#hara no mushi

[evolutionsvoid]

Though the Arimakki originally came from a single divine corpse, and overran just one mine, it wasn't long before their kind started to spread across the land. Soon, their colonies would appear sporadically upon the map, new hot spots arising despite being a long distance from the original hive. As it was quickly found, Arimakki travel the land quite well, be it on it, over it or under it. Frantic wings carry them upon the air, and frenzied claws burrow through the earth. All their colonies are formed underground, often taking over existing networks, be it mines, hollow veins or natural caves. What decides where they truly bed down is not fully known, as some places will be entirely ignored, while others are overrun by a horde of sweating, burning bugs. Some believe that their strategy is simply having none at all, being strange creatures of chaos that no one can predict. In the end, most people don't care about the "hows" and "whys," and are more concerned with stopping these hives before they start, and torching every last Arimakki before they boil an entire village to death. Efforts have been, and continue to be,  made to stop this threat and contain it, but the world falls more into madness with each passing day, and it appears these parasites thrive upon the pure chaos that has gripped this land. 

Here are some of the many Arimakki that torment the people of this world:

Arimakki Mushi - A type of Arimakki that buzzes through the air upon frantic wings, it appears to act as an aerial look out or scout. Though they often appear alone when flying through the sky, often they act as an omen, as soon more Arimakki on the ground will follow. The odd "tongue" that emerges from their rear seems to taste the air and give them direction, though it can give the opposite impression when they fly rapidly in circles to find the right trail. This same tongue is steeped in Feverish Sweat, and they coat foes in the boiling fluid when they slap them with this fleshy flap. The sound it makes as it waggles in the air during a speedy flight is...odd. 

Arimakki Inu - Another type of Arimakki that appears to act as a scout, these ones moving in packs. They bumble across the land, smearing their sweat upon particular landmarks and areas to leave a clear trail for others. Though their movements and attitude may be more akin to playful puppies, they are by no means a creature without threat. Their drool is Feverish Sweat, and their goofy attempts to lick one's face will easily burn flesh and inflict victims with the horrid fever. The holes upon their back are created from the Whites Worms in their bodies, which emerge when things get hectic. If battle breaks out, the White Worms will appear to act as long whipping tendrils, delivering painful strikes to all who interfere with their host. For these Arimakki, their mission is often interrupted by moments of play and curiosity, as they chase one another in circles or bound after some fleeing critter.

Arimakki Ha - A dangerous Arimakki that was easily labeled as a "warrior" of the colony upon the first encounter. Their limbs end in wicked sharp blades, capable of cleaving through flesh and bone with a single swipe. Even their tail possesses a razor pincer, which they use to snip foes in half, or ward them off with mad flailing. While these blades are excellent for battle, they can cause issue when it comes to travel. They walk upon these blades, which can be a problem when on soft terrain. Thus, this type is capable of quickly switching between walking on two, four or six legs, depending on the environment. In some cases, they walk upon none, slithering across the ground on their bellies. The rapid changing of their stances makes them hard to predict and combat, as they can slink low under attacks and rise up to impale foes with a deadly thrust. When not fighting, they tend to patrol around hives and their entrances, grinding their blades together as a warning. Bored specimens have been found tapping their blade tips upon hardened surfaces, finding some amusement from the sounds that come from it. 

Arimakki Nejire- A rather strange Arimakki when compared to the others, as its body plan bears little resemblance to most. Its existence has fed into the wild theories around the Arimakki, which grow even more mad with each new discovery and autopsy. Some would suggest that these creatures are not a single species, but a sort of parasitic collective, many who come together to create one terrible whole. Regardless, this Arimakki is one that stalks the outer edges of a colony's territory, using its speed and thin lithe body to evade detection. They target those who get too close to a hive, dispatching them with a single strike of their stinger. They are a species that has incredible patience, despite their fidgety behavior, waiting and stalking til the perfect opportunity arises and then lashing out with a nasty sting. Their sharp tail seeks the spine and other nervous centers, injecting a potent dose of Feverish Sweat to cripple foes with pain. Often, victims are left paralyzed from the agonizing stab, and their efforts to fight or flee attract the attention of other Arimakki. Those that arrive will finish the job, while this buzzing terror will go back to its hunt for intruders. When at rest, they like to coil themselves around branches and other long solid objects.      

------------------------------------------------

"More Arimakki"

More Arimakki! And soon to be even more!

#hara no mushi #belly bugs #parasite #worm #insect #bug #monster #creature #art #drawing #fall of ichor

[konjaku]

紫蘭[Shiran] Bletilla striata

紫[Shi|Murasaki] : Purple

蘭[Ran] : Orchid

It is native to eastern Asia. It also appears in the Tale of the Heike.

何事も皆變り果て、稀に殘る家は、門前草深して、庭上露滋し。蓬が杣浅茅が原、鳥のふしどと荒果て、蟲の聲々恨つゝ、黃菊紫蘭の野邊とぞ成にける。

[Nanigoto mo mina kawari hatete, mare ni nokoru ie wa, monzen kusa fukaku shite, teishō(teijō) tsuyu shigeshi. Yomogi ga soma, asaji ga hara, tori no fushido to are hatete, mushi no koegoe urami tsutsu, kōkiku shiran no nobe tozo nari ni keru.] Everything has changed, and in the rare remaining mansion, the front gate is covered with weeds and surfaces of things in the garden are covered with many dewdrops. It was devastated as if it were a mountain of Yomogi(mugwort,) a field of Asaji(cogongrass,) and a bird roost, and resenting the chirping of insects, it has become a field of Kigiku(yellow chrysanthemum) and Shiran(purple orchid.)

From Chapter 5 Viewing the moon Source : https://dl.ndl.go.jp/pid/1235982/1/173 (ja) https://en.wikipedia.org/wiki/The_Tale_of_the_Heike

Although it is a member of the orchid family, is easy to cultivate.

#flowers #nature #literature #japan #nihongo #original photography #langblr

[silverxcristal]

[ArtFight Revenge!]

Mushi Hara from @wereana 

#artfight2022 #arte #ocs

[thegenealogy]

1 Chronicles 6: 16-30. "Pure Whiteness."

16 The sons of Levi "Connection":

Gershon,[c] Kohath and Merari.

Gershon= To drive out

Kohath= the obedient, the congregation

Merari=bitterness

17 These are the names of the sons of Gershon:

Libni and Shimei.

Libnei=pure whiteness

Shimei=renown

18 The sons of Kohath:

Amram, Izhar, Hebron and Uzziel.

Amram=to rivet them

Izhar= to the high point, (at noon)

Hebron=the place of joining

Uzziel=uz= safe place, the refuge

19 The sons of Merari:

Mahli and Mushi.

Mahli= sickness

Mushi=touchy, ambulant, to depart or remove

These are the clans of the Levites listed according to their fathers:

20 Of Gershon:

Libni his son, Jahath his son,

Libni=my whiteness

Jahath=he will deplete

Zimmah his son, 21 Joah his son,

Iddo his son, Zerah his son

and Jeatherai his son.

Zimmah= scheme

Joah=dove, vexer

Jeatherai=pertaining to remnants

22 The descendants of Kohath:

Amminadab his son, Korah his son,

Assir his son, 23 Elkanah his son,

Ebiasaph his son, Assir his son,

24 Tahath his son, Uriel his son,

Uzziah his son and Shaul his son.

Amminadab=people of liberality, my kinsman is noble

Korah=baldness, frost

Assir=captive, bound one

Alkanah=God has acquired

Ebiasaph=God has gathered

Assir=captive, bound one

Tahath=beneath, to support

Uriel=Light of God

Uzziah=Power of Yah, Yah is strong

Shaul=to ask

25 The descendants of Elkanah: God has acquired

Amasai, Ahimoth,

Amasai=Yah has borne

Ahimoth=my brother is death

26 Elkanah his son,[d] Zophai his son,

Elkanah=go with God, God has acquired

Zophai=honeycomb like, honeycomb of Yah

Nahath his son, 27 Eliab his son,

Nahath=a leader

Eliab=God is my father

Jeroham his son, Elkanah his son

and Samuel his son.[e]

Jerohoam=May the people contend

Elkanah=go with God

Samuel=Name of God, heard of God

28 The sons of Samuel:

Joel[f] the firstborn and Abijah the second son.

Joel=The Lord is Elohim, the Lord is God

Abijah=Yah is my father

29 The descendants of Merari, Bitterness:

Mahli, Libni his son,

Mahli=sickness

Libni=my whiteness

Shimei his son, Uzzah his son,

Shimei= renown

Uzzah=strength

30 Shimea his son, Haggiah his son and Asaiah his son.

Shimei=renown

Haggiah=festal

Asaiah=Yah has made

The Gematria for this section comes from the combination of several queries. First was Zophai, "Honeycomb of Yah" or the "Connected" people of the Kingdom of Israel. Since honeycombs came up yesterday I decided to be more superstitious than normal and follow the threat.

The Gematria says "the Chosen One, One Eight" = my name, Michael (85) = 18=

Yet You Are The Collective Conscience Trapped In Your Own Beast Getting Ready For Eternal Death I Have Been Chosen To Hit The Switch.

It is no coincidence the term collective was returned by the Most High to us through Gematria under these conditions.

Judaism in spite of its emphasis on human evolution and the full partaking of all the advantages and comforts of human accomplishment seems like it just makes people nuts. To collect and connect in this manener in order to be impractical or insane is not of God.

This is also the theme of the Torah Tantra from the above section, which discusses the removal of whitenes, of leprosy from the remnants of the people.

So What Is It?

Tzaraat was an affliction of the skin (or clothing or house) discussed extensively in the Bible (notably the Torah portions of Tazria and Metzora) that would cause the sufferer to become impure and be isolated or “quarantined” from the community. 

The sages explain that tzaraat was actually a supernatural affliction that would usually come about due to a number of sins,8 most notably the sin of speaking lashon hara, evil speech.

Maimonides describes how this came about, as well as why the person afflicted had to be isolated:

This change that affects clothes and houses, which the Torah described with the general term of tzaraat, is not a natural occurrence. Instead, it is a sign and a wonder prevalent among the Jewish people to warn them against lashon hara. When a person speaks lashon hara, the walls of his house change color. If he repents, the house will be purified. If, however, he persists in his wickedness until the house is destroyed, the leather implements in his house upon which he sits and lies change color. If he repents, they will be purified. If he persists in his wickedness until they are burnt, the clothes he wears change color. If he repents, they will be purified. If he persists in his wickedness until they are burnt, his skin undergoes changes and he develops tzaraat. This causes him to be isolated and for it to be made known that he must remain alone so that he will not be involved in the talk of the wicked, which is folly and lashon hara . . .9

"To remove the whiteness, the leprosy and bitterness from the people, drive them to the high point, High Noon in the Jewish Saloon, where one is bound, made captive to the Light of Yah.

Go with God, whom God has made strong, may the people contend only with what God has made, may He cure us all of doubt, may we outwit death, may we live with renown."

For those of you who are interested in Jewish astrology, the appearance of hornets, leprous hornets, and honeycoming in our research is strongly indicative of the interest of the messenger angel, Zauriel, the god of hornets, in the future of the People of Israel.

Signs such as these are closely associated with the onset of Mashiach, a time when the Law will culminate and those who are oppressed will no longer be required to live alongside their oppressors.

[historiasdehernas]

Sonhos de Areia: Episódio 19

Aventura: A Queda de Rino

Episódio 19: A Casa de Fumo do Sr.Cobra

              O grupo então decide ficar alguns dias abaixo do radar por conselho de Salamandra, Tokoyo passa sua semana preparando poções e venenos com seus kits de herbalismo, Mira arruma um trabalho como revendedora de produtos de higiene pessoal e procura por respostas sobre Sélion (o draconato azul que veio com o grupo a Calaena mas que nenhum membro do grupo parece lembrar) que está desaparecido desde a chegada ao Oasis, a monge descobre que há poucos draconatos na cidade, boa parte deles está se mudando para Encar para viver uma vida mais digna, ela descobre que os Cavaleiros da Chuva já estiveram na cidade para tentar fazer uma negociação entre Rino e Encar mas nenhum dos dois poderosos gigantes quis se submeter ao outro, ela também descobre que algumas pessoas já desapareceram quando começaram a frequentar a Casa de Fumo do Sr.Cobra.

              Paimon apenas faz alguns bicos enquanto tenta ensinar algo de dracônico para Mushi, Icarrion procura por referências religiosas na cidade, descobrindo que como cultuar os deuses é proibido existem poucos devotos fervorosos no Oasis, na busca pelos deuses Icarrion encontra pequenos objetos representativos de Segil, Kloi, Ristaran e Haras, não achando nada de Otth ou da Matriarca, deuses pouco conhecidos desse lado do mar. Em sua busca o elfo também encontra sem querer uma taverna clandestina, conhecida como Taverna do Pobre, um lugar onde os pobres se reúnem para dançar, beber e festejar, o dono da estalagem é um tabaxi gordo de pelagem negra, ele faz parte da Rugido do Dragão mas seu trabalho está mais envolvido em continuar nutrindo os cidadãos de felicidade e esperança, Icarrion se apresenta algumas vezes ali com sua harpa em troca de algumas moedas de cobre.

              Depois dessa semana de furtividade, o grupo volta a se reunir na Estalagem do Dayo, como primeiro passo para voltar a ativa os heróis fazem uma leitura coletiva de “A vida de Ethan, uma autobiografia” descobrindo lá o passado do Sr.Crocodilo e algumas outras informações importantes sobre a Família Zoo e Rino. O grupo então decide se reunir com Salamandra para saberem oque podem fazer na cidade agora, a monge fala que os heróis podem ir falar com Olly, outro dos discípulos de Tâmara, que está precisando de ajuda na investigação da Casa de Fumo, Salamandra também dá para Mira uma pedra de comunicação, um item mágico que permite que as duas se comuniquem a distância.

              O grupo então se dirige para a Casa de Fumo, lá eles encontram Olly disfarçado como um artista de bodypiercing, Mira pede que o monge faça alguns nela enquanto ele explica oque descobriu sobre o Sr.Cobra. Olly fala que toda região do Mercado de Escravos é controlada pelo Sr.Cobra, é onde há menos problemas estruturais devido a organização excelente do criminoso. O monge ainda conta que o Sr.Cobra quase nunca é visto fora da Casa de Fumo e nem na parte de área comum da mesma, Olly conta também que um estranho evento tem acontecido, o monge registrou todas as pessoas que entraram na Casa de Fumo nos últimos dois meses mas que alguns desses nomes simplesmente somem de sua lista e também de sua memória, ele desconfia que o Sr.Cobra tem uma poderosa magia a seu dispor para dar um “sumiço” nos frequentadores da Casa de Fumo.

              Olly e os heróis planejam como entrarão na Casa de Fumo para investigar, o monge criara uma distração para atrair o Sr.Cobra para fora enquanto o grupo se esconde em uma ruela. Depois da distração estar em andamento o grupo rapidamente entra no local e utiliza de sua furtividade, magia e sorte para conseguir passar despercebidos pelos funcionários e guardas. Enquanto exploram Tokoyo encontra o quarto do Sr.Cobra, um quarto simples e com pouca mobília, a cama parece nunca ter sido usada e em cima de uma escrivaninha estão desenhos anatômicos de várias espécies de animais, monstros e humanoides, os desenhos são semi-fotográficos e muito bem detalhados, o grupo então encontra uma estranha sala no porão da casa, uma cadeira de pedra se encontra no centro dela, um estranho aparelho que lembra uma máscara de gás com tubos ligados a cilindros de vidro está acoplado a cadeira, na cadeira há também algemas para os pés, mãos e pescoço.

              Vasculhando essa sala, o grupo também encontra outros cilindros de vidro, estes com a estranha fumaça amarelada que se move em espirais, a chamada Fuçaça. Eles também percebem que há uma escada em espiral levando para o subterrâneo abaixo da Casa de Fumo, o grupo começa a descer as escadas mas acabam caindo em um gigantesco fosso quando a escadaria desaba em uma armadilha. O grupo consegue salvar-se de sofrer muitos danos com a queda, eles caem por sorte, cada um, longe dos gigantescos espinhos no final do fosso, onde ossos e carne podre estão ao redor, enquanto procuram informações sobre onde estão e oque é esse lugar, Icarrion encontra uma armadura completa com um rombo no centro do torço, ela estava sendo utilizada por um provável meio-orc que caiu no fosso antes deles, o elfo leva a armadura para tentar concerta-la mais tarde.

              O grupo segue em frente pela única saída desse fosso e logo mais encontram uma fornalha ainda quente, há corpos dentro da fornalha que parecem ter sido queimados a até uma semana no máximo, Tokoyo ainda pede que Kawari vasculhe a fornalha por dentro para ver para onde vai a fumaça da fornalha, o canal para a fumaça estranhamente leva para baixo e não para cima como todas as fornalhas. A pequena aranha tenta descer pelo canal mas começa a sentir um medo paralisante de seguir em frente nas sombras da chaminé invertida, a druida a diz que volte e o grupo segue seu caminho por esse complexo subterrâneo sem saber oque esperar nas próximas salas.

[otakusmart]

#animeaboutdepressionandanxiety #animeaboutdepressionandloneliness #animeaboutdepressiononNetflix #animeaboutmentalillness #animewithdepressedmc #animesaboutdepressionandself-harm #postanimedepression

[pyroraptor42-art]

The Hara no Mushishi

Crossover between Mushishi and the Hara no Mushi.

#Halloween 2019 #Monstober #Mushishi #Hara no Mushi #yokai #creature design #Ginko #bogleech

[canmom]

Animation Night 76: Rankin//Bass

When it comes to naming Western animation studios, you’ve got the really old school studios from the early 20th century like Fleischer, Disney and Warner Bros. You’ve got the offshoots of Disney like Don Bluth Productions and Dreamworks. You’ve got the oddball directors like Ralph Bakshi would who hop from studio to studio, whoever would take their pitch. Head over to Europe and you find a lot of smaller studios like Cartoon Saloon, Bobbypills, Xilam or (long list of French studios) who tend to work on massively multinational collabs designed to scoop up arts funding from as many countries as possible. There are limited-animation oriented TV studios, which is to say there is Hanna-Barbera.

And then there’s Rankin/Bass!

Rankin/Bass are a bit of an odd beast, in that they were perhaps one of the earliest studios to primarily produce animation via international outsourcing - and while nowadays that usually means South Korea and the Philippines, back in 1960 that largely meant Japan.

Rankin/Bass, founded naturally by two guys called Rankin and Bass (in 1960 under the name Videocraft International, based in New York), took American money and sent it to animators at some of the oldest anime studios including Toei, Eiken/TCJ and Mushi Pro to draw or stopmotion animate their films, which they would voice act with American VAs. But the studio they’re most associated with is Topcraft, which you may remember from Animation Night 70 as the studio which old Hayao chose to make Nausicaa; outside of this rare exception, Topcraft almost exclusively served Western productions, largely for Rankin and Bass. And after Topcraft vanished shortly after Nausicaa, with the majority of its animators going on to follow Miyazaki to the exciting new Studio Ghibli, but a certain portion hung on, creating Pacific Animation Corporation. You can see the full list here.

The way things seem to work at this studio, Arthur Rankin and and Jules Bass themselves directed basically all their movies. On the Japanese side, the stop motion ‘animagic’ productions are credited to Tadahito Mochinaga at MOM production; Topcraft was led by Toru Hara, formery of Toei, before he joined the Ghibli exodus.

For the first few decades of the studios existence, Rankin/Bass specialised in, well, ‘holiday specials’ for various US xtian celebrations like Christmas and Thanksgiving. Since the official line of Animation Night is that the only valid one of these is Halloween and all others are revisionist, we are going to pass over these without much comment. Which means we’re speeding forwards to the late 70s, where they started to branch out a little. First were a series of hourlong TV specials, and then, suddenly, childrens’ books were in, starting with Tolkien’s The Hobbit.

Why did this happen at this particular point in history? I’m honestly not sure, although perhaps the success of Zuiyo Eizo’s World Masterpiece Theatre series (also talked about on Night 70) had a lot to do with it? Or perhaps they were hoping to fill the space left by a weak decade at Disney? In any case, in the space of about a decade, Rankin/Bass dived head first into adapting fantasy books - among them Tolkien’s Return of the King, The Last Unicorn by Peter S Beagle (certainly the best remembered), The Flight of Dragons by Peter Dickinson, and a version of The Wind in the Willows by Kenneth Grahame.

The particular visual style of this period of Rankin/Bass movies stands out - if not necessarily always for good reasons, those giant hobbit eyes are certainly a choice! The 70s and early 80s were a period when ‘fantasy’ had not yet ossified into its current rigid commercial aesthetic (i.e. the Star Wars money machine was still revving up), watercolour paintings and fantasy artists were throwing out some fascinating feelers into aesthetic space. At its best this led to some brilliant works like Belladonna of Sadness [Animation Night 69] over in Japan, the rise of French comics artists such as Meobius, and even disjointed but very compelling Bakshi movies like Wizards.

It may contextualise things to note that this song by Leonard Nimoy was made in 1968:

...which is admittedly a full decade and then some before The Last Unicorn, but that’s the vibe. Imagine a drawing of a hobbit with a pipe on top of a weed shop... oh, you don’t have those outside of Glastonbury? Huh.

So, let’s have a look at a couple of these movies.

The Last Unicorn (1982) is actually the only one I’ve seen, capturing a suitably ethereal and melancholy atmosphere - perhaps not surprising since the book’s author Peter S. Beagle wrote the screenplay as well. Rankin/Bass were the last animation company to be approached, initially horrifying the author, but he came around after seeing the Japanese animators’ character designs (which include a fascinating cloven-hoofed look for the unicorn herself that recalls illuminated manuscripts and medieval tapestries, apparently intentionally!) and the voice actors’ performances. @mogsk​ reports actually meeting the guy at a screening of a remastered version with additional inbetweens, and he was very happy about the adaptation, only regretting that they hadn’t had the budget for more full animation in the first place.

It was rly cool, we were sitting in the second row to the front, and the guy in front of us kept turning around and excitedly talking about each scene, and when the lights came up at the end t hey handed him a mic and he was like ,"So yeah I'm peter s beagle!" lol

A lot of the tone has to do with the score, composed by Jimmy Webb with the band America and singer Lucy Mitchell. A reviewer is quoted as calling it “an appropriately somber and sentimental blend of fairy tale motifs and dark, Wagnerian cues” and disparaging the folk ballads which became so common in other rankin/bass films, but honestly these ballads now convey a feeling of ‘hey it’s (only just ceased to be) the 70s’ and it really works here. At least I think the OP is pretty :p

So yeah that’s who’s on it, but what’s it about? It’s a tragic little story about a unicorn who goes looking for any other survivors of the magical creature genocide by a tyrannical monster known as the Red Bull, falls into various misadventures including a traveling circus, and it gets very bleak indeed when she has to turn human to evade capture.

As for our second movie... one of the Tolkiens might be an obvious pick, but instead, I’m going to take the opportunity to show @mogsk​ the one R/B fantasy film she hasn’t seen... and nor have I so this one’s a roll of the dice. That is The Flight of Dragons by Peter Dickinson, If you look at the poster you might be like, “hey bryn have you gone mad” (you fools I was mad all along), but the film itself looks like... well, a late 70s fantasy film, so high drawing counts, some rotoscopy looking scenes, often kinda-stiff animation but also some beautiful 70s-anime approaches to stuff like fire.

This one... the plot’s pretty daft, a buncha wizards get together and have an argument about the fate of humanity. Forbidden to fight among themselves, the 'good’ wizards deputise a small group of humans to steal the bad wizard’s crown. Meanwhile a young Peter Dickinson - author of the book, self-inserting here! - gets isekaied into the past and accidentally downloaded into a dragon’s body. From there we get a kind of science vs magic subtheme which honestly sounds a little painful, as Peter attempts to fit dragons into his 20th-century ontology, but we shall see...

And oh! Guess this is actually our first isekai on here. Wasn’t expecting that. I shall save an attempt to research the history of isekai for when we end up doing an actual anime one.

Anyway, it looks like it will have some fun vocal performances and cool visuals, so hopefully a chill and amusing time, and it still has something of the colouring of 70s/early 80s anime which should give some visual appeal even if it’s not quite the technical showoffiness of something like Horus. Idk, let’s roll the device.

Animation Night 76 will start... now! I know, late again. Hopefully this will be a fun one to recover from any surgeries, illnesses, malaises, and misfortunes you may have experienced in the last week <3 head to twitch.tv/canmom when you are ready!

#animation night

[typhitty]

I keep looking at @bogleech's articles on the Hara No Mushi, which is a book of mythological parasites. It has inspired many fakemon, so a lot of my upcoming fakemon are gonna be parasites! it was a month long list of articles so one could use it as a month long art challenge but I've never had the attention span for something like that so I won't lol.

#fakemon #typhitty talks

[bogleech]

I implore you to check out this one because today we also dive deep into how exactly you can get tapeworms in your brain and how to not do that. I even doodled a crummy half-assed fakemon line as a visual aid!

#biology #animals #pokemon #youkai

[evolutionsvoid]

While there are countless searing parasites who can serve as the face of the Arimakki, to all, there is only one symbol, one heart, that truly defines them. It is a thing that is even more mysterious than the odd bugs themselves, something that many still struggle to understand. Even its name fails to properly describe what it truly is, but there are no other words to use for it: The Vile Red Tree. Yet, it is no tree, it isn't even a plant. There is no bark, no leaves, yet it grows like an insidious weed. It has no need for sunlight, or water, as it lives underground, growing in the heart of every Arimakki colony. It is no animal or plant, yet it lives. Its hardened brittle form slithers and splinters as it spreads throughout the underground, eating its way through ancient flesh and soil. From its stony red flesh emanates a sweltering heat, a feverish temperature that only an Arimakki can love. It is a searing atmosphere it exudes, far greater than any single parasite can muster. It is this burning presence that makes each Arimakki colony an oven, the heat so intense that no other living creature can survive long without protection. And as it grows, the heat follows, baking the earth and clearing the way for its horrible children. 

This bizarre burning organisms does not grow alone, as with it are the White Worms and other strange creatures. To most, the White Worm is an unassuming thing, a pale featureless squirming thing, found infesting every Arimakki. But where the Vile Red Tree grows, the White Worm is close at hand, writhing through the earth and dancing amongst its subterranean branches. What the connection is between the two is unknown, as folk aren't even sure how they play into the Arimakki themselves. The best guess is that the Vile Red Tree and the White Worms are crucial to the reproduction and spread of the Arimakki. Why else would they be found within the heart of every colony? Why else would these pale worms be filling every cavity of the parasites? It seems both are needed for these horrible bugs to survive. The Vile Red Tree is believed to create the horrible heat that is needed for Arimakki eggs to hatch, while the White Worm burrows through the world around them and prepares the flesh for infestation. It seems the Vile Red Tree can only grow through substrate that has been thoroughly infested by the White Worm, and perhaps the internal worms are how the Arimakki digest their food. But in the end, these are only guesses, as every part of the Arimakki hive is nearly impossible to study, let alone survive. 

Due to the critical role the Vile Red Tree plays into the spreading of the Arimakki, many are correct to assume that its destruction is necessary to dispel this threat. Smaller hives who have had their trees destroy turn sickly and weak, and the bugs are seen desperately trying to reseed their dying tree. Yet, eradicating the Vile Red Tree is no easy task. Blows against it shatter it and scatter its pieces, raining blistering sharp shards across the land. Wherever a fragment lands, a tree will be soon to follow, as they regenerate and spread like a disease. Those who get its barbs into their flesh are nearly driven mad from the experience, as it is a searing needle that digs deeper and deeper into the flesh, spreading fever, burning and crazed itching. Those who still have it within them experience horrible hallucinations and are tormented by twisted impossible nightmares. If a doctor is not able to extract the sliver from their flesh, most are driven to such insanity that they will gnaw their way to it and tear it out with bloody teeth.

To make matters more confusing is that the White Worm is not the only thing that writhes amongst the buried branches of the Vile Red Tree. A whole slew of terrible worms spend their entire lives around it, playing some role or purpose that no one can understand. They come in a variety of shapes and sizes, yet their jobs are a mystery. The blanket name of "Arimakki Wamu" is given to them, and it seems that they need the Vile Red Tree as much as it needs them. With how the variety of Arimakki seems to be endless, one can only figure that these are another staple of these colonial organisms, a handful of the many that make the Arimakki whole.

The Vile Red Tree and the White Worm remain a mystery and a terror, haunting the land and many dreams. Maddened tongues speak of its growing through the earth and beneath our feet. Crazed visions see the earth cracking open into writhing worm-filled wounds. The shivering sleepers look up in their dreams and see a boiling sky and a horrid tree of red devouring the heavens.  

-----------------------------------------------

"The Vile Red Tree"

And I forgot to add the White Worms! Confound it!

#tree #parasite #worm #hara no mushi #fall of ichor #art #drawing

[ready-set-fish]

Multiple critters I drew, inspired by the Hara No Mushi.

#Art

[uptownbeancan]

1. read about The Hara no Mushi

 2. see “heat stroke bug” compared to hookworm

2.1.cats currently have worms, conditions in house make possible infection more likely

2.2.currently unsure of cats’ worm type. possibly irrelevant

3. hookworm symptoms align vaguely with current health issues

3.1. said health issues are caused, in my case, by poor nutrition & irregular exercise patterns

4. google treatments for hookworm anyway because of unspecified anxiety disorder

5.go to CDC hookworm page

5.1. go to wiki page for  Mebendazole

5.2. mebendazole is stated as being available as a “generic medication”

6. go to wiki page for Generic Drugs out of curiosity

7. learn an uncomfortable amount about the economics of the pharmaceutical industry and “Branded Generics”

8. Neat! what am I doing here

#parasites tw #''research notes'' #this is an adhd moment for sure. do yall like how I take notes btw #medical tw

[lackadaisical-pottymouth]

@desfraisespartout HERE

[Birdmen Radiostation AU]

Noise echoed down the halls, mumbling on the picture laden walls of the Nohara household. The phone rang, greedy for attention. When Suki Nohara rose to get it her husband grumbled, resisting the push of her hand on his face. Aged arms tightened their grip around her waist, and the old woman fell back to the bed with an “Oof.” that made the pillows jiggle. She blinked up at the ceiling her ward had painted years ago, at the glow in the dark stars and tiny sliver of painted crescent moon.

“Tooru.”  

Her husband shifted into her side, his grip tightening just a fraction. “Let it ring, Su.”

There was a small bundle of quilt where his hands latticed together, and the old woman pinched at the ancient fingers till they squirmed. “Tooru,” she said again before moving to boney forearms with little restraint.

Tooru shifted, not quite serpentine. His grip remained a testament to how damn stubborn the old fool could be. Suki smiled fondly, rolling to face her husband. She pressed a kiss to his nose just as the phone wailed once more.

Her eyes roamed the walls, and she blinked as the tone entered another round of quiet. Beside her, Tooru sighed. “Your boss owes me my dream car.” he said, letting his arms go loose.

Suki rose, missing the warmth as she slipped into fuzzy bedside slippers. Moonlight dusted the arm of her robe, and to her left she saw that it was only four in the morning. The same white glow illuminated a picture she kept on her bedside table. Among a group of candids was a rare shot of the Sagisawa’s what sometimes felt like a millennia ago.

“I swear,” she heard Tooru say from the other side of the bed. His body was draped with the nightshirt she’d gifted him for their anniversary. The old man cracked his back, standing, “no news is good news with those people.”

Something turned in her stomach as she fumbled for the ropes of the robe. “Don’t say that,” was the firm rebuttal. But it was true, mostly. Both Sagisawa Sr. and son tended to go stretches of time without contact. Hell, hadn’t Rei left home without telling her? “Maybe they’re just checking in.”

Her husband barked a laugh.

The landline had been a compromise. Suki’s niece had wanted to buy them cellphones back when they’d just introduced bluetooth calling to cars. As a precaution mostly. Tooru’s health had given them a scare, and it wasn’t as though hers was any better. Family wanted to get in touch quickly the same way Suki abhorred the thought of having a phone in her room. Her fretting meant the thing would never cease being on, that she’d check it every half hour or more. So. Landline.

Even if it did ring, a shrill thing that grated on her nerves. The intention was there, but they’d never found the manual to change the tones. It rang once more, loud and obnoxious in the stillness of the night. Suki reached it before it resumed its bellowing.

“Nohara residence,” she said. But she was interrupted by a tremendous yawn that brought a tear to her eye. A hand covered her mouth as she waited for it to pass, “Pardon. Suki speaking.”

Behind her, water rushed from the faucet of the kitchen sink. Tooru’s slippers slapped at the floor as he walked, grumbling loudly. The line crackled softly, so quiet she had to strain to hear. “I’m sorry, dear, can you repeat that?” Her husband made a show of walking to the back door staring at the moon as if it were a villain. She waved him away with her best unimpressed face.

“--Hara? Auntie Suki?”

She gasped. “Rei.”

“Hi!” a shy breath, “I didn’t wake you up, did I?”

Tooru had materialised behind her with a coloured glass of water in his hand. He made a show of angling his ear to the black landline, eavesdropping. Suki tugged softly at the corner of his cheek, clapping it once before letting him go. He stuck his tongue out at her, because apparently he was six. “It’s fine! What were you saying?”

She expected him to urge once more, I can call back. Don’t worry. Like he had in his younger, boarding school years. But instead, the young Sagisawa was silent. A prickle worked its way into her shoulders. “Rei?” she called.

“It’s fine, I...” he said, a little too late. He sounded well. A little hesitant, as if carefully scrutinizing the words before saying them. Her posture changed, just a smidge. Steady fingers tightened their grip around the plastic phone as Suki braced herself for bad news. “I just missed you, is all.”

Tooru brought her a chair, lingering with poorly feigned disinterest. She allowed herself to relax. “Well that’s a lovely thing to hear. How’s work?”

“Good,” he hedged, the disappointing most she’d get out of him on that topic. He’d pepper it with something about advertisements and she’d respond with how proud she was--because, she really was. But he continued, “have you started making decorations?”

Suki paused, “it’s November, dear. Of course.”

“And the treats? You giving some to the Cruz’s?”

She laughed and Tooru raised an eyebrow, leaving to the adjacent room, “Every year! It’s tradition. Maria’s been asking about you.”

“Is she? It’s been forever--” he lacked the strained pleasantries she’d come to associate with the topic. Rei sounded genuinely surprised, his words running together the way they did when he used to speak about the Star Commander series. “What about Puz? And Charlie? Are you dressing them up this year?”

Her breath hitched, and a small thing of sadness eased into her smile. “Sweetheart, Charlie died.”  

“Oh,” he said. And then he was quiet, “I--I’m sorry, I--”

“No, no.” she remembered waking up, setting a thing of mushy wet food into the old cats’ plate. She remembered finding him under the backyard oak tree, where they’d eventually bury him. “Don’t you dare, young man. He was old and that’s that.”

“But--”

“No buts except on chairs,” and she took a seat in the stool that had been brought for her. On the ledge to the right was a small glass of water. She smiled, taking a sip. “Puz is Santa this year.”

The conversation segued. “...I didn’t think they’d want a sausage thief as Saint Nick.”

Suki hummed, “St. Frankfurt.”

Rei laughed and laughed on the other end of the line and she tried to piece together what he looked like, now. The year had passed quickly, and his fathers reconciliation had coincided with her retiring. Between visiting new family and old friends, she hadn’t had the time to see either of them. In her eyes, the bags under honey coloured eyes had filled. The weight on too-young shoulders had been lifted, or at least was on its way. Maybe his smile was making a comeback.

“Eishi -- that’s my roommate--”

Yes, she knew of the roommate.

“He tried making popcorn garlands with buttered popcorn.” he laughed, a shy and fond thing, “stale butter smells awful. But...I dunno.” there was a pause where his shrug should have gone.

Silence. She let it wash over them, warm and familiar. If it hadn’t been for the faint crackling of the phone she’d think he was right there. Maybe seated on her kitchen counter, his hair brushed out of his face.

“There’s this sign on our fridge that says ‘No carols till December’.”

Suki gasped, “That’s absurd!”

“I know, right?” his tone was aghast, as if he’d just remembered an indignity, “It’s the worst!”

Had the tremors not come, Tooru would spend most hours by the piano. He’d play while Rei alternated between listening and stealing the baked treats and ‘helping’. She, for her part, would pretend she didn’t see it happen, then push some to the corners where it was easier to take.

“How are you coping?”

“Instrumentals,” he huffed, just a little petulant, “but I think he’s catching on. There’s only so many renditions of Carol of the Bees.”

Puzzle crossed her face, “Bees?”

“It’s new, don’t worry.”

“One of those...dubstep songs, isn’t it?”

“Oh my goodness, no.” He coughed slightly, as if stifling a laugh. “God, I missed you so much.”

Her heart beat and Suki smiled. “I missed you too, love.”

.

[more]

#mal made a thing #stories #the best convos are had on phone apparently

[historiasdehernas]

Sonhos de Areia: Episódio 18

Aventura: A Queda de Rino

Episódio 18: O rinoceronte de madeira

              Tokoyo é a primeira a acordar do grupo, a menina se percebe em uma sala escura rodeada por pessoas amarradas, ela é acordada por uma tabaxi de leopardo completamente nua, no lugar das pintas pretas de leopardo ela tem pintas coloridas, ela acorda a menina perguntando se ela está bem e a da um pouco d’água. A Tabaxi se apresenta como Yana uma clériga de Kloi, ela veio até ali com Ororo que está procurando por sua filha, o anão pergunta a Tokoyo se ele viu uma menininha de 6 anos com tranças e uma tatuagem quadriculada no braço, a druída diz que não mas então os insetos de Tokoyo aparecem nos corpos de Yana e Ororo, eles contam que a Kawari (aranha) e Bradamante (joaninha) encontraram os dois e os guiaram até ali.

              Icarrion e Mira se acordam presos em um ringue subterrâneo com vários pessoas os assistindo na plateia, Mira está presa em uma gaiola acima do chão e Icarrion acorda na lona, o elfo se vê obrigado a lutar contra um minotauro que o pede para fazer um show se não os dois irão apanhar mais tarde. Icarrion é derrotado pelo minotauro e desmaia novamente, depois disso Mira luta contra o minotauro o derrotando, mas seu maior confronto se dá quando são obrigados a lutarem juntos com um centauro de rinoceronte, contra uma quimera que é arrastada para o ringue.

              A monge e o paladino lutam bravamente contra a criatura mesmo estando sem seus equipamentos de combate, uma única espada longa é jogada na arena para que usem, o centauro pega a espada e tenta atacar o monstro, mas se torna inútil no momento que o monstro começa a voar e cuspir fogo com sua cabeça de dragão nos combatentes, depois que o centauro é mordido pela cabeça de leão e cai inconsciente, Mira usa suas técnicas sombrias para impedir o monstro de voar e então Icarrion o finaliza com a espada longa e seus poderes divinos.

              Enquanto isso Tokoyo ajuda Yana e Ororo a levar as pessoas sequestradas até um lugar segura e depois se transforma numa aranha para tentar achar seus amigos furtivamente. Paimon entra novamente no casino mas dessa vez disfarçado como o chefe da segurança, Luen, o estranho homem magro que atacou o grupo junto de Crocodilo, Mushi está agarrado nas costas de Paimon por debaixo da roupa para entrar disfarçado também. O feiticeiro se  senta ao lado do Sr.Crocodilo durante o combate tentando fingir ser seu amigo, o chefe do casino estranha Luen estar se referindo a ele por sua alcunha e não por seu nome.

              Depois da batalha uma clériga de Haras, a deusa da guerra, cura Mira e Icarrion, gritando para todos que pelos direitos da guerra, os cativos tem o direito de escolher um oponente visto que derrotaram todos os inimigos jogados por seus captores, os heróis não perdem a chance e escolhem Sr.Crocodilo como seu oponente, o chefe do casino aceita mas diz que o combate será no outro dia. Enquanto isso, tanto Paimon quanto Tokoyo percebem Ametista furtivamente se movendo pelas paredes e chegando até a monge e o paladino enquanto está disfarçada de outra pessoa, a drow disfarçada diz que o Sr.Crocodilo não se importa com tradições e é capaz de executa-los quando estiverem indefesos, o grupo então se ocupa de distrair a segurança enquanto Mushi e Paimon roubam o item misterioso do cofre. Os dois conseguem ser demora entrar no quarto do Sr.Crocodilo graças a porta dimensional de Paimon, enquanto pensam como entrar no cofre, Mushi encontra um caderno com o título “A Vida de Ethan, uma autobiografia” o pequeno monge guarda o caderno e Paimon usa sua porta dimensional para entrar no cofre, lá ele encontra um pequeno rinoceronte de madeira com um laço rosa, ele abre o cofre por dentro e então os dois fogem do quarto.

              Ao se encontrar com o restante do grupo Paimon conta oque encontrou dentro do cofre, Ametista manda uma mensagem para Rino avisando que o item foi roubado, o grupo então escapa do casino enquanto ouvem os passos pesados de Rino se aproximando. A  última coisa que o grupo vê enquanto correm é Rino rompendo as janelas do casino com seus punhos  e chamando Crocodilo  para conversar. Após dormirem na Estalagem do Dayo o grupo vê uma comoção se formando pela manhã, muitas pessoas estão indo até o Mercado de Escravos para testemunhar uma execução pública. Quando chegam lá, encontram um Sr.Crocodilo extremamente machucado e de joelhos a frente de Rino, ao lado deles há um estranho meio elfo magrelo, usando somente um saiote branco, com unhas rosas longas e uma tatuagem de naja no peito, o grupo deduz que o meio-elfo é o Sr.Cobra dono da região do Mercado de Escravos, perto dele está uma mulher de cabelos escorridos e muito definida, vestida com vestes curtas rosas e muitas joias está Tâmara, a mestra da Ordem das Sombras, em cima do palanque a Sr.Hipo faz um discurso sobre como a família é importante e sobre como o Sr.Crocodilo falhou em proteger a Família Zoo, depois disso Rino levanta Crocodilo e o parte ao meio, jogando cada uma de suas partes num dos lados da cidade em direção ao deserto, depois desse assassinato a Srta.Hipo apresenta a nova membra da Família Zoo, a Srta.Falcão (Tâmara infiltrada) enquanto os bandidos da Família Zoo vibram.

[pneumostelos]

Anagramodormo

nokletunmara - nomenklatybara moribuchi iba - mushibara - mushi bihara - mushibi hara