✨✨✨ my memory is bad apologies but i believe for a meme that was 'tell me your type and I'll assign you a crop haven character' you assigned me a basilisk/naga character? tell me about them! (if I'm wrong then your choice!)
Send me ✨ for a random thing about one of my OCs! (Optional: You can specify one!)
you are correct, I did! I don't have an updated portrait for him or any new art at all really, but here is his reference again
✨ Naga is very very very long/big. he's like 30 feet long and his "humanoid" portion is very big too. gee naga who let you be the biggest monster around aside from the character who is literally a god
✨ Naga lives deep in the forest, and is usually spending his time sleeping and eating. he's very rude and uncaring to humans and even other monsters and. yeah he isnt above eating anyone if they annoy him enough. that said, hes very protective and territorial if he DOES like you.
✨ He really likes ore and fossils. He likes to collect them, and he and another character Ao are both very good at identifying the fossils. It's just Naga won't give them back to the player and keeps them for himself -
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Tor: Hey Vesna. I didn’t know you have a rodent.
Arne: Nice to meet you! I’m Arne, Tor’s husband.
Vesna: It’s a DOG. You didn’t say you have a BEAR… and apparently a husband too.
Arne: Would you like to come for a cup of tea? Tor just baked cinnamon buns.
_
Tor belongs to @littleulvar
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Pebbles hating on Sun? I'm here for it. I love your version of Suns so much because it just encapsulates all their flaws that people often ignore. Is this my Pebbles bias speaking? Yes absolutely. Nobody LETS Pebbles be angry towards Suns when he has every right to. They just let the anger be outweighed or completely ignored in the favor of Pebbles own screwups.
I want to see Pebbles come into his own, decide he has worth as a living person, and there is value in living. Then, as someone who values his OWN worth, realize that Suns was toxic. That their friendship and mentorship was toxic. Let him be angry and let him cut that out of his life so he can focus on righting his own wrongs (which Pebbles does canonically anyways).
Realistically, Sun's and Pebble's friendship would never be the same. Even if Pebbles forgave Suns, I can't see their relationship being anything but strained. Moon and Pebble's situation cannot be compared to this since Moon is A. extremely forgiving/patient and B. her collapse was an accident on Pebble's part. She was angry yes but chose to rekindle her relationship with Pebbles in the end.
Five Pebbles is a completely different person from Moon and has a right to handle his mentorship with Suns in HIS way. So yeah, I cannot see off the string Pebbles doing anything but trying to heal from what Suns did to him (while also dealing with his own guilt).
here's a treat cuz oh i Know you are here for this, every time my version of these two are mentioned you come runnin jgksdlmcklsdm
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this is my brother and i need a shovel to love him,
and if tearing my ribcage open and letting him see that i, too, am human, if letting him gnaw at my heart, if letting him see me as i am, of a vulnerability that he never imagined of me, will make him look into my eyes and grin a smile that i almost forgot, then so be it.
and if my murder, my death, is what brings us together, then so be it. may he kneel against my lonely grave and press his warm body against my cold headstone, the fine thin line between death and life. may death unite us, once and for all, and maybe then we will be brothers again.
he is half of my soul, as the poets would say,
but one half of my soul is rotten. it starts with obedience and distance, and with a need for love that no one will give us. our home is cold; our souls are warm. in a home of the dark, few want to see the light; i did, and he stayed in the shadows where, seemingly, he belonged oh, so well.
but one half of my soul is dead. may i never know what brought the sleep of forever upon him, and i shall mourn the boy, not the man. i shall grieve my brother, above all, and not the man he had become; at the end of time, when death writes our story, we are brothers, two stars in the sky.
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Margaret of Anjou’s visit to Coventry [in 1456], which was part of her dower and that of her son, Edward of Lancaster, was much more elaborate. It essentially reasserted Lancastrian power. The presence of Henry and the infant Edward was recognised in the pageantry. The ceremonial route between the Bablake gate and the commercial centre was short, skirting the area controlled by the cathedral priory, but it made up for its brevity with no fewer than fourteen pageants. Since Coventry had an established cycle of mystery plays, there were presumably enough local resources and experience to mount an impressive display; but one John Wetherby was summoned from Leicester to compose verses and stage the scenes. As at Margaret’s coronation the iconography was elaborate, though it built upon earlier developments.
Starting at Bablake gate, next to the Trinity Guild church of St. Michael, Bablake, the party was welcomed with a Tree of Jesse, set up on the gate itself, with the prophets Isaiah and Jeremiah explaining the symbolism. Outside St. Michael’s church the party was greeted by Edward the Confessor and St. John the Evangelist; and proceeding to Smithford Street, they found on the conduit the four Cardinal Virtues—Righteousness (Justice?), Prudence, Temperance, and Fortitude. In Cross Cheaping wine flowed freely, as in London, and angels stood on the cross, censing Margaret as she passed. Beyond the cross was pitched a series of pageants, each displaying one of the Nine Worthies, who offered to serve Margaret. Finally, the queen was shown a pageant of her patron saint, Margaret, slaying the dragon [which 'turned out to be strictly an intercessor on the queen's behalf', as Helen Maurer points out].
The meanings here are complex and have been variously interpreted. An initial reading of the programme found a message of messianic kingship: the Jesse tree equating royal genealogy with that of Christ had been used at the welcome for Henry VI on his return from Paris in 1432. A more recent, feminist view is that the symbolism is essentially Marian, and to be associated with Margaret both as queen and mother of the heir rather than Henry himself. The theme is shared sovereignty, with Margaret equal to her husband and son. Ideal kingship was symbolised by the presence of Edward the Confessor, but Margaret was the person to whom the speeches were specifically addressed and she, not Henry, was seen as the saviour of the house of Lancaster. This reading tips the balance too far the other way: the tableau of Edward the Confessor and St. John was a direct reference to the legend of the Ring and the Pilgrim, one of Henry III’s favourite stories, which was illustrated in Westminster Abbey, several of his houses, and in manuscript. It symbolised royal largesse, and its message at Coventry would certainly have encompassed the reigning king. Again, the presence of allegorical figures, first used for Henry, seems to acknowledge his presence. Yet, while the message of the Coventry pageants was directed at contemporary events it emphasised Margaret’s motherhood and duties as queen; and it was expressed as a traditional spiritual journey from the Old Testament, via the incarnation represented by the cross, to the final triumph over evil, with the help of the Virgin, allegory, and the Worthies. The only true thematic innovation was the commentary by the prophets.
[...] The messages of the pageants firmly reminded the royal women of their place as mothers and mediators, honoured but subordinate. Yet, if passive, these young women were not without significance. It is clear from the pageantry of 1392 and 1426 in London and 1456 in Coventry that when a crisis needed to be resolved, the queen (or regent’s wife) was accorded extra recognition. Her duty as mediator—or the good aspect of a misdirected man—suddenly became more than a pious wish. At Coventry, Margaret of Anjou was even presented as the rock upon which the monarchy rested. [However,] a crisis had to be sensed in order to provoke such emphasis [...]."
-Nicola Coldstream, "Roles of Women in Late Medieval Civic Pageantry," "Reassessing the Roles of Women as 'Makers' of Medieval Art and Culture"
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Episode 1.19: Moonfall
Episode 2.13: Inside
delicious delicious parallel to me. "burned all your bridges in exchange for a signing bonus" indeed! "are you satisfied? is this everything you hoped for?" indeed!
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