#it's NOT in my Variations/Adaptations universe for once!

[kivaember]

Coral Theory

but okay serious post about my Coral headcanons:

So way Coral works in APV is that it's a natural part of Rubicon's ecosystem. It's a symbiotic lifeform that binds itself to the flora and fauna of Rubicon, and its mutually beneficial for all parties.

Sorta like the theory about how the mitochondria was once its own thing before it ended up in eukaryote cells, the Coral fulfilled this function for the Rubiconian organisms. It offered benefits like energy, longevity, etc, and in turn the organisms offered protection by housing them and allowing them to propagate within them.

The Coral is a swarm intelligence, though, and its only as smart as its host, really. For the longest time the Coral's drive was the same as its smartest host, and that was just eat, sleep and fuck. Maybe in a few million years, those hosts would've slowly evolved their own sentience and the Coral's understanding of its place in the universe would evolve with it, but-

The human colonists landed.

The Coral folded this new organism into its ecosystem almost within a generation. The Coral was within everything: the air, the water, and plants, etc, and the colonists didn't know about the Coral to know to filter it out. Within a generation every human had a Coral colony seeding within them, and they passed it onto their children, who passed it on and on and etc.

Humans already had mitochondria, but Coral is nothing but adaptive to its host: that's how it ended up being the most successful organism on Rubicon. But with humans, the Coral's third eye was basically forced opened: its host was gripped by things much different to that of basic animals. There was creativity, imagination, the desire to know, curioisity, belief, abstract thought... things that the Coral would've gradually learned over the course of slow evolution, was shoved onto it within a human's generation.

It made things wobble a little, but things would've stayed stable if that had been that. The Coral started to become curious itself, it began to evolve desire and the itch to know, but there was a distinct gap between it and its human hosts. No way to really communicate, and really, the Coral experience what the humans do and it had spent its entire life being a silent passanger, so it was fine.

But then humans discovered Coral, its potential, and tl;dr they basically put the Coral on steroids to exploit its potential fully. They upset the careful balance Coral had with its ecosystem, until it all came to a head with Nagai setting fire to it all and welp, the rest is history.

So, with that headcanon, basically in APV every single human on Rubicon has Coral in them in same way. Yes, even the Redguns, even the Vespers, especially the PCA. The only variation is the density and the level of symbiosis. Rubiconians like Rusty and Flatwell, who can trace their lineage back to the first colonists, have very well-established Coral colonies binded to their cells and nervous system, and this gives them minor advantages over the Earth humans: they live a little longer (a lot longer with their augmentations, admittedly), they're a little quicker at healing from wounds, their immune system is a little more robust, etc. For the corporate forces that had landed within a few years, they have little if any effects, but they can pass on the Coral colony to their children, though without any "outside" Coral bolstering the colony within them, the Coral growth between generations is miniscule. Still there, but miniscule. It'd take a hundred generations to achieve what Rubicon did in ten.

Which leads me onto this important fact: the Coral can't go extinct now.

Even if Walter burned down Rubicon again, Pandora's box has been opened. Rubiconians had been travelling from Rubicon to other human colonies for decades, and humans had visited Rubicon before returning to their own worlds as well. Plus the refugees fleeing the planet post-Fires, plus BEFORE that with Rubiconian foods being exported to Earth, from Rubiconian plants or animals... all containing Coral.

The Coral exists in a lot of humans across the galaxy, and slowly, after many generations, it'll likely exist in all of them. The Coral can be spread to its environment by the waste of its host too, so it'll gradually seed into the worlds its human hosts live on. This'll take hundreds of years, maybe thousands, yes, but there'll be many more Rubicons eventually.

Like a burr caught onto the fur of an animal and taken far from its home, the Coral has cast its many seeds along humanity's footsteps across the stars. Ayre's desire for humanity and Coral to coexist is actually an inevitability, though it'll be something humans won't realise until it has already happened. It's so far out in the future, though, that those during APV time are ignorant of it being a possibility.

Anyways, tl;dr, the Coral is crazy adaptable and is going to be successful whether or not Rubicon burns again. So long as a single human with a Coral colony exists, the Coral will survive.

[the-ninja-legacy-whip]

So, finally, we’ve finally got some semblance of a map for Legacyverse Ninjago. It takes inspiration from like, every map iteration I could possibly find (the obvious iconic dragon-shaped one, the one from Shadow of Ronin, the Ninjago Movie’s map, etc.) buuut everything’s been shuffled a bit to fit my own purposes >:3 (the left side is a base map, the right side is how each Province compares to the others) 

Take everything you know about Ninjago’s locations...and throw ‘em in a fire! (Also buckle up cuz it’s a long one)

General Info: 

So after Time Began and the island of Ninjago was split in half, only the Light Island persisted, and with more unknown, unbalanced forces out there that not even the FSM could fend against all at once, the FSM called upon the help of the friends who taught him the Four Core Elements to help him watch over all corners of Ninjago, along with sending out members of the Elemental Alliance to watch over things. Each of those “corners” was divided off into a Province, with some of those Provinces being more populated, while others were much harder to inhabit due to the terrain. But, over time, people began to grow and adapt, and in this fine 21st Century, there’s a variety of people living all over the island! 

Due to the variating wide-spread nature of Elemental Descendants, some places have specific cultures surrounding the Elements. This plays into the spoken languages as well. New-Form Ninjagon is the universal language in all regions (which is a blend between the symbols of Old-Form Ninjargon yet spoken similarly to English), but individual places have their own secondary languages as well. Any areas that aren’t explicitly labeled are either unexplored, uninhabited, disputed over which Province it fully belongs to and thus have no claimed name, or too uninteresting to qualify as a full landmark. 

Northern Province-

Overview: The Northern Province encompasses the uppermost parts of Ninjago, consisting of mainly cold, snowy climates that range from dense forests to frigid fjords to frozen peaks. At the very crown of Ninjago in the Northern Ocean sits the Ice Fortress, where the North’s Guardian Eirlys once kept the Shuriken of Ice under tight wraps. Not a lot of people live in these parts, not going much farther than Birchwood and the outer Glacier Barrens, but if avoiding civilization is your goal, then this is your place to go! 

Guardian: Eirlys (The White Wolf) Common Elemental Descendants: Nature, Smoke, Sound, Mind, (Ice) Secondary Languages:  Mongolian, Welsh, Dutch, Scottish Gaelic, Yupik

Birchwood Forest

Glacier Barrens

Hypnobrai Tomb

Frozen Wastelands

Ice Fortress

Shintaro (Shares with West Province)

Wailing Alps 

Blind Man’s Eye

Western Province-

Overview: The Western Province consists of the mountainous and rugged regions to the island’s west. While harboring much less dangerous areas than the other Provinces (save for the Desert of Doom), and is the second-most populated Province, the harsh and unpredictable terrain still makes it difficult to settle outside of the region’s main cities. In the westernmost point sits the Caves of Despair, where Ruamoko primarily keeps to himself while guarding the Scythe of Quakes, until he is needed elsewhere. 

Guardian: Ruamoko (Gorilla of the Quake) Common Elemental Descendants: Nature, Shadow, Metal, Gravity, (Earth) Secondary Languages: Somalian, Russian, Indonesian, Turkish, Hindi

Western Range

Caves of Despair

West Haven

Mountain of a Million Steps / Constrictai Tomb

Jamanakai Village

Wildwood

Blackwood Forest

Metalonia 

Shintaro Mines / Heart of the Mountain 

Desert of Doom

Echo Canyon

Glimwillow Woods

Holy City of Domu

Eastern Province-

Overview: Primarily consisting of either scorching desert or places constantly pestered by storms, the Eastern Province doesn’t have much in a way of population, but the space is used for several significant locations, such as an amusement park, a junk yard, a prison, and a external power station for Ninjago City. Within the Thunder Belt on the far east edge of the region sits the ruins of an ancient floating city, from within Tawhiri watches over the area with a...temperamental fist. 

Guardian: Tawhiri (Octopus of the Tempest)  Common Elemental Descendants: Nature, Mind, Sound, Speed, Light, Gravity, (Lightning) Secondary Languages: Arabic, Irish Gaelic, Latin, German, 

Haunted Hill / Temple of Airjitzu

Sea of Sand

Mega Monster Amusement Park 

Anacondrai Tomb

City of Ouroboros

Scrap N’ Junk Yard

Kyptarium Prison

Thunder Belt

Floating Ruins / Lightning Temple

Crashcourse / Scattered Canyon

Stiix 

Dyer Island

Wind Farms Power Station

Southern Province-

Overview: More populated than the East and North but not quite as much as the West and Central, the Southern Province is mostly home to lands that are extremely fertile and rich with resources, due to being almost completely surrounded by water. But there’s also its share of places that could kill a man just by visiting them (such as Torchfire Mountain, the Toxic Bogs, or even the remains of Hono Mizu City). From a small, volcanic island just off the coast of Central’s Ninjago City, there sits not just a Shark Army Base, but also a Fire Temple, and within that temple the Golden Lion Vulcanell once kept the Sword of Fire safely guarded in his possession.  Guardian: Vulcanell (The Golden Lion) Common Elemental Descendants: Smoke, Shadow, Poison, Light, Amber, (Fire) Secondary Languages: Mandarin, Japanese, Italian, Bengali, Thai

Ignacia

Coastal Village

Forest of Tranquility

Cemetery of Souls / Fangpyre Tomb

Volcanic Island / Fire Temple / Shark Army Base

Spirit Coves

Toxic Bogs/ Venomari Tomb

Torchfire Mountain Range 

Hono Mizu (Northern Half)

Rainbow Valley / Village in the Valley

Central Province-

Overview: Due to housing the island’s capital and despite containing some of the deadliest areas of Ninjago, Central Province houses the majority of Ninjago’s population within Ninjago City alone. Traveling far beyond Central can be exceedingly difficult, as it requires going through either the west’s mountains, the east’s desert, the north’s canyons and cold, or the southern bays (unless you have a flying ship or magically whipped up mech). Not only do people not often travel in or out, but neither does information, meaning that even though some outer places have knowledge of the Elemental Compass (such as Metalonia, Stiix, Hono Mizu, etc), nearly everyone within Central does not...despite the ironic fact that a majority of the Elemental Masters live within the city. Central Province currently does not have a Guardian, and Master Wu has been doing his best to watch over it in the previous Guardians’ stead.

Guardian: Dragon Genesis / Great Devourer (Order of the Ouroboros) Common Elemental Descendants: Surprise, Nature, Smoke, Shadow, Form Secondary Languages: Old-Form Ninjargon, English, French, Portugese

Mountain of Impossible Height / Monastery of Spinjitzu

Ninjago City

Darkley's Boarding School

Hiroshi’s Labyrinth

Primeval’s Eye

Fortress of Fortitude

Vermillion Swamps

Corridor of Elders

Aquatic Archipelago-

Overview: At the very bottom of Ninjago sits the Aquatic Archipelago, the last remaining trace of the once only landmass within the Realm of the Endless Sea. This region doesn’t seem to have a Guardian, but ancient texts from Before Time Began indicate that the FSM left the archipelago to its own devices as a sign of respect for the beings that already lived there, along with the winged-leviathan that formerly ruled the realm...although that beast’s name has since faded with time. Housing the Golden Peaks from which the rest of Ninjago was born form, and the strip of islands housing the protectors/keepers/worshippers of a very ancient, supposedly sleeping sea serpent, those who do still live here are either descendants of those who worshipped Wind and Water, or those who braved through the seas and/or the Toxic Bogs of the south to found the Vagabond Plains (which is where Jesse’s grandmother is from). 

Guardian: Wojira (Sleeper of the Deep) Common Elemental Descendants: Water, Amber (Wind) Secondary Languages: Spanish, Greek, Korean, Tagalog, Swahili

Tartarus Trench + Temple of the Sea

Hono Mizu (Southern Half)

Chen’s Island

Storm Belt

Boiling Sea

Merlopia

Golden Peaks

Vagabond Plains

(Tiger Widow Island  + The Keeper’s Island are also in this region, but are not on this map due to...not being on any maps normally haha) 

I do have plans to do layouts for Ninjago City and the Dark Island eventually, but shh...I need a nap now...

[hungergameswho]

Hiii,

Call me Nox.

My pronouns: They/Them or She/Her.

I'm Sri Lankan Tamil, a closeted Bisexual and a part time wheelchair user.

I'm a hopeless romantic.

I'm currently in my "babes" and "my love" and "y'all' phase.

I'll probably say the occasional dankeshun despite barely knowing any German.

FANDOMS - TV shows, movies, books

The Hunger Games & The Ballad of Songbirds and Snakes by Suzanne Collins

Doctor Who (have only seen Nuwho so far, not Classic Who)

Six of Crows duology by Leigh Bardugo (have yet to read the trilogy and KoS duology) (haven't seen the show yet)

Percy Jackson and the Olympians by Rick Riordan (been a while since I read them tbh)

Trials of Apollo by Rick Riordan (been a while since I read them tbh)

The Heroes of Olympus by Rick Riordan (been a while since I read them tbh)

The Sun and the Star by Rick Riordan

Harry Potter

The Fault in Our Stars by John Green

Good Omens (haven't read the book yet, only seen the show)

Ghosts (BBC)

A Court of Thorns and Roses (the whole series) by Sarah J Maas

Crescent City trilogy by Sarah J Maas (haven't read book 3 yet)

The Princess Bride (only seen the movie)

Little Women by Louisa May Alcott (2019 movie and the book)

Five Feet Apart by Mikki Daughtry, Rachael Lippincott, and Tobias Iaconis

Maleficent (the 2014 and 2019 movies)

Merlin

Our Flag Means Death

Bridgerton (haven't read the books, only seen the show)

Scooby Doo (any of the variations tbh aside from the movies - there's so many I can't keep up)

The Selection series by Kiera Cass

How to Train Your Dragon (the movies and TV show, I don't think I properly read/finished the books)

Anne with an E

A Series of Unfortunate Events (TV show and books)

Sherlock (BBC adaptation) (only read the first two books)

She Ra (TV show)

The Umbrella Academy (TV show)

Stranger Things (TV show)

Divergent by Veronica Roth

Totally Spies

Big Hero 6

The Pirates of the Carribbean

Bungou Stray Dogs (haven't seen the anime, have read the main manga)

MUSICIANS/BANDS I LIKE

Mainly

Taylor Swift

Jorge Rivera-Herrans

Anirudh Ravichander

Also

Ado

Anson Seabra

Sleeping at Last

AURORA

Banners

Billie Eilish

Fall Out Boy

My Chemical Romance

Harry Styles

Isak Danielson

Lewis Capaldi

Ruelle

Fleurie

Seafret

Hiphop Tamizha

Of Monsters and Men

Novo Armor

One of my fave THG posts below

Important TBOSAS post

DAILY CLICKS - 🇵🇸

[thenightling]

My top ten favorite Christmas movies

Rise of the Guardians. Technically not set at Christmas but Santa is a character in it.

An American Tail - Actually set during Hanukkah so it's technically a Hanukkah movie.

10. Nearly all versions of A Christmas Carol. They may all tell variations of the same story but I have a soft spot for them. The animated one with Tim Curry, the Kelsey Grammar musical, the Jim Carey motion capture version, the 80s Scrooged version with Bill Murray.

In fact the ONLY version of A Christmas Carol I don't like is that awful 2019 BBC mini-series version that adds child molestation, sexual assault, urinating on a grave, non-Forgiveness and all together just a mean, cynical version... That version missed the point of the story entirely and taints all other versions by simply existing. That's how much I hate that 2019 version.

But I stand by that I love nearly all versions of A Christmas Carol. There are several adaptations and only one bothers me.

Specific favorite version of a Christmas Carol is The Muppet Christmas Carol - Despite being done with muppets this is one of the most faithful adaptations of a Christmas Carol while also having some great muppet humor.

9. ALL the Rankin Bass Holiday specials, stop motion and cell animation. I love all of them. And they're mostly a shared universe like Universal's Monster movies or the Marvel Cinematic Universe. Only some of these are movie length. My favorites change based on my mood whether Twas the Night before Christmas, Nester the long eared Christmas Donkey, or Rudolph and Frosty's Christmas in July.

Currently my favorite is probably The Life and adventures of Santa Claus, based on the novel by L. Frank. Baum. It's technically set in the same universe as The Wizard of Oz books but you'd have to read the original novel to know that. There's also a cell animated adaptation but I prefer the 80s stop motion version.

In this story Santa was raised by faeries in an enchanted forest and the story is actually these immortal beings determining if he's worthy to be made into an immortal too because if he isn't made immortal he's destined to die that night. Needless to say, they grant him immortality.

Again, my favorite is subject to change based on my mood.

8. Legend of Hell House - I'm only putting this on the list out of technicality. The movie ends on Christmas day and that's when the ghost is defeated. I first saw this movie late at night with my friend Lorie. We decided to watch it because Roddy McDowall was in it. And we were so sure he would die. He was the sort of character that dies in those sort of movies. He had been in the house before. He was meek, timid, and kind. He was nerdy. It was a cliche that someone like him would die. It was a relief and surprise when he turned out to be the hero of the story.

7. Jim Carey's The Grinch. I have a soft spot for this once since my mother loved it so much.

6. Marvel Superhero Adventures: Frost Fright! Most people don't even know this exists but it's a Marvel superheroes Christmas special / movie. It even taught me the old Nordic version of Santa (may even be a persona of Odin). Jolnir (Yule-near). However in this version Jollnir is a light elf.

5. The Addams Family Christmas. Technically not a movie but an episode of the 60s Addams Family, it's just very sweet. The kids are told Santa isn't real so all the adult Addams decide to prove to them that Santa is real by dressing up and giving them gifts. Meanwhile while they're distracted, the real Santa shows up.

4. Ghostbusters 2 - I know this sounds weird but it's set right after Christmas and ends on New Years day and there's a lot of Holiday feel to it. Also I kind of like Ghostbusters 2 more than the first one. I'm weird. I also loved the Real Ghostbsuters animated series episode where the Ghostbusters accidentally bust the ghosts that haunt Scrooge and then they had to rescue them and save Christmas.

3. Edward Scissorhands - I love this movie and somehow often forget that it's a Christmas story even though it's a bitter-sweet fable about the origin of Christmas snow. And it has such a beautiful, Haunting score by Danny Elfman. The score is gorgeous. And Nostalgia Critic points out that much of the atmosphere comes from Danny Elfman's haunting score. When Kim is dancing under the block of ice without the music the scene is weird and awkward. The music makes it.

One time my mother and I were at the mall and I saw this nice anniversary edition DVD of Edward Scissorhands in a steel case. My mother and I went to McDonalds and while at McDonalds she handed me the money and said "Go back and get that Edward Scissorhands." That was my favorite Christmas gift that year.

2. Over the Garden Wall - This is a TV mini-series but when spliced together it makes a movie length story. And all the visuals are inspired by vintage New England Halloween, Thanksgiving, and Christmas cards. Bonus mention: I forgot to mention the TV mini-series adaptation of Hogfather. It's a bit like Nightmare before Christmas. Set in Terry Ptatchett's fantasy Discworld, Death (The Grim Reaper) has to play the part of The Hogfather (Their world's version of Santa) one year. And it's actually very sweet. There's a scene where he saves a little match girl that chokes me up each time. And I love the moral that we need to believe in intangible / impossible things like love and justice in order to make them real.

1. Nightmare before Christmas - This has been my favorite movie since I was eleven-years-old. Not just favorite Christmas / Halloween, or Tim Burton film. Just favorite film, period.

I saw this with my Birthday money, it came out right before I turned twelve. I paid for my mother, brother, cousins and I to go see it. As soon as "This is Halloween" started I knew I was hooked.

[mobolanz]

2, 17 and 20 for any oc you want ❤️

Good thing I can count on you jo 😆💜

Okayyy for this turn I'll use my sailor moon OC Mia :3

2. Does your oc have any nicknames? How did they get these nicknames?

Yeup!:D

Amethyst: Her alias as a member of the black moon , ofc after the gemstone. Since all the members are named after ones (canon already having diamond, sapphire, emerald and ruby.)

Now speaking meta; 🤩🤩🤩

The stone's name literally meaning "not intoxicated/drunk". After the belief that the stone protected its owner from drunkenness. Amethyst activates spiritual awareness, opens intuition and enhances psychic abilities. It has strong healing and cleansing powers & encourages sobriety.

Another origin to it in Greek mythology: Amethyst was a young mortal who became the object of wrath of Dionysus after he (by different variations) became intoxicated by wine/ had his affections refused/ was insulted by another mortal; & swore to slay the next mortal to cross his path - creating fierce tigers to carry his wrath. The beautiful young maiden, Amethystos was the mortal. When she cried out to Artemis for help, the girl turned into a white, shimmering crystalline stone to protect her. Dionysus, humbled by her desire/ driven by grief, poured wine in remorse for his actions at the sight of the beautiful statue on the stone, turning it purple. As a result, the Amethyst is often associated with romance, lust and love.

Maid of violets is anofher one she has. More of a supporting title like black lady's "queen of darkness"

Maid for an unmarried woman acting as principal bridesmaid at a wedding. typically of noble birth, attending a queen or princess.

Violets symbolize modesty. According to Greek mythology again, violets were created when one of Artemis' nymphs, was transformed her into one, which in turn led the violet to become a symbol of modesty and devotion as well. (Also connected to the name maria which is what Mia (and ny own name) is driven from 😆💜) they also mean regality, leadership, strength, and grace. imbue the name with an organic spirit, beauty, delicacy, and vibrancy. comes from the Latin word viola, meaning purple.

And another one is "the wallflower" , in universe it's treated in almost derogatory manner, but I find it endearing 🤧 to represent like how she keeps her greatest parts hidden for modesty and knowing her place and not being allowed to grant the greatest parts of herself. And the next question shows this quite literally. Anither quite literally way this is shown is Her hair is almost unnaturally long but she keeps it tied in a way that.shocks everyone so much once she wears it down- even to "how come you don't do it more often?? It's lovely and unbelievable!" but when combed it's drawn like a rose, to symbolize her own true hidden greatness. (And the sad part she's barely being allowed to express it under the current circumstances she initially forces herself to adapt to). That also brings her love to certain things other people's eye wouldn't notice, the unnoticed details. But if I started a demande x mia meta post on how it ties to the diamond in the rough and makes them a great and symblic ship the canon was missing I'll reach the tumblr word limit if there is any.

17. What’s your oc’s biggest aspiration in life? Why?

All in all she's very much a person that loves giving of herself and her best qualities naturally when she truly wants and loves , from small acts to those she knows and to her career, it balances with her self value well often. sometimes it does slip onto the people pleasing territory but she has a certain boundary when noticing it does - that's really under a certain condition of not demanding of her to sacrifice what brings her joy, motivation and allows her to feel pleasant just to satisfy the other party's demands(ex. Her first job). Cuz even suggesting that is an ultimatum for her to he done with it. So long as those conditions are met wherever she is at life, she's content tbh 🤧

20. What does your oc’s bedroom/house look like? How does this reflect their personality?

For as small as the apartment she settled for is she loves decorating it around to the smallest details :3 like me she especially loves adding floral & gemstone related things. Then again that makes her a bit of paranoid perfectionist clean-freak. Smallest thing off place and it implies she's having a certain struggle. But like everything I said ahead suggests, if the detail symbolises balance or lack of- then not likely for most to realize the real problem, or even know there is one. 🤧🤧

Sheesh that's deep I was just basing it in musings I had at the beginning of the year xD. I should get back at the ditched sailor moon rewatch.

Oc asks

[adarkrainbow]

I promise that I will one day share with you all the knowledge I got from my university class about fairytales. I just need a bit of time and relaxation to re-read and translate my old notes.

But already I want to talk about something very briefly. The change that the “fairytale scholarship” is currently undergoing - how the “folklorist studies” that ruled supreme in the 20th century is now being replaced by a “literary study”. 

As you might know, up until these days, the most famous works of fairytale studies were folklorist ones. The Aarne-Thompson classification, for example is a folklorist work. What is a “folklorist study” of fairytales? It is a study that places the so called “folkloric” fairytales before the “literary fairytales”. Basically it deems that the fairytales written as such by authors to be published as works of literature (Perrault, Andersen, etc) are “secondary” fairytales, off-shoots of the “actual” or “original” fairytales - basically adaptations, retellings and reshaping of a pre-existing story. As a result, the literary fairytales are placed aside and only considered as a side-note in “folkloric” studies. Because for the “folklorist” scholars, the truly important fairytales are not those published by authors and writers - but those that you collect by going into the countryside, asking people in villages, summoning the memories of old nurses and grandfathers and storytellers of old. Folklorist scholars of fairytales compare these orals, rural stories of “the folk”, of the people - and by comparing these stories, noticing the differences and similarities depending on the regions, on the countries, on the languages, they try to recreate the various “types” and “categories” of fairytales, a sort of great catalogue, or more specifically a “family tree” of fairytales - because for them, fairytales is all about a cultural genealogy, it is about an “original”, primitive, primordial “ancestor-story” that then somehow spread throughout countries and regions, each person giving a different variation or version of the “ancestor-story”. And in the folklorist study, literary fairytales are just considered petrified, unmovable, unchanging works of art built out of the raw, living material of the “folktales”, but ultimately unimportant in the evolution of actual fairytales and the search for the “true ancestor-story”.

It was the view that ruled the 20th century. And yet, today, people realize that maybe this view isn’t as perfect and as solid as we once thought - and people turn more towards the ancient, pre-Grimm version of studying fairytales. Aka the “literary study”. A type of study that considers that literary fairytales might be actually very important and key elements in the way those stories evolved ; a type of study that focuses mostly on how literary works of fairytales succeeded each other, and how influential they were on each other, before adding the “folktales” as an aside and companion to the literary ones. Literary studies dare to ask the question: “Maybe... maybe there isn’t a primordial ancestor-folkstory from which all others were born? Maybe there were just some really popular literary works inspired by folk tales?”

I need to get into the details later, but I just wanted to make this post to highlight one fact that shows how - and why - such a shift happened. A detail about French fairytales, and Perrault/d’Aulnoy. Let’s just take Perrault. 

Perrault wrote his stories. Puss in Boots and Little Thumbling and Donkey Skin and Cinderella and all that. Folklorist studies collected a lot of French “folk fairytales” from various regions that were very similar to Perrault’s stories, and thus decided “These stories are all proofs of a pre-existing folktale that Perrault merely rewrote and reinvented, attributed himself all the merit when all he did was adding a few details here and there, and using an upper-class language”. Remember when I talked about Pierre Dubois? He is a pure example of a folklorist-sided fairytale expert, as he strongly despises Perrault for removing all of the primordial strength, raw power and “simple truths” of fairytales, burying them under over-flowering, hyper-delicate speech and biased upper-class mentalities (or so he says). No need to tell you Dubois worships the Brothers Grimm rather than Perrault.

But nowadays people start to realize... Maybe it doesn’t work like that. Maybe Perrault should be given more credits. Because you see... The folk versions of Perrault tales were collected centuries after Perrault’s work were published. They were collected in a time and place where Perrault’s stories were widespread all throughout France and famous enough to be part of popular culture. It thus makes sense that a lot of “folk tales” of France would be variations of Perrault’s stories - told and retold throughout regions and centuries until they got different enough to look similar but not identical. It also help that the very reason Perrault’s stories got so famous and popular was through a little think called the “Blue Library”. 

The “Blue Library” was the most famous collection of “peddling literature”. Because remember a thing - at the end of the 17th/in the early 18th century, books costed quite a bit of money, and not everybody in France could read. The works of Perrault, as a book, was originally aimed at a form of “upper-class” - nobility and the aristocracy were his prime targets - and could usually only be accessed by people with the means and knowledge needed, so educated people with enough money to be able to buy extra-things like books. So how did all the lower folks, the poor people, or those that lived in the countryside did to get their books? (because the spreading of books was then still limited to important urban centers) That was the job of the peddlers, who basically copy-pasted the most popular or famous books in the big cities, and then travelled to small villages, remote countysides and non-urban regions to sell the books there. These peddlers of course had to adapt to the means of their clientele - so they sold their book for cheap, and had to cut corners to do so. Small-format books, made with a cheap, easy to destroy paper ; but more importantly, so that the book would cost less, they usually rewrote the stories they copy-pasted, simplifying them, removing episodes and elements (and adding pretty colorful pictures in them instead of entire pages of text). This is how Perrault’s stories actually spread throughout all the regions of France and managed to touch all the French social classes of the time - the “Blue Library” (the most famous and sold peddling literature collection) turned Perrault’s tales (or rather simplified, reworked versions of his tales) into their best-seller. And you’d be surprise to see how much of the “collected folk tales” of France turn out to come from peddling-edited versions of literary fairytales... Because there are some details, in these “folkloric versions” of Perrault’s tales, details that were actually invented by Perrault with very specific intentions, and that you can find back in those “collected folk tales”, proving that they came from Perrault, and not the reverse.

You see, folklorists always thought that the fairytales came “from the bottom”, were the mark of the lower class (there’s the whole image of the peasants during the evening gathering by the fireside to hear stories), and then were taken back by the upper-class and turned into a form of frivolous entertainment... But now, people start to realize that, in some cases (in this specific case, the Perrault/d’Aulnoy stories and the bulk of French fairytales), it was the reverse: the fairytales came from the top (invented by upper-class and aristocrats as a mean of entertainment) and then “went to the bottom” (were spread among the lower-class and got turned into oral folktales). This is why nowadays people turn to “literary studies” to balance out the very... biased perception folklorist studies gave of the idea of “fairytale history”. 

(As a last note, just to mention how looking back at literature changed the viewpoint of fairytales - while most people assumed that Perrault, d’Aulnoy and others merely took inspiration from “nurse tales” and folk tales, the truth is that, when looking at their work, they clearly rather took inspiration from literary sources - mostly Italian literature, and Greco-Roman literary works. And similarly, the myth of the Brothers Grimm “collecting their stories among the simple folks” has been debunked, as their primary sources were actually middle-to-upper class people - and some that actually were of French descents and merely told the brothers modified versions of Perrault’s tales!

But that’s a story for another time...)

[spider-xan]

I liked Spider-Gwen at first, but then actually read the comics and they weren't. That Good. She is a good character in ITSV/ATSV, but idk I still feel indifferent about her. And she's been, once again, relegated to just The Love Interest by the majority of fans. Regular Gwen is Peter's love interest and Spider-Gwen is Miles' love interest. Nothing else. It wouldn't bug me if people weren't so obsessive about her, most fans are like "Gwen HAS to be there she HAS to we NEED Gwen!!!!" and it's very annoying. It especially annoyed me that people were drooling about the fact that Insomniac might (or might not) include her and make her Miles' age, so they can be together. Completely disregarding the fact that Hailey exists.

I like her design and all, but she's very meh to me, speaking as a woman myself. Beside the things I've mentioned, my biggest gripe with her that she feels like a completely different character and not a variation of Gwen Stacy. With alternate versions of Peter, while they feel slightly different, they still have the character's essence. The only thing she shares with the OG Gwen is the blonde hair and name, she might as well could've been an OC.

Yeah, this actually is p much how I feel about Spider-Gwen as well tbh! I actually do remember when she debuted and it was coming off hot from the massive spike in mainstream popularity she got after the first TASM film came out in 2012, and I think a major selling point was that her comics would explore what if Gwen lived and got spider superpowers - so I was surprised when I read the comic and aside from having blonde hair, a strong personality, and a cop father, she was basically a new character, rather than if 616!Gwen had a different life; I know a big Spider-Man fan on here wrote a really good meta post examining why Spider-Gwen fell flat for her that I don't have the link for on hand right now, but I remember it discussed the odd choice of taking away Gwen's science skills from 616 when that was a trait that set her apart back in the 1960s and would have been interesting to explore if she had spider powers.

But yeah, like, I would consider myself on the flexible side with adaptations instead of being a strict textual purist, but I agree that you do have to keep a core spirit to a character or else they may as well be a new character with a superficial resemblance, and that's what Spider-Gwen felt like to me - if she had been branded as Spider-Liz Allen or just a new Spider-Woman, I wouldn't have thought of her as actually being a Gwen with someone else's name.

And yeah, you're right that Gwen in general often gets reduced to a love interest who doesn't exist independently of Peter or Miles. (My controversial TASM opinion is that she's not really written as an independent character so much as the perfect girlfriend for nerds.) In Miles' case, it also happens in reverse where the non-Black fandom struggles to think of him as a character separate from Gwen, in stark contrast to how Peter is not treated that way by fandom unless they're hardcore shippers who only ship - and then yeah, you get misogynoir like people screaming, 'Where is Miles' girlfriend??', re: Insomniac Spider-Man 2 while posting a picture of Spider-Gwen and erasing Hailey.

Anyway, yeah, I agree she does not and should not be in everything, and it honestly bugs me when people try to point at Miles by comparison and act like she's on par with his importance when she's not - Miles was groundbreaking and still important to this day on a meta level bc he was an Afro-Latino Spider-Man who became THE Spider-Man in his universe and took Peter's place originally amidst a lot of racist backlash to that change in the (Ultimate comics) status quo, whereas Gwen is far from the first white woman Spider-Woman, nevermind the only one, like, no, she is not the Miles Morales of (white) women.

[kerorowhump]

so far the only eps that I'd recommend an italian audience member to Necessarily watch in original as well are 14 and 36b

I've already discussed why I think that is with 36b, but with 14 a couple of dialogue variations effectively muddy the reason for keroro's switch after his plans are turned down by dororo

specifically

"So that whoever looks at Pekopon will give up trying to invade it and will instead fight for universal peace."

"That's the most ridiculous strategy I've ever heard!"

"I knew I shouldn't have discussed this with you. Farewell!"

This (that I've already translated) (additionally, it doesn't make sense for him to say this at this exact point of the story just yet, and it's not a reasonable motivator for what happens next, unlike the original dialogue)

"Enough! It's time to put an end to this! The moment has come to truly commit to conquering Pekopon!"

What I think this transposition epically fails at in this episode and story is the fact that the BEING AN INVADER thing is really important. It's not specifically about the plans of his being half assed or him being turned down (not Just that), it puts light on the fact that THEM AS INVADERS is what's really at odds with what Dororo wants, and the reason why he's not joining them, which is what Keroro wants. By putting emphasis on stuff like "my plans were more pathetic than his, how could I laugh at him?" when later on he still ridicules Dororo's plan to Angol Mois... makes the character turn all the more nonsensical to me. It makes it hard to understand why he would go from what just happened to standing up to Natsumi instead of say... apologizing to Dororo. In the original, he stands up to Natsumi to regain a proper sense of being an invader, which is what he thinks he's failing at that Dororo wants from him.

Even the final change of

(translated here)

Draws away from the actual point, which is that before being invaders and comrades in a war, they are friends. That it wasn't about the plans or failing as an invader, it was about keeping peace on earth and working together. It does come across in ita that it was about making it up to Dororo as well, but I think this is further helped in the original by the focus of the flowers plan being ABOUT EARTHLINGS seeing the flowers and being at peace (something that is later referenced again by Keroro when he plants them), not warding off ALIEN INVADERS. And even though in ita Keroro does later mention this (in a rather nice adaptation in my opinion) like "can't wait for earthlings to wake up and see this", since it wasn't previously mentioned by Dororo, it ends up coming across as a thought born innately from Keroro, and not something he's echoing but not quite yet understanding (further sustained by what he mentions next with it being a gift from "enlightened keronians" to the "primitive pekoponians").

All in all, Dororo is interested in making earthlings happy, and Keroro desperately wants Dororo to join him again. No conquering plan he makes up could possibly achieve that. Another nuance that I think the ita added (or enhanced?) as a result to this is that Keroro also feels guilty on behalf of the other more malicious invading alien species, and this is a way for him to apologize for them and prove that his platoon is different and doesn't mean any harm.

This is something that's true to the actual character too, as he's often seen talking about what he'll do once he rules earth (like ep7, Mois' introduction, at the end; or even ep 5, talking to the toystore owner), and obviously ep 14 is tackling this as well, but it's more on an implicit level imo.

[agalanthe]

MOON TALES - Design notebook #4

[ Version française cliquez ici ]

The Moon Tales* design notebooks invite you to discover a making-off of this project. They will present you its history, its development, as well as our desires, choices and questions. They also reveal a little more about this new universe, through its characters, places, etc.

* If you don't know Moon Tales, more info at this link.

You will find at the end of this English version of the notebook a list (and links) of all the notebooks already written. You will also be able to read the reasons for the existence of these notebooks.

Since always, men stimulate their imagination to tell stories. They imagine how the world is supposed to work, create fictitious friends and enemies, impart wisdom and morality, and simply pass the time. The most beautiful legends have crossed the centuries and have been taken up by many civilizations. We even find their archetypes, their struggles in the current media.

The story of Moon Tales borrows from a whole collective imagination, from a part of these legends and archetypes. From these, we will humbly attempt to build our own world, a new narrative that will hopefully be worthwhile. This new notebook is an opportunity for Pierre to tell you more about the subject !

A NEW GOLDEN AGE OF STORYTELLING

In my opinion, ours is a wonderful time for the imagination. Fantasy and its variations have become mainstream. You can't take the subway without running into people reading A song of ice and fire, Miss Peregrine's Peculiar Children or even Harry Potter. The shelves of bookstores, both real and virtual, are full of references and authors and I feel like everyone - even me - has tried writing a fantasy novel in their spare time.

And what about tv shows ? Game of Thrones has been an incredible success (which I think is deserved), and has paved the way for all adaptations and original creations. Streaming video platforms compete to adapt the most famous novels, often with many freedoms.

Not all - book, games, shows… - series work, however. I have many discussions with my friends, also avid readers, about the merits and pitfalls of this or that author. We often come back to the same point. What makes a good novel, a good episode, a good video game. For me, it revolves around one question : what makes a good story ?

RECIPE FOR A SUCCESSFUL STORY

It seems to me that a captivating narrative lies in its actors. They are heroes to whom we get attached. We must feel empathy for them, identify with them, suffer or rejoice with them. They must be human, resonate with us. I am talking about hero(in)es here, but this rule can also apply to their enemies. A good villain is best when his or her motives are understandable and he or she is ambiguous - although we all have certain enemies we love to adore because they are so deliciously malevolent.

In Moon Tales, Akhiles is an example of a character that grew in size as we conceptualized the story. When Boris introduced me to his first ideas - a geeky, fashion-addicted man - I wondered what I was going to do with him. Now it's hard to imagine what the story of Moon Tales would be like without him.

Once the protagonists are defined, a general plot is needed – I put this criterion second because good characters can, in my opinion, create and maintain their own story, in relation to intimate objectives linked to their aspirations, their relationships... I'm talking about a main plot as opposed to the character-specific drama mentioned, because it will guide the narrative - without it the story is just a soap opera.

Finally, you need a setting.

The ideal case is when the author can afford to add a moral to his story, which makes it an educational lesson. G.K Chesterton said : « Fairy tales do not tell children the dragons exist. Children already know that dragons exist. Fairy tales tell children the dragons can be killed. » There is no need to say anything else, no one ever said anything better than this quote.

I've used this approach many times in various pieces of writing – I'm not saying it's the best, just that it's my vision.

For Moon Tales I had to throw everything away. Because of (or thanks to...) Boris.

FREEDOM WITHIN CONSTRAINT

I already had ideas, and I have a rather free approach to creation where I throw out, ask myself what the characters would do and then let the world expand around them, adding other protagonists, to serve the needs of my plot. So happy was I.

Boris had a vision.

He wanted some characters. They were already well detailed, with appearances, behaviors, staging already prepared (sometimes storyboarded).

He had very precise ideas of the scenes he wanted to draw, the number of hero(in)es he had to create (to make his character design...). Worse for me, he wanted to make a precise map of the city in which their adventures would mainly take place, so that his settings would be coherent.

IDEAS THAT INTERWINE

[Boris] I'm hacking this notebook for the time of an insert to underline a little more the advantages of working together that Pierre evokes - certainly by making me look like the one who imposes a lot of things, but in reality, it's a little more nuanced and shared than that ^^

Whether it is for the creation and development of the characters, the world or even the story, everything is discussed. When one of us comes up with an idea, it will usually be accepted, but it will also be an opportunity to give new ideas to the other, to build on or refine the idea in question. Or to extrapolate new things and thus enrich the whole. Sometimes the ideas clash and a choice has to be made, or the two ideas have to be modified slightly to merge them. It is even possible that an inconsistency or an error is used to our advantage ! The stories, characters and world are not yet all developed in detail, which allows us real freedom and flexibility to regularly add new elements and discuss their interest.

For example, regarding Tamara, the first ideas about her past date from long before the writing of her introduction episode*. In the latter, Pierre raised new questions about this past and provided new details. So we discussed it to make it coherent and develop it a little more.

Another example where the creation of a visual can also serve the development of the world and the story** : Pierre introduces a line of kings, I make a visual of them by drawing a bit special crown, which then triggers the writing of new articles about it, enriching the world and its magic. Discussion after discussion, these new elements are linked to other details of the world developed long before, which leads to new visual ideas... Etc., etc.

In the end, all these developments "by bouncing off" are certainly part of the most exciting aspects of such a collaboration !

* : yes, each character will have an introduction episode, it's even the first seven chapters of Moon Tales !

** : a drawing can carry as much creativity and information as a text, and is therefore not a simple visual support for the latter. This is particularly true in creative fields that require the development of an imaginary world (role-playing games, for example), in which visual artists could be just as much a source of "creative material" (background, lore, fluff..., for those who know these words) and be qualified as authors in the same way as the people who write the texts... as long as the visual and written design are done in parallel and not one before the other.

I suddenly found myself creating a plot that had to go through specific steps, with situations that I honestly never would have thought of (I discovered things...). I admit that I was scared. Once I got over my stress, I started to work and I discovered a real freedom in these constraints. The latter forced me to structure my narrative, to pace it. These unexpected situations took me in directions I wouldn't have gone and made the story much fresher to me.

Some examples among others :

- Boris had the idea of a weekly publication, scheduled all over the year. This meant giving a rhythm to the text, but also thinking of Christmas or summer episodes... And so at Christmas time in our country, it had to snow in the webcomic. Same for the summer, we needed a sunny place, a beach...

- A cartoonist is a lazy person***, especially when he has to draw large amounts of panels. So I had to discipline myself and limit the number of characters per scene, avoid chaining new places or creating too complicated settings. Of course sometimes I couldn't resist it. But Boris went along for the ride and I hope you'll see in our opening vignettes that it was worth it.

- The publication format and its periodicity directly influence the style of the webcomic. The episodes must be short, some are only small interludes, others are a little longer, generally follow each other but are still thought to be a minimum of stand-alone. If it gave us ideas that might not have been attempted otherwise, it had a direct effect on my writing.

*** Note from Boris : please send your letters of protest and insults directly to Mr. Coppet, on his facebook page or any other address you may find. I will not relay (unless the message is on the comments pages of this notebook, see links below). Anyway, I've already taken care of breaking his kneecaps. Because as long as the arms and hands are working, the Moon Tales show can go on and that's the most important thing, isn't it ?

BUT WHAT IS MOON TALES REALLY ABOUT ?

Moon Tales is an encounter between two people from two different worlds. She is a girl from our Earth, he comes from a magical city on the other side of the mirror. But it's not that simple. She's probably wackier than he is. And they are accompanied by equally important individuals : a flamboyant hidalgo, an adventuress who hardly hides her weaknesses, a witch who wants to be a fairy, a sad oracle and a funny player. This constellation of personalities will illuminate a city of wonders plunged into darkness both literally and figuratively.

But before the beginning of our story, 37 years ago to be exact, you should know that a great war took place which strongly changed the life of its inhabitants. Once ruled by a hereditary dynasty of kings, the city in which these tragic events ended passed into the hands of an emergency revolutionary government, the time for Duana - the goddess of the night, equated with the moon and destiny - to appoint a new leader. The Sinister - the administration - thus took the reins of the city, pretending to be the executors of the Dexter, the council of the great families, of which the ancient kings were the leaders.

Today, the city bends under the yoke of the Sinister, but remains a magical place, with an enchanting, gothic and halloweenian atmosphere.

These axis will thus impregnate our story and the global atmosphere of our world, by mixing with several narrative genres. Small overview :

Halloween and Gothic : The world of Moon Tales is, among other things, a mixture of The Nightmare before Christmas and Tim Burton's Batman. One lives there in the shade of old manors and vertiginous skyscrapers. The urban wildlife probably has more owls and bats than rats and pumpkins are probably the national vegetable. If there are no scarecrows in the streets, it is likely that they are a people like any other with their own festival once a year. Since the fall of the monarchy, the great city has been plunged into an endless night that facilitates the apparitions of ghosts, witches and other nocturnal peoples.

Faerie : Moon Tales is not a horrific universe... most of the time ! The peoples of the night live in more or less good harmony under the yoke of the Sinister. Very few horrific crimes here. Haunting, cursing and enchanting are honorable professions. As for the fairies and the forces of light, they are all equally present as our heroes prove.

Urban fantasy : the introduction of our adventure is a classic urban fantasy - the discovery of Wonderland. It is with Follet, human of the Faded world, that we discover this other modern world full of magic as well as its shining city. The latter, a character in its own right, is a typical contemporary urban metropolis, even if often much more extravagant than those on our Earth, with its mysterious nooks and crannies and its sometimes strange inhabitants.

Soap : from the beginning we wanted a story centered on our characters, their relationships, their evolution, their friendships and their loves. I call it dramaturgy. Boris, who has little culture but loves cleanliness, talks about Soap. Bof.

Pulp adventure : friends of nature and cows, Moon Tales will not be limited to a darkened city. Beyond this, we give ourselves the opportunity to explore adventurous lands scattered with ruins, to make our characters discover the secrets or wonders of these places.

In the end, Moon Tales is an opportunity to mix comics, role-playing games and influences that we like in our witch's cauldron, to stir it all up well and, we hope, to please ourselves - and you.

But in the end, will our webcomic offer a good story ? It's hard for me to say. I am generally a good audience – I only ask a movie or a book to entertain me and I have so many guilty pleasures in terms of a simple or even failed plot that I love it all the same... Only our readers will be able to decide if they like our characters and their stories. We have already planned several years of adventures for them.

A DIFFERENCE IN MEDIUM

You don't write for a game the same way you write for a novel or a comic book. It sounds obvious when you say it like that, but I foolishly thought at first that narrating would be easier than proposing a storyline. Fatal error.

In role-playing game, you must first define a setting, a world, a situation and a motivation. From there, we think about the solutions that the players will think of, knowing that in the end they will do what we didn't plan. The rule is always, in my opinion, to propose things and not to close the doors.

In a novel, you have to think about continuity. A character comes with motivations, reasons and a personality. Not all choices are logical, and sometimes the logical choices for a protagonist are not those of the author. You have to put yourself in someone else's shoes. At the same time, the author must remember that the character does not know what he knows, they must find reasons to make them go from one scene to another, provide them with the keys that will allow them to solve the plot. In a sequential medium like Moon Tales, this means planning well in advance what to introduce. The universe, on the other hand, may be more fluid, less framed and less detailed, as it must serve the narrative (with one caveat, the Boris clause, see above).

These are therefore two fundamentally opposed approaches. The Yin and Yang of the written creation in a certain way :)

PIERRE’S MOOD NOTE

Today, as I write these lines in March 2022, the sirocco lifts the sand of the Sahara and brings it to us several hundred kilometers away. The sky has a strange color, yellow-orange. Sand is falling on our roofs. It is soothing.

In Ukraine, rainfall is deadly. No peace for men, women and children.

Moon Tales is about two overlapping realities, but there is no need to use magic for that. The real world reminds us of this every day.

Moon Tales' design notebooks exist first of all to keep track of the development of the project. They are written as much for us as for those who may be interested - now or in the future - in the underside of its development. Putting all these steps in writing gives us food for thought about our practices and our choices, so that we can draw out possible avenues for improvement. Finally, these notebooks make it possible to bring the project to life, before its "real" existence, and to show that it is moving forward.

NOTEBOOKS INDEX : #1 : Origins #2 : Characters (1) #3 : Drawing #4 : Story #5 : The City (2024)

[ Note : you can comment this post on my Facebook, Twitter or Instagram ]

***

French version below

MOON TALES - Carnet de conception #4

Les carnets de conception de Moon Tales* vous proposent de découvrir un making-off de ce projet. Ils vous en présenteront l’histoire, son développement, ainsi que nos envies, nos choix et interrogations. Ils dévoilent également un peu plus ce nouvel univers, à travers ses personnages, ses lieux, etc.

* Si vous ne connaissez pas Moon Tales, plus d’infos à ce lien.

Vous trouverez plus loin, à la fin de la page, une liste (et les liens) de tous les carnets déjà écrits. Vous pourrez aussi y lire les raisons d’exister de ces carnets.

Depuis toujours, les hommes titillent leur imaginaire pour se raconter des histoires. Ils imaginent un fonctionnement à l’univers, se créent des amis et des ennemis fictifs, transmettent une sagesse, une moralité, et simplement passent le temps. Les plus belles légendes ont traversé les siècles et ont été reprises par de nombreuses civilisations. On retrouve même leurs archétypes, leurs déchirements dans les médias actuels.

L’histoire de Moon Tales emprunte à tout un imaginaire collectif, à une part de ces légendes et de ces archétypes. À partir de celles-ci, nous tenterons humblement de construire notre univers, un nouveau récit qui, espérons-le, sera digne d’intérêt. Ce nouveau carnet est ainsi l’occasion pour Pierre de vous en dire plus sur le sujet !

UN NOUVEL ÂGE D'OR DE LA NARRATION

Nous vivons une époque merveilleuse pour l’imaginaire selon moi. La Fantasy et ses déclinaisons sont devenues mainstream. On ne peut plus prendre le métro sans croiser des personnes en train de lire un tome du Trône de Fer, les Enfants Particuliers de Miss Peregrine ou même encore Harry Potter. Les rayons des librairies, réelles comme virtuelles, regorgent de références et d’auteurs et j’ai l’impression que tout le monde – même moi – s’est essayé à écrire un roman de Fantasy à ses heures perdues.

Et que dire des séries ? Game of Thrones a fait un succès incroyable (que je trouve mérité) et a ouvert la porte à toutes les adaptations et aux créations originelles. Les plates-formes de streaming vidéo rivalisent pour adapter les romans les plus connus avec souvent beaucoup de libertés.

Toutes les séries ne fonctionnent pas cependant. J’ai de nombreuses discussions avec mes amis, eux aussi grands lecteurs, sur les mérites et les écueils de tel ou tel auteur. Et on en revient souvent au même point. Qu’est ce qui fait un bon roman, un bon épisode, un bon jeu vidéo. Pour moi, cela tourne autour du même point : qu’est ce qui fait une bonne histoire ?

RECETTE POUR UNE HISTOIRE RÉUSSIE

Il me semble qu’un récit captivant tient dans ses acteurs. Ce sont des héros auxquels on s’attache. On doit ressentir de l’empathie pour eux, se retrouver en eux, souffrir ou se réjouir avec eux. Ils doivent être humains, résonner en nous. Je parle ici des héro(ine)s, mais cette règle peut également s’appliquer à leurs ennemis. Un bon méchant est d’autant meilleur que ses motivations sont compréhensibles et qu’il est ambigu – bien qu’on ait tous certains ennemis qu’on adore adorer tant ils sont délicieusement malveillants.

Akiles est un exemple de personnage qui a pris de la dimension alors que nous conceptualisions l’histoire. Lorsque Boris m’a présenté ses premières idées - un homme geek et accro à la mode - ,je me suis demandé ce que j’allais en faire. Désormais, il est difficile d’imaginer ce que serait l’histoire de Moon Tales sans lui.

Une fois les protagonistes définis, il faut une intrigue générale – je mets ce critère en second car de bons personnages peuvent, selon moi, faire naitre et entretenir leur propre histoire, en rapport avec des objectifs intimes liés à leurs aspirations, leurs relations... Je parle ici d’une intrigue principale par opposition au drama propre aux personnages évoqué, car elle va canaliser la narration – sans elle l’histoire n’est plus qu’un simple soap opera.

Enfin il faut un décor.

Le nec plus ultra est le cas où l’auteur peut se permettre de rajouter à son histoire une moralité, qui fait d’elle une leçon éducative. G.K Chesterton disait : « Les contes de fées n’enseignent pas aux enfants que les dragons existent. Les enfants le savent déjà. Ils leurs enseignent que les dragons peuvent être vaincus. » (« Fairy tales do not tell children the dragons exist. Children already know that dragons exist. Fairy tales tell children the dragons can be killed. »). Il n’y a pas à dire, c’est la classe.

J’ai utilisé cette approche plusieurs fois dans divers travaux d’écriture – je ne dis pas qu’elle est la meilleure mais simplement que c’est ma vision.

Pour Moon Tales j’ai dû tout jeter en l’air. À cause de (ou grâce à…) Boris.

LA LIBERTÉ DANS LA CONTRAINTE

J’avais déjà des idées, et j’ai une approche de la création assez libre où je lance des pistes, me demande ce que feraient les personnages puis laisse le monde pousser autour, d’autres protagonistes se rajouter, pour servir aux besoins de mon intrigue. Bienheureux que j’étais.

Boris avait une vision.

Il voulait des personnages. Ils étaient déjà bien détaillés, avec des apparences, des comportements, des mises en scène déjà préparées (voire storyboardées).

Il avait des idées très précises de scènes qu’il voulait dessiner, du nombre de héro(ine)s qu’il devait créer (pour faire son character design…). Pire pour moi, il voulait faire une carte précise de la cité dans laquelle se déroulerait principalement leurs aventures, afin que ses décors soient cohérents.

DES IDÉES QUI S'ENTREMÊLENT

[Boris] Je pirate ce carnet le temps d’un encart pour souligner un peu plus les avantages du travail commun qu’évoque Pierre - certes en me faisant passer pour celui qui impose beaucoup de choses, mais en réalité, c’est un peu plus nuancé et partagé que ça ^^

Que ce soit pour la création et le développement des personnages, ceux du monde ou même de l’histoire, tout se discute. Quand l’un de nous vient avec une idée, celle-ci sera généralement acceptée mais elle sera aussi l’occasion de donner de nouvelles idées à l’autre, de rebondir dessus afin de développer ou d’affiner l’idée en question. Ou d’extrapoler de nouvelles choses et ainsi d’enrichir l’ensemble. Parfois, les idées se confrontent et il faut faire un choix, ou bien modifier légèrement les deux idées pour les fusionner. Il est même possible qu’une incohérence ou une erreur soit utilisée à notre avantage ! Les histoires, les personnages et le monde ne sont pas encore tous développés en détails, ce qui nous permet une vraie liberté et une grande souplesse pour intégrer régulièrement de nouveaux éléments et débattre de leur intérêt.

Par exemple, concernant Tamara, les premières idées à propos de son passé datent de bien avant l’écriture de son épisode de présentation*. Dans ce dernier, Pierre a soulevé de nouvelles interrogations quant à ce passé et a apporté de nouveaux détails. On en a donc discuté pour rendre le tout cohérent et le développer encore un peu plus.

Autre exemple où la création d’un visuel peut aussi servir au développement du monde et de l’histoire** : Pierre introduit une lignée de rois, j’en réalise un visuel en leur dessinant une couronne un peu spéciale, ce qui déclenche ensuite l'écriture de nouveaux articles à ce sujet, enrichissant ainsi le monde et sa magie. Discussions après discussions, on relie ces nouveaux aspects à d’autres détails du monde développés bien avant, ce qui entraîne de nouvelles idées visuelles… Etc., etc.

Au final, tous ces développements “par rebonds” font certainement partie des aspects les plus passionnant d’une telle collaboration !

* : oui chaque personnage aura un épisode de présentation, il s'agit même des sept premiers chapitres de Moon Tales !

** : un dessin peut porter tout autant de créativité et d’informations qu’un texte, et n’est donc pas qu’un simple support formel à ce dernier. C’est particulièrement vrai dans les domaines créatifs qui nécessitent de développer un monde imaginaire (le jeu de rôle par exemple), dans lesquels les illustrateurs pourraient tout autant être source de “matériel créatif” (de background, de lore, de fluff..., pour ceux qui connaissent ces mots) et être qualifiés d’auteurs au même titre que les personnes qui en écrivent les textes... pour peu que la création visuelle et écrite se fasse en parallèle et non l’une avant l’autre.

Je me retrouvais soudain à créer une intrigue qui devait passer par des étapes précises, avec des situations auxquelles honnêtement je n’aurai jamais pensé (j’ai découvert des choses…). J’avoue que j’ai eu peur. Mon coup de stress passé, je me suis mis au travail et j’ai découvert une vraie liberté dans ces contraintes. Ces dernières m’ont obligé à structurer ma narration, à la rythmer. Ces situations inattendues m’ont emmené vers des directions où je ne serais pas allé et rendent le récit bien plus frais à mes yeux.

Quelques exemples parmi d’autres :

- Boris avait l’idée d’une diffusion hebdomadaire, planifiée dans le temps. Cela signifiait rythmer le texte, mais également penser à des épisodes de noël, estivaux… Et donc qu’au moment de noël chez nous, il fallait qu’il neige dans la bd. Pareil pour l’été, il nous fallait un lieu ensoleillé, une plage…

- Un dessinateur c’est feignant***, surtout quand il doit dessiner des cases en grandes quantités. Donc j’ai dû me discipliner et limiter le nombre de personnages par scènes, éviter d’enchainer les nouveaux lieux ou de créer des décors trop compliqués. Bien sûr parfois je n’ai pas su m’en empêcher. Mais Boris a joué le jeu et j’espère que vous verrez dans nos vignettes de début que ça en valait la peine.

- Le format de publication et sa périodicité influent directement sur le style de la bande dessinée. Les épisodes doivent être courts, certains sont seulement des petits interludes, d’autres sont un peu plus longs, se suivent généralement mais sont tout de même pensés pour être un minimum autonomes. Si cela nous a donné des idées qui n’auraient peut-être pas été tentées autrement, il y a eu un effet direct sur ma façon d’écrire.

*** Note de Boris : merci d'envoyer vos lettres de protestations et d'insultes directement à monsieur Coppet, sur sa page facebook ou toute autre adresse que vous trouveriez. Je ne ferai pas le relais (sauf si le mot a lieu sur les pages de commentaires de ce carnet, cf. lien plus bas). De toute façon je me suis déjà chargé de lui casser les rotules. Car tant que les bras et les mains fonctionnent, l’histoire de Moon Tales peut continuer et c’est bien là l’essentiel, n’est-ce pas ?

MAIS EN FAIT MOON TALES ÇA PARLE DE QUOI ?

Moon Tales est une rencontre, entre deux individus de deux mondes différents. Elle est la fille de notre Terre, il vient d’une cité magique de l’autre côté du miroir. Mais ça n’est pas si simple. Elle est sans doute plus farfelue que lui. Et ils sont accompagnés d’individus tout aussi importants : un hidalgo flamboyant, une aventurière qui cache difficilement ses faiblesses, une sorcière qui se veut fée, une oracle triste et un drôle de joueur. Cette constellation de personnalités va illuminer une ville de merveilles plongée dans l’ obscurité au sens propre autant que figuré.

Mais avant le début de notre histoire, 37 ans auparavant pour être exact, sachez qu’une grande guerre eut lieu qui changea fortement la vie de ses habitants. Autrefois gouvernée par une dynastie héréditaire de rois, la cité dans laquelle ces tragiques événements prirent fin passa en effet aux mains d’un gouvernement révolutionnaire d’urgence, le temps pour Duana – la déesse de la nuit, assimilée à la lune et au destin – de désigner un nouveau chef. La Senestre – l’administration – prit ainsi les rênes de la ville, en se faisant passer pour les exécutants de la Dextre, le conseil des grandes familles, dont les anciens rois étaient les dirigeants.

Aujourd’hui, la cité plie sous le joug de la Senestre, mais reste un lieu magique, à l’atmosphère enchanteresse, gothique et halloweenienne.

Ces grands axes vont ainsi imprégner notre récit et l’ambiance globale de notre univers, en se mélangeant à plusieurs genres narratifs. Petit panorama :

Halloween et le gothique : le monde de Moon Tales est, entres autres, un mélange de l’Etrange Noël de Monsieur Jack mais aussi du Batman de Tim Burton. On y vit à l’ombre de manoirs anciens et de gratte ciels vertigineux. La faune urbaine comporte sans doute plus de hiboux et de chauves-souris que de rats et les citrouilles sont probablement le légume national. S’il n’y a pas d’épouvantails dans les rues, il est vraisemblable que ce soit un peuple comme les autres avec leur propre festival une fois par an. Depuis la chute de la monarchie, la grande cité est plongée dans une nuit sans fin qui facilite les apparitions de fantômes, de sorcières et des autres peuples nocturnes.

Féerie : Moon Tales n’est pas un univers horrifique… la plupart du temps ! Les peuples de la nuit vivent en plus ou moins bonne entente sous le joug de la Senestre. Très peu de crimes horribles ici. La hantise, le maléfice et l’enchantement sont des professions honorables. Quant aux fées et aux forces de la lumière, elles sont toutes aussi présentes comme le prouvent nos héros.

Urban fantasy : l'introduction de notre aventure est un classique de l’urban fantasy – la découverte du pays des merveilles. C’est au travers de Follet, humaine du Monde éteint, que nous découvrons cet autre monde moderne plein de magie ainsi que son étincelante cité. Cette dernière, un personnage à part entière, est une métropole urbaine contemporaine typique, même si souvent bien plus extravagante que celles de notre Terre, avec ses recoins mystérieux et ses habitants parfois étranges.

Soap : dès le début nous avons voulu une histoire centrée sur nos personnages, leurs relations, leur évolution, leurs amitiés et leurs amours. J’appelle ça de la dramaturgie. Boris, qui a peu de culture mais qui aime la propreté parle de Soap. Bof.

Aventure pulp : ami(e)s de la nature et des vaches, Moon Tales ne se limitera pas à une ville enténébrée. Au-delà de celle-ci, nous nous donnons la possibilité d’explorer des terres d'aventures parsemées de ruines, de faire découvrir à nos personnages les secrets ou merveilles de ces lieux.

Au final, Moon Tales, c’est l’occasion de mélanger bande dessinée, jeu de rôle et des influences qui nous plaisent dans notre chaudron de sorcière, de bien touiller tout cela et, nous espérons, de nous – et de vous – faire plaisir.

Mais en fin de compte, notre webcomic proposera-t-il une bonne histoire ? Difficile pour moi de le dire. Je suis en général plutôt bon public – je ne demande à un film ou à un livre qu’à me distraire et j’ai tellement de plaisirs coupables en terme d’intrigue simple voire ratée que j’adore tout de même… Nos lecteurs seuls seront à même de décider s’ils aiment nos personnages et leurs histoires. Nous leur avons déjà prévu plusieurs années d’aventures.

UNE DIFFÉRENCE DE MEDIUM

On n’écrit pas pour du jeu comme on écrit pour un roman ou une bande-dessinée. Ça a l’air évident dit comme ça, mais j’ai bêtement cru au début que narrer serait plus facile que de proposer une trame. Fatale erreur.

En jeu de rôle, on doit d’abord définir un cadre, un univers, une situation et une motivation. De là, on réfléchit aux solutions auxquelles vont penser les joueurs tout en sachant qu’en fin de compte ils feront ce que l’on n’avait pas prévu. La règle est toujours, selon moi, de proposer des choses et de ne pas fermer les portes.

Dans un roman, il faut penser à la continuité. Un personnage vient avec des motivations, des raisons et une personnalité. Tous les choix ne sont pas logiques et, parfois, les choix logiques pour un protagoniste ne sont pas ceux de l’auteur. Il faut se mettre dans la peau d‘un autre. En même temps, l’auteur doit se souvenir que son personnage ne sait pas ce qu’il sait lui, il doit trouver des raisons de le faire aller d’une scène à l’autre, lui fournir les clés qui lui permettront de résoudre l’intrigue. Dans un support séquencé comme Moon Tales, cela signifie de prévoir bien à l’avance ce qu’il faudra introduire. L’univers, par contre, peut-être plus fluide, moins cadré et moins détaillé, car il doit servir l’intrigue (avec un bémol, la clause Boris, cf. supra).

Ce sont donc deux approches fondamentalement opposées. Le Yin et le Yang de la création écrite d’une certaine façon :)

LE BILLET D'HUMEUR DE PIERRE

Aujourd’hui, alors que j’écris ces lignes en mars 2022, le sirocco soulève le sable du Sahara et le porte jusqu’à nous à plusieurs centaines de kilomètres. Le ciel a une couleur étrange, jaune-orangée. Il tombe du sable sur nos toits. C’est apaisant.

En Ukraine, les précipitations sont meurtrières. Pas de paix pour les hommes, les femmes et les enfants.

Moon Tales parle de deux réalités qui se chevauchent mais il n’est pas nécessaire de faire appel à la magie pour cela. Le monde réel nous le rappelle chaque jour.

Les carnets de conception de Moon Tales existent d’abord afin de garder une trace de l'élaboration du projet. Ils sont écrits autant pour nous que pour les personnes susceptibles d'être intéressées - dès à présent ou dans le futur - par les dessous de son développement. Poser par écrit toutes ces étapes nous donne matière à réfléchir sur nos pratiques ainsi que nos choix, pour en tirer éventuellement des pistes d’amélioration. Enfin, ces carnets permettent de faire vivre le projet, avant sa “vraie” existence, et de montrer qu’il avance.

INDEX DES CARNETS : #1 : Origines #2 : Personnages (1) #3 : Dessin #4 : Histoire #5 : La Cité (2024)

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[hereliesbitches--me]

:V: A New Hope:

:V: A New Hope (Star Wars):

Hey there, and thank you for checking out my verses! 

My Star Wars verse is primarily an independent story that's obviously influenced by the events within the canon universe. My characters are primarily alien; thus they are able to be adapted both into the prequel movies as well as the modern Rey saga movies. I primarily set the story within the Skywalker storyline but am more than happy to adapt it over. Here, you'll find the general info about each character, the antagonist, and the major story plot points which we can integrate for interactions. Enjoy the read! ❤

▪︎ The Prequels:  The Skywalker saga 

( Taking place from the clone wars all the way to the fall of the Empire) 

♡ The Jedi that never was: Rosie Valentine 

Personality:

Once kind and painfully optimistic, Rosie is still young and has grown paranoid and jaded because of the stress of being alone as a young mother. She is distrusting and overprotective of her lone cub, a haggler that will use her influence in the force to persuade others in getting what she needs. Once her walls come down and she begins to trust you, it can be seen that she really is just a tired and scared girl. She’s grieving the father of her child who promised her safety and trying to navigate the world that wants to hunt her down. Her family among the jedi have been killed, her homeworld of Atrolize has been overtaken and used for its resources and its civilians taken hostage as slaves or breeding cattle for their versatile genetics and the abilities that come with it.. Her father, the senator, was assassinated like many others who wanted a movement for peace in order to end the war. She suffers in a void of loneliness and grief she doesn’t know how to handle while burdened with the responsibility of being a parent and teaching her cub how to survive. When relaxed, she can be affectionate and snarky like any feline, and incredibly protective of her allies. Spite her or wrong her in any way however, can result in her blatantly resorting to eating you or completely crippling you. At this point she is not averse to killing for the sake of self preservation.

She is a jedi no longer – really, she never was.

Abilities:

 Duel Saber wielding 

Style: Ataru, Shien/Djem so, and Jar’kaiSlowed aging

Force healing /Draining (Able to heal others or herself, usually in extreme cases by stealing the lifeforce of another if she lacks the energy herself)

Animal Bond

Force push/Pull (Rosie is able to take on much larger weight using the force than she would by her raw physical strength alone. Under enough stress, she would be able to hold down an escaping ship for a period of time or hold up the weight of crumbling infrastructure on top of her just long enough for people to escape)

Force Scream (an involuntary attack when she has become enraged and overwhelmed, it normally comes in the shape of an outburst of grief or panic while trying to protect someone else. The use of it can burn her out as its not measured in the power she puts behind it)

Kinetite (Force lighting, instead of uncontrolled streams of lighting , it is concentrated into a solid ball of energy which can be thrown, then expels the energy upon impact with a surface. Can be deflected back with the use of defensive force abilities)

Lesser Force Destruction (a weaker variation under the same concept, Rosie is able to concentrate a mass amount of energy within herself and then expell it in an anergized wave strong enough to send people flying, but it cannot burn anyone the way a true sith could)

History:

Rosie is of a race of anthropomorphic animal beings known as Atrolians.  Born in 46 BBY, Her father was a senator that represented her people, this was her initial meeting with the jedi order. Vassago, an ancient jedi master  in league with Yoda (hailing from a naturally force inclined race known as seraphim),  is good friends with Senator Roland, and sees the force potential early within his young daughter. Because of the growing unrest behind the scenes of politics and world affairs, coupled with the fear of what his emotional daughter could do with her untrained abilities, Roland deems his 8 year old daughter would be  safer in the hands of the jedi and his oldest friend. Rosie is then recruited into training as a youngling, to eventually become a padawan under vassago – despite the council’s concerns regarding Rosie's unnaturally strong pull between the light and dark with her emotional ties.

As a padawan, Rosie specialized in duel wielding sabers which could be connected at the hilt to form a double ended saber. Her fighting form specialized in utilizing her inherent animalistic abilities of her species, thus she is most efficient in Ataru, Shien/Djem So, and Jar’kai with her duel sabers. Being a big cat creature possessing strong legs and a prehensile tail, Rosie equally utilizes her natural physical attributes in battle against enemies as well. Her tail allows her to wrangle the limbs of her opponent to throw them off balance, while her thick claws on her feet and hands could easily tear through skin and leathery armor with ease. Being a feline makes her incredibly agile, which makes her throw her weight around and bounce off surfaces to confuse her enemies.

Despite her efficiency in close combat, her control on the force was not up to par. She was easily overwhelmed by heavy negative emotions when she became frustrated or distraught, which could often trigger a suffocating outburst that hurt allies and foes alike. Accidents led to a fear of using the force, to which vassago gently coaxed and encouraged her to let emotions flow. Unfortunately, the state of the galaxy escalating into the clone wars did little to help her case. Because of her instability, despite her age, Rosie remained a padawan under Vassago well into the clone wars. Her eventual salvation by chance came in the shape of the enemy, a bounty hunting mandalorian they crossed paths with while providing aid on a planet holding back pirates and droids. Rocky, the mandalorian, sought after the young padawan he felt an impulsive attachment to in an attempt to befriend her. Going so far as to remove his helmet and meet her in secret. Rocky, a seraphim like her master, promised her safety and encouraged her to escape this war that was not her own to fight.  She was too young to be burdened with the responsibility of a peace keeper for a galaxy that doesn’t seem to want peace. She deserved better. The mando’s promises struck her in the place of longing, and she agreed to go with him. With the support of her master, she abandoned the jedi order to escape with the Mandalorian and his brother in arms… Which saved her when Order 66 was executed only weeks later.

Grief stricken by the crippling sensation of death and pain that overtook her, it traumatized her, however there was no way of returning home.

Traveling with Rocky, Guts, and their third brother Erron, Rocky taught her the essential survival skills in utilizing her force abilities, being able to scrap and rebuild, and fight the street way if she wanted to survive. All was well for months until she wound of pregnant;

The breaking point of the brothers. Erron, feeling Rosie had imposed herself into their lives and his brothers in arms took her wellbeing as more sacred than their own, broke off without a word. Much to the grief of Rocky and Guts.

Months later, Mia is eventually born on the ship and cared for deeply between the three of them. Deeming it unsafe to lugg around an infant on mercenary missions, Rosie and Mia were left on a safe base established on a thick forest planet that would keep them well hidden from the empire even if they had come looking. Mia was 2 years old when her uncle Guts and Father went on a recon mission, but her father had not returned home. Without Rocky, Rosie had no choice but to strike out on her own, unwilling to burden Guts with the needs of herself and her daughter when she felt responsible for tearing the brothers apart to begin with. At the time, her master had been killed in order 66, but Vassago’s strong connection both to the force and his padawan allowed him to linger to her and continue her training in truly mastering the force from both the light and the dark side

Pets: 

Silus (an Anooba)

Kordath (A Massif)

♡ The Cub: Mia Blagrove

Personality:

Happy-go-lucky, optimistic, mischievous, likes shiny things, loves being groomed and fitting into tight spaces she doesn't belong. She likes talking and hunting small animals. Not the biggest fan of training but she knows she has to if she wants to be strong like her mom.Abilities:Force Persuasion Animal Bonding Force Push/pull A crossbreed between a Seraphim and an Atrolian, Mia is predominantly feline while bearing the body feathers of the seraphim like her father. A combination of two highly force sensitive beings means Mia has a powerful predisposition to use the force – fortunately, unlike her mother, she is more inclined to positive happy emotions and uses her abilities for harmless antics. Mia, like the kitten she is,  often gets herself in trouble by going into places she is not supposed to. Including baggage and cargo bays or pulling off wall panels and crawling into the cozy space among wiring. Her need to make friends means she perfected her art of force persuasion to get what she wants or to at least make people stay and talk to her. She is a fearless little warrior in the making with a weakness for salty meat, sweets, or shiny things. She is naive and her mother often keeps her only a tail length away with their tails knotted together.

♡ A Mando far from home:

Rocky Blagrove

Personality:

Sensible, patient, charismatic and a natural born leader. He’s fairly easy going and hides his emotional pain well under the guise of being laid back. Rocky is the understanding friend despite the cold streak he can turn into when on the job. He doesn't hesitate to kill, but he does have a moral standing about killing innocent civilians or children. He runs by the rule that if you raise your arm first it's a death sentence. His most notable quality is the smile gun : if you're upset, he shoots up a finger gun and compels you to smile. His own smile, if you saw his face, is infectious. Its a real shame he stopped taking off his helmet

Abilities:

Flight (wings)

Plasma resistance (his feathers and wings, at least in terms of his outer feathers, are resistant to the super heat of a plasma blast and have some durability against low caliber bullets. Beskar makes up for the weaknesses)

Air Manipulation (utilizing the force to manipulate the air around his wings provides extra propulsion needed to shoot through the air beyond simple takeoff and gliding)

Deadly marksman

Blade specialist

Adept close range combat

History:

Born 56 BBY, The prodigy child of his family clan, Rocky would meet his future brother in arms, Erron, after the boy was found and taken in with the other mandalorian children in training. Naturally talented with the force, he hails from a species of winged aliens known as Seraphim, who utilize the force to manipulate the air around their bodies and wings to make them superior fliers and fighters even in the air. By extension, they have an affinity for animals, but they excel most as warriors.

Trained since he was a child and expected to become the next clan head, Rocky's flaw was own dislike of the burden of responsibility– he played the part until he was 17, old enough to break off on his own with all he had learned from his guild. Taking with him an adoptee he's call his brother, Erron. Together the two of them made a name for themselves as Skeiron and Big mouth in the Galaxy as elite bounty hunters, with Guts (a mandalorian of a separate guild who has also broken off on his own) joined their brotherhood as the armorer and weapons master. All was well for the three men, up until Rocky took a fondness for a jedi padawan in the middle of the clone wars.

His action to take Rosie away from the battle and teach her among his brother causes a severe rift, primarily with Erron who envied the attention Rosie received from his brother and despised her for being a jedi, until Erron finally completely abandoned their little guild without a word upon Rosie's pregnancy announcement. Heartbroken, but responsible for paying a new life for his future child, Rocky keeps it together with the help of Guts. Rocky never believed in the by the book formality of traditional mandalorian traditions, especially in regards to showing his face or the requirement to force a child or partner into the life of a mando by extension of being with them. He holds true to the honor system of battle, but that is about the limit to what he follows

▪︎ His "Death"

3 years following the end of the clone wars and the rise of the empire, Rocky and Guts follow a bounty hunt that unknowingly leads them into a crossfire between imperial clones and a group of fallen jedi taking refuge among civilians that are caught in the crossfire. Rocky, with his ultimate undoing being his morally obligated heart, abandoned the bounty hunt to aid in the civilians evacuation and the hopeless jedi. The decision, without Guts to help him, fatally injured Rocky as the masses overwhelmed even a sharpshooter like himself, but provided a good enough distraction to allow the imperial targets to escape. Bleeding out, Rocky was saved only because of the Jedi who were able to heal his condition to a manageable state, however he required nurturing and augmentation provided by the civilians.

Unable to find his brother, only his blasted helmet and scraps of broken armor in a puddle of blood, Guts can only assume the worst fate for his brother and returns to give Rosie the bad news.

Rocky remains in the care of locals for nearly a year, unable to contact his brother or his family with his communicators damaged from the battle. He lost an eye, a leg, an arm and a few fingers that have all been replaced by beskar steel recycled from his previously damaged mandalorian armor. When he was finally strong enough to move on his own, Rocky returns to the safe base he and his brothers established for their family, only to find it raided and burned down. With no other evidence to point to life, Rocky relives the second devastating blow to his heart and completely hides in his armor to separate himself from the world. Unable to really live and unwilling to die, he takes to never removing his helmet or armor and joins the rebels against the empire to avenge the death of his family

Rocky specializes in training of new recruits, but primarily scouts out Intel and useful allies to recruit. He has lost any hope of finding his brothers in this endless galaxy, though he hopes to hear circulating rumors at the very least. He's melancholic but without seeing his voice, his charismatic confidence is infectious.

♡ The Lone Wolf Survivor:

Guts 

Personality:

Introverted, painfully loyal to a fault, self sacrificing , but a brutal mercenary when it comes to battle. Guts does what he must to get the job done but he has an inherent soft spot for women and children, especially those caught in the middle of the galactic mess. Guts usually keeps to himself, not usually one who starts the conversation but maintains it by only keeping up with vital information. For all his gruffness, Guts is very well capable of being compassionate and gentle despite what may be perceived as stoicism when hes hidden behind his helmet. Above all else he honors his brother's memory by taking care of his niece and Rosie. Nothing matters more to him than family

Abilities:

Weapons specialist

Armorer and Engineer

Sharpshooter, beskar sword wielder

Loth wolf shifting

Heightened sense of smell, hearing, taste, and eyesight

Superior strength to his build

History:

He was born within a prestigious mandalorian clan, one of the last bastions of loth wolf shifters long believed to have died off. His father is the clan head.

Like most children of mandalore, his childhood was one of harsh instruction and training from the moment he was capable of walking and wielding a weapon. As the only son of the Clan head and the future heir, he was treated with excessive cruelty from his father to assure his son would surpass all other children within his rank and older. To be the best warrior the clan had ever produced to take his father’s place.

Guts, then named Vessten, excelled beyond expectation with a talent for not only combat, but the engineering of weapons and armor as well. It was in his adolescence that his mother Diandra,the clan armorer born within the clan just as his father had been, refused to see her boy destroyed any further by  his father and escaped the clan with her son.

Guts, always loyal to his mother far more than his father, continued his training and honing his skills as taught to him by his mother. Excelling in the realm of bounty hunting, earning the title of Black hound, he would eventually go off on his own and form his own small guild with his future brother in arms, Rocky(Skeiron) and Erron(Big Mouth).

Guts had served in the same role as his mother before him, as the group's armor and weapons specialist on top of serving as a heavy artillery warrior. Interpersonally, Guts was a constant voice of reason and logic in comparison to Rocky’s laid back nature and Erron’s impulsive arrogance. He is haunted by a level of guilt for his inability to pick a side when tension formed upon Rosie’s addition to the group. When Erron left, He did attempt to find him for a short while, until he decided Rocky and Rosie needed him more. When Erron was ready to show himself, he would do so

Upon Rocky's death, Guts vowed an oath of protection to Rosie and her cub in honor of his brother, with an underlying love he secretly held for a woman he could never have. Guts regularly travels the cosmos on bounty detail and returns to bring a wage back for Rosie and Mia, wherever they may be hiding at the time.

Guts deals with heavily bottled emotions and guilt ; He struggles heavily in showing emotions and using the right words to show support and comfort. Oftentimes he is more of a man of action to show his care, which gives way for him to meet many people in his travels

The Antagonist: 

♡ The Tyrant Warrior: Balrog

The father of Guts and the leather of the loth wolf guild, Balrog is a scourge to some and a messiah to all those his guild has recruited and empowered from the poverty left behind by war. The guild has grown in number and power that proves to be a nuisance for even the empire and the first order, well known for their cruelty to their enemies and the iron fisted hold they have on shipping lanes and planetary trading posts. Nobody passes through territory without payment in goods or useful information – all those who don’t comply are typically met with a grizzly fate of fire, dismemberment, cannibalization,  and heads showcased on pikes to mark off territory points.

Temperament wise, Balrog is cool and collected, proud and confident in his skill that very little phases him. His inner circle is composed solely of loth wolf shifters to preserve their heritage, but all other clan members are treated with the same kind of brother and sister in arms love. Among his clan, Balrog takes no excuses, but he is compassionate and kind to his kinsmen. He sees to it that his people are taken care of across the galaxy, and offers a hand to those suffering to empower themselves by joining his league (if he sees potential strength that could be utilized by the clan).

Outside of the clan, Balrog is a bloodthirsty creature of malice to anyone deemed an enemy. He does not take shit from any group, and is quick to make exampled of them for all others to not make the same mistake. With Loth wolf’s inherent skill and connection to the force, it makes him an exceptionally formidable enemy with the combination of combat skill , lethal weaponry, and dark force abilities to aid him.

The betrayal of his late wife and son prove to be a sore point from him ; He is still determined to find the traitors and reprimand them – but most importantly, to keep them where they belong.

♡ The Wolf in sheep's clothing: John Shaw 

A shady lothwolf shifter that had no place in the clan, John (preferring to go by “Shaw”) simply goes with the winning side that offers him the best deals in terms of lifestyle and payment. He has no loyalty, but his sociopathic specialty of masking makes him surprisingly charismatic and ideal for negotiation and spy work. This charismatic nature hides his underlying sadistic pleasure in the suffering of others and his narcissism.

On the surface, John goes where the money goes and he likes the little pleasures he can gain from the galaxy’s suffering. You usually find him in the slimy city underbellies from planet to planet, gambling and swindeling crooks out of their wealth and drowning in the warmth of a sex worker.. Or whatever poor thing he can rob, rip, and dip. Having force abilities does help a lot in the persuasion aspect..

After all, who’s gonna fuck with a giant dog man?

♡ The Imperial Daughter:

Pandora 

A Child born within the empire’s rule, she is the product of an admiral’s lust with an atrolain slave that was later harvested and indoctrinated into the empire, as is often the fate of many like herself. An incredibly intelligent tactician with a skill for language, combat, and negotiation, Pandora rose through the ranks quickly from her growing youth. With a controlled, nearly emotionless deposition, it made her a favorable cadet among the high ranking officers for a woman who would not argue, yet one who shined in times of urgency and combat.

Currently serving as a vice admirable on board a ship primarily staffed by many of  her halfblood brethren,  her ultimate goal is to take a shot at the rebllion and mandalorian brigade that proves to be a thorn in the empire’s side.  Show the empire just what atrolians can be beyond simple body guards or sex slaves.

Appearance wise, Pandora is an albino that stands at about 6’3, bearing subtle canine features in her large pointed ears, eyes, claws, teeth, and a thin layer of white fur that covers her body. She had a tail as a child that was hacked off in training , deemed as liability in combat. An event which she resents, and continues to be reminded of from  the tail nub that was left behind.

PLOT POINTS TO EXPLORE: 

Pre order-66 where Rosie is a padawan training with other younglings or taking part in the clone wars

Rosie is traveling the galaxy in a desperate attempt to avoid the inquisitor's tracking and the empire's tyranny with her adolescent/toddler  force-sensitive daughter.  For her species, Rosie is the equivalent of a late teen/early 20 year old mom learning to survive entirely on her own. She takes up mercenary/Bounty hunting work on the neutral planets she makes her temporary home on, which could lead to crossing paths with your muse either as the target, the client, or perhaps a rival hunter

Rosie herself is still a powerful force user, even if she was not promoted to the rank of  a Jedi. That being said: she is adept in lightsaber fighting forms, she knows how to find and make a lightsaber, the use of the force for both practical and impractical reasons, and she still possess  her former jedi master in the shape of a force ghost who continues to train her in using both aspects of the light and dark side of the force. With the Jedi order destroyed, despite her negative feelings for the order, padawan and surviving jedi were still family to her. She is capable of teaching another muse survival skills , fighting skills, or how to hone their connection to the force

Mia, her daughter, is fearless and will attempt to make friends with anyone because her mother keeps her hoarded up and suffocates her with worry and overprotectiveness. Downside is Mia tries to make friends usually by harassing someone with questions, or by taking something shiny and making them chase her for it. She is still a kitten at the end of the day and possess kitten mannerisms that do get her in trouble. Your muse could be a victim of her antics or have a secret friendship with her while her mother is often out trying to hunt. Maybe your muse is a neighbor or an ally that occasionally comes by to help Rosie get a break, or maybe you just really think this kitten is cute

Please teach Rosie it is okay to learn to be her own person. She is more than just a mother, there is more to life than just fighting and worrying about tomorrow.

Rosie strains in the heavy pull of the dark and light sides of the force as her emotions rule her abilities just as much as they fuel her. Her love for her daughter serves as her light, but when she is in danger or her limits are tested, Rosie is capable of great destruction and misuse of her abilities for selfish personal gains.

The current state of Rosie’s homeworld Atrolize has been degraded under the rule of the empire, their species subdued to slave labor and breeding cattle because of the species genetic compatibility with any humanoid species in the universe. Anyone who becomes handicap or fails to pay their debts becomes sold off as a slave – which can mean hard labor, the life of a concubine/prostitute , or an exotic pet to trade among the wealthy. When Rosie is seen in the streets on more criminally inclined planets, its not uncommon for someone to ask a price to buy her off or buy her time. Lets see how your muse feels about that

Rocky “died” after taking heavy hits from clones while trying to help civilians and jedi escape. He was on death’s door but was saved by the jedi, ultimately.  I wouldn’t mind a scenario of a muse being one of those that nursed him back to health. Be it a jedi, padawan, or a native civilian

After assuming his family was murdered by the empire, Rocky took fully embrace the Traditional mandalorian code he had long ago abandoned in his time of mourning. He never takes off his helmet, and has taken fully to aiding rebels in unraveling the empire one step at a time. Rocky often trains the newest rebels in close and ranged combat, leads recon missions or targets possible allies, and takes bounty jobs on the side to pay for the maintenance of his own weapons and armor.

Guts was a brother in arms to Rocky who bears the burden of feeling responsible for his brother’s death. In honor of his brother’s memory, he still returns to check on Rosie and Mia to bring supplies and credits to help them. Bearing an unrequited love for Rosie, he struggles with these emotions and the burden of his own bloodline as a lothwolf shifter. Given that his father Balrog is determined to bring him home, he desperately avoids his destiny by throwing himself in danger. A fellow mando companion or a friend in general to provide him someone to talk to about his struggles would be nice. Though, obviously, being seen with him is a dangerous game as your muse may become a target to force him back home to his clan.

Balrog is the clan leader of a mandalorian cult composed of his surviving lothwolf shifters, along with an amassed army of new mandalorians willing to follow him in their path of retribution for the deeds done against them by the Empire. Their loyalty to Balrog knows no bounds and the mandalorians prove to be a power that even torments the empire as they control trade routes, pilfer what they deem is a necessary tax to go through their territory, and  take over arms, armor, and drug smuggling in their region. Balrog considers himself the leader of a new world order of mandalorians now that the old ways are simply inefficient given their enemies. This in itself can be a major point for any kind of character targeted for trying to stand against them or for simply being in the way.

John is a self serving lone wolf that travels the galaxy taking the worst kind of moral work that gives him the best pay. For all intent and purpose, john is a selfish sociopath but at the very least he’s funny and may hassle your muse either as a target or coworker. Or maybe your muse targets him because of the high bounty on his head. Any which way, he’s an adventurer if you want a little corruption on your muse.

Following the fall of the empire and the gradual recovery of the universe, the rebellion is still needed against the first order… Mia, now a fully grown Atrolian, has taken the Jedi skills taught to her by her brother to run reconnaissance detail and the training of new recruits against this well known threat. Though she is only slightly younger than Luke and Leia, her species has put her in what is the equivalent age of a young adult.

▪︎ The Sequels:  The Rey Saga

( Taking place during the era of the first order, Onwards) 

♡ A Rebel at Heart: Mia Blagrove 

Following the fall of the empire and the gradual recovery of the universe, the rebellion is still needed against the first order… Mia, now a fully grown Atrolian, has taken the Jedi skills taught to her by her brother to run reconnaissance detail and the training of new recruits against this well known threat. Though she is only slightly younger than Luke and Leia, her species has put her in what is the equivalent age of a young adult.

♡ The Old Warcat: Rosie Valentine 

Unable to part with her daughter knowing Mia has taken to fighting a war way over her head, Rosie begrudgingly puts her exhaustion aside to make sure these brats don’t get themselves kid. Luke Skywalker sure as hell isn't the last Jedi and someone needs to teach these new generation brats some humility. Who better to do this that a war cat?

Plot Points:

Mia is a young woman at the time of the first order rising, similar to the age of her own mother when the clone wars took place. She has become a formidable opponent given her tall agile stature, her force abilities, her flying capabilities with her wings, and her unyielding nature when it comes to justice and doing what is right. As soon as she was old enough, Mia ran off and joined the resistance to face off against the rising threat of the first order. Here, she takes on stealth and recon missions in a similar fashion, She is fearless and inspires hope in others with her strong presence. Being who her mother is, Luke Skywalker is no longer the last jedi. Being part of the rebels leaves open a large window in which she can meet muses varying from first order agents, rebels, or even planet natives as she travels around the galaxy

Rosie suffers empty nest syndrome and goes against her better nature to follow her daughter into a war that has nothing to do with them. She has grown harsher, more tired since her master’s ghost deemed his teachings maximized and left Rosie to become the teacher of a new generation in a new world. While still only a young woman in terms of her species, the stress of being a mother and a warrior has given Rosie an older appearance. She aids in humanitarian work, as a healer for rebels, or as a heavy hitter sent in emergency situations. Where Mia can be found, her mother is usually not too far behind.

Depending on what happens in the prequel verse, there can be a point of involvement with Rocky which can lead to paths crossing between the family by chance. Any previous connection with any of the character can be a major emotional moment for how the muses deal with Rosie, Mia, or Rocky being whiplashed by the discovery that they’re all alive

Self explanatory but Mia would have issues in trying to unravel planetary corruption. Rosie has decided assassination is always a good option 

[honeyed-kitchen]

Coconut Mango Curry

After a long hiatus from posting recipes, I figured I should share my favorite feel-good meal. Now that mango season is coming to a close, it’s your last chance to make this to die for, extremely non traditional, “use what you have,” meal.

Note: The recipe I adapted from is thai, and I live in El Salvador. There is a limited access to ingredients here, especially typical thai flavors like lemongrass and kaffir lime leaves, so I’m lacking some definitely helpful flavor variations. However, food is universal, so adapt to your home! One way I did that was by using udon noodles as my base rather than rice, as I was fresh out, and it turned out delicious.

Ingredients!

1 medium fresh mango

1 and a half cups coconut milk

broccoli

1 bell pepper

grated fresh ginger or dried ginger

~2tsp cumin

~3tsp turmeric

~1tsp garam masala

1 minced small white onion

~4tbs Thai red curry paste

~2tsp red chili (I use cobanero but again, use what you have)

oil of your choice, I had olive oil

udon noodles

salt to taste

I don’t measure spices, I use my intuition, so this is definitely not 100% accurate

Steps!

In a large sauté pan, heat your oil until shimmering, and sauté your red curry paste until fragrant.

Clear a space to toast your cumin, turmeric, chili, garam masala, and ginger. Add your spices to cook briefly, then mix into the sautéed curry paste.

Add your minced onion to cook down before the rest of your vegetables; this creates a sweet caramelized flavor by the time your dish is done.

Once the onions have turned translucent around the edges and are saturated with the spices, add half of your coconut milk and let simmer uncovered for 10 minutes. As this dish cooks, it looses a lot of its liquid volume, so it’s good to save your coconut milk to add throughout the process.

Add the broccoli and sliced bell peppers to the mix, and cook covered until tender.

Once your curry is almost finished, add your fresh minced mango and cook for 1 or 2 minutes.

Serve over udon noodles and enjoy!

I do wish I had more access to make recipes like this more traditionally, but we can’t always win. This recipe is adapted from Chef Keang Phed Mamuang’s feature at thefooddiaries.com. Refer to the original recipe if you’re looking for something more traditional instead of this home cook with poor ingredients!

Don’t forget to eat well and often. Eat more than enough and enjoy. I’m rooting for you <3

[williscortez]

Will You Take Into Consideration An Online Law Degree?

Over the past handful of full weeks, we have actually reviewed the methods which attorneys, lawyers and clerical employees have actually been actually affected. But what about working folks that desire to get brand-new capabilities as well as improvement in the legal field?

Exactly What perform you think are the major variations between on-campus as well as on-line research study for legislation trainees?

One apparent difference is actually that juris doctor degree does certainly not require trainees to become literally present. Our on-line modules are actually created, supplied and also determined in manner ins which permit our students to accomplish the exact same premium of education and finding out knowledge as those on school. There are actually plenty of options for pupils to check out topical motifs and also troubles whilst socializing with one another in the 'virtual' classroom atmosphere. Our team also deliver a higher amount of pastoral care and scholastic support, as our experts comprehend that our trainees are spread around the globe. Once you prefer a knockout post on online law programs, browse around here.

The advantages of internet understanding

Part-time as well as flexible online courses. With options to take breaks and multiple consumptions yearly, there are actually lots of ways to fit analyzing around your current dedications.

Become part of an on the internet area of students from worldwide, a lot of whom are very progressed in their professions and expert experience, and construct a definitely international system.

Learn from world-leading lawyers as well as scholastics, that deliver advanced legal training in an intellectually thorough as well as stimulative atmosphere. The tiny class sizes enable you to profit from close trainer communication and also cooperation along with your peers.

Internet knowing delivers first-rate education and learning from the convenience of your home or office.

Study is one hundred% online. Loan your learning without taking a break from your profession.

There are 6 intakes throughout the year, permitting you to research when it is convenient for you.

Inevitably, what is actually a conveniences or drawback depends on your priorities. An on-campus course is ideal if site is actually an essential aspect and also you really want to engage along with university locations. Yet if life is actually busy and also you desire to analyze along with present devotions, then on the web discovering will give you every little thing you need to have.

Exactly What effect performs researching an online degree carry job progression?

Those who finish our online law studies obtain the exact same certification and top quality of education as our on-campus students. AbrahamLincolnUniversity supplies unparalleled mentor as well as the very same scholarly rigour for both settings of study. Our training courses, whilst making use of the strengths of British law, are actually made in a manner that is of use as well as value to anyone, irrespective of their jurisdiction. These training programs can be analyzed from anywhere and any time. On the internet research provides a deep knowing expertise allowing you to proceed with your profession. This is actually certainly not consistently feasible with an on-campus training program. While analyzing as well as being in full-time job can be daunting, in our knowledge this has actually not impaired profession progress in any way. The adaptability as well as different help systems constructed right into our programmes allow internet trainees to control the speed of their studies.

What are common misunderstandings individuals possess when they select on the web courses?

Some of the largest mistaken beliefs is, 'will I think that I get on my personal?'. Internet programs at AbrahamLincolnUniversity are properly set up around the world of education and learning, as well as experienced academics perform give to help you navigate via the training course. Pupil Help Advisers are actually readily available to become a pleasant voice by the end of the phone if you possess any kind of queries. Perhaps, the best crucial facet of all is actually the global area of compatible students. Conversation panels allow you to interact, swap concepts with other trainees as well as make the most of the mutual expertise. Weekly live tutorials with instructors duplicate the on-campus adventure as well as are actually an essential resource for socializing with your peers and also cultivating an in depth understanding of the material.

Devotion. 'Will I dedicate to researching if I go to residence?' This is a quite personal inclination. Commonly, our pupils are highly motivated and also disciplined as well as find that all they need to have is actually a laptop computer and a quiet section. As clarified, the online law studies permits them to accommodate their discovering around their existing professions and also lifestyle devotions. For them, it is less complicated to dedicate when there is flexibility.

[an-aura-about-you]

novaiiiiiiume

replied to your post

“I wanna write stuff while I’m working on the house. Give me the...”

LOHENTUTU

PLEASE

GHOSTIES MEETING THE SQUAD

If that’s ok

Wow, this took longer than I meant to for a number of reasons, but I couldn’t resist doing this! Although I took it in a bit of a different direction. What can I say? Plot bunny latches on, you don’t let plot bunny go.

The three sit around the ancient, ornate spirit board on the floor of Autor’s recreation of Drosselmeyer’s study. It’s a gorgeous little antique, nothing like the mass-produced spirit boards available at the toy store nowadays. The heavy wooden board pivots and unfolds over its storage compartment. Within are a couple of planchettes with fine crystal windows to magnify the beautifully inked letters, numbers, and words. Holding it feels the way old books smell, which isn’t too unusual since it’s spent most of its life in a library.

“Of all the things for my family to have and me not know about it,” Autor grouses as he places the planchette on the board.

Erina teasingly smiles and says, “Accept that your reputation as the weird occult kid is fully warranted.”

Autor harrumphs. Erina shrugs.

Fakir crosses his arms and goes, “This seems pointless. Whatever’s haunting me has done it the most at my house.”

“It’s not my fault I’m allergic to your pet duck,” Autor says.

“Besides, whatever it is followed you to class,” Erina points out. “You said you heard it call out to you. It’s looking for you specifically.”

Fakir looks to his... well, friends might be strong. Work associates isn’t quite accurate, either. Humans he can somewhat rely on that aren’t in a story. He and Erina are agreeable enough company, so she’ll come along no matter what. However, he needs Autor to cooperate since he’s the one who owns the spirit board and knows how it works. No other options left, Fakir unfolds his arms and places his fingers on the planchette. The others follow suit and proceed to open the board.

“Is anyone here?” Fakir asks.

The planchette stays still between the three.

“Has someone been trying to contact me?” Fakir asks, undaunted.

Autor sneezes, and the planchette twitches.

“That doesn’t count,” Erina says.

“I wasn’t trying to make it move,” Autor grumbles through his handkerchief.

The planchette twitches again.

“Have you been trying to contact me?” Fakir presses.

The planchette practically jumps out of their hands, leaping to YES.

“Now you’re just teasing him,” Autor says, glaring at Erina.

“Oh, great way to cover up your acting,” Erina quips.

Fakir shushes them. “Neither of you are in on it. I’m not even in on it! That’s the whole point.”

“Then one of us should ask a question,” Erina says, indicating herself and Autor.

“Who are you, spirit?” Autor asks, getting them back on track.

The planchette slips down to the letters T and U only to repeat them.

Erina rolls her eyes. “Are you kidding? We’re playing fairy tale games? This is the worst Halloween party I’ve ever been to.”

“Now, now, what if it’s a demon pretending to be Princess Tutu?” Autor sarcastically suggests.

Something in Autor’s voice prickles Fakir. It carries just a bit more of Drosselmeyer’s sadistic glee than he’s comfortable with. That’s the last thing any of them need in this place. Fortunately, his question comes with a relatively simple answer.

“We ask a question only Tutu or someone close to her would know the answer to,” Fakir suggests.

Autor and Erina stare at Fakir like he’s grown two extra noses.

“Well, that should be really simple for anyone who’s read The Prince and the Raven to answer, which is almost everyone!” Autor protests.

But Fakir shushes him again. “Not unless they know the ending.”

“A trick question, then?” Erina asks. “Fakir, no one knows the ending. Drosselmeyer died before it was finished.”

Fakir sighs in exasperation and goes, “Look, however skeptical all three of us are, both of you trusted me far enough to actually sit with me around a spirit board. Trust me on this question.”

“Fine,” Autor grumbles.

“All right,” Erina agrees, resigned.

Fakir takes a breath to calm himself, closes his eyes a moment, and asks, “Tutu, where did the Prince hold you in his heart? Which shard did you manifest in?”

The planchette smoothly glides about to spell the answer:

H

O

P

E

Fakir nods, satisfied with this answer.

“Seriously?” Erina asks.

He shrugs and confirms, “It’s the right answer.”

“And you’re absolutely certain about this?” Autor presses.

“I could ask her another question, but I don’t know if that’s necessary,” he says. “Depending on what she wants, that is.”

“What do you want, Tutu?” Erina asks, directed to the spirit board this time.

L

O

H

E

N

G

R

I

N

“The Knight?” Autor wonders. “Why do you want him?”

S

E

A

R

C

H

“Wait,” Fakir says. “That might be it. Tutu and Lohengrin looking for each other in the hereafter. The voice I heard in class was too deep to be Tutu, but the noises I’ve heard at home sound like pointework.”

“So, what, you just run the personals for the dead now?” Erina jabs.

“You’re right here in the news room with me,” Fakir responds.

Autor holds back a snicker, but he sobers up enough to go, “So what’s the problem? They have you as a connection. Shouldn’t they be able to meet now?”

The planchette moves again to answer:

C

A

N

T

S

P

E

A

K

Erina sits back a bit and goes, “Wow. That’s kind of cruel.”

“Yeah,” Autor agrees. “Isn’t that always the thought, that you’d be reunited with your dead loved ones in the afterlife?”

“Maybe they couldn’t since Lohengrin died but Tutu vanished,” Fakir speculates.

The planchette moves again:

V

E

S

S

E

L

The three let the word sink in, the reality of what they might have to do weighing them down inside. All Lohengrin and Tutu want is a night of reunion, but at the cost of two of their three consciousnesses for the duration? And if they don’t, the two are going to keep haunting Fakir.

“We could’ve had a normal Halloween party,” Erina half-laments. “We could’ve watched some scary movies and sneak beer out of the fridge like normal teenagers. But instead we’re gonna get possessed by ghosts.”

“Now hold on, we haven’t agreed to anything yet,” Autor says. “And I for one am not giving up my body to some random spirit that might be Lohengrin or Tutu unless I’m absolutely sure it’s not going to cause any harm.”

Fakir takes a deep breath and goes, “I can make sure nothing bad happens. But if I do that, I can’t be one of the vessels.”

“That’s easy for you to say!” Erina protests. “You’re not taking that kind of risk!”

“Erina,” Fakir says, voice as serious as she’s ever heard him get. “It’s not without risk for me, but the risk is lower for all of us if we follow this plan.”

Erina harrumphs, but it doesn’t have the same weight to it, and asks, “And what is your plan?”

“I’m going to write a story.”

Erina downright glares at him, but Autor jolts back and asks, “Are you kidding me?!”

“No.”

Autor runs his hand over his face. “You’re a Spinner?! You?!”

“You’re asking questions in the right tone, but you’re asking the wrong questions!” Erina shouts at Autor. “What is a Spinner and how is writing a story of all things supposed to protect us in case this turns into The Exorcist?!”

“I’ll explain everything later, but we should do this now if we can,” Fakir says.

“No, you won’t explain everything later because we shouldn’t explain it to her!” Autor yells, pointing accusingly at Erina.

“No! If I’m involved in it, I need to know at some point! You have no right to keep it from me!” Erina yells back.

“Would you two please be quiet?” Fakir hisses. “Look, if it doesn’t work, then the worst case scenario is I’m writing a story that will do nothing and both of you will be fine. You have nothing to lose.”

“Except our consciousnesses,” Autor says.

“For a night. That’s all. Whatever needs to be done, we’ll get it done tonight.”

“Hmph. Can we at least read the story in the morning?” Erina asks. “I might as well find out what happens to my body while someone else uses it.”

“Yes, I’ll agree to this if we can read the story tomorrow,” Autor agrees.

“Fine,” Fakir says, going along with the compromise.

“Fine,” Erina agrees.

“Fine,” Autor agrees.

And with that, the three close the board.

Lohengrin gasps a deep breath and feels at his chest for his mortal injury. He shakes and laughs, the glasses on his face blocking his hands from wiping away his tears. He takes them off, looks at the blurry room, and puts them back on.

“Lohengrin?”

He recognizes the voice even though he shouldn’t. “Tutu? Tutu, is that you?”

Tutu tucks her long hair behind her ears and nods. “I think so.”

Lohengrin crosses the short distance and grabs her hands with his, their fingers clumsily knitting together. Their foreheads touch, and they both laugh in breathless disbelief.

“It has been eons,” he tells her.

“I didn’t imagine Heaven to be a place to wait,” she responds.

“It’s been eons if it’s been a moment,” Lohengrin says, squeezing their joined hands. “I can’t count all of my days in what should be paradise spent thinking on when you would come, even if my heart was glad that you were with the Prince.”

She ducks her head down with a sniffle. “He’s finally whole and at peace. He’s with his Princess. And... and I’ve missed you more than I’ve known!”

Tutu takes her hands back and embraces Lohengrin as tight as her body allows, glad when he does the same and rests a hand on the back of her head.

“Has the time finally come?” Lohengrin asks her. “Can you join us?”

“I think so. I hope so. I believe the time has come now that the Prince’s heart is whole and not in danger of shattering again.”

He kisses her forehead and says, “You’ve done what I couldn’t, Tutu. And once you are there, Heaven will finally be complete.”

Tutu looks up and asks, “Will you stay with me until the dawn, Lohengrin?”

“Of course, of course,” he assures her, rubbing his thumbs along her tears’ trails. “We can cross it together.”

Of the three, Autor’s the first to wake up in the late morning.

He rubs the drowsiness from his eyes and tries to stretch out of his uncomfortable sit-sleep position only to find he’s holding hands with Erina. She’s in a state similar to his own pre-waking moments, the only difference being her head leaning against his shoulder. He opens his hand to let go of hers, but their fingers remain loosely knitted. He gently sets to work undoing her fingers, checking the both of them over for anything amiss. They seem no worse from the night, no strange marks or unusually mussed clothes.

Fakir sleeps slumped over the desk, some pages of parchment by his elbow.

The story.

Autor swallows, hands already trembling in anticipation. A story written by a Spinner in this very study. And he’s part of it, however small of a part he played. He quietly steps over and looks at the page on top, carefully taking it from the pile. He steadies himself with a breath, bracing himself to read.

“...eventually the Princess nodded off to sleep, her head resting on the Knight’s shoulder. She trusted in his promise that they would make the final journey together. Her time to guide others had come to an end, and the Knight would take his turn to guide her to the Heaven she’s dreamed of for so long.”

Did they just fall asleep while Fakir wrote his story? That’s all this seems to be, and yet the words plant an ache in Autor’s heart.

“Autor?”

He looks to Erina when she calls, possibly the first time either of them have used their proper names since this started. She gets to her feet with a yawn, stretching her arms over her head, and joins him by the desk.

“Is this the story?” she asks.

“Yeah,” he answers, passing her the page in his hand.

Erina takes it and quietly reads, making a soft little sigh when she reaches the end. She places the page back with the others, careful not to disturb Fakir.

“Should we wake him?” she asks.

Autor shrugs and goes, “Maybe we should just let him sleep.”

Erina nods. “Well, that was a Halloween party I won’t forget anytime soon.”

“Yeah...”

“Let’s just watch scary movies at the next one.”

[mostly-mundane-atla]

Atla-verse Kuspuk Week 2022

What is Atla-verse Kuspuk Week?

Kuspuk Week is a week of Avatar fan art featuring characters wearing regalia known as a kuspuk. While there's a lot of superficial aesthetic influence of Circumpolar cultures, the absolute lack of cultural influence, especially in comparison to the irl East Asian influences, make it feel cheap and appropriative. A kuspuk is a garment worn by Yup'ik peoples as well as the Inupiat (we would be considered "Alaskan Eskimos" if you've ever come across that term) which adapted Euro-American shirts and gowns to suit the silhouette of a parka and be able to be worn over one. They were originally pullover garments (though later, some variations would include a zipper) rather than closing in the front with buttons or a sash tied at the waist and have a loose, baggy fit that can provide insulation or ventilation, depending on the amount of layers worn underneath, as well as practical features like a hood and large, easily accessible pockets. The kuspuk is very much our take on clothes made of fabric rather than skins, with our chores and passtimes and cultures in mind, and they never once show up in the universe of Avatar: the Last Airbender.

The creators and artists and writers were perfectly happy to build off of our parka designs and give characters names like Kuruk, Unalaq, and Noatak, but they never once had a character in a kuspuk. This is especially gratuitous in Legend of Korra, where kuspuks would make even more sense with the irl historical period it draws most its inspiration from. Western business suits? Couldn't be a gritty dieselpunk fantasy without them. The 1920s-30s Hong Kong style cheongsam with its influence from western ideals? Perfectly appropriate for the setting of Legend of Korra. The fabric parkas we've been making out of flour sacks since the 1890s or even before which have since become a symbol of cultural pride suitable for formal events? Apparently not.

By participating in Kuspuk Week, I invite you to consider we are more than skin clothes on brown bodies with percussive names, since it seems like that's all canon considers us good for.

How do I find good visual references?

I've written a beginner's guide here. (Admittedly, my illustrations are lacking.)

Here's Alaska's state digital photo archives, filtered to only include items tagged "kuspuk"

Is this appropriative at all?

No. Anyone who makes kuspuks either is or learned from a Native, and the vast majority of people selling them (and thus making a profit off of them) are Native women. We have never had problems with outsiders fetishizing kuspuks the way some forms of Native regalia have been fetishized, and a kuspuk is more likely to be compared to a hoodie (despite predating pullover hoodies as we know them by at least a few decades) than exotified. Drawing kuspuks as an outsider will be understood as appreciation of the culture rather than appropriation.

Rules

Rules for all entries are as follows:

Keep it "gen." Shipping can be fun but is not the focus here.

May include as many characters as you want but they all should be wearing kuspuks

@ my blog (mostly-mundane-atla) so I can find it and reblog for my followers to see (if you don't want it to be reblogged for any reason, let me know)

Prompts

(Feb 28) Favorite Avatar in a Kuspuk.

Pretty self-explanitory. Favorite Avatar of any that show up in any canon work set in the universe. They just have to wear a kuspuk.

(Mar 1) Non-Water Tribe Character in a Kuspuk

Same deal. Any non-Water Tribe character you'd like wearing a kuspuk.

(Mar 2) Play

Character(s) in kuspuks playing games or with toys traditional to the regions Kuspuks are from. Consider consulting this post I wrote in response to childhood games and toys, but keep in mind that some of these were also enjoyed by adults

(Mar 3) Values

Pick a Traditional Inupiaq Value and have draw your kuspuk-wearing character(s) exemplifying it.

(Mar 4) In Korra's Time

At least one character in the drawing must be originally from Legend of Korra. Kuspuks because why else would you draw it for kuspuk week?

(Mar 5) Mythology and Folklore

Any myth or folktale you like (just again, please remember this is not shipping based). If you really wanna stretch it, you can use a fairy tale. Draw it with kuspuk'd Avatar characters. Traditional versions of props and wares optional but strongly encouraged

(Mar 6) -Piaq

The suffix -piaq is sometimes translated as "real" but mire accurately translates to "more of itself." What do our beloved characters look like when they are more of themselves, when they've fully grown into themselves? Figure that out and put them in a kuspuk.

Do as many or as few of the prompts as you want, and don't stress if it's late. I can't wait to see what you guys come up wìth!!

[thewhizzyhead]

a non-filipino's guide to trese: ep 1

So some of my mutuals decided to check out Trese aka the Netflix adaptation of the Filipino horror comic book series that I keep rambling about here and then since well um most of my mutuals aren’t from the Philippines fshfs I decided to make a long-ass post that basically consists of me rambling about the cultural context present in Trese with fun little tidbits about Filipino folklore. I’m not an expert on Filipino mythology so um I just typed out the stuff that I know and the stuff that I looked up on Wikipedia so um take this with a grain of salt aaaaa I’ll save the extensive google scholar research ramble on folklore present in Trese for another day.

I’ll try to find the sites where I got some of the information from cause um yea I kinda had a bit of a hard time finding the other shit so um once again, take the stuff here with a grain of salt. Also, feel free to add more info if you guys got any!

SO ANYWAYS ENJOY ME RAMBLING ABOUT EPISODE 1 OF TRESE WOO

+ MRT and LRT (Manila Metro Rail Transit and Light Rail Transit) are train systems in NCR (the capital region) and yea them suddenly stopping and malfunctioning in the middle of the goddamn rail is a daily occurrence and we have been trying to deal with this bullshit for years but alas, corruption and negligence are sweet sweet drugs.

+ When the MRT broke down, you'd see a red bee in the flashing billboard right? Well that's Jollibee and that's probably the most well-known fast food restaurant chain here heck there are even branches of it abroad!

+ According to many youtube comments along with other social media posts that I am way too tired to link here, the opening theme is an Ifugao ethnic song called Balluha'd Bayyauhen but with modern accompaniments and I think the song is about a fruit called a balluha that the character in the song tries to it but cannot swallow. (someone please correct me if I’m wrong here fjkfs)

+ The first um monster that we see Alexandra interact with is the White Lady of Balete Drive. White Ladies or “Kaperosa” are a type of female ghosts typically dressed in ghostly white dresses or similar garments. According to legend, she died in a car accident while driving along Balete Drive (a two lane street formerly lined with Balete Trees which are said to be a home for spirits and mysterious creatures) in Quezon City while other accounts say she died waiting for the arrival of her lover; others also say that she was a teenage girl who was run over and killed by a taxi driver at night and then buried around a Balete tree while another variation of the tale claims that a student from the University of the Philippines was sexually assaulted and killed by a taxi driver nearby and so said ghost haunts the street in search of her murderer. There are many other variations but according to local rumor, the legend was fabricated by a reporter in 1953 in order to make an interesting story. What remains consistent in many variations is that apparently taxi drivers would be stopped by a beautiful lady asking for a ride and if one would look at the rear window, they would see that the white lady in question is bruised and drenched in blood.

+ There are a lot of mentions about "lakans" and stuff in reference to Alex and her father right? In precolonial times, the term is used to refer to the paramount ruler or the highest-ranking political authorities in Tagalog communities (so um NCR and some parts of Region 4). In Muslim communities, they are called sultans while communities with strong trade connecitons with Indonesia or Malaysia called them Rajah. Datu is umm the more generalized term though when it comes to discussing the leaders of the precolonial Filipinos.

+ So, Alex’s mom is a babaylan and back in the pre-colonial period, each barangay (which a native filipino term for a village or a district; said term is still used today to describe um divisions in municipalities like) had them and these are basically Philippine shamans and they specialized in communicating with the spirits of the dead. To my knowledge, the role of babaylan went to women and yea people assigned male at birth but then identified as female were also allowed to become babaylans and they would be treated with the same respect given to any woman back then (honestly I dunno much about lgbtq+ stuff back in the precolonial times but all I know is that precolonial Filipinos were much a lot more welcoming towards trans identities bUT THEN THE SPANIARDS CAME AND UM ERR RUINED THAT); also the writing Alexandra's mom did in that one scene with the dagger is in Baybayin - preHispanic Filipino script. I dunno what she wrote down though. .

+ Also I kinda find it funny that the people here esp those who were at the White Lady scene are um,,, not at all surprised? Like yea quite a number of filipinos have their own superstitions and beliefs and all that but um yea the people in Trese seem very used to the bullshit,,,which in retrospect, isn't at all inaccurate fsdfd I MEAN WE DEAL WITH UNSURMOUNTABLE AMOUNTS OF BS ON A DAILY BASIS SO I DON’T THINK DEAD GHOSTS WOULD EVEN FAZE MANY FSKJDS

+ The one that appears right before Alexandra talks with the duwende (the one in the manhole) is called Laman Lupa (which i guess translates to um "What is in the earth"? just um YEA THEY ARE DIRT CREATURES). normally this is an umbrella term for duwendes and nunos but in Trese they are servants of these aforementioned creatures.

+ Duwende (which came from the Spanish phrase "dueno de case" which means "owner of the house") or dwarves in Filipino folklore are known to be mischievous and magical environmental guardians. They are believed to reside in trees or under earth mounds (those that live in the latter are called nuno sa pundo or old man of the mount) which is why quite a lot of Filipinos say "tabi tabi po" or “excuse me” when wandering around a forest or earth mounds as a sign of respect and in the hopes the duwende won't torment them. If the person is friendly, the duwende can also be friendly in return and will bring that person good lucl; otherwise, those who destroy their homes by stepping on them will face their wrath in form of heartless curse and predictions of ominous and disastrous fates. A duwende's color also depends on their budhi or conscience: to my knowledge, white duwendes are kind, red ones give protection amulets, green ones are firnedly with children and the black ones give nothing but trouble.

+ Chocnut aka the snack Alex bribes the nuno with is a very yummy chocolate snack made of coconut milk, crushed peanuts and cocoa powder. They are umm about an inch in length and maybe half an inch in width so it's fairly small; that being said I WANT THE CHOCNUT THAT ALEXANDRA HAS CAUSE HOT DAMN THAT'S A BIG CHOCNUT

+ In Trese, the creatures in the MRT scene and in the warehouse Alexandra visits after she talks with the duwende are called "aswang". In Philippine folklore, it is an umbrella term for any kind of monster so um an aswang in Luzon would be very different from the aswang in Mindanao. According to what I saw on wikipedia, they can be classified in 5 categories: the vampire (self-explanatory um they drink blood), the viscera sucker (the manananggal, i'll get to that next time), the weredog (cats and pigs are also possible but um yea they target pregnant women), the witch (self-explanatory boom curses and stuff) and the ghoul (they gather near trees in cemeteries to feast on human corpses). Aswangs are often described to have a long, hollow tongue, sharp claws and sharp teeth, although they do also have human forms.

+ To my knowledge, Ibwa, the leader of the aswangs in the warehouse, is a creature from Tinguian or Itneg mythology (they, like the Ifugao, are an indigenous ethnic group in northwestern Luzon) though I could be wrong about this dksfsf Ibwa seems like an ethnic filipino term tho wah I can't remember where I once read that. But anyways, Ibwa often stalk sthe house of a dying person to steal its body. In order for the ibwa to NOT succeed in that, some people burn holes in the garments of the dead and put a sharp iron object on top of the grave since those are most powerful weapons against aswangs which is what Alexandra uses to subdue the Ibwa and kill all the other aswangs (the knife alex uses is named Sinag which means "ray of light".)

+ ALSO I AM SO SO GLAD THEY KEPT THE FILIPINO SWEARS IN THE ENGLISH DUB YES YES THIS IS A VERY GOOD JOB so lemme discuss the versatility of tangina-

+ Also umm Bossing is a nickname of Vic Sotto - one of the three pioneer hosts of Eat Bulaga! which is the longest running Philippine noontime variety show. Over time, most probably due to the show's popularity, the term "bossing" then became um slang for "boss" or "chief"

+ Translation of what Alex says when she's stirring the eye inside the cup: “In the eyes of others, secrets will reveal themselves.”

+ Sidenote: The English dub's pronunciation of many of the tagalog lines are um yea they r pretty good but they could use a bit of work but then again I'm really not that good in speaking in Tagalog so who am I to judge gkdkf sorry po guys conyo po ako-

+ Maria Makiling is arguably the most famous of all the diwatas (ancestral spirits, nature spirits, or deities) in Philippine Mythology; she is associated with Mount Makiling in Laguna as the guardian spirit of the mountain. Mount Makiling is said to resemble a profile of a woman and people associate the profile with Maria herself. She is also known as a goddess by the name of Dayang Masalanta and people would pray to her for safety and to stop storms and earthquakes. That's the goddess Alexandra's mother mentions right when she tells Alex to hide. (Translation to what she said there: Maria Makiling, goddess of the mountain, bless us.)

+ ALSO YEA THAT MAYOR IN THE MRT STATION IS UMMM RATHER REMINISCENT OF MAAAANY POLITICIANS AND PUBLIC SERVANTS HERE LIKE BELIEVE ME I CAN THINK OF SO MANY NAMES RN. THEY WOULD FLAUNT THEIR MACHISMO AND PROMISE THAT THEY THEMSELVES SHALL PUNISH THE PERPETRATORS HARSHLY BUT IN THE END THEY DONT MEAN SHIT AND ARE IN OFFICE TO SERVE ONLY THEMSELVES AND TO SHIT ON THE REST ESP THOSE OF THE POORER SECTORS AND *NOTHING IS DONE ABOUT IT*. WE LIVE IN HELL OKAY. also hmm how the police are represented here is umm,,,interesting,,, like i know there are sOME good police officers like the ones alexandra assists but like,,,our current sociopolitical climate + the many cases showcasing the corruption in the police force + tHE SHEER AMOUNT OF POLICE BRUTALITY HERE would ummm beg to differ. but um anyways-

+ Also Mang Inasal posters can be seen in the MRT station backdrops and um it’s a very famous restaurant chain here and they serve lots of barbecue and other filipino stuffs and i miss them a lot God their halo halo is very yummy

+ Santelmo - oki so this is the fire face thingy that Alexandra summons inside the ruined train. This is the shortened version of the term "Apoy ni Santa Elmo" or "St. Elmo's Fire" - this is a weather phenomenon wherein plasma is created from an electrical discharge from a rod like object in an atmospheric electric field. This phenomenon was used to warn of imminent lightning strikes or storms (there is a chapter in Noli Me Tangere where Pilosopo Tasyo talks about that bUT I'LL SAVE THE NOLI ME TANGERE RAMBLES FOR ANOTHER DAY). But according to Philippine folklore, santelmos - which are said to be souls of people lost as sea - are balls of fire that appear where accidents or big arguments happen. In Trese, santelmos (alex's santelmo being "The Great Spirit of the Binondo Fire") can be called to assist in supernatural investigations

+ Translation of what Alex says when she draws the circles to meet with the purple ghosts: "Souls, where are you off to? I'll be entering too, so please open the door."

+ Remember the scene at the train with all the purple ghosts and the woman in a veil? Yea the woman is an emissary of a goddess named Ibu and she is the Manobo (again, another indigenous ethnic group but this time they're from Mindanao; fun fact we have around 134 ethnic groups) goddess of deceased mortals and the queen of the underworld; she also serves as a psychopomp and guides the newly deceased souls to the other side (having an MRT be the ride to the underworld isn’t in the legends tho so fkkjsf)

+ The aswang in the top hat is called Xa Mul and according to the Isneg/Apayao people (yay another ethnic group but this time in northern Luzon - the Cordillera regions to be specific), they are an evil spirit known to swallow people whole.

+ Alex has two henchmen right? Yea they are named Crispin and Basillio and No I still don’t know who’s who and I'm really sorry about that fsfjs so anyways the names Crispin and Basillio are actually those of two brothers featured in the Noli Me Tangere and El Filibusterismo novels (Crispin is younger and Basilio is older) which are basically the national novels here cause um yea written by national hero Jose Rizal as sociopolitical commentary about the Spanish regime here. I don't know if I want to spoil this cause I kinda want other people to read the novel too fskfs BUT ALL IN ALL, ONE OF THEM DIES IN LIKE THE 10TH OR 11TH CHAPTER OF NOLI ME TANGERE (and the novel has 64 chapters btw) AND UM YEA-

+ OKI SO TO ADD MORE CONTEXT TO THE SQUATTER STUFFS MENTIONED IN TRESE (we r gonna use the tiny font here because holy shit this rant is long): So,in the Philippines, especially in the capital region, there are lots of slum areas called squatters. These are dense urban settlements made of compact makeshift housing units that aren't really officially recognized by the government. This is um very reflective of the poverty situation here and there are maaany factors that come into play here and if i were to go into depth about this topic, that rant would probably turn into an academic paper so for the sake of brevity, let's just say that Things Are Fucked Up Here. Oftentimes the poorer sectors are being ignored and left to their own devices despite tons of campaign promises to make things better and easier for them. The communities that live here are incredibly vulnerable to floods, fires, and the like and afaik no concrete solutions have been in effect to protect these people and their settlements. There have also been many times where squatter areas are dismantled or demolished despite protests of people living in those areas and yea I understand the need to make space and the need for renovation but the people should still be offered some sort of temporary settlement or financial compensation thingy that doESN'T fuck them over but alas, we have an anti-poor government. That being said, I really like Trese Ep 1's portrayal of governmental negligence, but I also have some thoughts, especially in regards to the mayor being arrested THAT FAST which um believe me, NEVER FUCKING HAPPENS BECAUSE MANY MAYORS AND A LOT OF POLITICIANS HAVE THE POLICE IN THEIR POCKETS SO UM ERR YEA JUSTICE IS RARELY A THING HERE BUT UM ANYWAYS YEA THE GOVERNMENT LIKES TO SHIT ON THE POOR WOO LET'S SAVE THE USE OF SOCIOLOGICAL LENS ON THIS MATTER FOR ANOTHER DAY

+ The news channel reporting the arrest of the mayor is ABC-ZNN WHICH IS AN OBVIOUS REFERENCE TO ABSCBN aka the top media conglomerate here (that has been fucked over by the government so many times to the point that they had to shut down operations last year which is all sorts of unfair so seeing them being referenced here kinda made me happy gksfks)

[rawliverandcigarettes]

Our discussion on turians made me wonder: how do you imagine the culture of the Salarian Union? (I'm sorry, you probably talked about this elsewhere, but I was too lazy to look for that, if so feel free to refer me to that post.) I find that there are surprisingly little elements about it in canon, though there are a few hints, like the fact that the planets in the Pranas system all have modern names, the previous names having been discarded, presumably, because they evoke "bygone superstition"?

Hello! Sorry I took some time. I actually rarely packaged my thoughts on salarian culture in a digestible way, so you gave me a great opportunity to give it a recap! I will go more indepth in the future for sure, but I might do a lil' overarching presentation of my general thoughts.

First, I have written an exploration/explanation of some of my headcanons regarding salarian reproduction, and it can be found here on Ao3: https://archiveofourown.org/works/18872515

It is sliightly out of date and I need to do a pass to adjust some of my thoughts, but I still go by the general idea.

I also agree that there is very little things in the OT canon. I think there might be slightly more in Andromeda maybe, but I still haven't played the game so who knows!

I even believe the games kind of give up on salarian culture past ME1, where they are arguably given the most importance; we get more depth to it in ME2 through the sole and lonely perspective of Mordin; and in ME3 they are barely worth more than somewhat cheap antagonism and a couple of questionable jokes. Even right now during the promo of MELE, I felt like salarians keep being characterized as weird-cute-gross, and more like the butt of a joke than people. Even the promo for Director Tann in MEA had this "haha you get a role for a mass effect character and you thought you'd be sexy and cool TOO BAD" vibe to it, which makes me think part of the devteam (or at least the marketing side of it) don't think too highly of their very own space frogs :'(((

But to get on my actual thoughts (under the cut and the nice gif, because it won't be as long as it could be, but it's still somewhat long):

So first off, I'm trying to keep in mind how indescribably huge the Salarian Union is: we're talking about a conglomerate of planet-sized communities, moons, artificial stations, plus appendages in every large-scaled, cosmopolitan communities in Council space and possibly beyond. Just like it would be hard to talk about any united "human culture", I think the same could be true for any Mass Effect species --even though, for the sake of both narrative convenience and the tendency for globalization once communities get connected and break down communication barriers, shortcuts have to be made (and that helps make Points, and I like stories to have Points so yee).

For this reason, I have identified organizational tendencies within these communities, based both on baseline of natural grouping emerging off salarian biology (clan-based structures with matriarchal figures) and where I speculated breakdowns would happen in the modern, multicultural setting of the ME universe. To brutally over-simplify: there would be the "traditional" political organization of Sur'kesh (that I will briefly cover later), the "colonial" style (a derivation of the Sur'kesh style with more centralization), and the growing influence of ultraliberalism creeping from Council space back unto these communities, creating a myriad of variations depending on how much the communities are willing to adapt to production being controlled by corporations.

I headcanon the culture, however, to be at once: very collectivist yet an oligarchy (because dalatrasses have a right to power by virtue of existence basically), extremely eugenist to the point of having created literal, biological races that are genetically distinct from each other and cultivated to remain as such by some clans (and therefore can be very cruel towards the disabled/the imperfect at birth too), misandrist (I believe being a male salarian from a shitty clan/baronny is one of the lower forms of political existence that can be in this universe, hence why their lives in the working force are so goddamn disposable), but also designed to protect its members and have the community take care of their basic needs (so homelessness is almost not a thing, or at least used to not be a thing). I also believe the culture to be consistently young and vibrant, with lots of energy (for better and for worse). And during the time of ME, to be under economical and social duress (even gender duress!) as it sits at a crossroad regarding its future, and everyone has a lots of ideas on what this future should look like, including people gawking the outside with economical or political interests in the outcome (this basically the plot of The Empire of Preys, which is technically a prequel to Halfway Home but will be written after HH because I love chronologies that make sense and are easy to understand :) :) ).

So concerning the OG, Sur'kesh style: I have contorted a weird economical/diplomatic/land planning system into quasi-existence, that is based around a unit called the "symposium". This is a *relatively* young system in their history (still milleniums old, it really solidified in the middle of the Rachni Wars as a reaction/adaptation after several waves of imperialism that didn't really look like ours but had the same effect of flattening local cultures into a more aggressive semi-ethnostate), but central into dividing resources, workers, affect. I will not go into too much details because this is quite complicated, but these are basically commitees that will take democratic decisions among its members, based on how many clan members are appointed in both this symposium and and adjacent symposiums that might be helpful to this one --it's a system explicitely based on bribes and social influence, and getting the partial control of key symposiums is absolutely essential for Dalatrasses to maintain the influence and relevance of their respective clans. It's also a system that has, traditionally, very little use for money (it exists, but as a token of exchange that doesn't carry inherent value --if you have only access to money as a clan, you are basically worthless and won't get access to good matches or good symposium seats, or at least you used to until capitalism knocked at the doooooor and that kinda fucked things uppppppp and the society is not recovering and the gaps are getting extreeeeeme this is the plot of TEOP basically).

Oh and on the subject of the transition to more capitalist values and the decay of clans that cannot keep up, I wrote The Leftovers a couple of years ago, which talks about a young dalatrass-to-be discovering she might be sterile, right here: https://archiveofourown.org/works/15854244

I have a ton more things to say on the subject (and salarian culture as a whole), buuut this is getting quite long already haha.

And in regards to your question: I headcanon that salarians from one specific continent -that then became the "cultural norm" over imperialism and complications- were confronted, in a continental way, to a huge hurricane that led to incredible floods and then stagnant water and diseases, which really soured their relationship to water that was previously quite holy. This led to a very bitter enlightenment; their "Renaissance" came out of spite against nature rather than anything else, and a lot of previous ideas were abandoned for a time -then reclaimed, then abandoned again, then warped... It's complicated. :D