#the 7th function of language

[leynaeithnea]

Greek Mythology Sources

Interest in greek mythology rises anew with the new number of retellings and adaptions...and misconceptions all around...

Claims like "that never happened" or "that's the roman version" are around a lot...but even if you wanted to learn more, where would you even start looking? Where do you begin your research for your next fic, or next discussion? Well...That's for you!

Here's a list of source names, links to access them, maps, family trees & more

Where to access the texts:

ToposText

Database, interlinks all names and places, has almost all sources translated, can find all name mentions of place or character in the sources, has a map with the places

Perseus Collection Greek and Roman Materials (and Scaife Viewer)

Digital Library, nearly all main greek and roman sources, including OG language text and dictionary for those languages (is instable at times, try coming back a few hours/days later and it should be up again)

Theoi Greek Mythology

Database, has summary posts for individual heroes, creatures, gods and events, as well as many translations, has a search function

List of Ancient Sources

Homer's Iliad (8th BC)

Homer's Odyssey (8th BC)

Epic Cycle (and Theban Cycle) fragments (8-6th BC)

Homeric Hymns (7th BC)

Orphic Hymns (2nd BC/2nd AD)

Quintus Smyrnaeus’s Posthomerica (3rd AD)

Tryphiodorus’s Taking of Ilium (3rd AD)

Apollonius Rhodius’ Argonautica (3rd BC)

Nonnus’ Dionysiaca (5th AD)

Hesiod’s Theogony, Works and Days, Catalogue of Women (8th BC)

Statius’s Thebaid, Achilleid (1st AD)

(More under cut)

Virgil’s Aeneid (1st BC)

Valerius Flaccus’s Argonautica (1st AD)

Colluthus’s Taking of Helen (6th AD)

Pindar’s Odes (5th BC)

Plays by Sophocles, Aeschylus, Euripides (5th BC)

Fragments of lyric poets (8th-6th BC)

Athenaeus’s Deipnoshists (2nd AD)

Lycophron’s Alexandra (3rd BC)

Pausanias’s Description of Greece (2nd AD)

Strabo’s Geography (1st AD)

Scholia on Homer (~ 5th BC - 11th AD)

Scholia on Pindar  (2nd AD?)

Scholia on Sophocles, on Euripides (1st BC-15th AD)

Maurus Servius Honoratus’ Commentaries on the Aeneid (5th AD)

Corpus Aristotelicum (4th BC)

Fragments of Hellanicus’s works (5th BC)

Diodorus Siculus’s Bibliotheca Historica (1st AD)

Herodotus’s Histories (5th BC)

Dionysius Halicarnassius’s Roman Antiquities (1st BC)

Plutarch’s Quaestiones Graecae (1st AD)

Eustathius’s commentaries on Homer (12th AD)

Apollodorus’ Bibliotheca, Epitome (2nd AD)

Hyginus’s Fabulae (2nd AD)

Ovid’s Works (1st AD)

Antoninus Liberalis’s Metamorphoses (2nd AD)

Conon’s Narrations (1st AD)

Dictys Cretensis (4th AD)

Dares Phrygius (5th AD)

Malalas’s Chronography (6th AD)

St.Jerome’s Chronicon (4th AD)

Eusebius’s Chronography (5th AD)

Philostratus the Athenian’s Heroicus (3rd AD)

Seneca Plays (1st AD)

Suda (10th AD)

Tzetzes (12th AD)

Duris of Same (4th BC)

Ptolemy Hephaestion (2nd AD)

More Sources:

WordHoard

(Software/Java Document for Scholia on Homer, commentary on the Odyssey & Iliad)

About This Book – Euripides Scholia: Scholia on Orestes 501–1100

Scholia on Euripides

LacusCurtius • A Gateway to Ancient Rome

Roman Sources and History

https://web.archive.org/web/20050625081727/http://sunsite.berkeley.edu/OMACL/Hesiod/iliad.html

Little Iliad Fragments

Most of these places have older translations for the epics, poems and hymns (with older language), places like Poetry In Translation and https://www.gutenberg.org often have newer translations available for free, though…with a bit of digging most translations even recent ones can be found online :)

Comparing several translations is also good if you want to make any arguments about what a text says without being able to read the text in the original language, does the text really say that or is it just this translation?

It also doesn't hurt to research a little about the author of a work as well to get context for which time and sociopolitical and personal situation they were writing in (it helps to do a quick search into the history of ancient greece too, i.e. epic writers writing during the 7th century BC had different agendas than playwrights of the 5th century during the persian wars, athenians during the conflicts with sparta, or later hellenistic writers after Alexander the Great)

Wikipedia: CAN be used, it's a good starting point, but check the sources cited as much as you can, rather than believing what the page itself says

Links to Maps

Ancient Greece Maps – Ancient Greece: Φώς & Λέξη

User:MaryroseB54 - Wikimedia Commons

Cyowari - Professional, Digital Artist | DeviantArt

Some of the Realms of Greece in the Heroic Age by Yaulendur on DeviantArt

Late Bronze Age Mediterranean Trade, c. 1400-1200 BCE: Empires, Merchants, and Maritime Routes of the Ancient World - World History Encyclopedia

Translators:

Translate to Ancient Greek Online

https://logeion.uchicago.edu

Wiktionary

Ancient Art 

Resources

Harvard Art Museums

Family Tree: 

(Compiled by a friend, not exhaustive) - Note that there are often various different versions of lineage for many characters, so this only represents ONE of many possibilities)

Family Echo

Books

Oxford classical dictionary.pdf

Brief History Of Ancient Greece.pdf

168679208-Ancient-Greece.pdf

Complete Greek Drama

The Ancient Epic Cycle and it's ancient reception A companion.pdf

Final Note

These things should not be gatekept, its time to share them freely

I wish I could offer even more sources via academic books and papers but I fear this would exceed my abilities considering the vastness of the topic of Greek Mythology! But this is a starting point :D Have fun! 

Google Scholar has a lot of secondary sources (scholia commentary & theories), books about history, society, politics, flora & fauna, religion, culture, etc. of the time both of history and mythical history…if you have a friend in academia with university access (if you don’t have it yourself) you can ask them to check if they have access to the papers/books otherwise hidden behind insane paywalls, because a LOT of them are available as pdfs!

I also wish I had more visual/audio sources but this is smth I cant change :") I'm sure there's some good videos on youtube out there...somewhere x)

Feel free to contact me if you have more sources you want to add or any links don't work

Here is the Post as DOCs to share outside of tumblr

[shroominalong]

Not to get on my soap box or anything, but I'm getting a weird amount of hate rn and being accused of like, engaging in a full on harassment campaign, because of one reply I made to a post, pointing out that we cannot boil down Greta's situation to just a "normal detainment" when Israeli propaganda sites are proudly declaring her and other activists are going to be forced to sit through a 43-minute-long propaganda-infused literal snuff film showing footage of October 7th from body cams of the Hamas attackers.

So, I've had some time to think about it, and if I'm gonna get hate about it, I'm going to be clear on all topics so you can hate on me and post weird comments on my pinned post bc my asks are closed accurately.

1.) The claim this was just a publicity stunt. Yes. It was a publicity stunt. I am not disagreeing with that, but to boil it down to "just a publicity stunt" in a derogatory manner severely downplays the point behind said publicity stunt, which I will get into in a moment.

Did Greta know this was a situation where she was going to be detained? Yes. She did. Is she purposefully using inflammatory language? Yes. She is. But that's the point. Which I will expand on in a moment.

2.) The reminder that Freedom Flotilla is not a sanctioned aid organization permitted to have access to the Gaza Strip. Some people went as far to say "If Doctors Without Borders weren't even allowed in, what made them think they would be permitted?" I daresay that was the point. If you pay attention, almost every humanitarian aid organization operating within Gaza at the moment is Palestinian run. I could be wrong on this point, but I am 90% sure there are no major international organizations "permitted" to operate within Gaza at this time. That is going to be brought up in a moment.

3.) The point everyone made that Israel has promised to deliver the aid from the Freedom Flotilla, and the implication that we should take that at face value. Israel, who has a rich history of not only blocking aid, but actively using relief supplies as a means of marking out drone strikes and massacre sites. They have repeatedly either failed to let aid they promised would be let through to actually make it into the strip, even stolen it, and have also used relief supplies as literal bait.

Listen. I've thought about it. A fucking lot. Yes, what Greta did was a publicity stunt, and she made the entire voyage extremely loud and public, spread it all over social media. You can say that was a publicity stunt. But that was very much intentional.

The vast majority of humanitarian groups operating within Gaza right now are run by Palestinians. No foreign nationals are really permitted in the strip. Why is that? Maybe it's because of Israel's habit of targeting medics and aid workers and journalists and hospitals. Perhaps. Maybe it's because if a couple of foreign nationals die, other countries can wave it off with a "strongly worded email" and let it die, because that's just one citizen being an idiot, and they can spin it that way in the media.

"She absolutely knew she was going to be detained, sailing into a war zone like that without the proper permits." Maybe that was the point. Maybe this was less about Israel, and more about pointing a gun at all of their governments and saying do something, you sniveling cowards. Maybe it was to force them to finally get the gears working.

It has been made very clear from the start that everyone should be putting pressure on the individual governments involved to act. This was not solely about Israel. It was about the collective failure of the international governing body. That's why a member of the EU Parliament was there in the first place. Or did we forget one of the detainees was an actual sitting politician in all of this, not just some random activist private citizen?

We can go in circles saying it was a legal detainment. Sure, it was, but laws often function in the favor of the governing bodies, and we have to consider how Israel is exploiting those laws to their benefit right now.

The claim she was doing it for clout, of all the things, is absolutely fucking insane. This is not on the same level as a random YouTuber rage baiting, my gods, what the hell is wrong with you all. Greta and the other activists knowingly and intentionally sailed into an active warzone controlled by a government with decades of war crimes going entirely unimpeded under its belt, and you all want to cry she was doing it for clout. Insane behavior. What is wrong with all of you.

Overall, I was very polite in the post, and when I saw it was not going to be a productive conversation, I disengaged. But, I just blocked my second person on my pinned post spewing vile comments at me to circumvent my closed ask box, equating to one single post like I was leading some kind of mass harassment campaign.

I am very sorry to the Jews around the world being targeted and attacked in the name of "Free Palestine". At no point did I indicate that was correct behavior, or that I agreed with it, nor did I ever indicate that was an acceptable sacrifice in my eyes. I understand the extremely valid concerns that this incident will instigate further attacks. But, the solution to dispelling the building antisemitism right now is not to downplay the actions of the Israel government, shame the aid workers trying to force their governments to act, and boil down an instance of activism as nothing but "a publicity stunt she knew would go wrong."

Yes, Greta likely did know the consequences of her actions. But to play it all as selfishness and a desire for attention is really not okay.

I am no longer interested in being polite.

If you want to come at me, come at me. Here's allllll my thoughts on the matter. If you got a problem with it, fuck it, I'm opening my ask box, but I'm not turning on anon for any of you. If you want to say something, say it with your chest.

[astroa3h]

venus through the houses (positive traits) 🦢

Let's talk the positive side of Venus through the houses. Venus is your cosmic bestie dictating your love life, cash flow, and what makes you tick aesthetically. She's all about the allure, the glam, and the heart-flutters in relationships. Where Venus lands in your chart is like your personal love and beauty filter, shaping how you flirt, treat yo' self, and chase what you value. She's the vibe for your romantic escapades and your secret weapon for charm and attraction.

✨Venus in Your 1st House✨

When Venus graces your 1st house, you radiate charm and attractiveness. You're the person who catches eyes the moment you walk into a room. Even if you don't notice. Your vibe? Irresistibly magnetic. You care deeply about your appearance, not for vanity, but as a form of self-expression, making you a walking piece of art.

✨Venus in Your 2nd House✨

With Venus in your 2nd house, you find joy in the material world. Luxury to you isn't just about splurging—it's about surrounding yourself with things that have real beauty and value. You have this knack for making everything around you lovely and comfortable, creating a personal oasis that reflects what you value most.

✨Venus in Your 3rd House✨

Venus in your 3rd house makes you a master of words. Whether it's a heartfelt note or a witty text, you have a way of connecting that's utterly enchanting. Ideas and conversations aren't just exchanges of thoughts for you; they're opportunities to bond and share the beauty you find in the world.

✨Venus in Your 4th House✨

In your 4th house, Venus creates a sanctuary of love. Your home? The warmest, most inviting place on earth. You have this incredible ability to make everyone who enters feel cherished. Harmony in your personal space is not just a wish; it's a must, and you pour your heart into making it a reality.

✨Venus in Your 5th House✨

With Venus playing in your 5th house, life is your canvas. Romance, creativity, fun—you approach all of it with a heart full of joy. Your love stories are the ones people dream about, filled with grand gestures and heartfelt creations that showcase your unique way of expressing affection. Not to mention, you're a huge flirt, in the best way.

✨Venus in Your 6th House✨

In your 6th house, Venus finds beauty in the routine. A perfectly brewed morning coffee, a workspace that’s both functional and beautiful, the satisfaction of a well-done task—these are your love languages. Acts of service are your go-to, showing love through the meticulous care you put into the everyday.

✨Venus in Your 7th House✨

Venus in your 7th house is all about partnership. You shine brightest in a duo, thriving in relationships that are built on harmony, fairness, and mutual respect. For you, love is about creating balance and understanding, making every partnership an opportunity to grow closer and stronger. You may have been a twin in a past life.

✨Venus in Your 8th House✨

When Venus delves into your 8th house, love goes deep. You're drawn to relationships that transform you, craving emotional intimacy that breaks barriers. Your approach to shared resources and values is equally profound, finding beauty in the trust and closeness that comes from true partnership.

✨Venus in Your 9th House✨

With Venus in your 9th house, love is an adventure. You're drawn to different cultures and philosophies, finding beauty in diversity. Your open-hearted curiosity leads you to form connections that broaden your horizons, teaching you that love, in its many forms, is a journey of continuous learning.

✨Venus in Your 10th House✨

In your 10th house, Venus elevates your public image. Your career or social standing benefits from your innate charm and aesthetic sense. You understand the power of appearance and relationships in achieving success, using your grace and diplomacy to navigate the professional world.

✨Venus in Your 11th House✨

Venus in your 11th house dreams of a better world. Your friendships and community involvement are guided by shared ideals and hopes. You believe in the beauty of collective dreams and the power of working together to create a more beautiful, harmonious world.

✨Venus in Your 12th House✨

In your 12th house, Venus speaks softly of hidden love. You find beauty in solitude, in the acts of kindness that go unnoticed, and in a compassion that knows no bounds. Your understanding of love is deep and spiritual, connecting you to the universal in profound, often private ways.

xox astro ash 💖

Get your own astrology reading @ astroash.net

TikTok - astroa3h

[deimos-awaits]

Overview of House Phobos

From the personal files of Inquisitor Seraph Seraphsdottior:

FILE NAME: Hippeis Deimosian

SUBJECT: Overview of the House of Phobos

DOCUMENT TEXT:  To say that the Knights of House of Phobos are bellicose would be an understatement. The House of Phobos is a knightly house sworn to serve the forgeworld of Deimos. They are organised under their High Princeps. This position was created as far back as their records say when a Knight of House Taranis, Yaakov Taranis, fought the Night Haunter traitor Primarch Konard Curze to a standstill in the questoris suit known as Samson for the protection of the forgemoon of Deimos. Afterwards, the priests of Deimos grateful for Yaakov’s protection reportedly granted him lordship over the moon of Phobos, which has since been expanded to function as a knightly world. The veracity of this founding myth cannot be verified. Excerpt from Magos Historia Esther-Mendeelvee ∆12.56π’s work, Nights of Knights:

LO AND BEHOLD, THE  BARON OF TARANIS YAAKOV THE BRAVE AND BOLD , THE LIGHT OF THE OMNISSIAH, FOUGHT THE HAUNTER FOR EIGHT DAYS AND EIGHT NIGHTS, PUSHING THE FOUL PROGENITOR OF  BACK WITH EACH BLOW.  FOR THIS YAAKOV WAS GRANTED WITH HIS TWELVE CHILDREN HIS HOUSE HIS OWN. THEY ARE STALWARTS AGAINST HERESY, EVER LOYAL TO THE PRIESTS OF THE OMNISSIAH YET TO COME AND THE MACHINE GOD. SELAH. 

THE HOUSE NOW KNOWN AS PHOBOS WOULD SERVE WELL FOR THE MYRIAD OF OUR LORD THE MACHINE GOD EVER WATCHFUL FOR THE LEGIO SIGILANT AND OTHER FORCES OF THE FORGE OF DEIMOS. MAY THE EYES OF THE KNIGHTLY HOUSE NEVER CEASE, MAY THEY AWE EVER TERRIFY THE HERETICS AND ALIEN THAT WOULD THREATEN THE DOMAINS OF MANKIND. SELAH.

THE HOUSE OF PHOBOS STANDS GUARD WITH THE GOD ENGINES OF THE LEGIO SIGILANT FIRST OF MALCADOR THE HERO'S MANY HONORS. THEY STAND FIRM AND EVERY AT THE READY. SELAH.

THE HOUSE OF PHOBOS FOREVER STANDS WITH HER MANY ARMIGER AND QUESTORIS AND DOMINUS AND ACATUS PATTERN SUITES THAT WILL STAND FOREVER AS THE WATCH FORCE OF THE FORGEWORLD DEIMOS. SELAH.

As Magos Historia here reports, in much the language that knightley hagiographies prefer, this house stands watching and as the guards of the Titan Legio based on Deimos itself. As for the tactics employed, Phobos has many war glaive patterned suits as well as a few heresy era moirax and meagera suits that would lend some credence to at least the date of their foundational myth. Phobos knights tend to specialize in anti-vehicle actions with large shock and awe demonstrations to break the will of the enemy. To this there are a shockingly few number of  helverin war suites with such suites being regarded as dishonorable to use. Such tactics can be seen further reported in the ill written Nights of Knights which to preserve my own sense of the Gothic language,  I will not be including but include the Scourging of Pharos, the Passage of Yam Suph, and the Breaking of The 7th Sons of the Rotbringer during the Plague Wars. Another interesting note is members of the house of Phobos seem to give up their names during the bonding with the knight and take up the name of whatever suit they bond with. The only exception is the High Princeps who is always styled Malka Yaakov. House Phobos also has one vassal house, House Theodoric, a former Questoris  Inperalis house whose High Queen I found guilty of heresy. The non heretical remnants  were forced to swear loyalty to the current High Princeps Malka Yaakov DXXI of Phobos. This has bolstered the House's forces in recent years as a number of suites, though I could not find how many, were lost during the Plague Wars in defence of Ultramar, including the previous High Princeps, Malka Yaakov DXX, and his Sacristan.  I am writing this overview for personal reference given that a lance of knights are traveling with my current focus of investigation. I do not think the House itself is heretical, though I do question the judgement of High Princeps Malka Yaakov DXXI regarding itinerant tech priests, and the judgement of High Princeps Malka Yaakov DXXI in general. High Princeps Malka Yaakov DXXI does not seem to be the individual weilding power in the knightly house instead it seems most decisions seem to come from the former High Princeps's siblings, Master of the Vox Saul of Phobos and Master of Lore David of Phobos. 

[sunderingstars]

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✩ ‧₊˚ ⌞ EIDOLON ART AS FACETS OF CHARACTER ⌝

analysis masterlist

— fandom: honkai star rail

— type: analysis, general

— word count: 1.7k

— overview: (as of 2.3) an analysis of eidolons, their art, and what they convey in terms of character. goes pretty deep into march 7th as an example, so it can partially function as a march eidolon analysis as well. meant to be a companion piece to my eidolon name analysis & sampo eidolon analysis (as well as any other characters i do down the line!)

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Honkai: Star Rail's eidolon art can be broken down into six sections:

— E1: A frame of the character facing away, often focused on their hair and back with facial features obscured.

— E2: A close-up frame of the character's left eye, often focused on their eye color and front-facing hair with the rest of their face obscured.

— E3: A frame of the character interacting with an important object to them, often focused on what their hands are doing (can also include parts of the face).

— E4: A frame of the character's upper body, often focused on their shoulders, neck, and face. No part of the face is obscured.

— E5: A frame focused on the character's chest, often obscuring the upper half of their face.

— E6: A frame of the character without clothes, head tilting down, usually showing the upper chest area or other body parts if curled.

The progression of clarity shown in the character's body language and revealing of facial features creates a visual effect of "coming closer" to them.

E1 shows none of their face, yet by the time we reach E6 we see not only their face, but their bare skin. We are quite literally seeing them at their most vulnerable, closing the distance physically, emotionally, and mentally between the player and the character.

What I find most striking about each eidolon is that they are consistent across every character; every E1 is the same pose, and so on and so forth. This leads me to believe that the poses and placement of eidolons serve a deeper meaning than just staying at a level of visual distance — namely, that they are meant to also convey similar facets of each character. As such, we can think of them as a baseline going forward, a constant benchmark structure we can use to compare characters to one another.

Let's take March 7th as an example:

— Her E1 (Memory of You) starts with her the furthest from us, facing away to create that narrative distance. The movement of her hair signals that she may be walking away; this is her at her most closed off. Taking from my "eidolon names as narratives" post, if we assume eidolons follow a narrative structure, then this would be reminiscent of her backstory, perhaps even her appearance to strangers or even her view of her past self as a stranger to her present. Either way, this is the "wall," the outer shell of her character. Conclusions: outer shell, backstory, appearance to strangers.

— Her E2 (Memory of It) immediately establishes her bubbly nature. The bright pinks and blues from her eye pop and create a burst of energy in the picture, while the large, white shine indicates a bright and youthful personality. We also get a better look at her vivid pink hair, which adds to the "bubbly girl" persona. This is our next look in, coming closer and getting a first impression of her true personality. I believe this may also be meant to represent the moment she woke up from the ice, as the "it" in "memory of it" may be referring to the ice itself. Conclusions: first impression, inciting incident, appearance to newcomers.

— Her E3 (Memory of Everything) further cements her cheerful disposition, as her smile and tilting head indicate an open and friendly figure. The important object she is fiddling with is an earring. While I have not been able to find any canonical significance for this earring in her lore or character details, my assumption would be that this is an item given to her by the Astral Express crew after awakening from the ice. As such, it not only implicates her interest in fashion, but a cherishing of the crew that is helping her build a new life for herself. I would say this also signals the point in her story where she is accepted by the crew; her memories are becoming filled with a new "everything" as the world opens up before her. Conclusions: important object, new life, appearance to acquaintances.

— Her E4 (Never Forfeit Again) shows her looking over her back while flashing a peace sign. (This is absolutely my favorite eidolon of hers, it's so cute and friendly!) As we (the viewer) are getting closer to her in space and time, she is accepting us in by smiling and making a gesture often associated with fun and excitement. Through this, she is showing us that not only is she excited to know us, but excited to see the world in general. "Never forfeit again" hints that this excitement may be because she doesn't want to give up or lose another life, so she is trying her best to make this new one vibrant and enjoyable. However, this is still not the core of her being; it is more authentic than before, but there is more to go. Conclusions: balance between both sides of vulnerability, present events, appearance to friends.

— Her E5 (Never Forget Again) shows her slightly looking past us, focused on her collar and shirt. She looks more dull here, muted, as if she is comfortable enough to look away while still facing us, putting her trust in the audience to be safe. The smile is still there, though it doesn't seem as exaggerated as before; instead it seems more casual, like we are having a day-to-day interaction. However, there is also something ominous about another part of her face being obscured — even though we are closer to her, there are still secrets she is keeping, some that not even she may be aware of. I believe this indicates the mystery of her character, that there are still things to be uncovered. After all, what does the other "half" of her look like? Conclusions: casual and comfortable, future mystery, appearance to close friends.

— Finally, her E6 (Just Like This, Always) shows her at her most physically, mentally, and emotionally vulnerable, curled around herself without any clothes on. My guess is that this is her core essence, meant to symbolize the pose of her body while trapped in ice. The way she hugs herself seems to indicate coldness (and therefore, an attempt to keep herself warm), while the curling of her legs conjures a feeling of trying to keep something in, to keep her memories from escaping. This is the "March" at the center of her, the pure, vulnerable soul of her being. Beyond the bubbly exterior is someone who is scared and freezing, trying desperately to make new memories and cling to them before they fade. "Just like this, always" is also a major indicator to this being her constant state, something that sticks with her from the past to the present to the future. Conclusions: pure vulnerability, core essence, appearance to only a select few special people.

So, here are my summarized conclusions for the "baseline" of eidolon art:

— E1: Outer shell, backstory, appearance to strangers.

— E2: First impression, inciting incident, appearance to newcomers.

— E3: Important object, new life, appearance to acquaintances.

— E4: Balance between both sides of vulnerability, present events, appearance to friends.

— E5: Casual and comfortable, future mystery, appearance to close friends.

— E6: Pure vulnerability, core essence, appearance to only a select few special people.

Before I give my final thoughts, let's do a quicker and shorter application of these concepts to another example, Gepard:

— E1 (Due Diligence): Symbolizes his backstory, the distance of working his way up through the ranks, and a strong, loyal silhouette for those who don't know him.

— E2 (Lingering Cold): Can be interpreted several ways, but I view the "inciting incident" to be several events in a trenchcoat, namely every past battle he fought under the Supreme Guardian, the "lingering cold" of war. Tired yet determined eyes at first glance. Most likely the view his soldiers have on the day-to-day.

— E3 (Never Surrender): The important object is the Silvermane Medal indicating his status as Captain (shows the importance he places on loyalty and leadership). His face is not shown; he values his service to Belobog more than his own feelings. New life as a Captain leading the charge, covers the span of time between the inciting incident and present. Despite losses and setbacks, he pushes forward.

— E4 (Faith Moves Mountains): Active and commanding, tracks events in the Belobog Trailblaze Mission where he has more interaction with his soldiers and the main cast. Faith in Cocolia is difficult to break down, then replaced by faith in Bronya. The Gepard his soldiers see up close on the battlefield; comrades-in-arms.

— E5 (Cold Iron Fist): Comfortable enough to look away, yet still on-guard. Even around close friends, his instincts lead him to always be alert. Eyes narrowed, scanning surroundings. Future uncertainty for the fate of Belobog.

— E6 (Unyielding Resolve): Almost hesitant body language; slight furrow to brow betraying difficulty being vulnerable. Only slightly turned away, as if still on guard; core essence is strength and loyalty.

Overall, while these are standard commonalities I've come across while looking at eidolons, I'm sure there are slight deviations between characters. After all, facets are bound to change slightly depending on the personality of the character. However, the common eidolon poses and analysis discussed here lead me to believe the facets shown in E1-E6 art have deeper meaning and connection to each character, tracking across time and space to reveal more and more about a character’s personality until finally arriving at the "core essence" of E6.

(Feel free to try applying this to other eidolons of your favorite characters — since I drew these conclusions from general commonalities across eidolon sets, they should be able to work with any given character (with slight deviations). I think it’s a fun brain exercise to get thinking about each character’s personality and story!)

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જ⁀➴ and that's the end of my analysis! if you’ve read to the end, thank you for listening to my nerdy rambling! i’ll be posting an in-depth analysis of sampo’s eidolons soon, so if anyone is interested please keep a look out for that!

☆━━━━━ ⋆⁺｡˚⋆˙‧₊☾ ◯ ☽₊‧˙⋆˚｡⁺⋆ ━━━━━━☆

© analysis by sunderingstars. do not copy, repost, translate, modify, or claim my work as your own.

[pathfinderunlocked]

Vomit Gremlin - CR7 Fey

It's just barfing everywhere!

Artwork by AlleycatGraphics on Etsy.

Vomit gremlins... hmm, well, how much do I really need to describe this creature? Doesn't the name just say it all? It's inspired by the CR 5 Gremlin Batspawn by Northwinter Press, and shares some of that creature's abilities.

A meaningful difference between the two creatures is that a vomit gremlin is no smarter than a dog. It yips and howls, but doesn't understand language. It just sprays vomit everywhere.

Vomit Gremlin - CR 7

This green-skinned gremlin-like creature flies on small bat-like wings. Dried vomit is plastered on all sides of its vile mouth.

XP 3,200

CE Medium fey Init +4 Senses blindsense 40 ft., low-light vision; Perception +9

DEFENSE

AC 19, touch 15, flat-footed 15 (+4 Dex, +4 natural, +1 size) hp 45 (7d6+21); fast healing 3 Fort +7, Ref +9, Will +7 DR 5/cold iron Resist acid 10 Weaknesses unclean healing

OFFENSE

Speed 30 ft., fly 40 ft. (good) Melee bite +10 (1d4+1) Special Attacks putrid vomit (ranged touch +10), sneak attack 2d6

Spell-Like Abilities (CL 7th; concentration +10)      1/day—cloud of seasickness (DC 16)     3/day—caustic adhesive spittle (DC 16), stricken heart (touch +10, DC 17)

STATISTICS

Str 13, Dex 19, Con 17, Int 2, Wis 15, Cha 16 Base Atk +5; CMB +5; CMD 19 Feats Great Fortitude, Iron Will, Spell Focus (conjuration), Weapon Finesse Skills Escape Artist +14, Fly +14, Perception +9, Sleight of Hand +9, Stealth +12 Languages None SQ gremlin lice

SPECIAL ABILITIES

Caustic Adhesive Spittle (Sp) As a standard action, a vomit gremlin can grant itself the ability to spit caustic adhesive spittle for 1 round per caster level (typically 7 rounds).

Once during this spell’s duration, a vomit gremlin can spit a caustic and viscous liquid at a target within close range (typically 40 ft.) as a standard action. This spell does not function underwater.

The target is entangled, and must succeed on a Reflex save (typically DC 20) or take 3d6 acid damage and be glued to the floor. A flying creature is not stuck to the floor, but if it fails its Reflex save and uses wings to fly, it is unable to fly and falls to the ground. A target that successfully saves takes no damage, is not glued to the floor, and is not prevented from flying, but is still entangled. The adhesive persists for 2d4 rounds after the vomit gremlin spits it.

A creature that is glued to the floor (or unable to fly) can break free by making a Strength check (typically DC 20) or by dealing 15 points of damage to the goo with a slashing weapon. A creature trying to scrape goo off itself, or another creature assisting, does not need to make an attack roll; hitting the goo is automatic, after which the creature that hit makes a damage roll to see how much of the goo was scraped off. Once it breaks free, a creature can move again, but is still entangled.

Treat this as a 2nd level conjuration (creation) spell. Spell resistance does not apply.

Gremlin Lice (Ex) All vomit gremlins are infested with gremlin lice. Whenever a warm-blooded creature comes in physical contact with a vomit gremlin, there is a 25% chance it contracts gremlin lice. 1d4 rounds later, the creature begins to itch. The itch proves so distracting that for the duration of the infestation, the individual takes a –1 penalty on all concentration and initiative checks. Fortunately, these annoying parasites cannot live long on non-gremlins, and only survive for 24 hours. Submersion in water or exposure to freezing temperatures also kills a gremlin lice infestation.

Putrid Vomit (Ex) Every 1d4 rounds, a vomit gremlin can spew a 40-foot line of vomit as a standard action. Treat this as a ranged touch attack with no range increment (typically +10 to hit). Anyone struck takes 3d8 acid damage and must succeed at a DC 16 Fortitude save or be overwhelmed for 1d4 rounds. The save DC is Constitution-based.

An overwhelmed creature is staggered and cannot concentrate. If an overwhelmed creature attacks or casts a spell, it falls prone and becomes helpless until the beginning of its next turn after doing so. Effects that would remove or prevent the paralyzed or nauseated conditions also remove or prevent the overwhelmed condition.

Unclean Healing (Ex) If a vomit gremlin is doused in a significant amount of water (such as from a create water or hydraulic push spell) or otherwise cleaned, it loses its fast healing until it can take a long rest and make itself properly filthy again.

[tanadrin]

Shoemaker on literacy, memory, oral tradition, and the Quran:

Studies of literacy in pre-Islamic Arabia have been severely overlooked in recent Quran scholarship; in fact, literacy in the 7th century Hijaz was "almost completely unknown" and "writing was hardly practiced at all in the time of Muhammad." "[T]here seems to be a widespread agreement among experts on the early history of the Arabic language 'that, before and immediately after the rise of Islam, Arab culture was in all important respects fundamentally oral.'" Ancient graffiti in the region seems to have been a bit like early runic writing in Scandinavia--not central to the culture, mostly decorative and incidental, and certainly not used for long, important texts. "There is, in effect, a lot of 'Kilroy was here' scattered across the Arabian desert." Indeed, most of these graffiti are personal names or private in nature--we're not talking monumental inscriptions here, we're talking bored herders scratching stuff onto rocks to pass the time.

Southern Arabia and the larger oases to the north had more in the way of literate elites (and thus things like monumental inscriptions), but these places were far from the central inland Hijaz. If someone in this region did want to become literate, they would probably have learned to read and write in Greek or Aramaic, which were useful and important linguae francae.

As in very early Christianity, writing occupied a controversial position vis a vis orality--oral tradition was primary for the production and transmission of culturally important things like religious texts, poetry, literary prose, genealogy, and history. The shift to a literate culture came only with the expansion of Muhammad's polity into a wealthy, multicultural empire rather than a tribal state. Indeed, much of the early Caliphate's administration used Greek and other languages--Arabic entered administration only slowly, since a lot of early bureaucrats were drawn from the Roman and Sasanian bureaucracy.

And like early Christianity, another reason not to feel any urgency to write down Muhammad's teachings was that early Muslims expected the end of the world to come very soon, maybe initially even before Muhammad's own death.

The dialect of the Quran is distinctive and unusual; it is very difficult to locate where this dialect might have originated. Ahmad Al-Jallad tentatively identifies an Old Hijazi dialect, but the evidence for this dialect (besides the Quran itself) is limited and mostly much more recent, and he assumes the Quran was produced in the Hijaz.

The Arabic of the Quran can probably be identified with the prestige dialect of Levantine Arabic in the Ummayad period, but the origin of that dialect, and what Arabic dialects were brought together there in that time, is hard to ascertain with certainty.

Shoemaker thinks the Quran started as short collections drawn from individual memories following the conquest and encounters with widespread literacy; these collections would have been considered open, and subject to influence from oral tradition. They were combined into increasingly larger collections, with additional traditions and revisions, emergin as something like divergent versions of the Quran (though still not fully static and closed). Finally, the traditions of these regional versions, with other written and oral traditions, were fashioned into their canonical form under Abd al-Malik, and this version was progressively enforced across the empire.

Shoemaker brings in memory science and the anthropology of oral cultures: memory is highly frangible and fallible. Even though it functions well for day to day tasks, it's important not to overlook how common misremembering and re-remembering alters information in both personal and collective memory when talking about a text that even Islamic tradition agrees was not written down within Muhammad's lifetime.

Most forgetting occurs shortly after an event in question; a small core of memories we develop about an event will persist for a significant time after. These findings have been corroborated both in the lab and in the circumstances of everyday life.

Memory is not primarily reproductive; literal recall is, in evolutionary terms, pretty unimportant, and brains omit needless detail. Remembering thus involves a lot of reconstruction more than it does reproduction; memories are storied piecewise in different parts of the brain, and are assembled on recall, with the gaps being filled in using similar memory fragments drawn from comparable experiences.

Note Bartlett's experiments using a short Native American folktale; when asked to recall this story, even after only fifteen minutes participants introduced major and minor changes. Subsequent recall didn't improve accuracy, though the basic structure of the memory developed pretty quickly in each individual. But this structure was not especially accurate, and significant details vanished or were replaced with new information. Most often this information was drawn from the subject's culture (in this case, Edwardian England), forming a memory that made more sense to them and had more relevance in their context. The overall style was quickly lost, and replaced by new formations, and there was a persistent tendency to abbreviate. After a few months, narrative recall consisted mostly of false memory reports, a finding verified by subsequent replications of his experiments.

Experiential and textual memory in particular degrades very rapidly; this degredation is much faster when information is transmitted from one person to another. Epithets change into their opposites, incidents and events are transposed, names and numbers rarely survive intact more than a few reproductions, opinions and conclusions are reversed, etc. Figures like Jesus or Muhammad will hardly be remembered accurately even by people who knew them.

The style of the Quran (e.g., prose, and often terse, elliptic, and occasionally downright nonsensical prose at that) does not lend itself to memorization; Shoemaker argues it is only possible for people to memorize the Quran now because it has become a written document they can consult in the process.

Eyewitness testimony is of course also notoriously unreliable, despite what apologists (in particular Christian apologists) have argued. Cf. Franz von Liszt's experiment in 1902, where a staged argument in a lecture escalates to one student pulling a gun on another--after revealing this event was scripted and staged, and asking different students to recall the details of the event at different intervals afterward, literally none of them got it right--the best reports, taken immediately, got things about one quarter correct. Even repeatedly imagining a scenario vividly enough can eventually lead to a false memory of it occurring (a phenomenon which may explain some alien abduction reports). People mistake post-even hearsay or visualization for firsthand knowledge, especially in the case of dramatic events.

What memory excels at is remembering broad strokes--we are adapted to retain the information which is most likely to be needed, i.e., the gist (or, more likely, the broad themes) of events and information, and not its exact form.

There's a long digression here about John Dean's testimony on the Watergate conspiracy--this may be the first book in early Islamic studies to have Richard Nixon in the index.

Even competitive memory champions train for short-term recall of large amounts of information; they, and other people with preternaturally good memories, are of course exceedingly rare. It's very unlikely that someone could remember, several decades after the fact, precisely (or even mostly) what was told to them by their friend whose brother's wife's cousin was really there. So even within the traditional account of the Quran's composition, it makes no sense to claim it is in fact the verbatim word of Muhammad.

As in the case of Solomon Shereshevski, when you do have preternaturally good recall even for (say) lists of nonsense syllables, the result is actually kind of debilitating--you have so many useless details to sort through, it makes it quite hard to function at an abstract level. And hyperthymesiacs, though they exhibit a high level of recall about their past, still often remember things incorrectly, at about the same rate as people with normal memories--they are no less susceptible to false or distorted memories.

Nevertheless most modern scholars treat the Quran as a verbatim transcript of Muhammad's words. This is exceedingly unlikely! Especially given that "group" or "collaborative" memory--memories as reconstructed by individuals working together--appears to be even less accurate than individual memory. You get better results having people try to recall events by themselves.

Since during the age of conquests the majority of converts were not closely preoccurpied with the interpretation of the Quran, it would have had to have been rediscovered and hermeneutically reinvented later; the memory of Muhammad's words were being shaped by the nature of the community he founded, as its members collective and individual needs continued to evolve along with the context of transmission.

Many people, both scholars and the general public, seem to believe that people in oral cultures have remarkable capacities for memory not possessed by those of written cultures. Study of oral cultures has shown this is demonstrably false; literacy in fact strengthens verbal and visual memory, while illiteracy impairs these abilities. People in literate cultures have better memories!

Oral transmission is not rote replication; it is a process of recomposition as the tradition is recreated very time it is transmitted. Oral cultures can effectively preserve the gist of events over time, but each time the details are reconstituted, and the tradition can radically diverge from its first repetition, with the stories of the past being reshaped to make them relevant to the present and present concerns.

The collective memory of Muhammad and the origins of Islam as preserved in the Sunni tradition would have forgotten many details as a matter of course, many others because they were no longer relevant to the later Sunni community, and they would have been reshaped in ways that made them particularly suited to the life and community of their contemporary circumstances, exemplifying and validating their religious beliefs--ones very different from those of Muhammad's earliest followers.

The early Muslim conquests put a comparatively small number of soldiers, scattered across a huge territory, in a wildly different cultural and social context, especially in close contact with different Christian and Jewish communities, esp. in the Levant, which rapidly became the cultural center of the new empire. Jews and Christians may have joined the new religious community in large numbers in this time also; their faith and identity would have continued to evolve in this period, as we would expect from comparative episodes in the history of other religions. By the time that Muhammad's teachings were formally inscribed, the memories of his few hundred initial companions would have been transmitted and dispersed to a large number of people in a totally different set of circumstances, with consequences for how those memories exactly were recalled.

Jack Goody, researcher on oral traditions: "It is rather in literate societies that verbatim memory flourishes. Partly because the existence of a fixed original makes it much easier; partly because of the elaboration of spatially oriented memory techniques; partly because of the school situation which has to encourage "decontextualized" memory tasks since it has removed learning from doing and has redefined the corpus of knowledge. Verbatim memorizing is the equivalent of exact copying, which is intrinsic to the transmission of scribal culture, indeed manuscript cultures generally."

Techniques like the ars memoriae belong to literate cultures and were invented by literate people; they are unknown in oral cultures. Oral and literate cultures in fact have a radically different idea of what it means for a text to be "the same"--in the former, word-for-word reproduction is not necessary. A poem can be "the same poem" even if every time it is performed it is largely unique.

Case of the Bagre, the sacred text of the LoDagaa people of Ghana, an extended religious poem used in a liturgical context. Variations in its recitation aren't just variations in wording; changes in recitation can be radical, and the last version is always the starting point. Nevertheless (as in other oral cultures) it is considered "the same," functionally identical with each recitation. These differences appeared even among different performances by the same reciter, or multiple times in the same ceremony. Even the most formulaic parts have great variability. Similar variability in oral texts in other oral cultures has been documented by other anthropologists, including for historical events.

Shoemaker notes that the tradition that the Vedas were transmitted without variation from the time of their composition remains an article of faith in some quarters of South Asian studies; this flies in the face of all available evidence. In fact we have no idea what the state of the Vedic texts was prior to the earliest manuscripts; they may have been written all along.

Collective memory is shaped by contemporary cultural imperatives--examples of Abe Lincoln, a white supremacist considered nothing special by his peers; Christopher Columbus, once revered; the last stand at Masada, considered a minor event of little importance to broader Jewish history until the founding of Israel.

There doesn't have to be any conspiracy or coordinated effort for false narratives about the past to take root.

The hard horizon of communicative memory is around eighty years; so historical consciousness basically only has two modes: the mythic past of collective memory, and the recent past less than eighty or so years ago.

Lack of a clear "generic" monotheism in the Hijaz around the time of Muhammad's birth means the expectations and memory of Muhammad would have been profoundly shaped by Christian and Jewish beliefs.

Early Islam, like early Christianity, wasn't old enough to have a clear distinction between historical/origins memory and recent/communicative memory.

"For most of the seventh century, then, Muhammad’s followers had a memory that was still immersed in the social and cultural milieux of the late ancient Near East, from which they had yet to clearly differentiate themselves. They eventually would do this in large part by developing a distinctive collective memory for their group, different from those inherited from Judaism and Christianity, a process that was no doubt delayed by their fervent belief that the world would soon come to an end, making such an endeavor rather pointless for a time. Only as the end continued to remain in abeyance, and the community’s living memory grew ever distant from the time of origins did they develop a collective memory of their own. Yet, as Islamic collective memory began to evolve, one imagines that it initially took different shapes within the various pockets of Believers that were scattered across their empire. The basic elements of this nascent collective memory were, as Halbwachs says of the early Christians, “still dispersed among a multitude of spatially separated small communities. These communities were neither astonished, anxious, nor scandalized that the beliefs of one community differed from those of another and that the community of today was not exactly the same as that of yesterday.” Thus, we should expect to find a significant degree of diversity in religious faith and memory among the different early communities of the Believers, scattered and outnumbered as they were among the Jews and Christians of their burgeoning empire. Only with ʿAbd al-Malik’s program of Arabization and Islamicization was a new, distinctively Islamic collective memory and identity concretized and established for this new religious community. It was a collective identity that was formed from the top down and imposed, at the expense of any other alternative collective memories, with the full power and backing of the imperial state."

The limits of oral tradition apply even more strongly to the hadith and biographies.

[noimjustawiddlegobwin]

Calaun stat block for those using him as their final boss for The Blight. Tell me if y'all want his Warlock too, because good God are they a little bastard to fight. If you need a strategy, I recommend leading with Celestial Breath and Divine Order on the strongest fighter. Spell Reflection is good to use if he's targeted by a magic effect.

Calaun

Undead (counts as Dragon too)

Size: Medium

AC: 23

40 ft, fly 80 ft

HP: 247

Strength: 10 (+0)

Dexterity: 22 (+6)

Constitution: 18 (+4)

Intelligence: 19 (+4)

Wisdom: 19 (+4)

Charisma: 25 (+7)

Saving throws: Dex +10, Con +9, Wis +9, Cha +12

Skills, Arcana +14, Insight +9, Investigation +14, Perception +14, Stealth+10, Religion+9, Persuasion+12

Damage immunities: Fire, Poison, Radiant, Force (Radiant can be replaced for resistance to Cold and Lightning)

Condition immunities: Blinded, Deafened, Poisoned, Charmed, Frightened, Exhausted

Sense: Blindsight 60 ft, Truesight 60 ft, Darkvision 120 ft, passive Perception 17

Languages: All

Traits:

Legendary Resistance (3/day, I removed in mine because it's annoying)

Scroll Casting: Calaun can cast the following spells using his Charisma (save 20, +12 to hit with spell attacks. He has 60 spell points, and each spell uses points equal to its level.

Unholy Aura: holy water cannot exist within 30 ft of Calaun, and will be destroyed if it remains in that radius for one round.

Death Sight: Calaun knows the HP, HP Max, and Temporary HP of any creature he can see within 120 feet. This trait does not function if he is Incapacitated.

Cantrips (at will): Dancing Lights, Mage Hand, Mending, Prestidigitation

1st level (1 point each): Charm Person, Disguise Self, Dissonant Whispers

2nd level (2 points): Detect Thoughts, Suggestion, Phantasmal Force

3rd level (3 points): Dispel Magic, Hypnotic Pattern

4th level (4 points): Freedom of Movement, Greater Invisibility, Dimension Door

5th level (5 points): Dominate Person, Geas

6th level (6 points): Eyebite, Mass Suggestion

7th level (7 points): Prismatic Spray

1/day each: Blindness/Deafness, Charm Monster, Holy Aura, Revivify

Actions:

Multiattack: Calaun uses his Overwhelming Presence. He can then make two claw attack and one bite attack. He can replace one claw attack with a tail attack.

Multispell: Calaun casts two spells, using spell points as normal. The combined level of the spells cannot exceed 7.

Bite: Melee weapon attack, +12 to hit, reach 10 ft. 2D10 +7 piercing plus 2D8 Radiant damage

Claw: Melee weapon attack, +12 to hit, reach 5 ft. 1D10 +7 slashing damage

Tail (Bookwyrm): Melee weapon attack, +10 to hit, reach 20 ft. 2D6 +5 piercing damage. The target must make a DC 17 Con save or be Poisoned for 1 hour. Failing by 5 or more, it falls unconscious. While poisoned in this way, the target has 3 levels of exhaustion (ignores immunities) and has the related penalties. Upon taking damage or another creature taking an action to wake the target, they may remake the save. If the target saves, it is immune to Calaun's Tail for 24 hours

Tail (celestial dragon): melee attack, +12 to hit, reach 15 feet. 1D8 +7 bludgeoning damage and the target is Grappled. As an action, the creature may make a DC 20 check to escape. Calaun can only grapple one creature this way at a time.

Overwhelming Presence: each creature of Calaun's choice within 120 ft that he is aware of must make a DC 17 Int save or have disadvantage on all Intelligence, Wisdom, and Charisma saves for one minutes. It may remake this save at the end of its turn. Once a creature saves, it is immune to Calaun's Overwhelming Presence for 24 hours.

Breath weapons, recharge 5-6

Celestial Breath: 60 ft cone. Each creature must make a DC 20 Wisdom save or be Charmed for one minute. While Charmed in this way, the creature is Incapacitated and has a speed of 0. It may remake the save each time it takes damage, and at the end of its turn.

Prismatic Breath: 60 ft cone. Each creature must make a DC 20 Con save or take 12D8 radiant damage, or half on a save. If the creature fails, roll in the Magic Mishap table. This effect lasts until the end of Calaun's next turn.

1: the creature is Blinded, Deafened, and can't speak

2: the target is banished to a harmless demiplane, or sent to their homeplane if they aren't already there

3: the target is affected by the Bane spell

4: the target has disadvantage on saves against spells and other magic effects

5: the target is subject to the Petrified condition

6: any spells or magic effects on the target ends, and magic properties of any non-artifact item it has is suppressed. It cannot cast spells or use magic items.

Spellfire Breath: 45 ft cone. Each creature must make a DC 17 Dex save or take 6D6 fire and 6D6 psychic damage or half on a success. This damage does not effect objects or structures.

Bonus actions:

Change Shape: Calaun turns into a Small Dwarf, while retaining his game stats, other than size. This transformation is undone if he reaches 0 HP, or can be undone using a bonus action.

Divine Order: Calaun orders one creature within 30 ft that is Charmed by him. The creature obeys this command to the best of its ability, but cannot be ordered to commit obviously dangerous activities (no suicide). Any effect causing the creature to be Paralyzed, Incapacitated, or Stunned is suppressed while the creature is controlled this way.

Heavenly Gale: Calaun summons a torrent of wind, forcing each creature within 20 feet to make a DC 20 Strength save or be pushed back 20 ft and knocked Prone. Any spell of Calaun's choice of 5th level or lower ends on him.

Reactions:

Spell Reflection: as a reaction when he is affected by a spell or magic effect, Calaun forces the user to make a DC 17 Int save. On a fail, the user becomes the target of the effect (or center, if it is an area effect, such as Fireball). On a success, nothing happens and the effect proceeds as normal.

[bugsplaypen]

ꕀ☆ [welcome to my account] ☆ꕀ

agere server here !

pls only follow if you’re a agere / petre / cg account or adjacent to it ! ︴pls read my DNI before follow !! ︴about me at end :D

⚠︎ DNI ⚠︎

[15 or under | 26 or older] �� [ageplay, petplay, dual com, or anything related to or under that umbrella you will be blocked. along w any other pedophilic adjacent labels.] ✦ [ if you don’t trigger warn for arachnophobia or post anything related to S’s] ✦ [post gore / ed / sh / abuse content] ✦ [if you don’t use basic tw / cw / fw] ✦ [dsmp fans or if you post about it] ✦ [lgbtqia+phobic (including being against neo pronouns & xenogenders)] ✦ [“good faith” labels] ✦ [radqueers & xenosatanist] ✦ [racist / colorist / all lives or blue lives matter / asian hate / use racial slurs you can’t claim] ✦ [ableist (including using high / low functioning terms, “asperger’s” label, blue or puzzle piece to represent autism, against educated self diagnosis, use the r slur at all.)] ✦ [sexist / misogynistic] ✦ [right winged] ✦ [demonize witchcraft, paganism, or satanism] ✦ [“sfw” kink, kink or nsfw accs in general] ✦ [use the terms “little” (not including system littles) or “little space”]

(why below v)

└── ⋆⋅☆⋅⋆ ──┘

DMS .ᐟ.ᐟ

[use tone tags] ✦ [don’t call me pet names] ✦ [don’t ask me to be your cg or regressor] ✦ [no small talk / don’t ask to be friends just let it happen naturally] ✦ [don’t baby me unless given permission.] ✦ [no heavy baby talk] ✦ [no mature language or topics] ✦ [do not flirt w me. i have a lovey partner.] ✦ [don’t ask personal information]

└── ⋆⋅☆⋅⋆ ──┘

about me ᶻz

{names} collective can use koda or grey ! otherwise if is signed off by a mind can use that name

1. {big age} 20

2. {small age} 0-10

3. {petre smallest to biggest} bunny, kitty, calf, puppy, dino, shark, black panther

4. {others} i have an awesome sauce bubba :3, autistic, adhd, dyslexic, hEDS & POTS, PCOS, OCPD, probably BPD, cane user & ambulatory wheelchair user, satanic pagan witch, therian & otherkin, intersex, polymind

5. {special interests} i have many, but my main ones are marine life (sharks & penguins specifically), ancient egypt, twilight, apples, religion (paganism & christianity specially)

6. {likes} purple, black, yellow, blue, forest colors, fnaf, minecraft, rainbow friends, garten of banban, stuffed animals, doing crafts, anime, alt music (mostly emo, rock, metal), kandi etc etc

7. {dislikes} S’s (arachnophobia), liars, sea food, opera & k pop, tomatoes & mushrooms

└── ⋆⋅☆⋅⋆ ──┘

my other accounts @greyscloud regular / misc |@thatbearkoda bear therian | @bernerwoof canine therian | @fishbxy metkayina & sea creature therian / otherkin | @batgrid vampire & bat otherkin / therian

2nd n 3rd by secretfiles | 4th, 5th, 6th, 7th & by jesterboxes | last by chronicallyleggless

[moonsoulastrology]

Key Concepts to The Twelve House's

1st House- Ascendant

○Naturally associated with Aries and Mars.

●The lens in which we perceive the world thru.

●The focus we bring into our lives.

●The kinds of functions most valuable to discovering our own unique identities.

●How we meet life in general.

●The effect we have on others.

●The atmosphere of our early environment.

●Indications of our physical vitality and appearance.

●The facet of universal being that seeks to express itself through each of us.

2nd House

●Naturally associated with Taurus and Venus.

●The attachment of our identity to the body.

●Our innate wealth.

●Giving ourselves more definition, boundary, and shape.

●Money and material world.

●What we value.

●The desire - nature.

●Resources &/or attributes that give us a sense of value or self-worth.

3rd House

●Naturally associated with Gemini and Mercury

●Mental ego

●Development of language

●The ability to distinguish subject from object.

●Left brain processes

●Mental style

●Exploring immediate environment

●Naming and classifying things

●Relativity - how we compare to what is around us; how these things compare and relate to one another.

●The context of how we view the immediate environment.

●Siblings - the bond, what we project into them.

●Relatives - aunts, uncle, cousins.

●Neighbors

●Early school experience

●Writing, speaking, information exchange.

●Short trips

●Growing up years in general( ages7-14).

4th House, Imum Coeli

●Naturally associated with Cancer and the moon

●Integrating the mind, body, and feelings

●self-reflection of consciousness and assimilation of experiences from houses 1-3.

●maintaining the individual characteristics of the self

●What we find when we retreat back into ourselves.

●our inner base of operations.

●home

●what we're like in private

●ancestral roots

●the influence on us from family and origins.

●psychic ability to tap into the past

●empathy or intuition

●early home atmosphere and conditioning.

●qualities from our ethnic and ethnic origins.

●influence of the hidden parent.

●how we end things.

●conditions surrounding the end of life.

5th house

●Naturally associated with Leo and the Sun.

●wanting to distinguish ourselves as special or unique

●wanting to excitable our area of influence

●children

●sex

●play

● creative/artistic expression

●personal flair

●romance

●hobbies, sports, recreation, gambling, pleasures

●inner child

●having something revolve around us

●what our children are like or what we project onto them

6th House

●Naturally associated Mercury and Virgo

●health issues

●relationships of inequality

●Craftmanship, attention to detail

●body mind connection

●small animals

●daily routine, daily rituals, mundane activities

●discrimination and selectivity

●reducing things to parts (left brain activity)

●relationships to the hired help &/or employees

7th House-DC

●Naturally associated Venus and Libra

●connecting with others

●mutual commitment based relationships

●marriage or significant other

●open enemies

●what we project onto our partners

●the lower courts

●what we bring into relationships

●learning how to assert individuality into relationships (platonic, love, business)

8th House

●Naturally associated with Pluto, Mars, and Scorpio

●shared finances

●that which is shared between people

●inheritance, taxes, banking, investments

●destroying old and opening new ego boundaries

●taboo, occultism, supernatural, ability to tap into psychic energy

●Transforming raw, primordial energy

●death; physical and ego- identity(transformation)

●self-regeneration

●sharing resources with the planet

●relationships as catalysts for change

●Astral plane

●divorce

9th House

●Naturally associated with Jupiter and Sagittarius

●searching for meaning, purpose, direction

●the higher mind, intuitive thought processes, and workings(right brain)

●religious or spiritual styles

●philosophy

●long journey or foreign travel

●the god image

●symbol making capacity of the psyche

●codified systems of collective thought

●teaching, publishing, preaching, promotional work

●relationship to in laws

●possible indication of career

●what pulls is forward

●our view of life's journey

●higher education and journey of the mind

●higher courts

10th House - MC

●Naturally associated with Saturn and Capricorn

●integration of the self into society

●profession, vocation, or career

●status in life

●how we approach work

●needs for achievement or recognition or praise

●ambition

●the image of the shaping parent

●authority figures and government

●what we feel the world requires of us

●structures and systems

●atmospheric condition we encounter thru career

11th House

●Naturally associated with Uranus, Saturn, and Aquarius

●social reform and causes

●group consciousness and interconnectedness with all life

●hopes and dreams; goals & objectives

●friendships, circle and type of friends- how we behave with them

●sensitivities to new trends and currents in the atmosphere

●the urge to become something greater than we already are

●identifying with something larger than the self

12th House

●Naturally associated with Jupiter, Neptune, and Pisces

●wanting to return to original state of unity

●merging with something greater than the self

●dissolution of boundaries

●meditation/ prayer

●karma

●hidden enemies - external or internal

●the umbilical effect and life in the womb

●escapism

●what we feel may redeem us

●empathy, compassion, confusion, or nebulousness

●psychic abilities, access to the collective unconscious, mythic images

●beliefs, causes- spiritual or religious

●Delusions

●influences from things we don't remember

●energies which can sustain our undo us

●mental health

#ZodiacHouses #Astrology #AstrologyCommunity

[jewishbarbies]

https://www.tumblr.com/jewishbarbies/757553519672852480/was-watching-a-clip-of-a-convo-between-a-pro?source=share

I think a lot of antisemitism can be traced to the fact that people don’t understand what Judaism actually is. I’m a goy, former Christian, and growing up my evangelical church basically taught us that Jews were “people who are meant to be Christians” or “people that need to be saved”. In school we were taught that Islam and Christianity developed out of Judaism, so this basically meant to us that Judaism functioned the same way or in a similar way to Christianity/Islam. Only now after the 7th of October am I learning what Judaism/being Jewish actually is or means.

Lots of people fear what they don’t know or understand

yeah, that’s my opinion as well. i was raised christian until i was 7 and after that was still around christians and the church into my late teens, and the ignorance of judaism was insane. the casual antisemitism i experienced on a weekly basis wasn’t exactly unexpected, but it just made sense with the way they spoke/acted about jews. and it’s the same shit i see from christians on the internet every day. you’d think judaism being an entirely separate religion, jews speak their own language, and come from the middle east would indicate to these people that it’s not just christianity+ and that we have our own unique culture, but that doesn’t seem to cross anyone’s mind. i mean, people still say “Hanukkah is jewish christmas” with a straight face.

[ween-o-hall]

Hello,

My name is Alexis and on August 5th 2023, I was diagnosed with Multiple Sclerosis. I received a spinal tap on August 7th which left me unable to work for two months due to complications from said procedure. Once healed, I finally was able to go back to work, and shortly after succeeded in landing a new job. I made both my boss and my hiring manager aware of my new diagnosis during my interview, and informed them that I had multiple appointments that I would need to go to in order to properly treat both my MS and multiple other symptoms I’d acquired due to the flareup that hospitalized me, and they both agreed that it wouldn’t be an issue, that they’d be more than happy to accommodate for me to go to them. Unfortunately, that was a lie.

On November 10th, my boss pulled me into her office, and informed me that my appointments needed to stop as everyone else works full time open to close (which I also did, I just had appointments I needed to attend) and because of that, they could no longer continue. That is 100% disability discrimination, and after pondering over where to go next, I decided it was in my mental/physical health’s best interest to resign from my position. Doing what she asked of me would eventually lead to permanent loss of my motor functions and even the potential loss of my ability to speak and swallow. Now, I am back to square one, and am reluctantly asking for your help in keeping my bills afloat as I continue my search for another job that’ll be more understanding towards my disease.

It is incredibly hard for me to ask this, as I have always been the go-getter type who put their responsibilities first above everything. As of late, I unfortunately haven’t been able to do so, and with me having 4 cats along with my monthly bills, I am at a loss as to how I’m going to continue to afford this while I wait to hear back from the companies I have been applying for.

I am beyond grateful for any contributions you may send my way, and there aren’t enough words in the English language that could properly express my thanks for your help through this rough time in my life.

Thank you, from the deepest depths of my heart. ❤️

[aislamxnto]

*  ♔  ◟     ( adjoa andoh,   sixty one,   cis woman,   she/her   )     the  capital  of  king’s  landing  welcomes  daena  of  essos,  the mistress of whispers of  king’s landing.  news  borne  by  raven  sends  word  that  they  are  reputed  to  be  clever,  but  with  the  eyes  of  court  watching  their  every  move,  they  might  prove  to  be prevaricator.  when  songs  are  sung,  their  verses  speak  of  a cloaked form retreating into clouds flowing across the sky like banners, golden bracelets sliding across a lithe wrist, hushed words uttered for a single ears.  whispers  throughout  the  seven  kingdoms  claim  that  their  allegiance  lies  with  themselves ,  where  they  conspire  to  aid the true king, vaeles targaryen and retain their web of control.  but  in  the  end,  fealty  means  little  when  you  play  the  game  of  thrones.    

⸻          statistics    .

full    name    :  daena of essos title(s)    :    mistress of whispers age    :   sixty one date    of    birth    :   july 7th.   gender    and    pronouns    :   cis-woman she/her orientation    :    lesbian  

⸻          roots    .

parents    :    galeo, talea siblings    :    a brother she hasn't seen in thirty years status    :  unmarried  allegiance    :  house targaryen of dragonstone, herself  religion    :   moonsingers spoken    languages    :    westerosi  common  tongue  ,  bastard  valyria  ,  braavosi  .

⸻          personality  .

well-spoken, acerbic at times, coy, persuasive, charming, decisive, scheming, secretive, deceptive

⸻          background  .

Daena was born without title or status, living off the meager earnings of her parents in a hovel. Yet Braavos brimmed with promise for a young woman who was cunning, who thrived on catching whispered refrains and secrets, pocketing the information for further use. But it was meeting Lady Alys, that altered the course of her world; with Alys, she dared to cross the Narrow Sea, seeking to forge a new life for herself. She has not seen her family since her departure, and carefully allows herself to think of them now and again; but it was either a life of abject suffering, or promise of greatness --- as always, Daena chose to bet on herself. 

She has been cultivating her network of intelligence and power for thirty years in Westeros; slowly accruing status, tediously building a reputation from the ground up. Daena has lived in Kings Landing for most of this time, her past a mystery to everyone but Alys. Her appointment as Mistress of Whispers was the result of years of hard labour, and it is a position Daena would not willingly part with. Daena has eyes and ears across the lands, rarely deeming any piece of information as trivial -- she will converse with would-be enemies or former traitors, seeing past personal disagreements and strife, to understand the power of even the most tedious, dangerous connections.

Daena functions as an aunt like figure to the young crown prince and princess -- she endeavours to aid Vaeles' cause, and shall work to his reign is long and mighty; but her heart shall always lay with ensuring her and Alys' continued safety and peace. She is however, neither a mother nor a nanny to any; though she indulges in humour on the subject, it is Alys alone who shall hold the love and tenderness in her heart. 

⸻          wanted connections  .

i. web of spies ---- specifically with older muses in mind, long-standing sources of information for daena. in turn, she would offer them useful contacts or share what she knows. they do not necessarily trust each other, but their relationship spans years. daena is someone they know will always have an answer, as her ear is always to the ground. they may even be friends, having weathered wars, various rulers, and conflicts that have threatened to shake the land.  ii. allies --- those who support vaeles as she does. daena does not blindly believe in anyone, nor would she live and die by any man as a messiah; but she believes vaeles to be the best choice for the throne, and so she shall employ her gifts to support his cause. this will bring daena close to those who ally with vaeles; they may be unlikely allies, but daena will lend them her support and whispers. maybe they scheme together, or share information -- their common cause has brought them together.  iii. those who distrust --- daena has cultivated mystery and her network of spies for so long her past has become a mystery. to most her motives are unclear and her every act is sinister; a secretive, guarded woman is bound to be a beacon of suspicion. your muse may not trust her, or even have a personal vendetta -- perhaps she had a hand in an affair that hurt their house, or spread whispers that threatened their personal affairs.  iv. unlikely sources --- the mistress of whispers will not dismiss someones youth or status, if they have something to offer her; perhaps they approached her with an interesting secret, or made a barter to aid someone they knew. and so, they have entered her web, their connection entirely unknown to the rest of westeros. if they are a young woman, daena may seem promise in them; having no children, and finding herself feeling mortality creeping closer, she seeks to pass her knowledge onto a worthy head. 

[scuderlia]

question about Canada:

what percentage of people outside of Quebec speak French??

i actually had to use google for this answer:

according to a 2022 report by Statistics Canada, around 21% of all canadians speak french, with the majority of them residing in quebec, followed by new brunswick. in every other province/territory, 0.5-5% of the population speaks the language, and i believe the numbers are going down.

in my personal experience (outside of quebec) french language education is quite poor, unless you opt-into an immersion school or program. i grew up in western canada, and was mandated to take french classes up until the 7th grade, after which time it became optional.

it's honestly extremely easy to function as a canadian who doesn't speak french, though the majority of government jobs require bilingual working proficiency in both french and english. politicians are legally allowed to switch back and forth between the two in parliament debates and discussions, which is very fun to watch.

[underestimated-heroine]

Stance & Resources on I/P

*Firstly want to acknowledge that I am not an expert or spokesperson or “real” voice on Israel/Palestine, just someone who is trying to improve at effectively helping during an ongoing crisis. Having mistakenly shared harmful misinformation and made ignorant and functionally harmful assertions in the days following October 7th, my priority now is mourning the dead and fighting like hell for the living without doing harm.

That said, I am pro-Palestinian liberation. In the language & symbols I use to show solidarity with Palestine, I refer to this.

I believe in critical solidarity, & do not view the need to fight rising global antisemitism as a "distraction" from talking about Palestine any more than it is ever a distraction to confront violent hatred and dual loyalty. I am deeply concerned by the lack of accountability being held in activist spaces on this front. Dehumanization never has a good justification, and never holds up well historically. Let's remember what good activism looks like.

I'm opting not to give my own view on the one-state/two-state issue. I have one, but I am not giving it here because I feel like I'm watching it turn into the mechanism of Tumblr Group Polarization. (lol. lmao, even.) I live in the US; I am not a local stakeholder in this. Therefore, my opinion isn't particularly relevant or useful or important.

Orgs to help Palestine. Excellent essay on systemic vs. semantic violence by a Palestinian. Palestine Remembered, an imperfect but valuable resource to learning about the Palestinian struggle. (Brief history primer, more, PDF of “Orientalism” by Edward Said & Audiobook) ("The Question of Palestine" also by Edward Said) (What is the Nakba?) (Wikipedia page on criticism of Israel).

(Types of Zionism, What is Zionism & What is Anti-Zionism? [less than bare minimum required reading, fr…also fellow gentiles/goyim let’s please read about Dual Loyalty and more resources to help us avoid antisemitism in our activism)*

[fearsmagazine]

DRACULA, A COMEDY OF TERRORS - Review

DATES: Sept. 4th, 2023 – Jan. 7th, 2024 COMPANY: Drew & Dane Productions THEATER: New World Stages, 340 West 50th Street, New York City ACTORS: Jordan Boatman, Arnie Burton, James Daly, Ellen Harvey, Andrew Keenan-Bolger, Kaitlyn Boyer and Sean-Michael Wilkinson. CREW: Director/Writer - Gordon Greenberg; Writer - Steve Rosen; Producers - Drew Desky and Dane Levens; Scenic and Puppet Designer - Tijana Bjelajac; Costume Designer - Tristan Raines; Lighting Designer - Rob Denton; Original Music and Sound Designer - Victoria Deiorio; Wig and Hair Designer - Ashley Rae Callahan.

(L-R) Andrew Keenan-Bolger, Jordan Boatman, James Daly, Ellen harvey and Arnie Burton in DRACULA, A COMEDY OF TERRORS. Photo by Matthew Murphy

SYNOPSIS: A pansexual GenZ Count Dracula is in the midst of an existential crisis. When he sets his sights on the brilliant young earth scientist Lucy Westfeldt, he meets his match for the first time – as well as a slew of other colorful characters including vampire hunter Jean Van Helsing, insect connoisseur Percy Renfield and behavioral psychiatrist Wallace Westfeldt, whose British country estate doubles as a free-range mental asylum.

(L-R) Ellen Harvey, James Daly and Arnie Burton TERRORS. Photo by Matthew Murphy

REVIEW: Horror comedies come in only two flavors - good and bad. DRACULA, A COMEDY OF TERRORS is a sensational, decadent satire that is the perfect treat for the Halloween season.

Gordon Greenberg and Steve Rosen's satirical and irreverent treatment of the Stoker novel resides somewhere in between “The Rocky Horror Musical” and a Monty Python film, with flares of the immortal Charles Ludlam. The tone is set right from the start as the cast tosses the novel and the hilarity begins. The previous productions of the play, including an adaptation of the piece as a radio play for The Broadway Podcast Network, clearly have sharpened the dialogue and wordplay to a razor sharp wordplay duel that had the audience laughing out loud within the first few moments. The writers have trimmed the novel down to a 90 minute tale that tries to incorporate key elements of the story, taking liberties with the novel’s climax to nicely dovetail with the themes of their play. The satire runs the spectrum from that of the novel, political, contemporary pop culture, and gender. Except for Dracula, the other actors have dual or multiple roles where the juggling of the characters adds to the merriment.

James Daly and Jordan Boatman in DRACULA, A COMEDY OF TERRORS. Photo by Matthew Murphy

Gordon Greenberg’s direction is superb. It is a finely tuned choreography of dialogue and movement that harkens back to the golden era of silent films to the Marx Brothers. There are some delightful props, including puppets, that add yet another level of humor to the production. Greenberg turns up the energy right at the start and maintains it for 90 minutes, giving the audience little time to recover from the side splitting laughter.

James Daly and Andrew Keenan-Bolger in DRACULA, A COMEDY OF TERRORS. Photo by Matthew Murphy

Tijana Bjelajac’s Scenic Design is a wonderful minimalist and still adds atmosphere to the production. Integrated into the set are nice visual and functional elements that are scaled down for an off-broadway production but are lavish enough, and easily would work for a Broadway staging. Tristan Raines’ costume designs are fabulous. The designs capture the period but also combine contemporary elements that highlight the performances.

Arnie Burton and James Daly in DRACULA, A COMEDY OF TERRORS. Photo by Matthew Murphy

DRACULA, A COMEDY OF TERRORS features an award worthy ensemble cast. The delivery of lines, the body language and facial expressions, their interactions are flawless, and if there were any misfires I didn’t notice. There was a fluidity to their performances that at times it felt like choreography. James Daly is outstanding as Dracula. He is as dynamic and enchanting as Tim Curry’s Dr. Frank-n-Furter, combined with the physique of Rocky. He delivers this multifaceted performance rich with comedic timing. Actor Arnie Burton steals the show as both Mina and Jean Van Helsing. He creates two unique performances that embodies the comedic prowess that is reminiscent of Milton Berle to Harvey Fierstein, with a dash of Bugs Bunny. In contrast, actress Ellen Harvey brings to life Wallace Westfeldt and Percy Renfield. She brilliantly effects switching between the two extremes that eventually becomes an uproarious gag in play. The cast does an astounding job of maintaining the energy level of the play for 90 minutes.

Andrew Keenan-Bolger and Jordan Boatman in DRACULA, A COMEDY OF TERRORS. Photo by Matthew Murphy

DRACULA, A COMEDY OF TERRORS is a side-splitting tour de force that would leave Bram Stoker and Mel Brooks rolling in the aisles, and maybe a bit envious. I’ve always advocated that there is a distinct bond between comedy and horror, and this is at its finest. Outstanding performances, fabulous production designs, brilliant directing, all deliver an energetic feel good and memorable theater experience. You must bring your friends for a night you’ll long remember as the perfect treat of this Halloween season.

James Daly in DRACULA, A COMEDY OF TERRORS. Photo by Matthew Murphy

Opening night is September 18. Performances are Monday, Wednesday, Thursday and Sunday at 7PM, Friday and Saturday at 8PM, with matinees Saturday and Sunday at 2PM. Tickets are $99 - $119. Premium seating is available. Tickets are now on sale at Telecharge.com, (212) 239-6200. For more information, visit www.DraculaComedy.com.

Review By: Joseph B Mauceri

Listen to our interview with director & co-writer Gordon Greenberg & co-write Steve Rosen on creating DRACULA, A COMEDY OF TERRORS – HERE