#Peruvian mythology

[bestiarium]

The Tunchi [Peruvian mythology]

In the upper Amazon area, there is a belief among the native tribes that if an unhappy person, one who was abused and neglected throughout his life passes away, their soul may be bound to the world of the living and will haunt the forests as a wandering spirit. Among mestizos, such a ghost is called a Tunchi. In some versions, it is the spirit of a human who died a particularly tragic death, and then usually by drowning.

A Tunchi is always invisible, but can be recognized by its signature whistling: these beings often whistle mournful, sad songs at night. Those who believe in Tunchis always fear them, for these are very dangerous creatures. For this reason, children are told that they should quickly return home when they hear whistling at night. When angered, a Tunchi can inflict diseases on people. If the spirit was a murder victim, he or she usually attempts to seek revenge on the killer. Whatever you do, you may never mock a Tunchi, because this will greatly anger the spirit and cause it to chase after you.

I’m uncertain how this can be known if the spirits are always invisible and dangerous to approach, but these creatures have a somewhat birdlike shape. The Tunchis of people who drowned sometimes appear in canoes on the water, whistling while moving upriver. The idea being that they died downriver and are attempting to return to the homes they owned when alive.

Note that the term ‘Tunchi’ has a lot of different meanings between different groups and tribes, whereas it refers to the dangerous spirit among mestizos. Among the Shuar people, it is a mythical dart made of spiders, whereas the word refers to a shaman or healer in the Aguaruna tribe. Yet a third group, the Achuar, uses the word to refer to a magical curse that makes the victim ill.

Source: Beyer, S. V., 2010, Singing to the Plants: A Guide to Mestizo Shamanism in the Upper Amazon, University of New Mexico Press. (image source: peru.info)

#Peruvian mythology #ghosts #spirits #mythical creatures #myths #mythology #creatures #monsters

[briefbestiary]

Due to her sheer size and the portion of the rainforest growing upon her back, Motelo Mama's prey will naturally approach her as though she were merely another portion of the environment.

#BriefBestiary #bestiary #digital art #fantasy #folklore #legend #myth #mythology #motelo mama #amazon rainforest #legendary creature #peruvian folklore #peruvian legend

[nickysfacts]

All hail Chuqui Chinchay! the jaguar god of non-binary people!

🏳️‍🌈🐆

#history #quariwarmi #chuqui chinchay #lgbt #inca #indigenous history #third gender #peru #mythology #native american #incan history #lgbt history #dual gendered god #gender #jaguar #inca society #incan empire #indigenous americans #peruvian history #myth #shaman #inca god #non binary #indigenous people #religious leaders #third gender history #nickys facts

[jeandejard3n]

INDIANA JONES: Peruvian Temple

#indiana jones #raiders of the lost ark #temple of doom #the last crusade #kingdom of the crystal skull #dial of destiny #harrison ford #spielberg #adventure #expedition #lost temple #peru #peruvian #peruano #mayas #inca empire #aztec empire #aztec mythology #aztec art #mayan art #the jungle book #jungle book #jungle #rainforest #tropical #nature exploration #professor jones #henry jones #archeology #this belongs to a museum

[suzanna-polixena]

What can I say, I love Blood Angels ❤ And I'm glad to know it's mutual because they come to my aid whenever I feel down and want to bleed inks on marker paper and mentally rave to 70s synthesizers.

And big thanks to Soyuzmultfilm for the amazing animated short inspired by Moche/Mochica mythology. It's so visually stunning and trippy and more importantly it shows proper research of the source material.

#blood angels #warhammer 40k #azkaellon #lemartes #Erasmus Tycho #Corbulo #dante #Luis Dante #mephiston #Astorath the Grim #copic markers #moche #mochica

[rainbowchewynuggets]

IT'S DONE IT'S DONE IT'S DONE IT'S DONE

I've been grinding away at this for months. I can't wait for people to see it. This project turned out to have a lot of gears behind it, so check out the artist statement below!

vvvvvvvvvvvvvvvvvv

I love this song. The first time I heard it, I already began picturing a story where a woman stumbled upon a gathering of birds in the forest and became so enthralled by their song that she partied with them until she became a bird, herself. It turns out that isn’t too far off from the singer, Yma Sumac’s, first experiences learning to sing. She would imitate the animals near her home in the hills of the Andes mountains as a very young kid, developing a vocal range that would make her famous later on.

From there, I fell into a montage of research on her life and the Peruvian festival music that defined her early career, as well as the complicated story of the exotica music she became most known for in the United States. I followed that up with a month-long dive into northwest Peruvian culture, mythology, ornithology, flora, and topographical studies. Then, I blacked out somewhere during the drawing phase, and now I’m here.

While I really value what I’ve learned while doing this project, I think it’s important to note that I did it all as an amateur researcher and a foreigner to the subject. I decided it would be a little conceited to try to make a totally accurate depiction of a traditional Peruvian festival, so I instead focused on referencing the regional variation of these traditions. Costumes and music have their own specific designs and textures depending on the area, and dances and festivities reflect local history. Yet, it all shares the same themes of celebrating prosperity and surviving hardship. Common motifs and characters reflect a shared heritage and cultural identity that coexists with individuality. It’s all just very cool to me.

So I asked myself, what if these birds had their own version of these traditions? What would a bird sing a folk song about? What would be new and cool to Yma, but still familiar enough that she could join in? (I got lucky, since Peruvian festival culture is already very reverent of birds and feather patterns.)

What I ended up with pulled a lot from the Carnaval de Cajamarca, which originated in the next town over from Yma’s childhood home of Ichocán. It also references these dances, among others:

Huaylarsh - Los Emplumados - Marinera - Tondero - White Dance / Los Chunchos

It’s also important to know that I took a lot of creative liberties with my research to pull the story together. I hope I haven’t used any elements in a harmful or insensitive way–and if I have, I’d like to know so that I can apologize. (I also missed out on some cool stuff, like the White Dance always having shaker beads on the legs.) I highly encourage you to have a look at some of the sources I did, and to look further if you’re interested. I found it all very enlightening, and I hope you will too.

Yma’s wikipedia, which seems like a mostly accurate overview based on other sources

Her official website, curated by a fan and friend

A segment on NPR about her musical career

The interview I got the opening from

The ornithology archive that saved my ass

I’d like to work on uploading all the frames as an image reel somewhere so they can be looked at individually. Might take a while, though.

Thanks for watching!

(To those using a screen reader, the video description follows this message. I'd like to apologize for putting the description as the last thing on the post. Not only is it extremely long, but this seemed to be the rare instance where the description would benefit from the context of the post's commentary before being read itself. I wrote and formatted this description in a way that I hoped would apply to aid various disabilities that impede enjoying music videos, and I am very interested in getting feedback.)

DESCRIPTION

[The following is presented as an animatic (a series of still images edited into a video) set to music. The art is drawn with condensed yet fuzzy pastel-like linework and full color. The song used is “Chuncho” by Yma Sumac. The song was composed to imitate the various sounds of tropical birds and animals. It has no lyrics, at least in a traditional sense. I, the describer, have tried my best to translate the especially abstract nature of this song into language that can be interpreted through text. Please use the best of your imagination to fill in the rest. An audio description will always refer to the visual description that follows it.

Audio: A male interviewer asks, “Since you are referred to the bird who became a woman in your native Peru, Ms. Sumac, may we hear your exotic voice?”

Visuals: A title card appears with gold lettering on a black background. It reads one word: Chuncho. The word is depicted as if it were carved into a flat surface with loose individual strokes.

Audio: A woman answers, “I will try to imitate the birds, as I did in my earliest years in the mountains of Peru.”

Visuals: Credits appear, also in gold text: Sung by Yma Sumac (Zoila Augusta Emperatriz Chàvarri del Castillo. Drawn by Carlie Hughes (rainbowchewynuggets).

Audio: The music begins with the steady four-note strumming of a guitar, which will continue throughout the song. Then, it is accompanied by low ragged notes from a heavy woodwind instrument.

Visuals: A green cicada flicks its wings as it rests on a plant with jagged leaves and a little white flower growing from the middle. Beetles of green, red, and yellow crawl around on trees and ferns among puffy yellow blooms. Yellow humpback beetles huddle together on a cold stone surface as mothlike butterflies cling to hanging purple-grey moss in the background. A cluster of butterflies of black, green, blue, orange, purple, and red flare their wings along stems and vines. A line of spiny cocoons hang from a vine leading up the center of the group.

Audio: A vocalist, the same woman as before, begins to sing in vocables. Her first notes are short, round, and bubbly, like the chirping of a small bird. The lilt of a flute follows.

(“B-bm, bui-bui-buiii…”)

Visuals: A small village sits on the side of a forested and scrub-covered mountain at night. Buildings twinkle with yellow and blue window light through the darkness. At the edge of the forest, a tall lean woman appears with warm orange skin, long black hair, a simple green dress cinched at the waist with blue trim on the neck, hem, wrist, and waist, and a powder blue shawl tied at the chest. She sneaks away from the village into the temperate tropical forest, glancing back to make sure hasn’t been followed. She grows more at ease as she leaves the buildings behind and strides between bushes, deeper into the trees. She passes a flowering plant with orange petals. Its bulbs are held aloft on long, long stems.

Audio: The vocalist sings in elongated threads of notes, wavering in a minor key in a mischievous way.

(“Whu, hu-uuuu…”)

Visuals: The woman grazes her fingers along a bush with little black berries and white spiky flowers. Her hand passes up and down with the shape of the bush, like the rise and fall of an ocean wave. She walks uphill, past pink clover and increasingly frequent stones.

Audio: The vocalist clicks and rolls her tongue with her notes, like drops of water splashing across stones.

(“Dlu, dlu-dlu-dlu-dlu-buiii…”)

Visuals: A voice suddenly gets her attention. The voice passes by as a green line with wide wave forms. The woman follows it. She passes through a stone forest–dense moss-covered rock formations that reach up toward the sky. The ground below is streaked with snake trails. The line of song is now yellow. It leads her forward along a trail through the rocks. She climbs a more precarious formation of boulders, through dense shrubbery and a dramatic rocky landscape. As the voice shifts redder, her colors shift pinker. Even the environment’s colors are shifting to pinks and blues. She climbs a hill, past tall spindly trees and a nearly vertical mountainside. The pink line of song leads her still upward.

Audio: The vocalist belts out the deep throaty call of a tropical bird trying to be heard far and wide. The notes increase in frequency, then widen into a whoop that softens to a murmur. The flute follows her with a few short forceful notes.

(“Ah, bya bya bya-bya-bya-bya-bya-byaaa, whoa-whoa-whoa-whoa-wi, wa-wa-wa wiii…”)

Visuals: When the woman reaches the top of the hill, a light shines up at her from the other side, returning her original colors. Below, she sees a gathering of human-sized bird people celebrating on a leafy platform. They’re dancing in different sized circles around a tree at the center. Rainbow colored ribbons of different lengths have been tied to the branches of the tree and hang down to form the silhouette of a condor. More ribbons and colorful bulbs hang from the leaves above. The line of song (now light blue) travels in a circle around the tree trunk. The camera zooms in, revealing details of the birds and their costumes. The birds are pigeons, hawks, cuckoos, seedbirds, and corvids. They’re all dressed in colorful hats, vests, slacks, and dresses with patterns that reflect those of their feathers. A circle of spotted woodpeckers closest to the trunk wear purple gowns and party hats. The party’s singing expands the blue circle of light. A wider circle of yellow, green, and white birds sit and watch the celebration from the edges of the platform. As a line of bright manakin birds zip by with their hands clasped together, the woman approaches from a nearby branch. She’s enticed by the party and joins the dance, clasping hands with a green parrot and leading the line with a broad smile on her face.

Audio: The vocalist makes a quick sudden series of escalating notes, then makes a hard sound with her teeth and returns to a low whoop. The flute echoes her.

(Ba-bana-baba-cht!,  waw waw waw waw waw waw waw wiii…”)

Visuals: The birds switch to individual dances. A short red woodpecker and a tan long-necked bird with ribbons in her hair dance and sing together, their lines of song intertwining. The woman and three pigeons in red and black dresses stomp their heels in a quartet dance. She follows their steps flawlessly, familiar with the type of dance. When they begin to sing and whistle, she joins them–though her voice isn’t as strong as theirs and her line of song is thin and brittle.

Audio: The vocalist makes a low growl, at first imperceptible, that grows to a steady rumble. The flute follows.

(“Rhhh…, rhh, rhh rhhh…”)

Visuals: Then, the lights darken and redden. The woman stops to notice all the other birds heading to the back of the platform. They climb and flutter up to sit in fruit-bearing branches that grow just beyond. The woman finds herself a spot and picks a piece of fruit to eat. She takes a bite as a show begins. A band of various birds wearing ponchos and cloth hats sit down by the show platform. They play their instruments (flute, guitars and a drum) and count in the performance.

Audio: The vocalist makes more short bubbly chirps. They grow higher in small strings of notes until the phrase ends with a low long note.

(“Bom-bom, t-bom-bom-bom, mbom-bom wiii…”)

Visuals: Five owls appear, bathed in magenta spotlight before the center tree trunk. All of them have their yellow-spotted wings wrapped to mostly cover their black and gold-trimmed dresses. The four owls on the sides are short and red, while the one in the center is tall and bright purple. As all five begin to sing a golden song, they operatically open their wings and extend their feathers. As the light darkens to violet, the black and gold patterns in the folds of their wings leap out as if exposed to blacklight. They extend their arms upward and then double over to kneel on the stage, fully splaying their wings in a dramatic display. The woman watching is transfixed.

Audio: The vocalist rolls a noise from the back of her throat. Once, twice, three times–before hitching the roll up and down and letting it trail off. The flute makes a low hollow arc of a note.

(“Ghhh, ghhh, ghh gh-gh-gheee…”)

Visuals: Cut to the next performance. Two teams of blackbirds with long waving feathers compete, standing on each other’s shoulders to form two pyramids. The one at the top of each team lunges forward to try to strike the other with a long stick, propelled by their team. Their feathers glow with yellow light from above. The team on the left—with orange vests and red sashes—strikes first, only nearly missing. They gloat as the lime vest and green sash team on the right recoils and protests. Then, it’s the green team’s turn to take a confident lunge, forcing the red to frantically pull back in time to dodge. On the next strike, the red team buries the stick in the top of the enemy pyramid (actually tucked under the green leader’s arm). The victim feigns a mortal wound, and the entire team flies away. The red team poses, victorious. The red leader gets down to the floor to greet the widow of the green team, wearing a green dress. She peers at him from behind a silky black wing. As soon as he lands, she whacks him over the head with her own concealed stick. He is surprised. She is unamused.

Audio: The vocalist lets out a ghostly wail that wavers wildly like an eerie wind, higher and higher. A shaker instrument rumbles beneath her voice.

(“Woaaa… woaaa… woaa–”)

Visuals: Next, it’s dark. Three colorful birds in masks and costumes tread the air at an angle on the left side of the screen against a blue and green background. There’s a yellow spiky one, representing lightning. A blue round-feathered one, representing rain. And a spade-feathered green one, representing trees. Long beaded threads tied to their wings and tails wave and tangle across the screen as a group of five hummingbirds in shades of red struggle to survive the “storm” raging around them. The colored ribbons of the central tree are muted and flutter with the power of the wind. Two other birds hug the trunk, nearly out of sight. There’s a prop on the floor to the right made to look like a stone alcove, where more hummingbirds are hiding. The storm bringer birds beat their wings hard, casting the strings of lightning, water, and leaf shaped beads in huge chaotic waves. The five hummingbirds in vests and dresses wince and tumble against the wind, flying together in a tight circle. The threads crisscross behind them, an overwhelming force on the tiny birds’ scale. A red line of song floats up to reach them, guiding them down to the nest.

Audio: When her wail is at its highest, the vocalist pushes it further into the voice of a shrill songbird. The note hangs high in the air, then takes a few steps down and up. The segment ends with the sudden interjection of the low round voice–as if in surprise–and a trailing mumble.

(“Haaa, aa-aa aa-aa aa-aa, hoa? Ah, bw-huh…”)

Visuals: Those in the stone nest finish singing and reunite with the others, pulling them down to safety. A blackbird hiding behind the trunk spreads its wings, sitting on the shoulders of a brown woodpecker. The blackbird’s vest and wingspan are covered in yellow, signaling the coming of daylight. The storm birds retreat and sit still on a nearby branch. The wind is suddenly gone.

Audio: The guitar plays alone.

Visuals: After the stage performances, the audience members move back to the platform. They’re gathered off to the far left side of the central tree trunk, standing in a circle around a single figure. The light of the gathering area is deep plum-purple in far off areas and warm dull pink over the crowd. The empty space around the single dancer is salmon red, and the figure herself is blue.

Audio: The vocalist perfectly mimics the sound of a flutter, of delicate waving in the wind.

(“W-w-w-w-w-w-w”)

Visuals: The camera zooms in on her hand as it flits a pink handkerchief in the air.

Audio: The vocalist belts a pair of bold staunch vocables. The second note is held for several seconds before fading out.

(“Kyen, kyen…”)

Visuals: The camera pulls back to reveal the rest of her. She’s a blue eagle with wings that grade from red at the arms to pink to blue at the wingtips in a wavy pattern. Her smiling beak is bright pink. Her dress is royal blue with reddish-pink trimmed ruffles on the hem of the skirt, waist frill, neck frill, and the flower decoration on the side of her head. She stands with the hem of her dress in one hand and the handkerchief extended in the other in an open invitation to dance. A pale pink spotlight frames her head and shoulders against the darkness, and a dark pink line of song passes behind her. Her partner, an eagle of the same coloration with a blue vest and pants, pink shirt, pale orange sash, a blue hat in one hand, and a pink hanky of his own raised in the other, is calling to her. He puts his hands behind his back and takes high steps toward her. When the two are close, they turn and walk parallel to each other in a slow circle. The male’s back is to his partner. He looks at her over his shoulder with a smile and abruptly splays his feathers to be cute. There’s a layer of pink under his outer coat. She grins, entertained.

Audio: The vocalist repeats the two vocables, twisting the end of the second up into a high wavering trill that eventually soothes and disappears.

(“Kyen, kye–eee, ee, eee, ee…”)

Visuals: The two turn to face each other, circling tighter and tighter in unified song until they’re face to face, looking deep into each other’s eyes. With another turn, they’ve passed by each other and out of sight.

Audio: The vocalist makes a whisper, a ghost of the two vocables. Then, a few quick whistles, barely loud enough to hear.

(“Hyo, hyo”)

Visuals: The woman, who has been captivated by the dance, suddenly notices that the crowd has dispersed around her. Partners are walking off in all directions, leaving her alone. The dance is over.

Audio: The guitar picks up, getting faster and louder for a bit.

Visuals: The woman walks alone in the blue night air along a tangle of tree branches that form a pathway. She walks with her hands behind her back, her face looking preoccupied and a little disappointed. Bushels of soft leaves pass by in the background.

Audio: A high, light pleasant note from the vocalist overtakes the guitar. It grows until it fills the soundscape.

(“Aaa…”)

Visuals: An orange song reaches her from the direction she came, and she stops. When she turns, she sees a blue swift standing on the branch path, far behind her in an opening in the trees. The underside of his feathers is dingy orange, and he’s wearing a black vest, white pants, a rusty red sash around his waist, a bright green kerchief around his neck, and an orange rectangular accessory tied around his neck like a necklace. His face is obscured by a white hat with an orange band. He bows low with a hand on the hat. The hat comes off, revealing inviting eyes and a smiling orange beak. The woman grins and accepts the invitation with determination.

Audio: The vocalist draws long high vocables that resemble a wail. They trail off with a low note.

(“Whoa whoaaa…”)

Visuals: She and the swift untie the fabric around their necks and step toward each other as the line of song forms a ring above them. The woman holds the ends of the shawl in her hands and her hands at her hips with the body of the shawl hanging behind her waist. The bird holds his kerchief out in one hand with the hat in the other, held behind his back. He takes measured winding steps along the branches. The woman mirrors his steps, then pushes off of the main path and lands on an outcropping branch.

Audio: The vocalist’s song wavers back up and demurely bobs up and down, intertwined with tweeting from the flute.

(“Hoa…  ohee…”)

Visuals: Her voice, seafoam green and a little stronger than before, trails behind her. She darts back onto the main branch and ducks behind the bird, then circles around to face him, the two only a few feet apart. They exchange steps pushing the other forward and back and flicking their garments in time with their movements. The woman’s voice grows stronger, nearly matching his. The bird quickly catches up as she moves backward, dancing beside her. The two dancers then leap from the main branch and fall down into the rocky forest below, passing by grassy plateaus and vines creeping through stone. Their song follows all the way down. They leap across boulders in the moonlight, side by side. The swift suddenly stops and folds his kerchief around the center of the shawl, hitching the two together. 

Audio: The vocalist belts a complex series of syllables that mimic the heavy majestic cawing of a large bird or hawk. The flute makes itself known a little as the voice fades out.

(“Hlau-lau-lau hau-au-wau-wa-wiii…”)

Visuals: The woman, at the receiving end of the momentum, is swung wide and lets out a vibrant complex line of song that could match any bird’s. The two pull closer to each other and end their song on a low steady note. Then, they bow to each other as the camera pulls back. They’re standing on a rock that rises above a basin of  water among huge formations of rock. Pairs of birds dance all around them in the shallows.

Audio: The guitar takes over for a bit.

Visuals: The camera cuts to an upward view of a varied group of birds sitting in branches, staring downward with interest. The light from the moon coming down through a break in the trees above is now cool green. The light coming up from where the birds are looking is orange-red. 

Audio: The vocalist lets out the aggressive growling of a cat.

(“U-wau, wau-wau-wau-wau”)

Visuals: Below, the woman is dancing in a line with three reddish woodpeckers in a greenish clearing in the trees. They wear intricately detailed dresses in different combinations of bright green, yellow, red, and black with geometric and floral embroidery. The dresses are cinched at the waist with a piece of fabric covered in colored bands. Their heads are covered in scarves with the same colors and patterns. They sing and step aggressively toward the left of the screen. At the other side of the clearing, a line of four red and white faced woodpeckers with green beaks and wings face right. They wear bright green hats, kerchiefs, and sashes, yellow and black striped vests, and dark red pants with yellow tassels at the ankles. Their black shoes tap against the ground as they make quick little dance steps and flutter yellow handkerchiefs. They hold onto the brims of their hats and then lean down with a flourish of their arms, exposing the red crests of their heads sticking up underneath. The dance then changes formation. The girls dance in a line to the left as the boys step in a line to the right. 

Audio: The growl hushes down to a wavering whisper, like wings beating in the dark.

(“Tchwahh-cwah-cwah-cwah-cwah-cwah-cwah-cwah…”)

Visuals: Out on a cliff by a waterfall, the scene is bathed in cyan. The line of dancers–alternating male, female, male, female–do a hopping dance from partners on the left to those on the right and back again as they move along the cliff, passing behind the waterfall as it disappears into the greenery in the foreground.

Audio: The guitar asserts itself again.

Visuals: Everything is suddenly red. A guitarist in a blue poncho and a red neck sash frets the neck of a guitar with a brown feathered hand. Rainbow ribbons are tied to the headstock. A deep orange song emanates from the strings.

Audio: The vocalist quickly accompanies the guitar with a harmonized version of the growl that revs up climatically, taking steps up the scale until it’s at its absolute height.

(“U-wa-wa ee-ee eh-oh! Oh-oh-oh-ohh!”)

Visuals: A congress of the partygoing birds stand in lines facing each other, all wearing blue outfits with red kerchiefs with rainbow tassels on them. The group jumps up and down in unison as part of a dance. The party breaks into smaller dances, and the woman dances by herself. She’s wearing a green skirt and flowy purple top with red underskirt, waist cinch, and scarf. Rainbow tassels are attached to the overskirt, and they swish with her movements. Beside her are a hawk woman and a pair of long billed bird men dancing in a circle with their ankles locked. A pair of red birds with white streaks on their wings suddenly hoist the woman into the air, as other birds are hoisted in the distance. As she’s held aloft, she sings and spreads her arms, revealing more tassels on her top, resembling wings. Her song is immense and beautiful. The camera focuses on one of the hoisted birds in the background, who has executed a handstand with the person who threw them. The blackbird’s feathers are all sorts of bright colors. The song passes by behind him. The excitement of the party disguises the presence of a looming pair of yellow slitted eyes peering out from a dark spot between the leaves nearby. A trio of purple pigeons dancing in a line with twigs and colored strings in their hands dip and weave together. The one in front balks, noticing the threat at last.

Audio: The high energy of the music suddenly cuts out. The shrill call of a small bird climbs up out of the silence.

(“Eee…”)

Visuals: A striped short legged pampas cat pounces into the center of the dance field. It misses the birds, but the illusion is shattered. The bird people are just birds again. They fly in a frenzy up through the trees to the safety of the early morning sky. The hilltop erupts with silhouettes of wings.

Audio: When the small bird’s call is at its highest, it tumbles back down and transforms into a low disquieting wail. The guitar re-enters.

(“Ee-ee-ee-ah-ahh ahh oohhh…”)

Visuals: The pampas cat has retreated into the dim tawny forest. It stands on a bent tree branch among bushes and hanging moss and stares into the camera with glowing yellow pupils. A tiny rodent scurries by and into a bush. The cat notices and darts after it. Nearby, dozens of bats hang from the underside of a rock formation that extends over a field of berry bushes. Their sleepy heads are tucked into their folded wings. A straggler flaps up to join the rest as the sun continues to rise. Elsewhere, a hive with wasp-like insects resting on the outside hangs over a rock. Sunlight gleams over the scene from a break in the trees in the background. A large brown mouse climbs up on the rock, backlit by the sun. It grabs a wasp in its teeth and leaves before the rest of the hive can wake up.

Audio: The vocalist makes a low steady murmur. A couple shakes from the shaker instrument follow.

(“Hoo…”)

Visuals: A colony of green and brown frogs with purple eye ridges, yellow faces, and orange bellies are asleep on dewy ridges of rock. A green cicada hangs out on a leaf off to the top left corner. The mouse jumps down through their resting spot, waking them all up. The frogs croak a green song as the cicada hangs on for dear life on the swinging leaf. The wind moans through the crevices of another stone forest. The little flowering shrubs that grow on the rocks bristle in the breeze. A variety of green, yellow, and blue lizards poke their heads out of the rocks, into the morning light.

Audio: The vocalist repeats the murmur. The flute follows this time.

(“Hoo…”)

Visuals: The camera pulls back to view the entire rock formation. The still rising sun shines only on the top half of right-facing stones. Long spindly tree trunks grow from the top left, out of sight. Long grass waves on the ground below. An alpaca-like vicuña raises its head from the long grass, facing the light. In the branches of the trees above, various birds perch facing left.

Audio: The vocalist makes a mysterious sound that begins as a harsh sound between her teeth and ends as a whisper. It echoes in the background.

(“Chwah-ah…”)

Visuals: The camera turns back to the village. Golden light casts diagonally across the brown roofs and tan buildings. The silhouette of a small bird flies toward the center of town.

Audio: The vocalist makes the sound again, then pulls the whisper up into a harsh repeated rasp from the back of her throat.

(“Chwah-ah qwah-qw-qw-qw-qw-qwah-qwah-qwah”)

Visuals: Down in between the one-story houses, the bird flutters down. Long shadows lay across a passage leading toward a door on the side of a building. We see the shadow of the woman land in the soft dirt path where the bird’s would have. She heads toward the door at a walking pace.

Audio: The call returns to a whisper. The vocalist clicks her throat in a short series of hollow sounds, nearly like the creaking of wood.

(“Qwk-qwk-qwk-qwk-qwk, qwk qwk qwk qwk”)

Visuals: As she opens the door to enter the purple interior light of the house, we see that she’s back in her green dress, but now her shawl is red. The sun glints in her hair. Before she goes inside, she looks back and winks at the camera with a smile. Then, she slowly pulls the door behind her until it’s shut.

Audio: The vocalist lets out her breath entirely as the accompanying music trickles into silence.

(“Haaa…”)

Visuals: The screen is black for a few seconds.

Audio: The high whistling call of a green manakin can be heard over the rustling of forest trees. The call’s tone is raised at the end, like it’s asking a question.

(“Twee?… Twee?… Twee?… Twee?”)

Visuals: The end card appears. Yellow and green lettering and a border lay on a black background. The text reads: Yma Sumac. Peruvian soprano and composer. October 13th 1922 until November 1st 2008. Biographical and reference info in description. Chuncho, 1953. Written by Moises Vivanco. Capitol Records, Universal Music Publishing Group. Carlie Hughes. Tumblr @rainbowchewynuggets. www.carliehughes.com. End ID]

INDEX

#chuncho song #animatic #chuncho animatic #night festival animatic #the night festival #yma sumac #the birds #the forest creatures #this was supposed to go up on her birthday but i got sick aaa #Youtube

[wyrmsfornerves]

Hi! Younger artist here, I just saw your post with all those super cool monster designs and I took a quick stroll through your blog, and I was wondering if you had any specific inspirations for those designs or where you get inspo for character designs in general? Or perhaps some tidbits on how you learned how to make wild designs like that?

Sorry if this is a bit of a big ask, I just think it's really cool and I was curious!

Hello! Thank you for your question and apologies for taking so long to answer, I just got really excited and wanted to be thorough! 

My biggest piece of advice is research and develop a visual library of reference material! Your visual library is like a mental database of everything you’ve ever seen in your life, and this is what you can pull from to design concepts. 

There are a couple ways to start this as a practice: 

Notice what you see! It can be a chair, a sunset, a shoe, the light on a tree, but if you see something you think is beautiful or interesting, mentally make a note of it!

Document what you like! With computers and cameras this is a lot easier to do nowadays, but if you see something interesting to you, document it. You can draw it, or take/save a photo to folder. 

Organize it! I highly recommend coming up with a system for referencing back to find things, either through image tags or folders or even a manual filing system. 

Pay attention to your personal preferences and experiences. Try to think about what draws you to certain visual elements, identifying them can lead you to more things you like. Also pay attention to what you don’t like and why, it doesn’t necessarily need to be bad or amoral, we all have personal tastes. 

Get out of your comfort zone! I recommend trying to see something you’ve never seen before often. Find a new artist, a new genre, research a new type of design movement, go to a new place, etc. 

Try to find context for your research! For example, If you really love a specific era of fashion, research that time period and the way historical context informs it. Context can be really important, especially if you are working with references new to you!

Important Note 01: You don’t want to copy or rip-off these things. In my experience the best way to avoid that is to have a lot of reference points for any project and embrace your authentic personal interests, experiences, and identity. 

Important Note 02: Like any research, be conscious of primary person vs secondary sources! One is not better than another necessarily, but I find I work my best with a  mix of both. I like to start with primary sources and then move to secondary sources, Ie: looking at authentic suits of armor before moving to contemporary armor concept art. You don’t have to do this, it’s just something I find helpful. 

Important Note 03: While mostly I’m referring to visual references, audio, music, and writing are also super helpful!

Ok now, how do you curate all that for a project. For those monster illustrations I wanted to explore how color can be horrific. Keywords: Color & Horror. So I start looking through references for things that have the effect I want color wise, vivid and maximalist, and things that I find scary or horrifying. Here are some of the things I knew about or discovered during the research process that had the vibe I wanted. 

Notable Influences 

Color and Design 

Peruvian & Guatemalan Textiles and Traditional Clothing 

Spanish Traditional/Folk Clothing 

Sammezzano Castle, Italy

Nasir al-Mulk Mosque, Iran

Russian Traditional/Folk Costumes 

Fonthill Castle, Pennsylvania

Zhangye National Geopark

Nick Cave - sculpture artist

Lousie Zhang

Magnhild Kennedy - “Damselfrau”

Horror

Catacomb Saints

Capuchin Catacombs of Palermo

Japanese Yokai

Greek & Roman Mythology

Mandrills & Monkeys

Charles Fréger’s Photographs of  European Pagan Costuming

Avant Garde Fashion

Alexander McQueen

Vedas by  Nicolas Alan Cope and Dustin Edward Arnold 

Stephen Jones - Hats

Mummies

Reliquaries

Marina González Eme

Lorenzo Nanni

H.R Giger

Intersections of Color & Horror

Microscopic Imagery

Moths, Beetles & Shrimp

Suspiria (1977)

AJ Fosik

Hungry | Johannes J. Jaruraak

Once you’ve gathered these references in one place (like a moodboard, folder,  or Pinterest board) It’s time to pay attention to wear aesthetics intersect, what patterns are coming up, what proportions of color, what textures reoccur, what elements of clothing reoccur, etc.. What relationship do different images have with each other, what emotional effect do they create. 

Now that you’ve studied up, it’s time to sketch, try and create things that feel similar to the work you are looking at but not copy it, instead try mixing things together. Experiment! Let your personal style and preferences sink in! Interpret what you’ve learned!

From there, it’s more of a design process, how to use proportion, light, anatomy, perspective, form, repetition, etc, to create the desired effect. Then you refine and refine.

For new or different projects you repeat the process, maybe you use similar points of reference, maybe you go a completely different direction. 

Anyway that was long, but I hope it was helpful!

#wyrmchatter #wyrmsfornerves #ask

[kiruthikablogs]

Best travel destinations to visit 2024

Top best places to must to travel :

Bhutan: Land of Happiness: Nestled amidst the majestic Himalayas, Bhutan beckons with its enchanting landscapes and vibrant cultural heritage. As one of the world's happiest countries, Bhutan offers travelers a unique opportunity to immerse themselves in the tranquility of Buddhist monasteries, hike through pristine mountain trails, and witness traditional festivals that celebrate the rich tapestry of Bhutanese culture.

Croatia Adriatic Gem: With its azure waters, picturesque islands, and charming medieval towns, Croatia continues to captivate travelers seeking a Mediterranean escape. From the historic city of Dubrovnik, known as the "Pearl of the Adriatic," to the idyllic islands of Hvar and Korčula, Croatia offers a perfect blend of history, culture, and natural beauty.

Japan: Land of Contrasts: From the bustling streets of Tokyo to the serene temples of Kyoto, Japan is a land of captivating contrasts. In 2024, travelers can discover the country's rich cultural heritage, sample delicious cuisine, and marvel at the beauty of cherry blossoms in bloom. With the upcoming Tokyo Olympics, Japan promises to be a vibrant destination filled with excitement and cultural festivities.

Peru: Land of the Incas: Home to ancient ruins, breathtaking landscapes, and vibrant indigenous cultures, Peru offers travelers a journey through history unlike any other. Explore the iconic Machu Picchu, trek through the Sacred Valley, and savor the flavors of Peruvian cuisine in Lima, known as the gastronomic capital of South America.

Iceland: Land of Fire and Ice: Renowned for its otherworldly landscapes, Iceland is a paradise for nature lovers and adventure seekers alike. From the dramatic waterfalls of Gullfoss and Skógafoss to the steaming geothermal springs of the Blue Lagoon, Iceland's raw beauty never fails to mesmerize visitors. In 2024, travelers can also witness the awe-inspiring spectacle of the Northern Lights dancing across the Arctic sky.

Australia: Land Down Under: From the sun-kissed beaches of the Gold Coast to the rugged beauty of the Outback, Australia offers endless opportunities for exploration and adventure. Discover the vibrant city of Sydney, snorkel the Great Barrier Reef, and embark on an unforgettable road trip along the scenic Great Ocean Road.

Portugal European Gem: With its charming cities, picturesque coastline, and rich cultural heritage, Portugal is a hidden gem waiting to be discovered. Explore the historic streets of Lisbon, wander through the vineyards of the Douro Valley, and relax on the sun-drenched beaches of the Algarve. In 2024, Portugal's warm hospitality and laid-back charm await travelers seeking an authentic European experience.

Morocco: Gateway to Africa: Immerse yourself in the exotic sights, sounds, and flavors of Morocco, where ancient traditions blend seamlessly with modern influences. Explore the bustling souks of Marrakech, wander through the labyrinthine streets of Fez, and embark on a desert adventure to the Sahara dunes. With its vibrant culture and diverse landscapes, Morocco offers a truly immersive travel experience.

New Zealand: Land of Adventure: From rugged mountains to pristine beaches, New Zealand is a playground for outdoor enthusiasts and adrenaline junkies. Discover the breathtaking landscapes of Fiordland National Park, hike the legendary Milford Track, and experience the thrill of bungee jumping in Queenstown, the adventure capital of the world.

Greece: Cradle of Civilization: Step back in time and explore the ancient wonders of Greece, where mythology comes to life amidst stunning archaeological sites and sun-drenched islands. Discover the iconic Acropolis in Athens, sail the crystal-clear waters of the Aegean Sea, and indulge in delectable Greek cuisine overlooking the Mediterranean sunset.

In conclusion, the year 2024 promises a wealth of exciting travel opportunities for adventurers of all kinds. Whether you're drawn to the cultural heritage of ancient civilizations, the natural beauty of remote landscapes, or the vibrant energy of bustling cities, these ten destinations offer something for every traveler seeking to make unforgettable memories and embark on a journey of discovery.

Read more

#travel #travel blog #traveling #2024 travel #beautiful place

[embodies]

UNUSUAL MUSE ASSOCIATIONS.

spice. chili powder. weather event / natural disaster. floods / landslides. color. anything vibrant but especially red, and baby blue. magical power. time reversal : shoutout to rewindo. shoe. nike air jordans. plant. that sweet mary jane . . . and cacti. animal. blowfish. weapon. baseball bat. the namco guncon on the playstation. subject / major. science bitch ! art. gemstone / mineral. apatite. makeup product. concealer. candy. candy cigarettes. fear. failure/disappointing others. sport ﹙ traditional or extreme ﹚. kart racing. method of long–distance travel. smuggled in storage. hour. evenings when he can keep busy busy busy. wood. peruvian walnut / cedarwood. mythological creature. dragon. three emojis. 😂💀🤘 moon phase. waning crescent.

tagged by: @cartelheir thank u!!

tagging: @erebius @cursedher @parentify @loneheir @wfflehouse

#( * jesse pinkman / character study. ) #did it for my BOY...

[aqua2fana]

Hiveswap friendsim race/ethnicity/nationality headcanons

This is pretty much based off the etymology of their names which is why a lot of them are kinda white (specifically Greek bc of Greek mythology references) but it’s also based on what ever culture and pop references their routes have as well. A lot of it is very American but I guess that makes sense considering it was made in America.

Disclaimer: I’ve tried to look it up but I don’t know how you would refer to most central and South Americans racially. I know Latina/Latino is more of an ethnicity from what I can find and I’m not sure if mestizo is the right term either. I’ve decided to just stick with Latina/Latino since I think more people are familiar with those terms but just know that when I use that term I’m referring to people of mixed white (de facto Spanish) and Amerindian descent

Ardata: latina/white | peruvian/italian | american (new jersey)

Diemen: white | german/dutch | american (new york)

Cirava: south asian/white | indian/norwegian | american (california)

Amisia: white | german/italian | italian

Bronya: white | russian/italian | russian

Skylla: white/central asian | spanish/uzbek | american (arizona)

Tagora: white/southeast asian | french/indonesian | american (new mexico)

Vikare: white | norwegian/cretan | american (north carolina)

Polypa: white/micronesian | english/palauan | palauan

Zebruh: black/white | kenyan/italian | american (alabama)

Elwurd: white | greek | canadian (quebec)

Folykl: black/white | somalian/austrian | american (alaska)

Kuprum: latino/east asian | chilean/korean | american (new jersey)

Remele: white/black | dutch/hungarian/tanzanian | french

Konyyl: native american/middle eastern | cree/azerbaijani | canadian (manitoba)

Chixie: east asian | chinese | american (texas)

Tyzias: white | greek/polish | american (massachusetts)

Chahut: white | french/greek | american (michigan)

Azdaja: white/east asian | serbian/bosnian/chinese | chinese

Zebede: native american/white/middle eastern | tongva/spanish/israeli | american (california)

Tegiri: white/east asian | english/japanese | japanese

Mallek: white/middle eastern | english/egyptian | american (california)

Lynera: latina/white | bolivian/latvian | american (pennsylvania)

Galekh: middle eastern/tibeto-burman | israeli/nepalese | turkish

Tirona: white/southeast asian | spanish/filipino | spanish

Boldir: white/central asian | norwegian/uzbek | norwegian

Stelsa: middle eastern | egyptian | egyptian

Karako: white/middle eastern | french/arabic | arabian

Marsti: south asian | indian | american (south dakota)

Charun: white | greek/german | icelander

Wanshi: east asian/south asian | chinese/indian | british

Fozzer: white | spanish/ukrainian | ukrainian

Marvus: latino/black | honduran/nigerian | honduran

Daraya: white/black | somalian/english | american (pennsylvania)

Nihkee: white/black | greek/angolan | american (oregon)

Lanque: white/east asian | french/chinese | french

Barzum and Baizli: white | french/english | american (wisconsin)

Trizza: white | maltese/italian | italian

Dammek: middle eastern | israeli | israelite

Xefros: white/latino | german/ecuadorian | ecuadorian

#homestuck headcanons #homestuck #hiveswap friendsim #hiveswap #ardata carmia #diemen xicali #cirava hermod #amisia erdehn #bronya ursama #skylla koriga #tagora gorjek #vikare ratite #polypa goezee #zebruh codakk #elwurd #folykl darane #kuprum maxlol #remele namaaq #konyyl okimaw #chixie roixmr #tyzias entykk #chahut maenad #azdaja knelax #zebede tongva #tegiri kalbur #mallek adalov #lynera skalbi #galekh xigisi #tirona kasund #boldir lamati

[bestiarium]

The Yacuruna [Native Peruvian mythology]

One thing that unites nearly all cultures and people throughout the world is that all of them have myths and stories about strange creatures that dwell deep below the water. The fear of what may live beneath the waves seems to be one of the things that make us human. Among the native people in the upper Amazon area, these stories are about the Yacuruna: the word comes from the Quechua words for ‘water’ and ‘man’.

It is said that deep underwater, there are beautiful cities where these creatures live. These cities are upside-down, like the reflections of human cities on the water’s surface. The Yacuruna themselves resemble humans, except for a handful of characteristics that differ between several versions of the myth: they often have backwards feet (like other Amazonian supernatural creatures, such as the Chullachaki), sometimes their bodies are covered in fur and in some stories they even have a backwards head.

They live in great luxury in their cities: the buildings are palaces with walls decorated with colourful fish scales and pearls. They use animals in every part of their lives: instead of canoes, they ride on alligators, instead of hammocks, they charm large snakes to lay in, instead of chairs they sit on turtles, and so on.

Sometimes, the Yacuruna kidnap people and take them beneath the waves to their underwater palaces. People kidnapped by these creatures slowly transform into new Yacuruna. Normally, they can never return to the surface, but very rarely it happens that a kidnapped human is allowed to become human again and to return to the surface world. This only happens if the Yacuruna completely trust this person.

Despite the kidnappings, the Yacuruna are generally not considered to be evil. They are incredibly talented healers, and shamans often consult them for advice and remedies.

Interestingly, several Amazon tribes have similar myths about aquatic humanoid creatures that kidnap people, such as the Encantado. I suspect many of these stories are related, or perhaps they all just originated as ways to explain disappearances.

Source: Beyer, S. V., 2010, Singing to the Plants: A Guide to Mestizo Shamanism in the Upper Amazon, University of New Mexico Press. (image source 1: unknown, I couldn’t find the original artist, sorry) (image source 2: DooMANIAC13 on Deviantart)

#Peruvian mythology #aquatic creatures #humanoid creatures #mythical creatures #mythology #myths

[caemthe]

𝐆𝐄𝐓 𝐓𝐎 𝐊𝐍𝐎𝐖 𝐌𝐄 𝐁𝐄𝐓𝐓𝐄𝐑

𝐀𝐋𝐈𝐀𝐒 / 𝐍𝐀𝐌𝐄: liri

𝐁𝐈𝐑𝐓𝐇𝐃𝐀𝐘: february 20th

𝐙𝐎𝐃𝐈𝐀𝐂 𝐒𝐈𝐆𝐍: pisces

𝐇𝐄𝐈𝐆𝐇𝐓: 1.72m

𝐇𝐎𝐁𝐁𝐈𝐄𝐒: rp, drawing, yoga, walking around the city & visiting (free) art galleries

𝐅𝐀𝐕𝐎𝐑𝐈𝐓𝐄 𝐂𝐎𝐋𝐎𝐑: yellow

𝐅𝐀𝐕𝐎𝐑𝐈𝐓𝐄 𝐁𝐎𝐎𝐊: the táin by thomas kinsella

𝐋𝐀𝐒𝐓 𝐒𝐎𝐍𝐆:  rock lobster

𝐋𝐀𝐒𝐓 𝐌𝐎𝐕𝐈𝐄 / 𝐒𝐇𝐎𝐖: frieren

𝐑𝐄𝐂𝐄𝐍𝐓 𝐑𝐄𝐀𝐃: the iliad

𝐈𝐍𝐒𝐏𝐈𝐑𝐀𝐓𝐈𝐎𝐍: the respective tales of my muses and the concepts they represent, the culture and context they were written on, irish mythology and specifically the ulster cycle, shows, books and poetry that left quite the impression on me

𝐒𝐓𝐎𝐑𝐘 𝐁𝐄𝐇𝐈𝐍𝐃 𝐘𝐎𝐔𝐑 𝐔𝐑𝐋: caemthe means lovers in old irish and belongs to an excerpt (two hearts that beat as one, we were lovers in the woods, men who shared a bed and the same deep sleep...) from the famous lament in the táin in which cú chulainn talks about his relationship with ferdiad and always manages to make me tear up. i think i initially chose it for a sideblog where i wrote ferdiad and emer (heart companion & wife of cú chulainn) but then decided to keep all my muses in a multi, it stuck and it's my brand™ now lol. cú, dee and pat are my main muses now but the name still applies due to their tales

𝐅𝐔𝐍 𝐅𝐀𝐂𝐓: i've a small peruvian dog (rita!), which is a hairless breed, which means she gets cold easily so she has plenty of warm clothes (for the night & winter) and cute dresses (during the day). she actually has her own little wardrobe with her own little hangers 🥺💗

tagged by: @intcritus ty ambie ///// xoxoxo

#ooc. ° ( liri yes. ) #/ no one: --- absolutely no one: --- some random peruvian: the táin bó cúailnge has one of the most beautifully written prose and storytell

[whymustyouhurtmeinthisway]

I like making characters of mine members of lesser known ethnic groups, as I've always loved learning more about different cultures, but finding good sources of information about said ethnic groups can often be a bit of a challenge. Websites are sparse, and often times a large chunk of them just aren't very useful. In general, the rule I usually go by is "If it looks like its graphic design hasn't been changed since the year 2009, it's good" and I have indeed found some great ones using that strategy over the years, but my favourite has to be the one I ran across just earlier today. It was a blog created for a school project from an obvious stock template by an extremely earnest 12 year old Peruvian girl named Nina who was very excited to share fun facts about her Aymara culture and how it's changed from ancient times all the way to the present year of 2012. The second I read her list of sources and saw something like

Bibliography:

*a book that's clearly just her school history textbook*

*another book which 100% another school history textbook*

"My grandpa"

She had me sold.

The rest of it's pretty fun, most of the facts provided are fairly basic (as I said this was clearly a 7th grade class project) but it was genuinely interesting hearing some firsthand stories from her aforementioned grandpa and a few other family members.

I'm not gonna link this particular site, as it has some fairly personal details and family photos included that make it not feel right for me to spread around, but I do implore you to look for similar sites if you're at all interested in the history/mythology of smaller cultures, you might just strike gold.

Anyways shoutouts to you Nina, wherever you might be 11 years in the future. I hope your grandpa's doing well, and that you still carry a bit of that same enthusiasm for your culture as you had as a kid.

Godspeed 🫡

#me #aymara

[kaibutsushidousha]

Do you have any thoughts on the title for Lostbelt 7, Nahui Mictlan, implying that the story will be focused on Mesoamerican Mythology rather than South America? Personally, as someone of Peruvian descent, I'm pretty bummed that it implies it won't be taking place in the Andean-Amazon-Brazil regions of South America.

Mictlan is the Aztec Underworld. Nahui means age. The name refers to how the Aztec world lived under Nahui Ocelotl (age of the jaguar) ruled by Tezcatlipoca, but then Quetzalcoatl won their big battle and took over, ushering the world into Nahui Ehecatl (age of the wind).

So Age of the Underworld implies a world not ruled by Quetz nor Tez. And Kotomine mentioned ORT carrying the Xibalba on its back, so it could be the world ruled by ORT. This also strongly implies that all the alien microbes associated with Aztec gods by Quetz's profile come from him. And both forms of Quetz are associated with imagery of the meteor that killed the dinosaurs, so ORT was the meteor.

It's also established that pure-blooded dragons were present in the world long before the Age of Gods, but at an unspecified time for unspecified reasons, they escaped to the Earth’s interior, except for Albion who died trying. Add that to the facts that Kouyou has her T-Rex form based on Kuzuryuu and Anning’s content conflates dinos and dragons sometimes, and then it's very plausible that the pure-blooded dragons were the dinosaurs.

So, from what we've seen from Melusine in Avalon le Fae, this is what a dinosaur actually looks like:

Not feathered enough for my tastes, but that's still a good dino imo.

That's about it my Nahui Mictlan setting theories. It sucks that Amazon won't have genuinely Amazon content, but the Aztec content we're expected to get is more setting-original than genuinely Aztec, so we aren't exactly losing to anyone in the competition, if that somehow makes you feel any better.

#type moon #fate grand order #didn't find room to address the jojo references

[josnhoes]

Self aware au on Hades

First god seem borded and decided to give Aries, Thanatos, and Athena a small quest for a real life thing that they could find something that they remember but forgotten of the name, while doing their job with minimal disturbance

They must find a berry that when bloom in spring it's rec in color and when it's winter there is a bright red berry grows inside the withers of the flowers petals

It's peruvian groundcherry

You didn't even know if the Berry was here in this world. The game had been based on mythology and real life but things obviously weren't the same. Still cravings where cravings and you were going to get your fix.

The gods had been a buzz with talk when you summoned Ares, Athena, and Thanatos to your hall in the underworld. The first God had never given a summons before, and with the trio you had chosen it was rumors you were planning a war. Lucky for the world that was not the case, though the gods all would happily have fought in your name.

The three you summoned kneeled before you. "Stand please." It was no mystery the first God was kind and friendly so usual manners such as kneeling wasn't nessicary yet few actually listened to that.

"I have a quest for you three. I require something, a fruit. One of which the name escapes me." You gave your little description though it came off as more of a riddle then a descriptor. "The one who brings me some first will receive a favor from me and the one who brings the most shall gain two."

"So it's a competition then?" Ares asked with glee. He could easily prove his worth this way, he would garner 3 favors from the originator as well.

"Of a sort yes."

"Your grace," Thanatos spoke up, "You realize any request you make all of us would do so with out the bribery."

"I'm aware but it's far more fun this way." You smiled at them.

Athena was silent trying to picture the fruit or Berry you spoke of and making plans to find it. You left the rules of the competition vague so she had far more room to employ her strategies and earn your favor.

Thanatos just wanted to see you happy, though his job kept him busy he could get someone to help. He didn't care win or lose but he would give anything to see you enjoy yourself.

"The competition starts now. My luck be on your side." You had never seen gods run so fast. Well teleport in Thanatos' case. Maybe you should have put a limit on how many to grab? No they wouldn't go overboard...right?

Spoiler they did indeed go overboard.

#hades supergiant #hades #hades game

[residents-of-the-darkforest]

GorseheartWhen I thought of Gorseheart, I thought of a brightness shrouded in the dark. Surrounded by plants.So, I made him a Darwinian Arrow. The Darwinian Arrow’s have similar shapes to the Cuban Wavecrashers, and have vestigial air tanks that suggest some ancestry. Darwinian Arrow’s have wildly varied colors, and are named so after Charles Darwin, as the species are native to the galapagos and discovered around the time of his visit. (And this was 1800s so)It is likely that Darwinian Arrow’s are native to the more forested areas of the Galapagos, such as Isabella Island. They could be sort of small, since they wouldn’t have that many predators. Gorseheart has some light green and light red markings, but scars are pitch-black.His design takes some inspiration from. The Flashfangs in the HTTYD books, but thicker and a more canid snoutish head.EmberdawnImmediately when I thought about Emberdawn, I knew she would be a fire breathing dragon. Her personality, not just her name spoke that. This way I imagined her as an Italian Fire-Spitter. She would be larger than Gorseheart, about 1.5 times bigger than him. Italian Fire-Spitters are a tanish yellow, and have more European mythological dragon type heads, but have smaller wings that don’t really seem like they should be able to fly to the average observer. These dragons are native to Italy.The Fire-Spitter, to attack, launches up into the air, throws its head back, and shoots a massive fireball at the enemy. Emberdawn likely isn’t fond of this, because it doesn’t discriminate against friend or foe. It hits everyone. And she seems to be the type to prefer more accurate attacks.Once they meet, after Gorseheart attempts to flee the Galapagos after he got viciouspy attacked and almost started a war. Emberdawn finds him, and the two eventually return after a small pep-talk. Only to start killing. BirchflightFor Birchflight and Foxfire, I though of a puzzle. These two fit into each other perfectly, so I had to give them dragons that matched each other perfectly.But, for them to conceivably meet Gorse and Ember, they would need to be somewhere in the vicinity of the Galapagos. So I selected Incan Goldy for Birchflight, and Colombian Wildfire for Foxfire.Incan Goldy’s were among the first dragons to be companion to humans, although the Gold-Blooded Wyverns were the first to be taught to write, and to communicate. Dragon vocal cords are unable to make the sounds of most languages.Birchflight has the general sandy color of most Incan Goldy’s, but is a tad smaller than most, which others used to tease her about. But Birchflight never let that bother her.Incan Goldy’s are the “standard” of the Peruvian Dracon Force. The standard of a military branch involving dragons is the most common dragon in that branch.I bet that they met in Colombia, which contains a large dragon nesting ground.  This is where the whole “debacle” took place. FoxfireFoxfire is a Colombian Wildfire. They are also fire-breathers, although their method more closely resembles the western method of fire breathing. The Colombian Wildfire’s are called so because of how they frolic in wildfires. You’ll see them dancing, playing in the flames. The Wildfire’s are invasive in California.Foxfire is an average sized Wildfire, but leucistic. This caused no issue with the rest of the clan. He was raised with seven brothers, a father, and three uncles. The males go with males, and females with females. Once monthly they meet up to breed if anyone finds love, but once the gender of a Wildfire is determined after one month (when the gender dimorphism appears) the males are given to the father, and females given to the mother. They can recognize each other through instinct, which is used to avoid inbreeding. There are few Wildfire’s who pair up and raise children, but those are rare. The rest will let them go peacefully and without judgement. This is probably what happened with Foxfire and Birchflight.

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Sorry for not posting this sooner, I’ve just been obsessed with reading this over and over and over that I forgot to post 

like seriously this is so cool and has so much thought god damn amazing

@starfalcon555​

#submission #df dragon au #gorseheart #emberdawn #foxfire #birchflight #tunnel family