#possibly east asian mythology???

[deer-with-a-stick]

oh wait holy fuck how did I miss this

Legend of Lara Croft??? Lets go (and lets hope its good)

is it just me or am i getting really heavy tlovm vibes from it? like name and animation wise. not complaing, i love the style

[telomeke]

THE SIGN – CULTURAL REFERENCES, MYTHOLOGY AND META

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This post comes on the heels of the one by @respectthepetty about mythology and meta of The Sign, linked here. 😍👍 If you've not read it yet, I recommend you do before watching any more of this series, because it will help things make more sense (especially if you're not familiar with some of the cultural references thrumming in the background).

Anyway, I'd previously done some research on the legend(s) of the Garuda and the Naga in Southeast Asia, and so I'm writing this post to share what I've found because it does have relevance to at least some of what we're seeing onscreen in The Sign, and elaborates on @respectthepetty's post.

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The Garuda and the Naga are mythical beings with origins in Indian mythology that have been transposed into cultures across Southeast Asia.

In Hinduism, Garuda is a single deity, depicted in either full-bird form or part-bird and part-human, and is the king of birds and also a divine sun-bird (with physical attributes similar to an eagle's). His elder brother, Aruna, is the chariot driver for Surya the sun-god, while Garuda himself is the mount of Vishnu.

In Buddhist mythology, the garudas (sometimes also spelt garulas) are a society and race of gigantic predatory birds, sometimes also depicted as part-human in form. The garudas are intelligent, social and blessed with might and magical powers.

Thailand may be predominantly Buddhist, but it has also been strongly influenced by ancient Indian culture and Hinduism, and thus both the concept of a single deity Garuda and the race of garudas co-exist in Thai mythological beliefs.

The nagas on the other hand, are snake-like or dragon-like creatures, whose realm is the water world. (The word naga is derived from Sanskrit and is also etymologically related to the English word snake.)

In mythology nagas and garudas are perpetual enemies, although neither side is actually identified with good or evil – they are simply two groups eternally at war with each other (so occidental-leaning minds should dispel any preconception that the water serpents are necessarily the bad guys in The Sign, even though the narrative seems to be tilting in that direction).

When borrowed into popular culture (as has been done for The Sign) you may sometimes see influences of Chinese dragon and phoenix mythology (as Chinese cultural influence is also present in Thailand, and the dragon/phoenix motif of Sinitic culture nicely parallels the naga/garuda conflict pairing). And because of Garuda's association with the sun in Hinduism, and a parallel with the fiery phoenix of Western mythology, you may sometimes see garudas portrayed as aligned with the sun and/or flame as well.

There are some hints of these in The Sign. The naga that Phaya encounters while struggling underwater during the open sea training challenge in Ep.1 is very Thai in appearance (especially with the curved, forward-pointing crest, making it look much like the nagas that adorn Thai temple architecture). But the array of pronged, backward-pointing horns and trailing antennae appear to be a design nod at Chinese or Japanese dragons (East Asian dragons are also strongly identified with the watery realm, by the way). And in the graphics of the series (e.g., in the poster at the start of this post), the sky (the realm of Garuda) is suffused with sunlight and speckled with what look like drifting sparks, referencing sun and flame.

Because of the wings tattooed on his back and his time in the air force, Phaya is most likely the reincarnation of a garuda in human form (and this is why he struggled with the water challenge, as he was completely out of his element).

This is also possibly why we see him smoking early on in the series (because of the alignment of Garuda with the element of fire), and significantly he does this while Naga Tharn (irked by Yai's teasing at the dining table) seeks refuge in the washroom (which is ห้องน้ำ/hong naam in Thai, literally water room):

‌Billy also describes Phaya's character in the promo video for the series (linked here) as being "like fire, always hot and burning... quite hot-headed." 👍

Elsewhere in the same promo video (linked here), Tharn's good friend Chalothon is explicitly identified as the reincarnation of an important naga, which immediately signals that he and Phaya will be at odds in the series:

‌

The water deity that saves Phaya during the open sea challenge – Wansarat, whom he drew in his sketchbook – is not just Freen Sarocha in a fancy scuba suit. 😂

If you look at her arm and hand when she reaches out to save Phaya (before she turns into Tharn) the green scales meld into the skin of her human wrist – they're part of her natural covering, and she's really a nakhee/nagin/nagini, a female naga, appearing in human form to save Phaya.

The narrative has made it strongly obvious that Phaya is a reincarnated garuda, while Tharn is the reincarnation of Wansarat, from the lineage of the nagas. And the teaser-trailer (linked here) tells us that Phaya and Tharn/Wansarat are lovers bound to each other through time:

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However, the special promo video (released 24 November 2023) also tells us (in Heng's interview linked here) that Chalothon and Wansarat were lovers in past lives, even while it is Phaya and Wansarat (reincarnated as Tharn) who are paired by fate in The Sign.

And as the nagas and garudas are bitter enemies, the love story between Phaya and Tharn/Wansarat that transcends time and reincarnation cycles is also one that must have been (and will continue to be) forbidden by their respective naga and garuda tribes (especially since Tharn/Wansarat also used to be naga Chalothon's lover), and will undoubtedly be a source of conflict in the series. This is way beyond the Montagues and Capulets! 😍

‌

So with this as the base, I took a look at the characters' names, and those belonging to Phaya, Chalothon, Tharn and Wansarat especially also reflect their garuda/naga origins. 🤩

Phaya's name (พญา) means lord, king or leader. While it can be applied to the nagas (พญานาค/phaya naak refers to the King of the Nagas) it is also used for Garuda (the Thai national symbol) – พญาครุฑ/phaya khroot, or Lord Garuda (and is what his name references in The Sign).

(above) Billy Patchanon as Phaya

‌

Chalothon's name (ชโลทร) is rare, but it is derived from Pali/Sanskrit and means river, sea or body of water, reflecting the watery homeland of his naga persona.

(above) Heng Asavarid as Chalothon

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Tharn's name (ธาร) also has a connection to his water-dwelling naga roots. Tharn/ธาร is short for ลำธาร/lam thaan and means stream, brook or creek (and he is thus a naga nong to Chalothon's phi).

(above) Babe Tanatat as Tharn/Wansa

However, Tharn is his chue len. His formal name is Wansa, and is the same Wansa in Wansarat (which the narrative lets us know at Ep.1 [3‌/4] 9.35).

(above) Freen Sarocha as Wansarat

Now Wansarat is spelt วรรณษารัตน์ in the subtitles (at Ep.1 [3‌/4] 9.02), and I can't find any translation of it that makes sense in the context of The Sign's world-building.

But Wansarat's name is spelt differently elsewhere on the Internet (on Thai drama websites, and movie databases, etc. like thaimovie.org), and I assume they've all based it on official releases from Idol Factory because the spelling is consistent across these other sources – it's วรรษารัตน์ there.

And Wansa/Wansarat spelt this way also reflects the nagas' dominion over water, because วรรษา/wansa (an archaic word, referenced in an older dictionary but not newer ones) means rain or rainy season (from the Sanskrit varsha) – in Thailand the nagas are also associated with rain control, and prayers are offered to them for timely and abundant rainfall when it is needed. (The -rat part of Wansarat is a feminine ending meaning jewel or gemstone, and may echo with meaning for speakers of Indian and Sri Lankan languages, since it's derived from the Pali/Sanskrit ratna).

‌

Just out of interest (because nobody asked 😂) some of these naga/garuda elements were also present in the early episodes of KinnPorsche – the den of the Theerapanyakuls (nagas, wealthy beings of the underworld) was full of watery elements (e.g., the waterfall, the various pools, and Tankhun's carp – which in Chinese belief are the original, natal form of dragons). The -nak in Kinn's formal first name Anakin (which is not a traditional Thai name) is also a nod at the word naga. Porsche had the tattoo of a fiery phoenix on his back, and was out of his element whenever water was concerned (e.g., his failed pool challenge, the mermaid costume punishment, his misadventure with the sprinkler when he tried to smoke in the store room – water vanquishing the flame). Kinn was unable to make fire when they were trapped in the forest, despite claiming to be friends with the flame, while Porsche could immediately do it.

But I didn't see the KinnPorsche narrative taking the naga/garuda themes much further than these random nods in the earlier episodes. Maybe it did (like Kinn and Porsche could be seen acclimatizing to each other's realms more), but I just couldn't be bothered to look at the show more closely since it didn't really stand up to deeper scrutiny, and after the first few episodes I just went along for the exhilaration of the ride instead. 👍

‌

Anyway, I'm totally bedazzled by the level of world-building going on in The Sign and look forward to more from the series. If the first episode is anything to go by, I think Executive Producer Saint Suppapong may be on to something! 😍

[grey-sorcery]

Title: Mirrors: Portals and Uses

Recommended Reading

Altars: Uses & Design Dimensions & PlanesDualities in Witchcraft Researching Witchcraft Spiritwork: First Steps Basics of Spellcasting Basics of Warding Basics of Banishing Energy Work Fundamentals Intermediate Energy Work The Subtle Body The Wellsource Correspondences: Research, Creation, & Use

Please note that some information on this post comes from personal experience as well as conversations with my elders and other practitioners.

Introduction

Mirrors harbor a unique and paradoxical role, often existing at the intersection of clarity and obfuscation. Throughout the annals of history, these reflective surfaces have been the subject of mystic fascination and contemplation. Shrouded in a mysterious aura, mirrors are an integral component of various mystical practices across diverse cultures.

A seminal instance is observed within the African Yoruba tradition, where mirrors are emblematic of Oshun, the deity of beauty, love, and prosperity. Here, these reflective surfaces serve as conduits to divine insight, manifesting the ethereal into the perceptible. Parallel to this, in the indigenous cultures of the Amazonian Shipibo-Conibo people, mirrors - often represented by reflective surfaces of water - are perceived as gateways to understanding the complex layers of the universe, thus embodying a significant spiritual tool. Moreover, in many East Asian practices, mirrors carry deep symbolic significance and are fundamental in rituals aiming to ward off malevolent forces. Among the Ainu people of Japan, for instance, mirrors function as amulets, protecting the holder from supernatural harm.

Mirrors as Portals

A ubiquitous yet perplexing facet is the concept of mirrors functioning as portals. These reflective surfaces, more than mere decorative elements or vanity tools, hold a quintessential place in mystic and magical practice, extending beyond their ordinary use to become intermediaries between the unknown and the practitioner. Diving into the understanding of mirrors, one might read about their role as gateways. The duality of mirrors, both reflective and transparent, presents a tantalizing paradox: what they display isn't a mere reflection, but an alternate universe or spiritual plane. This dichotomy positions mirrors as a connective threshold, an aperture between the observable and the unknown, the physical and the mystical. Despite their allure, mirrors necessitate careful handling within a magical context. It is a common misconception that mirrors only function as portals during explicit rituals. However, their latent potential as conduits should not be overlooked. Consequently, it's paramount that mirrors remain shrouded or safeguarded within consecrated spaces to prevent inadvertent connections to unwelcome energies. Approaching this aspect with a measure of respect and precaution is instrumental in maintaining the equilibrium of such spaces.

Historically, the mirror's role as a portal is discernible across a myriad of cultural contexts. In Greek mythology, Narcissus fell victim to his reflection in a pool of water, demonstrating an early symbol of mirrors as deceptive portals to the ego. In Chinese folklore, the mythical creature Nüwa repaired the heavens using a seven-colored stone, comparable to a mirror, again associating these reflective surfaces with cosmic transitions.

Mirrors often represent truth, knowledge, and self-awareness, owing to their reflective properties. However, their potential as portals imbues them with added dimensions of mystery, transformation, and transition. The mirror, in this context, becomes a metaphor for change and personal evolution, presenting a liminal space where the known meets the unknown, thereby offering new possibilities and perspectives.

Given the energetic properties inherent in mirrors, they should always be treated as portals. Their constituent materials - silica and silver - interact in such a way that a subtle, yet potent, energetic field is generated, a field potentially capable of bridging multiple planes. To ensure safety, mirrors should be handled with respect and caution. They should be appropriately covered or warded when not in use, especially within sanctified spaces. It is also recommended to cleanse mirrors regularly to reset their energetic state and prevent any residual energies from accumulating.

Energetic Interactions & Metaphysics

Energetic Interactions

Amid the energetic symphony of the universe, each object reverberates its unique energetic signature, contributing to the collective composition. Mirrors, with their paradoxical and captivating nature, have often been the center of esoteric investigation. This intrigue is rooted not only in their physical attributes but also in their nuanced energetic interactions.

To comprehend the energetic interplay of mirrors, one must first examine the properties of its constituent components. Primarily, mirrors are composed of glass, a substance formed from the supercooling of molten silica into a quasicrystalline structure. Coating the back of this silica-based surface is a thin layer of reflective metal, usually aluminum or silver. 

Silica is very insulative, and negentropic, meaning that its natural energetic state eventually resets regardless of influence. It is also Attractive, meaning that it slowly pulls other energetic compounds to itself. Due to the quasicrystalline structure, glass is refractive and enthalpic, meaning that it becomes thermal under pressure- or releases energy. Silver is conductive and repulsive in nature. Due to how silver atoms prefer to arrange themselves (a face-centered cubic lattice) it also tends to be very metastable, meaning that its natural energetic state is not prone to change regardless of energetic interactions. Because the two are constantly next to each other, because of the silver backing, the negentropic nature of the silica causes an energetic cycle of attraction and repulsion, this oscillation combined with the conductive nature of silver and the entropic nature of glass generates a small energetic field. While this is normally negligible, it creates the perfect environment for the propagation of connections between spaces or planes that are out of phase with our own. 

The unique composition of mirrors implicates a distinct effect on the ambient energy. Mirrors, with their inherent vibrational resonance, can both pull and push energy, thereby influencing the surrounding energetic atmosphere. The capacity of mirrors to manipulate energy finds practical applications in the sphere of spellwork and energy transmutation. Through their reflective properties, mirrors can serve as effective tools in spells that involve redirection or amplification of energy. They can be used to create energetic boundaries, return energetic influences, or focus and multiply ambient energy and energetic projections. 

Common Metaphysics of Mirrors

The mirror, with its intrinsic capacity to reflect, serves as a potent symbol of the Jungian 'Shadow' - the hidden aspects of one's psyche that are often suppressed or ignored. Through the act of looking into a mirror, one is invited to confront and acknowledge these facets, facilitating a journey towards holistic self-awareness. The mirror, in this respect, catalyzes self-reflection and introspection, propelling an individual towards self-understanding and acceptance. Delving into the sphere of mirror magic uncovers its profound connection to personal transformation. The reflective nature of mirrors encapsulates the principle of change, embodying the potential for alteration and transformation. As such, mirror magic can be utilized as a tool for self-development and evolution, offering a means to focus energy towards constructive change. Beyond symbolism and transformation, the metaphysical properties of mirrors warrant exploration. Mirrors, by their construction and function, are potent energetic entities. The amalgamation of silica and metallic elements results in a unique vibrational resonance, enabling the mirror to absorb, store, and emit energy. This energetic characteristic, coupled with the mirror's reflective capacity, amplifies its metaphysical potency, making it an influential tool in various mystical practices. Moreover, the reflective nature of mirrors aligns them with the principle of 'as above, so below', a concept found in various esoteric traditions. This principle speaks to interconnectedness, suggesting that what occurs on one level of reality also happens on another. Mirrors could, therefore, serve as a solid physical replacement for any correspondence necessary.

Divination, Spells, & Ritual

In the enigmatic arena of divination, mirrors command a distinctive presence. Among various techniques, scrying - the act of gazing into a reflective surface to perceive spiritual messages - emerges as a common method of introspection and foreknowledge. This practice unfolds as a tripartite process, encompassing the scrying ritual, technique, and subsequent interpretation.

Scrying, an ancient form of divination, leverages the reflective properties of reflective surfaces, like mirrors, to delve into the psyche, unveil hidden knowledge, or prognosticate future events. This technique transcends conventional sensory perception, engaging instead with subconscious and/or spiritual entities. The mirror functions as a medium, harnessing and focusing the widened attention in order to project images or symbols onto the reflective surface. These visual constructs carry messages from the spiritual domain, providing insights that range from self-understanding to predictive revelations.

Techniques & Rituals for Scrying

Executing mirror scrying necessitates a meticulous approach. Often, the process commences with the preparation of the space and the individual. Creating a tranquil environment, devoid of disruptive elements, facilitates a deeper, unhindered connection with the spiritual plane. Personal preparation includes grounding and centering exercises to align the individual's energy with the ambient energy of the environment. They then place a light source between them and the reflective surface. Once prepared, the practitioner enters a meditative state, allowing their gaze to soften and unfocus while looking into the mirror. This passive observation invites subconscious impressions to surface and be displayed on the mirror. Maintaining an open mind and a receptive state is crucial, as the visions or symbols may not be immediately clear or might require subsequent interpretation.

Interpretation of Images & Symbols in Reflections

Post the scrying experience, the practitioner embarks on the task of interpreting the observed symbols or images. This phase is intrinsically subjective, as the significance of the symbols often rests within the personal context of the observer and their held convictions and correspondences. However, there are common archetypes and symbols that carry collective meanings, which can provide a starting point for interpretation.

For instance, water-themed images might signify movement, emotions, or the unconscious, while an image of a bird might symbolize freedom or spiritual elevation. However, these interpretations are not rigid, and the practitioner must trust their intuition to derive the true message from the symbols. Being able to pull specific concepts from abstraction can be an invaluable tool in this practice. Moreover, it's worth noting that the absence of specific images during scrying does not indicate failure. Sometimes, the experience might be more of an energetic shift or a feeling, which are equally valid forms of divinatory communication.

Examples of mirror spells for different applications

Harnessing the power of mirrors, one can devise a multitude of spells tailored for diverse purposes. One such example pertains to protection, where a mirror can serve as a shield to deflect negative energy. Here, the mirror is positioned facing outward, symbolically repelling unwanted influences, thereby safeguarding the individual or space.

Another practical application can be found in the realm of healing. A mirror, due to its reflective nature, can be utilized to channel and focus healing energy towards a specific target. For instance, an inscription or symbol associated with health could be drawn on the mirror surface. Subsequently, this healing symbol is then "activated" by focusing one's concentration on it, allowing the mirror to magnify the healing intention.

Mirror spells also prove instrumental in the domain of self-improvement. One may write or speak affirmations into a mirror, thereby employing its reflective capability to reinforce positive change. The mirror's surface serves to amplify the affirmation, aiding in its internalization and materialization.

Ritual Practices Involving Mirrors

Mirrors, acting as tools for focus, protection, and transformation. One common ritual involves the use of a mirror as a portal for spiritual communication. In this practice, the mirror is treated as a gateway, a connection point between the physical and spiritual planes. Practitioners may engage in meditation or trance work in front of the mirror, seeking to establish communication with spiritual entities or access deep layers of the subconscious.

Another ritual entails the use of a mirror in a consecration ceremony, where the mirror is "cleansed" of any residual energy and "charged" with a specific purpose. This process involves elements like incense, candles, or natural elements like moonlight, leveraging their specific energetic signatures to cleanse and empower the mirror.

One must, however, proceed with caution when interacting with mirrors in a ritualistic context. Given their potent properties, mirrors must be handled respectfully and carefully. Always ensure that the ritual mirror is properly stored or covered when not in use to prevent any unintended energetic interactions.

Example Ritual That Incorporates Mirrors

Ritual of Mirror Reflection

Objective: This ritual aims to promote self-reflection, growth, and self-awareness. It harnesses the unique properties of mirrors to aid participants in seeing and understanding aspects of themselves more clearly.

Optimal Circumstances: Conduct this ritual during a new moon, a time known for introspection and new beginnings. A quiet, dimly lit space with minimal disturbances is ideal.

Ingredients and Correspondences:

Mirror: Acts as the primary tool for reflection and introspection

(Optional) A bowl

White Candle or electric candle: Represents purity and clarity.

(Optional) Lavender Incense: Used for relaxation and heightening awareness.

(Optional) Salt: Represents grounding and protection.

(Optional) Incense for grounding

(Optional) Offerings for your spirits

Preparation:

Create a clean, sacred space where the ritual will take place.

Place the mirror on a flat surface.

Practice the incantation until you can recall it without breaking your train of thought: “Show me, guide me, reveal the truth inside me.”

(Optional) Place the salt and lavender in a bowl and then set the candle in the bowl, cradled within the mixture to support it.

(Optional) Place the candle between you and the mirror before lighting it.

If the bowl, salt, and lavender is omitted, just place the candle between you and the mirror. Be sure that the candle is in a glass container for fire safety.

Procedure:

Creating and Engaging the Headspace:

Ensure that your space is free from distractions by turning devices off or on silent, taking measures to get pets quiet and happy, notifying other residence that you require some quiet, putting on headphones with music, and setting comfortable lighting.

Use the flame from the candle dance. Let its clarity inspire your mind to remain focused and clear throughout.

(Optional) Affirm to yourself, “Today, I seek a clearer understanding of myself.” if you think it will aid you.

Maintain this headspace by repeatedly returning your focus to the candle's flame and the points of gnosis whenever your mind wanders.

Entering a State of Gnosis:

 Light the incense and take a few deep breaths, inhaling the calming scent.

Sit or stand comfortably before the mirror, gazing deeply into your reflection.

Allow any extraneous thoughts to flow out with each exhale.

Gradually move your awareness inwards on your own psyche. While maintaining equal awareness of each component, break up your psyche into subsequent parts by whatever categorization feels most optimal for you.

Include awareness of your subtle body in your gnosis, as it also plays a role in the psyche.

Take steps to ensure that your state of gnosis is unbroken throughout the spell.

Programming the Energetic Body:

Within your gnosis, move your center of consciousness into your subtle body.

Incorporate your Wellsource into your awareness and how it feeds energy into your subtle body.

Begin to radiate Wellsource energy out of each energy point radially. Be sure that the amount of energy per second is unilateral for each point. 

Energetic Constructs:

While maintaining gnosis, reach out and sense the energetic properties and projections from the mirror. It should be a rapidly oscillating field that projects roughly 10 cm -1 m away from the mirror relative to its size. If you’re using a black mirror, stone mirror, or any mirror that doesn’t have a silver backing it will have a different energetic sensation.

(Optional) Incorporating Spirits:

To integrate spirits, whisper a humble request for guidance from trusted spirits and give whatever offerings they prefer. To identify them, look for sensations of warmth, a gentle pressure, or feelings of serenity.

Ensure that you do not demand, but gently request their presence.

Understand that they will help you if they desire, but do not rely on or expect their assistance.

Ritual Action:

Gaze into the mirror, allowing your eyes to defocus slightly. As you do, softly chant or whisper, “Show me, guide me, reveal the truth inside me.”

With each repetition, delve deeper into introspection, understanding the various facets of your being.

Sink your awareness into the components of your psyche. Try not to label them, and just observe them. Trust that your subconscious will bring back what it is you need from the working.

Concluding the Ritual:

 Collect the energy you released and send it into the earth.

Thank your spiritual aids, if you called them, and invite them to leave.

Extinguish the candle and clear the space, ensuring to store the mirror safely.

Cleanse the space using whatever means are more comfortable to you.

Note: Always cleanse the mirror after use to reset its energetic state. This can be done by washing it with salt water or vinegar. If you’d like to seal the mirror, draw a sigil on it and/or cover it with a black or white cloth.

Spirit Work

Mirrors, in their multifaceted roles within various esoteric traditions, exhibit a powerful capacity for spirit work. This encompasses a wide spectrum of practices ranging from entity banishment to spirit communication. The exploration of these applications, while deeply intriguing, also necessitates an attitude of respect and careful handling given the potent nature of this work.

Examples of Mirrors in Use for Spirit Work

In several indigenous cultures, mirrors are employed for spirit work, acting as conduits between the physical world and the spiritual realm. For instance, among the indigenous Huichol people of Mexico, mirrors are often integrated into shamanistic practices to facilitate communication with ancestral spirits. This specific usage is chronicled in "The Huichol: A Culture Walking Towards the Light" by Susana Valadez and "Shamanism and Spirituality in Therapeutic Practice" by Christa Mackinnon.

In Asia, particularly within the indigenous Ainu community of Japan, mirrors, known as "Iyomante," are considered sacred objects that bridge the gap between humans and "Kamuy" (divine beings). Details of this practice can be found in "The Ainu and their Folklore" by John Batchelor and "Ainu: Spirit of a Northern People" by William Fitzhugh and Chisato Dubreuil.

Using Mirrors for Banishing

Mirrors also play a role in the banishment of unwanted entities. The rationale behind this practice is that the mirror's reflective surface 'returns' the entity's energy back to itself, which can prove disorientating or repelling for the entity. It can also act as a portal to another spiritual plane through which an entity can be sent to. A particular method involves placing the mirror with the reflective side facing outwards towards the direction from which the negative energy is perceived to originate. During this process, the practitioner maintains a focused state, using projections from the subtle body to direct the unwanted energy into the mirror. 

Using Mirrors for Spirit Communication

The reflective nature of mirrors has led to their usage as tools for spirit communication, serving as a medium through which messages from the spiritual realm can be received. This practice often involves mirror gazing or scrying, where the practitioner enters a meditative state and focuses on the mirror's surface, inviting communication from spirits.

One notable example is the "Psychomanteum," a mirrored chamber used for contacting spirits of the departed, popularized by Dr. Raymond Moody, author of "Reunions: Visionary Encounters With Departed Loved Ones". This technique requires a carefully controlled environment and preparation to facilitate spirit communication. It's recommended for only experienced practitioners or under the guidance of a seasoned professional. It is important to note that while mirrors can be effective tools in spirit work, some methodologies may not work for everyone due their vagueness or whether they’re writing from a personal narrative. 

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This article was reviewed and edited by ChatGPT

[howlsofbloodhounds]

THE CROWSHIPPING TALK HAS SUMMONED ME!!!

the question of how dust would worship death has been in my mind forever and i still haven't decided how to go with it. i understand reaper and grim are based on greek mythology, so maybe a practice resembling ancient greek worship rituals? there are also modern pagan practices for greek gods as well.

though, i do think of murder's creator being korean, so maybe there should be some cultural references to that? i'm not korean, but i believe that chrysanthemums are closely related to death and rebirth in some korean regions. in east asian cultures, marigolds are often used for funerals/shrines/tombstones because they take a long time to wither away. korea also has a lot of different belief systems/religions, so that might prove a bit tricky as well.

however, since murder is a monster living in the underground, his beliefs regarding death and religion are not the same as humans. monsters might have their own belief system (the prophecy is one). so it just turns into a mushy pile of "how the hell is murder going to perform rituals" to me lol

~ crowshipping anon

I suppose it can be a mixture of all three; monster influenced, Greek, and Korean. He can scatter the monster dust on the things that were important to them, and perhaps he leaves them some gold or coin for the equivalent of the ferryman, and and perhaps he can place marigolds and chrysanthemums near, on, or around their important item or otherwise on their dust.

I suppose it’s important to consider just how much time he will reasonably have to dedicate to Death, and how often, and what he could be willing to do that is small, less time and energy consuming, but no less important or valued. (Murder not realizing just so much and truly and deeply loved he is by Death 💕).

And of course, how much he will be able to get away with and hide in Bad Sanses AU, considering he is under the care and protection of basically something like a God of Negativity—at least in comparison to Murder himself.

Not only do we all know that Nightmare is possessive, it might just frankly be insulting or offensive to do worship other God(s) or Goddesses while in the service of another, involuntary or not. Murder likely wouldn’t know for sure, but insulting Nightmare even unknowingly could be dangerous.

Elaborate rituals don’t have to be a frequent thing, considering how Dust is in a little war with the human and will likely be very busy in Bad Sanses AUs—taking into account things like his mental health and physical health, just how much energy he’ll be able to offer and do reasonably on a regular or even non regular basis.

Even as something as sharing a meal with Death—or inviting one or both of them to join him with his meal—can be enough, and could possibly even encourage him to drink and eat more frequently if he is sharing with or offering to his Gods.

The worship and devotional acts doesn’t have to be entirely death or underworld or afterlife related—the simple, mundane things would likely be appreciated, especially if they’re done by Death’s priest(ess).

Even dedicating time to learning more about Death and Their mythology, Their lore, Their history—Them—can be an act of devotion. Any specific self care ritual could possibly be as well—such as washing with a specific scent.

This may actually even be a common worry for Murder. That he isn’t doing enough, worry that having to hide it can be taken as being ashamed or embarrassed, that he isn’t able to do something for Them on a daily basis. Either because of “work” and having to survive such a hostile environment, or simply because Dust is too exhausted to even get out of bed.

Perhaps this is something Death will often try to reassure Their Priest(ess) about frequently, reassuring him that even silent prayer is more than enough for Them—and They are not going to get mad at him, or leave him, or otherwise punish him. They are not Nightmare, and They understand that mortals have limits and lives they must attend to.

I can imagine that being able to perform one of the big rituals is pretty exciting for Murder though. Especially if it comes on the heels of having finally found freedom and enough stability and energy to do it with a bounce in his step and a bright smile on his face.

[alatismeni-theitsa]

https://www.tumblr.com/alatismeni-theitsa/750276116941586432/httpsxcomcorenlavolpestatus17879717550276120

Hello! About this subject, I wondered if you thought that having poc representation is inherently incompatible with the desire to create fiction surrounding Greek mythology? Would it be impossible for the game Hades to includes different skin tones without being disrespectful of Greek’s culture, in your opinion? This subject if pretty though, because well, the people making the game are from an independent studio and included people of color in the game because they wanted more people to feel represented (since some of them are poc and didn’t get to have representation growing up). But if it’s wasn’t compatible with the culture and Greek mythology, then maybe the game wouldn’t have been made in the first place, or not in the same way…

I want to hear more Greek people’s opinion on the matter, if it doesn’t bother you :)

Hello, thank you for the ask! The answer might be a bit long but... you know me :p

For more explanations on proper representation check here.

I feel like the wording makes the situation look a little bit like an issue of "Greeks VS People of Color", when in reality the situation is "White American (WASP, specifically) ideals VS Everyone Else". In the West Greeks are still the "ethnics" so it would be a mistake to equate the Greek heritage with the ever-present, influential WASP culture of the US.

I mention this because it's the job your country's media to offer representation to minorities, not the job of any foreign gods and heroes. Greek culture is not The System, it doesn't represent the US culture. Ergo, to put it crudely, it's not the Greek culture's problem that the US media companies and the audience are biased against PoC.

The Greek culture and history are what they are and, truth is, non-Mediterranean looks are not frequent in ancient Greek stories and societies. The US should adapt accordingly. The US is a superpower driven by the consumerism of its residents. Find a way to center PoC that will not ignore or erase parts of other cultures.

(And find the courage to treat Greek culture as the foreign culture that it is and not Americanize it as much as possible. And cast a few Greek peeps every now and then, I promise, the universe won't collapse.)

There are plenty of other opportunities for minorities to get jobs and roles in literally any other type of media outside of the Greek-myth-related ones. The country itself should be offering the chance for minorities to see themselves in its media. The customers and the culture of this country should learn to support any type of work centered around PoC.

Foreign cultural figures are, by virtue and all purposes, representatives of that specific foreign local population and their visions. Changing foreign gods and heroes, who you already treat like props, to mend your cultural issues is disrespectful. Example: Black people are underrepresented in Greek media but a Greek film about the Chinese pantheon isn't the appropriate place for their representation. In other countries where Black/Brown/East Asian people are the norm in the media, it still isn't right to alter their local gods and heroes so they look like minorities within those countries. As the quote goes, "There is no identity that exempts you from doing harm".

Showing different peoples only through Greek mythology media can be possible if the creators account for real demographics and depictions of established gods and heroes. In a mystery book based on Greek mythology, your New Yorker group of friends/main characters can be whatever you desire. In the same context, if a deity wants to transform into a 50-year-old gay Black Mexican New Yorker for a specific reason that's also fine. But to have a whole foreign pantheon and heroes looking different "just because" (which is the Hades approach) treads into "using the figures as props" territory. Greek mythology is not - and shouldn't be - the only thing the US people are interested in.

Sorry if my tone here is angry at times but Westerners think the biggest, basic problem in Western Greek mythology-related media is "our minorities do not get represented" instead of "We (including our minorities) have been entertained and profiting from the appropriation of a foreign culture, and it's been so bad that we don't know how the actual culture looks like, and we do not even offer roles to these people on films/books/plays about their culture. In fact, we barely give them any representation". Don't get me wrong, both are problems. But in this specific situation, people are missing the forest for the tree.

It depends on what you mean by "fiction surrounding Greek mythology". I wouldn't expect any fictional work with a touch of ancient Greek culture to follow historical accuracy in all other factors. If the Greek culture is not there, it doesn't need the same gods and heroes but if it does have the Greek ones specifically, the respectful thing is to not alter their basic features and symbols. Similarly, a Nigerian school can, ofc, present an ancient Greek play regardless of the students not resembling 99.99% of the ancient and modern Greek recorded demographics. All can engage and share the inspiration, as long as they respect the tons of research about our heritage and the pains people have gone through so we can have accurate information, which matters, today.

Inspiration is fine but if your story is set in ancient Greece and the historical, real ancient Thebes has the diversity of the Seattle population that screams "barely educated American", I'm sorry. Not everything should be a copy paste of your own experiences, especially when writing about foreign cultures. There are real places out there with their own demographics and respecting that is basic human decency. Not getting in the trouble to even look how the residents (very diverse or not) and the heroes and the gods of a foreign country look when you put them on screen, that's just bad.

In the case of Hades, where diversity was born intentionally by the creators, Hermes having East Asian characteristics is the most American thing ever because he is treated as a prop without a background, not as a character or a real god. Consider the most basic question. Why does Hermes specifically, before even the Bronze Age hits, wants to present this way? Is he a Greek god who… likes how East Asian people look and decided to look like this and not like the Mediterranean locals, because he sees East Asians as a… costume? Does he always look like this? Then why does his depictions don't look like this? Does he change into an East Asian for… fun..? Does he change races every day of the week for fun? Because… race doesn't matter…? Every possible answer sounds either illogical or racist.

I understand the creators' motives were noble but intentions do not excuse everything. As a Greek, seeing my local god not looking like the hundreds of his depictions I've seen in museums and in Greek media, am I not supposed to ask why this happened in the context of Greek culture?

I gave some examples of PoC representation above but each case is different. I'd advise Greek mythology-related media creators to seek Greeks and Greek sensitivity readers. I can recommend at least one Greek sensitivity-reader and I can help a little bit myself if the questions are simple.

[beehunni62]

Origins of the Pibo: Let’s take a trip along the Silk Road.

1. Introduction to the garment:

Pibo 披帛 refers to a very thin and long shawl worn by women in ancient East Asia approximately between the 5th to 13th centuries CE. Pibo is a modern name and its historical counterpart was pei 帔. But I’ll use pibo as to not confuse it with Ming dynasty’s xiapei 霞帔 and a much shorter shawl worn in ancient times also called pei.

Below is a ceramic representation of the popular pibo.

A sancai-glazed figure of a court lady, Tang Dynasty (618–690, 705–907 CE) from the Sze Yuan Tang Collection. Artist unknown. Sotheby’s [image source].

Although some internet sources claim that pibo in China can be traced as far back as the Qin (221-206 BCE) or Han (202 BCE–9 CE; 25–220 CE) dynasties, we don’t start seeing it be depicted as we know it today until the Northern and Southern dynasties period (420-589 CE). This has led to scholars placing pibo’s introduction to East Asia until after Buddhism was introduced in China. Despite the earliest art representations of the long scarf-like shawl coming from the Northern and Southern Dynasties period, the pibo reached its popularity apex in the Tang Dynasty (618–690 CE: 705–907 CE).

Academic consensus: Introduction via the Silk Road.

The definitive academic consensus is that pibo evolved from the dajin 搭巾 (a long and thin scarf) worn by Buddhist icons introduced to China via the Silk Road from West Asia.

披帛是通过丝绸之路传入中国的西亚文化, 与中国服饰发展的内因相结合而流行开来的一种"时世妆" 的形式. 沿丝绸之路所发现的披帛, 反映了丝绸贸易的活跃.

[Trans] Pibo (a long piece of cloth covering the back of the shoulders) was a popular female fashion period accessory introduced to China by West Asian cultures by way of the Silk Road and the development of Chinese costumes. The brocade scarves found along the Silk Road reflect the prosperity of the silk trade that flourished in China's past (Lu & Xu, 2015).

I want to add to the above theory my own speculation that, what the Chinese considered to be dajin, was most likely an ancient Indian garment called uttariya उत्तरीय.

2. Personal conjecture: Uttariya as a tentative origin to pibo.

In India, since Vedic times (1500-500 BCE), we see mentions in records describing women and men wearing a thin scarf-like garment called “uttariya”. It is a precursor of the now famous sari. Although the most famous depiction of uttariya is when it is wrapped around the left arm in a loop, we do have other representations where it is draped over the shoulders and cubital area (reverse of the elbow).

Left: Hindu sculpture “Mother Goddess (Matrika)”, mid 6th century CE, gray schist. Artist unknown. Looted from Rajasthan (Tanesara), India. Photo credit to Metropolitan Museum of Art, New York, United States [image source].

Right: Rear view of female statue possibly representing Kambojika, the Chief Queen of Mahakshatrapa Rajula, ca. 1st century CE. Artist unknown. Found in the Saptarishi Mound, Mathura, India. Government Museum, Mathura [image source].

Buddhism takes many elements from Hindu mythology, including apsaras अप्सरा (water nymphs) and gandharvas गन्धर्व (celestial musicians). The former was translated as feitian 飞天 in China. Hindu deities were depicted wearing clothes similar to what Indian people wore, among which we find uttariya, often portrayed in carvings and sculptures of flying and dancing apsaras or gods to show dynamic movement. Nevertheless, uttariya long predated Buddhism and Hinduism.

Below are carved representation of Indian apsaras and gandharvas. Notice how the uttariya are used.

Upper left: Carved relief of flying celestials (Apsara and Gandharva) in the Chalukyan style, 7th century CE, Chalukyan Dynasty (543-753 CE). Artist Unknown. Aihole, Karnataka, India. National Museum, New Delhi, India [image source]. The Chalukyan art style was very influential in early Chinese Buddhist art.

Upper right: Carved relief of flying celestials (gandharvas) from the 10th to the 12th centuries CE. Artist unknown. Karnataka, India. National Museum, New Delhi, India [image source].

Bottom: A Viyadhara (wisdom-holder; demi-god) couple, ca. 525 CE. Artist unknown. Photo taken by Nomu420 on May 10, 2014. Sondani, Mandsaur, India [image source].

Below are some of the earliest representations of flying apsaras found in the Mogao Caves, Gansu Province, China. An important pilgrimage site along the Silk Road where East and West met.

Left to right: Cave No. 461, detail of mural in the roof of the cave depicting either a flying apsara or a celestial musician. Western Wei dynasty (535–556 CE). Artist unknown. Mogao Grottoes, Dunhuang, China [image source].

Cave 285 flying apsara (feitian) in one of the Mogao Caves. Western Wei Dynasty (535–556 CE), Artist unknown. Photo taken by Keren Su for Getty Images. Mogao Grottoes, Dunhuang, China [image source].

Cave 249. Mural painting of feitian playing a flute, Western Wei Dynasty (535-556 CE). Image courtesy by Wang Kefen from The Complete Collection of Dunhuang Grottoes, Vol. 17, Paintings of Dance, The Commercial Press, Hong Kong, 2001, p. 15. Mogao Grottoes, Dunhuang, China [image source].

I theorize that it is likely that the pibo was introduced to China via Buddhism and Buddhist iconography that depicted apsaras (feitian) and other deites wearing uttariya and translated it to dajin.

3. Trickle down fashion: Buddhism’s journey to the East.

However, since Buddhism and its Indian-based fashion spread to West Asia first, to Sassanian Persians and Sogdians, it is likely that, by the time it reached the Han Chinese in the first century CE, it came with Persian and Sogdian influence. Persians’ fashion during the Sassanian Empire (224–651 CE) was influenced by Greeks (hellenization) who also had a a thin long scarf-like garment called an epliblema ἐπίβλημα, often depicted in amphora (vases) of Greek theater scenes and sculptures of deities.

Left to right: Dame Baillehache from Attica, Greece. 3rd century BCE, Hellenistic period (323-30 BCE), terracotta statuette. Photo taken by Hervé Lewandowski. Louvre Museum, Paris, France [image source].

Deatail view of amphora depicting the goddess Artemis by Athenian vase painter, Andokides, ca. 525 BCE, terracotta. Found in Vulci, Italy. Altes Museum, Berlin, Germany [image source].

Statue of a Kore (young girl), ca. 570 BCE, Archaic Period (700-480 BCE), marble. Artist unknown. Uncovered from Attica, Greece. Acropolis Museum, Athens, Greece [image source].

Detail view of Panathenaic (Olympic Games) prize amphora with lid, 363–362 BCE, Attributed to the Painter of the Wedding Procession and signed by Nikodemos, terracotta. Uncovered from Athens, Greece. J. Paul Getty Museum, Los Angeles, California, United States [image source].

Roman statue depicting Euterpe, muse of lyric poetry and music, ca. 2nd century CE, marble, Artist unknown. From the Villa of G. Cassius Longinus near Tivoli, Italy. Photo taken by Egisto Sani on March 12, 2012, Vatican Museums, Rome, Italy [image source].

Greek (or Italic) tomb mural painting from the Tomb of the Diver, ca. 470 BCE, fresco. Artist unknown. Photo taken by Floriano Rescigno. Necropolis of Paestum, Italy [image source].

Below are Iranian and Iraqi period representations of this long thin scarf.

Left to right: Closeup of ewer likely depicting a female dancer from the Sasanian Period (224–651 CE) in ancient Persia , Iran, 6th-7th century CE, silver and gilt. Artist unknown. Mary Harrsch. July 10, 2015. Arthur M. Sackler Gallery of Asian Art, Smithsonian, Washington D.C [image source].

Ewer with nude dancer probably representing a maenad, companion of Dionysus from the Sasanian Period (224–651 CE) in ancient Persia, Iran, 6th-7th century CE, silver and gilt. Artist unknown. Mary Harrsch. July 16, 2015. Arthur M. Sackler Gallery of Asian Art, Smithsonian, Washington D.C [image source].

Painting reconstructing the image of unveiled female dancers depicted in a fresco, Early Abbasid period (750-1258 CE), about 836-839 CE from Jawsaq al-Khaqani, Samarra, Iraq. Museum of Turkish and Islamic Art, Istanbul [image source].

The earliest depictions of Buddha in China, were very similar to West Asian depictions. Ever wonder why Buddha wears a long draped robe similar to a Greek himation (Romans called it toga)?

Take a look below at how much the Greeks influenced the Kushans in their art and fashion. The top left image is one of the earliest depictions of Buddha in China. Note the similarities between it and the Gandhara Buddha on the right.

Left: Seated Buddha, Mahao Cliff Tomb, Sichuan Province, Eastern Han Dynasty, late 2nd century C.E. (photo: Gary Todd, CC0).

Right: Seated Buddha from Gandhara, Pakistan c. 2nd–3rd century C.E., Gandhara, schist (© Trustees of the British Museum)

Standing Bodhisattva Maitreya (Buddha of the Future), ca. 3rd century, gray schist. From Gandhara, Pakistan. Image credit to The Metropolitan Museum of Art, New York City, United States [image source].

Statue of seated goddess Hariti with children, ca. 2nd to 3rd centuries CE, schist. Artist unknown. From Gandhara, Pakistan. The British Museum, London, England [image source].

Before Buddhism spread outside of Northern India (birthplace), Indians never portrayed Buddha in human form.

Early Buddhist art is aniconic, meaning the Buddha is not represented in human form. Instead, Buddha is represented using symbols, such as the Bodhi tree (where he attained enlightenment), a wheel (symbolic of Dharma or the Wheel of Law), and a parasol (symbolic of the Buddha’s royal background), just to name a few. […] One of the earliest images [of Buddha in China] is a carving of a seated Buddha wearing a Gandharan-style robe discovered in a tomb dated to the late 2nd century C.E. (Eastern Han) in Sichuan province. Ancient Gandhara (located in present-day Afghanistan, Pakistan, and northwest India) was a major center for the production of Buddhist sculpture under Kushan patronage. The Kushans occupied portions of present-day Afghanistan, Pakistan, and North India from the 1st through the 3rd centuries and were the first to depict the Buddha in human form. Gandharan sculpture combined local Greco-Roman styles with Indian and steppe influences (Chaffin, 2022).

In the Mogao Caves, which contain some of the earliest Buddhist mural paintings in China, we see how initial Chinese Buddhist art depicted Indian fashion as opposed to the later hanfu-inspired garments.

Left to right: Cave 285, detail of wall painting, Western Wei dynasty (535–556 CE). Mogao Grottoes, Dunhuang, China. Courtesy the Dunhuang Academy [image source]. Note the clothes the man is wearing. It looks very similar to a lungi (a long men’s skirt).

Photo of Indian man sitting next to closed store wearing shirt, scarf, lungi and slippers. Paul Prescott. February 20, 2015. Varanasi, India [image source].

Cave 285, mural depiction of worshipping bodhisattvas, 6th century CE, Wei Dynasty (535-556 A.D.), Unknown artist. Mogao Grottoes, Dunhuang, China. Notice the half bow on his hips. That is a common style of tying patka (also known as pataka; cloth sashes) that we see throughout Indian history. Many of early Chinese Buddhist paintings feature it, including the ones at Mogao Caves.

Indian relief of Ashoka wearing dhoti and patka, ca. 1st century BC, Unknown artist. From the Amaravathi village, Guntur district, Andhra Pradesh, India. Currently at the Guimet Museum, Paris [image source].

Cave 263. Mural showing underlying painting, Northern Wei Dynasty (386–535 CE). Artist Unknown. Picture taken November 29, 2011, Mogao Grottoes, Dunhuang, China [image source]. Note the pants that look to be dhoti.

Comparison photo of modern dhoti advertisement from Etsy [image source].

Spread of Buddhism to East Asia.

Map depicting the spread of Buddhism from Northern India to the rest of Asia. Gunawan Kartapranata. January 31, 2014 [image source]. Note how Mahayana Buddhism arrived to China after passing through Kushan, Bactrean, and nomadic steppe lands, absorbing elements of each culture along the way.

Wealthy Buddhist female patrons emulated the fantasy fashion worn by apsaras, specifically, the uttariya/dajin and adopted it as an everyday component of their fashion.

Cave 285. feitian mural painting on the west wall, Western Wei Dynasty (535–556 CE). Artist unknown. Mogao Grottoes, Dunhuang, China [image source].

Cave 285. Detail view of offering bodhisattvas (bodhisattvas making offers to Buddha) next to the phoenix chariot on the Western wall of the cave. Western Wei Dynasty (535–556 CE). Artist unknown. Mogao Grottoes, Dunhuang, China [image source].

Cave 61 Khotanese (from the kingdom of Khotan 于阗 [56–1006 CE]) donor ladies, ca. 10th century CE, Five Dynasties period (907 to 979 CE). Artist unknown. Picture scanned from Zhang Weiwen’s Les oeuvres remarquables de l'art de Dunhuang, 2007, p. 128. Uploaded to Wikimedia Commons on October 11, 2012 by Ismoon. Mogao Grottoes, Dunhuang, China [image source].

Detail view of Ladies Adorning Their Hair with Flowers 簪花仕女图, late 8th to early 9th century CE, handscroll, ink and color on silk, Zhou Fang 周昉 (730-800 AD). Liaoning Provincial Museum, Shenyang, China [image source].

Therefore, the theory I propose of how the pibo entered East Asia is:

India —> Greek influenced West Asia (Sassanian Persians, Sogdians, Kushans, etc…) —> Han China —> Rest of East Asia (Three Kingdoms Korea, Asuka Japan, etc…)

Thus, the most likely theory, in my person opinion, is Buddhist iconography depicting uttariya encountered Greek-influenced West Asian Persian, Sogdian, and Kushan shawls, which combined arrived to China but wouldn’t become commonplace there until the explosion in popularity of Buddhism from the periods of Northern and Southern Dynasties to Song.

References:

盧秀文; 徐會貞. 《披帛與絲路文化交流》 [The brocade scarf and the cultural exchanges along the Silk Road]. 敦煌研究 (中國: 敦煌研究編輯部). 2015-06: 22 – 29. ISSN 1000-4106.

[most-unloved-pokemon]

Clefable v. Metapod

Let's find the least favorite pokemon. Vote for the one you like more, and the loser will progress in the bracket. (more information)

Propaganda under the cut.

Clefable

From Ruby ans Sapphire Pokedex: "Clefable moves by skipping lightly as if it were flying using its wings. Its bouncy step lets it even walk on water. It is known to take strolls on lakes on quiet, moonlit nights."

VERY cute. Look at its little wings and it's big ears. It's pink! And it has fairy in its name!

Possibly inspired by the Moon Rabbit of East Asian mythology.

An absolute unit. Imagine hugging one of these.

Metapod

Queen of keeping to herself

Pointy

We wouldn't have Butterfree without Metapod.

[showamagicalgirls]

This is what I wrote about the Flower Witch Mary Bell (花の魔法使いマリーベル) movie on Letterboxd:

This is another Japanese magical girl series that came out around the same time as Sailor Moon but wasn't nearly as successful and memorable.

It picks up on a strand of the magical girl genre that puts the protagonist in a bit of a nanny or big sister role, which has its history going back to Mitsuteru Yokoyama's Comet-san and, before that, to his obsession with P. L. Travers' Mary Poppins novels.

It actually seems possible to me that the protagonist’s name is even a nod to Mary Pippins, but I’m just conjecturing.

The movie itself also contains a lot of references to East Asian phoenix mythology, particularly as filtered through Osamu Tezuka, which is always fun. Overall, it was cute but not particularly high-quality. Still, very interesting for me.

[spike-and-faye]

ROMAN EMPIRE POLL!!!!

OKAY so we know beyond a shabbadabbadoo that Jet Black is absolutely a Roman Empire Stan Dad™️. [Beyond just History Channel too - I firmly believe that man has a thorough understanding of the philosophy of Marcus Aurelius and share most of his beliefs].

But what about the rest of the crew? What’s their ‘Roman Empire’?

Let’s start with Faye because ladies first or something

FAQ:

Serial Killers/True Crime category also includes things like the kidnapping of Jon Benet Ramsey, Casey Anthony killing her daughter and getting off on a technicality, Chicago Tylenol murders, the Unibomber, feral children, mysterious disappearances, etc.

Ghosts/Paranormal category includes aliens, cryptids, demons, reincarnation, ESP, and David Lynch himself

Chinese Hanfu Pieces might just be a me thing but I feel like Faye may just sit there and hyperfixate on Dream of the Red Chamber. This doesn't just have to mean Chinese, but any East-Asian period drama. Also probably modern K-Dramas because we all know Faye would eat that shit up.

Also I tried to keep it as non-pop culture and more-history oriented as possible. So I intentionally didn't include musicians or movies or TV outside of period pieces.

Spike, Ed, and possibly others soon to follows! (Let me know who to do!!!)

[saturnianoracle]

⋆⁺₊⋆ ☀︎ ⋆⁺₊⋆ABOUT ME⋆⁺₊⋆ ☀︎ ⋆⁺₊⋆

INTRO

✎ age: 22 (2002)

✎ pronouns: she/her

✎ sexuality: bi

✎ location: england (but I am east asian)

✎ cognitive functions/mbti: intp

✎ enneagram: 5w6

✎ ♓︎☉ ♍︎☽ ♊︎↑

ᐢ..ᐢ hobbies: reading, philosophy, travelling, listening to music, video games, hiking, history, mythology, geography, politics, languages/linguistics, psychology, collecting as much info on my interest as possible, films, staring into space and doing nothing

ᐢ..ᐢ top artists: lana del rey (top 0.5% bitch xo), deftones, radiohead, clams casino

ᐢ..ᐢ fave tv shows: adventure time, bojack horseman, avatar the last airbender, legend of korra, the owl house, sherlock, rick and morty, over the garden wall, david attenborough stuff/documentaries in general, TLOU, fleabag, invincible, atypical, haunting of bly manor, beef

ᐢ..ᐢ fave films: donnie darko, the fight club, requiem for a dream, lotr series, hp series, interstellar, inception, girl interrupted, parasite, dune series, eternal sunshine of the spotless mind, trainspotting, v for vendetta, stardust, narnia series, hereditary, a monster calls, everything everywhere all at once

ᐢ..ᐢ fave video games: hades, silent hill 2, resident evil 4, halo, night in the woods, the witcher 3, fran bow, little miss fortune, undertale, life is strange, TLOU, ni no kuni, stanley parable, the beginner's guide, detroit become human, horizon zero dawn, assassin's creed series, devil may cry 5, bayonetta, hellblade, cult of the lamb, black myth wukong

ᐢ..ᐢ fandoms: basically all of the above plus: percy jackson, eragon,

if anyone got through those fat (and actually condensed) lists, then good job - i just took this an opportunity to list some of my favourite things so i don't forget and can look back lmao, which means i'll be updating it as more, hopefully cool, stuff comes out

[muraenide]

4. which muse of yours is your all time favorite? if you stopped writing them: why?

10. what genre do you most enjoy, whether in roleplay, or fiction as a whole? (fantasy, period, superhero, etc.)

QUESTIONS FOR MUNS. // @ramshacklestar

4. which muse of yours is your all time favorite? if you stopped writing them: why?

I have a group of muses who are my all-time favorites. 1st main blorbo: Mukuro Rokudo from KHR The first main antagonist of the first season of the series, but eventually joins the main character's team. Reasons why he did so is... a bit complicated, but he is possibly my first muse and the muse that resembles Jade the most. I still love him but the fandom fell out of popularity and there were hardly any rp blogs for the fandom. I've never actually left the fandom. The fandom itself died for a while, so I simply moved on to other fandoms.

2nd main blorbo: Narsus from Arslan Senki Arslan Senki is so far my favourite fandom in terms of rp experience and content quality. It's possibly the fandom where I met most of my current friends, especially @oftwilight, @madakoka, and @corruptiongifted, and a lot of us are in different fandoms now but we still talk from time to time. Narsus is a rebellious aristocrat in ancient Persia who joined the prince in his main quest to retake his kingdom. Sybil (@oftwilight) played a great Daryun and our muses often fought and squabbled like an old married couple bc that's also their canon dynamic. The fandom had a total of 10+/- people, and we were all friends due to how small it was so everyone knew everyone. I stopped writing Narsus because I fell out of the fandom when the last light novel dropped and it was... bad. We understand that the author got tired of the series and wanted to end it quickly, but it's still a lovely series regardless and I tend to revisit it from time to time.

3rd main blorbo: Sion Astal from Denyuuden Sion is a young puppet king with a split personality and shares his present body with a demon. The light novel is written by the same creator as Owari no Seraph, but the anime covers very little of the main storyline. The interesting parts are locked behind the light novel, but Sion is probably one of the more complex muses I've written. If the main trio were to be compared with Castlevania, Sion would be the Alucard among the group. The fandom had a total of 3 rpers including me, it was funny how dead it was. I left it when the other two rpers stopped being active, but I still enjoy the fandom regardless.

4th main blorbo: Diluc Ragnvindr from Gen//shin Impact I don't remember why I love Diluc but it started on discord when a friend (Cass) dragged me into Gen//shin and loved the grape man. I got very invested in his lore in Gen///pact to the point that I would read both the CN and EN versions, have a folder for all its screenshots since we can't replay events, and even dug out possibilities of the Ragnvindr Family Tree members all the way to the first Ragnvindr Knight. I stopped writing him due to how unbearable the fandom became once people started joining and it became big. I will refrain from going into detail about this though! But Gen//pact is still a great franchise. As someone who knows quite a bit about Middle-Eastern and East-Asian mythology, Gen//pact really portrayed some aspects of the old myths that I've never seen show up in any type of media before, which is really refreshing and honestly eye-opening.

10. what genre do you most enjoy, whether in roleplay, or fiction as a whole? (fantasy, period, superhero, etc.)

I like mysteries and crimes, horror, cosmological science, fringe science, high fantasy, medieval fantasy, anything historical, supernatural, steampunk, and cyberpunk as a set up for my threads. As for themes, I'm mostly an angst and romance writer. I'm a bit picky with romance though, because I do enjoy romance as a subgenre in my fiction/rp, but never a main theme. In the sense that they start off normally and eventually develop a romantic interest in the other. If romance is the only thing my muse has in common with the other muse, I wouldn't find it as enjoyable, and eventually get bored of it.

[phenrexcreates]

Dont take this the wrong way, but Ive always found it a little jarring when Pinyin and chinese words are randomly strewn around a book or IF with what seems like little purpose (eg, the clothing). Seems like there might be a slight discrepency between whether there is a tonal(?) indicator to the words too, although whether this is just a mistake (since yeah no indicator is also an indicator lol) Im not that sure.

That's just an opinion though, Im sure there are people who believe differently... and I just want to preface that I mean to say this in the nicest, politest way possible, less of a criticism and more of a suggestion. (Some people get incredibly upset by what seem to me like often innocent comments so i want to be safe)

Other than that, I really enjoyed your demo so far! The premise seems interesting, the writing decent and Im excited to see where the story takes us next! I love the setting and the focus on East Asian settings, history and mythology. The characters and choices are interesting too.

I also received a "probably a bug if you're seeing this" message and im not really sure what that's about, but just thought i should bring it to your attention.

I will be watching your career with great interest... assuming this doesnt go down badly lol <3

Hello! I received this a while ago and was too nervous to know how to respond. To be honest, I took a bit of a mental health break from the project. I did listen to this though. I am currently working on adjusting the language, subduing it a bit and offering the option to even more or less fully translate any Pīnyīn to 漢字, partially to English, or fully English [excluding the names of figures].

I don't know if that would address your primary concern. I was a little too excitable going into the project, also anything missing it's tonal indicators is a mistake, I have quite a few to fix... The update I am working on too also changes the names of a lot of locations in addition to adding the translation dictionary, and with it I will be hoping to include the later half of Chapter 2. Thanks for taking the time to reply!

[lampmanliveblogs]

This is… weird. I should probably just let the scene play out before I start talking about what it means.

I will note though that there’s a red string connecting Eda and the Inner Owlbeast.

The red string of fate is an east asian belief originating from China. Basically, two soulmates are bound together with an invisible red string. Not sure if the implication here is that Eda and the Owlbeast are supposed to get married though. It could just mean that their fates are tied to each other.

The Red String is also a favorite of Swedish teachers. They love to talk about how your texts and presentations need to have a red string running through them to connect everything together. One English teacher I had said, when talking about writing essays in english, that what we in swedish call ”a red string” would be what them english speakers call ”cohesion.” 

It seems like maybe that idea I had of the Inner Owlbeast as a kind of parasite might have some truth to it. She was able to bargain with it and come to a truce and make the nightmare end. All’s well that ends well!

…so, uh… why are we only seeing Eda’s shadow? And why does she sound weird?

Alright, uh… so this whole ”truce” thing might’ve, um… had some side effects.

I don’t know if ”hot” is the word I’d use, but hey, my opinion on the matter isn’t really that important. Only how you (and maybe Raine) feel about this new body of yours should matter to you Eda.

I think this form might be based on a harpy. Harpies are creatures from Greek and Roman mythology. They’re half-human, half-bird creatures.

Hooty, witnessing Eda’s new terrific transformation runs, or… um… pulls himself away? Crying, because he thinks that he only managed to screw this up as well, that his attempts to help Eda only made things worse. There’s a little over a third of the episode left, so let’s see how he screws over but then actually makes Luz life better in some way.

Luz is facing normal teenage problems, like how to ask out a cute girl and how to build an interdimensional portal so she can make it home to her mother in another world. I know what that’s like. Well, maybe not the whole ”asking a cute girl out,” thing.

The thing is though, Amity is so head over heels in love with Luz that I feel like Luz could ask Amity out in the most awkward, disastrous way possible, and Amity would still say yes in a heartbeat. Don’f forget, it was Luz the awkward walking disaster of a nerd that Amity fell in love with.

[jcinktinder]

nestled in the heart of the countryside among rolling hills and lush forests overlooking the east sea, the town of jasilla has its own unique charm. the relatively recent urbanization plans lead to a surge of population growth. but some might argue that it's the magic that attracts people of all kinds of backgrounds to settle here. additionally, hidden up in the mountains, the ancient bathhouse seems to thrive and doing well despite being abandoned for hundreds of years. no strings of cobwebs, no sightings of disrepair, there's an endless supply of clean towels, the water is always just the perfect temperature and not a single speck of dust can be found.

keywords : 21+, semi private, lax activity, asian mythology, rural/small town, 10-15 supernatural species to choose from (and possibly two original species), spirittea, stardew valley, folklore

staff application: https://form.jotform.com/241622526544454

[rpadverts]

oh!divine — staff search

nestled in the heart of the countryside among rolling hills and lush forests overlooking the east sea, the town of jasilla has its own unique charm. the relatively recent urbanization plans lead to a surge of population growth. but some might argue that it's the magic that attracts people of all kinds of backgrounds to settle here. additionally, hidden up in the mountains, the ancient bathhouse seems to thrive and doing well despite being abandoned for hundreds of years. no strings of cobwebs, no sightings of disrepair, there's an endless supply of clean towels, the water is always just the perfect temperature and not a single speck of dust can be found.

keywords : 21+, semi private, lax activity, asian mythology, rural/small town, 10-15 supernatural species to choose from (and possibly two original species), spirittea, stardew valley, folklore

staff application: https://form.jotform.com/241622526544454

[allthingsroleplay]

nestled in the heart of the countryside among rolling hills and lush forests overlooking the east sea, the town of jasilla has its own unique charm. the relatively recent urbanization plans lead to a surge of population growth. but some might argue that it's the magic that attracts people of all kinds of backgrounds to settle here. additionally, hidden up in the mountains, the ancient bathhouse seems to thrive and doing well despite being abandoned for hundreds of years. no strings of cobwebs, no sightings of disrepair, there's an endless supply of clean towels, the water is always just the perfect temperature and not a single speck of dust can be found.

keywords : 21+, semi private, lax activity, asian mythology, rural/small town, 10-15 supernatural species to choose from (and possibly two original species), spirittea, stardew valley, folklore

staff application: https://form.jotform.com/241622526544454