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katakaluptastrophy · 4 months

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You know how it goes: through some incredible circumstances, God and a young woman living under the shadow of an oppressive empire have a metaphysically unusual baby who grows up to be a general nuisance, won't stay dead, and sports a few additional holes...

It's the third Sunday of Advent and I'm a little concerned Bible studies for weird goth kids might be turning into a series... Let's talk about the Blessed Virgin Mary and Commander Awake Remembrance of These Valiant Dead Kia Hua Ko Te Pai Snap Back to Reality Oops There Goes Gravity.

Wake was probably never described as "gentle", "meek", or "mild", but there are a few similarities: distinctive outfits, snazzy shrines, commitment to putting down the mighty from their seats, and of course babies with great and terrible destinies niftily conceived without sex.

On the topic of conception, let's clear up a common, uh, misconception: the term "immaculate conception" does not refer to Mary becoming pregnant with Jesus. It's Mary's own conception.

Why are we talking about how Mary was conceived and what does this have to do with lesbian necromancers?

To answer that question, we have to go back further still, way before Mary's conception. Back to these guys and their unfortunate snack cravings:

Remember how last time we talked about the concept of being in a state of grace? Well, the Christian read on Adam and Eve is that a state of grace was, as it were, the factory setting for humanity. They were fully in tune with God, there was no sickness or death, there was no sin. Until, that is, the whole unfortunate business with the apple. The first sin. The world is fundamentally altered. Humanity is expelled from paradise, burdened with sin, death, disease, patriarchy, and work. Worse, this sinful human nature turns out to be sexually transmissible: every human being is born tainted by this "original sin" of Adam and Eve.

This is why Catholicism is so big on baptising babies: even if they're many years off being able to commit any sins themselves (a sin has to be something consciously chosen and understood), they're still contaminated by that original sin of Adam and Eve. Baptism is understood to erase original sin, wiping the slate clean.

Bear with me, we'll be back to necromancers soon I promise. Have a picture of Mary beating up the devil while an angel holds baby Jesus:

OK, but what does Adam and Eve's danger snack have to do with Mary's conception?

The "immaculate conception" refers to the idea that unlike every human being between Adam and Jesus, Mary was conceived without the contamination of original sin. The rationale for this is complex, but essentially boils down to something like the saving power of Jesus not being bound by piffling things like time and space and thus saving his mother before her own conception and allowing himself to also be conceived and born sinless.

But the important bit is that something specific about Mary means that she is uniquely able to be pregnant with Jesus.

You may be starting to guess where this is going...

Because while unconventional pregnancy seems to have been the plan from the get-go for Jesus, it was not with the artist formerly known as The Bomb:

“I had the baby,” said Wake. “The baby I’d had to incubate myself for nine long fucking months, when the foetal dummies these two gave me died.”

“Oh, God, it was yours,” said Augustine, in horror. “I thought you’d used in vitro on one of Mercy’s—”

“I said they all died,” said Wake. “The dummies died. The ova died. Only the sample was still active, no idea how considering it was twelve weeks after the fact, but I wasn’t about to look a gift horse in the mouth.”

“So you used it on yourself,” said Augustine. “Anything for the revolution, eh, Wake?”

We have to assume the foetal dummies plan was hatched by Mercymorn, a brilliant scientist with a myriad of experience. If the problem encountered by Wake were as simple as Lyctoral infertility, I suspect Mercy would have spotted that long before.

But what do Wake and John have in common that Mercymorn or any of the other ova-having residents of the Mithraeum did not? They are both (to some extent at least) factory setting humans: unlike everyone else in the Dominicus system, they never died and were resurrected, nor are they the descendants people who were. John's abilities, while macabre, are not straightforwardly the necromancy otherwise practiced in the Houses. That necromancy is a direct result of one specific act of taking that resulted in the very nature of the world changing: a thanergetic system, inhabited by human beings who, necromancer or not, are fundamentally tainted by thanergy and by the after effects of that action of John's. You might call it a sin. An indelible sin. He does.

It's not an exact parallel, but necromancy certainly occupies a space not dissimilar to original sin: the result of a single action, tainting every descendant of its progenitors regardless of their actions of abilities.

And then enter Gideon, born in space away from the thanergetic energy of the Dominicus system to a mother lacking the 10,000 year intergenerational burden of the resurrection and necromancy. The child of Jod, born to die.

#the locked tomb #tlt #tlt meta #awake remembrance of these valiant dead #commander wake #gideon nav #john gaius #Sin will not survive the second coming of Jesus so what does that say about necromancy at the end of the series?

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hayatheauthor · 26 days

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How To Write Vampires With An Original Twist

Mythical creatures are an essential part of the fictional scene, but the same creatures have been used so many times that these creatures now often seem redundant and boring in fiction. This is why I've started a new blog series: How To Create Original Mythical Creatures. I'm kicking off this series with vampires!

Join me as we dive into the world of vampires, from their mythical beginnings to their modern-day interpretations, and learn how to write them effectively in your own narratives.

Origins of Vampires

Vampires have a rich and diverse history rooted in ancient folklore and legends. Across various cultures and civilizations, tales of bloodsucking creatures have emerged, each with unique characteristics and behaviors.

One of the earliest known vampire myths comes from ancient Mesopotamia, where stories of blood-drinking demons known as Lilitu or Lamashtu date back to around 3000 BCE. These entities were believed to prey on humans, particularly targeting children and pregnant women.

In ancient Greece, the Lamia was a mythical creature often depicted as a female vampire who lured and devoured children. Similarly, in Roman mythology, the Strix or Strigoi were vampiric entities that fed on blood and flesh.

Moving forward in history, Slavic folklore introduced the concept of the Upyr, a vampire-like creature that rose from the dead to feed on the living. These early depictions of vampires often portrayed them as revenants or undead beings with a thirst for human blood.

Modern-Day Vampires: Where Were They Originated?

The modern concept of vampires, as we commonly know them today, took shape during the European Middle Ages and the Renaissance. Legends of vampires emerged in Eastern Europe, with notable figures like Vlad the Impaler contributing to the folklore. Vlad's reputation for cruelty and his association with impaling enemies on stakes led to the creation of the vampire archetype, inspiring Bram Stoker's iconic character, Count Dracula.

From ancient Mesopotamia to medieval Europe, vampire lore has evolved and adapted, weaving its way into popular culture and literature. Understanding the origins of vampires provides writers with a rich tapestry of mythology to draw upon when crafting their own bloodsucking creatures.

I wanted to go into more detail regarding the Lamashtu and Lamia since they’re not as well known as their Slavic and European counterparts, but unfortunately, that would deviate from the purpose of this blog.

The Evolution Of Vampiric Appearances

Before we proceed with this section, it's crucial to clarify that the mythical creatures and beings discussed in this blog are not direct representations of ancient vampires. Instead, they serve as inspirations for the concept of vampires and share certain attributes with our modern-day depictions, including blood-feeding, pale skin, human-like appearance with some animalistic features, and so on.

Vampiric Creatures In Mythology

In ancient mythology, vampiric entities were not always depicted as the suave, charming figures we see in modern vampire tales. Instead, they often embodied primal fears and monstrous traits.

Lamia: In Greek mythology, Lamia was a terrifying creature depicted as a woman with a serpentine lower body. She was known for her insatiable hunger for children, often depicted as a child-eating monster. Lamia's appearance combined elements of human and serpent, emphasizing her monstrous nature and predatory instincts.

Lamashtu: In Mesopotamian mythology, Lamashtu was a malevolent demon who preyed on pregnant women and newborns. She was depicted with a fearsome appearance, often described as having the head of a lion, the body of a donkey, and bird-like talons. Lamashtu's grotesque features and destructive tendencies reflected ancient beliefs about the dangers of childbirth and infancy.

Lilitu: In Mesopotamian and Jewish folklore, Lilitu or Lilith was often associated with nocturnal demons or spirits. She was depicted as a seductive, winged demoness who preyed on men and newborns. Lilitu's appearance varied across different myths but often included features like wings, long hair, and sometimes talons, emphasizing her otherworldly and dangerous nature.

Strix: In Roman and Greek mythology, the Strix was a bird-like creature or vampiric owl associated with dark omens and death. It was believed to be a shape-shifting creature that could transform into a woman or an owl. The Strix's appearance combined avian and human features, instilling fear and dread in those who encountered it.

Strigoi and Upyr: In Eastern European folklore, Strigoi and Upyr were blood-sucking undead creatures similar to modern-day vampires. Strigoi were believed to be restless spirits or revenants that returned from the dead to torment the living. Upyr, on the other hand, were vampire-like beings with sharp fangs and a penchant for drinking blood. Both creatures were depicted as pale, gaunt, and often with elongated canines, reflecting their predatory and undead nature.

Medieval Depictions: Shift in Appearance

During medieval times, the depiction of blood-sucking mythological creatures underwent a transformation, shifting from monstrous and terrifying to more humanoid and relatable appearances. This change in portrayal can be seen in various aspects of their physical features:

Teeth: Originally depicted with long, sharp fangs or talons for blood-drinking, medieval depictions often featured more subtle fang-like teeth or no visible teeth at all, aligning with the concept of vampires being able to blend in with humans.

Skin: While ancient vampires were often described as monstrous and otherworldly, medieval vampires were portrayed with paler skin to signify their undead nature but without extreme deformities or monstrous features.

Appearance: Medieval vampires were often depicted as more human-like in appearance, with regular clothing and a less monstrous demeanour. This shift allowed for more nuanced storytelling and exploration of themes like temptation, desire, and the struggle between humanity and monstrosity. This is also what birthed the romanticization of vampires.

Mythological Vampire vs Modern-Day Vampire

Mythological vampires, rooted in ancient folklore and mythology, were often depicted as malevolent spirits or creatures with supernatural powers. These creatures varied widely across different cultures, from the Lamia and Lilitu in Mesopotamian mythology to the Strix in Roman and Greek folklore, and the Upyr in Slavic tales.

These ancient vampires were not always the suave, charismatic beings we see in modern media. Instead, they were often portrayed as terrifying and monstrous, with features that reflected their otherworldly nature. For example, the Lamia was described as a demonic woman with the ability to transform into a serpent, while the Lilitu were associated with storm demons and fertility spirits.

In contrast, modern-day vampires, especially those popularized in literature and film, have undergone significant transformation. They are often depicted as sophisticated and alluring, with a penchant for romance and drama. Authors and filmmakers have humanized vampires, giving them complex personalities, tragic backstories, and even moral dilemmas.

While modern vampires still retain some traditional attributes such as a need for blood and sensitivity to sunlight, their portrayal has evolved to include a wide range of characteristics and abilities. This shift has allowed for more diverse and nuanced storytelling, exploring themes of immortality, love, redemption, and the eternal struggle between good and evil.

Which Option Is Better For Your Novel?

When deciding which type of vampire to incorporate into your story, consider the tone and themes you wish to explore. Mythological vampires offer a darker and more primal essence, rooted in ancient fears and superstitions. On the other hand, modern-day vampires provide a canvas for exploring human emotions, relationships, and societal issues through a supernatural lens.

Ultimately, the choice between mythological and modern vampires depends on the narrative direction and atmosphere you want to create. Both types offer unique storytelling opportunities, allowing you to craft captivating tales of mystery, romance, horror, or even philosophical introspection.

Research and Resources

Writing about mythical creatures like vampires requires a solid understanding of folklore, mythology, and literary traditions. Here are some resources and research methods to help you delve into the world of vampires and other mythical beings:

Books and Literature

Start by exploring classic works of literature that feature vampires, such as Bram Stoker's "Dracula," Anne Rice's "The Vampire Chronicles," and Stephenie Meyer's "Twilight" series. These novels not only showcase different interpretations of vampires but also delve into the cultural and historical contexts surrounding these creatures.

Mythology and Folklore

Dive into ancient myths and folklore from various cultures to uncover the origins of vampire legends. Look into Mesopotamian, Greek, Roman, Slavic, and other mythologies to discover different vampire-like entities and their characteristics.

Research Journals and Articles

Academic journals and articles can provide valuable insights into the evolution of vampire folklore, the psychological aspects of vampirism, and the cultural impact of vampire mythology. Explore journals in folklore studies, literary analysis, and cultural anthropology for in-depth information.

Online Resources

Utilize online platforms such as mythology databases, folklore websites, and literary forums to gather information and engage in discussions about vampires. Websites like The Vampire Library, Vampire Empire, and Vampire Rave offer a wealth of resources for vampire enthusiasts and writers.

Historical Research

Delve into historical records, archival documents, and historical accounts related to vampire hysteria, vampire burials, and vampire folklore in different regions. Understanding the historical context can add authenticity to your portrayal of vampires.

Interviews and Expert Opinions

Consider reaching out to folklore experts, historians, and scholars specializing in vampire mythology for interviews or consultations. Their insights and expertise can provide valuable perspectives on vampire lore and storytelling.

Creative Exploration

Don't hesitate to let your imagination roam while exploring vampire mythology. Experiment with creating your own vampire mythology, incorporating unique traits, powers, and origin stories for your vampires.

By combining thorough research with creative exploration, you can develop rich and compelling portrayals of vampires in your writing. Remember to stay open to diverse interpretations and adaptations of vampire folklore, allowing room for innovation and originality in your storytelling.

I hope this blog on How To Write Vampires With An Original Twist will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.

Looking For More Writing Tips And Tricks?

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey!

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juju-or-anya · 2 months

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I ship Zutara and I don't believe Aang is the Antichrist, despicable, misogynistic, depraved, or an abuser, as many paint him to be.

Let's dive deeper into the vast ocean of analysis regarding Zutara shipping and the complexities of the Avatar characters!

Exploring the Reasons Behind My Preference for Zutara and Zuko as the Best Option for Katara:

If you ask me why I choose Zutara and Zuko for Katara, it's a tale of dense and multifaceted layers. While I respect the idea that Katara could have progressed as a character while single, the reality is, if I must choose a partner for her, my heart leans toward Zuko.

From a young age, Katara is forced to assume adult and maternal roles due to circumstances. At 14, 15, and 16, she becomes the mother figure of the group, a dynamic that exposes her to something called parentification. This phenomenon, where a child assumes adult and motherly roles, deeply concerns me, especially when imposed on racialized girls (but that's a topic for another post). However, she's not alone in this journey. Sokka also carries this burden, assuming the role of tribe leader, protector of his sister, and head of the tribe in a world torn by war.

However, while Katara is drawn into the premature motherhood of the group, Zuko emerges as a figure of redemption. Although initially presented as an antagonist, his evolution throughout the series reveals layers of complexity and redemption. The friendship and relationship he develops with Katara represent an opportunity for both to escape predefined roles and find equality in their companionship.

Aang's Pedestal and Katara's Complexity: A Profound Reflection

Katara, like any human being, is not perfect. She has a series of flaws and weaknesses that are part of her nature. However, Aang seemed to ignore these imperfections, focusing on an idealized vision of her. What happens when Katara doesn't fit this pedestal? Aang tries to mold her according to his own beliefs and perspectives.

Take, for example, the advice about forgiveness that Aang offered Katara, specifically regarding Yon Rha. It's commendable that Aang advocates for forgiveness, but when Katara expressed her decision not to forgive, Aang didn't simply accept that choice. Instead of respecting her unique perspective on forgiveness, Aang insisted on changing her viewpoint.

This behavior is also evident in moments like the non-consensual kiss in the play episode or the lack of space for Katara to express her own feelings in "The Day of Black Sun." These are uncomfortable situations that should not be overlooked and shed light on the complexity of the relationship between Aang and Katara.

Katara: More than "The Avatar's Girl"

Another aspect I want to address is the concept of "The Avatar's Girl." I detest how this term has influenced perceptions of Katara. Despite being a formidable waterbending master and a powerful warrior, she is reduced to this stereotype that does not do justice to her true identity.

It is crucial to remember that this is the result of decisions made by writers and does not reflect the richness and depth of Katara's personality. She should not be defined by her relationship with Aang or her role as "The Avatar's Girl." She is more than that, with unique abilities and complexity beyond simple labels.

Conclusion: Exploring the Complexity of Relationships in Avatar

In conclusion, the relationship between Aang and Katara is multifaceted. Recognizing the imperfections and complexities is essential to appreciate the depth of these characters. Aang, although inherently good, also shows problematic aspects that deserve discussion.

The concept of "The Avatar's Girl" underscores the importance of challenging stereotypes and allowing characters like Katara to develop more fully and authentically.

Now, let's delve into the second topic:

Do I really believe that Aang is the most despicable being, worthy of hatred and condemnation? A misogynist, abuser, harasser, who deserves eternal punishment just because he obstructs my favorite ship and is the antichrist?

The answer is a resounding NO!

Look Aang in the eye and tell me he is pure evil, DARE YOU!

Throughout the story, Aang emerges as a pure being, whose character development evolves as he trains to become a great Avatar. Despite facing the darkness of the world, his losses, and the wounds he suffers, Aang continues to maintain unwavering faith that everything will be okay and that the world can be a better place. His beautiful and innocent glow, that childlike animation, sets him apart in a context where young characters are growing up amid war.

I observe the young characters in the show, like Sokka, Katara, Suki, Toph, Azula, among others; they are all children of war, forged by the conflict surrounding them. The emotions, decisions, and thoughts of these characters are inevitably influenced by war. Sokka is shaped by the war-torn context in which he grew up, just like Katara, Toph, Zuko, and Azula. The war determines their identities, regardless of which side they are on.

However, Aang is an exception to this rule. His first 12 years pass in peace, living without the shadow of a war that could affect his life, his personality, his beliefs, his innocence, and his morals. If Aang had been born amid war, his being would probably have evolved differently, perhaps leading him to more extreme actions like killing Ozai. But no, Aang refuses to kill Ozai because it goes against his moral principles.

It is true that Aang has his moments of tantrum and questionable behaviors, which are completely understandable given that he is a 12-year-old child. Unlike other characters like Sokka, Toph, Katara, and Zuko, Aang's destiny is practically set in stone. He is supposed to stop the war, defeat the Fire Nation, or perish in the attempt, having to wait for the next Avatar cycle. This weight on his shoulders is overwhelming for a child.

Aang also experiences moments of "micro-machismo," something we all possess to some extent, even the most deconstructed feminists. This is due to his upbringing in a society that, due to the era and other factors, influenced his perspective. But we see how Aang grows, progresses as a character and person. Although it is not right for Aang to get angry when Katara does not understand his feelings or to kiss her without her consent, I do not consider him an abuser, as some Zutara fans suggest.

I believe that if they had allowed both Aang and Katara to truly grow, giving them real time to develop as independent and adult individuals, I would have liked them much more.

So, let's clarify, I don't dislike them; I don't ship them, but I don't dislike them either. If you like them, that's fine. I firmly believe that everyone is free to ship what they want, without the need to discredit or diminish the ship they don't support. And this goes for fans of Kataang, Zutara,

Zukka, or any other ship from different books, movies, or TV shows. Freedom and respect for all shippers!

I edit and add:

They won't convince me easily. Korra is not canon. Aang would never be a bad father, and Katara wouldn't allow it either. Katara tears off his testicles and makes him swallow them before allowing Aang to be a bad father to all of his children. I understand that Aang has a special relationship with Tenzin, since he inherited his mastery of air, but don't try to fool me. Aang is an amazing father, and nothing will change my opinion on that, not even Korra.

Add something else that I forgot:

If Zuko and Katara were to have a romantic relationship, of course it would hurt Aang, because he is in love with Katara, but he would never ever get angry with either of them, because both Katara and Zuko are his family. and Aang loves his family. Stop calling the baby evil

#zuko x katara #zutara #pro aang #love for aang #I will fight tooth and nail to defend Aang #avatar the last airbender #avatar aang #aang #katara #zuko #katara x zuko #sokka #atla suki #toph beifong #azula

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soapoet · 7 months

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PJO pick-a-card reading

Annabeth Chase; Your ideal career

01.

You would do best with a career that allows you to add your own touch. You could feel drawn to the prospect of entrepreneurship for a reason, and that is your inate ability to understand, follow, and set trends. You may rarely inspire neutrality, as you are either adored or disliked. This can cause you some hesitation in approaching anything self-made. Nobody wants to be put on blast or have their name dragged through the dirt the second they make a mistake, especially under circumstances where you are left alone to take the blame without a team to lean on, but you do have the benefit of forethought and diplomacy to avoid the worst of it. So long as you stay true to yourself and stay genuine, you have little to fear.

You inspire others, and thus you would do well in showcasing yourself and your lifestyle, your interests and your ideas for others. You would do well in business and in sales, as well as communications. You do well with people and are able to meet others with authenticity and really hear people. You could use your skills to promote important causes or rally people towards necessary changes. A career which allows you to travel and explore the world and write home about it would be very fitting. You can easily embrace different cultures and aren't afraid of trying new things, and your desire and willingness to learn new things is quite endearing and soften up your edges, inviting more warmth to how people perceive you. A chance to provide new solutions to problems or rework how things are done by inventing or designing something new could be really successful for you.

02.

Your best bet career wise would be to turn your passion projects into more than a thing you do on the side. You're creative and may really struggle when you feel unable to extend past limitations set by others. You enjoy variety and are drawn to more unusual concepts or ways of doing things. This creativity could lend itself to many things, but to name a few you would find yourself at ease within art and music, various online endeavours, writing and design. Though you may very well be introverted or simply a little, perhaps consider yourself a little socially awkward, you would do very well when involved with people. In any job, your clientele is met with a friendly and genuine demeanour as you try to meet people as unique individuals with their own stories and needs. You could be drawn to working with animals too, as your compassionate nature lends itself well to helping not just other humans, but animals, and the planet at large.

You could dread the thought of being in the spotlight, but the kind of following you would attract would feel quite familiar to you and rather easy for you to intract with when necessary. If you were to publish a book as an example, your readers would be drawn to your work out of the inherent mutual interest in its themes and thus make interactions fluid rather than awkward. You could even consider some anonymity to protect yourself. Fun will matter a lot in whether a career fits you or not. Work will always be work, but ideally it isn't all work and no play. Having a team of kindred spirits working towards a goal helps in this regard. Even if you wish to fly solo, you're collaborative and would benefit from teamwork and helping others, as well as allowing others to help you in return.

03.

Career wise you may want a little bit of a challenge, and plenty of opportunities for advancement and change. You're ambitious and cunning, and would do well in structured environments. To name a few, you could find it fitting to pursue academia, medicine, science, law, journalism, or anything else which allows you to use your wits and ability to learn and internalize new information. You are organised and steadfast, and a phenomenal problem solver. You could invest yourself in things that leave an impact on society, such as pursuing changes in the juridical sector, pedagogy and education, health care, or politics. Dissertations, articles, or other written works of you could prove very successful and provide objectivity in a world which is ever-increasingly divisive.

You're prone to stress, however, so creating a proper work-life balance is of upmost importance. Knowing when to step away and take a break is a skill that once mastered, you'll be able to wield it in favour of your productivity and take greater leaps in your career. Remember that you work best when you're not ill, aching, and burnt out. Due to your ability to multitask and see many things through, you could work on passion projects on the side. Ex. criminologist moonlighting as a poet or a songwriter. This duality would benefit you as a side hustle which aligns with what you may consider a mere hobby could end up providing you with extra income, which you can use to take good care of yourself and make sure you get to play too.

#pac reading #pick a card reading #annabeth chase #pjo #energy reading #intuitive reading #pick a card #pick a picture #pick a pile #percy jackson and the olympians #tarotblr #pac #soapy.post

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kayas-kosmos · 2 months

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Solarpunk Colossus.

When the ancient ones awaken to help out humanity with their climate problem.

This was a piece I've been wanting to do for ages and @stimpunks helped me make this a reality! So thank you so much for this commission! All of my neurospicy friends should definitely check out Stimpunks and give them a follow!

I just wanted an excuse to blend Solarpunk with fantasy art really.

The idea is that an environmental research facility was unwittingly built upon the back of a sleeping earth colossus due to the unique flora and fauna of the area, only for the colossus to suddenly awaken. The behemoth made an agreement with the scientists that they may stay on its back, but only on the condition that they treat the isolated ecosystem with respect and that their research will help heal nature and bring about a world where humans and nature live in harmony again.

The research facility itself is constructed from entirely sustainable materials and is a blend of iron-age and modern architecture. The scientists must stick to strict limestone paths so not to erode any of the earthy areas. Some locations cannot be accessed by foot and are therefore drone-only. The entire facility is powered by those airborne turbines (I probably added more than there needed to be but they look pretty haha).

Here's some concept art for the colossus. I made him a lot less grumpy in the final piece. He has six legs on account of him being extremely front-heavy and he has little tiptoeing ungulate feet. I also worked a lot of fossil motifs into his design, plus I imagine the wooden structures that make his antlers are so ancient that they have started to petrify. I want this creature to feel truly ancient. His face is also inspired by "the green man" a little bit.

The scientists have nicknamed this colossus "The Wean" (Wee one) on account of him living off the coast of Scotland.

Oh and before anyone asks... yes, this was at least a little bit inspired by "Shadow of the Colossus." I'm not going to hide my influences ^^'

If you want to see more Solarpunk or fantasy art from me, please consider donating a Ko-Fi! Even a small amount really helps, especially with how difficult things are for artists right now.

#Solarpunk #solarpunk art #solarpunk artist #environmentalism #hopepunk #artists on tumblr #fantasy artist #fantasy art #digital art #autistic artist #creature design #illustration #ecological art #creature art #my art

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elbiotipo · 2 months

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If you're from Argentina, you've probably heard about the Iberá wetlands, and you know the tourist pitch: a vast expanse of natural wonders in the middle of Corrientes, full of beautiful lapachos, cute carpinchos and yacarés, and now home to the fastest-growing wild yaguareté population, all with the unique Guaraní influenced culture of rural Corrientes.

Now, things aren't as shiny as they look, since the creation and management of the new national park is still a point of contention in many ways, but you will be suprised that this kind of thinking about the Iberá is very, very recent. Most people considered it an obstacle to progress, a big bunch of swamp in the middle of what could be a very productive ranching province. In a geography book from the 1910s (unfortunately I lost the screencap) it says something like "the biggest obstacle for the development of the province is this swamp, and it should be drained"

This took me to the other side of the world, to the Netherlands. They're known for land reclamation, from literally building their country from the sea. Especially when we're facing rising sea levels because of climate change, the Dutch seem like miracle workers, a look into our future. You will find no shortage of praise about how with some windmills and dams, the Dutch took land "from the sea", and turned it into quaint little polders, making a tiny country in Europe a food exporter and don't they look so nice? But when you look about it, you can barely find anything about what came before those polders. You have to dig and dig to find any mentions of not "sea", but of complex tidal marshes and wetlands, things I've learned are ecologically diverse and protected in many places, but you won't find people talking about that at all when talking about the Netherlands. It's all just polders now. What came before was useless swamp, or a sea to be triumphantly conquered. It's like they were erased from history

The use of that language reminded me of the failed vision of draining Iberá... and the triumphing vision in the Netherlands, and many other places. Maybe those wonderful places, those unique wetlands, would have been a footnote, you wouldn't find anything unless you were a bored ecologist who looked, and not even then. Now, far it be from me to accuse the medieval Dutch, who wanted to have more space to farm, of ecocide. And don't think this is going to be a rant against European ecological imperialism either, as the most anthropized places you can find are actually in China and India. But it does get me thinking.

I work with the concept of landscape, and landscape managing. (Not landscaping, those guys get better paid than me) The concept of landscape is somewhat similar to the concept of ecosystem you know from basic biology, but besides biotic and abiotic factors, you also have to involve cultural factors, that is, humans. There is not a single area of "pristine" untouched nature in the world, that is a myth. Humans have managed these landscapes for as long as they have lived in them. The Amazon, what many people think about when they think about "unspoilt" nature, has a high proportion of domesticated plants growing on it, which were and are still used by the people who live on it, and there once were great civilizations thriving on it. Forests and gardens leave their mark, so much that we can use them to find abandoned settlements. From hunter-gatherers tending and preserving the species vital to their survival in the tundra to engineers in Hong-Kong creating new islands for airports, every human culture has managed their natural resources, creating a landscape.

And this means these landscapes we enjoy are not natural creations. They are affected by natural enviroments; biomes do exist, species have a natural distribution. But they are created and managed by humans. Humans who decide what is valuable to them and what is not. The Dutch, seemingly, found the tidal marshes useless, and they created a new landscape, which changed the history of their nation forever. We here in modern Argentina changed our perception of Iberá, decided to take another approach, and now we made it a cherished part of our heritage, which will also speak about us in the future.

Ultimately, what is a useless swamp to be drained or a beautiful expanse of nature to be cherished depends in our culture, in us humans. We are the ones who manage and change ecosystems based in our economics, our culture, our society. This will become increasingly important, as climate change and ecological degradation becomes harsher and undeniable. We will have to decide what nature is worth to us. Think about what is it worth to you.

#I REALLY had to restrain myself not to make a football joke about the netherlands #cosas mias #ecology #biology #culture #cultural landscapes

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inexplicifics · 29 days

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Hi the fashion designer in training again, you posted my og ask and it got me thinking about it again (as if i ever stop) and I was thinking about how different monsters would be categorized and how that might change the fashion sense of things too. For example, theres humanoids, animal adjacent, insect adjacent (broadly), and plant adjacent.

Humanoids, to me, would be creatures/monsters that have little to no animal, insect, or plant otherness, such as trolls, drowners, bruxa, even sirens (even though they overlap into animal). Witchers obviously have magical uses from their kills but from a fashion/mundane perspective a lot of what these creatures provide would be equivalent to that of what a human might. Now, there is a lot of real world history that is sensitive and triggering about the use of human remains, especially in recent times of widespread slavery that has a lot of themes of cannibalism, farming practices, and lack of humanity even after death, such as leather tanning for clothes, the use of human remains in parchment (as parchment is made from animal remains and not wood or plants, that’s what differentiates it from paper), and more. This is why anything that leans more human than monster (such as a bruxa, vampire, succubus, etc) I don’t think I’ll touch with a ten foot pole unless it is to deal with their unique remains. Creatures that lean more monster such as trolls get thrown through the wringer though.

Trolls specifically have really thick skin, which in a tanning process would take… forever to turn into leather but the results would be potentially amazing. Thick strong leather would last for centuries if treated right, I have no doubt in my mind that troll leather would make fantastic saddles, boots, furniture — awful clothes but the other implications mean a lot to me because it might just make excellent armor.

Sirens, as the middleman between humanoids and animal adjacent, would be excellent to discuss scales. There is a company that currently helps with fish scale waste and uses them to make clothes that are naturally soft and have added benefits of being moisture managing (helps with retaining moisture in skin in dry environments) and also is naturally anti-odor! This is incredibly cool for the fashion world and I could see it being a real thing for the witcher world… if they had the time to do it, as I fear modern technology would need to be replaced with magic and I’m not sure mages, researcher included, would be interested in going out of their way to collect siren scales to create fabric (unless they could imbue it with magic? 🤔 A potential concept to long lasting charmed clothes) So very interesting but not as plausible in a fantasy world.

But! Reptilian scales are highly sought after in fashion designs and are not as wasteful as fish scales. The Witcher basilisk is reptilian in nature, which would make for excellent clothes, anything in fashion you can think of in scales you can bet it exists. Scales are widely loved and used even today, so basilisk skin? Oh yeah, it’s up there for fashion. Even says so in various wikis 😉.

Animal adjacent clothing will look a lot like what we have for animals now, adjusted as needed. Basilisks are large so their hides would be easy to convert to many items, whereas snake skin is small and you would need several to make a significant piece of cloth. This would make it far more valuable. Not to mention the claws, claws which are used in various forms. From clasps on just about everything, to jewelry, to decor, to piercings, I know a basilisk claw would be on a noble’s cloak or belt, I just know it.

This translates to, as mentioned before, wargs and other furred animals. The larger, the better, the more you can take, the better, the more *dangerous* to prove your worth, the better. A bear claw is nothing compared to a warg fang, and so on and so forth. I haven’t even gotten started on the length of griffin feathers and what that would do for fashion. No one understands what length in natural materials means to me except for other people who’s special interests are fashion, fantasy worlds, and survival skills. I cannot explain *length of feathers* in gowns. In cloaks. In *jewelry.* But that’s a post for a little old me who isn’t up at 1am on a school night.

Enjoy my midnight ramblings, I realize that this got out of hand and is uh… not really well connected in terms of thoughts but I hope it made sense to people who aren’t deep in the trenches like me lmao

Please imagine me sitting here with my chin on my hands, staring at you with hearts in my eyes as I listen to your interesting and informative midnight ramblings.

#questions answered #accidental warlord au #witcher fashion

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poisonouspastels · 2 months

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I haven't really gotten to talk about the Ender Dragon yet in the Minecraft AU, and you guys really liked the worldbuilding of oreposting for whatever reason, so we're talking about her now.

To clarify first and foremost: Jean (the dragon) is an intelligent and fully sentient creature. She knows and can speak every spoken language of this world, knows your name, knows every little thing about you, being seemingly omniscient despite having never met prior. That being said, she is not an unfair fighter and is not malicious in nature.

Dragons existed in much greater numbers long ago, though now the only ones you can find are in Ender. The Endermen are direct evolutionary descendants of these other dragons spread through the infinite realm - but not of Jean specifically. Despite this, historical writings would often (inaccurately) refer to her as "The mother of a thousand children." She is not capable of reproduction and is a fully sexless being.

Her relations to the Endermen are begrudging, serving only to have a brutal mutualistic relationship. The Ender dragons (not just Jean) allow them to eat from the chorus fruit trees within their territory so they may not starve, as well as spawn their own young, and the Ender dragons gets their fair share of food in return... by eating some of the Endermen. The Endermen are rather intelligent creatures in their own way, and they often escape to other dimensions to attempt to live a different life that isn't under the "rule" of the dragons, but quite a few are set in their ways because it's what they know. It's the circle of life they've become familiar with as they subject themselves to it for the sake of survival. Jean is unique in that she is "manufactured" in a way. Not to say that she is artificial, far from it, but that she's not a naturally made dragon. She's to the Universe what Cerberus is to the gates of hell, only existing and serving to guard and provide a challenge if necessary. She knows the rules and is respectful of them, and will never be afraid to die again. Much like a phoenix, with each death she is reborn. Upon being slain, she retreats back to the egg from whence she came many times before, only to re-emerge 10,000 years later.

When Jean finds her way back into the world, the knowledge of the return manages to find its way into the minds of everyone as a call to action. Though slaying the beast right away is not necessary per say, its better not to delay, as the longer one waits, often the more the idea will eat away at them.

Much like how the Wither represents the concept of inevitability, Jean represents the repeating cycle of the world - whether it be the persistence in humanity to come back time and time again, the cycle of her own return and inevitable death, or the tendency this world has to repeat itself over and over.

The Universe works in mysterious ways, and she is no exception to its design.

#minecraft #mineblr #minecraft lore #minecraft art #ender dragon #minecraft au mastertag #au jean #Efe shouting with her sword pointed at the dragon: WHAT ARE YOUR PRONOUNS #Jean: SHE/HER. THANK YOU FOR ASKING. NOW WE FIGHT.#big fan of the official Minecraft chess set making the black pieces have the Wither and the Ender Dragon as king and queen respectively #what did you mean by this mojang. did they have a situationship...

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ghelgheli · 1 month

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In the 1860s, when he consciously distanced himself from his earlier technocratic productivism, Marx was compelled to rethink his optimistic view of history and to reflect more seriously upon its negative implications. This self-critical reflection took place as he investigated the material aspect of the production process unique to capitalist production, especially how material world — human and non-human — is reorganized by capital's initiative in favour of its own accumulation. This is because the increase of productive forces subordinate workers to command of capital more effectively. If so, 'relations of production' and 'productive forces' cannot be simply separated as assumed in the traditional view of historical materialism. The development of productive forces of capital is dependent upon the thorough reorganization of human metabolism with nature in the form of cooperation, division of labour and machinery. In this sense, the 'mode of production' expresses a particular social arrangement of the material elements of production. That is why in the preface to Capital, Marx set himself the task of examining 'the capitalist mode of production, and the relations of production... that correspond to it' instead of treating 'productive forces' as an independent variable as was the case in the preface to A Contribution.

This change concerning the 'mode of production' might be discounted as a minor philological quibble, but its theoretical significance should not be underestimated because it has to do with the transformation of Marx's vision of post-capitalism. When the development of productive forces is not purely formal and quantitative, but is deeply rooted into the transformation and reorganization of the labour process, one can no longer assume that a socialist revolution could simply replace the relations of production with other ones after reaching a certain level of productive forces. Since the 'productive forces of capital' that emerge through the real subsumption are materialized and crystalized in the capitalist mode of production, they disappear together with the capitalist mode of production. In this sense, we need to radically reverse the traditional historical materialist view about the actual relationship between productive forces and relations of production: 'Relations of production determine productive forces' (Tairako 1991).

This is how the establishment of the concepts of 'productive forces of capital' and 'real subsumption' compelled Marx to abandon his earlier formulation of historical materialism in the preface to A Contribution. Since both aspects of Form and Stoff are closely entangled with each other due to the real subsumption of the labour process it is not possible to change one without simultaneously changing the other. This complexity would not occur if the productive forces of capital were simply dependent upon machines. They could be utilized in socialism as before. However, the productive forces developed under capitalism are tightly connected to the uniquely capitalist way of organizing the collaborative, cooperative and other social aspects of labour. If so, the transcendence of the capitalist mode of production must be a much more radical and thoroughgoing one than the mere abolition of private property and exploitation through the re-appropriation of the means of production by the working class. It requires the radical reorganization of the relations of production for the sake of freedom and autonomy among associated producers, so that the productive forces of capital disappear. Otherwise, despotic and ecologically destructive forms of production will continue in post-capitalist society. Yet when the productive forces of capital disappear, the productive forces of social labour are diminished as well.

Kohei Saito, Marx In The Anthropocene

#reading #kohei saito

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vasito-de-leche · 4 months

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I've read all of your Reverse: 1999 related posts about a hundred times already and I'm still mesmerized! I love how your writing is fluid and meticulous — all of your analysis feels so precise that it might as well be official.

I was wondering if you could write a one-shot or headcanons about Forget Me Not with a human partner, whichever you believe to be more fitting; to extend what you said in his relationship headcanons. It's such a fascinating concept... at least I think so.

If you are not feeling up to it, I beg of you to at least write some of your thoughts about this. That would make me more than happy!

;R1999 FORGET ME NOT - Relationship Headcanons (2)

Compilation of headcanons about Forget Me Not's relationship with a human partner. A continuation of this post.

thank you so much for the kind words! I really love talking about blorbos so it means a lot to me that you like my work!! for this post, I went for HCs since I already wrote two FMN fics lolol

warning for abusive/toxic relationships!

Even though this is a continuation of the first relationship post, I feel it would be nice to bring back that one point I made about Forget Me Not's potential relationship with a human or mixed - just so everyone knows the themes this post will dwelve into!

The way I see it, all of Forget Me Not's relationships naturally lean towards unhealthy and dysfunctional dynamics, regardless of his partner's status. Being a pure-blooded arcanist only means you're simply trading a specific set of problems for different ones.

So when it comes to humans (note, humans, not mixed - that's a whole different can of worms) Forget Me Not is at his worst. After all, you represent everything that he sees wrong with this world, he's conflicted and torn between his hatred and his love.

He's a difficult character to grasp, but it's clear that he's fully dedicated to Manus Vindictae's goals, as they align with his own unique set of experiences and emotional baggage - this means that he would need a lot of work, effort and time to reconcile with many, many things such as being in a relationship. Especially one with a human. And yet, I don't think it's impossible for him to grow and change as a person.

On the subject of Forget Me Not's mentality towards a human partner.

I want to stress the fact that Forget Me Not is, above all, a cowardly man - it's easier for him to act behind the scenes and react accordingly than to be upfront and confrontational.

He's manipulative, but not controlling.

And one can argue that manipulation is just a different type of control, I agree! But I feel there's a bit more of nuance in this context. Compare characters like Arcana or Constantine to Forget Me Not - the former use manipulation as a means to an end, it's just one of the many tools they can employ to maintain their control over their respective groups. But they have other ways to remain on top. Forget Me Don't doesn't have anything else. When it comes to Forget Me Not, his manipulation comes across as the single thing he can do to win, or turn the tides to his favour, even if it means winning by the smallest of margins. Chances are he's already mentally prepared himself for the worst, anyway.

This originates from the fact that he's fully accepted the fact that he's inferior, that the universe will constantly try to undermine and step all over him, dealing the worst hand for him over and over - so for someone like him to win, he needs to outsmart and pull the strings from behind the scenes, to cheat at a system that could never allow him to get his way. Hence all the emphasis on his two-faced and contrasting themes (a snake in the grass, waiting to reveal itself. a docile and put together bartender, controlling the flow of the market, etc).

Why do I bring this up? Because when it comes to something as unfamiliar and daunting as falling in love with a human, Forget Me Not doesn't have it in him to even take the first step or decide how he even wants to approach the situation. He knows he's already at a disadvantage, and so he defaults to manipulating.

A lot of his behaviour is heavily dependant on your personality and the way you see his actions. Again, it's much easier for him to adapt like this than to confront why he's having so much problems admitting he might've caught feelings for you.

Basically, this is a lot of text to give some insight to why he manipulates you. It's not done out of the desire to control and dictate your every move, your every thought, let alone mold and/or break you into a more ideal partner - Forget Me Not can barely take responsibility for his own life, don't expect him to do that with yours. He does it because he's very sad, pathetic and desperate, that's about it!

His view on love is also an important thing to discuss in this specific point - in the first post I talked about how Forget Me Not is quick to catch feelings, he falls hard and fast. This still applies despite everything I just mentioned.

In the context of this relationship, love and hate simply go hand in hand to the point where he cannot tell one from the other.

He latches onto you like a parasite because you're the only person who seems to care for him or give him the time of day. As negative or harmful as his interactions with you could be, he's addicted to your presence.

If his partner is oblivious to his actions and ties with Manus Vindictae.

I decided it's easier for me to just tackle all the big possibilities, so here we go!

This is possibly the best outcome for Forget Me Not, a partner who is entirely oblivious to his unpleasant sides and morally corrupt actions. It doesn't even matter what your opinion on Manus Vindictae and their goals might be, because you don't know he's related to any of it! This way, he doesn't have to unpack any of those complex feelings and thoughts, nor think too hard on the fact that you're a human - who cares? You're not tainted with all that unnecessary knowledge.

And this would also allow him to continue living in denial, to indulge in a delusional fantasy in which he gets to be happy without putting any sort of work into being a better man. It's perfect for him!

The top priority is to keep you in the dark, and he'll do pretty much anything to make sure you never find out anything that could paint him in a negative light. If he could edit his own files - the ones that the Foundation had - to erase all traces of his past, then he would have no problem gaslighting, lying and playing all these mind games so that you only focus on how loving and doting he is as a partner. All while telling himself that he's simply protecting and shielding you from the horrors of the truth, that he doesn't want you to deal with the stress.

Forget Me Not could continue with this façade for years, presenting his best, most gentlemanly persona to you. It's easier for him to be vulnerable, to allow scarce moments of quiet, gentle intimacy, now that he has a way to excuse his actions.

I'd say that the only thing that could ruin it is, as usual, his own mind. He's the one who took all these precautions into maintaining the fantasy of a perfectly normal relationship, and yet he'll start spiraling into depression over that exact same thing. What if you were faking these feelings all along too? He made you fall in love with a fake version of himself because there's no way you'd love the real thing, etc etc.

Depending on how long you two might've been dating, I can see him choosing to disappear from your life without even saying goodbye. One day, he's just gone and he makes sure that you cannot find nor follow him. Alternatively, he can fall victim to the usual impulses and confess everything he's been hiding, to scare you away and see how you'd react to the truth.

If his partner is aware of his actions and ties to Manus Vindictae, while being very vocal against it.

This dynamic is the one that absolutely leans heavily into a very codependent, toxic mindset. The relationship itself makes no sense: you're a human, therefore someone who Forget Me Not resents and loathes. And he's a member of Manus Vindictae, a group you recognize as extremely dangerous and biased, rejecting all of their ideals.

And yet, you two stick together exactly because of that. Whether you have good intentions (wanting to fix him, save him, what have you) or not, it doesn't matter because Forget Me Not will instantly assume that you're exactly like him: you want someone who sees you for who you are.

Knowing that you openly disapprove of everything that he does and says is addictive, as he's spent a good chunk of his life concealing all of these aspects. Knowing that someone sees him in his totality, without turning away, without fear, it gets to his head pretty quickly. You're the only one who knows him and you continue to stand up to him, all while claiming that you care for him - Forget Me Not eats that shit up. It's a type of affection he's never been shown.

But the more you call him out on his bullshit, the more you attempt to help or challenge him, the more Forget Me Not will sink into Manus Vindictae's mindset - because he loves to see you put so much effort into a lost cause like him. His manipulation tactics are used to make you believe, just for a moment, that you can truly change him for the better. He pretends to breakdown, to reconsider his lifestyle, just so you don't feel disheartened and continue pushing him.

In the previous post, I said that Forget Me Not would get a little unhinged around his crush - this also applies here, but on a much bigger scale. Everything he does is a cry for attention, he wants you to witness everything and still come back to him every night.

Given how self-destructive Forget Me Not can be, he would never think of ending the relationship. It doesn't matter if you begin to pose a threat to Manus Vindictae or The Walden or whatever, he'd gladly give up everything he's worked for if it means having his life ruined by your hands.

If his partner is aware of his actions and ties to Manus Vindictae, but supports him wholeheartedly.

One would think that having a supportive partner who encourages Forget Me Not to never change and to commit as many crimes as he wants as long as he has fun, would be a dream come true - but he's much too paranoid to accept this reality, always expecting to have the rug pulled from under him the second his guard is down.

Now, when I say "support" I mean a lot of things! From truly siding with Manus Vindictae and hating humans as well, to simply being there for Forget Me Not no matter what - as usual, it's up to you!

Your never-ending kindness throws him in for a loop and he channels all that energy into figuring you out. What do you get out of this? Forget Me Not wants to know the catch, and he grows more and more vulnerable each time you show him that there's no catch - you just love him, that's it. All of him, scales and all. At his worst and at his best.

Confronting the antithesis of everything he's believed in is difficult, but overtime I think Forget Me Not would slowly reconsider things - if you, a human, coud love him so earnestly regardless of his constant hatred and bitterness towards the rest of your peers, well... Maybe he can learn a thing or two from you.

This dynamic is the most confusing, however, as Forget Me Not will be clinging onto you like his life depends on it only to keep you at arms' length, emotionally and physically, for the next few weeks. A lot of back and forth between those contrasting aspects, cold and hot, love and hate - but this is good because it's a sign that he's reconsidering things, that he can't just make up his mind with a half-assed excuse. Here, Forget Me Not lacks that conviction and confidence from the previous two points, he doesn't know how to get the upperhand when faced against such brutal, honest love.

His manipulation tactics come across as a half-hearted attempt to get you to slip up or to distract you from the fact that he's losing his edge. Forget Me Not relies on his distant and intimidating persona to operate, but none of that works on you, and so he attempts to keep up the façade to make himself look cruel and heartless.

I think this is when you get to see Forget Me Not at his most pathetic and saddest self - the way he's been lying to himself and to the world for years, how hard he tries to have power to make up for the fact that he has any substance as a person. How afraid he is of letting you in his life because by doing so, he'll have to step out of his bubble and face the consequences of his actions.

#reverse 1999 #reverse: 1999 #r1999 #reverse 1999 headcanons #reverse 1999 x reader #reverse 1999 forget me not #hmm not my best post i think #i feel like i keep repeating myself when talking about FMN

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lostacelonnie · 4 months

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oh right i meant to elaborate on this

so, for those who might not know, the basis of plato's philosophy is that what we perceive as reality isnt whats Actually real. the real world is the world of ideas, physically unreachable from ours.

an idea is essentially a very general concept of something, and everything in our world tries to imitate ideas, which is how we get physical objects. for example, physical objects would be Specific kinds of tree, or individual ones, while the idea would just be A Tree. ideas are eternal, perfect, undefined and unchanging, which is why physical objects fail in their imitation of them- theyre too individually distinct.

and, you know how misteln is canonically described as an Idea? yeah! shes, or rather she was, the idea of a schariac.

i say she was, because [at least in my opinion] misteln's character arc is actually about ceasing to be an idea: because look. right after her "birth", she really Was the model of a schariac- selfless, kind, and always trying her best to save everyone [even if, due to unique nature of her existence, she wass unable to do so]. she didnt even have a first name; "schariac" was all there was to her.

but she met alexandra, and was given a name; she joined the world serpent, and was given another. she developed herself as a new person, and during this period she didnt actually associate herself with her last name, instead going only by "hare". and undeniably, she became. Really Weird. just a deeply bizarre person. but thats the point: shes a PERSON, even if she can never quite understand humanity. but shes still an individual, with her own history, her own personality and mannerisms and views on life. and especially after moon arc, when shes no longer bound to her duty as a part of world serpent, id say it wouldnt be accurate to call her an Idea in the truest sense of the world, not anymore.

#OKAY I HOPE THIS MAKES SENSE. UM #misteln schariac #honkai impact 3rd #honkai impact #hi3 #hi3rd #salt snow posting

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alienarthouse · 6 months

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A bit of a change of pace from my typical scifi spec bio, but I’ve been drawing a lot of fantasy art lately and started thinking about my goblins again.

In my D&D homebrew/original high fantasy world, Fulcire, the goblinoids (a family consisting of such species as the goblins, hobgoblins, and bugbears) are distinct from the humanoids, having evolved from a different common ancestor. They are the older of the two families, having evolved somewhere between 20,000 and 70,000 years earlier. Goblins were the first of the family to evolve in their modern form, making them the oldest intelligent mortal life on the plane. They alternate between quadrupedal and bipedal stances, are opportunistic omnivores, surviving on a mix of gathering and scavenging, but never actively hunting. Before the modern age of city-building, they kept migratory paths that they traveled across over the span of several years. These days, though, they tend to live more sedentary lives in the isolation of deep wilderness, because where their’s and humanoid’s paths cross, a fight almost always seems to end up breaking out.

More fun facts below:

- As a weird quirk of their evolution, goblinoids are better able to understand large numbers as a concept than humanoids. Where the humanoid mind struggles to imagine numbers into the thousands, tens-of-thousands, and beyond, goblinoids do not. This is theorized to be due to the fact that goblinoids evolved from an animal that had a herd-like social structure, rather than a pack-like one. An individual could need to know hundreds to thousands of other people on a personal level, and those that could work in such large numbers tended to be the most successful members of the herd, eventually selecting towards this particular quirk. As a result, Goblins and goblinoids are fantastic trend-spotters, and have both a fantastic memory and a quick mind for mathematics. It’s no coincidence that their agriculture requires keeping careful track of plant and animal populations across wide tracts of land over many years, and figuring out how to manipulate them season-by-season to the benefit of both themselves, and for the local ecosystem.

- Goblin clothing and fashion is quite unique when compared to humanoid clothing. Goblins do have a taboo against nudity in most cultures, but the structure of their body means that what they must cover differs. All goblinoids are mammalian, though their breast tissue is on their stomach, not their chest. To have an exposed belly, then, is considered appropriate for men, but not women, in Goblin societies (this, of course, can vary depending on societal practices regarding nursing, but that’s a whole different topic). An exposed chest, meanwhile, is commonly considered a sign of bravery in warriors, though more often than not warriors will wear chest-plates in real combat. Everyday styles, such as an exposed chest, are designed to allow for ease of movement in both bipedal and quadrupedal stances. The classic shirt, as humans style it, tend to pull and rub at a Goblin’s shoulders, which are structured more like that of a very flexible cat than a human. A lean towards functionality does not stop Goblins from accessorizing, though, covering clothes in embroidery, beadwork, and decorating with anything that shines or makes a nice jingling sound. Patterns and motifs may stem from Goblin folklore and history, or may be adopted from other species’ cultures. Clothing style is not restricted based on sex in any case other than when it comes to nudity in a particular culture, but it is common for those with magical ability to wear styles that differ from those who do not.

- Goblins have brightly pigmented skin, ranging from green to yellow to red, with the depth of color believed to signal good health. They may very rarely have striped or spotted patterns on their skin, but if not painted-on, this tends to be the result of an individual having some hobgoblin or bugbear ancestry, rather than a naturally occurring pattern. Compared to humanoids, they have an extended hairline, which starts lower on the forehead, extending down the neck and back, and across the shoulders. It often stops at the low-back, but it is not unheard of to have a furred tail. They range between 2.5 to 3.5 feet in height when standing bipedally, though are taller when their ears are taken into account. They are mammalian, and give birth in litters of 1-3 pups per season. Goblins have retractable claws, and their teeth fall out regularly across the seasons, though they only fall out all at once if a Goblin is in truly dire health. Lost teeth are often given as a sign of affection to family, friends, and/or lovers. While Goblins may not be religious, they are often spiritual, and keeping a loved one’s tooth is thought to help keep track of them, in life and in death. In fact, when a particularly beloved Goblin passes, when they are interred below the roots or in the hollow of a tree, they are often buried with great numbers of living Goblin’s teeth, so that they may find and recognize one another again in the world beyond.

#the gallery #goblins #d&d #spec bio #speculative biology #fantasy art #dnd art

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lets-try-some-writing · 8 months

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Oh god the vampire au you posted really scratched my brain in all the good ways!!!

But what if the decepticons took the kids? It's funny how they're after the three under the autobots care and doesn't bother with other humans I wonder why? I'd definitely want to see which decepticon each kid would be assigned to!! And how would they behave during their conversion!! Specially megatron there's no way he doesn't want one of his own

Arachnid would definitely be a spark eater! I mean do you see how destructive she is! She definitely prefers newly formed sparklings spark!!

Mwhaha, I do love the vampire AU and this ask. It gives me more concepts to play with. Oooh and yes Arachnid as a sparkeater makes a ton of sense.

And of course, ANGST (with a healthy dose of fluff)

Previous part here.

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It is a natural part of any Cybertronian's nature to feel the urge to bring more into the fold once their bloodline stabilizes and they find themselves mature enough to undertake the task. The Decepticons are no exception to this, but even with the number of Cybertronians falling into near extinction levels, they still have standards. Regardless of faction or frame type, Cybertronians are picky when it comes to their choice of who to bring into the fold. Bringing in adults is too risky due to their biological parts having settled and being unwilling to accept new components. Attempting to take in weak young is a waste of effort since they would not pass the aches and pains phase of the changes anyway. And then of course every frame type has their own unique specifications regarding what they are looking for in young as well.

Its such a hassle to the point where despite being on an organic world with millions to choose from, the Decepticons simply can't find it in themselves to sift through the countless young spawn. They have a war to win, trying to set up trials to find the perfect young is something they do not have the time or resources to do. Thus until the human children made their presence known, the Decepticons abstained from attempting to fold any human young for fear of having it backfire horribly. Soundwave was making valiant efforts to hunt down potential suitable young, but the going was slow with how much Decepticon forces needed to be focused on the war effort.

Potential sparklings needed to have certain traits in order to be worth the effort of attempting to fold. Not to mention every single mech on the Nemesis had certain parameters they needed to have met in order to even consider a candidate. It was simply too much work to meet the needs of every mech willing and wanting to bring more into the fold. But then the Autobots had to bring the human children into the mix and make the selection process FAR easier.

The children were intelligent enough to be of use to the Autobots during combat. They were strong enough to survive even amongst fighting giants and dangerous relics and substances. They were wise enough to learn and adapt, sticking to their partners and working as well as they could with their fleshy frames. Most importantly, each of three human young presented traits that matched the specifications of every frame type on the Nemesis. Any frame type that wanted the children would find success. They met all the parameters.

They were perfect.

Of course it took a degree of convincing on Soundwave and Starscream's parts to get Megatron to even agree that the idea was reasonable. However once confirmation was given to retrieve the children for the purpose of bringing into the fold was complete, those who wanted young readied to act. They were no fools, they could see that the Autobots had already laid down their claim, but there was still room to act. There would be no stopping the CNA contribution of the Autobots from sticking, but they could most certainly attempt to drown out as much of it as possible with their own bloodlines. And of course there were still rules to be followed.

Knockout and Breakdown had wanted to have a sparkling of their own since the very beginning and long before the war. The time for a journey to find worthy young simply never came before and during the conflict. Now though, there was a chance, and neither were willing to lose it. They needed an organic child who matched their grounder specifications, one who would be stable and level headed. With that thought in mind, they took one look at Jack and decided he was the one for them. But of course, they couldn't just snatch him. That would cause increadible damage to him during his development and earn them the ire of Arcee. No, such things happened on Cybertron too when different mecha took an interest in the same organic. There were protocols and rituals to handle such affairs, and while they were indeed on opposite sides of things, Knockout and Breakdown were going to follow the old rites regardless.

In accordance with tradition, Breakdown and Knockout sent a transmission to the Autobots and Breakdown covered up his Decepticon faction marker. Arcee was incredibly skeptical, especially with her boy still not knowing he was undergoing the first stages of the changes. However the rules have almost always been honored, and Breakdown at least was long known to be honorable. Thus with a great deal of apprehension and accompanied by most of the team, she went to speak with the duo on neutral ground. The discussion was... tense to say the least. But with neither of the Decepticons having earned Arcee's direct anger, an agreement was settled on despite the protests and arguments that went on amongst the team for over an hour.

Oaths were made, pacts agreed upon, and the rules set in place. There were a few quips and a few instances were discussions nearly fell through, but all those present were long since sick of the war. They wanted new sparklings, and Jack having additional caretakers would increase his chances of survival and developing well. As such the path was set and it was agreed upon that once the changes began in earnest, Arcee would allow Knockout and Breakdown to serve as secondary Sires. They offered her energon samples of their own, and as soon as the moment presented itself, she began offering Jack their energon alongside her own. He would still be HER boy first and foremost, but Knockout and Breakdown would feel the beginnings of the tie and slowly gain sway too.

As Jack's changes progressed and the time to take him away from his mortal family drew nearer, Arcee prepared to begin sharing as required. A carrying chamber was installed near her spark so that her young ward could be kept near to her and her Decepticon co-Sires were allowed to begin coming to visit their young charge when he was sleeping at base. Until he forgot his mortal life he could not be allowed to see them while awake, but their presence eased Jack enough that it was clear Knockout and Breakdown had a claim on him too.

Arcee tended to him during the day, but when he slept, Knockout and Breakdown were allowed to come and sing to him, holding him gently as he fell into deeper and deeper sleep with every passing cycle. Everything they did had to be overseen by Arcee and she was higher on the hierarchy of Sires tending to Jack, but so long as they listened, they were allowed to care for him. There were rules, and both Decepticons were obliged to offer Arcee deference regarding Jack in any capacity unless they were willing to fight her for for the right to be his main Sires. But neither saw the need, Jack was their too and that was all that mattered. And while they did sneak the boy a few gifts and run their digits along his small frame whenever they could get away with it, they kept to the rules and didn't make a fuss. When Jack forgot his mortal life they would be given more freedom to treat him with the affection they both wanted above all else to offer. June may or may not have found herself with more offerings she didn't understand in response to two additional Cybertronians taking an interest in her only son.

But of course it was not just Knockout and Breakdown who wanted a sparkling. Starscream saw the chance to have a sparkling and he was willing to do anything to take it. Soundwave too considered it, but he stepped aside the moment he saw Starscream's optics linger on Miko. He was not desperate in the way Starscream was and he saw no need to fight for the right. He could have a sparkling of his own in due time, and thus he did not interfere when Starscream watched Knockout and Breakdown somehow manage to make a deal and proceed to plan to do the same.

However unlike Knockout and Breakdown, Starscream was completely unwilling to take on a secondary role when it came to Miko. He was upfront when he landed before the Wreckers on the battlefield and made his intent known. Bulkhead and Wheeljack were of course unwilling to make a deal at first, but with how much care Miko needed, there simply wasn't much room to reject the seeker's offer. He raised dozens of sparklings with his trine prior to the war and was familiar with the Vosian methods of handling little ones. He had experience, a trait which both Bulkhead and Wheeljack lacked, especially when faced with the fact that Miko was quite likely to be a rather difficult sparkling to handle during the aches and pains phase of the changes. They hated offering any sort of leverage to Starscream, and Optimus was not at all pleased when they brought a slumbering Miko out for the seeker to see since neither were willing to allow Starscream into base.

Despite the numerous instances of Miko very nearly beating him into scrap with the Apex armor, Starscream was not at all malicious the moment he sensed that she was undergoing the changes. Bulkhead and Wheeljack kept a blaster aimed at his helm the whole time he cooed at Miko as she slept. However Starscream merely softened his voice and sung quietly to the sleeping child, running his digit through her hair to feel the faint resistance that came from flesh being turned to metal. There was an urge to take her and run, but Starscream abstained. She was tied to the Wreckers whether he liked it or not. It was best to wait until she forgot and then involve himself fully. So instead of fighting, he offered some of his energon and took to the skies with Bulkhead's commlink line. Starscream received pictures and updates regarding Miko's development from that point forward and he eagerly counted the cycles until she would be ready for him to become part of her life.

Seeing three of his inner circle begin making deals to have sparklings of their own, Megatron's carefully hidden desire for one to raise began to rise. Two of the three were already claimed, and while he could hunt down another human to bring into the fold, there was a more malicious part of him that was determined to try and take Optimus and Ratchet's little pride and joy for his own. Rafael was bound to them, that could not be changed, but Megatron might be able to gain leverage as well as a sparkling if he played his cards right. Optimus would never agree to share, not with him anyway. But the Prime allowed Breakdown and Knockout to associate with his team and begrudgingly offered updates regarding Miko. Who was to say that Megatron couldn't extend his own influence to gain a bit of a foothold?

It was not difficult to convince Knockout to bring a vial of Megatron's energon with him during his next visit to see Jack. The medic was downright terrified at the concept of trying to sneak Megatron's energon into Rafael's supplements, but he did not dare disobey when the threat of being kept from Jack was shoved in front of his face. Megatron could only smile in mixed joy and malice when he began to feel the faint pulls of a tie to Rafael blooming within him after around a month or so of having Knockout slip his energon into Optimus and Ratchet's contribution. He only grew more and more pleased when he received a message from the Prime demanding to know what he'd done.

Optimus: Megatron, what have you done to my sparkling?

Megatron: Nothing much Prime. I have simply assured that you will now have to agree to come to some sort of truce with me.

Optimus: I will do no such thing, not while you threaten Earth.

Megatron: Who is to say I will threaten Earth? This world is filled with young organics ripe for bringing into the fold. It would be foolish to destroy it.

Optimus: You have tried before.

Megatron: I have, but now I have an investment here. That sparkling of yours now has my energon flowing through his veins. He needs my aid too now.

Optimus: That is an egregious breech of sparkling developmental laws-!

Megatron: You and I both know those laws have been obsolete since Cybertron fell. Besides, what's done is done. Your sparkling is now also mine. If we do not come to some sort of agreement, he will die or end up like Arachnid.

Optimus: ...

Megatron: Well Prime? Do you wish to talk on equal ground or continue this game and risk the life of your young charge?

Optimus: How much do you wish to be involved in his life?

Megatron: I want to be a Primary Sire.

Optimus: That is too much.

Megatron: Is it? You still have Bumblebee do you not? You and your lapdog medic may have the sparkling for half of his development and I will have him for the rest.

Optimus: You are a monster.

Megatron: So what if I am? Our whole species has been regarded as such since the beginning. We steal the young of others to make into our own. How is what I am doing any different?

The team were quick to pinpoint Knockout as the one who put Megatron's energon into Rafael's supplements, but by that point there was nothing to be done. The changes were underway, the children were nearly ready to be collected and their mortal families fully compensated. The time for debate was over, now they needed to make some sort of truce or possibly lose the first sparklings brought into the fold since the height of the war.

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bestworstcase · 1 month

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Out of curiosity (and some confusion), how do you think Faunus came about? Unless I'm misremembering (in which case this would be pretty awkward) Faunus didn't exist in the First Wave of Humanity, and given that the two creation myths we're presented with (not even by an actual Faunus) disagree on almost every point I'd be surprised if there was an actual answer-

you’re remembering correctly that the faunus are unique to remnant. also tonight has been one of my periodic episodes of being unhinged about this so here is some Background Reading.

of the two faunus creation myths one is explicitly a very old faunus oral tradition and the other reads to me very strongly as a syncretism with the (human) brother-cult, in that the earlier conceit of freely chosen, joyful transformation and liberation by a wild but benevolent trickster god is retained but presented within an explicit framework of divine judgment and moral imperative to be peaceful and harmonious or else bring about self-annihilation through conflict. which is exactly the sort of cultural evolution that you’d expect to get from refracting ‘the shallow sea’ through the eschatological prism of ‘the two brothers’ and the doctrine of the brother-cult generally.

(for a real historical exemplar of this sort of shift occurring, see the cultural remapping of ambiguous deities in many pre-christian polytheistic traditions onto the christian idea of The Devil; this is fairly ubiquitous but the most generally accessible case is the popular conception of hades as an evil god and hades as hell, whereas in actual practice hades was the god who ruled over hades, which was where everyone went when they died and encompassed a variety of different areas raging from very nice to okay to unpleasant.)

see also: ozpin’s commentaries on ‘judgment,’ which gestures at exactly this phenomenon. “faunus always cast their god as a wise and noble figure, while human stories portray the same god as a trickster, not to be trusted.” he identifies both tales as faunus in origin (& certainly the characterization of the god of animals in ‘judgment’ is more ‘wise and noble’ than ‘trickster,’ although i think ozpin is also showing his own biases here because the god depicted in ‘the shallow sea’ is a trickster who is also very wise, honest, and fair. so ‘wise and noble’ vs ‘untrustworthy trickster’ is something of a false dichotomy, but also one that maps perfectly onto the gods of light and darkness as depicted in brother-cult doctrine.

<- the way rwby Handles religion is really excellent

anyway. i have a theory.

it’s lightly implied that grimm and faunus came first, humans second. (per WOR: there has never been a time in human history without grimm, and faunus have been around as long as humans “if not a little longer,” and there was a historical period when faunus were more numerous than humans.)

which is incongruous with the faunus’ own creation myths, both of which hinge on humans choosing to be transformed into something new by divine power.

salem squares that circle. salem was the last human of the old world, all that remained of humanity, and by extension she was also the first person of remnant. if faunus came to be before humans were revived, and salem embraced the faunus as her own people as discussed in the background reading post, it’s perfectly cogent for the faunus to be older than this humanity whilst understanding themselves as a people who came from humans, because for the very oldest one of them that was true.

which explains the myth, more than the factual history, but i do think it probably gets at the factual history too, because…

mechanically speaking.

what did salem do when she jumped into the pool of grimm? she combined the waters of life (pure creation) with the waters of grimm (pure destruction) into a new kind of being (herself, a grimm-person) in the same pattern as before (herself, a human-person with free will and a dualistic nature).

that’s, uh, how the brothers created humankind. and the jabberwalker. and the cat by combining their magic (dark’s fire, light’s smoke) into new kinds of beings modeled after themselves.

what did salem hope to achieve by rebelling against the brothers? she wanted humanity to “claim the powers of their creators and perfect their own design.”

and she failed but also succeeded in the end because she Did That—in the very literal sense. salem Remade Herself in the pool of grimm; jinn’s framing of the story through ozpin’s point of view elides salem’s agency at every step and implies an uncomplicatedly suicidal motive for jumping into the pool of grimm, but—i mean–

—the blacksmith has been right under our noses this whole time because she’s the form that salem gives to the idea of remnant’s souls. the lore put forward in v9 recontextualizes and clarifies a lot of what happens in the lost fable, not just in terms of the interpersonal history with the brothers but also the reason certain things unfold as they do and (most importantly) where the missing pieces might be.

the god of light’s understanding of balance is wrong. death as permanent unconscious stasis is not the natural order of things, it’s an arbitrary rule the brothers made up, and they themselves are beings from a place where death is a moment of rest and healing before rebirth as yourself again. they made humans in their image. balance is something that happens when things are given the time to figure themselves out.

what happens to the nature of life and death on remnant when the brothers remove themselves from the artificial system they created? it’s not balanced. it’s like a ball perched juuust at the upper rim of a ramp after you pull your hand away: it might not start rolling right away, but if you leave it long enough then something will eventually give it a nudge, whether the wind or the vibrations of a truck passing by or tiny imperceptible movements of the earth, and then that potential energy will be released.

the “death is when you stop and don’t change, forever” system was a ball sitting on a ramp in a room with someone who both really wanted to get the ball rolling and had absolutely nothing better to do than figure out how to give it that nudge. for millions of years.

yeah? here’s salem telling ozma “our souls transcend death.” that’s a surprise tool that will help us later.

the natural order of things, in remnant as in the ever after, is change. changing, it rests. ascension is just how it is in the ever after, meaning it’s in balance, meaning it’s the rhythm the ever after kind of settled into over time. the ball is on flat ground down there, jabber and all.

but the ever after didn’t begin the way the brothers’ world did—it wasn’t created ex nihilo with a specific prescription for how life/death were going to work, it was cultivated into a garden from wilderness. (ascension is the cycle of the harvest: when you have finished, when you are ready, the tree calls you back—you’re reaped—and then the seeds of you are sown and you begin again. this is a life/death system that developed through gardening!)

so it’s silly to imagine remnant’s balance will necessarily look exactly like the ever after’s balance. different beginnings, different variables, different environment. neither the ball nor the ramp are identical, so why in the world would the outcome be the same?

here’s pyrrha chanting that it is in passing we achieve immortality, through this we become a paragon of virtue and glory to rise above all, infinite in distance and unbound by death, i release your soul. that is also a surprise tool that will help us later.

but we can look at the ever after to get an idea of what the “lowest energy state” for the rolling-ball of a life/death system is, practically speaking, because—like i said—ascension is a cosmic repetition of how the ever after was made. the garden is populated by living fruits and blossoms of the tree who are reaped and sown in a continual cycle. the proverbial level ground is a pattern that wears in some grooves for the changing to follow. rivers, to change up the analogy a bit, don’t go flooding around everywhere all the time; the water flows through its channels, generally.

so, what patterns has remnant got, potentially?

death either takes a really, really long time (because it was dammed up for so long, the reservoirs is deep) or happens really fast, in a flood (what happens when a dam breaks?)

dying once makes you infinite (salem drowned in the fountain of creation, and became immortal)

dying twice unbinds you (salem drowned again in the pool of grimm, and remade herself into something new)

the “really fast” way of dying can maybe bind you to someone else, changing both of you in ways you may not like (ozma’s soul is continually recombined with another and he is changed against his will)

penny ambrosius bootleg ascension (i hope ambrosius enjoys his probable eventual new role as the chthonic god of remnant’s very complicated afterlife. he cannot possibly do worse than the guy who built the dam.)

however ozma’s curse gets resolved is likely to complete or alter the existing pattern(s)

gestures at the maidens. that’s a “really fast” way of dying that follows both the ozma pattern (the maidens cleave to new hosts) and the unbinding salem pattern (maidens choose themselves and also do not compromise the free will of the host or corrupt or take over the host’s conscious mind or identity)—maidens are twice-dead because they were cut out from ozma’s soul (<- spiritual death) and their cycle began with the deaths of the first four women who were given this magic.

gestures at whatever the hell is going on with silver-eyed psychopomps and the white liminal space between life and death. ruby’s eyes make her a conduit of some kind for that passage through the void; she hears pyrrha’s and penny’s cries for help (and pyrrha’s last words) after they die, and in the ever after she is haunted by penny’s sword. and the light motivated by her desperation to save people she cares about appears to be the white light that fills the void where life and death both part and come together again.

if death is a reservoir behind a dam and it happens either quite fast or very slow, what—or who—are the floodgates? [checks notes] the biological children of the “really fast” pattern-maker absent the interference pattern of salem. obviously.

notably, ozma’s influence as a pattern-maker is constrained to specific things with a direct spiritual or biological connection to himself, which tracks because his reincarnation sitch is relatively new. (likewise, i expect the penny ambrosius bootleg ascension deal will not have far-reaching effects any time soon; there are much older, deeper patterns at work here.)

salem, on the other hand, is two fucking hundred million years old. probably. on account of plate tectonics. which means that she has a much greater gravitational pull, so to speak, and is most likely to be that pattern that life/death on remnant ‘wants’ to fall into. the ball rolls down; water will flow into the deepest available channel.

so she died and became infinite and then died again in a manner she hoped would “take [infinite life]” away from her (TAKE AWAY FROM AN INFINITE QUANTITY AND AN INFINITE QUANTITY REMAINS. WAS SHE SUICIDAL OR DOING MATH.) and so remade herself.

salem wandered the face of the planet alone, awaiting a death that would never come. then she jumped into the pool of grimm. then ???. then the god of light pulled ozma out of stasis and told him “mankind is no more, but in time they’ll come back” and also he’ll kill everyone again if ozma doesn’t make them obey teach them to live in harmony with each other and stop demanding things from the gods :). THEN ozma comes back and there are human civilizations everywhere and all the faunus he encounters are in cages.

remember how the faunus are older than humankind? tha-at would be our “???” gap between salem crawling out of the grimm pool and light digging up ozma. probably.

you’ve got grimm. there have, as it’s said in ‘the shallow sea,’ always been grimm. they survived the moonfall.

you’ve got faunus. they were created when salem remade herself—the infinite life taken away from her brought them to life, in her image, just as original humans were brought to life by the brothers’ power in the brothers’ image (and of course the power salem has now was the brothers’ power and is now hers). this is maybe not what she was expecting to happen but she’s not alone anymore and, unlike humans of old, the faunus can coexist peacefully with the grimm with salem to mediate.

you’ve got the god of light taking a peek to see if perhaps salem is ready to grovel in repentance yet and going HEY WHAT THE FUCK THAT’S NOT ALLOWED…

…and hastily attempting to get the situation back under control by arranging for the “right” creations (he and his brother’s) to crowd out the ones salem defied him by making (WHEN WILL SHE LEARN HER LESSON!) and for good measure sending her beloved to punish her (SURELY THIS WILL MAKE HER SEE THE ERROR OF HER WAYS. BECAUSE SHE’S DEFINITELY THE ONE WHO’S WRONG.) because he is the god of the sunk cost fallacy first and foremost.

of course, the mere fact of allowing mankind to rise again achieves nothing but completing the “very slow” pattern—humans were dead for a long time and now they’re alive again. whoops! this is what happens when you meddle with forces you don’t understand.

anyway i think probably everyone on remnant reincarnates very slowly, not the way ozma does and also not the way ascension happens. i think when you die in remnant a part of you stays behind—infinite—to wander the face of the planet until it finds a way to guide the rest of you back home, in whatever form that takes. (BUT AS A BABY PROBABLY.) ’cause that’s the salem pattern.

points at the autumn leaf dancing around pyrrha’s memorial statue that guides jaune to see her so he can meet her mother and say goodbye. That’s Actually Pyrrha For Real. maybe. probably. a sliver of her soul left behind to find her way. i think faunus have the same cycle but it’s a bit smoother for them because they were never stuck in the old artificial death-as-stasis system and also this is why faunus genetics are so FUCKING weird, it’s because if you’ve got cat ears the first time you have cat traits forever even if in one of your lives your parents are, like, a crab faunus and a tortoise faunus. possibly children of interracial couples are more likely to be new, hence the more genetically logical outcome of usually inheriting the faunus parent’s animal.

but yeah i think the faunus like popped into existence as a consequence of salem grimming herself. that was my working theory prior to volume nine on the basis of mechanically how humans were created but in light of the v9 lore it’s quite literally the most thematically coherent explanation.

#salem is going to win because she has in fact already won. light is ineffectually raging in a last ditch effort to make her not have won.

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