#Anastasia E.G.

[iskra8]

Anastasia e.g.

#anastasia e.g. #alt beauty #beautiful women #favorite models

[spacedustmantis]

list of shipnames in jrwi and who they are referring to

this is (and probably forever will be) a work in progress. i plan on expanding this list with any and all shipnames i come across, so if you want to see the up-to-date list, make sure to open the original post. also feel free to send me shipnames that are missing from this list to my inbox or over dms.

note: not all of these are extremely common or in circulation quite yet, but you might encounter them every now and then anyways.

‼️ important disclaimer! this is an archival work, meant to list as many ship names as possible for a variety of uses. this means this list does include ships that might be triggering for some. regardless of my feelings about it, abusive, unrealistic, or violent ships as well as underage and incest are pretty much always a facet of fandom, and as such they are represented here, partially to give people the necessary information to be able to circumvent being confronted with said content (e.g. via muting tags) should they want/need to. ‼️

riptide:

pc/pc

fish and chips (fnc): chip/gillion

navyseal: jay/gillion

phoenix/mockingjay: chip/jay

poly pirates: chip/jay/gillon

pc/npc

catnip: chip/la alma

sailorsong/scarlet captains: chip/jazz

fools gold/bargaining chip: chip/niklaus

drunken sailors: chip/caspian

chipped crown/chiptune: chip/queen

stoneflame: chip/igneous

midnight memories: chip/drey

tboy polycule: chip/jazz/igneous

birdbolt/clockwork rivals/women in STEM: jay/ensa

pistolwhip: jay/lizzie

sharpshooter: jay/kira

bloodshot: jay/anastasia

sheshells: jay/edyn

artemisanchor: jay/aslana

bloodbath: jay/anastasia/aslana

jay's harem/let's go lesbians: jay/her many girlfriends (ever changing, always evolving)

swordfish: gillion/caspian

dealbreaker: gillion/niklaus

sea shanty: gillion/queen

goldfish/dragonfish: gillion/clorten

sunken anchor: gillion/marshal john

destined sails: gillion/caspian/marshal john

fish and chips and more fish: chip/gillion/caspian

manlet, manwhore, manslayer: chip/gillion/niklaus

sea sharp: chip/gillion/queen

deal with the devil (dwtd): chip/jay/gillion/niklaus

bardic inspiration: chip/jay/gillion/queen

full ensemble: chip/jay/gillion/queen/jazz

npc/npc

drearl: drey/earl

watergun: drey/finn

old man yaoi/drearlinn: drey/finn/earl

cattlepunk: drey/ichabod

roseshot: drey/captain rose

metal detector/gunmetal/robopanda: alphonze/gryffon

popshot: gryffon/queen

seawitch: niklaus/edyn

frigatebird/warbird/waning crescent: lizzie/ava

fighting chance/boxer briefs: la alma/clorten

naval orange: marshal john/amanda rinn

message in a bottle: marshal john/edyn

rose tides: lizzie/edyn

rosewater: lizzie/caspian

sea serpents/lunar eclipse: ava/lizzie/edyn

singing the blues: jazz/caspian

jam session: jazz/queen

saltwater pearl: caspian/edyn

soundwaves/sea shanty: caspian/queen

hammer to fall/songsmith: queen/alasse

lamprey: anastasia/aslana

starcrossed survivors: zamia/star

apotheosis:

pc/pc

angelstone/stonesong: peter/rumi

deicide: rumi/thanatos

tech support: peter/thanatos

eldritchstrings: rumi/exandroth

pc/npc

divineshifter/shape4shifter: rumi/rhymir

prime defenders:

pc/pc

ghostknife: william/vyncent

ghostkicks/blue raspberry: william/dakota

dancebattle/spacejam: vyncent/dakota

revenant/wispy winters/evildead: william/ashe

tomeblade/gamecube/demondagger: vyncent/ashe

demonkicks: dakota/ashe

polypd: william/vyncent/dakota/ashe

pc/npc

decharge/soulfire: william/doug

sunghost/sunshade: william/summer

parasol: william/vyncent/summer

exquisite corpses/spare the dying: william/cantrip

ghostlysigns: william/jimmy

npc/npc

tidalwave: tide/mark winters

suntrip: summer/cantrip

doodlejump/pencilfrog: le frog/pencilman

cops and froggers: le frog/officer frank

zebrafish: tide/harlem

car manual: wordsmith/pretender

shooting star: mrs g/lightspeed

shadowfold: harlem/jason

blood in the bayou:

pc/pc

keeperschampion: rand/rolan

rollingstones: kian/rolan

smokeshow: kian/rand

nightmare blunt rotation (nbr): kian/rand/rolan

pc/npc

heartstrings: kian/becky

meddling kids: kian/rand/rolan/becky

bleacher ghosts: kian/becky/jesse

milf season: kian/donna

private performance: kian/donna/john

the suckening:

pc/pc

guarddog: emizel/shilo

alleycat: emizel/arthur

royal pain: shilo/arthur

pc/npc

fizzfangs/monster energy: emizel/soda

armored pheasant: shilo/grefgor

vampistol/shadowhorse: arthur/deacon

old campaigns and one-shots under the cut

mythborne

supernova: connor/aster

achilles heel: connor/ryan

sunspot: aster/ryan

spotlight: connor/aster/ryan

playwrat: connor/aster/ryan/romeo

final episode one shot

bluecherrylite: cherry/jebediah/aren

jebebriadic/ringbearers: jebediah/brian

twitch chat one shot

hoofin' it: icarus/gravel

convergence:

krangle: kasper/strangle

the fated:

br'aaxi: br'aad/taxi

scythebelts: sylnan/velrisa

kathnan: sylnan/katherine

sylgarth: sylnan/ugarth

velriana: velrisa/oriana

#jrwi #jrwi riptide #jrwi apotheosis #jrwi bitb #jrwi prime defenders #jrwi pd #jrwi blood in the bayou #buggy thoughts #silver screen #long post #cw incest

[thisisnotthenerd]

great episode of mentopolis folks. every single episode has had such great moments--i can't wait to see how they tie it all up next week in the finale.

for this episode, we had some really critical moments from everyone but i think the star of this one was really anastasia with that fantastic speech in the courtroom, followed immediately by getting the key off of fawn, and then outsmarting the one and only stacy fakename. i had a hunch it would be her ever since max medulla said the thing about passenger fraud and ivana had a glint of recognition, but it's still very cool to see brennan incorporating the impromptu bits into the world.

other notes of importance: all of the conversations in thalamus & sons. norrell being more than the murder victim, but the first line of defense against the psychometer! imelda and h.v. lance, the combination of impulse and hypervigilance resulting in the copper supplement and imelda saying this might be the first good thing we've done passing down to conrad and dan is just *chef's kiss*. the fix talking to ronnie and standing up to madam loathing, who's wielding the white key! curio smacking her with the copper pipe!

conrad has his key!!!!!! that downtrodden little boy is growing up and taking some control in this here city, the mind of elias hodge. really setting up the end of this mystery very well.

i enjoy how the (unique, nonDnD) system has differentiated mentopolis from our other murder mystery season, mice & murder. the pace of mentopolis and the fact that there's a wide variety of backgrounds at the table is doing good, let me tell you. hank obviously bringing the science background and knowledge of the brain that's he's used to help the party e.g. the shitting from last episode. alex bringing a consistency to their bits and a really sweet side with conrad's upward growth. danielle and trapp having the comedy mixed with the intense focus on bringing the plot to bear and moving the story forward. siobhan's mechanical knowledge (and lbr danielle as well) and charisma easing their way for imelda (and the rest by proxy) to be a mover and shaker. and freddie, playing counterpoint and bringing out the fullness of the conspiracy by just choosing dan fucks to be present as a pc. it would be easy to only have curiosity and attention take the lead on the mystery solving, but all of them have a unique lens that give us a lot of facets with which to watch this story unfold.

#dimension 20 #dimension 20 spoilers #mentopolis #mentopolis spoilers

[paradoxcase]

Chapter 40, 41, and 42 of Harrow the Ninth

I did read Chapter 43 also, so I got the explanation of what's going on here, but I wanted one post just to talk about all these, uh, AUs, I guess? I gather Harrow's dream bubble river bubble is just going a bit haywire because she's badly wounded or something

The first one seems to be an AU where Harrow was not a necromancer, but Gideon was, and Harrow's parents adopted Gideon and disowned Harrow, if I'm understanding correctly. I wonder if they just opted not to murder 200 children in this universe, or if they did do that but the thanergy somehow caused Gideon to become a necromancer instead of Harrow because they miscalculated something? TBH, this seems like a completely different genre of enemies-to-lovers than the version where Harrow is suicidal due to being told constantly about the 200 dead children

Yeah, this is exactly what Harrow would be like as cavalier, or, I guess, aspiring cavalier, since I gather you have to actually be attached to a necromancer in order to really be a cavalier. I gather the only other options on the Ninth other than becoming a cavalier would be to just become a miscellaneous nun, or to realize Gideon's original dream of running off to join the Cohort. Although, there is also a Harrow-joins-the-Cohort AU in this set as well. Harrow says it's her right to carry the blade because she was born into the noble house, so presumably it's just that there's no other respectable career available for the nobility if they aren't necromancers

Something interesting here is that they both seem to be assuming that being Gideon's cavalier automatically makes one the cavalier primary, whereas based on Judith's notes about everyone's history that doesn't actually seem to be the case for at least most of the other Houses, since a lot of the other cavaliers became cavalier primary either before or after getting attached to their necromancer. The only one I can remember off the top of my head where it seemed like becoming the cavalier to the heir necessarily made you cavalier primary was in the case of Magnus and Abigail, but I could be misremembering. It also didn't seem to me like this kind of challenge that Harrow is issuing here would be a normative thing to happen, that someone would challenge a necromancer's cavalier for the right to take their place with that necromancer, it seemed like cavalierships were meant to be a death-do-us-part thing, and a lot of the pairs seem to have been specifically selected for compatibility at birth or a very young age (e.g. Mayonnaise Uncle and Colum), and that compatibility was more important than something like martial ability

This is not a context where I expected to see the word "flog", so I looked it up:

Since the author is a kiwi, I guess she means definition 4, rather than definition 3? That's really interesting, I had no idea "flog" was used in either of those senses

Right, so, this is the cavalier!Harrow version of opening the Tomb, isn't it? Except in this case Gideon intervenes on her behalf, instead of telling on her. Or maybe she did both?

Interesting that Samael is just Anastasia's "warrior servant" here, and not specifically called out as her cavalier, or maybe that's just another way of saying it?

Harrow does know the contents of the Noniad, so presumably this is in there in some capacity, or she's at least heard Ortus talk about this. I wonder what Lyctor Nonius supposedly stood against? There's a very finite number of them

Funny that the role reversal didn't change Crux's opinion of anyone, he has no truck with this adoption nonsense and is still 100% loyal to Harrow and hates Gideon

The next one seems to be an arranged marriage AU of some sort, I feel like these are getting progressively more and more griddlehark content, or just more and more direct Gideon involvement as they go, possibly due to Harrow gradually resurrecting her memories of Gideon

I note that in the last one, Crux had a speaking part, and in this one, Aiglamene has a speaking part. According to Magnus and Abigail in Chapter 43, the major roles in these are played by ghosts in the River, but as far as I'm aware Crux and Aiglamene are still alive on Pluto. Did something happen on Pluto since the last time we saw them? Although Corona seems to be in this one, too, albeit not as a speaking part

Ianthe's soup recipe, lmao

The third one is a Harrow-joins-the-Cohort AU, but it's also... a coffee shop AU, and I guess "BARI" is meant to recall "barista"? Ok, look, the reason people write coffee shop AUs (and high school AUs, and college roommate AUs, etc.) is that those are everyday social situations that are very familiar to the people writing the story, so that's just naturally what they fall back on when they want to write an AU, they want to bring the characters into their everyday lives, or write about them in a situation that they have a lot of first-hand knowledge of. The first AU is in fact a social situation that Harrow would at least be pretty familiar with, even if it's not her actual everyday experience, and the arranged marriage thing, that does definitely seem like something that happens in this universe, it's been mentioned several times at different points, even if Harrow has never personally been involved in something like that. But I don't think Harrow has any personal experience of anything like a coffee shop, or with interacting with food service people in general? Why is there a coffee shop AU here? I guess the reason the last Canaan House episode established Harrow's familiarity with coffee was to set up the basis for this coffee shop AU, but it seems kind of odd given that Gideon had no familiarity at all with hot drinks and Harrow also had no familiarity with tea or how to drink it without burning herself

Did Isaac have earrings in Gideon the Ninth, or is this just a reference to how he died?

Ahh, 14-year-old logic

Also, speaking of mumps, why are people getting mumps in this setting? Even if the Resurrection/etc. wiped out all knowledge of modern medicine, is 10,000 years really not enough time in which to reinvent the MMR vaccine? Also, I seem to remember now that Dulcinea claimed that her breathing tube had been invented by Palamedes, which means it somehow hadn't been invented before Palamedes. You would think that the kind of anatomical knowledge that necromancy would require would mean that medical science is more advanced, not less

Is this "absolutely not, I'm not going to be part of your coffee shop AU about you and your crush", or "absolutely not, you're not dragging my poor dead kids into this River bubble"? It seemed so perfectly to be the first one when I got to the end of the chapter, but then when I read Chapter 43, I started to think it might actually be the second

#the locked tomb #harrow the ninth

[princesssarisa]

What are the differences between the movie and the Cinderella story?

This is no easy question, because there are many different Cinderella stories and many different Cinderella movies.

Since you've sent me so many Disney asks in the past, I'll just assume you mean Disney's Cinderella, and I'll assume you mean the 1950 animated classic, not the 2015 live-action remake.

So let's compare Disney's animated Cinderella to the version of the fairy tale that it's based on, Charles Perrault's version:

*Perrault's version was written in the late 1600s and clearly takes place in the 1600s. The fashions described when the stepsisters are planning what to wear to the ball reflect the fashions of the day (e.g. the younger sister plans to wear a diamond stomacher). Disney's Cinderella, on the other hand, seems to take place in the mid 1800s, long after Perrault's era.

*In Perrault's tale, Cinderella's father is still alive, but dominated by his wife, so he does nothing to stop her from reducing Cinderella to servitude. In the Disney film, he dies when Cinderella is still a child, and only then does the Stepmother reveal her cruelty.

*In Perrault's tale, none of the characters are named except Cinderella herself and the elder of her two stepsisters, Javotte. In the Disney film, the Stepmother's name is Lady Tremaine and her daughters are named Drizella and Anastasia. (The French dub changes Drizella's name to Javotte, though.)

*In Perrault's version, the stepsisters are described as being "exactly like" their mother. In the Disney film, Drizella and Anastasia are loud, brash, awkward, and comical, while Lady Tremaine is cold, dignified, serious, and sinister.

*In Perrault's version, "Cinderella" is a nickname the younger stepsister gives her, because she sits among the cinders in the chimney corner. (The older stepsister Javotte, who is nastier than the younger one, prefers to call her "Cinderwench" or "Cinderbottom.") In the Disney version, Cinderella is her real name (the narrator introduces her as her father's "little daughter Cinderella"), and she's never shown sitting in the ashes.

*Perrault claims that Cinderella's late mother was "the best creature in the world," and that Cinderella inherited her goodness and sweetness. In the Disney version, we learn nothing about Cinderella's mother, only that the pink dress Cinderella almost wears to the ball originally belonged to her.

*In Perrault's version, Cinderella's family is never said to be lacking in wealth. In the Disney version, while it isn't emphasized, they're living in genteel poverty, the stepfamily having squandered their fortune away – this presumably explains why Cinderella is the household's only servant and gives Lady Tremaine a further motive for seeking a royal marriage for her daughters.

*In Perrault's version, Cinderella has only a straw mat to sleep on. In the Disney film, while she still has to sleep in a garret, she at least has a proper bed.

*In Perrault's version, the mice that the Fairy Godmother turns into horses are just ordinary mice that she finds in a mousetrap. In the Disney version, the mice – chief among them Jaq and Gus – are anthropomorphic characters, who speak broken English in high, chattery voices, and who are Cinderella's constant companions. She also has bird friends and a pet dog named Bruno, who don't exist in Perrault's version.

*Perrault's Stepmother has no animal companion. Disney's Lady Tremaine has a cat named Lucifer, who terrorizes the mice.

*Perrault's Stepmother goes out of focus after the opening paragraphs, with her two daughters getting more emphasis as the main antagonists. Disney's Lady Tremaine is an active villain who works against Cinderella throughout the movie.

*In Perrault's story, the ball is given by the Prince himself, for no specific reason. In the Disney film, the ball is given by the King, ostensibly to celebrate the Prince's return from his travels, but really so he can find a wife. The Prince doesn't even approve of it and is bored until Cinderella arrives. (This change is borrowed from the Grimms' version, where the king gives the ball to find a wife for his son, and is common to most adaptations of the story.)

*In Perrault's version, both of the Prince's parents are still alive, but they're only mentioned in passing at the ball, when the King whispers to the Queen that it's been many years since he saw someone as lovely as Cinderella. In Disney's film, the King is a widower, and has a more prominent comic relief role, striving to marry off his son because he wants grandchildren and humorously terrorizing his right-hand man the Grand Duke with his temper.

*Perrault's Cinderella makes no attempt to go to the ball – the stepsisters tease her about wanting to go, but she sadly replies that she knows it's no place for her. Disney's Cinderella asserts her right to go to the ball, because the invitation was for "every" eligible maiden in the kingdom. The Stepmother agrees to let her go if she can finish all her chores in time and find something suitable to wear, but then she and her daughters intentionally keep her too busy to do so. But Cinderella's mouse and bird friends surprise her by fixing up an old dress of her mother's for her to wear to the ball. Unfortunately, they add accessories to it that the stepsisters had thrown away, and when the stepsisters see Cinderella wearing "their" things, they get so angry that they rip the dress to pieces.

*In Perrault's version, the Fairy Godmother is casually introduced, as if Cinderella already knows her. In the Disney version, as in most adaptations, Cinderella first meets her on the night of the ball. She also reappears twice in Perrault's version – after the ball, when Cinderella tells her about it, and after the slipper fitting near the end, to turn Cinderella's rags back into finery. Disney's Fairy Godmother only appears in the one scene where she sends Cinderella to the ball.

*Perrault's Fairy Godmother cuts open the pumpkin and scoops out the pulp and seeds before she turns it into a coach. She doesn't do this in the Disney version.

*Perrault's pumpkin coach is gold. Disney's is white, though it has gold trim.

*Perrault's Fairy Godmother turns six mice into six dapple gray horses, a rat into a coachman, and six lizards into six footmen. Disney's Fairy Godmother turns four mice into four white horses, an old work horse into a coachman, and Cinderella's dog Bruno into a footman.

*The ballgown of Perrault's Cinderella is silver and gold, beset with jewels. The ballgown of Disney's Cinderella is pure silver with white accents (and in spin-off merchandise, it's blue).

*In Perrault's version, Cinderella's arrival at the ball (as "a great princess, whom nobody knew") is announced to the Prince, who comes outside to greet her and leads her into the palace. A hush instantly falls over the whole assembly as everyone marvels at the beautiful newcomer in her magnificent clothes. In the Disney version, Cinderella enters the palace by herself, with no fanfare, and at first no one notices her because they're all focused on the Prince, but then the Prince himself sees her, approaches her, and invites her to dance, and only then does the rest of the assembly notice her too.

*Perrault's Cinderella presumably knows that her suitor is the Prince all along. Disney's Cinderella doesn't realize he's the Prince until the next morning, when she learns it from her Stepmother.

*In Perrault's version, the dancing at the ball is followed by a banquet, where the King gives a gift of oranges and citrons to Cinderella, who then sits by her stepsisters, shares the fruit with them, and makes friendly conversation with them, unrecognized. In Disney's version, there's no meal at the ball, Cinderella never interacts with her stepfamily while there, and Lady Tremaine almost recognizes her, but is stopped from getting a closer look by the Grand Duke. Her evening consists only of dancing with the Prince, then strolling in the garden with him.

*In Perrault's version, the ball is a two-night event. On the first night, Cinderella makes a timely exit at 11:45, and goes home to tell her Fairy Godmother all about it, and then listen with secret amusement as her stepsisters tell her about the "princess" when they come home. The second night, she goes back to the palace dressed even more magnificently than before, but in dancing and conversing with the Prince, she loses track of the time, is forced to run away at midnight, and loses her glass slipper. In the Disney version, the ball is only one night.

*In Perrault's version, the Prince is the one who proclaims that he'll marry the girl who fits the glass slipper, and sends it out to be tried on various different ladies. In the Disney version, while the Prince says (offscreen) that he'll marry only the girl who fits the glass slipper, the idea to try it on every maiden in the kingdom is the King's idea – the Grand Duke points out that the slipper could fit any number of girls, but the King clearly doesn't care whether they find Cinderella or not, he just wants to hold his son to his exact words and make him marry the first girl the slipper fits.

*Perrault's Cinderella isn't recognized by her stepfamily as the "princess" from the ball until she tries on the glass slipper. In the Disney film, Lady Tremaine overhears Cinderella humming the music from the ball, realizes she was the "princess," and locks her in her attic room to prevent her from trying on the slipper. But her mouse friends steal the key and free her, with the help of her dog Bruno, who chases Lucifer the cat away when the latter tries to stop them.

*In Perrault's version, the man sent to try the slipper on the ladies is just a "gentleman." In the Disney version, he's the Grand Duke.

*In Perrault's version, Cinderella tries on the slipper she lost, proves her identity when it fits, and only then reveals that she has the other slipper too. In the Disney version, the Stepmother trips the page carrying the slipper, breaking it, but then Cinderella proves her identity by revealing that she has the other slipper and that it fits.

*At this point, Perrault's Fairy Godmother enters and turns Cinderella's rags into another magnificent gown. Then her stepsisters beg her forgiveness for the way they treated her. Cinderella does forgive them, brings them to live at the palace, and arranges for them to marry two gentlemen of the court on the same day she marries the Prince. The Disney version cuts straight from the slipper fitting to Cinderella's wedding, and the stepfamily doesn't appear again.

*The two morals that Perrault draws from the story in rhyming verse at the end are "Graciousness matters more than beauty or finery," and "Virtue is well and good, but useless without a helpful godparent." (Presumably the second one is meant as a joke.) The main message the Disney film emphasizes, through the song "A Dream is a Wish Your Heart Makes," is to have faith that your dreams can come true.

I think that covers all the differences.

#cinderella #fairy tale #charles perrault #disney #1950 #comparison

[destinationtoast]

Thoughts on rewatching TL s03e05

I'm rewatching Signs, and some of if still makes me cringe. Some of it feels off in terms of character -- e.g., I still really don't like the Roy monologue (still the wrong kind of mean for Roy). But mostly, I still deeply dislike Shandy's caricature-ish heel turn. She had so much potential! And if she had to leave, it would have been so much more interesting if Keeley had to let her go for reasons that weren't so villainous, and if Barbara didn't get to be smug about her stereotypes proving true in this instance. Keeley could have given hard feedback and then helped Shandy find a better niche either in KJPR or outside. And/or could have kept being friends after a confrontation/fight. This show is certainly capable of more complex shifts like that, for almost every character. Bah.

There are also a bunch of things that just feel needlessly sloppy, like the repetitious shite in nining armor scene, or the sudden string of losses that for some reason happens before Zava randomly leaves with a whimper (even though previously they were unbeatable thanks to Zava). Overall, I feel like I could have written several better scenes that hit all the important plot points more convincingly without character assassination or sloppiness, and I almost never feel that way about this show. That said, there are a number of bright spots, including:

Higgins talking to Rebecca about whether they might needing to replace Ted. I love whenever Higgins is scared but brave.

Nate practicing asking Anastasia out with his mum -- I had totally missed what was going on here the first time without the captions, and I just love it.

Isaac's opinions on Animal Crossing being soothing

Jamie's increasing attempts at leadership, with his inspirational speech, and his "I literally just said that" when Zava hijacks it. Are they creating a path for Jamie to eventually be captain, following in Roy's footsteps...? (not that I want anything to happen to Isaac!!)

Roy's fist bumps and instructions to the team, especially the special ones for Colin and Sam

Beard and Ted's delivery during, "The sun." "Right, the gosh dang sun."

Anastasia: "You have a very cute head." Jade: "Thank you. I got it from my father." I like all the Jade/Nate stuff better this time around -- I had read her as sneering/smirking at him during a lot of the pre-baklava scenes, last time (which made it hard for me to buy when she joined him), but this time I didn't. Very interested to see where that goes.

Beard's version of a silver lining: "The only modicum of comfort is knowing that in all the innumerable parallel universes, there is not one where we win that game."

Ted talking to Henry, and seeing the ways in which Henry has learned from him and loves him. And then talking himself through his panic. And then giving a hell of a Ted speech.

"Tomorrow at 4am?" "Damn fucking right."

absolutely everything with Keeley and Jack 😍💕✨

#ted lasso #s03e05 #signs #op #don't get me wrong #I'm still working on my K/J/R WIPs #because that's just who I am #but keeley can have a gf too #:)

[araksi-art]

i am finally making a pinned post !

lil intro

hello!! i am araksi413, i use they/it pronouns with no preference, and i have a whole bunch of names (nyel, aryn, traffic..) but im also happy with araksi or nicknames :]

this is my art account and. i am bad at posting. i have so so many drafts help

i draw mostly my ocs, furries, and some fanart here and there

i have a taglist! if you wanna be added, send me an ask and ill do so happily :D

list of all my ocs & tag directory under cut!

a list of all my ocs:

world 1:

eva

mattias

sun

charles

sarah

deer

emobear

zara

daphne

[no name entered]

araksi lamodre

special twelve:

menir (and fuor)

roben (and the cliffbloods)

em

ezry

illumm

cari'sam

bon de ciel

kamari

al'ixia-mariunak

man uu

camm dan

faelyn anastasia boldur

tag directory

making this mostly so i dont get lost in my own tags hehe :3

described <- anything tagged with this has image descriptions in alt text!

oc art: name <- art of the specific oc (e.g oc art: charles)

oc art <- all oc art

non-oc art <- art of other characters!

other art <- everything else, like landscapes, paintings..

art of araksi <- all of my art!

art for friends <- all art made for my mutuals/friends :3 or as a request!

asks and answers <- ask tag <3

taglist reblog <3 <- well, self explanatory, my tag for the taglist reblog i do for every art piece (when i remember)

#art for friends #asks and answers #oc art #non-oc art #other art #art of araksi #described

[ilexdiapason]

4,8,19! :]

4. Anything you like in particular about writing for this fandom? (the setting, the aus, the people,etc)

it's fun that since the ccs we like are usually on lots of different smps and in lots of different dynamics then you can basically get a new au out of every situation, instead of just having a single base text to draw from! e.g. sunflower pearl and scarlet pearl and copper pearl are all different characters with different aus that immediately spring to mind for me (anastasia for sunflower, pearl the bard for scarlet, unwritten kathpearl arrietty au for copper)

8. Do you edit and proofread your works yourself or do you have someone else to help you with that?

usually they go unedited and unproofread lol my first pass is generally what goes to ao3, unless it's an event like au fest (see anastasia above) where i did have a designated beta. i find if i get a friend to pre-read a fic for me, no matter how much they love it, it severely cuts the chances that they'll remember to go kudos/comment too, so i'd rather have that than the confirmation that the fic is fine for publication 👍 maybe that's just me though!

19. Do you tend to take into account hybrid characteristics (avian, enderman hybrid, dragon hybrid, etc) when you are writing cubitos?

i do for a lot of characters but not all of them! e.g. my pearl is pretty staunchly Just Some Guy as is my oli. grians will be avian, as will (life series minus 3l) jims; rens will be dogs; cleos will be zombies. and then there's fics like enderfalse where i give the character a hybrid nature i usually wouldn't!

thank you :] (ask game linked in reply i can't get the edit to work lol)

#ask game #mcytblr ask game for writers

[tisthekarma]

HEADCANONS NOW

Scp Headcanons - Day 1 -

Isabel is the most powerful Wondertainment family member, alongside her great great great great great great grandfather.

She is on the same level as All Death, or perhaps even stronger.

Instead of intensely destructive abilities like the Scarlet King, her abilities more focuses on cartoony qualities or generally very silly motif's. It can deal a lot of damage though.

Dr. Isabel Helga Anastasia Parvati Wondertainment V, PHD is known as a Creation Mix God, who focuses on creation, unlike the Brothers of Death, who are death and decay gods.

And yes, that is her full, true name. (True names are names given by birth by a mother or in this situation, creation. False names are given from a rank, or something they did/do. The Hanged King, he got hanged e.g.)

#scp headcanons - days - read at your own risk

[rosehxnt]

Hello dear~! How are you doing?

I liked your recent TWST OCs! Do you have have any more info on them? (e.g. unique magic, likes/dislikes)

hiii! i’m excited about creating ocs for the first time (and for my favorite series too!) this is about what i’ve planned so far

since they’re twisted from anastasia (aadi) and drizella (dresden) from cinderella i’m trying to match them well to the characters. aadi’s unique magic would probably be the ability to turn people to stone for a short period of time (a la anastasia accidentally turning fairy godmother into stone), but i’m not quite sure about dresden (maybe being able to change his appearance into someone else?? since movie stuff.)

the two are also related to professor trein through his brother that i decided to make up, they’re the grandsons of that brother. they do not get special treatment at all, professor trein would never

anastasia had a redemption arc in the second and third cinderella movies so aadi is being put in pomfiore as they’re always trying to improve themselves. since anastasia ends up falling in love with a baker, aadi is going to be harboring a crush against trey. they’re also a second year in class 2-D (with floyd.) they’re always about improving themself and becoming a kinder person but they still have some of the selfishness and entitlement they were raised with.

i haven’t quite done as much thinking about dresden but he’s a third year heartslabyul in class 3-E (with trey and lilia) and aadi is jealous that dresden gets to spend so much time with trey but they don’t seem to care. drizella was always willing to follow her mother’s orders so that’s why i’ve put dresden in heartslabyul. he’s willing to follow all the queen’s rules and will call people out alongside riddle in order to please their housewarden. he’s also selfish and entitled at times but they mean well as they’re trying to help the reputation of others around him. dresden is smart and scholarly while aadi tends to focus on the arts.

they kinda dislike each other tbh, and only interact if they’re forced to. of course aadi likes fresh baked goods and dresden likes expensive fashion and is always up to date on the trends. dresden became close with cater due to this. aadi is friends with deuce because they can both relate to trying to grow from their mistakes (they met while aadi was trying to get closer to trey.)

also aadi is 172cm and dresden is 178cm

#tysm for asking #i’ll need to watch the movies again to find specific unique magic tho #edieask

[ballet-symphonie]

Who are your up-and-coming/ones-to-watch in the major companies? (e.g. MT, BT, RB, POB, ABT)

Mariinsky Theatre

Maria Koshkareva (Moscow IBC gold medal, MT trainee, dancing solos in galas and in small solo roles in MT performances)

Yaroslavna Kurpina (Moscow IBC silver medal, an underdog that shockingly got herself an MT traineeship, ideal body type, dancing small soloist roles at MT)

Anastasia Zinchenko (MT trainee, really flying under the radar, character soloist parts in VBA graduation show)

Ruslan Stenyushkin (this is complete wishful thinking on my part, he danced very well at VBA graduation...he won a diploma at Moscow too..)

The rest of VBA's 2023 class is undoubtedly promising...but I'm less confident both about their choice of work and their future potential growth

Bolshoi Theatre

Eva Sergeenkova (Obviously the new shooting star, giant political push behind her, leading soloist, graduated in 2021)

Arina Denisova (first soloist and only graduated in 2021, already danced O/O + Gamzatti)

Sofia Maimula (Current MGAH student, already dancing soloist roles on BT stage in Flames of Paris)

Royal Ballet

Mariko Sasaki (PDL prize winner, newly promoted soloist, absolute pleasure to watch)

Marco Masciari (PDL gold medal, good in classical and contemporary, dancing solo parts as an apprentice)

Hanna Park (PDL prize winner, just got into the corps, danced principal parts in RB School show)

Paris Opera Ballet

Bianca Scudamore (Varna silver medal, consistently getting lots of opportunities)

Ines Mcintosh (The heir apparent, very fast rise, stunning to watch)

Lillian Di Piazza (Former Principal of Pennsylvania Ballet, now in POB)

Thomas Docquir( favorite of mine, got some chances in Bayadere this year)

Koharu Yamamoto (Just admitted in to the corps, studied privately with Isabelle Ciaravola, PDL finalist)

American Ballet Theatre

Chloe Misseldine (Apprentice-> Soloist in 3 years, her mother is an excellent retired ABT dancer, gorgeous girl)

Elizabeth Beyer (Has won basically every competition in existence, fabulous razer sharp technique)

Kotomi Yamada (Academie Princess Grace graduate, naturally elegant and a killer work ethic, given lots of opportunities to dance featured things with ABTII while she's still got promoted to apprentice midseason)

Jake Roxander (he's the new virtuoso ABT has been waiting for)

Andrew Robare (legs for days, tall, stunning extension, really fits the mold of the 'Gabriel Figueredo' body type that is becoming rewarded more and more now)

#way too many to tag #ballet #ballet ask #ballerina #paris opera ballet #mariinsky ballet #bolshoi ballet #russian ballet #abt #american ballet theatre

[iskra8]

ethereal beauty goddess

#anastasia e.g. #alt beauty #beautiful goddess #favorite models #alt models

[stthomaspalace]

7, 14, & 19

7. What titles are used in your country? Are there any special titles unique to your country? (e.g., Hereditary Prince, Princess Royal)

There are some special titles unique to my country. Specifically the title Prince/ss of Avalon and it's availability to be used by either a male or female heir. There is also several nobility titles that are not currently in use (but will be used in the not so distant future) that are unique to the Empire.

14. Are members of your royal family allowed to give interviews and speak freely to the press?

Yes and No. Certain members of the Imperial Family (such as the High King, High Queen, The Prince and Princess of Avalon (when a Princess exists) and children of the monarch (ex. Prince Nicholas and Princess Anastasia) are allowed to speak freely to the press and give interviews, others such as The Earl and Countess of Hereford are allowed to give interviews that are vetted by the Palace and are NOT allowed to speak freely to the press.

19. Are there any organized anti-monarchy groups within your country? What are their goals?

There are currently no anti-monarchy groups with in the Empire. The Imperial Family are extremely well loved (not to say that members of the family haven't had a few hiccups over the long history of the Empire).

Thanks for the ask!

#askstthomaspalace #thanks for the ask!

[switch]

How much do you know about FGO E-sports (F-Sports, if you will)? Do you have any general tips for team-building?

i am fgo esports. it’s what i do. my sheer love for it is damn near the only reason i still play the game and don't just look at fanart.

general tips are sort of... difficult to give, because different servants and different fights can have very different needs, especially as we’re going to approach the super high difficulty 1 million+ HP quests next year. the best general advice i can give is units who don't have card based buffs that i consider "esports units".

if you gave me a more specific unit or a specific fight, i could give much more targeted and less... insane-sounding advice. honestly, in a lot of ways, planning is more vital than teambuilding. you have to plan ahead of time to be able to teambuild successfully in a lot of fights.

depending on what unit you're using for damage, identify their best universal support, and then go down the list of more situational supports. obtain or use as many of them as possible. if you're doing esports with vlad, you want castoria, then oberon, then avalon, then johanna, then tamamo, then douman, etc. if you're doing esports with moriarty, you want koyanskaya, then oberon, then merlin, then douman, then skadi ruler, etc etc.

gamepress' command chain calculator isn't... 100% accurate or ideal, but it will give you a good idea of what supports/CE you need, or if the fight is even possible, and if it is, exactly what needs to happen for it to be possible (what cards do you need to draw, and when? when do you need crits? do you need a high roll? does a support need to die on a certain turn? etc). if you're not sure about a fight, test some possibilities in there. it's a useful tool even if not ideal.

if this is something you want to do more than just once or twice, do your damnedest to NP5 your damage unit, and 3 append them or 2 append them if they're a zerker (WITHOUT spending money do not spend a cent on this game). you might be able to fudge the NP level if they're a strong unit with super effective damage like scathach or kriemhild, but you may still hit a wall if you want to do the 1 million HP fights. it sucks if they're not free, but i failed the beni-enma new years CQ just because my moriarty wasn't NP5. nothing else in the game scales as well as a servant's core np damage modifier, and it will save you a lot of damage RNG. basically, you have to carefully save and plan your rolls for non-free damage units and supports.

get in the habit of under-leveling your support units, and saving multiple copies of welfare supports (unless said welfare's most valuable buff is tied to their NP level like santa martha, but this is rare). my castoria is only level 70, my koyanskaya will also be. my lady avalon will only be level 50 because her third skill offers no offensive value! if you're doing esports, you want to create as many opportunities for support units to die as you can, and prioritize a support unit's offensive skills. sometimes you may be up against an enemy that can't even kill a third ascension bunyan, so you'll need a spare bunyan who's only level 1. units who have a strong offensive support skill in their first one or two slots (avalon) are a godsend.

plan ahead AT LEAST by one year by looking at the fgo wiki for more specific needs. do you want to do 7 turn kiara? you'll probably need asclepius and reines, so figure out a good time to roll for them. regular or super high difficulty anastasia? you need invuln pierce, try to find a way to get your hands on calamity jane or make sure you have origin bullet. regular or super high difficulty junao? look into your options for anti-divine and anti-lawful damage. you may not be able to do everything if you're f2p, so try to prioritize fights you care about or ones that never rerun (e.g. kiara is always available, so you can always build towards her).

the best scaling buffs in the game are NP damage, super effective (vs class, attribute, etc) damage, and then crit damage.

your best CE's will be either NP damage or SE damage ones. as long as no funny business is going on, nothing beats even a non-MLB black grail. sometimes you'll need 50% starting ones, sometimes you'll have to use 0% starting ones to maximize damage. similarly with support servants, identify your best damage CE's, level them to 100 or whatever highest level you have on them, and then go down the list. look up how to make CE EXP bombs if you have to. assume you'll probably need a pierce invuln/defense CE at some point, as well as anti-divine.

other general "esports supports" (for the value of their buffs and optionally ability to be underleveled) include chiron, bunyan, santa nightingale (she's damn near mandatory for 7 turn kiara), santa martha, nobukatsu, mozart, gong, lanling, jane, xu fu, rider vinci, and paracelsus. they're good for cost.

you're probably going to be relying on a mix of crits and NP damage most of the time to clear an esports fight, unless you get into the extremely high difficulty shit, in which case you're going to have to lean more on NP damage and/or SE damage.

get oberon.

#switch speaks #fate

[paradoxcase]

Chapter 16 of Harrow the Ninth

That diary was probably full of evidence of Gideon's existence, so obviously it had to go. It's a shame, I would have liked to have gotten to read it

"Whilom" is an archaic word for "formerly", I guess to go with the use of "hight" in the first book in e.g. "Lord Priam hight Noniusvvianus" from the letter in Chapter 3. But I think "hight" actually has some decent recognizability (or at least it does to me, maybe mainly/only because I read Le Morte D'Arthur as a teenager), whereas I wonder how many people would actually recognize "whilom" or even parse it as an archaic word, since it frankly looks kinda goofy

I guess this is intended as a visual metaphor for "the Hand of the Emperor"? I've seen Lyctors referred to as Hands now several times, and I think once someone referred to themselves as a finger. Hands seem a little odd, since there were seven original Lyctors (or at least seven who were Saints), unless only the first two are actually considered Hands? But I think I've seen Harrow and/or Ianthe also being referred to as Hands

The narrator continues to criticize Harrow's lack of sword vocabulary. This black rapier was probably Anastasia's, I guess?

I wonder how much of Ianthe's behavior in this book is actually Naberius?

This whole conversation is very interesting. What I get out of this:

Mercy and Augustine have some shared secret from John, and it sounds like they'd both love to tattle on each other but that would mean telling on themselves too, and they absolutely hate each other but are stabilized by a threat of mutually assured destruction

Harrow isn't actually just hallucinating that Cytherea's body has been moving, or has been moved, but neither Mercy nor Augustine are doing it

Augustine thinks Mercy might be planning to tell John whatever the secret is

I'm guessing this refers to the war against BOE and not his struggles with the Resurrection Beasts, indicating that he cares about them more than he's let on to Harrow, and also has a more aggressive role in that war than he's admitted so far

Was A.L. a bodyguard? I'm curious what happened to her. I don't think he absorbed her the way Lyctors absorb their cavaliers, because he already had all of his powers before the Lyctor experiment, if I understand the timeline correctly

I know she's forgotten about Gideon, but didn't her family value her highly? I mean, they also kept reminding her, over and over again that she was 200 dead children and drove her almost to suicide, but I did get the feeling that as far as they were concerned, she was the best, and as far as I'm aware she hasn't lost the memory of that

The narrative again criticizes Harrow's unfamiliarity with swordfighting?

I gather Ianthe is still internally fighting with Naberius?

Did Anastasia have some big disagreement with them over something, and that's why she never came to the Mithraeum? Did she actually die, or is she still around somewhere else?

That's kind of interesting, Harrow's experience of deceiving people for her entire life is quite different than Ianthe's experience of deceiving people for her entire life. Harrow's deception relied on appearing stronger than she was, while Ianthe's relied on appearing weaker than she was, it's not that surprising that Ianthe gets along better with Augustine and Harrow is at more of a social disadvantage here, regardless of the fact that she's also at a necromantic disadvantage as well

So earlier, John said that people die by their souls osmosing into the River, and I wondered why that wasn't happening constantly. Is this the whole reason it doesn't happen constantly? Because Augustine specifically has built a barrier? Obviously people managed to live before Augustine was around, but is there something about living on a thanergenic planet that makes you like, I don't know, closer to the River, or something?

50,000 km in diameter is about the size of Neptune, or Uranus. So if that's meant to be unusually large, this obviously isn't the soul of Neptune or Uranus, let alone Saturn or Jupiter. If the Resurrection Beast numbers match up with the House numbers, Number Seven should be the soul of Venus. I'm not entirely sure that when Augustine says it's 50,000 km in diameter he actually means that there is a planet Venus out there that is that big, or if he's just talking about the diameter of like a swarm of ?heralds? or something, but Ianthe is assuming it's a physical planet and is worried about its gravity well, so let's see if that's actually worrying:

The mass of Neptune 1.024e26 kg, but its density is only 1.64 g/cm^3, because it's a gas giant, whereas Venus's density is 5.24 g/cm^3, over three times as much. So how massive is a planet that's as dense as Venus and as big as Neptune? Neptune's volume is 6.254e13 km^3; so 5.24 g/cm^3 is 5.24e15 g/km^3 is 5.24e12 kg/km^3, multiplied by 6.254e13 km^3 is 3.277e26 kg. But Jupiter's mass is 1.89813e27 kg, that's still like five or six times the mass of this hypothetical Venus-but-its-as-big-as-Neptune planet. I think if they can navigate around Jupiter without issues, they would not have any trouble with this hypothetical planet. It's not like they'd be dealing with something as massive as a star or a black hole, here, and I don't think it's going to be flattening any galaxies, either

I remember when John was explaining about planet souls to Harrow at the beginning of the book, it sounded like conquered planets would eventually die, but would die slowly rather than suddenly. So, I guess sending down the Cohort to kill a lot of people just starts the process of the planet dying, just basically a slower method of how Harrow killed the planet? So it's not just that they're killing people to fuel the necromancers, but actually the whole planet, too. I don't think Harrow's all that unique, it sounds like every necromancer in this universe is also 200 dead children

Ok, so this is all going to be eusocial insect hivemind terminology, then

Is this is the narrator finding Harrow irritating?

Right, so this is why they need to be able to fight

I think this kind of contradicts stuff from earlier? If Lyctors projecting their souls in the River can't be hurt by the ghosts, and the Resurrection Beast is projecting its soul there the same way, then it also shouldn't be able to be hurt by the ghosts, and also, he's saying that the ghosts don't go near the Resurrection Beasts anyway. But previously, we learned that Cassiopeia tried to bait a Resurrection Beast deeper into the River so it would get attacked by ghosts, and she herself was also attacked by the ghosts and died. So can they, or can't they be harmed by the ghosts in this scenario?

#the locked tomb #harrow the ninth

[autobiographical-fiction]

Cinderella: A New Perspective

{Choose a well known short children's story, one that most people are familiar with (e.g., “The Three Little Pigs”). Retell the story, in a written outline format, so that the linear nature of the original story is reworked to make it non-linear. Good examples of non-linear style films include Memento, Pulp Fiction, and The Last Duel. It is possible to achieve a non-linear telling of the story by having the same story told from multiple points of view.}

Non-linear sequence: This story sequence is intended to be viewed side-by-side with the Disney animated movie, Cinderella. This story is meant to weave Anastasia’s (stepsister) perspective between the original story. For example, if you were to watch the events unfold in Cinderella, you’d be able to watch the same scene twice: once from Cinderella’s perspective and one from Anastasia.

Sequence 1: New Family

A young girl, Anastasia, sees entire life gets uprooted when her mother decides to get remarried and move her and her sister, Drizella, to a new an unfamiliar town. As if that wasn’t terrible enough, she must learn to get along with her new stepsister, Cinderella, with whom she doesn’t see eye to eye.

Sequence 2: Misfortune Strikes

Not long after she’s finally settled into her new life and learning to love her new family, the young girl’s stepfather dies. Now, she feels as though things have taken a turn for the worse and her family moving has been for nothing. Her family doesn’t have the same financial security they strived for and now there’s someone else to take care of too. She feels the need to blame someone, so she turns against the stepsister, the biggest reminder that her new life isn’t turning out the right way.

Sequence 3: Growing Up

Over the next several years as the girls grow into young women, changes sweep the home. Anastasia and Drizella grow closer to their mother, who, in her reign as woman of the house, implements so many changes to make the house feel more like a home to them. Anastasia and Drizella move bedrooms to stay closer to their mother and give Cinderella her own room on a separate floor for more privacy. The two sisters spend their time studying music and growing their talents as Cinderella opts to manage the day-to-day operations of the estate. Their mother manages social and class relationships in the town and kingdom.

Sequence 3: The Ball

One day, a visitor from the palace comes to give an invite to the family for a glorious ball at the palace to find the prince a wife. Anastasia dreams of meeting and falling in love with the prince, becoming ecstatic when the invite includes her name. She spends weeks preparing for the ball by practicing her dancing, trying on dozens of gowns and imagining what her new life could be like.

Once the day of the ball arrives, Anastasia dolls herself up, doing everything she can to keep the family’s reputation high. As she, her mother and sister are getting ready to leave, they see Cinderella rushing to join them as she’s dressed sloppily in a very obviously handmade gown and the jewelry Anastasia spent days scouring for. Anastasia, though upset, calmly walks over to Cinderella, explaining how unfair it was that she took her things without asking, so Anastasia asks for the jewelry back. She examines Cinderella’s dress, holding the skirt up to see the design better when the dress rips at an uneven seam. Anastasia tries to apologize, but Cinderella runs off crying. The carriage arrives to escort the women to the ball, so they go.

At the ball, Anastasia waits patiently to dance with the prince. When it’s finally her turn, she’s nervous, but the kind prince reassures her. They spend several songs swaying to the music and getting to know each other, and Anastasia feels herself falling for the prince. After she’s done dancing, she rejoins her family daydreaming of her fairytale romance.

Sequence 4: The Next Day

Anastasia spends the day talking about how she’s in love with the prince and the connection she knows they both felt during the dance. Drizella rags on her sister, talking about how it was clear that the prince fell in love with some blonde in a blue dress and that was all the kingdom could talk about. Anastasia ignores her, reliving every moment with the prince. 

A knock on the door disrupts her daydream, and Cinderella opens it to the Duke with a message from the prince, who is searching for the mystery woman from last night wearing a glass slipper. Anastasia, upset that it wasn’t her, decides to try on the glass shoe anyway, convinced that if she can just see the prince once more, he’ll remember the magical time they shared together. The shoe doesn’t fit Anastasia, but she’s even more devastated to learn that the slipper belongs to none other than Cinderella, feeling backstabbed by her stepsister who listened to her go on all day everyday for weeks about the prince. He was supposed to be with her, not Cinderella.

Sequence 5: The End

Anastasia decides to be a supportive sister unlike Cinderella and attends her stepsister’s wedding to the prince. She watches as the girl she called her family marries the man she loves without so much as a spare thought of Anastasia.

<3