Building up on both of does anon posts, Machete and Vasco being historical figures that make waves every so often on tumblr feels very canon and not too far from actual tumblr's favourite historical figures.
And also, I feel that Machete shouldn't go that unnoticed by scholars. Being this powerful member of the clergy that escaped many assassination attempts before being killed and had a personal relationship with the pope. Like this man was a deathly and important part of the inquisition, but also left behind rumours of a same-sex relationship with a married politician.
I can definitely see him becoming a point of interest for some historians, especially does who studied the inquisition or the clergy. That's probably how Vasco's paintings of him got discovered and documented and how their relationship stopping being considered a rumour started by his now-death enemies, but an actual theory with some weight behind it.
Idk why but I'm becoming very invested in the ways history would treat and remember them, way too many scandals and drama for them to be forgotten in time.
You do make a very convincing point.
People are getting so invested in their hypothetical in-universe reputation and are clearly putting some serious thought into it and it's getting me hyped up as well ;_;
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Could you tell us more abt ur au where Apollo doesn’t come back exactly right after surviving being so close to chaos 👀
Yes!! Actually I had a fic that I really wanted to write about this, and I am planning on still doing that but I will tell y'all the gist of it bc I cannot contain myself. (Also this is a bit different from some of the things I've said before about this so I hope you still like it lol)
Ok so, the fic was gonna be a 5 + 1 fic, where Meg and Apollo both realize that something's ... off about him after the trials. His powers and abilities are fluctuating for seemingly no reason. Sometimes he's just a normal god, but sometimes it's like he's still a mortal. And he's also having times where he's way stronger than a god should be, like, near primordial levels. It's causing him a lot of issues, for example:
Gods don't need to eat or sleep, but mortals do. If Apollo doesn't realize his energy levels are going down, he will just end up crashing from lack of food/sleep. This leaves him perpetually exhausted and shaky.
His blood is now all kinds of crazy colors, and it changes based off of where he is on the mortal/immortal scale.
When he's in a "mortal" state of being, he's pretty similar to a demigod. Meg and Apollo learned this when Apollo accidentally did some lightning bending one day. This is not something Apollo has ever wanted to be able to do, and he freaks out appropriately.
One day, Apollo woke up sick and tired of this whole situation. He jokingly wished that someone else could just take over the sun for the day. However, Apollo hadn't realized that he had just gotten a huge power boost overnight, and his harmless little wish just created a second sun. Haha whoops.
Eventually, Apollo ends up breaking his father's rules and visiting Asclepius just so he can get some answers about this, so here's a little rough comic based on the scene I wanted to write explaining this whole mess.
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To me the funniest aspect of the ships between the scrybes is the silent implication of them collabing on making a campaign. Imagine Magnificus and P03 working together to make one. Imagine Magnificus and Leshy working together on one.
someone in my youtube comments said magnificus and leshy would create a massive convoluted DnD campaign that never ends and they're so right for that, i think a game from the two of them would barely resemble inscryption anymore lmao
magnificus and p03 i think about a lot bc genuinely it would probably be a pretty good campaign; magnificus would probably have a lot of larger than life ideas for settings, bosses, cards, etc, but p03 would know how to make it more playable, digestible, and satisfying to a player. i have no doubt they'd butt heads at MANY points (it would def take them ages to settle on a good techno-magic setting) but if they by some miracle managed to cooperate well enough i think it would probably be one of the better campaigns out of all potential scrybe collabs, especially since p03 is like...kind of not bad at story? maybe it's a hot take but despite his lackluster narration i think he succeeds pretty well in constructing his lil post-apocalyptic robo hellscape in act 3
of course the real wild card in any of these collabs is the idea that they're in a relationship or have feelings for each other while they're collabing; either these guys are emerging from this collaboration bonded in epic love for life or they're breaking up mid-development lmao
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please tell me about the pigments i would love nothing more than to hear you talk about that one shade of red you like and the process it took too recreate it
... oh, op. you have no idea what you've unleashed.
alright. here we go.
OKAY SO THE RED PIGMENT. pr206. my beloved. my dearest friend. it was an absolute bastard to find because there are so many of these. however many you think there are, there are MORE, and that's only if you don't count the many many scenarios where colors are known to be multi-pigment mixes, usually varying in tone/shade/intensity depending on the brand and manufacturing style. some colors are more consistent than others, but there are situations where a color can be named the same and contain the same pigments and STILL look wildly different depending on the ratio, binder, and paper you use. and that's not accounting for the way the pigment is processed. some pigments (like pv19 for example) can come in so many shades it's frankly kind of ridiculous.
anyway, my quest begins when i am, admittedly, in an edgier phase. i want a blood red, but not specifically because of that—no, i want it because it is THE IDEAL COLOR (to me) for a perfect, warm, slightly muted but still intense shade to add to a muted autumn watercolor palette. and... if you look at my whole theme, you probably know how much i love warm colors. i want to paint mushrooms. i want to dim down some of the brighter greens to make them autumnal. i want the perfect red to put as an undertone.
the search starts in earnest.
the immediate issue is this: reds (and purples and pinks) have horrifically bad lightfastness. not all of them, mind, but many are NOTORIOUS for fading under uv light, which means they will also fade if exposed to sunlight even in passing should it happen often enough. and—in especially bad cases where they're essentially working with dye and not pigment—they can even fade inside your notebook. inside of a drawer.
so not only are we working with an unfortunate pigment base (i'm simplifying here, there's way more nuance to this but shh) but we are working with one that skews heavily toward floral pinks or oranges. the red i'm searching for is warm, but not orange. dries dark but not brown. is transparent, not opaque. that last part is agonizing, because i also desperately do not want a color that will fade on me or generally destabilize, and most of the stable dark red pigments are EARTH pigments like red ochre (pr101) or the like. which, while fascinating because of their historical usage in things like pottery and even cave paintings that last to the modern day, are VERY OPAQUE. this is an issue with my preferred style of watercolor painting specifically, because opaque pigments tend to lift easier off the page and limit layering.
the search continues. pigment after pigment breaks my heart for one reason or another, drying too close to the cooler purpleish-red tint of wine at best. i think i find it in perylene maroon, but the drying shift (the difference between how a color looks wet vs after it dries on the paper) is so extreme that it loses the luminosity AND it's more opaque than most. i languish.
for a while my search turns to creation. i try and mix as many of my single pigment colors as i can into something that vaguely resembles what i'm looking for—so i take quinacridones and mix them with napthols, with nickel azos, with dashes of ultramarines and burnt sienna. everything turns out either just a bit too opaque, just a bit too muddy (that happens with multi-pigment mixtures, and is why so many people swear by single pigment colors. it's personal preference, really, great art can be made either way.)
still, nothing works. failure haunts me. i sit before a pile of used up watercolor paper that is literally covered edge to edge in nothing but similar red squares with various gradients and blooms as evidence of when i tried and failed to convince myself my efforts were close enough. i admit defeat.
in the meantime i shift my focus. i try and appreciate different color palettes and profiles, experimenting with things like fully transparent palettes (personal favroite) to fully opaque ones that function more like gouache. but despite finding appreciation for it, i still think about the damn red that i could never recreate. it kills me.
and then one day, a youtube video. a pigment is being discontinued, and the watercolor community is distressed. this happens a lot, because pigments are actually not always popular because of artists—sometimes beloved colors are put out of production because larger markets like car companies no longer find them popular enough to invest in. this time, the casualty is pr206, aka brown madder, aka quinacridone burnt scarlet.
let me tell you a little about quinacridones. they are genuinely remarkable colors. they have their own cult followings because of how bright and abnormally stable they are under uv light. they're transparent. they're luminous. they come in mostly shades of red and pink and purple, though there are a couple oranges and yellows in there. (there are no quinacridone blues, as far as i'm aware, but the phthalo blues have that category covered.) they also rewet beautifully, so you can put them on your palette and let them dry and not worry about it turning into a useless little rock of color that you can't get any pigment from anymore.
quinacridone magenta (pr122) is probably the most popular of these, the most often used besides maybe quinacridone violet (pv19). a few years prior we suffered the loss of quinacridone gold (po49) and since then people have been On Alert when it comes to losing these colors. i am one of them, because i never got the chance to even see po49 in person, and now the tubes are so stupid expensive that even the student grade versions go for Ridiculously High Prices on ebay, and the professional brands are being hoarded like (ironically) gold by anyone lucky enough to have a tube left over.
but back to our main character. not me, the pigment. pr206. i have legitimately never heard of this one, which to be fair is probably because i try to limit the random colors i fixate on since the hobby can easily get VERY expensive if you aren't careful. but it's a quinacridone, and that catches my eye.
i open the video.
now, i'm sure any artist out there will be familiar with the fact that screens don't display color consistently. it depends on your device, but most can agree that something that looks cooler on one may be warmer on the other, it's just what happens. but i see this color being swatched, and my brain implodes.
it's almost a perfect match.
it could work. it could. years of thinking that same thought have left me bereft and mistrustful of this specific quest marker, but the thought refuses to leave me. probably because the 'discontinued' label flashes like a neon sign.
i resist for about six months, and then i cave. at this point i have genuinely been trying and failing to find this color for upwards of five years. i am desperate, and the color might not be available anymore soon anyway, and apparently i am weak to sales pitches. (note: the color IS now unavailable in some brands, but others bought a decent supply and should have it available for at least a little while, alongside po48 which is quinacridone burnt orange, a favorite of mine and probably one of the only oranges i use regularly. both are discontinued officially, but they'll still be on sale till those supplies run dry.)
the color arrives. i grab my favorite brush. i pull out my stash of paper that i save for special occasions.
it's almost perfect.
i mix it with quinacridone burnt orange.
the result is, i swear, a perfect match for what i have been searching for.
it's warm. it dries dark but not dark enough to look brown. it keeps its luminosity (thank you quinacridones). it's fully transparent (thank you quinacridones). i genuinely feel the urge to weep, but i don't because i am clinging at last to the dredges of my sanity and also salt makes watercolor pigments behave differently and i will not risk this glorious moment. finally, after all these years, bill cipher has a gun i found the goddamn COLOR.
i mix it with warm yellows and with my favorite blues. with the pinks, just to laugh. life is beautiful and i am painting its sunsets, and i do not care if they look ridiculously messy. i have won.
the moral of the story is to never give up. or maybe it's to remember you never actually know everything about even the fields you love the most, because this color totally blindsided me despite being much more common than i expected. or maybe it's that i seriously needed to chill out for a while.
but yes. that is the tale of one (1) of the colors that has taken up residence in my soul. i hope you don't regret asking now lmao.
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