based solely on chaos’ design floating around on the internet, i have a theory.
that’s maegara’s body. chaos is literally possessing maegara’s body. (that is maegara’s one bat wing.)
that is chaos’ old design being held in maegara’s hand. it’d be one thing if it looked more like, i don’t know, a snakeskin? like something chaos had naturally shed and sloughed off? but instead it looks like someone (probably chronos) ripped out chaos’ head and spinal cord in battle. and i think that makes sense, that the two of them would have squared off. chaos is not like the fates. they loved nyx, they would have left their realm and fought for nyx directly.
the living fetus trailing out of the head’s mouth tells me this kind of injury is something chaos can naturally, eventually, regenerate from. but in the meanwhile, recovery on their own means being vulnerable. a primordial entity in the shape of a fetus is still a fetus. in the meantime, chaos would need a new body, a temporary vessel they’d be capable of defending themself with.
the only question is if maegara volunteered for this.
but i think she might have.
if this still sounds bonkers, consider it doylistically. chaos’ original design was unique and striking. do you honestly think supergiant would just throw away an excellent character design like that for nothing? for no story related reasons at all?
so my prediction is this: one of melinoe’s quests will involve helping restore (or speed up the restoration of) chaos’ body (which will then free maegara).
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This technically applies to my Stepmother AU in which Alicent is around six years older than Rhaenyra, and occupies a wicked stepmother role as opposed to ex ‘friends-to-first loves-to-enemies’. Despite lacking the foundation of shared girlhood, both find simultaneous comfort and rivalry in one another, and undergo a gravitational pull. A young Rhaenyra’s eagerness to participate in swordplay and political affairs at a young is accommodated for, and she grows up with a sword in one hand and the weight of experience in another, which further helps pave her way to the throne.
Alicent’s Costuming
Alicent’s clothing is almost entirely bottle, emerald, or forest green. While there is layering present in her skirts and jackets, the accent should always be a darker green than the base color. The fabric is deep, rich, and retains an undeniably high-quality luster. Look to velvets and silks. Gold embroidery lingers around her sleeves, neck, and hemline to elevate the coloring.
Metallic embellishments should be almost military-like, and appear heavy. Contribute to the imagery of chains or shackles in addition to her status
Draws inspiration from historically accurate stiffness and Victorian shapes, with a tapered waist, imposing, puffy sleeves, and a high neckline. Despite inaccuracies, this shape is evocative of someone elegantly and conservatively feminine, repressed, and capable of exerting power over others. Reference a classic, trussed hourglass shape. Skirts should be notably heavy and full; may make noise in movement
The coloring and shapes remain relatively consistent but lack variation; this is to demonstrate a lack of freedom and exploration, as well as an adherence to conventional feminine roles
Despite these limitations, her costuming should always be put-together, coordinated, and unquestionably fashionable. Tight sleeve cuffs may be accompanied by a more traditionally medieval fan sleeve
Shoes should stick mostly to slippers, or flat designs
In this AU, her hair leans more towards a dark brown instead of auburn, as her show counterpart. This is mostly due to faux-book accuracy and to simplify the sketch process, since keeping her hair darker in comparison to Rhaenyra’s lighter hair translates more easily in uncolored renderings.
Keep her hair either in a tidy bun or pulled back and loose; avoid too many intricate shapes, braids, or styles. Occasionally, the hair will hang loose. Lean into medieval or royal headpieces, clips, coverings, etc.
Rhaenyra’s Costuming
Rhaenyra’s clothes are primarily black and red, occasionally accented or substituted with neutrals such as beige, white, or gray. Exceptions may include blue or yellow, but she generally stays in this color palette.
Strong focus is drawn to her shoulders and neckline, sometimes with embroidered or embellished detailing. She often has strong, angular shoulders in her dresses or jackets, occasionally theatrically pointed. Off-the shoulder necklines emphasize her collarbones and a certain broadness.
There should be decent variety in her clothing; there is a hypothetical outfit for every occasion and more (for battle, for riding, everyday, formal, feasts, everyday, etc.), and most should be composed of multiple pieces and utilize generous layering. This includes under-fabric, belts and corsets, jackets and doublets, draped fabric for aesthetic purpose, and even functional capes.
Most of her clothes should provide visual aid for movement; additional fabric to her skirts, for example. Her clothes should be highly stylized but still easy to move in. In riding and battle gear, it is presumed that she wears pants and boots under her skirts, even if they are not visible.
Shoes lean more into boot cuts, still practical but should have a sleek and uniform quality to them. When she walks, she should make some kind of noise. Shoes should usually be black or potentially red, the latter for decorative purposes.
Overall her style should be more contemporary and lean into the fantasy element. She’s not opposed to oriental details or showing skin, and her costumes should reflect both couture-height drama and period-reliant aspects. Longer lines and diagonal hems mean she is not as devoted to an hourglass shape, and her high collars should always be decorative in some respect.
Keep her hair long and mostly loose, sometimes pulled back. Small braids should be implied as incorporated. Occasional hairstyles feature complicated braids. With the exception of highly decorative braided styles, simple buns should be avoided unless accompanied with very high necklines.
Avoid headpieces that are not either a) her crown or b) ceremonial.
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A. Velociraptor (Velociraptor mongoliensis)
This larger ground-based form is built for running, leaping, and bullying one's way around in the early Hermitcraft season game, which makes it the perfect trifecta. With it's much smaller wings, Grian cannot fly but has the highest hand dexterity of all his forms, which really frees up the fingers for more chaos.
B. Scarlet Macaw (Ara macao)
This flighted form is preferred for building throughout the Hermitcraft season. The strong grip-strength and bright eye-catching colors make it easy to weave around high-up builds and oblivious basemates. Tool use is a bit harder with wings but luckily macaws also have great dexterity with their feet as well, making hammering in planks upside down a hundred blocks up a breeze.
the first of my own art challenge for me called Pesky Bird by Pesky Bird that details the many bird-forms of a shapeshifting grian over series, seasons, and aus.
these first two are personal favorites, the fanon scarlet macaw grian and my own velociraptor grian
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