the War (i.e. its occupants, the state of the building itself), as well as the limitations of the game, this is not a completely accurate representation of Carpenters' Hall (see notes below cut).

This build combines some of the Hall's multifunctional purposes during the Revolutionary War: as a meeting place, infirmary, and Library. For some areas (i.e. the cellar, the garret/attic, etc; bathrooms are included for Sim functionality and gameplay), creative liberties were taken.

➜ download my TS4 builds: my EA ID is jhocaa / my TS4 builds

Notes:

I've placed tiles in the first floor hallway (the entire first floor of Carpenters' Hall is tiled), but those tiles were installed after the Civil War (Source) and likely would not have been there during the AmRevolution. I've included the tiles in the hallway in homage to this.

The first floor was, presumably, once partitioned by walls - to serve as rooms for tenants, such as The American Philosophical Society, who "rented the first floor West Room" - however, these walls no longer exist in the present day. You can see where walls once stood in these floorplan drawings of the first floor (indicated by the dotted lines).

There are many smaller rooms on the second floor (as seen in these floorplans) that are nondescript and could've been used simply as storage space. To represent the multifunctional purposes of Carpenters' Hall during the War, as well as to fit the gameplay needs of Sims, I turned them into functional spaces: infirmary, extra beds, full bath, study/desk room.

The library on the second floor (off-limits to the public) is based on the available photos on their website: carpentershall.org. This library, as seen in their photos, really belongs to The Carpenters' Company - and not Ben Franklin's Library Company. You can read more about the history of The Carpenters' Company library here. For the purposes of this build (and in-game), the library is one and the same.

The third floor (the attic space within the roof; the support beams, framework, etc) is omitted due to game constraints.

[genericpuff]

i find it funny that one of rachel’s drawings of herself in the afterword that just went up is just fully persephone. is that something she does a lot?

Alright so I've been making it a general rule for myself to like, not harp on Rachel in any way outside of LO as much because frankly the horse is dead now and there's not much left to say outside of what can be analyzed in hindsight. I think despite everything I have to say about her and her work, she still deserves to get away from this nonsense and I don't wanna spend eternity hovering over her shoulder.

But the afterword was posted within the LO series and is clearly meant for readers of LO in the functioning of being an afterword so let's just call it fair game LOL

I will say, on the whole, it does feel very honest and sentimental and I can respect Rachel for taking the time to write out and illustrate her afterword in a way that was personal to both her and her fans. I can understand why she went at it from the angle that she did and I'm not gonna fault her for that.

But there's also something that feels deeply... disingenuous about her approach right from the starting gun. I will say, before I continue, that I'm well aware I am biased towards Rachel as a creator, and I fully acknowledge that I could very well be reading too much into things. This is just my opinion, take it with mountains of salt.

I can get looking back on your own childhood, your past self, whatever, and going "see! it all got better!" because sure! For a lot of creators like Rachel, it must be wild to look back on where they came from and there's a lot of sentimentality on expressing that through an afterword like this where she reflects on where she came from. Though she STILL didn't acknowledge her other comics outside of LO, I can understand if she wants to leave those skeletons in the closet.

But I feel like her drawing herself as a child who's being given an Eisner by her adult self and all that just feels like some gross attempt to disarm any criticism of her because "don't make fun of me, I'm just a sad lonely baby girl!"

She's not a child. Child Rachel didn't grossly misappropriate Greek myth into their own self-indulged vanity project. Child Rachel didn't claim herself a folklorist of a culture's works only to bastardize them completely. Child Rachel didn't create a hostile environment within her fanbase by bullying anyone who she perceived as a threat, sneaking into critical spaces to try and cause trouble, and writing her own clapbacks into her comic. Child Rachel didn't claim to be challenging misogyny and purity culture only to reinforce misogyny and purity culture through her own self-insert baby-virgin-gets-rescued-by-rich-tycoon power fantasy that regularly glorified abuse towards women and the lower class.

30-almost-40-year-old Rachel did though.

At best it comes across as really cringe sentimentality from a Greek-weeb (heh, greeboo) and goes to show how much Rachel inserted herself into Greek myth without ever absorbing its messages or cultural contexts, it was all about her and her feelings as a sad New Zealand girl with dyslexia who thought Persephone's story was about another sad girl being rescued from her "horrible childhood".

At worst it's an active attempt to play on people's heartstrings by drawing herself as a child who people will naturally not want to criticize. I don't want to assume she's doing it intentionally, I really don't want to leave her afterword on a bad foot, as I can definitely understand as both a creator and a person who struggled with learning disabilities in their own childhood how and why she wants to pay homage to her past and where she came from... but let's just say, as someone who's also gotten way too "lost in the sauce" concerning personal self-reflective projects, I think there's a lot to say about how this confirms that Rachel made LO entirely for herself, about herself, without any actual intention to respect the original myths, because she never truly separated them from herself when she was a child. And, in my humble opinion as someone who has Been There with the self-insert OC's and self-reflective angsty plotlines, I can fully attest to the fact that that's not fucking healthy. Even with personal projects, you NEED to learn to get your head out of the sauce, you NEED to learn to objectively separate yourself from the narrative so the story doesn't fall apart under your own hubris and ego, you NEED to learn to draw a line if you want to have any sort of identity as a human being outside of what you make for people. And that's with just normal original stories, this was a story based on Greek myth which doesn't belong to her.

And this goes for a lot of the things she's said and done in the past, so much of her own "sources" even are tethered to things that she read / watched in her childhood and only vaguely remembers, as if she never mentally left her childhood at all, which just... if the point was to highlight her past and the traumas she went through and how they contributed to her present, an Eisner isn't going to validate those experiences. And drawing attention to her past through the lens of her childhood self absolutely 100% does not absolve her of the negative effect her work has had on the modern Greek myth zeitgeist nor the things she's said and done as a 38 year old woman who should absolutely know better.

The community she entered and took from will forever remain changed by her influence and taking, in many ways not for the better. She has the privilege of walking away and never having to think about it again, with all the awards and accolades that were bought for her, the bravado that she built around being a "folklorist" with zero credentials, and the platform she was given over many other creators struggling to even be heard.

That "place" she claims to have now was built entirely on inserting herself into another culture's works and doing nothing but taking, taking, taking, while offering nothing in return but vanity and lip service. That "place" was paid for and brought to you by Webtoons.