The house Odette's great-aunt left her. Not in the mists in-character, but still cradled on the coast of Vylbrand on a decent plot of land. Most of the house remains closed off, in various states of abandonment, but the wing Odette does occupy is kept tidy. She has certainly added her own touches and has claimed an attic bedroom for her own.
If you swing by for a visit please leave a message! And mind the shadows.
If you're still taking those polyam sketch prompts...D2 for Cody/Obi-Wan/Rex?
Obi-Wan deserves a pair of handsome space heaters for the cold Tatooine nights :3 nap piles for everyone! Thanks for asking (and for adjusting the requested pose so that I can keep drawing different poses)❤️
ok I have A Lot of thoughts about the staircase confession (well really about Edwin's whole character arc, but all roads lead to rome) but for now I just wanna say that, yes, I was bracing myself for something to go terribly wrong when I first watched it, and yes, part of me was initially worried its placement might be an uncharacteristically foolish choice made in the name of Drama or Pacing or Making a Compelling Episode of Television but at the expense of narrative sense--
But I wanna say that having taken all that into account, and watched it play out, and sat with it - and honestly become rather transfixed by it - I really think it's a beautifully crafted moment and truly the only way that arc could've arrived at such a satisfying conclusion.
And if I had to pinpoint why I not only buy it but also have come to really treasure it, I'd have to put it down to the fact that it genuinely is a confession, and nothing else.
That moment is an announcement of what Edwin has come to understand about himself, but because it takes the form of a character admitting romantic feelings for such a close friend, I think it can be very easy, when writing that kind of thing, to imbue it with other elements like a plea or a request or even the start of a new relationship that, intentionally or not, would change the shape of the moment and can quickly overshadow what a huge deal the telling is all on its own. But that's not the case here. Since it is only a confession, unaccompanied by anything else, and since we see afterward how it was enough, evidently, to fix the strangeness that had grown between him & Charles, we're forced to understand that it was never Edwin's feelings that were actually making things difficult for him - it was not being able to tell Charles about them. 'Terrified' as he's been of this, Edwin learns that his feelings don't need to either disappear completely or be totally reciprocated in order for him to be able to return to the peace, stability, and security of the relationship with which he defines his existence - and the scale of that relief a) tells us a hell of a lot about Edwin as a character and b) totally justifies the way his declaration just bursts out of him at what would otherwise be such a poorly chosen moment, in my opinion.
Whether or not they are or ever could be reciprocated, Edwin's feelings are definitively proven not to be the problem here - only his potential choice to bottle it up - his repression - is. And where that repression had once been mainly involuntary, a product of what he'd been through, now that he's got this new awareness of himself, if he still fails to admit what he's found either to himself or to the one person he's so unambiguously close with, then that repression will be by his own choice and actions.
And he won't do that. Among other things, he's coming into this scene having just (unknowingly) absolved the soul of his own school bully and accidental killer by pointing out a fact that is every bit as central to his self-discovery as anything about his sexuality or his attraction to Charles is: the idea that "If you punish yourself, everywhere becomes Hell"
So narratively speaking, of course it makes sense that Edwin literally cannot get out of Hell until he stops punishing himself - and right now, the thing that's torturing him is something he has control over. It's not who he is or what he feels, but what he chooses to do with those feelings that's hurting him, and he's even already made the conscious choice to tell Charles about them, he was just interrupted. But now that they're back together and he's literally in the middle of an attempt to escape Hell, there is absolutely no way he can so much as stop for breath without telling Charles the truth. Even the stopping for breath is so loaded - because they're ghosts, they don't need to breathe, but also they're in Hell, so the one thing they can feel is pain, however nonsensical. And Edwin certainly is in pain. But whether he knows what he's about to do or not when he says he 'just needs a tick,' a breather is absolutely not what's gonna give him enough relief to keep climbing - it's fixing that other hurt, though, that will.
Like everything else in that scene, there's a lot of layers to him promising Charles "You don't have to feel the same way, I just needed you to know" - but I don't think that means it isn't also true on a surface level. It's the act of telling Charles that matters so much more than whatever follows it, and while that might have gone unnoticed if anything else major had happened in the same conversation, now we're forced to acknowledge its staggering and singular importance for what it is. The moment is well-earned and properly built up to, but until we see it happen in all its wonderful simplicity, and we see the aftermath (or lack thereof, even), we couldn't properly anticipate how much of a weight off Edwin's shoulders merely getting to share the truth with Charles was going to be, why he couldn't wait for a better, safer opportunity before giving in to that desire, or how badly he needed to say it and nothing else - and I really, really love the weight that act of just being honest, seen, and known is given in their story/relationship.
antoine + étoiles insane moments, p.2. aka the ass saga. p1 here
transcript + context for some of the clips below
[Video Transcript:
[First clip plays.]
Rivenzi: You want to see Etoiles’ ass, of course…
Antoine: Yeah, I’m gonna stare at your ass, Etoiles…
Etoiles: Fuck, what dread, during Popcorn [a talkshow Etoiles had been invited on the previous week], when I went up to the map and you said that, and I thought ‘whoa—‘
Antoine: Sorry
[Second clip plays: the moment during Popcorn]
PA/Domingo: Antoine Daniel has posted a tweet for us: ‘I wanted to look at this map of Africa, but Etoiles’ ass in the shape of a standing bell is driving me crazy. Smiley face with eyes in the shape of hearts.’
[Third clip plays: a continuation of the first clip.]
Antoine: Sorry, bro…
Ponce: Oh but that tweet, besides
Rivenzi: A standing bell…
Antoine: What’s more is that I never tweet and when I do it’s to tweet this sort of shit
Ponce: That’s exactly what I told myself. When PA read the tweet, I thought to myself, ‘but he never tweets!’ And he tweets to talk about Etoiles’ ass
Antoine: There needs to be a good reason, you see
[Fourth clip plays: a clip from the Team du Lundi’s minecraft server.]
JDG: Someone (in chat) said, ‘I can’t tell whether the atmosphere is good tonight or—‘
Antoine: It sucks, it sucks
Florence: You don’t need to ask every time, it always sucks
Baghera: Always sucks. Especially when Etoiles talks about ass [which had been a previous topic of discussion for him that night]
Antoine: Stooop, I enjoy it
Mynthos: You enjoy it?
JDG: It’s true tonight that it’s more weird than bad
Antoine: I like it when Etoiles talks about ass….
[Fifth clip plays: a second and different clip from Popcorn.]
Etoiles: —you’re not allowed to tell me that [Xari claimed to not know much about cinema]. I know you, I studied, because you’re my rival [in pop culture]. I really enjoy what you do in life, Xari, and you’re really knowledgeable about cinema
Antoine: What do you mean he’s your rival? And I’m just shit?
Etoiles: You, you’re my lover
Antoine: Oh yeah, sorry, my bad
PA/Domingo: One of the three is gonna die soon. There’s a whole situation, there’s a whole lore
[Sixth clip plays: a clip from the QSMP.]
Antoine: Don’t you want to get married, dude?
Etoiles: Well, I don’t have the time to fuck
Antoine: What the fuck?!
Etoiles: I don’t have time to fuck, dude. I just need to kill everyone
Antoine: No but just a marriage, you see. You’ve watched Game of Thrones— you haven’t watched Game of Thrones, you can’t know how marriages work in that series
Etoiles: I’ve watched it, but I’m married to the street, dude. I can’t give out my heart that quickly
Antoine: Yeah but you can give out your ass quickly, no?
Etoiles: No, frankly, my ass—
Antoine: What the fuck?!
Etoiles: Giving out your ass takes time, dude
Antoine: What the fuck…
Etoiles: Then again, I need to think about it. I’ll give you my answer. I need to discuss, and everything
Antoine: I’m tired of getting betrayed. You get married with someone else—
Etoiles: Never in a million years!
Antoine: —it’s like yesterday. Apparently Maximus got the mic from his ass removed while I wasn’t there. I was supposed to be the one to do it
Etoiles: Oh okay, so I’m your second choice?
[Overlapping]
Antoine: No! It was just to help him—
Etoiles: No, but, okay
Antoine: He got— listen—
Etoiles: There’s no problem!
Antoine: Fuck, nevermind
Etoiles: There’s no issue! Oh, so you’re opening my chest and stealing?
Antoine: I was just looking! Out of curiosity
Etoiles: Yeah, that’s it
Antoine: I don’t even understand what’s in it
Etoiles: Yeah, out of curiosity. Dude, your opinion on my cave?
At this point, talks about "mutilated bodies" tell me everything I need to know about people's politics. I truly don't believe you can combine the idea of mutilated or degenerate bodies with anything even slightly progressive in terms of autonomy. If you believe yourself to be progressive or anything left of an unapologetic fascist, you frankly cannot truly entertain the idea that some bodies and people are inherently mutilated or degenerate. It is an inherently fascist idea.
oc time again! + her town & culture (heavily inspired by pre-roman italic populations)
she is suri sauthon (later suri laran, after her marriage). her story is linked to my swtor imperial agent, but most of her life for like. the one year away where she meets him, is spent in a town in the mountains of mirial.
despite mirial being cold and desert, and many cities developing underground, her town flourishes thanks to a force nexus, venerated in the form of an ancient, sacred, alive crystal. the ecosystem of that mountain depended on what "the horned crystal" was capable of giving them, but mirialans couldn't live off of that alone, so they developed trade and some rudimental technology, even if oftentimes it was bought thanks to the highly profitable trade of a plant used to make medicines that slowed down aging and had overall healing properties.
note: everything that's generated by this nexus has these healing properties BUT they have to be processed, except for those who bathed in the waters of the cavity under the crystal - the "real" nexus, but not the worshipped one. the waters were sacred but they were not thought to be miraculous, unlike the crystal, who instead was thought of as the keystone of the ecosystem: without it, everything would fall apart (and that is partially true: the cavity was the "real" nexus but thanks to the crystal, also strong in the force, the properties were spread all over the mountains). those who bathed in the cavity's waters - so, all of the town, who had a sort of baptism there - could eat the plant, make whatever food with it, and not only that plant, but everything generated by the nexus, that, again, had similar properties. this allowed people to live up to normal life-spans without advanced medicines or, much, really. to those who didn't live there, though, after the processing, had incredible effects, slowing down aging - for those who took it regularly - and making people able to live up to half a century more than the average]
originally, there were four tribes of nomads that lived thanks to horned farm animals that decided to settle down into one bigger town and other smaller settlements, to live off of transhumance. this division of the tribes stayed into the political and social organization: every person belonged to one tribe specifically, and had slightly different rituals and culture. for examples, each tribe had their own priests and healers, with different techniques and traditions. the town, tho, was guided by a group of people in the high priesthood, a position you could reach only by having earned the trust of all tribes. those high priests had many roles: they guided the people into sacred processions common to all the tribes, they managed the trading with outsiders, they did the maintenance of the temple of the summit (the one that functioned as casket to the crystal) and created a special liquid to offer the crystal that helps it grow.
this particular temple was important because 1. it was very visible, from every angle of the town, and it became an important identity symbol; 2. it stored the venerated horned crystal; 3. it had the altar where sacrifices were made for the crystals. that altar had a hole connected to the cavity, that allowed the liquids to reach the underground; 4. it had various symbols: statues representing each tribe + the high priesthood, and typical mirialan tattoos carved into the wood of the trees that served as columns for the temple, symbolizing 8 values that who dared to enter HAD to have; 5. it was on the way to an important lake (called "mother lake" because the lake the town was built around to depended on the waters of that other lake) where they traveled to in important processions; 6. it was said that a the wizard who unified the tribes made it with its magic, making the plant grow to hold the temple's roof. this wizard was, actually, a force user, obv.
BACK TO HER THOUGH: she's daughter of one of the high priests, who was in charge of managing the trades with outsiders, and lives in a house on the mountains with her mother and him. her parents are from different tribes (that's one of the things that earned him trust from the 4 tribes): when a child is born from two different tribes, they don't pick one to allign to, but they're usually linked automatically to the one with more relatives in it (in her case, the father's tribe: she had many uncles and aunts on his side while her mom only had one sister).
later, though, she got quite tied to her mother's tribe due to a mysterious illness that only her mother's tribe healer was able to cure. she spent 4 years (from 10 to 14 years old) living with the healer and learned her secrets. to better study, she wrote them down. when she returned home, she studied to become a priestess with her father. at 22 (the average age: you can't become priest before your 20s), she was supposed to take a test and become a priestess, but the healer of her mother's tribe died and the tribe asked her to take her place. she couldn't technically do that, but both tribes estimated both her and her parents and she was allowed to become both. she then decided to try to become a high priestess, and became one at 25 (a quite young age). being part of the council, she tried to convince the various tribe healers to unite their knowledges and write them down, and eventually made it. healers still remained tribe based but they now had an "upper, inter-tribe level" similar to high priesthood.
years later, the sacred horned crystal is stolen from the temple by some Hutt mercenaries looking for a profit. given the trust she has earned from all the tribes and the fact that her father is the high priest that deals with outsiders (and she's been hearing stories and advice about it since she was little), she is the one tasked with getting it back. without the growing crystal, the keystone to their ecosystem, the village would have lasted only a few years. in hrr quest, she meets imperial intelligence agent tar'x laran and, as they "solve the mystery" and fight to have it back, they get closer. they'll get married and have a daughter, Vegoia (who's the only one who actually will get to the plot of my story. this was all background)