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dimepdf · 1 year

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★ 𝐘𝐎𝐔𝐑 𝐓𝐄𝐄𝐓𝐇 𝐈𝐍 𝐌𝐘 𝐍𝐄𝐂𝐊. + 𝐄𝐓𝐇𝐀𝐍 𝐋𝐀𝐍𝐃𝐑𝐘

masterlist. / taglist. / any request? synopsis. with Ethan being the poor loser virgin that he was, the boy just couldn't help but have some weird fantasies about you taking his virginity.

─── ☆ notes. new pathetic whiny man to obsess over added to the list, i haven't even seen the full movie yet which is why this is more fantasy au instead of anything related to the canon plot . | — feedback is always welcomed & don't forget to reblog 🤍

─── ☆ length. 1.3k (10 min read) .

Ethan had the skill of using his thoughts to escape the comforts of his own made-up reality, more commonly known as daydreaming.

He would find himself slouched against any surface, lost in his own dazed thoughts, making up little scenarios that would often leak into his dreams.

Maybe that was why Ethan had liked sleeping so much, mastering the skill of falling asleep every time he would crawl into bed and let his head lay against his pillow.

Just to get back to his fantasy world, he knew that in no actual reality would he find you sitting on his lap.

In real life, you were just friends; having met Ethan through the same group of friends, the feelings that he had for you only seemed to fester more and more, overflowing like a bubbling pot.

He was too nervous to even make eye contact with you, yet here you were, the main character starring in all his fantasies.

well, not the totally normal human version of you, but some sort of demon version at least. Your brown ebony skin, now a dark red, as your eyes glowed a misty light orange, and you had to protrude two small dark horns coming from your temple.

Smothered under your weight resting down, you straddled his hips as your arms steadied yourself with your hands against his chest.

It took Ethan a few blinks to realize the reason he had been panting for air as if he had been taking his last breath. Being covered in a thin layer of sweat, which almost melted into the bedsheets from how on fire his body had felt with the spark of pleasure that had flooded through his system all at once.

The dream had felt so realistic—the thump of his heart in his ears, how soft your abnormal skin had felt against the rough pads of his fingers, almost massaging your pelvis as you slowly rolled your hips against his erection.

Ethan felt like he was dying. That had to be the only way to explain why he felt like every section of his body was burning from the inside, like something inside of him was building up to burst out at any second, as if your touch was coaxing something to escape from his pitiful little body.

In addition to your demon-like features, the clothes you wore were normal in the theme of your usual set of clothes, but just below the sag of your gym shorts peeked a lewd mark of some sort of unidentifiable symbol of some sort that seemed to shine the same color as your eyes.

The symbol on your skin matching one had been embodied into his skin in the same place, just above his happy trail.

the way that they had beamed brighter together in sync, almost like the two were intertwined in the appearance that something was flowing through you, and whatever it was had to be the reason he felt the way he did.

Your eyes had caught his graze, another hammer of his heart beating rapidly against his chest as his tongue dragged over the bottom of his lip by nervous habit.

Your gaze held something completely different, other than the obvious change in appearance.

It was the glint in the way your eyes seemed so alluring that had his hips stuttering to bring some sort of relief to the throbbing problem in his sweatpants.

You leaned in closer, the peek of your breast exposed from the low cut of your loose shirt, making him swallow thickly under your stare. A sharp smile had spread across your lips.

Ethan should have found it worrying.

Alarms should have been ringing in his head, telling him how weird his virgin subconscious was forming some type of freaky monster sex fantasy about his crush.

But there was a bigger part of him that refused to think about anything other than wanting to bury his cock inside of you.

He had almost felt drunk on this new strange feeling, his lips parting and him panting as your foreheads touched, "Awe, you're burning up, Ethan."

Just the mere sound of your voice had his hip lifting from the mattress, your tone going straight to his dick.

"It…feels weird…" He had finally managed to stutter from his mouth, he wasn’t in agonizing pain, but the amount of discomfort he had from you teasing his rock hard erection was enough to bring him to tears.

He shuffled under your weight to ease the deep, boiling feeling coiling in his lower stomach. "I know, baby, I know, I'm gonna make it all go away, okay?" A whine pulled from his throat from the reassurance, the brush of your hands against his cheek.

Watching your lips form with every word, thinking about how much he had wanted your mouth around his cock, the small embrace had him aching all over for you.

"Please," Ethan begged, his tongue suddenly feeling too big for his mouth. "Touch me, please."

A sigh of relief sounds from his lips as your hand trails down his torso straight towards his erection, reaching below the elastic of his briefs and freeing him, greeting the thigh clenching sight of his veiny hilt.

Sitting between his legs, you could feel the tenseness of his leg muscles twitch as you lean down to press a wet kiss against his puffy tip, Ethan shivering at the sight of your tongue poking from your mouth and stealing a taste of the precum that coated your lips as if you were first taking a sample.

His heart started to thump against his chest, the beat of his heart ringing through his ears.

A pained whine tugged from his throat as his hips arched once your mouth had finally engulfed the head of his cock, and he was keen at the feeling of your warm tongue tracing down along the underside of his veiny length all while you never broke eye contact with him.

“S–shit,” The hum of your mouth around him had him stretching out his arms for a fistful of the blanket.

A whimper parted from his lips once your hands guided his to the back of your head, letting him ground himself with a fistful of your hair.

His hips thrusting up from the mattress seemed to be on their own, fucking your throat, trying to chase the overwhelming feeling of pleasure that came from the rawness of fucking the back of your throat.

But then there was a pause, with Ethan coming to a trembling halt, his chest rising and falling from his panting breath. "Um, can—is it okay if I do it inside?" His voice was small and filled with concern as if his cock was already down your throat.

Your lashes fluttered from processing the question. The small bob of your head and the way you continued to take him all the way were more than enough confirmation to have Ethan go back to rolling his hips into your mouth.

With one more buck of his hips, holding down your head with one harsh thrust, it was all the warning you could get for Ethan’s abrupt orgasm as he came down your throat.

It took a moment for clarity to finally kick in. Ethan’s hands stopped moving from your hair to gently caress your face with an adored look plastered all over his blown pupils and his face flushed a tint of pink.

"I—I think I'm in love with you," he whispers as he watches you crawl up his chest, settling just below his still erect dick.

Ethan shivered at the sigh of your sharp fangs poking from your gums and the stretch of your gleeful smile as your tongue dragged over the sharp canines before leaning in close enough to press a trail of kisses up his neck.

"Wanna put it in me now?" Your question being the only thing to knock around in his head and having your mouth so close to his ear so erotically.

Ethan actually whined at the abruptness enough to knock him out of whatever bliss he had felt just seconds ago, his eyes shooting up and sitting up with an uncomfortable groan.

The wet mess in his underwear as he peered from under his blankets at his morning issues.

🔖 ...

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#[ ⇢ ˗ˏˋ ★ — t.wrks. ]#ethan landry #ethan landry smut #ethan landry x reader #jack champion #jack champion x reader #scream 6 #scream 6 smut #ghostface #ghostface x reader #slashers x reader

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otaku553 · 4 months

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kk wow you went so much more in depth than i thought but that was awesome. sending another but pls take all the time you need to answer this one.

i don't think i realized you had a colored version of two of them til today because i was going off of the sketches you posted at the start of the month. the one that caught my eye in that and who i have a different perspective of now that i've seen full color is the shortest hero. you mentioned that the clothing didn't come from any one culture, but if you have an answer it would be cool to hear: what's the long cloth hanging off of the waist belt of this hero called? or, if it's part of the belt, what's the name of the full thing?

[ also a more in-universe follow-up: am very curious about the symbols all four have on their clothing and what your thought process was behind each. i'll settle for the shortest hero's butterfly-esque symbol if you just wanna do one (: ]

Thanks for sending another ask!! This is probably going to get quite long again!

So first, to answer the question, there’s actually not a very easy answer for what that long cloth is called! It shows up quite often in fantasy outfits and armor of knights, and you might sometimes find it being called a tabard or a surcoat online. Really though, it’s closer to something called a monastic scapular, which is a western Christian garment that hangs over the shoulders and goes down to the knees.

The tabard is usually some form of light tunic or jacket worn over chainmail and underneath armor, and I think in fantasy armor the stylization of it as longer and thinner towards the bottom eventually turned it into a pretty common thing? But the point is that it’s usually attached to something hanging from the shoulders and not just from the belt. But having something hanging in front of the crotch from the belt does have some precedence in the Roman pteruges, so this might be where that kind of belt fabric came from.

So in the hero of yore designs, the pieces of fabric hanging from the belts aren’t actually very historically accurate, and follow more the trends of fantasy outfit design. But mostly they act as a sort of conisistent point between all the heroes that shows each hero’s insignia. This sort of hanging centerpiece of fabric has been a pretty consistent part of my designs for a really long time, though in my previous Kirby designs this mostly took the form of some part of a double breasted coat, like so:

But yeah! On another note, while the hero of dark’s outfit isn’t based on any specific culture, the hero of soul’s (the butterfly hero) outfit definitely is based on Japanese clothing! The very long sleeves are based on furisode, but there are some liberties I took with the whole design as a whole, I.e. the pants are based on hakama in construction and shape but don’t actually have all the pleats a hakama should, and have added slits for style. You generally also wouldn’t wear hakama with fancy long kimono I think, nor would you use a tasuki with it. Tasuki are generally used to keep the sleeves out of the way while doing activities, while long sleeves are more ceremonial and decorative. I did intentionally keep the sleeves very long on the design, however, for character reasons that I might go more in depth in if I ever make an individual outfit breakdown post.

I’m sorry I didn’t get around to answering about the symbols! I also have a lot of thoughts about them, so I might also make a separate post about that haha

#kirby gijinka #kirby oc #heroes of yore

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msfcatlover · 3 months

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Moonbeam Dick

I probably had too much fun with this one, but Dick's had so many iterations & costumes over the years, so much cool lore, and is one of the heroes we can actually track real-world influence on his designs! (Whoever came up with the idea to take the Doyalist reasoning of superhero costumes being based on circus performers & wrestlers, and retconning it into Dick's backstory to make the Robin costume based on the Flying Graysons' performance outfits: I see you, and I love you.) So this has been a wild, whirlwind trip through the real-world evolution of gymnastics outfits, acrobatic costuming, and comic history (paying special attention to the different costumes we've actually seen in the various flashbacks/retellings of Dick's origin over the years,) while getting way too many design ideas along the way.)

Now here's a hurdle, because Dick's not going to start with a past Moonbeam costume as his base and alter it to reflect himself. Dick Grayson is going to start with his acrobat costume, and alter it to become Moonbeam. So we're starting with a bodysuit. Skin-tight, full-sleeve, the type that loops around your middle finger to stay in place. Neckline like this fucking fantastic redesign by mabychan.

(Gods, every time I see this picture, I need to stop & stare for like... at least 3min.)

Next: the colors. Dick likes bright colors & high contrast; you barely need to glance at even one of his costumes to realize that. I, personally, really love the version where the Robin suit was a tribute to his family, but red & green really aren't "Moonbeam" colors. Fortunately, the Flying Grayson's costumes have also been shown as potential inspiration for Dick's Nightwing suit, which seems to me like a great way to keep that tidbit in without defaulting to the Robin colors! So the new color scheme is sky blue, dark blue, and white-gold (which would probably be either more silver or gold, depending on the artist.)

So the suit is predominantly light blue, with a larger the dark blue triangle like his Lost Carnival costume on the upper chest, the shoulder-points of which partially run down his upper arms. While some artists might have them go all the way to his elbows or even the finger-loops on his hands personally I don't see them going further than about halfway down Dick's biceps (at first), where the very tips of them disappear behind golden arm-bands which can be used to store gadgets. Matching bands around his thighs, too, though those are larger, for bigger pockets.

(While I am trying to evoke how some people draw the 90s Nightwing gold stripe as separate bands lower down the arm, it's probably easiest to imagine Steph's leg-bands to explain this. Also, the bands on this absolutely delightful bedazzled Nightwing by rinpin that I cannot get out of my head are a good reference for placement.)

The triangle also does a great job of framing Dick's Moonbeam symbol: a crescent moon that covers most of his upper chest, filling the triangle from side to side.

(It's another subtle tribute to his parents. Also, the green & gold "All-Star Batman and Robin" costumes are the best look the Flying Graysons have ever worn, don't @ me.)

Like with Cass, I actually found my inspiration for this when I realized what Dick would use to hide his identity: a "colombina" masquerade mask.

(These two specifically inspired me while I was doing research.)

The legs are dark blue, cut at an angle where they meet Dick's torso to evoke Tim's original Robin costume (and, to a lesser extent, the Earth 2 grown-up Robin costume) and make the bodysuit look even more like a classic leotard. Dark blue or black gloves underneath the finger-loops to protect Dick's hands & keep his fingerprints off of things. Black boots with a lighter hem on top (either the light blue or white-gold, I don't really care which) with the V top we see on the Earth-2 Robin's boots, echoing the triangle on his chest. The soles of the boot are light blue.

(The boots will, almost certainly, end up being drawn as just part of the leg, colored the same dark blue as the legs and just having a lighter stripe around his shins as well as the band around his thighs. This is not at all the intended design, but I've been looking at comic costumes for months now, and I know how details get fudged.)

So. That's the acrobat angle with enough details to make it at least passable as Moonbeam. I feel like it needs some more armor. Looking at what I've got so far, how about something like these gauntlets I used as a reference for Shadow!Steph and some simple pauldrons, both in white-gold?

Finally, while Dick's "utility belt" is more of a waist sash with hidden pockets inside, I keep going back & forth on whether or not to give him a scale-mail skirt for the extra protection & flair. It makes sense, but I worry it might be a bit much...

(Styled much like the one on the left, but closer in length to the one on the right. Color could be either light blue to extend the line of his torso & keep the colors balanced or white-gold to keep all the metallic bits consistent.)

This one has been, despite how much fun I had brainstorming, the biggest pain pinning anything down on. I'm so glad I'm done with it now.

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ironclark · 11 months

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ZELDA KEYBLADES!

TIMELINE SPLITTER -

A Keyblade modeled after the Master Sword of The Legend of Zelda: Ocarina of Time! This Keyblade increases the amount of time enemies are stopped by Stop! The hilt, top of the crossgaurd and shaft of the blade are all designed after the Master Sword as it appears in Ocarina of Time, with the detailling on the blade having the current timeline of the Legend of Zelda series. The hilt guards are designed after the Ocarina note interface. The teeth of the blade is Navi, arguably the most iconic companion in all of the Legend of Zelda. The keychain is the Sage Medallions collected in the second half of the game, and the token is the titular Ocarina of time. The World Logo is Hyrule in the Ocarina of time style, with a split Hyrule in the background. The name is due to this game being the one to set the Legend of Zelda down the timeline split path it is on.

THREE DAYS REMAIN-

This Keyblade is designed after the wrathful incarnation of Majora from The Legend of Zelda: Majora's Mask! This keyblade is designed to have your combo finishers after every third swing! The hilt guard of the blade is designed after the iconic Majora's Mask, with the top having the horns that appears in Majora's second and third form, along with the iconic moon. The shaft of the blade is designed after Majora Wrath's tentacles that he uses to attack, all curling around an Majora eye. The teeth of the blade is formed by on of these tentacles and the various spikes that protude from Majora's Mask. The Keychain is the three main transformation masks collected during the game with the token being the fourth, optional one, the Fierce Diety Mask. The World Logo is that of Termina infront of the deadly Moon. The name comes from the fact that you will always be brought back to the beinging of a Three Day cycle to complete the quest.

MICROSIZED-

A Keyblade designed after the Four Sword of The Legend of Zelda: The Minish Cap! This Keyblade is designed to have a chance of shrinking enemies down! The hiltguard of this keyblade is designed after the Four Sword, stylized in a way to better fit the Keyblade format. The shaft of the blade is again from the Four Sword, but stylized once more, and culnimating into the teeth of the blade which takes it's form from Elzo, the companion in this game. The keychain is formed from the Four Elements used to forge the Four Sword with the Token being that of a Kinstone. The World Logo is Hyrule in the style of the Minish Cap logo, shrunk down and among the grass. The name comes from the game's mechanic of shrink yourself down.

TWILIGHT'S HOWL-

A Keyblade designed after the Twilight elements of The Legend of Zelda: Twilight Princess! This Keyblade is designed to have increased Light and Dark attacks! The hiltguard of this keyblade is mainly designed after the top portion of Midna's Fused Shadow helmet, with the Mirror of Twilight forming the center of the hilt. The version of this Master Sword forms the hilt. The shaft of the blade takes it shape from the Master Sword, but has the symbol that apepars on Wolf Link's head near it's base. The rest of the blade is designed with the Twilight color scheme of white-orange-black, forming a Twilight Portal for the teeth and an ornamental wolf head at the top. The keychain is the Vessel of Light that Link uses to help recover an area from Twilight and the token is Ilya's Horse Call charm. The world logo is that of Hyrule being ingulfed in twilight. The name comes from the various Twilight elements in the game as well as Link's wolf form howling.

DIVINE BEAST-

A Keyblade designed after the ancient technology seen inside The Legend of Zelda: Breath of the Wild! This Keyblade is designed to have increase Thunder attacks! A stylized version of the Guardian Stalker forms the incomplete hilt of this Keyblade, and a portion of the shaft, with this version of the master sword forming the handle. The rest of the shaft follows the cues from different Ancient technology weapons, culnimating into the teeth that is formed from the hard blue light of the technology. The keychain is another bit of blue light energy with the Token being that of a Korok Seed. Yahaha! You found it! The World logo is Hyrule in the style of Breath of the Wild, over the overtaken Hyrule castle. The names comes from the giant mahcines that Link has to bring back under control.

DRAGON'S TEAR-

A keyblade designed after the more Zonia inspired origins of The Legend of Zelda: Tears of the Kingdom. This keyblade is designed to have increased power from Light attacks! The incompletely crossgaurd is formed from the style of the technology that forms the Zonia Constructs, framing the Master Sword's hilt. The shaft of the blade is that of a rebuilt Master Sword with the Light Dragon curling around it and forming the teeth of the blade. They keychain is attached to the Keyblade and the token by use of the green goo from Ultrahand, and the Token is that of the Secret Stone. The World Logo is Hyrule in the style of Tears of the Kingdom, over the Zonia Temple of Time. The name comes from the various Tear-like items found in the game as well as the emphasis on Dragons.

Check out the Keyblade Forge Discord to see several more keyblades and Kingdom Hearts content! https://discord.gg/keybladeforge

Check out my Patreon for seeing the in works progress and give feedback! https://www.patreon.com/IronClark

Follow my Twitter for more art! https://twitter.com/ClarkDesigner

#KingdomHearts #Keyblades #Crossovers #Zelda #OcarinaofTime #OoT #MajorasMask #MM #MinishCap #MC #TwilightPrincess #TP #BreathoftheWild #Botw #TearsoftheKingdom #Totk

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stargirlie25 · 3 months

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Yall

In the blinding sun off the turquoise water, his shadows were gone, his face stark and clear. More ... human than I had ever seen him.-Acowar

When Azriels shadows disappear, he looks most human. Which he is not and will never be. Also the sun is very clearly mentioned here.

“I don’t want a mate. I don’t want a male.” She wanted a human man.-Acofas

Could this be the reason Elain is drawn to Azriel? He is another version of her once love? It seems that Elain might be attracted to the illusion of Azriel. He looks most human when his shadows are gone and his shadows always vanish around Elain.

Now Elain is drawn to sunshine. the sun. Light. brightness.

The suite was filled with sunlight.

Every curtain shoved back as far as it could go, to let in as much sun as possible. As if any bit of darkness was abhorrent. As if to chase it away.And seated in a small chair before the sunniest of the windows, her back to us, was Elain.

We both took the invitation and left our sister in her sunlit room.

She had been always so full of light

“What can I get you, Elain?” Only with Elain did she use that voice. But Elain shook her head once more. “Sunshine.”

She set down the tray and wiped her flour-coated hands on the apron she wore over her dusty-pink gown. Even in the middle of winter, she was a bloom of color and sunshine

While Azriel....

Az said, his shadows lingering in the archway, as if fearful of the bright sunlight in the ring.

So if this is clear, Elain is sunshine,loves sunshine,resorts to sunshine,and symbolizes sunshine. Sunshine/light are a part of her true character.

Azriels shadows disappear around sunshine AND Elain.

See how both this characters together take away from each other?

Azriel shadows. Always would be his companions. Always disappear around Elain.

Elain always full of light. Finds darkness abhorrent. Night court black specifically sucking the light from her face.

They both compliment each other horribly. Taking away something important from each of them.

He still has not gotten over his feelings for Mor.

She still wears Graysen's engagement ring.

They are both a distraction or a runaway to their problems.

Azriel wants Elain because he thinks she should be his mate.

Elain's reason for not wanting Lucien is because he is her mate.

Azriel thinks Elain should be with him because he is the last brother and she is the last sister. As he said ''the third was given to another'' MEANING Elain could be anyone, any person but that would not matter because Azriels crack theory still stands. This also proves, that he has no real problems with Lucien. Its just the fact that the ''another'' is mated to the ''third'' sister.

His petty jealousy of Eluciens bond is because of his own problems he has been struggling with for centuries. He believes he will be happy like his brothers if he were to be with Elain. His problems led him to say bullshit about Lucien which is incredibly uncalled for. He would say it even if it were another male. There's no real reason for Azriel to not like Lucien.

By the way another thing debunking Azriels dumb crack theory is the fact that Rhysand,Cassian and himself are not actually brothers?

There best friends at most. This flumps the ''how could two sisters be given to my two brothers but the third was given to another!'' (This isn't the actual quote''

BECAUSE YALL ARE NOT BROTHERS. DIFFERENT BLOOD. DIFFERENT FRICKING EARS. DIFFERENT DAD. DIFFERENT MOMMA. PEOPLE LITERALLY SHIP HIM WITH RHYSANDS SISTER!!!

RHYSAND,CASSIAN AND AZRIEL COULD FUCK IF THEY WANTED TOO AND NOTHING WOULD HAPPEN?

Only the Archerons are sisters. Otherwise they all ended up with their people who match them.

#pro elucien #anti e/riel #idoits #pro azriel #azriels beef with lucien #pro Lucien vanserra #pro elain archeron

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bumblingbabooshka · 4 months

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Hi welcome backk :] I’m currently hyperfixating on art history + Tuvok so here’s some Renaissance - 19th century paintings that I think Tuvok (especially Tuvok the way you characterize him :) would serve cunt in: Fra Fillippo Lippi - Madonna With Child Enthroned With Two Angels, Georges de La Tour - The Penitent Magdalen, John Singer Sargent - Madame X (Madame Pierre Gautreau) (bonus points cuz of the history of the painting) Thank you for your time :)

Sketches! Thoughts on each Below (I don't know art history)

Madame X: The difference between the woman's very pale skin and the deep black of her dress is striking. She's also the only thing really in frame - even the background is just a color. Looking back on it I wish I'd chosen a different color for the background so Tuvok's skin looked more striking. If I redo this I definitely will since her skin being the only 'pale' thing is part of what (to me) makes her so immediately striking. Currently in my piece that 'point of interest' has become the white robes which wasn't my intention. But the fact that they're so fancy makes it seem like it might be, hehe...if this was an assignment for a class or something I'd definitely lie and say it was. Anyway since Tuvok has dark skin I didn't want to keep the clothes black since to me it wouldn't have the same 'Madame X' appeal. So I changed his robes to be white to contrast his skin and also made them less revealing because I don't think Tuvok wears very revealing outfits....usually very covered up and layered. So again I wanted to change the appeal - you can't really see any part of his body so you focus on the face instead, even though the face isn't focusing on you. I picture this as a younger version of Tuvok at some sort of function. The 'bunny ears' at the top of his head mimic Madame X's hairpin(?) but also bring to mind a Vulcan Priestess.

The Penitent Magdalene: Tuvok's most associated color (to me) being purple made this drawing again a bit ... mmm -tilts hand so so- The red in the originally really warmed the piece and was very eye catching. There was more of a sense of the candle's glow. I thought about using his security yellow but I thought it'd be too samey with the golds and browns and I wanted to signify that this is a private, personal moment. I drew this while thinking about the scene where Tuvok places a candle in his window for Kes after her ascension. Quiet mourning. We don't see his face because he's Vulcan and it's assumed he's struggling with emotion. Even the mirror doesn't show his face - it shows the candle, symbolic of his affection for Kes and his grief at her having gone. It burns bright. On the floor is his Starfleet badge, pointing him out but useless. This visage of dark and quiet sorrow is cut through slightly by light from the next and last piece. Madonna with Child, Two Angels: Of course Tuvok's angels and his children are one in the same. In the original piece, the child is able to touch its mother but in this one she's just out of reach. Tuvok is similarly not looking at or embracing the child - in this piece it's because he cannot. He's too far from her, from all of them! He is instead praying (as they do in canon) to return safely to them. Tuvok looks more tired in this one and he's wearing the neck ruffle thing that the monk he was sent to as a teenager wore. I'm using it here as like a nun's habit but also as like 'he's remembering another time his faith was utterly destroyed and he was able to rebuild it'. Forever thinking about the throwaway line in 'Innocence' where he says he USED to believe in katra but RECENTLY struggles to. I wonder if this is because he's alone, without family. To believe in katra would be somewhat frightening under those circumstances. You can say 'Janeway would just take it' but I'm sure it's more complicated and fraught for Tuvok himself. Anyway, I turned the halo into a part of the headscarf he's wearing (some sort of ornate accessory) and the mischievous/joyful angel in the original is now Elieth who looks accusatory, as if we're keeping him and his siblings from their father. The spark in the middle of the drawing is ... well it's their connection and all that stems from it. Both joy and sorrow at remembering, having had. This is why it also 'cuts through' them - separating them. It's also why I incorporated it slightly into the above piece as they deal with similar themes. I hope this was satisfactory! Thank you!

#very good choices - I loved all of these~!!!#I don't really know how you all think I characterize Tuvok but these paintings were right on the money soooo <3 #tuvok-enjoyer #I'm still kicking myself about the madame x background. AAAGH. <- Charlie Brown Scream #Tuvok #Q&A #bee doodles #Thank you again~!! I love Tuvok~!! I'm something of a Tuvok Enjoyer mys- (pulled away via large cane)

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neopronouns · 1 year

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flag with symbol flag | symbol

tenethesia: a subset of aurethesia related to dark auroracore/dark ethereal fantasy and the concepts and visuals behind it

[pt: tenethesia: a subset of aurethesia related to dark auroracore/dark ethereal fantasy and the concepts and visuals behind it. end pt]

day 6 of my 5000 followers event, ‘a term under a neogender umbrella’!

this is a dark auroracore version of aurethesia! i'd consider this a smaller umbrella beneath the umbrella of aurethesia - every tenethesia gender is an aurethesia gender, but not all aurethesia genders are tenethesia.

the main difference between this and aurethesia is that tenethesia includes darker imagery, such as black/dark purple/dark blue accented with the colors included in aurethesia, moral ambiguity or villainy, creatures and characters that lean more towards creepy/scary than cute/pure, etc. the aesthetic's creator has a pinterest where you can compare auroracore and dark auroracore visuals!

colors are taken from various dark auroracore images and the format is the same as the aurethesia flag. the symbol is a magic staff/wand like the aurethesia symbol, but with the diamond swapped out for a crescent moon, since i felt it represented the darker color palette of this aesthetic. the moon is edited from crescent moon (5) from this folder.

the term is 'ten' from 'tenebris' (latin for 'darkness'), 'ethe' from 'ethereal', + 'sia' from 'phantasia' (latin for 'fantasy'). it's pronounced 'ten-eh-thee-shuh', with emphasis on the third syllable.

derived terms:

teth: a tenethesia person. plural is tethi.

teneth: a tenethesia gender. plural is tenethi.

tenin: tenethesia-in-nature (ex: teningender)

ten, tene, neth, nethe, tesia: optional prefixes and suffixes for tenethesia genders. one could also use general aurethesia suffixes for tenethesia genders.

tenethine: having tenethesia qualities. the noun form is tenethinity. (tenethesia equivalent of masculine/masculinity, feminine/femininity, etc.)

transtenethine: transitioning towards tenethinity (tenethesia equivalent of transmasc/transfem/etc.)

tenauric: gender alignment to tenethesia/tenethinity

tags: @radiomogai

flag id: the top image and bottom left image are both a flag with 7 stripes. in order, they are soft indigo, indigo, dark faded indigo, indigo-black, dark faded indigo, indigo, and soft indigo. there are 'swooping' shapes at the bottom left and top right corners, which emerge from the bottom and top stripe respectively and end just over two-thirds of the way up and down the flag respectively. the bottom left 'swoop' gradiates from soft indigo at the bottom stripe to light cyan at the tip, and the top right 'swoop' gradiates from soft indigo at the top stripe to light pink at the tip.

in the center of the left flag is a soft indigo symbol that looks like a magic wand. it's made up of a straight line with a crescent moon with its points facing upwards at one end. at the same end as the crescent moon, one on either side of the line and not quite touching the line itself, are small bird wing shapes. the symbol is angled about 30 degrees to the right.

the bottom right image is the same symbol that is on the top flag. end id.

banner id: a 1600x200 teal banner with the words ‘please read my dni before interacting. those on my / dni may still use my terms, so do not recoin them.’ in large white text in the center. the text takes up two lines, split at the slash. end id.

dni link

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cinematicct · 1 month

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Eternal Sunshine of the Spotless Mind (2004)

This science fiction romantic drama film stars Jim Carrey and Kate Winslet as modest introvert Joel Barish and vivacious extrovert Clementine Kruczynski, respectively, who undergo a medical procedure to erase each other from their memories following the end of their relationship.

The supporting cast includes: Kirsten Dunst as receptionist Mary Svevo, Mark Ruffalo as top technician Stan Fink, Elijah Wood (post-Lord of the Rings) as fellow technician Patrick Wertz, Tom Wilkinson as Dr. Howard Mierzwiak and David Cross and Jane Adams as supporting couple/colleagues Rob and Carrie Eakin.

Jim Carrey, after years of over-the-top slapstick fame (and success in a few freakish dramatics), has found the perfect opportunity to showcase a side of him we’ve hardly ever seen: an everyman with a profound sense of nuanced sentiment. Kate Winslet, in contrast to her work in period pieces (Titanic, anyone?), turns her raw energy into an exotic piece of contemporary pleasure. Together, Jim Carrey and Kate Winslet turn an unlikely pairing into a pairing of unmatched talent. Kirsten Dunst’s minor but pivotal performance is equally laudable given that her character symbolizes blissful ignorance (despite a dark secret behind it).

The script (which won the Oscar for Best Original Screenplay) is intelligently written in a way that pushes the boundaries of a clichéd rom-com by juxtaposing mind-bending sci-fi with the mundane relationship realism, creating a unique twist in the genre. In screenwriter Charlie Kaufman’s case, he has created an oddly yet beautifully crafted story that revolves around the inner workings of relationships and breakups.

In terms of analyzing the main aspect of the film, Joel and Clementine each have different mental health issues that often clash with one another. Joel is an emotionally complex person burdened with the one thing (given the cultural context) that sometimes comes with being in a relationship: invasion of privacy. Hence, his insecurities have taken a major toll on his love life. Clementine on the other hand is a human streak of zest and intensity (as hinted by her changing hair color), though her impulsive tendencies cause her to develop hasty idealizations and devaluations of Joel.

In an effort to move on, Joel and Clementine proceed to eradicate the unbearable pain of their tumultuous relationship via advanced technology from a company called Lacuna (another word for “gap”). However, as the memory-erasing process gets underway, an unexpected disintegration of the entire subconscious occurs, thereby creating a gradual emptiness in Joel’s mind. As such, he resists the procedure and tries to keep his mental projection of Clementine from disappearing completely. Meanwhile, one of the technicians (Elijah Wood’s character) steals Joel’s memorabilia of Clementine, the latter of whom got the procedure done first, in an attempt to use as a guide to seduce her.

This particular film creatively opts for a surrealistic visual style that maps out the off-kilter impression of what a nonlinear reminiscence might look like in the process of starting over with a clean slate (which, as it turns out, isn’t all it’s cracked up to be). What’s more, the movie distinguishes the freshly ingrained negative experiences of a relationship from the seemingly hazy yet cherished ones. In other words, referring to the title of the film, a lasting bliss of a painless mind might seem like the perfect solution to forgetting the losses, suffering and mistakes of the past. But the truth of the matter is that we would have nothing to learn or grow from if painful memories were wiped out entirely.

The soundtrack contains a couple tracks that represent a wave of whimsical nostalgia since this story examines the nature of love and memory. Such songs include: a cover version of “Everybody’s Gotta Learn Sometimes” by Beck and “Light & Day” by The Polyphonic Spree.

Lastly, the film as a whole speaks to the insuppressible power of memory in extensive detail: no matter how much we may try to clear our minds, we need to remember that mental pain is essential in helping us change for the better. All in all, I firmly recommend this bizarrely insightful, deeply aesthetic masterpiece to every fan of Jim Carrey, Kate Winslet and sci-fi fantasy.

“How happy is the blameless vestal’s lot! The world forgetting, by the world forgot. Eternal sunshine of the spotless mind! Each pray’r accepted, and each wish resign’d.”

-Alexander Pope

#eternal sunshine of the spotless mind 2004 #focus features #science fiction #romantic drama #charlie kaufman #Jim Carrey #joel barish #kate winslet #clementine kruczynski #kirsten dunst #Mary Svevo #mark ruffalo #elijah wood #tom wilkinson #dr howard mierzwiak #Lacuna Inc #memory erasure #nonlinear narrative

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datusaguy · 9 months

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Here’s a bunch of cool Easter eggs/potential references I’ve noticed with Karai’s sprites in Shredder’s Revenge. I’ve already done a color reference post for Karai though (which you can read here), so I won’t go over that very much in this post.

Firstly, her electrocution animation, 2nd pallet option and “flying attack” animations all seem like references to her time as Shredder in various media. As seen below, she displays a Shredder helmet and Foot Clan symbol when her bones light up. Then as I mentioned in my “Karai color references” post, her 2nd pallet is similar to colored Mirage depictions of the Shredder.

For her flying attack, she uses claws which I think she’s generally only seen with when wearing Shredder’s armor. Additionally, I think it might be a reference to X-Men’s Wolverine, most likely in one of the Marvel Vs Capcom games. I couldn’t find a specific move he has though quite like this though.

Like her flying attack, I think this is 2 references. 1st is that I’m pretty sure she did specifically fight with a chain in the 2003 show quite a bit and I’m not sure she did much (if at all in other versions). 2nd, it reminds me a lot of Scorpion’s “Get Over Here” from various Mortal Kombat games. It’s also the only Charged Attack that pulls in opponents.

While I’m not sure about any Karai-specific references for her “Super Flying Attack,” it does seem similar to Magneto’s Magnetic Shockwave in Marvel vs Capcpm 3.

Her standard attack string (“combo attack”) does look similar to moves both Ryu and Ken have done, although I’m not sure if either of them have all the attacks in one game (feeling like it may be MvC3 Ryu, but idk). Captain Falcon does seem like he has practically all the attack, even though realistically I don’t think you’d ever combo them all the way Karai does. Also, the string seems generic enough to probably look closely to multiple other fighting game characters.

Next are all the TMNT Tournament Fighters references. As mentioned in my Color References post, Karai has 3 (maybe 4) colors from the Genesis and SNES. In terms of her animations however, I think most (if not all), of them are for her SNES appearance.

As to what references there are, firstly I do want to mention her “neutral” stance is practically the same in this game and SNES TF. I can’t put anymore pictures in the post since I’m already at 30 pictures/gifs for the post and don’t think I can put anymore in, but you can see it in a lot of my gifs for both games.

Second is her dash attack which resemble her godly walk animation. It doesn’t have a hitbox in TF, but it’s also incredibly fast.

Third is her “Fling Slam” which ends off similar to her “Air Breaker” attack in TF. There may be a different command grab it’s specifically referencing, but I’m not sure, especially when there’s a plethora of command grabs in fighting games (off the top of my head though, it does end similar to a Tager grab from BlazBlue).

Fourth is her Dive Attack which looks similar to a dive kick she has in TF. It may not send her full screen, be as insanely fast nor cover up so much of the screen, but it’s still cool.

Fifth is TF’s Dark Thunder. Both her taunt and standard super remind me of Dark Thunder, the ladder especially since she can literally say “Dark Thunder” sometimes when she does it.

Last of the TF references for now is her “Super Flying Attack” which is similar to both Lightning Fists and one of her air normals.

As a side note, the TF air normal specifically is so incredibly good lol. She is a boss character in that game and her moveset in general is nuts so I get why it’s like that, but I love it. I do the air normal 3 times in the gif and I think it literally true string-ed into itself for the last 2.

This isn’t the rest of her animations, but I feel like they’re probably references as well. I do want to acknowledge Karai has used a sword multiple times before in multiple versions, but I don’t know more specifics than that.

Anyways, I hope you enjoyed the post. Feel free to mention any extra info you might pick up on in the comments or reblogs and I could try to add it to my main post. I probably won’t do this for other characters since there’s so many references I wouldn’t pick up on, but who knows~. If you wanna see some other references, here’s a link to all of my color references posts.

(Also added this picture here cuz she looks so cool).

Shredder’s Revenge Color References:

1. Karai

2. Leonardo

3. Michelangelo

4. Raphael

5. Donatello

6. April O’Neil

7. Master Splinter

8. Casey Jones

9. Usagi

#tmnt #tmnt karai #oroku karai #Karai #shredder’s revenge #teenage mutant ninja turtles #references

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wouldyoustilllovemeifiwasawyrm · 7 months

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Brightblooms in the Well

Linktober 2023 Day 27: Light/Sparkle/Bright As soon as the idea popped into his head, he knew he had to act upon it before Zelda stopped him. He closed the gap between himself and his princess, cupping her face with nectar-soaked hands, pulling her into a kiss. A small gasp escaped her as she realized what he’d done. Her own hands flew to her cheeks as she pulled away, her fingertips brushing the glowing handprints he’d left. “Link!”

The evening sun begins to dip below the tree line of the western woods. Fireflies flicker to life along the well-trod path up the hill between Bolson’s model homes. Fresh, small footprints remain in the dirt, pressed in from the afternoon’s drizzle. A set running in, a much fresher set running back out toward Hateno.

No smoke rose from the chimney of their cottage this evening. Her golden horse nickered at him from the stall. Link clicked his tongue, leading Spot by the reins over to his own trough and stall box. He patted both horses on the nose, offering them each half an apple. Their soft lips tickled the palms of his hands.

Though he listened for signs of activity within the house, he heard none.

Curiously, Link climbed up onto the ledge beside the window, peering inside. No fire lit in the hearth. Not even a candle beside Zelda’s desk.

He furrowed his brows, trying to make out any sign of her in the darkness. It wouldn’t be the first time she’d returned home after a day of teaching and fell asleep. He squinted, just barely ascertaining the perfectly tucked sheets still intact on their bed.

No Zelda.

He frowned, trying to recall if anyone had said anything regarding her whereabouts to him on his way back to the house after working the fields with Reeve. Nothing came to mind. Quite the opposite, even. Clavia remarked that Zelda appeared in a rush to get home when the children finally ran out of the schoolhouse doors.

He walked along the raised pathway down the side of their home. There was still one place to check before he needed to worry. He peeked his head into the small storage room in the back of the cottage. Nope. Not in there. Though, as his eyes passed over the small tomato plant beside it, he noticed only the orange and yellow fruits remained. He doubted the children picked them, as most of them claimed to hate raw tomatoes and would only eat them when cooked onto something else. Zelda, on the other hand, ate them raw like apples.

With a hop, Link descended onto the stone step and back to the ground. He hefted himself over the edge of the well, slid down the ladder, and landed with a soft thud on the wooden dock beneath.

A blonde head turned quickly, her eyes wide in surprise. Ink stained her right cheek.

“You’re back early.” Zelda observed, incorrectly.

“It’s after seven.” Link informed her.

“Is it?” Zelda quickly checked the small timepiece on her desk, a gift from Robbie. A failed version of a miniature Sheikah Slate, not useful for much of anything except to tell the time. In blue symbols, the time shone across her features. “Oh, so it is. I’m sorry. I had intended to start making supper at five.”

“S’alright.” Link assured her. After checking that the book in front of her had a different color cover than her diary, he approached. “What have you been studying?”

Zelda held up a small, greenish-blue bud. “Brightblooms. I’ve been trying to discern what makes them glow.”

Link took the bud from her hand, examining it curiously. “And what have you found?”

Zelda heaved a heavy sigh, shrugging her shoulders. “Very little, I’m afraid. I’ve discovered that it is the nectar within the flower that supplies the light. See, here, the translucent skin of the petals. But as for what exactly within the nectar causes the luminescence, I have no idea. I thought perhaps it was a similar substance to that as is within fireflies, but I’m not sure.”

While Link had passed by brightblooms dozens of times, using them frequently in his explorations of dark caves, he hadn’t thought much about the why. He smiled. Of course, Zelda, in her inexhaustible curiosity, wanted to know what made them glow.

She slid her notebook toward him. Sketches and theories dotted the pages, which she flipped through as she spoke. “Fireflies produce a yellow light from inside a closed system. I believe it also has something to do with electrical signals that the firefly produces when it’s alive. Based on my observations, only living fireflies produce light. But that may not be the case at all. I’m afraid I don’t have the heart to squish one and observe whether the glow remains. I’ve only dissected ones which I’ve found already deceased.”

Link would offer to squish one for her and record the results, but that would defeat the purpose of her good-natured hesitation. He’d just tell her he squished it by accident.

“As you can see with this bud here, it also appears to be a closed system, emanating very little light.” Zelda continued. “But when the buds are struck, or else left to bloom on their own, they produce an abundance of light, but for a shorter duration. The ones I’ve planted down here will need to be replaced when their light eventually fades. They respond to physical stimuli, such as being struck, with quickly blooming and sticking to a surface.”

Link nodded, quite happy to listen to her talk science for as long as she wished.

Zelda produced another book, flipping through the pages until she reached a small sketch of a firefly. “This author speculates that the firefly produces light by the interaction of an enzyme with a kind of sugar located within the body of the insect. This book, in general, is about enzymes and their various uses. Fascinating material; you really ought to read it. It’s a perfect interaction of biology and chemistry.”

En-zime. Or, no, enzyme, with a Y. He quickly scanned the page, which had only a handful of words he recognized and several diagrams which he couldn’t hope to interpret. Lines and triangles and letters, arranged in some order that he was sure made sense to Zelda.

“As for the brightbloom, there is no mention of it in his book, and so I’m left to grapple with the mechanism with which it produces luminescence. I don’t believe it to be electrical.” She pursed her lips, tapping her fingertips on the wooden desk. “I’ve been comparing a bloom to these buds for, well, I suppose it must be several hours now. I had intended to discover something about the nature of the glow tonight. Symin and I were going to compare notes in the morning and discuss a lesson plan on bioluminescence for the children. But, it seems, that will have to wait, and I can only hope that Symin has made more progress on the subject than I.”

Link turned the bud over in his hands, examining it closely himself. The petals were very closely tucked together, with only the faintest glow emanating from within. If he struck the bud, or threw it against the wall, it would stick and bloom brightly. That much he’d observed firsthand. But what if he-?

In a moment of pure curiosity, he smashed the bud between his palms.

Blinding light burst in a sparking display and dripped between his fingers, sticky nectar splashing him in the face.

“Link!” Zelda cried, shielding her face from the splatter, specks of light landing on her hands and sleeves. “Hylia’s wings, why did you do that?!”

He could barely make out her exasperated expression from the light that shone around his eyes, obscuring everything in the darkness of the hidden study. “I wanted to know if it was air-reactive.” He answered honestly with a shrug.

“You- Well, Professor Link, what do you think?” Zelda asked.

“I think,” Link compared the split halves of the smushed bud in his palms, each of which glowed like a tiny, dripping star. “It might be.”

Zelda stood from her desk, pushing the little wooden chair back into its place tucked underneath. “I think that’s a very astute observation.” She took a small handkerchief from her pocket, and began trying to wipe away the nectar from his face—gently at first, then more aggressively as the stubborn nectar refused to budge. “Goddess, Link. This stuff will not come off!”

He winced as she dragged the handkerchief across his cheek rather forcefully, like she was trying to wipe his skin away.

She huffed, pulling the useless, now-glowing fabric away. “I think that only smeared it. I suppose we could just wait for it to stop glowing on its own, though there’s no telling how long that will take.” She folded the handkerchief carefully, keeping the glowing nectar from touching the surface of her desk. The palms of her hands also sported droplets of light, faraway celestial bodies blinking in and out as she moved. “Perhaps it’s water-soluble.”

“You want me to jump into the pool?” Link offered, already taking a step backward toward the edge of the platform.

Zelda pursed her lips. “I suppose that would be one way to remove the nectar, though a wet rag would probably be sufficient.”

“Aw, but that’s no fun.” Link teased. If this nectar really was water-soluble, which he hoped that it was, for his own sake, then there’d be no harm in… sharing it.

As soon as the idea popped into his head, he knew he had to act upon it before Zelda stopped him. He closed the gap between himself and his princess, cupping her face with nectar-soaked hands, pulling her into a kiss.

A small gasp escaped her as she realized what he’d done. Her own hands flew to her cheeks as she pulled away, her fingertips brushing the glowing handprints he’d left. “Link!”

Link laughed, the sound echoing off the stony walls of her study. “Now we match!”

“Oh, you cad!” She scolded. Though he couldn’t tell for sure beneath the glow on her face, he thought she might be blushing. Or maybe it was rage. Something in that range. “Give me that!” Zelda snatched the remaining brightbloom bud from his hands.

“Aw, come on, Zel. I was only jok-,“ Link started, cut off by Zelda’s very firm return of the kiss. Rather than her hands resting on his face, as was her typical habit, they roamed. Down his neck, up to his ears, tangled in his hair. All the while, the drip of nectar followed.

When she finally pulled away, a satisfied smirk on her lips, he could only imagine the state she’d left him in. “Well, what do you know? Maybe there are some similarities to fireflies after all. You certainly look like one now.”

Link would not be outdone. “Nah, a firefly is more like-,“ He grabbed Zelda’s ass, giving a playful squeeze. “-that.”

Zelda let out a small squeak of surprise, though she made no attempt to push him away. “You’re terrible, you know that?” Despite her admonishment, she soon returned the favor, grabbing his ass in return. “Just terrible.”

Link snickered, resting his forehead against Zelda’s. “You know, I bet this stuff washes off of skin much better than it does fabric.”

Zelda raised a brow. “Probably. Why does that matter?”

Another light-filled kiss brushed against her lips, leaving a celestial glow around her mouth. “Because,” Link whispered, trailing kisses toward her ear. “I want to cover you in it. And it would be a shame to ruin your nice blouse.”

#linktober 2023 #zelink #loz link #tears of the kingdom #loz zelda #loz fic #legend of zelda

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aspoonofsugar · 2 years

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Yang's Jungian Archetypes

This is a follow-up and a correction to this meta and it references this analysis by @hamliet, as well. Long story short, I am writing a suuuuper long Yang post (wonderfully complex girl) and I gathered some thoughts on how Jungian symbolism is used in her case.

JUNGIAN ARCHETYPES AND RWBY

Jungian archetypes are universal ideas that can be found in stories and culture worldwide (according to Jung anyway). Think about tropes like The Hero, the Helper, the Inner Child, the Anima and the Shadow. They are all archetypes.

Now, Jung found several of this universal tropes. To avoid making things more complicated than what they are, let's say that for this meta we need only 2 sets of archetypes (most of which overlap):

The 4 main archetypes that should describe how human psychology and society work. They are the Shadow, the Anima, the Persona and the Self.

The 4 archetypes Jung links to the alchemical process (yep, Jung was a nerd). Jung sees alchemy (the creation of the philosopher stone) as a metaphor for self-individualization and associates an archetype to each phase of the alchemical process. They are the Black phase (the Shadow), the White phase (the Anima), the Yellow phase (the Wise Woman) and the Red phase (the Self).

You can already see 2 things. First of all, the 4 phases of alchemy are called after the same colors of the RWBY girls. This is not by chance: RWBY is an alchemical story and makes use of alchemical motifs, as @hamliet explains here. So, each girl embodies a phase and all together they make the philosopher stone (RWBY aka ruby lol). Secondly, the archetypes are almost the same with one exception: the Persona is different from the Wise Woman.

Now, RWBY is a very Jungian story (as many stories are) and uses Jungian archetypes a lot. Specifically, each girl embodies a different archetype and this is true both when it comes to the 4 most famous tropes and to the 4 alchemical ones. In the first meta linked, I associated each girl to one of the 4 main archetypes (Shadow, Persona, Anima and Self), but I was wrong, so here comes the correct version:

Blake is the Shadow (obvs): she represents the Black Phase, her Semblance is called Shadow, her Theme Song is From Shadows and the Inner Beast is another name of this archetype. The Shadow is everything that a person hides or represses, both positive and negative. It fits Blake who is pushed in the darkness of society and whose arc is about learning to take the spotlight when needed.

Weiss is the Anima/Animus: the Anima/Animus is the masculine and the feminine and what is Weiss's main motif? Yep, Queen and Knight. This idea is developed throughout the evolution of Weiss's summons. The Knight is the Animus that completes her Anima. When they fight side by side they seem a Queen and a Warrior in battle together. The Queen Lancer is the integration between Anima and Animus: a queen and a lancer (a kind of knight). This also fits with Weiss being the White Phase of course. Psychologically, integrating the Anima/Animus means finding balance, which is Weiss's goal: for her heart and mind to be One.

Ruby is the Self: the Self is the sum of all the other archetypes and it represents the person as a whole. Ruby's Red Like Roses is a song that includes all the other girls and all the girls together make RWBY (Ruby). It works perfectly with our Little Red Riding Hood being the Red Phase as well.

What about Yang? In her case, the Persona and the Wise Woman do not overlap. However, our Yellow Beauty finds a way to fit both archetypes.

YANG AS THE PERSONA

The Persona is whatever is projected outside for others to see. It is the mask we wear in social interactions and generically everything that is in the light. Because of this, it is considered the opposite of the Shadow.

Does it fit Yang? I think so for 3 reasons.

-Yang has a light motif. Her name means Sunny Little Dragon, she is the only girl associated with the Sun instead of the Moon and she references the Light in the Yin Yang symbolism.

-It fits her complementarity with Blake. Blake is the Shadow, while Yang the Persona. Blake must show herself more and come into the light, while Yang must face her inner shadows. The climax of the Mistral Arc makes this foiling obvious.

Blake is on the surface and in charge of an army (aka a public figure). Her defining scene in the Battle of Haven is her dragging the true Adam into the light:

And everything happens in front of a crowd.

Yang is instead underground and hidden from everyone else. Her climatic scene is an emotional discussion with her mother where she faces her internal turmoil, hurt and vulnerability. By the end of it, nobody knows what happened, but Yang herself.

-Even if counter-intuitive, it actually fits Yang psychologically as well. On the surface, Yang appears as this confident extrovert girl that wears everything on her sleeve. Still, she is one of the characters that represses the most.

You know, once I read a comment somewhere that stated how all the other girls have these deep songs that comment their interiority and journeys, while Yang's music is about how awesome she is :''') Well, I doubt this is by chance: Yang tells us very little about herself in her songs, doesn't she? She presents this image of strength and confidence, but it is obvious she is an incredibly deep character with a rich inner journey. However, it does not emerge in her music. She wears a mask, while singing. She wears a Persona.

And yet, I Burn states it pretty clearly:

Come at me And you'll see I'm more than meets the eye

Yang is not what she seems and behind her Persona (the Himbo :P) there is a completely different archetype: the Wise Woman.

YANG AS THE WISE WOMAN

The Yellow Trailer - I Burn gives us a hint of what the Wise Woman stands for in Jungian psychology:

The unconscious changes its dominant character and appears in a new symbolic form representing the Self, the innermost nucleus of the personality. In the dreams of a woman this centre is usually personified as a superior female figure – a priestess, sorceress, earth mother, or goddess of nature or love.

The Wise Woman is a first unconscious representation of the Self, so Yang's song in the trailer contains all the other girls'. Wait, wasn't Ruby the one representing the Self? She is, but Ruby and Yang are interconnected when it comes to alchemical symbolism. As a matter of fact, the Yellow Phase is often considered a part of the Red Phase. In RWBY this connection is solved by making Yang and Ruby sisters. In a sense, they share their major conflict (Summer's disappearence and the effect it had on the 2 girls). At the same time, the Yellow Phase and the Red Phase are not exactly the same, just like the Wise Woman and the Self. The Yellow is a stage that leads to the Red, which is the end of the journey. Similarly, the Wise Woman is a very first glance at one's Self. It is a first step into individuation.

Specifically, the Wise Woman is the overcoming of the mother that comes with self-awareness, so Knowledge. It clearly fits Yang whose whole arc is about dealing with her 2 moms and searching for answers:

Yang: To this day, I still want to know what happened to my mother and why she left me.

However, there is more. Jung discusses how every archetype has a negative and a positive side. Think about Tarot Cards and how the same card can mean good or bad things. Archetypes are the same. When it comes to the Wise Woman, Jung defines it in 2 ways.

On the one hand the Wise Woman has her counterpart in the figure of the witch, or as the psychologist calls her "the terrible mother".

On the other hand there is this:

"the sky-woman is the positive, the bear the negative aspect of the 'supraordinate personality', which extends the conscious human being upwards into the celestial and downwards into the animal regions."

The Wise Woman/Terrible Mother and the Sky Woman/Bear imagery fits respectively Raven and Yang.

WISE WOMAN/TERRIBLE MOTHER VS SKY WOMAN/BEAR

Raven is both the Wise Woman and the Terrible Mother. She offers answers and has information nobody else knows. Still, she is also a bad mother, who abandoned her new born daughter and has no problems using Yang as bait for her own sake.

Yang is the Sky Woman. A dragon that soars:

I've found the strength to grow so much more A whisper to a roar No more crying It's time for me to soar

She is also the Bear, though. Her Goldilocks allusion presents her as both Goldilocks and the Junior Bear, which is why her outfits are all brown. Not to mention how she keeps fighting Ursai and that in her trailer she defeats Snowhite and Red Rose (the Malachite Twins).

The twins' fairy tale speaks of 2 sisters that befriend a Bear (Junior), who is eventually revealed to be a Golden Prince. Yang enters the Malachites' story and conquers it by taking central stage. She herself plays the part of the Golden Prince who defeats her Bear part (her curse).

In short, Yang is caught between the sky (the dragon) and the earth (the bear), just like Raven has traits of both the Wise Woman and the Terrible Mother.

Both women are struggling with their positive and negative traits. Which one will "reach the celestial" and which one will be stuck in the "animal regions"?

The answer comes with their confrontation in the battle of Haven. Their "fight" is after all about deciding who is the real Maiden of Knowledge (Maiden of Haven) on a thematic level. In other words, who is the real Wise Woman (Sky Woman)?

The ending makes it clear:

Yang enters the vault and takes the relic, which means she finds Knowledge. She is the real Maiden symbolically speaking. She is the Woman of Haven and is wiser than her mother even with no powers.

Raven instead remains stuck in her animal form (she transforms into a raven) and runs away:

She cements herself as a Terrible Mother:

Yang: Because you're afraid of Salem!!! And if you thought having Maiden powers put a target on your back, imagine what she'll do when she finds out you have a Relic. She'll come after you with everything she has. Or she can come after me. And I'll be standing there, waiting for her.

(...)

Raven: I… I'm sorry…

When it comes to choose between her own safety and Yang's she can't bring herself to do the right choice.

In conclusion, the climax of the Mistral Arc is nothing, but Yang facing her own negative Archetype in Raven. She overcomes her mom and steps into the role of the Wise Woman, that she is still growing into.

#rwby #yang xiaolong #blake belladonna #raven branwen #rwby meta #my meta

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garden-ghoul · 2 months

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Happy Gushiwensday Sunday! We had to take an extra day to think about this very tricky poem by Ouyang Xiu, to the tune of "Butterflies Love Flowers."

Returning from the painted pavilion. Ah, late spring: swallows flirting around their mates, graceful willows and trysting peachblossoms (denuded by a solid sky of drizzle and a courtyard full of wind). I frown austerely, though no-one's around to see. Alone, I lean on the crooked railing, muddled in mind. The perfumed grasses are dressed to impress in fine green silk. They recall that night, the river in Nan'an--- moonlit nights are heartless, and people change in the dark. Stumble memory to memory like a dream of desolation.

Lots of notes and original text under the cut.

蝶恋花·画阁归来春又晚

画阁归来春又晚。燕子双飞，柳软桃花浅。细雨满天风满院，愁眉敛尽无人见。独倚阑干心绪乱。芳草芊绵，尚忆江南岸。风月无情人暗换，旧游如梦空肠断。

Ouyang Xiu is WAY too clever for me. In this poem he uses a ton of rebracketing tricks, where dividing a phrase at one point makes it mean one thing and dividing it at another point makes it mean a different thing. And on top of that he's using a LOT of idioms so you also have the connotative and denotative layers lying on top of each other like transparencies. I really picked a hard-mode poem this time! Let's get to it!

flirting around their mates --- literally "flying in pairs," with a connotation of marital bliss.

graceful willows --- willows are often compared to women in romantic poetry, and vice versa.

trysting peachblossoms --- it just says peachblossoms, but they also function as a symbol of love affairs. 浅 can mean shallow or light-colored, but also thin; Baike's annotations interpreted this as petals continuously shaken from the trees so they start to look bare. "Denuded," of course, also evokes taking off your clothes.

crooked railing --- 独倚阑 means "I lean against the railing" but 阑干 means crisscrossed or disordered, emphasizing the disorder we've already got at the end of this line! I originally translated this line as "With only myself to rely on, I have a confused, disordered mind."

The perfumed... green silk --- literally "fragrant grass is green and luxuriant." But as we've seen before, "fragrant grass" is an idiom for marriageable young people, so I tried to evoke a sort of cotillion.

Nan'an --- a district in Chongqing, but very possibly just a generic term for the south bank. Kept this because it sounds good.

Moonlit nights --- literally "wind and moon." This evokes variously romance, beautiful scenery, or petty topics.

heartless --- another fantastic rebracketing. If you break between the fourth and fifth character, as is customary for seven-character lines, you get 无情, no feelings. However, if you include the next character too you get 无情人 no sweetheart!

people change in the dark --- a continuation of the rebracketing thing in the middle of this line. If you read "I have no sweetheart," the end of this line could be something like "to exchange [gifts] with in secret/at night." If you read "heartless," you get "people exchange/transform in the dark/in secret." Given how much use Ouyang Xiu is getting out of alternate readings here, I think we're intended to see multiple versions at once. This could be "people change when you're not looking," it could be "people cross over" or even "people pass away."

Stumble memory to memory --- 旧游 literally "old tour," idiomatically to take a tour of places where you have memories. I put "stumble" here to echo the disordered mind and the broken heart.

dream of devastation --- more rebracketing, kind of? Breaking at the fourth character gives us "visiting old haunts as if in a dream, empty and heartbroken." But you can also read "empty dream of heartbreak." The reason I've used devastation here is... heartbreak didn't sound good as a final word. The word I actually wanted to use was חורבן / churban, but this is an English translation, so.

Anyway here's an additional literal translation, to show what it would be like if we only included denotative meanings:

Returning from the painted pavilion in late spring. I see swallows flying in pairs, supple willows and thinning peachblossoms. The whole sky is fine rain, and the whole courtyard is wind. I frown, completely self-controlled; I can see no-one. Alone, I lean on the crooked railing, my mind in disarray. The fragrant grass is luxuriantly green. I remember the Yangtze South Bank. The moon and wind are heartless, people exchange in the dark. I visit old haunts as if dreaming, empty and heartbroken.

#ouyang xiu #gushiwensday #this is a really good one folks.

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blue-b-bro · 8 months

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The Silk and metamorphosis

So, I was rewatching s1 and we have that scene:

And I was thinking. Ed sounds like it’s the first time he saw/toched cashmere, he sounds fascinated. And I was in the middle of writing the color meta, co of course I noticed the color of the fabric.

But let’s make a step back. What’s Ed relationship with silk? The symbol of vulnerability, softness, unobtainable luxury. It’s important that Ed had only this much of silk in his life.

But Stede, even tho in universe could afford all of those beautiful clothes, didn’t wear them before the Revenge. He doesn’t wear all soft and luxurious fabrics at his house. So it’s not about the money.

And now, going back to cashmere. Why cashmere? To show how rich Stede is? How frivolous he is, buying exquisite cashmere and marmalade instead of gun powder?

This is a scene where Ed meets Stede (like consciously) and discovers his world of wonder Ed couldn’t even dream of, couldn’t because it was “forbidden” for him to want it, but also, because he didn’t know it could be this incredible! So Stede’s life is even better, than Ed’s idea of happiness. (kinda sad ngl) (notice tho that all those clothes are in a secret wardrobe, not on display for others to see or damage)

Now, what we know about silk and cashmere:

“Silk and cashmere are both incredibly soft. However, their softness comes with different feelings. Silk feels more like a gentle breeze, while cashmere is like a fluffy cloud.”

“Although a strong material, silk can be torn much easier than cashmere.”

“On average, silk is cheaper than cashmere, but it all depends on the quality and manufacturer.”

So if silk is Ed’s vision of happiness, his soft side, his heart, and cashmere is Stede’s, then I’d say Ed’s vision of happiness is something less demanding (like, accepting what you get and not asking for more, thing), and Stede’s takes a lot of work*, like, a lot, but the results are stronger and more valuable (I’m not saying Stede has it, more like he aims for it, and offers that to Ed as well).

Going back to silk, because I have more deranged theories. What is silk made of? The cocoons of silkworms. What is a silkworm? A moth. A nighttime butterfly. What cocoons and butterflies symbolizes? Metamorfosis, turning into something better, different, more beautiful. And what moths symbolizes additionally?

“(...) positive transformation in your life, one that will lead to new spiritual wisdom. When a caterpillar becomes a moth, it loses its old self, but it gains the ability to fly. In the same way, you’re moving on from the person you used to be and becoming a more spiritually enlightened version of yourself.”

“In one Buddhist story, the Buddha notices that moths who fly recklessly into the flame get burned, while moths that move cautiously toward the light survive. This represents the dangers of chasing pleasure heedlessly. When humans get attached to sensory pleasures, they can get consumed, like moths to the flame.”

“Moths are attracted to light, and some cultures associate this with a soul’s journey toward "the light" when passing from life to death. In Chinese folklore, moths are also associated with the souls of loved ones who have passed away, and many believe they bring messages from the afterlife.”

“Moths are nocturnal, and they can find their way around in the dark. This symbolizes your own ability to navigate the world based on your instincts and inner knowledge.”

Maybe it’s red threading at this point, but whatever, it fits Ed, ok?

Before we continue in that direction, let’s go to episode 7. Stede buys the fake map and they find, by accident, a moth, apparently a rare one (surprisingly I didn't go deeper into why that moth specifically, but it's yellow&pink) Who we associate with moths? Ed. Stede, going on his pirate adventure, following stories about how pirate life looks like (fairy tales and other reliable sources), finds Ed, completely by accident. Found him and his beautiful, soft side, he so rarely shows. And Ed of course calls it just a bug. Of course he does. But Stede is delighted! (and the map is destroyed, as if destroying the false idea of what their relationship should look like, and they followed their heart from then on, etc.)

Let’s go back, to metamorphosis. Ed thinks he’s a bad person, and is afraid he cannot change that, that’s just what he is. And here comes the deranged Buttons's side plot: he says he cannot love the sea properly in his human form and decided, on his own volition, that he will transform into a bird. And he did! In front of Ed. And Ed looked like his whole worldview changed completely. “Fly brother” and all. He’s suddenly full of hope! (also Izzy, from just a useful tool, became a family member, with the power of love and wooden leg in this episode, no I’m not crying, don’t touch me)

*Cashmere goats produce a double fleece that consists of a fine, soft undercoat or underdown of hair mingled with a straighter and much coarser outer coating of hair called guard hair. For the fine underdown to be sold and processed further, it must be de-haired. De-hairing is a mechanical process that separates the coarse hairs from the fine hair. De-hairing is made slightly easier by removing the undercoat by hand, rather than shaving the entire coat. This process takes much longer to remove the cashmere, but produces a much finer, higher quality fiber.

#I hope it's rather original take AND making sense #ofmd #ofmd s2 #ofmd meta #our flag means death #edward teach #stede bonnet #gentlebeard #blackbonnet

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theoneandonlysun · 6 months

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The world beyond the door is a strange one…yet beautiful.

The sky looks like it did when Dusk first appeared. The landscape looks much more natural than the main circus, full of woods and flowers, with the occasional settlement. All the buildings seem vaguely medieval-Victorian age, that kind of strange era invented by fantasy stories to account for both quiet, isolated cottages, but also allow for bright little villages with proper roads and enough sanitation and infrastructure to have things like the Plague not be a concern. Vast, and yet, the horizon is not an island’s cliff edge, but a blur of color…maybe there is something beyond it, who knows…

The style of the world itself is very different as well. Colors are not flat and fully saturated, but soft and often dark, with only accents of pastel. The Digital Circus is rendered in a minimalist yet quite detailed style, reflecting and stylizing things and colors that exist. This world seems to almost reflect a dream, almost like a painting or an old childhood memory that blurs around the edges and flits off after a while…

Things here are more emotions and concepts than a proper set of realistic mechanics…things may run on different rules than what sun is used to.

Speaking of our protagonists.

Sun can finally put her finger on one of the reasons Dusk seemed so odd. She was not a reflection of a real celestial body, like the sun in her radiant power. She is an experience, the feeling of walking alone in the woods, surrounded by light and glow despite the late hour. The feeling of reading at witching hours, illuminated by a quiet candlelight in the abyss that was once your room. Walking through a dimmed home, long abandoned, dark despite the sun’s relentless rays. Dusk looks the part of a goddess now, there is not a shadow of doubt that she belongs here, that this home is hers. I imagine the celestial beings look borderline Angel-like in their own domains, and based on how I’ve seen sun described during the day sequences, that idea may have some credence.

As for Sun, she very rarely leaves her own domain…and the resulting diminishing of her light catches her off guard. She’s the Sun, she illuminates, she makes things understandable and visible. She is bright, saturated colors, she is the endless mornings and the eternal afternoons of a never ending summer. These things have no bearing here. Her power is brought down to the power of the emotions the sun represents, like anger and happiness. These things have much less bearing here than even the Moon’s fear and despair. For anger and joy are clear cut, at least the versions that Sun represents. They grant her little, especially compared to the complex symbolisms of Dusk (Sun supposes she’ll have to figure most of them out along the way) or maybe even some anons. To call this place home, you must be like it, complex and blurry and quiet. Sun wonders if she didn’t quite understand Easton and Northa, if they could create a place and a goddess like this…

(there’s your decent Elsie writing for the day, I did this on the spot so sorry if it’s repetitive)

Sun feels.. weaker than usual. It makes her uncomfortable, especially with the entire new world spread out in front of her... it feels... overwhelming.

Sun wants to leave... she just needs to get to the point and then she doesn't have to come back here ever again.

Where are they?

#ELSIE THIS WRITING IS VIVID AND GORGEOUS ILYSM /P #LITERALLY AMAZING #FANTASTIC

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lodeemmanuelpalle · 10 months

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The Basics Of Logo Design - Lode Emmanuel Palle

Logo design is a creative and essential aspect of branding. A logo is a visual representation of a brand or company, and it should be memorable, versatile, and communicate the essence of the brand. Here are the basics of logo design explained by Lode Emmanuel Palle:

Simplicity: Keep the design simple and easily recognizable. A cluttered or complex logo can be difficult to remember and reproduce.

Memorability: A good logo should be memorable at a glance. Think of iconic logos like Apple or Nike – they are simple and instantly recognizable.

Relevance: The logo should reflect the nature of the business or brand it represents. Consider the values, products, and target audience of the brand.

Versatility: A logo should work well across various mediums and sizes – from business cards to billboards. It should be recognizable whether in color or black and white.

Timelessness: Aim for a logo design that will still be relevant and effective years down the line. Avoid using trendy elements that might become outdated quickly.

Colors: Choose colors that resonate with the brand's identity. Different colors evoke different emotions, so consider the psychological impact of color choices.

Typography: The choice of typography should be legible and appropriate for the brand. It can convey the brand's tone – whether formal, playful, or modern.

Originality: Strive to create a unique logo that sets the brand apart from competitors. Avoid using clipart or templates.

Scalability: Ensure the logo retains its quality and clarity when resized. Test it at various sizes to make sure it's still recognizable.

Balance: A well-designed logo has a balanced composition, where the elements are harmoniously arranged.

Negative Space: Utilize negative space creatively. It can add depth and meaning to the logo, and it's a clever way to hide additional imagery within the design.

Cultural Sensitivity: If your brand has an international presence, make sure the logo's symbols and colors are culturally appropriate and don't unintentionally offend.

Sketching and Conceptualizing: Begin the design process by sketching out multiple ideas. This helps you explore different concepts before moving to digital design.

Digital Design: Once you have a concept, use graphic design software like Adobe Illustrator to create a digital version. Vector graphics are ideal for logos as they can be scaled without losing quality.

Feedback and Iteration: Share your logo drafts with others, especially team members or clients. Constructive feedback can help refine the design.

Test in Different Contexts: See how the logo looks on different backgrounds, both light and dark, to ensure visibility and contrast.

Legal Considerations: Check for any potential trademark or copyright issues before finalizing the logo.

File Formats: Ensure you have the logo in various formats (PNG, JPEG, SVG, etc.) for different use cases.

According to Lodi palle, logo design is a creative process that requires experimentation and iteration. Don't be afraid to explore different ideas and seek feedback to create a logo that effectively represents the brand's identity.

#lodi emmanuel palle #lodi palle #lode palle #software eengineer #emmanuel palle

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