#niho's writing

[nihoniums-oc-emporium]

Catch ups and Revelations : Part 1

[ here's the writing I've been working on :3c this is part one and I'll link the others once they're out. I'm choosing to keep things short! Gordon and Quirox belongs to @quiescent-trolls ]

Yet another day, where the sun is setting on the alien planet, and the two moons are shining as brightly as they ever have. It was in the back of a bar that the four humans were awakening from their slumber, as they always did.

How long as it been? Months? Maybe even a year? Who knew, time felt fake the longer they remained in this place. At least they had a place to stay, didn't they? And it's not like they lacked people to rely on either.

Jack was sitting on the strange bug-bean chair, a little goopy, but at this point it didn't even bother him. His time on Alternia has been pretty good- arguably, it was even better than what earth had to give him. Him and his friends found a home in Jet and Nigrip, and a caring figure as well as safe place in Gordon and his library. Jack even had nice company with Quirox, and the chill quiet time the two of them shared was always nice. And yet... Yet Jack felt so incredibly homesick. He missed the earthly sun, he missed feeling the rain on his skin, he missed the warm and calming purr of his own cat- he missed his home planet.

Slowly but surely, Jack has grown... Strangely resentful of his friends- to him, it felt like they didn't care as much as him to get back, as he was definitely the most active member in their quest to return home.

Obviously, Jack was mistaken. Elie always wanted to help, but felt like she couldn't contribute to anything, being so weak and frail- and last time she attempted something, it ended up in her boyfriend almost dying. On the other end, Alex was more focus on protecting his friends. He didn't want any of them to get hurt, and he was the strongest one out of them all. Ever since the accident, though, Alex was left devoided of energy- and quite frankly scared of going out. He wouldn't admit it, but this planet was terrifying him.

Silence was only growing stronger between the four young adults. They still cared for eachother- but it was clear than an unspoken tension was growing after Alex's injury.

Truly, the one glue of the group in those tense times was Maud- her natural cheerful nature and enthusiasm was keeping the group's spirit and morale up. Often would she organise games with everyone- even inviting Gordon to join in the fun!

Distraction was always the best medicine for hard time, wasn't it?

....

At least, until things can't be ignored anymore.

[ultraviolet-cello]

"Oh yeah I'm like. I write maybe once every 3 months and even then it's small amounts"

I have written 15k in fanfiction and god knows probably more in trigun analysis and I would like to thank Niho radioactive-dragonlover personally for putting up with my bullshit dfglkdfjgdfg

[ofyoungbamboo]

They said she was from the Moon and it must be true her skin was as pale as the moon’s surface, her eyes as bright as stars and her hair was the blue-black of the nighttime heavens. 

Rules/ Important Notes

18+ Only

No Godmodding/Metagaming

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Always down to turn memes into threads

Ask if you need something tagged (I try to be diligent about this but may slip up or not catch something!)

Other Blogs: @gowesten @withinycu @bianfu @impercre​ @eynsavalow​ @warriours​ @akcsha @vampiblonde @vampirocrota @ekbatdesebat

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NEED TO KNOWS

I’m blending canons mostly from the 1987 film Princess from the Moon in terms of Kaguya’s origins and the 2013 film Princess Kaguya to flesh out Kaguya’s character. 

Quiet and reserved with strangers, Kaguya is a deeply passionate young woman with a deep and abiding love for both her adoptive parents and nature. 

She’s not quite human passing. Her skin in particular is pale to the point of appearing transparent in bright enough lights. 

She isn’t from our moon but a moon in another solar system

I will be having Kaguya age at a normal human rate or normal to whatever planet she lands on.

On Time Period- In her exile verse I'll still be defaulting to writing Kaguya as a Heian era woman. My reasoning for this is The Tale of the Bamboo Cutter is very rooted in the Heian era and the culture of the time. There's also the issue or difficulty of how to translate Kaguya's narrative to different periods in Japanese history where social mores could be radically different. Also given the Heian era dated from 794 to 1185, certain aspects one may readily associate with Japanese culture may not exist or exist in the form familiar to us today.

VERSES

v; shining princess of the young bamboo- Kaguya was mysteriously found in a bamboo shoot by the bamboo cutter Taketori no Okina and his wife who raised her. Renowned for her beauty she has many suitors.

v; i will return to you- Having infuriated the Emperor of Japan by rejecting his proposal Kaguya and her parents now roam the world.

v; a new tale- the modern verse, Kaguya was found by strawberry farmers in Okayama Prefecture. However her adoptive father has moved on to other more profitable ventures that frequently lead to the family traveling after finding a great deal of gold after finding an infant Kaguya.

v; the beginning is a very delicate time- Dune verse, Kaguya is a Bene Gesserit acolyte with no knowledge of her parentage or homeworld. However she's considered something of a failed Bene Gesserit given her passionate nature and strong sense of self.

v; princess from the moon- generic scifi/catch all verse where Kaguya lands on any number of planets or points in time following a war between warring factions of Lunarians.

v; doll of the world- Nayotake no Kaguya-Hime is a limited edition doll part of the 'Dolls of the World' series dressed in Heian Era garb. She was gifted to a University Professor who specializes in that era. She has kept the doll in her case and has her on display in her office.

v; luminous beings are we- Star Wars verse, Nayotake no Kaguya-Hime is the young Empress of Lunaria a small moon of the planet Niho on the outer rim. Much sought after as a bride for her mineral rich planet, she has thus far proved extremely reluctant to marry.

[nihonium-art]

Life became easier when I discovered I could just make girls be in love with eachothers

[connorgoldie-grad703]

Case Study: Pure Pākati

Kris Sowersby, a New Zealand type designer, runs ‘Klim Type Foundry’, a digital type foundry based in Wellington. Since its beginnings in 2005, Klim has created many internationally recognised award-winning fonts, typefaces, lettering, and logotypes. Some of the major projects and names that Klim has worked with include Pure Pākati, the redesign of Financial Times, Air New Zealand, the redesign of National Geographic, Hokotohu, and Paypal. 

From the experience that I have gained working in my job, and from recent explorations in my personal design research and writing projects, I have realised that making work that is meaningful and distinguishable is important to me. Klim Type Foundry caught my eye because while they are excellent in the commercial design world, they also bring meaning to their work. They produce high quality type design work that is engaging, distinct, and has depth beyond letters on a page. They haven’t applied a one-size-fits-all solution to their client projects, instead they have carefully designed typefaces and lettering that communicates the message and story each project is trying to get across. Two projects that I especially admire from them include Pure Pākati, and the Air New Zealand logotype. In both projects, Klim applied well thought out conceptual thinking. The design thinking process fascinates me, and as a visual communicator, I’m always on the lookout for concepts that shake my way of thinking. Making things aesthetically pleasing isn’t all that’s required for impactful design, and the Klim Type Foundry exemplifies this perfectly.

Pure Pākati

To promote New Zealand as a tourist destination, Tourism New Zealand commissioned the creation of Pure Pākati in 2014. Kauri wood, endemic to New Zealand, was expertly carved by Rangi Kipa. The three basic niho (tooth notches) in a repeating pattern of three known as “taki toru” are the most essential feature of Pure Pākati – pākati means incised or notched. There are a number of taki toru kōrero (tales of origin) in Māori culture. The Polynesian migration narrative of Toi and his grandson Whātonga inspired Rangi in this specific case. In Pure Pākati, this simple act communicates a lasting feeling of love and care for tourists, in line with Tourism New Zealand’s kaupapa of “embracing visitors as whānau.” I first came across Klim in 2019. At the time, Tourism New Zealand was a client of my dad’s, which is how I discovered Pure Pākati, and the Klim Type Foundry. This project in particular still serves as an inspiration for me today, as Klim used a combination of carving/printing processes and digital processes, with involvement of tangata whenua to produce a distinct typeface that has substance and meaning. 

In relation to my project, here are some thoughts I have that can help me going forward:

- Try incorporating analogue processes

- Think about how the process can dictate a form

- Think about how using organic materials can visually represent New Zealand

[cute-sweet-corgo]

Uuku'niho -- in Hawaiian it means “small teeth”, if you write like this “uuku' niho” and if google translate is  right

[shadygay]

Tagged by @2einsamkeit Thank you!

Get To Know Me

Rules: tag blogs you want to get know better.

Nickname: Niho, but only family members use it

Zodiac Sign: Cancer

Height: 184cm

Last thing You Googled: a word I wasn’t quite sure about how to write it

Favorite Music Artist: Lady Gaga

Song Stuck In Your Head: The Cure by Lady Gaga (Buy it on iTunes!!!)

Last Movie You Watched: Julie & Julia

What Are You Wearing Right Now: Teal hoodie, a striped shirt in red and grey, and cozy pj’s, and cozy socks. I’m literally still in my pj’s except the hoodie and the socks...

Why Did You Choose Your URL: I don’t know anymore

Do You Have Any Other Blogs: @nihad-arts but I don’t use it anymore tbh

What Did Your Last Relationship Teach You: Never was in one

Religious or Spiritual: Not religious

Favorite Color: Blue

Average Hours of Sleep: When I have school 7-8 hours on the weekends 8-10 hpurs and on vacation it’s usually 9-11 hours

Lucky Number: I don’t have one

Favorite Character: Sailor Moon, I can relate to her so much

How Many Blankets Do You Sleep With: Just one

Dream Job: Fashion designer, because I love to draw clothes and design new things, but I’m not going to be one haha.

Thanks for tagging me! I tag: @inadepte @sailorcinnamonroll @joanne-deluxe @buttrimming

[speakingoutinserttopic]

Puddles and Whiskers, WDB Catching Up

Puddles and Whiskers, WDB Catching Up

A few subtle changes, some of my favorite moments with them is in NiHo’s Noodle Shop. Enjoy.

Previously.

Catching Up

“How long have you listened to Acid Chamber?” Chuck asked around a mouthful of rice.

Ignoring the rice caught in Chuck’s chin fur Whiskers replied, “Since their first hoverport single, ArNk’Hal”

Stunned, Chuck replied, “That’s a long time.”

“Their music is great to practice to,…

[callistoscurse]

So glad I found ppl to play ow with!!!

[nihoniums-oc-emporium]

Catch ups and Revelations : Part 3

[ Third and last part !!! Here is the previous one! I am not writing for at least a month /j ]

Jack took a step back, his face contorting in a mix of sadness and anger. "You better have a good fucking reason, maud" he retorted.

"I- Jacky-o! I can explain I promise-" the girl finally replied after what felt like ages of dead silence. She was trying her best to smile- but considering the situation it felt more eerie than comforting.

How could she even begin to justify this? From all angles, this looked bad- Jack didn't want to turn on one of the only friends he had back on Earth, but this did not help. Did she.... Not want them to leave? Why? Has some troll successfully manipulated her after finding out about them? Were they about to get sold to the empi-

" I just- I wanted the fun to continue!" She replied, cutting off Jack's train of thoughts. " Merry Elie, Alexy, you and I have been having so much fun as of late- I didn't want to go back so soon! We even made new friends! Don't you want to spend time with me, Jacky-o? Don't you want to stay with your new friends?" She tilted her head innocently, a genuinely curious expression on her face.

"well he's alive! And we all are!" She gleefully replied.

"What the hell are you on about-" Jack muttered in disbelief- was she actually serious? "Maud, Alex almost DIED- Hell- WE all could die here! Do you even- do you realise the danger we've been in??" His voice was desperate, almost pleading for Maud to wake up from whatever daydream she was having.

"THAT'S NOT THE FUCKING POINT!!" Jack yelled, he was frustrated with Maud- he knew she could be an airhead and delusional- but this was too much. "Do you want us to die here??! Is this- is this entire god damn thing just some game to you?! Maud- Maud please-"

"Is it not to you, Jacky-o?" Maud's smile started to turn into a sad frown- was her friend not happy to be here with her? Why was he so upset?

"No- it isn't! Why would it- Maud have you lost your damn mind?!"

The futuristic girl seemed confused "I... I just wanted to spend time with my friends..." She mumbled, her voice shaking as Jack was staring at her with an horrified, pained look on his face. "I thought we could all have a fun adventure here! Jacky-o, you love aliens, right? You should love it! Why aren't you enjoying it?" The girl was crumbling bit by bit... Hugging herself for comfort. Her own legs starting to shake under the pressure.

"... Because we're stuck here- how can we enjoy it if we're stuck here! Just think for once!" Jack answered, completely baffled by Maud's words- he was slowly letting his anger get the best of him, his tone getting more and more accusatory as he went on.

" But we never were stuck here! We can go back whenever-" Maud gasped, putting a hand on her mouth. Oh no. She has revealed something she was not supposed to.

".... Have you been lying to us this entire time?" Jack voice broke saying those words- tears were building up in his eyes "You lied to me?"

"I-I- I just- "

"You what?! You wanted us to have fun?? Didn't you see how much we've been struggling?! How- Why- what is wrong with you?!" Jack cut her off, trying his best to hold in the tears. He felt ... betrayed.

Maud's breathing quickened and so did her heartbeat- He was upset- and after that, they probably all will be. They all were going to hate her now, weren't they? Tears started to run down Maud's cheeks as she run out of the room in a panic- before Jack could register what was happening.

"MAUD!" Jack cried out before beginning to run after her through the hallway, but Maud was fast, fast enough to dash through the door before anyone else could even see her- too busy organising the celebration.

It was an out of breath Jack that eventually arrived to the main room, to the surprise of Alex, Elie and the two trolls.

"jack- you good?" His sister asked, slowly spotting the hint of red in Jack's eyes- has he been crying?

"Maud- she-" he took a deep breath "she ran out- we- we gotta find her!" As much as he hated what Maud has done, she was still a friend, and there was no way he'd leave her all alone on this planet. No, impossible.

"I'll go get her-"

"No Al', I'm gonna get her, ya stay there, got it?" Nigrip cut the man off before heading outside as fast as she could.

"I- alright..."

"What happened?" Elie asked, concerned.

Jack proceeded to tell the entire conversation to his two friends, Jet listening along from the side. Elie didn't know how to process it- was Maud not the sweet girl she seemed to be? She clinged onto Alex for comfort, and the man hugged her tightly. In all honesty, he wasn't sure how to take this revelation either... The accident left a scar on his back, and while he has been quiet about it, his back just hasn't been as good as it used to. The fact it could've been avoided entirely made him feel like this was all for nothing- his friends could've been protected instantly by just... Going back to earth.

A silence fell between the four people left in the underground hideout, waiting for the return of the other troll.

It took a while, but once Nigrip was back, Jack immediately went to her, hoping Maud was following behind!

...

The olive's expression was telling another story, however. "Couldn't find her" was all she muttered.

"What do you mean you couldn't find her?!" Jack asked aggressively "she couldn't have gotten far from here!"

"look Jack- I dunno, okay??! I searched all around the damn place and found nothin' ! The sun's rising and I can't go and search longer or else I'll be dust by tomorrow!" The troll hissed out of frustration.

"Well then I'll go do it my self!" He pushed Nigrip aside violently and walked up the stairs, before being stopped by someone grabbing his arm.

"Jack..." A raspy voice called, in a surprisingly soft tone. It was Jet "It's better to spend the day here and search tomorrow. The sun's not gonna help"

Jack violently teared his arm away from Jet's grip, and as he was about to yell in an angry outburst, he just... Falls to his knees, his head in hands.

"Just get some rest, alright?" Nigrip gave Jack a gentle pat on his shoulder before going to her bed, Jet following.

Elie and Alex remained silent, the two of them walking to Jack and hugging him for comfort.

They will find Maud- and she'll fine... Right?

[afishtrap]

The article argues against the widely held modern understanding of birthing practices in premodern Japan: that birth took place in ubuya, or parturition huts, which were constructed away from the home in order to contain birth-related pollution; that this practice finds its historical origin and authentication in the ancient texts, the Kojiki and Nihon shoki; that the practice was universal and continuous from ancient times through the early twentieth century; and that birthing women, polluted and isolated as they were, were miserable and oppressed. Through the examination of writings from ancient through early modern times, we found that the "ubuya trope" proponents had misread and misinterpreted passages in historical texts. The ubuya in the Kojiki did not connote birth pollution. The term ubuya in aristocratic writings did not refer to an isolated birthing hut. The instances of ubuya that can be observed in early modern times were few and located specifically in coastal and mountainous regions. Moreover, far from turning women into passive victims of an oppressive "tradition," the ubuya structure sometimes seemed to have met purposes other than giving birth, such as committing infanticide and sexual liaison, and thus invited the warrior government's censure and order for its removal. Irrespective of ubuya, however, the notion of birth-related pollution developed and expanded in accordance with the evolving power relations of the imperial, aristocratic, religious, and warrior institutions. Not a simple story of female oppression, the actual history of the institution of ubuya points to the misconceived universality in the modernist construction of the "unchanging tradition" and to the need to appreciate women's agency in giving meanings to their birthing process. 

Hitomi Tonomura. "Birth-giving and Avoidance Taboo: Women's Body versus the Historiography of Ubuya." Japan Review. No. 19 (2007), pp. 3-45.

This image of the ubuya that shows women’s agency and autonomy dramatically differs from the usual representation, which emphasizes its oppressive physical isolation, the misery of its occupants, and by implication the polluted status of women. By displacing the notion of pollution (kegare 穢れ or fujō 不浄) with sacrality and that of isolation with restful solitude, the Ōbara ubuya website not only inverts the meaning of ubuya but also rescues women’s alternative voice from the dark history of birth-giving practices.

[...]

Based on her extensive research and oral interviews, Segawa concludes: “From these examples, we understand that the ubuya had to be built far away from human habitation (hito zato 人里). It was a separate and temporary building that would be destroyed in time. [Staying in the ubuya] was an excessively wretched and restricted life.”14 The ethnographer’s attitude toward her subject is extremely sympathetic, as expressed in her usage of dramatic phrases such as: “in a hut all by herself in true solitude; desolate and alone, amidst the field, as the cold wind blows down from the mountainside,” and “a solitary and wretched condition that keenly touches us.” She also comments on how she realized that “all women in the past spent nearly half of each month in this hut, and although I tried to feel their fate as they experienced it, I was simply shocked and dismayed (akirerubakari 呆れるばかり) by the appearance of lonely isolation and the subservience of the women of old who had accepted such wrongful treatment.”15

The miserable conditions described here must have been a reality for some women, but these examples come from island, coastal, or mountainous communities. Despite these limitations, Segawa eagerly generalizes from them in her other writings and claims a uniformity of cultural rules related to ubuya or kariya throughout the country.16 In Segawa’s construct, not only did ubuya cover the Japanese archipelago from corner to corner, but they also existed continuously from time immemorial. In seeking “the silent flow of the ways of living and thinking of the Japanese people from ancient times,” she considers that the “problem of ubuya should find its point of departure in the world of ancient myth.” She identifies “the myth of Toyotamahime 豊玉毘売 in the Kojiki 古事記 (Record of Ancient Matters; comp. 712)” in which the ubuya is a significant motif.17 Thus, in Segawa’s citation of Japan’s oldest extant writing, the work that chronicles the country’s origin from gods to the imperial line, is born a powerful trope of timeless ubuya that the inhabitants of the nation have commonly shared throughout Japan’s history. The ubuya trope is a totalizing discourse that fuses the analytically distinct notions of women, pollution (kegare), parturition, isolation, misery, and disempowerment into an unbroken circle of timeless Japaneseness that is tangibly confirmed by its very physical form and ontologically sustained by its imagined mythical origin.18

[...]

Ubuya, both real and imagined, played a crucial role in this modernist construction of tradition. Folkways researchers such as Yanagita’s followers sought out ubuya structures that remained and documented them. Once some had been found, their existence proliferated in the imagination of a universal folk. The ubuya, whether or not it still stood, was everywhere, and the same meaning and purpose were ascribed to it: to contain female-specific pollution. From this formulation, it was a short step to defining the universal female, whose undeniable biological essence was pollution. The analytical distinction between cultural interpretations of the essential quality and the essential physiological make-up itself often was blurred. Modern ethnologists constructed a “history” that was more normative than descriptive, and strongly influenced the way society viewed the female gender. Meanwhile historians of premodern Japan whose professional goal was to investigate premodern sources rarely discussed the topic of ubuya precisely because their sources scarcely mentioned it.

[...]

In one Niho n sho ki variant, the Heavenly Grandchild had been living under the sea with his wife Toyotamahime. She announces: “I have already conceived. I should not deliver the Heavenly Grandson’s child in the sea. Therefore when I give birth, I will go to your land. If you would build an ubuya for me on the beach and wait for me, that would be just what I wish.” Hiko hohodemi returns to his homeland, and applying cormorant feathers, builds an ubuya. Even before the roof is completed, Toyotamahime arrives on a tortoise, accompanied by her younger sister. Because her delivery time is imminent, she enters the structure without waiting for the thatching to be completed. She declares to her husband: “I beseech you not to look when I am in delivery.” The husband-prince becomes suspicious, peeks, and sees that she has transformed into a large crocodile (ōwani 大鰐). When Toyotamahime learns of this violation, she feels deeply ashamed. Nonetheless, the husband asks her “what name should be given to this child?” Having named the child, she leaves for the sea, and the prince writes a love poem and appoints various women as wetnurse, hot-water giver, food-giver, and bath-giver.26

The same story in the Kojiki, to which Segawa refers in establishing a lineage to contemporary ubuya, is more elaborate and graphic. It includes Toyotamahime’s initial observation that “All persons of other lands, when they bear their young, revert to the form of their original land and give birth. Therefore, I am going to revert to my original form (moto no mi 本の身) and give birth. Pray do not look at me.” The prince then sees her “crawling and slithering around.” Awe-struck, he runs away. Realizing that her “form has been seen, [Toyotamahime is] exceedingly ashamed” and returns to the sea, leaving the child on the shore and forever separating the land and sea. “Later, although she was bitter at him for having looked at her,” she still longed for him and sends her younger sister to nurse the child. 27

At both the descriptive and symbolic levels, the depiction of the ubuya in any version of the story differs greatly from the meaning given in NDK: “A house structure built separately in or der to avoid birth pollution and isolate the birthing woman.”28 In the story, the ubuya is a structure built to accommodate a birthing woman, away from outside elements and from peering eyes, and to allow her to return to her “original form” in her moment of delivery. Nowhere does the story state, or even suggest, that birth pollution was the reason why the ubuya was built. Moreover, it was Toyotamahime who requested that it be built. At variance with this, the dictionary’s definition situates the woman as an object of containment instead of as a constructive agent. In the source texts, Kojiki and Niho n sho ki, it was a self-initiated solitude, not an externally-imposed isolation, the purpose of which would be to protect the prince from contamination. Toyotamahime’s wish not to be seen is explained in the Kojiki version. Her comment on “returning to the original form” can be read in many ways, but considering that the words come from a woman about to go through the arduous labor of child delivery, and gauging from her later reaction to having been visually violated, her words in the original text likely expressed her desire for privacy in the hours of contraction and pain. Giving birth is an occasion that transforms a woman to a bodily condition that divests her of the physical qualities typically described as enticing to men. Interpreted from the birthing woman’s body-centered perspective, Toyotamahime’s request to secure what we would call privacy seems reasonable and sensible. Did she not want an undisturbed place to concentrate on her own bodily process and manage the pain, an act that is graphically expressed in terms of “crawling and slithering”? Did she not want to secure a place that keeps an outsider’s gaze away from bodily discharge and her exposed body parts—vagina and surrounding areas—that in other circumstances are the focus of male-directed sexual desire?

Perhaps a princess of the sea such as Toyotamahime is constructed differently from a human woman. Even so, instead of pollution, the ubuya in the myth accommodates the symbolic expressions of the practical and pragmatic needs of a woman facing moments of labor and delivery. Toyotamahime’s apprehension that her laboring form would frighten or repel the prince was indeed proven correct, as it astonished him so much so that he ran away.

The meaning attributed to the story by the dictionary’s reference misconstrues the broad implication of the source narrative. In the story, it is Toyotamahime who gives the ubuya its functional significance. The entire childbirth episode, from the building of the ubuya to the naming of the newborn, rests on her knowledge and authority. The story endows her with the authority to navigate the birth, create a baby who would carry the prince’s patrilineal line, and delimits the boundary of that rule by drawing the line between the worlds of the sea and the earth. The prince defers to Toyotamahime in the naming of the newborn, which reflects the ancient practice in which mothers named children, and magnifies the idea of a female-centered perspective that underlies the story.29 More prescriptive than descriptive, the twentieth-century dictionary reshapes the meaning of the story to fit the modern discursive agenda; it transforms Toyotamhime’s ubuya from a place of protection to the architectural proof that the ubuya isolated the birthing woman in order to protect others from her kegare.30

[cityspidey-blog]

AOA president of Niho Scottish Garden, a residential complex in Indirapuram, DK Maurya, has alleged that Sub District Magistrate (SDM) Vivek Mishra is unnecessarily meddling in the internal affairs of the society.

Maurya also alleged that the SDM is misusing his official authority by asking the AOA to choose an illegitimate bid, which does not meet the directive of the State Labour department, for a tender floated to overhaul the security of the society.  

The AOAs usually award the tender to the lowest qualified bid. In this case, out of seven shortlisted bids, the lowest bid selected has become a matter of disagreement as it does not adhere to the directive of the State Labour department, claims Maurya.

“The bid quoted Rs 10,427 whereas the minimum wage for this category is set at Rs 11,420. Also, the contractor didn’t give break-up for the provision of employee provident fund (EPF) and employee state insurance (ESI),” said Maurya.

Meanwhile, AOA’s vice president Sanjeev Singh, who is in favour of the lowest bid, told City Spidey that he can’t understand the basis of the objection as the society has never before based their decision according to the rules of minimum wages. “The bid is saving our money and we should finalize it,” he said.

AOA had earlier formed a four-member committee to finalize the tender. But no consensus could be reached as two members had voted against the bid and two for it.

Sanjeev further added that he was the one who had contacted the SDM complaining a deliberate delay in awarding the contract.

However, Maurya alleged that the SDM had called him in his office and forced him to give the contract to the controversial bidder (the one with lowest bid). “When I asked him to give it in writing, he refused,” Maurya said.  

Reacting to Maurya’s allegation, the SDM said that he was merely trying to liaison between the two parties. While he agreed that the matter is society’s internal affair, he said that he had never called any party in particular. “I was intimated about the matter by the police on Tehsil divas, following which I had called both the parties to arrive on a logical solution,” he said.

Interestingly, Sanjeev, who had complained to the SDM against Maurya agreed to this. “He (Mishra) had asked Maurya to give the contract to the bidder with the lowest bid,” he said.

Maurya had later approached Additional District Magistrate (ADM) City, Himanshu Gautam. The ADM, through a letter, agreed to the fact that the bid should be disqualified as it does not follow labour department rules. He further asked the society to cancel the current tender and issue a fresh one complying with the directions laid down by the labour department.

[nexttattoos-blog]

New Post has been published on https://nexttattoos.com/polynesian-tattoo-for-men-and-women-meanings-ideas-and-more-than-30-inspiring-photos.html

Polynesian tattoo for men and women: meanings, ideas and more than 30 inspiring photos

The Polynesian tattoo, also known as Maori tattoo is a trendy tribal tattoo for a while now. But what does it mean and where does it originate from? To discover in the lines that follow …

Polynesian tattoo for men and women: meanings, ideas and more than 30 inspiring photos

We have devoted many publications to tattoos , their history and meanings. Here we are again back on this subject, but this time we will be interested in one of the most trendy tattoo models at the moment: the Polynesian tattoo, often also called Maori tattoo. Indeed, it is our third publication devoted to this interesting topic.

The tattoo originates from indigenous peoples living in Polynesia.

Tattooing was used as a symbol that not only served to embellish the bodies and faces of men and women, but also to demonstrate their membership in a social group and their status. In the following lines, we will give you some information on the history, meanings and symbols of Polynesian tattoos as well as inspiring drawings and photos. We have tried to collect the best male and female Maori tattoo ideas on the net for you.

Polynesian tattoo: the first tattoo in history?

There is still a debate about the definitive origins of Polynesian culture and the notion of tattooing. One thing is certain, the term “Polynesian” incorporates many tribes: Marques, Samoans, Niuens, Tongans, Cook Islanders, Hawaiians, Tahitians and Maori. All these tribes are genetically related to indigenous peoples in parts of Southeast Asia. Speaking of the Polynesian or Maori tattoo, we often refer to all the indigenous peoples living in Polynesia.

Southeast Asia and, in turn, Polynesia is a sub-region of Oceania, consisting of a large group of more than 1000 islands scattered over the central and southern Pacific Ocean, in a triangle that encompasses the New Zealand, the island of Hawaii and Easter Island.

The people who inhabit the islands of Polynesia are called Polynesians and they share many of similar traits, including language, culture and beliefs. Hence, tattoos come together. The common feature of all Polynesian peoples is that they all live near the ocean. The ocean is associated with the divine, with the previous and spiritual life.

The Polynesian tattoo is also known as Maori tattoo and tribal tattoo.

Polynesian tattoo: list of meanings and origin

Among the most common symbols of Polynesian tattoos are the turtle, the shark, the shells, the lizard, the sun, and the spear points. The ocean plays a major role in the Polynesian culture which is quite logical knowing that they live nearby. We tried to make a list of the most common Polynesian tattoo symbols and their meaning.

Shark teeth

As we have already mentioned, the ocean and its inhabitants are very present in all Polynesian cultures. Here’s why Polynesian tattoos often have shark teeth . Do you know why ? Indeed, the shark teeth, called niho man in Polynesian, symbolize strength, security and adaptation . The God of the Polynesian peoples is often pictured as a shark. This symbol and its interpretation are closely linked to the behavior of sharks – very strong and resistant fish. Sharks or shark teeth are perfect for a Maori tattoo arm or forearm man or woman.

The turtle

Another animal that has inspired many Polynesian tattoos is the tortoise . The turtle represents wisdom, eternity, fertility, harmony and family. It is well seen as a tattoo back woman or man. Indeed, the turtle is a symbol found in many different cultures. As you probably already know, the turtle is a very old animal and lives very long time. Here’s why the turtle is a highly respected animal and always associated with wisdom.

The inhabitants of the ocean inspire almost all models of Polynesian tattoos.

Polynesians believe that the sea (the ocean) represents the previous life . This is where the soul goes after death. The turtles on their side live at sea and at the same time. This is why Polynesians believe that turtles are a kind of spiritual guide and can show them the way to inner peace.

The lizard or Gecko

The lizard is also a symbol very present in the Polynesian culture and often tattoo object. In Polynesian language “lizard” translates “gecko” . For indigenous peoples in Polynesia, the lizard represents a kind of God. Just like the turtle, the lizard lives between the ocean and the land. He is a very old animal and of long life. Maori believe that the lizard has a protective force. We like the little tattoo maori lizard in the photo below. This model is perfect for a wrist tattoo or ankle.

Spear points

Another symbol that is very present in Polynesian tattoo is spear points . They are incorporated in almost all Polynesian tattoo designs. For the Polynesians, the spear points represent the force, the daring and the courage. You can integrate them in different ways into your tattoo model. Spear points are also the main weapon of Polynesians. This is a multi-function tool that is very present in the lives of Polynesian men.

The sun: wealth and splendor

The sun is a symbol found in almost every culture. It represents warmth, strength, light and wealth … Polynesian culture represents magnificence, majesty and fortune. Indeed, the sun can be integrated into a tattoo in many different ways and depending on that, it changes meaning. This symbol is perfect for those who want a small tattoo arm or forearm.

Have you ever heard of Enata?

The Enata is one of the most classic motifs in Polynesian tattooing. It symbolizes masculinity, energy and strength. Depending on its location, orientation and combination with other symbols, it changes meaning. Enata can also represent family, friendship, completeness and others.

You can create your own original and personalized Polynesian tattoo template. It is possible to integrate several symbols to bring a unique meaning to your tattoo.

As you have already understood, the meanings of the most common symbols of Maori tattoos are simple and logical. Polynesians are inspired by what surrounds them: the ocean, the sun, animals and nature. All these symbols are found in almost all ancient and modern cultures.

What is Polynesian culture really?

However, Polynesian languages ​​may vary slightly from each other and in some cases they differ significantly. There are words that are basically the same in all Polynesian languages, reflecting the deepest core of all Polynesian cultures. Moana (ocean) and mana (spiritual strength and energy) are two terms that transcend all Polynesian cultures. These words are quite similar and reflect the proximity of Polynesian cultures to the ocean, as they believe that the ocean represents life.

Moana and mana or the force of the ocean

The origins of tattoo art in Polynesia: a question of statue and belonging

Historically, the Polynesian culture had no writing. The art of tattooing was therefore used by Polynesians to express their identity and their personality. Tattoos indicated social status, as well as sexual maturity and genealogy. Almost everyone in ancient Polynesian society was tattooed. Tattooing was a way of distinguishing oneself and attesting to one’s belonging to one’s original tribe.

Tattoos arrive in Europe thanks to Captain James Cook and his travels in Polynesia.

Captain James Cook was the first navigator to try to explore the Polynesian triangle. In 1771, when James Cook returned to Tahiti and New Zealand. He was the first to introduce “tattooing” in Europe. In his stories, James Cook describes the Polynesian people’s behavior of his trip, which he calls tattaw . He also brought a Tahitian named Ma’i to Europe. Thanks to Ma’i, the first tattoos were born in Europe.

Nowadays, many people are tattooed without hesitation. This trend is becoming more and more prevalent, which was not the case 30 years ago, for example. We at Designmag say “yes” to any tattoo idea. Our advice is to simply think carefully before choosing a new tattoo especially if it is permanent.

Maori tattoos are usually large, but it is quite possible to opt for a small Polynesian tattoo. And if you are not 100% sure or you change your mind often – there are temporary tattoos !

The Maori tattoo arm and forearm is a great classic in tattooing man.

We like the Polynesian tattoo design below. You can opt for a mini version.

Maori tattoo idea complex man and woman

[nihoniums-oc-emporium]

Catch ups and Revelations : Part 2

[ YIPPEE part 2 !! Here's part one!! Enjoy :3c ]

Jack has been researching- a lot. While the technology of the machine they arrived in wasn't alternia tech, there was a good amount of books that could help him understand how those mechanisms worked in the first place. You'd be surprised how close the two planets' technology could be- putting aside the design choices. Obviously, this took him a long, long time- ever since Alex's attack, he has been working even harder towards his goal.

It took him what was probably two or three months of almost non-stop working, which worried Maud quite a bit. Every time Jack would fall asleep at his makeshift desk, she'd bring him a blanket. Every time he was about to leave for a long time alone, she'd drag him back just for a bit of relaxation. She was worried the man would kill himself out of exhaustion.

One fateful day, when he was observing the machine in their hiding spot, with Nigrip guarding the place, Jack finally figured it out- what the engine needed to be able to work again! A strange mix of melted crystals that, apparently, worked alongside a magnetic field to be able to teleport... Or something. He wasn't sure how exactly it worked, but it was the most compelling solution he had found! The inner machinery seemed to hint to it, anyway.It's not a solid conclusion, but it's something. And at this point, it was everything to him.

"FUCK YEAH!" The red haired man yelled, hands in the air- the book he was using settled in his laps.

"You found it?!" Nigrip's pupils widened as she rushed to him, lifting him up in the air. "FUCK YEAH DUDE! You genius!"

"HEY- PUT ME DOWN!" Jack wiggled in the troll's arms before being dropped on the ground. "But yeah! I think I got it! It's some sort of melted crystal mix... I bet this will help Maud refresh her memory- I'm sure she'll know what kind of rocks it is"

"... Might be hard to find, though- I mean crystals like that gotta be under empire's supervision... Under the fleet's protection, even-" the troll smirked "I always wanted to get to those fuckers!"

"Woah woah- chill" Jack chuckled "one thing at a time, right? First let's tell the others! It's gonna blow their damn mind"

"Ahah! ya got it mister genius" she playfully hit jack's arm "Alright, let's head off"

And with that, the two excitedly made their way back to the base! Jack entered with a bright smile- a rare sight. He proceeded to loudly announce "GUYS- GUYS! I GOT IT" to the entire bar- and very quickly, two humans came rushing in, alongside a troll who was slightly lagging behind.

"Got what, kid?" Jet asked, amused.

"The fuel! I know what we need!"

"You what?!" Elie gasped, putting a hand over her mask, trying to contain the tears of joy she was about to let loose.

"Jack! That's awesome! " Alex rushed in to squeeze Jack into a tight embrace- leaving the red head to squirm like a worm out of his grip.

"Alex- ALEX-"

"Ah- Sorry- Sorry!" Jack was instantly let go, leaving Alex to apologize profusely.

"So you cracked the code, huh?" Jet asked.

"Well uh- partially ! I know we'll need a sort of mix of different crystals- but I don't know which ones exactly... Though Maud could help with that! Speaking of-" Jack looked around the room, trying to catch a glimpse of the futuristic girl. "... Where is she?"

"Beats me!" Elie replied with a shrug "I don't think she went out though, she'd never go without a warning or something"

"Maybe she's in her VR thingy?- She's been using it a lot as of late..." Alex suggested.

"Go 'n find her, me and Nigrip are gonna prepare ya four a good old celebration party!" Jet winked, signing Jack to go.

The man's first instinct was to check Maud's room- obviously! It was where she'd end up most of the time, when they weren't spending time together.... But it seemed she wasn't here, huh... Strange....

Jack was starting to worry- Maud rarely, if ever, went out alone, especially not without telling someone about it. As he kept walking through the dead silent barman's place, he heard the quiet shuffling of papers from a specific room... His room. The room in which he spent most of his time tirelessly searching for the truth about this god forsaken Machine.

As he opened the door and stepped in, his heart was beating like crazy- did a troll break into their base? Was it the end for them? Thankfully, all worries were lifted off his shoulders as soon as he saw the familiar figure of Maud in the room.

"Ah- Maud! Thank fuck you're here I-"

He was stoped dead in his track as his eyes took more of the current scene, Maud wasn't just organising the papers around- she was tearing them apart piece by piece. The entire room was just a cemetery for Jack's months worth of research.

The red head's face instantly changed as the girl just stared at him helplessly- her expression was completely unreadable as she froze like a deer in headlights.

"Maud... What the Fuck are you doing" Jack spoke, his voice quiet and shaky, before he repeated himself, this time, louder and "what the FUCK are you doing??!"

[nihoniums-oc-emporium]

Siiighs as I think abt Maud

[nihoniums-oc-emporium]

A Diva's Punishment

Finished the little thing I wanted to write for DEA and violet :) enjoy.

Violet was standing there, right in front of The Enchantress's lounge. Her hands were gripping the inside of her cloak anxiously, her stomach forming all kinds of knots. The inside of her cheek being ripped apart by her nervous biting.

A shy knock on the door echoed in the hallway.

" Come in " a sweet voice called from the inside .

"Greetings, your shining glory -" the younger troll began as she opened the door.

"Oh Violet!" The singer lit up, her leg crossed on her seat "How great to see you here, Darling! I was just thinking I had something to tell you"

"... You.... You Called me here, if I'm not mistaken-"

"ah, no Matter" The woman dismissed with a swift movement of her hand. "You're here now"

With grace, she pulled a paper from under her vanity, holding it to the other.

"The crowd was not as fiery as usual" she started with a mellow face. A single, fake tear rolled down her cheek, as her head tilted to the side sadly. "Are you alright? Your writing has been lacking as of late, dear"

Her tone may have been sweet, but It possessed a bitterness to it- it was clear that the Enchantress was not satisfied with her little ghost writer's work.

Her words sent shivers down Violet's spine. She knew exactly what they implied, she knew exactly what would come next.

"I-I- I can explain-" she stuttered, and instinctively, her legs slowly sinking within her own shadow. Any words coming out of her mouth were a jumbled, incomprehensible mess.

"Oh, Darling you are not getting out of this like the little coward you are" The Enchantress coldly stated, jumping off from her seat and firmly grabbing the smaller troll's face, a disappointed look in her eyes. With a strong, swift movement, she pulled Violet right out of her shadow. A look of pure Terror filling her eyes as the Enchantress was staring down at her.

" you disappointed me, you know I hate being disappointed, right?"

Violet's went cold, as if all of the blue was sucked out of her face. Not this, everything but this. These simple words, 'you disappointed me', filled her with dread.

"Please- Please no- I-I promise I'll do better!"

"I have to make sure of it, darling" and with a sickening smile, the Enchantress began to sing. Her voice was as clear as Cristal, every note was hit perfectly, so much so it sounded... Uncanny.

The words she was using didn't seem to make sense, but they flowed flawlessly with the Melody DEA was singing.

Her voice was slowly enchanting Violet's mind- to her dismay. Her sight and thoughts became foggy, and before she knew it, she was surrounded by a thick, white mist. Again. The song of the Enchantress sounding like a strange, distant chant.

Violet's heartbeat began to quicken, she held her head, shaking it left and right. 'this isn't real this isn't real-' she repeated to herself in despair. She has already went through this- she shouldn't be affected by this- and yet, she couldn't help but feeling the terror slowly building up inside her.

Within the white void she found herself trapped in, Violet saw a short, young troll from afar. Her hair was braided and she was wearing a long, indigo dress with small open black shoes. In her arms was resting a plush toy Violet would recognise instantly - it was her sister's. What was she doing here? She shouldn't be here-

"Azalea!" Violet yelled, rushing to small girl and embracing her withing her arms. "Are you alright? Are you hurt? What are you doing here?" She carefully held the small girl's face, looking at her in the eyes.

Azalea's stare was full of tears, she looked scared, mortified. "Vivi I-" she sniffled "I don't feel well-" before Violet could even question her, the troll started to melt in her arms, screams of agony echoing within the perpetual white void, mixing with the chantings to create a sinister, chaotic melody.

"AZALEA !" Violet shreeched in pain as she saw her little sister decompose right in front of her eyes "no- no no NO AZA-" she desperately attempted to piece back what little was left of her, as a torrent of tears was rolling down her cheeks- no, not her. She has done everything to protect her- this shouldn't be happening- Violet cried and cried and then...

.....

The chantings stopped, and with it, the white mist that was surrounding Violet also faded abruptly. It took the girl a few minutes to properly ground herself- where was she? What just happened? Who was there with her? The troll found herself lying on the lounge's floor, her eyes feeling wet but no tears were coming down.

The Enchantress was looking down at Violet, a sick and twisted expression of satisfaction on her face. Gently, she lifted up Violet's chin, with a disgustingly sweet smile. "now, Vivi, write something more.... Exciting next time, mmmokay?" She gave a gentle kiss of the troll's forehead, whispering sweetly "you're better than this, dear" and then she left, waving goodbye. Violet was left alone, distraught, unable to think as her mind was replaying her Illusion again and again.

The troll wrapped herself in her cloak, shivering like a lost kitten, and hugged herself tightly as tears began to run down her cheeks.

She despised this, but it was for her own good in the end... Right?