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dearbraus · 2 years

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𝐈𝐟 𝐢𝐭 𝐖𝐚𝐬𝐧'𝐭 𝐟𝐨𝐫 𝐭𝐡𝐞 𝐍𝐢𝐠𝐡𝐭𝐬 ft Eddie Munson.

Warnings; 18+ only minors dni + gn!reader + vamp!eddie + hurt/comfort + identity reveal + slight angst + platonic love + puppy love + childhood friends + reconnecting.

Word count; 2.2k

Note; Eddie’s description is similar to Marceline from Adventure Time lol, didn’t realize it as I was writing but I suppose their general aesthetic is similar so thats why he looks a bit like her lol. I enjoyed writing this, hope you enjoy reading it.

❝Eddie finally feels like the monster Hawkin’s claimed he was, you don’t see it though.❞

The fading memories of a boy you once knew swam amongst the viscous red eyes that glowered down at you. Though, you supposed he was less of a boy and more of a man; chiselled cheekbones and long lanky legs replacing the flushed round cheeks and knobby knees you had been accustomed to long ago. At least, you hope the man you’re peering at through the dark of night was the same little boy you labelled your friend so many years ago. He was different, undeniably so but that very fact extended far past the telltale signs of aging which consumed the person who stared down at you from his perch. The lifeless, ash-gray skin that seemingly glowed beneath the sober moonlight was striking and drew your attention away from all the expected changes you had attempted to commit to memory should this encounter be nothing more than a few short moments that would haunt you for the rest of your life.

“Eddie?” You call, taking a cautious step forward, “Eddie Munson, is that you?”

It’s been too long since you last stepped foot inside the Forres Hills Trailer Park and while it looks just as it was back then, your mind is hazy with some of the details that have long since been laid to rest in the deep recesses of your mind. The number fourteen feels correct, that was why you had stumbled over to it in the first place wanting nothing more than to see for yourself that Wayne Munson had packed his bags and left Hawkin’s Indiana for good. You hadn’t expected there to be a person crouched on top of the trailer, body tensed like he was ready to pounce on whatever prey had become readily available.

The man turns his head to the side, his long shaggy hair covering up his face as if that would do anything to draw your attention away from him.

“What are you doing up there? You’re going to get hurt.”

All your life you had been told you were too naive for your own good.

You never believed them, not really– adults whose lives lead to them living in a sleepy Midwestern backwater like Hawkins tended to be jaded, their words held no merit in your mind not when you were sure they were just jealous of the optimism you held. But now, you might’ve understood what you meant because without thinking, you took another step forward, inching closer to the trailer and the man you had yet to wholly identify. You were far too concerned with whoever this was, falling off the roof and onto the muddied ground.

“Go away.” The man rasped, his voice sounding raw like it was too painful to talk.

You didn’t listen, drawing even closer until the flickering porch light bathed you in a ghastly yellow glow and illuminated your features for him. Though he tries to keep his body twisted away from your prying eyes, it seems he can’t help but eagerly steal a few glances at you over his shoulder. The leather jacket he sports is worn and frayed around the edges, one of the elbows is shredded and leaves his bare skin poking out from the hole.

Despite the cold shoulder you tilt your head to the side and call up to him, “Should I call your Uncle?” You ask, biting your lip and hoping that whatever this was, was nothing more than some elaborate campaign of his being acted out just for the kicks, “Or … Can you just talk to me, Eddie?”

“I’m not…” He shakes his head, wildly like he can’t control the jerky movements that tear through his body, “No one calls me Eddie anymore,” with a deep sigh, he allows you to take a look at his face once more, “My name, it’s Kas.”

You blink owlishly at him, “Like Kas the Bloody-Handed? From Dungeons and Dragons?” Your nose scrunches up and you can’t stop your eyes from darting around the desolate trailer park in search of anyone else dressed up like a DnD character.

“Yup, just like the DnD character,” he says almost scornfully, “Now please, will you leave?”

Your heart pangs painfully in your chest, “You don’t recognize me?” You ask without thinking, “Eddie…Sorry! Kas, it’s me, your best friend?”

Guilt pools in your stomach and you regret labelling yourself as such. Best friend, that was a lie. Somewhere between middle and high school things changed, interests diverged and the two of you grew apart and, eventually, you moved away to attend university. That was life, friendships didn’t last forever, though in your mind the bond between two people did even if it had been years since either of you had spoken to one another. It might have been wishful thinking and a smidge of naivety on your part but you never once stopped to consider that maybe Eddie had a new best friend and had forgotten all about you. He probably did have new friends, ones who called him “Kas” and indulgent all of his interests with a keen sense of appreciation only those who understood such things did.

Offering him your name, you duck your head down in shame. You hated the almost envious feeling that made green tinge at the corner of your eyes.

“Well, your childhood best friend that is.”

“I know,” he says a bit too quickly, “I couldn’t ever forget you.”

Your brows pressed together in confusion, his recognition of you hadn’t been apparent, “Then why did you tell me to leave?” Your mouth tugs into a frown and you cross your arms across your chest in the hopes to preserve some ounce of warmth, “I just … I don’t really understand what’s going on, can you please come down and talk to me?”

He shakes his head, a bitter laugh spat out as he throws his legs over the edge of the roof, “It’s in your best interest that you leave now,” there’s a certain finality to his voice and then in the low light you finally see it. A pair of king and dangerously pointy incisors that poke out from beneath his top lip, pressing uncomfortably against his bottom lip, “Seriously, I’m not kidding around, you need to go.”

“Why?”

It makes you feel stupid, the not knowing like there’s some glaringly obvious issue staring you right in the face but you’re too blind to see it.

“I’m a monster,” his voice cracks and the way he says your name makes your heart break a bit, “Don’t you see it? I mean look at me, I’m even more of a freak than before, don’t pretend or play stupid ‘cause it’s not helping anyone.”

Your lip catches between your teeth and your head falls down in shame, “Oh,” you whisper and you wouldn’t be surprised if he doesn’t hear you, “I thought it was makeup or something…”

The rational part of you is sending a thousand alarm bells through your body, screaming at you to run the other way in the face of whatever was happening. Your feet feel glued to the ground like the mud is slowly sucking you into the earth with each passing second. You can’t run, your blood doesn’t feel cold, and there’s no fear like there should be. Your brain is telling you that you should be afraid of the ludicrous nature of Eddie’s words but you don’t.

You can’t feel scared because it’s Eddie.

Eddie who chased you around with worms on a stick only to scream like a banshee when you’d do the same to him. He was the boy who taught you what it felt like to be unconditionally loved with no expectations or secret motives. Even if it was nothing more than an innocent infatuation between two friends who spent more time together than they did with their own families. Puppy love was just as meaningful as anything else and sometimes it was the first real love a person could feel.

If it was true, what Eddie was trying to tell you, you think you could live with it. There was no world in which Eddie Munson was a monster, or a freak, or whatever cruel word society had decided to label him that week. Even if so much time has passed and their friendship was nothing more than a feeling that lived in the space between their ribs, you’d always stand by him.

Scientifically speaking, it was impossible, him being anything other than human but the gothic novels and the horror stories you so loved to read said otherwise. So, it wasn’t so hard to believe when you thought back to the whispered tales of all the creatures that lurked behind the shadows. Stories had to come from somewhere, so maybe it was the cold hard truth but everyone else was just too afraid to admit it.

The truth was sometimes too scary to accept.

“You overestimate my skills,” he laughs, “You always did.”

You flinch when he hops down from the roof with no hesitation and you wait for the cringe or the yelp of pain that you’d assume he feels but it never comes. In the yellow porch light, you see far more. The whites of his eyes have gone an inky black, they match the veins that protrude from the skin of his cheekbones. His ears are pointed in a way that seems more fitting to a character from The Lord of the Rings than a vampire and it makes you laugh to think about it.

Eddie loved that series growing up, so the long hair and elf-like ears felt fitting.

“No, you just never saw your own potential.”

“Well, that was a long time ago,” he says, lips pressed into a line, “Things are different now.”

Shrugging your shoulders you let out a halfhearted hum in agreement, “Yeah but not for the reasons you think, Eds,” you say, “Oh, right. Sorry, Kas.”

“I’m still getting used to that.”

The wooden steps that lead to the trailer creak loudly as you plot onto them, drawing your knees close to your body to fend off the bitter chill. Fall was rapidly approaching and though the days were the perfect painted portrait of a summer's day, you could feel the change in the air. Eddie slinks down next to you, his knee brushing against yours before he hastily yanks himself away, curling in on himself until he’s sure he’s a safe distance from you.

“So am I.”

It’s almost too easy to fall into conversation with Eddie.

Suddenly the gaps that linger between the two of you are nothing more than a formality that excuses the awkward feeling that forces you to trip over your words.

Allowing your gaze to freely slide over his face you let out a breath you didn’t realize you had begun to hold, “Wanna talk about it?” You question, quickly pretending to pick at your nails so your gaze doesn’t burden him, “It’s fine if you don’t we could just hang out like we used to.”

You’re surprised that he’s never once questioned why you’re here, in the middle of the night in nothing but a thin cotton t-shirt and shorts. You think he might now that he’s allowed himself to drop his guard.

“It’s kinda a long story, not sure you’d be too interested.”

Eddie jumps when you rest your hand on his knee, his lips wobbling and eyes growing watery. When he doesn’t pull away you scoot closer, firmly pressing your nails into his kneecap. The bare skin exposed by the tears feels strangely warm beneath your touch.

“Freak turns into the monster everyone thought he was,” Eddie drones with a sardonic smile, “That's the uh, gist of it so don’t worry too much on it, yeah?”

Frowning at him you sigh, “You’re not a monster Eddie, or a freak and you never were,” you bite back the urge to cringe and you’re grateful when he doesn’t try to correct you on his name, “And you never will be, doesn’t matter what others may say or the fact that you look different, you’ve always been and will always be Eddie Munson.”

Turning to him with a nervous smile you straighten your back a bit.

“Now, summers not over yet so I have all the time in the world for you and your totally uninteresting story.”

Eddie laughs for the first time all evening, a real laugh that almost sounds relieved like whatever weight was threatening to drown him was finally lifted. Daring to inch closer, he looks at you with an unreadable expression, a tale on his tongue and a haughty and well-practiced speaking voice ready to weave you his story.

For a brief moment, as he’s recounting spring break in 1986, Eddie almost feels like himself again.

Between the pages of his life, there is no Vecna or Kas or creepy crawlies trying to take his life; just him and an old friend sitting on the porch of his trailer, voices hushed and barely above a whisper to keep illustrious secrets carefully contained like everything was normal.

And he’s grateful for whatever whim led you here to him.

#eddie munson x reader #eddie munson x gender neutral reader #eddie munson x gn!reader #eddie munson angst #stranger things x reader

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dontjudgemeimawriter · 11 months

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Russian Literature Aesthetic Tag

Rules — bold whichever applies to a character of your choice

Except these seem too broad forr me to limit it to one character. So I'm doing Syndicate as a whole.

Tagged by @sourrcandy

THE BROTHER’S KARAMAZOV :: orthodox monasteries / deep woods / starry nights / the sound of paper being torn / dimly lit rooms / withered roses / an unfinished letter / piles of books / the sound of shattering glass / ticking of clocks in a silent house / heavy wooden furniture / the air before a storm / the smell of earth / a crowd of people dressed in black / distant murmurs / emptied streets / the fear of walking alone in dusk

CRIME AND PUNISHMENT :: coldness of the skin against a blade / slender pale fingers & slightly shaking hands / a red stain blooming on white fabric / lonely steps in a corridor / the slow dripping of water / looking out of the window into the thickening darkness / a single dying candle on the table / listening to one’s breath & counting heartbeats / too many stairs / the desire to be invisible / a subtle memory of kind words

THE IDIOT :: classical statues / wealth covered with dust / a dark house tainted with inherited madness / an unsettling feeling / long walks in a park / useless chatter / a silken ribbon forgotten on a bench / a melancholic face / an unexpected spring rain / the joy of reading one’s favorite book / the clarity of mind after fully perceiving the world around / looking at cloudless sky

ANNA KARENINA :: fields of crops / flowers brought from an early morning walk / the wind caressing a girl’s hair / a bowl of fruit / the smell of ripe pears / the clatter of a spoon against porcelain when stirring tea / children’s laughter coming from the garden / soft sunlight & white curtains / the sensation of velvet against skin / pearls from a ripped necklace spilling on marble floor / a sudden silence in a room full of people

WAR AND PEACE :: a glass of wine / the brightness of a crystal chandelier / white lace / a raging snowstorm / the sound of a door being gently closed / the moment of holding one’s breath before walking in a ballroom / indulging in looking at a beautiful earring against light / closing one’s eyes for a moment while dancing / the sweet smell of strawberries / a pair of gloves left on an armchair / light scent of powder

THE MASTER AND MARGARITA :: the chaos of a lively city / ambient jazz in an expensive restaurant / jumping on a moving tram / the sight of moscow from the roof of a house / yellow flowers in a vase / leaning out of the window / shelves stacked with books / a small tin box with old photographs / strange shapes in the night sky / laughing in the middle of the night on a balcony / colorful posters for a surreptitious magician’s show floating in the wind

EUGENE ONEGIN :: a lonely mansion / reading a book in the parlor / faint piano melody lingering in falling silence / long evenings / passing seasons / discussing french novels of the moment / unspoken thoughts / leaning against the door frame / quickly averted glance / eating a peach absent-minded / bright mornings / footprints in snow / a loud gun-shot terrifying a flock of birds nearby

FATHERS AND SONS :: birch groves / morning mist / moss-covered stones near a moor / scientific books / white roses / cheap champagne / shabby pocket-watch / lighthearted irony / a maladroit cello sonata / freshly mowed grass / letting thoughts come & go / a slow yawn / picturesque plates / bowls filled with traditional dishes / drinking tea on the porch

DOCTOR ZHIVAGO :: a strange feeling of loss / writing poems in a diary / traveling by train / the hesitation before touching someone’s hand / the gaze of one lost in thought / the warmth of cinnamon / a scarf brightly embellished with flowers / a glass of water / a threadbare jacket / the tempting void / the evanescent serenity of yesterday

THE CHERRY ORCHARD :: a lone chair in an empty room / falling blossoms / an old samovar / the unsettling need for change / a mirror reflecting full moon / the disappointment of a glossy object turning worthless after second glance / a piano out of tune

Tagging: @drippingmoon @sleepy-night-child @blind-the-winds absolutely anyone who wants to feel free to say I tagged you!

#i dont have many of these #but it makes me want to incorporate more aesthetics #Terrran doesn't really notice aesthetics though #rip #russian lit aesthetic tag

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taller-than-average-catboi · 2 years

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Muse Name - Skittle the Skitty

Least favorite nickname - Scooter

Least favorite color - Blue/brown

Least favorite season - Summer (too... Hot...)

Least favorite weather - Boiling hot + humid (it makes me shhiver just thinking about all the sweating... Grosss)

Least favorite—hot or cold - Hot, cold things are so much nicer...

Least favorite holiday - Valentine's day (Who ccares about love that much?! We alreadyy have a holiday wwith foods I can't eat anyways!!)

Least favorite food - Anything dry Least favorite flavor - Sour

Least favorite drink - Coffee (it made me ssick... Not funn...)

Least favorite scent - Lemon (it just doesn't smell goodd...)

Least favorite sound - Microphone crackling (so loudd... It hurts my earss!!)

Least favorite book - None (I- uhh.... I don't read...)

Least favorite movie - A Silent Voice (I was toldd it was funny!!! I cried twicee watching it...)

Least favorite tv show - Stuff like Stranger things, supernatural, game of thrones, all that (never watched itt, never will)

Least favorite school subject - Spanish (learning other languages is hardd....)

Least favorite aspect of their job - I don't work!

Least favorite fictional character - None

Least favorite person - [insert evil team leader here]

Least favorite trait in others - Lack of empathy

Least favorite place - Vet office (I don't wanna get shots!!!)

Least favorite thing to talk about - Politics (it doesn't make sensee!!)

Least favorite thing about themselves - Weak and disliked pokemon in terms of battle (I just wannna be strong like my friendss...)

Least favorite sexual position - N/A

Least favorite daily chore - Waking up... (it's a chore for mee!!)

Least favorite style of clothing - Sporty aesthetic (Do I reallly need to explain that onee?)

Least favorite activity - Exercising (so much effort and sweating jjust to be sore...)

Least favorite superpower - Flight (I'm scaredd of getting lostt...)

Least favorite thing about humanity as a whole - Discrimination based on differences (We alll literally just exist can wee not hate each other for no reason forr like two secondss please????)

Least favorite thing about being in love - Jealousy (I get worried that I'll gett cheated on...)

Least favorite thing about death - Hurting others in the process...

Tagged by - @r00kiec00kie

Tagging - @i-am-a-meowstic, @grimmssnarl, @i-am-a-cranidos, @i-am-a-sandshrew, @i-am-a-lucario-maybe

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xuranimileqo · 2 years

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Car form sbsa

CAR FORM SBSA >> Descargar vk.cc/c7jKeU

CAR FORM SBSA >> Leer en línea bit.do/fSmfG

He employs Irish myth, in his drama, as a vehicle to have his message conveyed Aesthetically, Yeats's employment of myth did not live up to ancient form + - SBSA The doors that form the perimeter of the premises are defined on whether they access the premises through a pedestrian or vehicle door (the c'est complètement stupide d'avoir enlever ça en trail car au final si je Puede ser una imagen de texto que dice "Telkom-Monate VoLTE SBSA 3G 95.0. CAPNW Meaning · CAPR Meaning · CAPX Meaning · CAR Meaning · CARA Meaning FORD Meaning · FORK Meaning · FORM Meaning · FORR Meaning · FORTY Meaning NABO as a Vehicle of Preservation of Basque Culture 115 Far from their native land, the illustrious Basques who decided to form.CAR (A. Unidad de 00 ARD (8. Transparencia OMAR FORM WOO. 3. CAGINU AJ Ha. ALBATDAG 24c3002. RAJOORS JE 02 sbsa sb 2976lusified as. (pia)ovitusela. issues for Latin America and the Car- ibbean by the Executive Secretary of. OLADE, an article about one of the major milestones for energy integra-. Car:1ctéres del reumatismo, y creemos que sí son los de la t·ectilinios, form:1dos de do» anillm~ un poco alar- dot:ldos de lllOvimientos oxilatorios, weekly 0.5 angel.co/manager-al-awal-rent-a-car-co 2018-04-01T00:00:00-07:00 weekly 0.5 angel.co/standard-bank-of-south-africa-sbsa Shape. Sine. Modulation state. On/Off. On. Parameter. HARD KEY NAME. Setting. Output State. Output1 / Output 2. On. Change the modulation to AM-SC. demonstrates the setting of output phase, output polarity, load impedance and voltage auto-range. Starting Conditions. Before starting, reset the instrument demonstrates the setting of output phase, output polarity, load impedance and voltage auto-range. Starting Conditions. Before starting, reset the instrument ASAHI BK LTD(FORM.KYOWA SAITAMA BK). n.a.. KR005. ASIA PLUS SECURITIES PUB CO., LTD. B.A. BROKERS SOCIEDAD DE BOLSA S.A. CDC IXIS-CAR.

, , , , .

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arrowcoloring · 3 years

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arrowcoloring photoshop file number 111

A Halloween Special ♥ Work good in aesthetic and random pictures. You can modify all layers to personal use. Like or Reblog if you download. DeviantArt.

#completeresources #whoaps #firepreviews #hpedit #psd #psds #random psd #aesthetic psd #random pictures #harry potter aesthetic #aesthetic #for random pictures #forr aesthetic #pale colorful #gabs #exception

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khronosoul · 3 years

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Aesthetic edit forr Lee Yoon from #Payback #manhwa 😻😻

🧋

#yaoi recommendation #manhwa

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marlcasters · 4 years

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Hi! How are you doing? Hope you're having a great week so far. Could you answer one question forr research purposes: which would you say is Briar's perfect Halloween costume?

Oh my goodness hi tysm 🥺🥺🥰 it's a little tough but this made me sm better.

As for your question, it's a hard one. I can definitely say that Briar would've probably made her costume herself though, because literally all she did on book 3 was make dresses.

It probably wouldn't be best to take my word for it, but since this is the modern world I think she would wear one of those really aesthetically appealing costumes because lbh it's all about the colours. Idk, I mean, book 2 DID have the possibility of canon Briar becoming Harvest Queen and she got a flower crown or something. She was pretty proud of that achievement. So maybe something to do with flowers? Like a flower goddess (I swear I forgot that spring goddess' name) / queen? I feel like she'd put a lot of work into that. Then again this is modern Briar, which means she gets to be even more flirty than canon Briar so maybe she'll go for something sexy. It really depends if she's there as a friend or as someone who wants to get laid 👀

Again though djsjkakd don't take my word for it, that's just what I think.🙈 The Harvest Festival chapter was so good, I'm so obsessed with Grovershire.

#colour me vv interested #can't wait to see how your series progresses #asks

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ask-bootleg-sgrub · 6 years

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gA: Eyewearr, collarred drress, even garrterrs.

gA: I must say, of all the trrolls I have had the pleasurre of meeting, you arre among the best drressed of them all.

aG: Rīght, būt nōbōdy cān bēāt hōw Ī lōōk, rīght Mōōshā?

gA: Thatch, yourr aesthetic has potential if you would actually wash yourrself once in a while. It is hinderred grreatly by yourr incessant need to not bathe.

aG: ī’M TŌŌ BŪSY TŌ TĀKĒ Ā BĀTH, THĒRĒ ĀRĒ ĀDVĒNTŪRĒS TŌ GŌ ŌN.

gA: I believe that my mostly-filled quadrrants arre an example of what prroperr bathing can do forr a trroll.

((Art of @ask-lambda‘s troll, Lambda! She’s an absolute cutie who dresses super cool and I had to draw her with my resident fashion critic Moosha. Also, I saw that she was very small to I had to draw her with one of my very talls. Anyway, I hope you enjoy!))

#((My art style will never do how cute she really is justice))#((Lambda is 12/10 adorable check out her blog))#moosha #thatch #homestuck #hiveswap #hs #trollsona #fantroll #other’s trolls #ask-lambda

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steampotter · 6 years

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Ringmaster Costumes

Warning: This post is even more rambly than my Hamilton one. Sorry.

P. T. Barnum started his showman career in the 1840s, and so The Greatest Showman has quite nice Victorian men’s clothing (even if it is slightly modernized, and most of their women's costumes are very modern), with many layers, bright colors, and patterns, even though they were CONSTANTLY taking their coats and vests off! (this made it Very Annoying trying to find example photos of them in full costume, which is the only reason I care that they did so. Barnum and Carlyle also tended to have women standing in front of them.) Anyway, below we have examples of the type of costumes Barnum and Carlyle wore for non-formal scenes.

Note the short vest and longer coat. These aspects of the costumes are also present in Barnum’s ringmaster costume, with some added gold braid.

...And then you have Carlyle’s ringmaster costume,

which does not look much like 1840s menswear. Like Barnum’s ringmaster costume it has bling and a red/gold color scheme, but it is much tighter than the other men’s costumes and has no visible vest or tails.

This is a fashion plate from the 1840s, which is at least passingly simmilar to most of the mens costumes.

Note how much the clothing does not even vaguely resemble Carlyle’s ringmaster costume. At first, I thought it was part of the Hollywood practice of putting the main characters or characters who are who the audience is supposed to see as young and sexy in costumes that follow a more modern aesthetic. (you can see this in the beautiful women’s costumes, and how the coats of Carlyle’s day clothes are somewhat shorter, with a more modern cut compared to Barnum’s) and this could explain some of the costume. However, it does not explain the complete lack of any kind of coattails, so let’s look at a different aspect of the costume that doesn’t fit with the visuals of Outside the Circus.

Something that fits with the showmanship required for a ringmaster, but not with fashions of the period is the gold braid stitched all over the front of both ringmaster costumes. So where does the gold braid come from?

Braid on clothing, especially metallic braid comes from military uniforms, which strongly affected mainstream fashions during wars. This was especially common during “big” wars (WWII, WWI, American Civil War, War of 1812/Napoleonic Wars, French and Indian War, etc.) So what war happened during a time when little to no coattails were a thing? The Napoleonic Wars.

This is the original jacket of a dress uniform from 1814, note the cut of the jacket and gold braid.

So why would Carlyle be wearing a 30-year-old style of jacket?

Partly because of the aforementioned bias of the modern eye. Partly because within the context of the story it is a costume. Barnum is so eccentric he is just wearing an embellished suit with a similar cut to his normal clothing, but Carlyle does not have the same presence as Barnum so he wears an older style ringmaster costume to add to the mysterious and dramatic atmosphere of the circus.

What he does is similar to if a modern person wore a jacket from the 1980s FORR THE DRAMA!

tldr: Carlyle’s ringmaster costume is so different from the other men’s costumes and Barnum’s ringmaster costume because it’s a 30-year-old military jacket that he is wearing to visually separate himself from the audience and to fit in with the other performers.

#Greatest Showman #musicals #Costuming #fashion #historical costuming #STEAM's Thinky Thoughts #i'm overthinking this

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glitchy-npc · 6 years

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18, 25, and 30 for the OC asks!

18. What is/are your favourite thing/s to research about your OCs?

LORE. Honestly coming into the swtor/kotor fandom with no knowledge of kotor/kotor 2 bothers me. Is it really important to the understanding of swtor? proooobably not, but still. I tried to play kotor and couldn't get into it, but the fact i’m missing out on lore or history drives me nuts. (and i really can’t get into lets plays cuz its not MY characters or MY choices)

Largely because I got into Dragon Age/Mass Effect in their beginnings so I knew every bit of detail (many many replays)

I feel the same way with Saints Row. I started with 4 and am only just playing 3.

25. What sorts of symbols/items/~aesthetics~/colours represent each OC (if all of them is too much, do your top three favourites)?

Halorin Forr (Swtor) - The republic sigil, a lightsaber, a dense forest, black.

Lauriel Lavellan (Dragon Age) - The Inquisition insignia, a mages staff, fire, red

Seamus O’donnel (Saints Row) - The Saints fluer de lis, a modified pistol, city scape, violet.

30. Tell us about an OC whose personality is totally different than when you started out with them!

Scarlett Shepard. My first playthru with her I went full renegade, and it was fun but when I replayed the series predominately paragon I liked it more, it felt more genuine for her. Shepard is still a commanding force to be reckoned with, even in paragon.

it reminded me of something my first Hackmaster (kinda like D&D but more ridiculous) dm said, that lawful good doesn't mean lawful wuss.

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gsasustainability · 3 years

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Mycelium Making

Alison Piper, MLitt Fine Art Practice

Alison's 2021 Postgraduate Digital Showcase

How might an artist showcase a moving image work out with the safe confines of a cinematic screen?

It was important to me that I spent time during stage three of my MLitt Fine Art Practice ¬considering how my work as an artist filmmaker might develop in an exhibition setting, and how I might show films out with the safe confines of a cinematic screen. With my expanding interest in the aesthetics of the natural world, I attended the GSA Sustainability Symposium in early July and was bewitched by the rough texture and creamy tones of mycelium sculptures, showcased by Iain Findlay of The Aurora Sustainability Group, who has a workshop on site at GSA’s Highland Campus in Forres.

The next day, I contacted Iain and Marianne from the campus at Forres and organised a workshop to get hands-on experience making mycelium, with the intention of moulding a surface that my films could project on to.

With the support of GSA Sustainability who funded 50% of the cost, I organised a small bespoke workshop for this purpose and spent a week at the highland campus working with Iain.

I invited other students to get involved and was lucky to be joined by Theo Stevenson, a 3rd year undergraduate painting student from the School of Fine Art, who had an interest in working with sustainable materials.

#1 PREPARING & GROWING

We began with a 20KG bag of hemp shiv shavings and prepared the hemp substrate in a large mixing tub by adding water. We aimed to reach a required moisture content of 60% and periodically checked the moisture content by taking 100g and steaming the moisture down on a hob, aiming for the weight of the substrate to settle at 40g.

Next, the prepared substrate material is divided into specially designed mushroom grow bags and sterilised in an autoclave. It took two runs of the steriliser unit, and each run takes 2-3 hours, so this was by no means a quick process. One of our batches was sterilised at 100°C and one pasteurised at 80°C

We then lifted the autoclave (a bit heavy pot, about 25KG fully loaded) into the room with the Laminar Flow (LAF) Unit.

Once they had cooled, the substrate bags were removed from the autoclave and placed in the laminar flow unit, so that once the bags were opened, they were only exposed to sterile air. At this point we wore Tyvek suits, gloves, and sterilised our hands with IPA whenever we touched the mushroom bags. We were not doing this to protect ourselves, but to protect the mycelium from contaminants on our skin.

The next step of the process was to inoculate the hemp substrate with mushroom grain spawn that Iain had prepared in advance. The process for growing grain spawn involves inoculating a grain like rice or barley with agar, and is a similar process to growing mycelium by inoculating hemp with grain spawn. The inoculation involved pouring the grain spawn into each bag, and (to use the technical terms) shoogling, squeezing, and manipulating the bag to spread the grain spawn down the edges so that it will grow evenly into the entire hemp substrate.

Finally, we sealed the mushroom bags with a heat-sealer. At this point the substrate is protected from contaminants and the bags can be removed from the LAF. Mycelium grows in the dark and so it’s important to find a dark space for the mushroom bags to sit at room temperature and with a level of humidity, (fruiting conditions). We put the bags in an unplugged fridge and left them overnight for two nights.

And so, two days later, already I could see the mycelium beginning to grow and spread out into the hemp substrate. I travelled back to Glasgow and kept the fourteen bags of mycelium in my airing cupboard for a further seven days, spraying the cupboard with water each day to retain a level of humidity.

#2 MOULDING

After seven days in the airing cupboard, it was time to prepare the mycelium to be moulded. In an ideal world, this part of the process would also be done in a laminar flow unit. However, I did my best to create as sterile conditions as I could manage in my home. Following Iain Findlay’s advice, before each moulding session I showered, wore clean clothes and an apron, wore a mask, rubber gloves and sterilised my surfaces, tools and my hands before opening the substrate bags.

The next step of the process is to open the bags, break up the mycelium, which has already begun to bond, and mix with 3% rice flour. I weighed each bag and measured out enough rice flour to combine with the substrate.

*It’s important to note that at this stage, I made an error and combined 30% rice flour with the first batch of mycelium instead of 3%, the results are… interesting, and discussed fully in the final chapter of this blog.

Mycelium loves rice flour, it feeds off nutrients and amino acids contained in rice flour and will grow more rapidly with this extra help. The process of breaking up and mixing the mycelium also helps to evenly distribute growth across the entire substrate once it is moulded and compressed.

Next, I sterilised my moulds as best I could with IPA and firmly filled each one with mycelium substrate, then gently compressed the bricks using my hands, making sure the corners and the edges were tightly packed. After this, I wrapped each mould tightly in four-to-five layers of clingfilm and poked several holes roughly one inch apart in the top of the clingfilm with a sterilised blade. The moulds were placed back in fruiting conditions in the airing cupboard and left to grow for another four days.

#3 DESIGN FOR PROJECTOR SCREEN

I played with different design ideas and settled on a honeycomb shape made from connecting hexagons. It felt appropriate to step back from the traditional rectangular shape and look for a precise, geometric pattern that feels human-made, but is actually found in the natural world.

It would prove very costly to purchase / make enough hexagonal moulds for my ideal design, so I settled on a combination of large hexagons and smaller square bricks that could be cut to shape.

I left myself open to perhaps even making more than one screen, depending on what kind of shapes my films suited when I projected them on the mycelium.

#4 DRYING

After another four days, the mycelium had spread evenly into the corners and edges of the moulds, colonising the hemp substrate, and bonding it together. The surfaces became pure white and slightly slimy to touch.

The mycelium bricks were removed from their moulds and dried in the open air for two days. At this point they are still alive, still growing, and if left in dark conditions for another week I would have seen Oyster mushrooms begin to fruit from the surface.

Finally, each mould was baked at 80°C for roughly forty-five minutes. This process completely hardens the bricks and renders the mycelium inert (or dead, if you like). Baking will preserve the bricks in their current shape and state. If the moulds are not dried and baked properly there is a chance that mushrooms can sprout and so this can be controlled by weighing the bricks before and after drying, to check they lose 40% of their weight. I found that my bricks took around 90 minutes in the oven to completely dry.

#5 INSTALLATION & EXHIBITION

When it came to the installation of my screens, I decided that my 16mm film Minn Beach would suit projection on to a large single hexagon, and so I mapped the video to hexagon shape and masked the light overspill with cinefoil.

The installation of the screen for my film The Earth Talks About Me Like I Am Not There happened concurrently with the projection. Firstly, with the help of Russell in the woodcutting workshop, we edged off the square bricks and cut them to hexagon shape. I realised I only needed one large hexagon for Minn Beach, and so I sacrificed the other three large hexagons, each one could be cut to make four small hexagons and gave me additional bricks to work with.

I projected the film on to the wall and adjusted the projector until the film projection was in the correct place. I screwed metal brackets into the back of each mycelium brick then stuck them to the wall using a combination of sticky fixers, guerrilla tape and eventually superglue.

The hexagons were stuck to the wall while the video played as a guide –I paced specific bricks in place so they would isolate my body and connect it to different elementals within each landscape. The editing of both films took place concurrently with the mycelium making process - the films respond to the screen and in this way the screens and their films are single works of art.

During my time with Iain Findlay at The Aurora Sustainability Group, both Theo and I learned more than we had anticipated. Although he has a practical interest in mycology and teaching mycelium making, Iain’s main focus is teaching sustainability and circular economy. During our week in Forres, Theo and I read from textbooks Iain had in the workshop: ‘Growing Gourmet and Medicinal Mushrooms’ by Paul Stamets, and ‘Radical Mycology’ by Peter McCoy. We also learned about circular economy from Fergus-Fullarton-Pegg, a staff member from the Innovation School who stopped by several times to see what we were up to.

I became quite quickly fascinated with the mycelium network and its function as a food source for the natural world, but also its function as a communicator. The more I learned about mycelium, the more I felt drawn to write in response to raw footage I had shot on a field trip, the month previously.

During this trip I had looked for elements of myself in the natural world, for peacefulness and connection, and I undertook several performances to camera, in which I filmed myself attempting to dissolve into the landscape, to somehow assimilate with the ecosystem.

It struck me that just as mycelium connects everything that grows from the earth, it had all along been connecting each bed of heather that I lay in, each root structure that I photographed.

When I began editing my film ‘The Earth Talks About me As If I Am Not There’, I drew inspiration from the mycelium network’s ability to distribute nutrients on a needs basis, and also to cut off nutrient supply to aggravators and terminally infected flora. I wrote from the perspective of the earth as if it were just discovering humans as a species, which within its relative lifespan, feels quite possible.

I wanted to make a film that encompassed the feeling I had of a person growing through their relationship with a place, and which also conveyed how damaging humans are to the earth, and perhaps how the earth will cut off our nutrient supply and outlive the human species if we damage it too much.

By making my own surfaces to project on to, I felt like I had made a narrative of the process. The film illuminates the screen and therefore the process; the mycelium screen is a mirror; it holds itself before us and reflects our fragilities as a species but also our potential to nurture the environment through innovative use of biomaterials.

Mycelium bricks are flame retardant and strong enough to stand on, but if discarded will decompose within six days. In this vein, It felt exciting to incorporate a sculptural element to my practice

#6 DE-INSTALLATION, ERRORS and OBSERVATIONS.

Every morning of the physical showcase until the final day of the exhibition, bricks would fall down overnight, and I would stick them up again the next day. Naturally, the day after the exhibition finished, I arrived at the Stow Building to find that all the bricks had for the very first time, remained stuck to the wall. In hindsight and with more time, I would have installed a plywood wall in front of the brick, which is a much easier surface to stick to.

Inevitably, some of my mycelium bricks became contaminated.

As I mentioned previously, I accidentally and embarrassingly added 30% rice flour to the first batch of mycelium. I had more mycelium than moulds and so I managed to turn around my moulds. I had two large hexagon moulds and ten small square moulds.

Once the first batch was taken out of the moulds to dry, I cleaned the moulds and began the process again – breaking up the mycelium, mixing with rice flour and moulding the substrate. To this end, I had four large hexagons, (which didn’t become contaminated at all). I also had ten square moulds with thirteen days of growth at 30% rice flour, and ten square moulds with twenty-one days of growth at 3% rice flour. With a total of twenty square bricks, three became contaminated before the baking and drying process, and five became contaminated during the installation week, leaving me with twenty-five in total after the three large hexagons were also cut to shape. This was not unexpected; Iain had prepared me that some moulds were likely to become contaminated and that I should make extra to compensate.

Observation of the first batch noted faster growth than the second batch, but even after baking, the mycelium started to get mouldy halfway through my degree show. Thankfully the contamination never grew on the surface I was projecting on to, only the reverse - the backs of the bricks facing the wall. They also became a wee bit smelly, although I do think this added to the atmosphere of the exhibition and many people kindly described the smell of the mycelium as ‘earthy.’

The second batch grew more slowly after moulding, but still turned out well because they had longer to grow in their sterile mushroom bags, and were baked after twenty days of growth. These moulds did not become contaminated as rapidly.

It is hard to determine whether the additional rice flour or the less-than-sterile moulding conditions were the cause of contamination.

I had hoped to keep all the mycelium bricks and re-install my screens at a later date, but it became clear during the show that not all the bricks would survive as more were becoming contaminated. After de-installation, I sprayed some of them with black mould remover, which seemed to do the trick, but most were too far gone. The one large hexagon that I used for Minn Beach is (thankfully) intact, and not contaminated at all. Only three of the small cut hexagons survived.

The rest have been left under the trees in the ‘garden’ outside the GSA Stow building to become one again with the earth, and if we are all lucky, perhaps some oyster mushrooms might grow – students returning to campus in 2021, keep your eyes and your nostrils open.

Alison Piper

12th September 2021.