#landscape practice i didn't post

[nuokis]

fog

[headspace-hotel]

There was this post a while ago where somebody was saying that Cheetahs aren't well suited to Africa and would do well in Midwestern North America, and it reminded me of Paul S. Martin, the guy I'm always pissed off about.

He had some good ideas, but he is most importantly responsible for the overkill hypothesis (idea that humans caused the end-Pleistocene extinctions and that climate was minimally a factor) which led to the idea of Pleistocene rewilding.

...Basically this guy thought we should introduce lions, cheetahs, camels, and other animals to North America to "rewild" the landscape to what it was like pre-human habitation, and was a major advocate for re-creating mammoths.

Why am I pissed off about him? Well he denied that there were humans in North America prior to the Clovis culture, which it's pretty well established now that there were pre-Clovis inhabitants, and in general promoted the idea that the earliest inhabitants of North America exterminated the ecosystem through destructive and greedy practices...

...which has become "common knowledge" and used as evidence for anyone who wants to argue that Native Americans are "Not So Innocent, Actually" and the mass slaughter and ecosystem devastation caused by colonialism was just what humans naturally do when encountering a new environment, instead of a genocidal campaign to destroy pre-existing ways of life and brutally exploit the resources of the land.

It basically gives the impression that the exploitative and destructive relationship to land is "human nature" and normal, which erases every culture that defies this characterization, and also erases the way indigenous people are important to ecosystems, and promotes the idea of "empty" human-less ecosystems as the natural "wild" state.

And also Martin viewed the Americas' fauna as essentially impoverished, broken and incomplete, compared with Africa which has much more species of large mammals, which is glossing over the uniqueness of North American ecosystems and the uniqueness of each species, such as how important keystone species like bison and wolves are.

It's also ignoring the taxa and biomes that ARE extraordinarily diverse in North America, for example the Appalachian Mountains are one of the most biodiverse temperate forests on Earth, the Southeastern United States has the Earth's most biodiverse freshwater ecosystems, and both of these areas are also a major global hotspot for amphibian biodiversity and lichen biodiversity. Large mammals aren't automatically the most important. With South America, well...the Amazon Rainforest, the Brazilian Cerrado and the Pantanal wetlands are basically THE biodiversity hotspot of EVERYTHING excepting large mammals.

It's not HIM I have a problem with per se. It's the way his ideas have become so widely distributed in pop culture and given people a muddled and warped idea of ecology.

If people think North America was essentially a broken ecosystem missing tons of key animals 500 years ago, they won't recognize how harmful colonization was to the ecosystem or the importance of fixing the harm. Who cares if bison are a keystone species, North America won't be "fixed" until we bring back camels and cheetahs...right?

And by the way, there never were "cheetahs" in North America, Miracinonyx was a different genus and was more similar to cougars than cheetahs, and didn't have the hunting strategy of cheetahs, so putting African cheetahs in North America wouldn't "rewild" anything.

Also people think its a good idea to bring back mammoths, which is...no. First of all, it wouldn't be "bringing back mammoths," it would be genetically engineering extant elephants to express some mammoth genes that code for key traits, and second of all, the ecosystem that contained them doesn't exist anymore, and ultimately it would be really cruel to do this with an intelligent, social animal. The technology that would be used for this is much better used to "bring back" genetic diversity that has been lost from extant critically endangered species.

I think mustangs should get to stay in North America, they're already here and they are very culturally important to indigenous groups. And I think it's pretty rad that Scimitar-horned Oryx were brought back in their native habitat only because there was a population of them in Texas. But we desperately, DESPERATELY need to re-wild bison, wolves, elk, and cougars across most of their former range before we can think about introducing camels.

[astarioffsimpmain]

Cozy Up with: Gale

[Autumn photography by: coldoctober]

[Gale photography by: unknown - if it's you, please let me know so that I can tag you!]

Author's Note:

Okay so....... maybe it's become a series that I like to call "Cozy Up". LOL I'll probably do another one with Astarion since the first was pretty short, and I'm hoping to do more bg3 characters as well! Here's our beautiful, wonderful rizzard in some post-game domestic bliss: autumn-themed! Hope you enjoy.

You smiled as your eyes followed the colorful leaves in their path from the trees to the ground, carried on the wind like dancers performing a routine. The weather had turned crisp in Waterdeep, the night air boasting an even colder chill on the balcony of Gale's tower, where the breeze from the sea swept up to rustle the wind chimes that were a gift from your fiancé once you moved in. 

A shiver ran through you and you curled further under the massive blanket Gale had on the settee. It was your idea to sit outside. You didn't mind the fact that your ears and nose were numb. This was your first autumn in Waterdeep; your first autumn as a fiancé(e). Autumn was always your favorite season: the sweeping changes in the colors of the landscape, the crackling energy of something new and wonderful in the air, and the eerie glow of the large harvest moons in the evenings. You wanted nothing more than to experience this shift with your soon to be husband, who was currently fixing hot cocoa for the both of you in the kitchen downstairs, and probably supplementing Tara with some warm milk before he returned. 

You rubbed your feet together and admired the two pumpkins that sat on the balcony across from you, faces carved in them by you and Gale, glowing brightly with the spell the wizard had used on them. "It's a tradition in Waterdeep!" Gale had exclaimed with excitement while urging you to find a pumpkin you liked from the stall. 

You'd heard of the practice, of course - carving a face into a gourd and lighting it to keep the evil away - but in Baldur's Gate, there wasn't a guarantee your warding gourd would be left alone for very long if left outside where they were meant to be, so most people lit candles in their windows and drew faces on their doors with coal instead to ward off the evil. So many firsts for you this year, and so far, you were enjoying them all.

The clank of cups on a tray brought you back to the present and you turned your eyes to the patio door, where Gale had appeared with two steaming mugs and a dazzling smile on his handsome face. "Here we are! My mother's famous recipe." He said, carefully handing you one of the mugs by the rim. You sighed in audible relief as your cold fingers wrapped around the warm ceramic, the effect taking hold immediately. A single sip had a  satisfying chill running up and down your spine before your entire body began to warm from the inside out. 

"Mmm Gale, it's perfect, thank you." You hummed happily, your mug held close to your face to allow your nose to defrost as well. He chuckled in response and sat down next to you with his own cup, pulling some of the blanket over his legs as he settled in. Your pull to him was immediate, and you were nuzzling into his side the moment he was in reach. He opened his arm to you just as quickly and pulled you closer by your shoulders. 

The scent of weathered book pages and amber flitted across your senses, enveloping you in a sense of safety and belonging as you rested your head in your usual place under Gale’s arm. You looked out over Waterdeep over the balcony railing, and the city was littered with tiny flickers of candlelight as people ducked in and out of shops, restaurants, and taverns far below. Motion in your peripheral caught your eye and you smiled to yourself. 

Gale had conjured a mage hand to open the volume he was reading on the latest popular recipes for Waterdhavian weddings. He was insistent on making your meal for you on the day you wed, and would hear nothing against it. He was making something new everyday, bringing plates of his new dishes to you. "My love," he would say every time. "Try this one. How is it compared to the last? Should I keep looking? I'll keep looking, I haven't tried this other one yet.." and he would trail back off to the kitchen to start again. At first, you'd tried to dissuade him from trying every dish in the book, but your fiancé was nothing if not hard-headed, and you found yourself going along with it, content enough to try new food every night until the wedding. Each dish was better than the last, and that you certainly didn't mind. 

You chuckled quietly and allowed your eyes to fall closed, listening to the rhythmic sound of Gale’s heart beating beneath your ear. The wind was chilly, but your hearts were warm, as long as they beat together. 

~

fin

[kays-artstuff]

I made my versions of designs for ceroba starlo and martlet for the au!!! (Does the trio have a name? Would cowboy fanclub suffice for now???)

Starlo: Still runs the town as a rootin' tootin' Cowboy but now spends his time also helping out at home with his parents. Ever since Clover passed he had gained a deeper appreciation to those he considers close and reconciled with his family! He runs all over town helping provide food and entertainment and has turned the wild east into a pretty popular area. (It likely also helps that he got a decent amount of funding from the king to do this as kind-of an apology since in this au he knows that clover gave up their life and feels prettyyyy bad about it kabdks)

Martlet: Took up a job at the post office (duh) with her speed and agility (that's only present in flying oof) she can go through all the underground within the day. She has a side job as a carpenter and aids in building homes, does comissions n stuff (which doesn't often pay the bills hence the post job) she has a small wooden statue of a western looking figure with a clover indent on its hat always present on her work desk for some reason. Those who visit never ask.

Ceroba: After Clover had passed, Ceroba had spent a while mourning at Dina's when suddenly the towns sherrif took her to a schoolhouse nearby (maybe in waterfall idk, but somehow starlo knows that the teacher was out that day) and asked her to read to the kids, who were starry-eyed at the stories she could tell. She took up a job helping out as a sub/TA 'cause while she likes soke of the kids she doesn't want to deal with the exhausting experience of lesson planning n stuff and now volunteers in bake sales and activities to cope. More recently now that the barrier's broken and Kanako[?] Had been returned to her by alphys she is keen more tha ever to not let her kid out of sight, that may prove to be difficult as the amalgamate that houses her daughter and a couple of other monsters is very curious and after being trapped for so long wants to explore.

(Was tired so i didn't draw dalv but he exists and hangs around, makes books for kids and preforms as shown in canon. But in addition he explores the underground to draw landscapes to practice his art so you can see him quietly walking around listening to music)

[misscammiedawn]

it’s literally your own fault that you have trauma from personality play, idiot. why the fuck would you EVER engage in intense kink with people you didn’t trust/people who didn’t believe in hypnosis/etc. and not practice the most obvious safety precautions during lmao. moronic behavior honestly.

Wasn't 100% sure if I should reply or delete-- My rule is to delete anon-hate without a second thought and the moment the word 'idiot' was brought out it fell into that category. So firstly, no sympathy/support either for the message or the circumstances please. I'm not here for that and it undermines the point if people focus on that.

Buuut here's the thing. I know. This isn't an accusation or an insult or even mean. Everything you say is in the body of the Ethical Personality Play post. Like-- uuuh--- I dunno what to say? Congrats, you read the post?

Fact is these events happened 15+ years ago and the community lacked the support, education and structure that it has now. I'm trying to help build something which I needed back then. Will I save everyone? No. Can I help like one person? I hope so.

But like, I was a self-destructive moronic idiot 15+ years ago and I am sorta open about it?

Like here are direct quotes (key quotes bolded):

I have experience with this fallacy myself. In utilizing hypnosis to ignore my triggers I did severe damage to myself and I am now plagued with intrusive memories and nightmares of events that happened during scenes that I was able to effortlessly indulge in during the scene but as they say "The body keeps the score" and I was in fact doing further damage to myself. Something which my partner at the time was not equipped to deal with because I'd failed to disclose or even treat the situation as worth being safe about. Now I am just burdened with further damage by ignoring my brain's defenses on my existing pain.

Likewise I want to note the power imbalance that comes from play like this. A motivated hypnotee can fling themselves into this arena and do harm to the hypnotist. This does fly both ways. A hypnotee not advocating for themselves or exercising their agency will make a hypnotist accessory to the damage. This is a sin I have committed.

...look... I don't want to be an old lady yelling at the kids for doing things when I did them myself at that age. I'd be a hypocrite if I didn't pretend I didn't see the allure on both sides of the watch.

I just... there weren't 20+ year experienced hypnosis veterans who had been in my character play abusing position when I was growing up. No one warned me. I learned all this the hard way and I hurt people. People I loved. Moreover I hurt me. In ways that will never heal. I just want to spare anyone I can the pain of going through this.

So--- like

Yeah. You read the post and understood it. I'm glad you read the post and understood it.

The landscape was different back then but that's no excuse. We were a fucking dumb child who wanted to be anyone but ourselves and acted recklessly because of it. We were a dangerous and toxic hypnotee and we should have known better.

That's the lesson. That's the point. I'm not here to ask forgiveness from the people I hurt or sympathy for the fact we fucked up. We just want to help build framework that didn't exist when we were starting out.

History on the hypnokink community is a topic that probably does need to be taught-- but if you're young enough that you've never known a place without framework, education and support then I'm glad, honestly. It means a lot of good people, dedicated people, have done work building houses my silly little essays can only manage to move pebbles with. I'm glad for that. Really.

The post isn't there for you to think "Poor Cammie :(" it's there for you to think "What an idiot, I'm never going to be like her"

So-- yeah-- I don't post anon-hate as a rule-- so thank you for the fan mail. Knee-jerk reaction aside, it makes me happy that you got the point.

[windvexer]

This is kind of a large question so I apologize but I guess I'm curious on how you're able to get such specific or like. unique (i mean this in a good way) answers from tarot? Like your "what magic should i learn next" stuff or how to pick up what a spirit can do through tarot. like idk how to translate these cards into what the spirit is trying to say

Hi!

There's no easy answer to this question, partially because I've now been reading tarot for almost exactly 16 years. This isn't at all to say that it's just the passage of time, but that in that amount of time I've done tons and tons of different things to expand my understanding of, and usage, of tarot.

Tarot didn't come to me very easily, and part of that journey was doing a lot of experimentation in an effort to figure it all out. My reading practice is still very much typified by a huge amount of experimentation and custom reading methods.

It hasn't been a linear process at all. I go through periods of months (or more!) where tarot just doesn't click for me, at all. So just because I picked up my first tarot deck 16 years ago doesn't mean that I've kept a consistent practice (I'm just now getting back into it after just such a fallow period ^-^)

My feelings on experimentation is that it gives me new ways to think about not only the cards, but also spreads, methodologies, and readings as a whole.

In addition, my experiments with other forms of divination (most especially casting lots, energy readings, and playing card readings) have heavily influenced my tarot readings.

Here is a post I wrote that I think expresses my feelings on experimenting within tarot.

Here are some examples of tarot experiments I've performed, and/or methodologies I've explored. It's these sorts of things that have been building blocks in my abilities in tarot. But no single one of them was a "key."

Elemental dignities: The elements of the cards dictates how they interact with each other. Air + fire can mean a supercharged firestorm, but water + fire can mean a controlled fire under a stewpot, or blocked progress of the fire. This experiment helps with understanding how cards can link together, and how energy can flow within a spread.

Elemental landscapes: Spreads are laid down in lines or grids and each card represents one aspect of the landscape. You must brainstorm and choose your own meanings. E.g., 8/wands is an exploding volcano. Queen/Cups is a lake inhabited by mermaids. Read the flow of weather patterns and energies through the spread as an answer to the question. This experiment helps with intuitive reading and working with a spread as a whole, instead of focusing on individual cards.

Elemental portents: Assign an element to your question. Draw a card. If the element on the card agrees with the element of your question, the portent is good; if it disagrees, the portent is bad. This experiment helps with learning how to phrase questions and how the question themselves can influence the balance of the deck.

Astral landscapes: This was an elaborate system I built around the Wooden Tarot. I worked with each card to assign it a mystical association that could occur in an astral landscape. The major arcana were spirits who could travel across the landscape. Each spread was like a playing board of a generated landscape and the spirits that interacted inside of it. This experiment was fun for considering the metaphysical ramifications of the energies of the cards themselves.

Numerical virtues: The number value of the card indicates its power and magnitude in the spread. 2 and 3 value cards are always of smaller power and significance. 10 and court cards are always of higher value. Aces may be high or low. This experiment gave me a new way of thinking about importance of each card, and how to blend magnitudes of significance.

Infinite directional wheel: I wrote a post on this actually, but basically you can keep placing cards forever in the cross-quarter positions. It's a meditation on the concept of elements and directions within witchcraft. Also, an extremely useful spread. This was a vital experiment for me in understanding spreadwork, flow of information, and linking cards.

Card doubling and tripling: Place two (or 3) cards together and determine the meaning as if it's one single card; there is no border, and the images combine with each other. The pictures and meanings of each combine into a single card.

Card doubling and tripling, but in spreads: For each position in the spread, place two cards (or three cards!) in place of one. Read the dyads or triads as if they are a single card. It isn't beginning/middle/end; it's a single triple-complex card! These doubling experiments helped me with the concept of card linking and blending meanings into unique interpretations.

Custom meaning sets: Basically, swap out all the default meanings with your own. Extremely useful IMO in learning how sets of meanings work together, and how to balance sets of meanings. I wrote a post on it here. These experiments have perhaps been the most vital for me in developing new interpretations. I believe that the magical skills readings you referenced were the result of custom meaning sets.

No meaning sets: Instead of using any card meanings, all spreads are resolved using a combination of elemental portents and numerical virtues. I.e., the element and number of a card in relation to other cards in the spread determines the reading. Here, the experimentation is allowing the cards to have strict, defined roles within a spread that can't be overwritten by personal intuition.

As a final note, I highly, highly recommend recording every reading you do and every card you draw. For the first couple years of my practice I recorded all readings, and it was a huge boost to my learning.

[its-avalon-08]

lando norrix x reader part4

part 4 guys <;3 themes- enemies to lovers flirty interactions female Formula1 driver

Chapter 4 - Laughter and Shadows

The post-race interviews buzzed with the usual whirlwind of questions and soundbites. Max, ever the stoic champion, dispensed his answers with practiced ease. Y/N, however, was a different story. Her playful banter with the reporters had the room in stitches, her genuine humor and quick wit disarming even the most jaded journalists.

"And Y/N," a reporter chimed, "that overtake on Leclerc for P2, absolutely textbook! Were you nervous at all?"

Y/N's eyes sparkled with mischief. "Oh, you know, just the usual pre-overtake existential crisis – should I go inside, outside, fake a pit stop? But then I remembered Charles probably wouldn't appreciate the pit maneuver in Monaco traffic, so inside it was!"

The room erupted in laughter, even Red Bull's resident stoic, Sergio Perez, cracking a smile. Y/N, unable to contain herself, burst into a fit of giggles, grabbing Checo's shoulder for balance. The gesture was casual, friendly, but to Lando, watching from the corner of the media pen, it felt like a branding iron searing his insides.

His jaw clenched, his fists bunched up under the interview table. The playful camaraderie between Y/N and Checo, the ease with which she touched him – it ignited a jealous rage within him that he couldn't explain. He knew Y/N and Checo were just teammates, colleagues, but the sight of them together twisted his gut with an emotion he couldn't name.

Max, meanwhile, watched the entire exchange with a raised eyebrow. He'd noticed Lando's simmering jealousy before, but this… this was a different kind of anger, darker, more possessive. It sent a shiver down his spine, a disquieting premonition of the chaos that might ensue.

"Next question, please?" Y/N's voice cut through the silence, her smile back in place, seemingly oblivious to the storm brewing in Lando's heart.

The interviews resumed, a seemingly innocuous exchange of soundbites and predictions. But beneath the surface, a tension crackled, a silent battle being waged in the shadows of the paddock. Lando's eyes burned with a dark fire, his focus shifting from the interviewer to Y/N and Checo, his smile becoming a strained mask.

Max, sensing the growing animosity, exchanged a wary glance with Y/N. They both knew the season was far from over, and the battle on the track was only a part of the story. The real challenge, the true test, would be navigating the treacherous landscape of jealousy, ambition, and the simmering darkness that threatened to consume them all.

As the media scrum dispersed, Max found Y/N alone, a thoughtful frown etched on her face. "You alright?" he asked, his voice low.

Y/N met his gaze, her smile fading. "I don't know, Maxy," she admitted. "There's something about Lando… it's different this time. I feel like he's changed. And holy fuck, its a little hot, but I/m just confused, what did i do?"

Max nodded, a sudden understanding in his eyes. "He's jealous, Y/N," he said bluntly. "Jealous of Checo stealing your laughs, maybe even something more."

Y/N shivered, a cold unease settling in her stomach. "More?" she echoed.

Max didn't answer, but his silence spoke volumes. The laughter and lightheartedness of the interviews felt miles away, replaced by a chilling premonition of the dangers that lurked beneath the surface. The battle for victory had just begun, and in this game, the stakes were higher than ever.

[tanjirosjuliet]

Prettiest Flower

A/n : ahh it's been so long since I uploaded right? It felt so weird opening up my notebook and begin to write. Anyways here's a lil fic I wrote a few days ago. Just a reminder I'm going to post every Wednesday and Sunday now!!!

Warnings - none !

Genre - fluff

Pairing - Tanjiro x reader

Words - 680

As the sun dipped below the horizon, I found myself walking next to my sweetheart, Tanjiro. We had an extremely strenuous mission from which we were returning. Now that the stress of the mission had lifted, it left behind a sense of accomplishment and a longing for the comforts of home. On the way, suddenly, amidst the fading light, was a beautiful flower field stretched out before our eyes, mostly filled with dandelions. I gasped and tugged at Tanjiro's sleeve, "Look! Oh my gosh, a flower field! I've never seen one before it's so pretty!" I said in enthusiasm as Tanjiro marveled at my excited demeanor. Entranced by the flower field's beauty, me and Tanjiro exchanged a glance, a silent agreement passing between you to explore this unexpected treasure. Different scents from all directions hit Tanjiro's nose. I giggled as I looked at him making faces while trying to adjust. Tanjiro's calloused hands ran over the soft gorgeous flowers around the field, this was something he missed alot, he used to visit a humongous flower field not too far from his house alot in the summers as a kid but this was the first time in a while where he actually visited one again. A wave of sadness and nostalgia washed over him as he his lips turned downwards. I held his hands and caressed them, "Are you okay, m'love?" I asked him sympathetically as we walked through the field, thinking it might make Tanjiro feel better. "Yeah" Tanjiro let out a weak sigh, clearly missing his family. The setting sun painted the sky in hues of pink and orange, casting a warm glow over the landscape. I watched in awe as the birds soared overhead, their graceful silhouettes dancing against the vibrant canvas above. In the distance, the lights of the village began to flicker to life, a comforting reminder of the civilization amidst the wilderness. Lost in the beauty of the moment, me and Tanjiro found ourselves laughing and playing like children, the weight of our responsibilities momentarily forgotten. Our laughter echoed through the field as we played tag. His laughter and joy was infectious, I don't remember the last time I saw him like this, so carefree and full of energy even after a mission. Laughing and giggling, we collapsed on the grass below us, "Caught you!" Tanjiro said panting and giggling. His hair brushed against my cheek as he scooted closer to me. As we sat in the field, my eyes were focused on the ethereal view ahead. Soft breeze whistled through my ears as I closed my eyes. These were the fleeting moments of pure joy demon slayers wanted amidst the chaos of our lives. Tanjiro, knelt down amidst the dandelions, his nimble fingers plucking the delicate stems with care. With a playful glint in his eyes, I saw him crafting a dandelion clown, his hands working with practiced precision. I watched in admiration, marveling at his creativity and skill. The sun dipped lower below the horizon, painting the sky into pinks, purples and deep blue stretching miles behind us. Tanjiro presented me with his creation—a whimsical dandelion clown, its petals arranged oh so precisely as if he was trying to mirror the way I make him feel. The way he was presenting the flower crown was like a toddler sweetly presenting a flower to his crush. I couldn't help but laugh at the sight, a warm feeling spread through my chest at the thoughtfulness of his gesture, "Aww, love, you really didn't had to do this much" I said, grinning eye to eye as Tanjiro tenderly put the crown on my head with hearts in his eyes, "No, you deserve it" Tanjiro smiled, softly pinching my cheeks. I cupped his and face kissed his forehead scar lovingly and asked, "There are so many pretty flowers here, which one is your favorite?". He thought for a moment, he caressed my hair as he finally spoke, "There are very pretty flowers here, but if I were to choose the prettiest one... I'll always choose you."

MASTERLIST

@tanjirosjuliet ᴘʟᴇᴀsᴇ ᴅᴏɴᴛ sᴛᴇᴀʟ/ᴄᴏᴘʏ/ʀᴇᴘᴏsᴛ ᴏʀ ᴛʀᴀɴsʟᴀᴛᴇ ᴍʏ ᴡᴏʀᴋ ᴡɪᴛʜᴏᴜᴛ ᴍʏ ᴘᴇʀᴍɪssɪᴏɴ !

[zombeebunnie]

Trembling Essence:💙Ending progress + poll results💙

Hi again and welcome new followers, here's another progress update about the game! >;]

But before I write that out I just want to say a very big thank you to everyone that participated in the poll I did so far, The results and responses have been helping me for the final version. :,] If you still want to give your vote/opinion on the start of the game here's the poll from my tumblr! There's less than 24 hours to vote!

I took a small break to gather my thoughts before continuing from where I left off. I was brainstorming a lot about this because I didn't want the beginning of the game to be too long when it comes to figuring out how to get to Noah, but I do want the explorative side to give some lore.

Suddenly, an idea came to mind that'll help me solve this issue I've been having. :,]

Last week I mentioned the two endings you could get that are from the [Extended Demo]. I don't count this as spoilers but these endings will have their own separate choice to go down instead of it being in the same path. This replaces a section from the [Extended Demo] and lowers the amount of time it takes to figure out how to get to Noah, especially for those that are new to the game. Consider this a healthy quality of life change, only one ending has been put on the shelf that I didn't have a connection with so far! :] This also gave me a chance to go through both endings individually and give a deeper exploration into these areas as they do play a part in the game. I added a few choices to show the differences in the terrain and how the player(Y/N) reacts to it. You can get an alternate situation but it will still end the same. I also fixed up some errors I found through the alternate choices that I almost missed too. For right now I'd say this ending will be finished once my play testers look through them! They've given me pointers on the CG's and dialog but not everything else yet. x] Speaking of quality changes I also went back and adjusted some of the new CG's I've drawn. I had a habit of drawing the landscape too low so you couldn't see anything unless you toggled the text box away. :,,,] Luckily this was a quick and easy fix.

Here's the results:

Before:

After:

I'm very happy with how far I've come when I draw backgrounds now! It's been a interesting journey but overall I enjoy knowing everything is coming together no matter how long it might take. There was another one I wanted to share but this the second CG I tried posting gave me an error. Luckily I had everything saved so I don't have to rewrite anything! :,,]

It took some time but I went back and fixed one of the effects that happen when you lose HP. The old version lights up the edges of your screen but sometimes it can be hard to see if there's another effect happening. I went back and gave a small hue effect every time you lose HP instead.

Lastly in other news, I finally started work on Noah's reference sheets! >:]

There will be a total of three(?) which will have specific details for each one! It's took some time to create since I'm still learning how to do angled faces/poses but I've gotten time to practice so I'm ready. >:] I also want to state that Noah's sprites/side sprites in the [Extended Demo] are accurate to how he's suppose to look too. Since I've improved my style certain specifics of his appearance might be slightly different! :]

Almost there to the cabin section, yay! I just have a few more things to fix up. >:]

If you like what I create, please consider supporting what I do on kofi! All donations and tips help tremendously while I work on the game. Also a very huge thank you to those that have optionally bought the [Extended Demo] and the March 2023 demo on itch.io too, it really means a lot. :,]

Q&A / Ask box is open:

If you have any questions about Trembling Essence/Noah feel free to ask here or on itch.io please. This makes it easier for me to see and answer accordingly! I would really like to hear from you guys!

There were some other things I wanted to discuss but this post is getting too long so I'll save it for next week, thank you guys for all of the support, I appreciate it! :,,]

[carpehistoryandthepens]

Legacy (what is a legacy?) Part 16

It’s planting seeds in a garden you never get to see I wrote some notes at the beginning of a song someone will sing for me

Hamilton, the world was wide enough. LMM.

one, two, three, four, Five, six seven, eight, nine, ten, eleven, twelve, thirteen, fourteen, fifteen

Summary: Mike is 13. Born May 2009. Sid didn’t know he had a son. All Mike had was hope and a prayer for his and his half-sister’s safety.

(Sid is a dad of a teen he didn’t know about AU) Sidgeno.

Warnings: (for the total story) post-child abuse (all off-screen but it affects things and is spoken about often), learning how to parent, panic attacks, anxiety, based on the 22-23 season, that said last season when i wrote these tags originally, but hey, it takes me a LONG time to write, so now its no longer last season, OCs?, the realization about sexuality. Post breakups. Desperate lack of in-depth research for CPS in both PA/CA, melodrama?, kidfic, angst, slowburn, playing fast and loose with the law for drama/storytelling purposes

-

Sid and Geno chose to order dinner rather than try to make anything from the kitchen in the same way they sometimes communicated on the ice during a play: simultaneously and with good practice. Of course, that commutation tended to be about power plays, and now Sid should really get to the net so Geno could get the puck to him, but sometimes it's pizza.

One of the Italian places near them made good in-season meals and pizza for the kids. Geno mocked him for not having an app for the place or a food delivery service, but Sid would rather call in and talk to a person instead of ordering from a faceless app.

There was also the fact that until Mike and Marisol came into his life a few weeks ago, he didn't need a kid-friendly delivery service.

All Sid had to do was call in the order, but he had no idea what the kids wanted. How was he supposed to be a good father? After this afternoon, Sid was determined to be the best father he could be.

Some of that had to have played across his face as Geno laughed and told him to go ask. Geno admonished him to remember that he wouldn't be perfect without practice.

Sid knocked on Mike and Marisol's door, looking over the crumpled computer paper that had now decorated the entrance. He hadn't noticed when Marisol was actually drawing, but it appeared a few days ago.  

Marisol had drawn a landscape with a sun smiling down on three people on what Sid thought was ice. The ground was blue, at least; it could be water, but the two taller figures had black skates on. The most petite person, whom Sid assumed was Marisol, wore white skates. They were all holding hands, with Marisol in the middle. Sid's person was black and yellow, with what looked like an attempt at an "87" in a childish hand scrawled on the chest. Mike's number was in purple and gold – much like the Kings' old jersey – but Sid wasn't sure of the number. Sid assumed it was his former team's colors.

Marisol opened the door and looked up to meet Sid's eyes. Sid wasn't sure he would ever get over the height difference between him and her—she was so small. Despite her yawning, she was awake.

"Hello Mari, is your brother up?"

She blinked at him and nodded rather than responding verbally. Marisol opened the door fully to show that Mike and Nikita had crashed on Mike's bed. Both of them were curled around each other, and it was adorable. Sid nearly died of adorableness just looking at the two boys. He needed a picture to show Geno and the rest of the team. Anna would be so pleased.

He reached into his pocket for his phone before Helena's warning from a few days before floating back.

"No photos! I don't know you well, Mr. Crosby, but I don't think it will be an issue. However! California and Pennsylvania don't allow minors with contested guardianship to have their images used online. It wouldn't be safe for them."

Sid took his hand out of his pocket, leaving the phone where it was. Anna would have to settle for a story rather than a photo. He would do anything to keep his kids safe, even if it meant he couldn't share all the cute things that his kids did. While unfortunate—he wanted to be like the dads on the team, always with new photos—Sid could do without.

Marisol returned to playing with a set of dolls on the floor, clearly in the middle of some story. Jeff had shown up a few days ago with the dolls, saying his girls didn't want or need them anymore and that they had insisted the dolls go to someone who would love them. Marisol's eyes lit up when she saw the dolls for the first time, so Sid was pretty sure Jeff's girls would be pleased with where they ended up. So Sid had been grateful because he didn't understand what Marisol would like. They hadn't had much chance to get her toys yet. Sid mentally set the next off day to ensure they got stuff for her soon. Nikita's toys were enough for now, but she needed more of her own stuff.

"Can I play?" Sid let the boys sleep momentarily and followed Marisol to the dolls. "How are you feeling?" he asked, settling beside her at her nod.

"Muy cansada." She yawned, with as much of the energy he had come to expect of her post-nap self, "You be Dad. I'm Bluey." She ordered – neither of the dolls in her hands were of the dogs from the cartoon he had heard a lot about from the dads on the team. He didn't know much about Bluey, but Mike had put it on a few times in both English and Spanish, so Sid figured he would know soon.

Sid took a doll from her hand and tried desperately to remember what cansada was in Spanish while ignoring the simple 'you be Dad' felt like. He had just heard it on the TV program they had been watching yesterday morning. Something about sleep? But it was before the character had gone to bed…

Tired. It meant tired. Marisol was tired.

As they played for a bit, Sid gently talked to Marisol, trying to learn more about her feelings and whether she was doing better. It was hard because she kept answering in Spanish, and Sid was sure it was just as disjointed as her English. With Sid's Spanish being… not good, to say the least, it was a bit of a struggle following along. It was better than it was a month ago, but not good. But he kept on trying.

Besides feeling tired, he had to find out what she was experiencing. Once he was reassured that she wasn't upset anymore or had too many immediate emotional reactions to the day, he gently asked, "Do you want pizza for dinner?"

She nodded quickly, dropping her dolls, "Pizza! I want pizza. With pepperoni and cheese!" She was loud enough to wake the boys.

Nikita was the first to move. Still filled with the energy of children, he was not as tired as Marisol. He woke up and nearly vaulted off the bed like Sid had expected Marisol to do.

Mike was a much slower-to-wake-up teenager. "Pizza?" Mike asked, voice thick with sleep but somehow still processing. Food did that to hungry hockey players, especially when they were in their teens. Mike could and probably would, especially after today - both being on the ice for the first time in a while and Marisol's panic attack – finish the entire pie by himself.

Sid nodded, hiding a laugh at the hungry teenager presented before him. "Yeah, Pizza. What do you want?" He should know his kid's pizza order. That's a thing parents know, right?

Mike raddled off an order of toppings that Sid felt needed to write down; he still sounded half asleep. Marisol's order was much easier to remember.

"Hold on," Sid said, reaching for his phone to write it all down. Nikita was already giving him a basic order, saying that Sid had seen Geno eat a time or two in their youth—lots of tomatoes and mushrooms.

Once Nikita was done talking, Mike's brain seemed entirely online, and he immediately backpedaled. "Cheese would be fine," he said, looking away toward Marisol.

Marisol didn't even notice; she and Nikita played with the dolls and talked about pizza.

Sid sighed internally; someday, Mike would allow himself to take up room. "One meat lover with green pepper and jalapenos." He said firmly, using a little of the captain's voice he had for rookies who were nervous for their first games. He tapped the order into his notes app.

Mike looked up, and despite some of the worry and stress still on his face, even after the nap, he smiled. For once, he looked like the teenager he was rather than a lost child.

[tolbachik-art]

How does one become good at drawing planets

Hey, thank you so much for the kind words & the question!

I'm still definitely a beginner, and have a long way to go, but it really warms my heart to hear you say that. For starters, getting over any perfectionism you may have is a big must!

I know a lot of people always say this, but practice, time, patience, doing studies, and having fun are the most important ways to get better!

I'll walk you through my progress, and what I've done to get where I am today with things! I will warn you, it did turn out to be a long winded post. If you want the jist of it, you can scroll to the bottom!

So, I've been doing digital art since say, mid 2015 or so. I didn't have much of a grasp on art, and while I grew up loving space and space exploration, I didn't quite understand how things worked.

On August 2nd, 2015 (when I was just 15), I posted my first piece on DeviantArt.

This was my first foray into space art. It may not be the best, but I remember being very excited about it, and actually making a piece like that.

This first piece is a big sign of what issues I would face with space art until very recently; a lack of detailing, leading to a soft appearance.

This would plague me for quite some time; I would put very little effort into detailing, and wouldn't even zoom in on the canvas for quite some time. I would do things from afar, not wanting to zoom in for some weird reason. This can be seen in the following paintings, as well.

This one, also of Neptune, was posted two years after the first one. The framework is kind of there, but only barely. The perspective is off, and once again, the detailing is too minimal and too soft. On top of that, the shading isn't nearly as harsh enough. Compositionally though, I was starting to get a grasp of some basics.

There would be a brief artless period in my life from 2017 to 2020; every once in awhile, I wouldn't do art for a few years. Then, suddenly, I would get back into it and put out several pieces, all before growing quiet once more.

2020, once Covid-19 started happening, would see the return of me to the world of art now that I was suddenly without a job.

Once again, Neptune will be a demonstrator of how my skills changed.

I was starting to get there; in terms of composition, much better than my older works. Coloring is a bit off, but overall, I was starting to actually understand how art works, and why things like detailing were important. One big thing here though; I was still painting with color. That would be one of the last big things for me to get over, although I didn't even know it then.

From the period of 2020-2021, I made a lot of paintings and mission patches for my one friend's KSP youtube series (seen here).

Doing what were essentially mini paintings, I learned a *lot* about composition and detailing. I think the one I spent the longest on was Heywood, in which I did my best to follow imagery from Voyager. Looking back now, however, it isn't quite accurate; that's the south pole! I still had a lot to learn in regards to doing accurate portrayals of celestial bodies, down to inclinations and the like.

Anyways, doing all that really burnt me out, on top of doing free art for people I didn't even know. That's another big lesson; only do gift art if you feel up to it, and for a friend. Do not do it for strangers.

It wasn't until late 2022, in September, that I actually finished a piece again. My illness had been pretty bad, leaving me bedbound for quite some time. However, during that time, I hadn't lost my skills thankfully.

This would be one of my first somewhat decent portrayals of Jupiter and one of his moons, using SpaceEngine for getting reference images and making sure all the parts were in the right place. This would set the groundwork for later paintings, as I always use SpaceEngine now to make sure I have the orientations and sizes of things in the sky right! It's been an invaluable tool, I quite literally don't know where I'd be without it.

Anyways; after that, it was very sparse once more, up until quite literally this year. Sickness sprung up again, and I had a rough winter due to the loss of my grandfather to Covid-19, among other things.

2024 saw, in my personal opinion, the biggest and best change to my art yet.

PAINTING IN VALUES!!!!!!!!!

I cannot stress this enough; understanding what values are, and how to see them in every day life literally changed my entire perspective on things. On life! I cannot go outside anymore without comparing and contrasting values of objects and natural phenomena.

This was before values. Not bad, but still not great. Detailing was getting there. This is from March 27th, 2024, and was part of an art trade with @dan-asd of their worldbuilding project.

And this, this is 3 months later, from July 16th, 2024. Commission for @corvidist, my very first. This was a massive leap in the way I understood and processed the world around me, and in turn, what my art looked like.

Everything is in values. Your phone, with the seemingly pure black LCD touchscreen to the blue and purple phone case. The clouds, with their bright white tops and dark bottoms. The river, with the murky green waters contrasting with the bright orange stones. All values, just differing shades of gray with color added! Everything is light! Everything is the absence of light! Light is the entirety of your piece; you just have to understand where light falls, and where it doesn't.

Apart from that, everything is just rudimentary shapes and lines. The universe is made up of different kinds of lines and shapes. Entire worlds can be reduced to light and lines, people can be too. You just need to know what to look for, and how to process that into artwork.

I cannot stress how much understanding that, and doing tiny little paintings really helped me get a much better grasp on things.

Take some time, get a small canvas out, and paint your favorite celestial body. Take as much or as little time as you need, and just have fun with it. Play with color, play with values, whatever your heart desires!

Once you're done, take a step back, and compare it to the picture. Analyze what areas you didn't enjoy, and what areas you did. Look for what doesn't line up with the picture, and think of how you could better approach it. Think of how you can change the lighting to make it seem more real, what effects are needed to bring it to life.

Art is the process of taking what you love, and putting it to paper (digital or not!). Focus on what you enjoy doing; it will all come naturally with time. You'll start to pick up on things, big and small, that will bring your pieces closer and closer to what you want it to be.

And please, for the love of everything that is holy, have fun with it and don't overthink it! You will be so disappointed in yourself if you hype yourself up for a piece, only for it to come out not the way you expected. That's ok! That's part of learning! It can be disheartening, but if you take the time to look at how and why you don't like the piece, it'll come out so much better next time around!

Talk to people, too! Talking with my dear email-pal Eduardo was my first step into understanding astronomical art, and thinking on how to improve my work. He really helped me step into the right direction when I was just starting out, which I am still eternally grateful for to this day. I think of him and his work often; he really was a massive help.

In more recent times, talking to @whirligig-girl helped me to get a better grip on realism, and how better to portray celestial bodies. She was a huge help in giving me pointers for fixing up my View From Amalthea piece, as well as the ones that followed after. Talking to artists more experienced than you and getting critiques is always a huge help; it can really show you things in a new light!

Speaking of, don't be afraid to let a piece rest and marinate for a bit. A day, a week, or even a year. It doesn't matter. You will come back to it, and you will see new things you never saw before, and think of new ways to improve upon it. I have a piece that's been in limbo for YEARS, and I still have yet to actually get to paint it (the top one, the alien one (i will never finish that Uranus piece though lol)). I have it perfectly envisioned now, so waiting really did pay off in the end.

Essentially, it all boils down to this:

Everything is light, or lack thereof.

Don't overthink it, and have fun.

Do not do free art for strangers.

Everything is shapes and lines.

Step back and look at your pieces, deconstructing them in your mind or on paper.

Examine your everyday life, and see how everything interacts in terms of values and color.

Do studies, please god, do studies they're so fun and eyeopening

Warmup! Warm! Up! WARMUP!!!!! They are critical to getting your mind in the art headspace! You will feel less interested and less focused otherwise!

Don't worry about your medium, just do what you enjoy and works best for you! There is no such thing as a perfect brush!

Talk to other artists in fields you enjoy!

I love talking about art, I really could go on for hours, but I will stop myself here.

You decide what you get out of art; it's your skill, your time, so do what you desire! These are only anecdotes about my experiences with art; they aren't universal, but I do hope they've helped. If you have any questions, any questions at all, don't hesitate to reach out!

Lastly, here are two resources for you for any future artworks you may do:

I got this book many years ago, but the lessons it gave me were invaluable. I mean it; they helped me to understand the importance of doing studies, and for detailing!

Paid membership, but an organization dedicated to doing astronomical art. I have yet to join, but I've heard lovely things about it! Hoping to join later this year, funds allowing.

I will finally end this here. Thank you so much for the ask, and I hope you have a lovely rest of your day!

[headspace-hotel]

I hate a lot of trends in climate-change-aware nature writing, but this is one I particularly detest: works insisting that we live in a "post-natural" world.

The lostness, bewilderment, aching, and searching in this piece is understood by the author to be an all-consuming and universal dysphoria, when it is actually a highly specific predicament that the author put himself into: He tried to understand the universe exclusively through the point of view of white people.

I mean that Purdy takes the colonizer point of view without realizing that it is a colonizer point of view. He thinks the colonizer point of view is a universal document of the authentic, naive encounter of "humanity" with "nature," instead of burning wreckage left over from the apocalyptic destruction of a rainbow of ideas and cultures.

It feels weird to be talking about this as a white person, but it shouldn't, any more than it should feel weird to say (as a white person) that aliens didn't build the pyramids.

Very little of what he's writing about would exist or make sense without European colonization of the world. Purdy constantly says "we" and "our" in reference to things that are very restricted to a particular cultural point of view, as if totally oblivious to the idea that other cultures and other perspectives even exist. When he searches for historical references to chart "human" relationship with nature, history goes like this: Pre-Christian religion in the British Isles->British monarchy-> George Washington-> Industrial Revolution->Thoreau.

He manages to repeatedly stumble over giant hunks of colonialism embedded in every concept he's thinking about, like boulders obstructing a pathway, and pretends so hard that they don't exist that his points are janky and meandering. For example, his discussion of Helen Macdonald's book H for Hawk, touching upon human identification with the landscape and with non-human "nature," blunders into this:

Those who love (certain parts of) nature are often making a point of preferring it to (certain kinds of) human beings. The problem is not only literary. Macdonald describes an encounter with a retired couple who join her in admiring a valley full of deer, then remark how good it is to see “a real bit of Old England still left, despite all these immigrants coming in.” She does not reply, but is miserable afterward. The meaning of landscapes is always someone’s meaning in particular. Confronted with all of this, Macdonald tries to shake off the complicities of her own identification with the terrain: “I wish that we would not fight for landscapes that remind us of who we think we are. I wish we would fight, instead, for landscapes buzzing and glowing with life in all its variousness.” The alternative that Macdonald wishes for is, of course, not an escape from political-cultural projection onto landscape, but another approach to that same practice — really, the only one a 21st-century cosmopolitan is likely to feel comfortable embracing. 

AND THEN HE JUST SEGUES INTO THE NEXT POINT LIKE NOTHING HAPPENED. Like don't worry about it :) We will simply project onto landscapes in a non-racist way :) because we aren't racist anymore in the 21st century :)

The next book he discusses is Landmarks by Robert MacFarlane, which is basically about how the vocabulary of landscape in English is sterilized and monoculturized, and contrasts that with Scots Gaelic. This is how Purdy explains the thesis of the book:

 Our sense of what lies outside ourselves has been blunted by “capital, apathy, and urbanization” — enemies likely to draw a range of friends, from cultural Marxists to Little Englanders to those who would like to see a bit more effort, please. But behind this scholarly sketch, Macfarlane’s work is testament to a pretheoretical obsession with unfamiliar ways of encountering places. We disenchanted and distracted (post)moderns describe terrain, he complains, in terms of “large, generic units” such as “field,” “hill,” “valley,” and “wood." (...) Many people who have lived intimately with landscapes have had words for nuances of form, texture, and use. Macfarlane’s purpose in Landmarksis to gather these words as proof of how precisely it is possible to name a place, and so, perforce, to know it.

Why is Gaelic endangered? Because of an effort to extinguish its speakers' culture. This article I found on it talks about the history of the language's decline, and it's strikingly similar to what happened to indigenous people in the Americas and Australia, with children being put in schools where they were beaten with sticks for speaking their native language.

This whole essay is about Purdy's general disappointment with nature writing, his craving for an ineffable Something, some sort of magical, primitive identification with the natural world. In the very first paragraph he claims that the pictures of animals on nursery walls are "totemic" and quotes a guy saying that zoos are an "epitaph" to the relationship between people and animals. It's never very clear what he means, but he uses the term "animism" repeatedly, such as when he says this about MacFarlane's goal in writing Landmarks:

His quarry is an animistic sense that Barry Lopez once identified in “the moment when the thing — the hill, the tarn . . . ceases to be a thing, and becomes something that knows we are there."

Given that ambition, Landmarks, which Macfarlane calls a “counter-desecration phrasebook,” can be disappointingly thin as a lexicon. Too many of the terms are simply dialect or Gaelic for some generic form, such as “slope,” “hilltop,” “stream,” or “tuft of grass.” The effect is less pointing out how many things there are to see than cataloguing how many names there are for the same thing.

This is Purdy missing the point, perfectly crystallized as though frozen in amber. He is oblivious to the clear subtext of a language showing a culture's connection to its home, and of the violence against that culture. The Gaelic language doesn't make him feel primal and mystical the way he wants it to, therefore it doesn't mean anything to him. MacFarlane doesn't make him feel a magic animistic connection to nature, therefore his book must have failed at its task.

Who gives a shit? Gaelic isn't FOR you.

He discusses another book about a guy that hikes a bunch of Cherokee trails, but I don't know what to say about that one, observing it through the sludge of the reviewer's unwillingness to recognize that historical context exists. He summarizes his disappointment in a confusing way, using the Gaelic language as a symbol for an obscure and inaccessible place where the answer to your personal emotional cravings lives (???) Then he talks about a kind of epistemicide, or extinction of knowing, of nature, but again, totally oblivious to any relationship to colonization.

Every inhabited continent has been denuded of ecosystems and species. Most North American places have shed wolves, elk, moose, brown bears, panthers, bison, and a variety of fish and wild plants, which were all abundant four hundred years ago. 

Wow, I wonder what happened four hundred years ago?

This writing acts like the dominant Eurocentric attitude towards the world is universal, but the author is haunted by this nameless specter of the possibility of a different way of thinking, which he treats as some kind of mystical, primordial state hidden in the past instead of just a different cultural perspective.

Not only does he not recognize that his own cultural perspective of Nature is dysfunctional and unsatisfying because it was created by exploitation and genocide of other cultures and their symbiotic relationships, he acts like other perspectives don't exist. Take his perspective on forests and the mycorrhizal network:

Wohlleben’s emphasis on interdependence and mutual aid is part of a recent tendency to recast nature in an egalitarian fashion — as cooperative, nonindividualist, and, often enough, hybrid and queer, in contrast to the oaks of generals and kings. Nature does answer faithfully to the imaginative imperatives and limitations of its observers, so it was inevitable that after centuries of viewing forests as kingdoms, then as factories (and, along the way, as cathedrals for Romantic sentiment), the 21st century would discover a networked information system under the leaves and humus, what Wohlleben calls, with an impressive lack of embarrassment, a “wood wide web.”

Listen, I don't think this is accurate to how Europeans thought of forests throughout time, let alone "humanity" in general. The emphasis of power and competition in ecosystems emerged after Darwin, in collusion with capitalism and "race science." Trees have been symbols of life, wisdom and selflessness, and regarded as sacred or even sentient, for centuries before that. But on top of that, this is just blatantly pretending that only white people's ideas count as ideas.

It's the same dreck as all the other "literary" writing about climate change: self-pityingly and unproductively mourning "Nature" and a fantasized "wild" state of the Earth, ignoring colonialism, treating human influence of any kind on other life forms as something that either destroys them or makes them soft and "tame."

I'm tired of reading nature writing from people that obviously do not go outside, or if they do, they do it in such a suffocatingly regimented, goal-oriented way that they can't just sit outside and relax.

Maybe I shouldn't be such a hater if I want to do nature writing. But my love of nature is WHY I am a hater.

[alatismeni-theitsa]

thank you for your response! i was originally thinking of getting “Σαυτὸν ἴσθι”

but i actually really like “Ηττώ υπέρ δικαίου” i think i may wear jewelry with the phrase carved into it firstly and then going from there. and i have seen your post on the misuse of Hellenismos! luckily; i was already made aware of this misuse of the word thanks to a content creator i like. i’ll definitely be keeping up with this blog to make sure i stay in my lane & respect Greek culture, while i’ve been practicing the Hellenic Polytheistic religion for many years i still have much to learn! such as, i had always been told online that modern Greeks don’t believe in or care about the “old religion” so it’s been really interesting to read about how that isn’t totally the case. :)

Ωωωω! Followup on the tattoo ask! :D Hello again! Hopefully you'll find the best way to carry the tenant with you!

Btw it grinds my gears when I see non-Greeks being so quick to say "modern Greeks don’t believe in or care about the gods anyway, why are they even talking".... Like BABE if it weren't for the Greeks who kept alive a large portion of the ancient texts on religion, philosophy, folk stories etc for more than a thousand years, you wouldn't have Greek myths to obsess over. There was indeed a time when Christians oppressed the Polytheists (also as a payback for the Polytheists doing the same to them in the past) but a few generations later people realized that this destruction would only make our ethnic memory and our heritage poorer, so they started copying and preserving the ancient texts.

Not to mention that Greece today has a huge archaeological sector, a ton of scholars, every town and city has its own archaeological museum, and we are taught the myths in context starting elementary school and analyze the epics and the ancient plays and other texts with classics professors and philologists from highschool already. Magazines frequently gift ancient plays, epics and philosophical texts, and you can find these editions pretty cheap in bookstores too, like 5 euros per play.

Our landscape is marked with ancient stories - everyone knows Zeus' mountains in Crete and Naxos, what Delos is to Apollo, what Cyprus is to Aphrodite, people continue living on Olympos as usual and we know it's considered the home of "our gods". (Instead of "Greek gods" we sometimes say "our gods" because... we are Greeks, so "our" and "Greek" are interchangeable in meaning.) Of course we consider the gods to be our important heritage figures. Even if a Greek feels like they don't have basic respect for the gods, they will still roll their eyes when seeing how the gods are portrayed in USAmerican media -meaning they have absorbed a type of respect for the deities through osmosis in Greece without realizing it.

Our public companies, streets, and groups/teams have names of gods and heroes. There are Christian Greeks baptized with the names of Greek gods, muses, and ancient heroes or play characters (Aphrodite, Athena, Ares, Demetra, Odysseus, Akhilleas, Patroklos, Dione, Thalia, Antigone etc) and that's not just a modern phenomenon. We just... kept our names through the ages.

Not every single Greek will be interested in those things because everyone has different passions and hobbies, but Greece as a whole continues to record and safekeep all things ancient. The Ottoman occupation was harsh for us and we lost access to education and the science of archaeology for a while but we started getting educated again on our past as soon as we were able to offer our people decent public education (when we gained our freedom).

Many Greeks see the ancient religion as a level "behind" in human rights and religious philosophy, and like a stage we have overgrown as a nation. However, this doesn't contradict the basic respect one gets for the gods as soon as they do a basic study of the material readily available all around them, and the whole stance that the country keeps toward our gods.

I didn't intend to write that much but, ya know, I get very irritated just thinking how people with no idea about Greece's history make assumptions about us just to win an argument online.

Thank you for making it this far! It's great you are taking the initiative to ask and learn! Gaining knowledge of a different religion and culture is always a difficult but rewarding journey! For your patience, I will leave you with a few verses of one of our classic poems:

As you set out for Ithaka hope your road is a long one, full of adventure, full of discovery. Laistrygonians, Cyclops, angry Poseidon—don’t be afraid of them: you’ll never find things like that on your way as long as you keep your thoughts raised high, as long as a rare excitement stirs your spirit and your body. [...]

Keep Ithaka always in your mind. Arriving there is what you’re destined for. But don’t hurry the journey at all. Better if it lasts for years, so you’re old by the time you reach the island, wealthy with all you’ve gained on the way, not expecting Ithaka to make you rich.

Ithaka gave you the marvelous journey. Without her you wouldn't have set out. She has nothing left to give you now.

And if you find her poor, Ithaka won’t have fooled you. Wise as you will have become, so full of experience, you’ll have understood by then what Ithakas mean.

(Ithaki , Konstantinos Kavafis, 1911)

[flyingcakeee]

Some more Loscar Royal au

“Can you ask Father for an English tutor for me? I believe I will need to understand some English if this marriage is to keep Deutschland safe,” Logan explained, looking at the slightly taller alpha in the eyes.

“I will let your father know of your request,” Jenson said with a nod. “Is there anything else?”

“That was all, I very much appreciate you doing this for me, Knight,” Logan smiled, giving a slight bow in appreciation.

Jenson bowed back, turning around and continuing on his journey to get the supplies his father requested a few minutes earlier. Logan continued to the kitchen, once again, greeting a few maids or servants as he went his way.

Logan was never usually this talkative, a very shy omega. He preferred to have his father speak for him, always hiding behind him when he was much younger. He grew accustomed to his grandfather, King Toto, and his uncle, Prince Sebastian, but he refused to even talk to anyone else. Rarely did he speak to anyone but his father, Sir Jenson, and his waiting maid. Yes, he did speak when required or when he felt it was more necessary for him to do, but he absolutely would rather be reading poetry, or drawing flowers, and painting landscapes, or playing one of the few instruments he knew. However, Logan had been challenged to open up a bit, not going to be able to hide behind his father anymore.

After stealing a roll from the kitchen, Logan hurried himself to the ballroom where he could practice his instruments again, it also being the place he is most usually in case his father wanted to speak with him. He quickly finished the roll, dusting any lingering crumbs off before he slid through the door of the ballroom, shutting it gently behind.

The ballroom was always Logan's favorite place in the estate, finding it nice to relax as it was seldomly used, the candles within the chandelier having not been lit since Logan was 12. Logan sat on the stool for his harp, looking around at the paintings which littered the ceiling. Logan would never have left this place if he were given an option, would rather die a virgin than be married off. That, that was the life Logan desired most of all. A life where Logan could do the things which pleased him most without the eyes of anyone judging him.

Before Logan could begin playing, the door opened slightly and his father appeared, shutting the door once he spotted Logan.

“Hello, my dove,” he greeted, slowly making his way to where Logan sat. “There is something I need to address you on over this marriage, I'm afraid.”

~*~

And some quick little notes:

• I thought it would be interesting to swap the ages because, hey, why tf not?

• Originally was supposed to be a different ship but didn't like it so, oops 😊 (I started with 3 different ships so I just hope this one survives)

• This is merely the prologue as its setting the stage for chapter 1 which will take place when Logan is somewhere in his 20's, haven't decided when

•I will definitely try my best to post it on AO3 🫡

[hyena-frog]

You tagged a post about diomedes as “autistic king” and oh my god you’re so right you’ve opened my eyes. He and aurae are just “me and the bad bitch I pulled by being autistic”

I was literally going to make that exact meme about them LMAO it's so spot on for them. His autistic swag bewitched her, body and soul.

I didn't have this headcanon until Light Bringer. Let's be real he wasn't in IG or DA enough to make a judgment like that. So finally getting to know him as a person in LB left me feeling confident in this. Pierce really said "I'm going to write a character so autism coded." (I'm joking...unless?) Let's see...

Adherence to routines. He will make his ship crew run through multiple practice battle scenarios, multiple times... just in case.

Blunt honesty. He will tell you what he really thinks, even under threat of death from a room full of people his family has subjugated for centuries.

Will not tell a lie. Not cannot... will not. There are rules to be followed! So even if it gets him in trouble, he won't tell a lie... Except when he does!

Flat affect. Unreadable face, except by those who know him best ie his family and Aurae, but really quite emotional inside. Darrow speculates this was trained into him but the thought that he's actually just Like That is hilarious to me.

Hyperfixation on flowers, apparently. Who knew! Love that for him. He will read your landscaping choices for filth. Naming your carved flower "The Vanquished Foe"? Disgusting. Get that weak gahja shit out of his face.

He will skip your dumb victory party to go look at said flowers (but not pick them!). Relatable king.

Bad at public speaking. Not necessarily an autistic trait. But he's just like me fr.

Slow reader. Again, not necessarily an autistic trait. But again relatable. Let me have it.

There. So glad you see the vision.

[saints-who-never-existed]

you had quite a compelling thought going in your tags of that bridglar gifset about loving something that cannot love you back... it would be a pleasure to hear the rest of what you had to say about it

I don't know that my thoughts on this are fully formed quite yet, but I'll tell you what I'm thinking so far and I'll start on a personal note.

-

I've always been fascinated with mythology and folklore - that fascination informed my artistic practice back when I was properly practising and is a huge part of the reason that I then progressed into the field of history and heritage.

As fascinated as I was, though, I found that I didn't actually believe in any of it which got me thinking - what does inspire that kind of feeling in me? That belief? That sort of religious-level ecstasy?

The simple answer was the great outdoors, the landscape itself.

I ascribed my own personal mythology to the landscape around me and ended up pursuing a literal artistic pilgrimage through key locations in the Highlands near my home back in Scotland which culminated in climbing my own personal 'Holy Mountain'.

(That was literally a decade ago and, let me tell you, my toes still haven't fully recovered from all that hiking!)

-

Which is all to say that when it comes to the idea of loving an entity that cannot love you back, I wonder, now that I've thought more on it, if perhaps it's a matter of perspective and expectation?

Yes, it's sad to think of how much those men would've loved the sea itself and how the sea did not, could not love them back. How it was the sea itself that doomed them, at least in part.

I think a lot about how they possibly could have reconciled that but then I remember my own experiences in the landscape, the love I feel for it and the joy it continues to bring me. And I think perhaps that you just don't and shouldn't love something of that magnitude in the first place for anything else but what it is or with any expectation that it'll love you back.

As I touched on in the tags of that earlier post, most of those men would have been at sea since their childhood/youth and built their entire lives around it, would've known it intimately.

So yes, while the sea is a cruel mistress who could not love them back, I think that there's perhaps a more positive spin to be found here.

That there's perhaps something quite beautiful and profound and, dare I say, holy, in the notion that they would've known full well the unloving, cruel, and capricious nature of the sea and that they would've carried on loving her regardless.

-

I've waffled on long enough now so I'll end on a more historical/Terror-specific note and say that I think there's also a really interesting conversation to be had about colonialism/empire vs the sea/landscape.

Though the men don't love the empire itself per se, their lives have been defined by it and everything they've done within their careers has served it in some way. Yet at the end of the day, it is just another entity that, for lack of a better phrase, doesn't love them back, doesn't care for them at all.

The key distinction to be made here, I think, is one of 'can't' vs 'won't'.

It's sad that the sea doesn't love or care for you, yes, but that's only because the sea is a natural entity that cannot love or care for anything. Think of how, despite it all, the love still endures for Peglar and there is at least something approaching closure for him as result. Even as he's dying he still loves Bridgens and he still loves the sea, even after all it's put him through.

To live your life, however willingly, in service of an entity like colonialism/empire is another thing entirely though. That's a man-made entity that doesn't care for you not because it can't but because, quite frankly, it doesn't fucking want to. An entity that had the choice and the power to care for you and chose not to. Think of James Clark Ross, for example, and the way his face drops when he realises that, despite everything that's happened and everything they've given in service of it, the Admiralty and the Empire still care more about finding the Passage than finding the men lost to it.

Now that's a tragedy!