#and about how the iron triangle is a shape that is connected on all sides

[lint-beetle4]

Act 3, Act 2: Interconnected

The fun thing about squares is that these bitches will have inverses in them which means half the work, but you know what’s also fun? CLEAR CONNECTIONS.

The main connections between Life/Doom and Hope/Rage is environmental. With life, it symbolizes growth and prosperity, and how do people feel when things are going well? They feel great! On the other hand, people tend to feel shitty when everything is going miserably and dreadfully. Yet, there is also an interesting side to this where Hope emerges in times of Need (Doom), and Doubt is given in times of Peace (roughly Life).

Some players that display these are Sollux, Feferi, and Eridan and Lil Cal’s connection to all of them (Trust me on this). We’ll get started on Lil’ Cal. You know how that fucker exists throughout Space-Time? 

You know how he’s impacted many characters throughout the game; the Makara’s practically worshiping them and influencing Gamzee to just snap, Dirk. Lil Cal represents both Doom and Rage, his ability to impact the mental states of others, often leading them to become violent or abusive in the webcomic. Lil’Cal is also a bringer of Doom in his own right as he tends to be a passive cause of many events. Like, I said, bro’s everywhere.

Now that he’s done with, let me rant to you about this cool little love triangle: Sollux, Feferi and Eridan. Sollux and Feferi were very good friends, Sollux seemingly to be at peace for once with the bubbly girl, and Eridan was the same with her. Her lively nature was a source of optimism for the group, and that optimism was also what Eridan ended up killing. Funny how the Hope and Life players have tension together, huh?

Also, remember how a blind Sollux confessed his love to Lil’ Cal? Yeah, I’m choosing that to be the great connection between Doom and Rage. Man’s got issues.

Heart/Mind and Blood/Breath share a theme of society. You as a person are an individual (a Heart trait), but unfortunately as humans, we are a social species and, even worse, societal expectations (a trait of mind) are a pinnacle of our history. 

As such, we watch what we say (breath being a form of communication and personal freedom) around people we don’t know, causing us to be chained by the instinctual need for a group (blood). 

Yet, when we find the crowd that understands us and allows us to be ourselves (heart and blood), it gives us the freedom to express ourselves (heart and breath). There is also the connection that mind shares between, in which our memories and experiences shape the people we surround ourselves with.

I’d also like to bring up some canonical examples of these connections. Particularly with John and Terezi and Nepeta and Karkat. Firstly, John is more of a character that unapologetically is himself. Paired with Terezi (a known trickster in her group and very capable of her own masks), John follows her directions to a T, trusting her with his life, literally. 

However, in her own irony, Terezi fully trusts John with the Retcon mission in Act 6, dropping her mask entirely after the catastrophe that was Terezi hiding her feelings about Vriska (I am shitting and crying at this wonderful usage of Heart and Void that will be mentioned later on).

Alternatively, the players that have an irritating dynamic for me are Nepeta and Karkat. The funniest, most ironic thing to me is how Nepeta is a heart player, one that I would expect to reveal her feelings the most, is the one masking her own feelings to her DUMBASS, INATTENTIVE crush. 

Yet, Terezi? Nah, she’s the one who I’ve seen express her feelings after her development, but Nepeta, as a Rogue of Heart, hides her feelings, because she’d rather DIE (literally) than say “ey yo bruv, you hot as fuck, son. Smooches” like, my beautiful baby, please.

These aspects: Time and Space and Hope and Rage represent influence and power throughout Homestuck.

Hope and Rage tend to be emotional influences as Time and Space tend to be physical influences. This is especially seen in the connection between Kanaya and Eridan and Gamzee and Lord English/Caliborn. As seen in Act 5 of Homestuck, Eridan, a Prince of Hope, had shattered a very important matriorb in his anger. Doing this, caused a very large change in the hope for trollkind. As such, Kanaya, in her anger, tried to slaughter the purple troll.

This is also seen in the passive influence that Lil’Cal and Lord English had over Gamzee, using him as a parental figure to raise Caliborn and his sister, and using him as a pawn to inflict his rage over. Lil’Cal especially is responsible for murdering many trolls via Gamzee.

Heart and Mind are emotional aspects of the aspect circle, as Light and Void are knowledge-based. While they may be unconnected in some sense, in Homestuck, there are a few examples of how they interact.

The first is through Heart and Void, creating a source of confidence and openness. Speaking of such, the players that have a pretty nice relationship are indeed Heart and Void characters. Equius and Nepeta is a dynamic I love so much. Not only does Nepeta see past Equius’ own facade of adhering to the hemospectrum, but Equius is also (trying to be) open to Nepeta and offers to be a source of comfort for her as well. A perfect example of the openness that void and heart provide.

This is also seen in Dirk and Roxy as they are rather close in the series as well. Roxy, going past her relapse, was incredibly open with her guilt of such, yet Dirk had expressed how impressed he was with Roxy’s strength regarding the bullshit they’d been going through together. Dirk, in his hangover-induced weakness, also admitted to his own fallacies.

Yet on the other side, the aspects of logic and knowing seem to have a connection of hiding information for the sake of masking their own weaknesses. Vriska and Terezi made a huge plotline over this and everything. Both of them severely impact the timeline due to Terezi’s fear of failure and Vriska’s fear of being weak or vulnerable.

The inverses of aspects tend to get along well too. Equius mending Vriska despite him being higher on the hemospectrum, and Terezi having her own roleplay sessions with Nepeta.

The Doom and Life and Time and Space group make an interesting pattern of carelessness vs. hopelessness, particularly seen in Dave and Jade's relationship and Sollux and Aradia’s relationship. 

Dave and Jade started out as (and stayed as) good friends in their journey. However, with Dave’s multiple timeline shenanigans (mainly pointing out Davesprite), it became a bit messy and mushy during the 3 year gap. Davesprite and Jade started dating, yet quickly figured out that both were different from each other, creating the gap of being from different timelines. Davesprite threw away his own identity for the sake of normalcy, and Jade was a tad bit careless to think that Davesprite would be exactly like the Dave she knew.

Sollux and Aradia, on the other hand, was a great tragedy at first. Sollux loses his friend first before straight up half-dying twice or something. With his friend dead and the session spelling out ruin from the launch of the ~Death code, Sollux was inactive in his session as well, choosing to accept his fate rather than try and change it. However, all is not lost, as Aradia seemingly gave him a boost once they reunited. Even so, his own hopelessness stopped him from continuing in the game any longer, Sollux choosing to stay with Aradia than continue in the other session.

So, you know the advice: Know your support system? Yeah, these aspects radiate that. Light and Void and Breath and Blood are people-centered aspects. And, it’s best seen through John! Breath is an aspect of communication and independence. What’s more breath-like than to admit your feelings and be a wacky goofy nerd with your friends? Either way, John is a centerpoint for many of the characters in Homestuck. He’s one of the main, after all. And as such, he tends to be a great influence on his friends as well. 

He was very accepting of the people that came to him, and even more so, encouraged them to live as they would. Both Karkat and Roxy had confided in John at their worst, either for a session that wouldn’t work or for the tragedies their failures caused them. Rose was very open with John as well, partaking in a few shenanigans with them.

With the Breath and Blood especially, they tend to be leaders due to their open nature. As such, this nature will attract many people, particularly the knowledge-bound aspects. Vriska and Terezi seemed to have interest in Egbert as well.

Karkat was also a centerpoint in his ground as he was the one unite all the trolls in the first place and continued to hold people together as best he could. While his role may not have been a leader, he was certainly a great friend so much so that Terezi and Vriska seemed to have no problem following his ‘orders.’

Light and Void as well tend to be great ‘shadow-leaders,’ as well. Rose and Vriska taking their own path, knowing what to do, and Roxy single-handing being the baddest bitch in her session.

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Beginning

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[jockvillagersonly]

Ultimate Note | Can we talk about Pangzi and Xiaoge’s friendship because I think about it daily thx

#god I just #I know so many other people in the fandom have had so many amazing things to say about them #so we don’t even really need me but like #the way their relationship has evolved from grudging respect (born out of recognition of their mutual importance to Wu Xie) #into something intrinsic to them specifically #where the two of them care for each other and love each other (platonically because god is WPZ straight) outside of the context of WX? #kills me #I just think a lot about who these two jaded tomb raiders choose to give their warmth and care to #and about how the iron triangle is a shape that is connected on all sides #Wu Xie may bring them togerher but Xiaoge and Pangzi find something entirely their own in their friendship #I think their souls meet and recognize each other and SEE each other in a way completely their own #I have so much more to say here wow ? I might type up a long meta for this #dmbj #iron triangle #Wu Xie #Wang Pangzi #Zhang Qiling #tlt3 #ultimate note #images have alt text

[emsartwork]

i forgot to add: how do design ????!?!??????

So I’m not expert but this is how I think of character design! (also sry if you were asking about clothing/outfit design thats a little different)

under the cut because this is long im so sorry

So in my opinion there are three really important aspects for character design!

AESTHETIC: obviously everybody’s aesthetic is different, but this is more about what vibe the character has, what makes them THEM design wise. 

INTENTION: who is the character supposed to be? this can range from their personality, their back story, their occupation, or their role in the story, but the design need to fit that intention.

COHESION: does the design go well together? or do certain aspects clash too much? obviously you can have disjointed parts of a character design, and if those serve a purpose then thats fine, but if its so disjointed its distracting from the character as a whole you might need to tweak things. 

AESTHETIC: the contrasting part of the design (white flowers in dark hair, dark trim on dress, and dark shoes) provide interest to the eye. The mixing of round and sharp shapes also keeps the design from feeling “boring” even though its relatively simple. 

INTENTION: so what role would this little doodle character have? according to her design elements, shes cute and friendly with her round shapes (bouncy balls, babies, etc), but could have a sharp/fast/active or even dangerous edge to her with the triangles (arrows, knives etc). of course the design doesn’t limit her possible roles. She could be a bubbly younger sister who teases the older protagonist, or maybe she’s the villain hiding in plain sight. the shape this character design doesn’t really have is squares(think bricks and rocks), which communicates that she might not be really strong, steady, or reliable. 

COHESION: repeating the curves across her whole design builds cohesion, it communicates that “yes, these are all part of the same character”, it also allows the eye to “rest” on a familiar shape or line. 

NOW LETS LOOK AT SOME DESIGNS

(Boku no Hero Academia) so both of these characters are super heroes, but have vastly different design elements. so lets analyze them.

OCHAKO(the pink one) is all rounds, with a few pointed shapes in hair mostly, but a little on her costume as well. Her personality is cute, bubbly, and friendly which perfectly suits her soft and bouncy design. Howevre she also has a very slight edge to her, which is seen her determination and drive to improve herself over the course of the anime. 

KIRISHIMA(the red one) at first glance, seems to be super pointy!! shapes that are usually seen on villains or really dangerous characters, but while he IS sharp(literally sometimes) and sometimes aggressive, he is also made of squares, which perfectly suits his loyal “i gotchu bro” attitude towards most of the other characters in the anime.  

ISSUE AREAS: so the only problems i have with Ochako and Kirishima’s designs is that their costumes each have one area that clashes a little too much for my taste. With Ochako, the belt over the color blocking stripes down her crotch are......questionable taste wise. I think the design would be better if the pink chest ended above the belt in a shallow v. not only would this mirror the triangle aspects of her hair, it would fit the belt outline, and continue the trend her costume has of being “grounded” or “heavy”. Kirishima has those.... gears??? around his shoulders??? and while the gear teeth are technically squares, the gear shape itself is a circle, which is a shape that isn’t present anywhere else in his design. I think changing the gears to something similar to his boots or his mask/headgear would create a more cohesive design(also the gears just look hard to move in)

These two characters are presented as individuals so their costumes don’t have to match at all even though they are still seen as “connected” because of the art style for the face, hair, and body. 

In a group giving the outfits cohesive motifs is an easy way to present a strong team image! In Yuki Yuna is a Hero, the girls all have colored lines(usually princess seam placement), armor or fabric hip accents, covered arms, and similar flower shapes in their hair. The Aesthetic of each girl is strong in a monochrome signature color, but not over whelming as the black+white connects them even in color so they aren’t out of place. 

Speaking of color! if your characters are all similar looking (like same body for all of them) you can communicate their personality and aesthetic just with color! (only gonna talk about a few of the ponies) Pinkie Pie (the really pink one) is energetic and playful, so her color scheme is a variation of the primary colors(happy, child like), and have one of the more saturated colors(high energy, intense) of these characters in a large quantity. Apple Jack (the orange one) is a down to earth farm girl, and her color palette is accordingly, mostly earth tones, its also warm analogous colors, which makes her appear un-complicated and warm personality wise. the pop of red is a nice touch to add interest, but notice that its uses sparingly in her cutie mark and tail accessory. Rarity on the other hand is elegant and fussy, her high contrast scheme of white and dark blue/purples gives her more visual interest and is something that makes her appear more “complex” in addition to the gradient thats included in her hair. the colors are also all cool colors, bringing to mind cool glass or water which both have connotations of grace and beauty.

however all the characters here are unified by their colors being on the pastel side, which is also important for a cohesive cast.

another, short, note on color; making the color/line/shading of your figure different from the background can help them stand out, this is used ESPECIALLY in children’s media, but can be applied to any illustration or animation as needed.

Color can also help your characters “read” quickly on screen, the powerpuff girls are a prime example, of having a distinct color blocking and silhouette. even the color blobs at the top and my crappy hand silhouettes STILL read as the characters despite being broken down into abstract elements. I also really enjoy the thick outline in the powerpuff girls, it really makes the characters pop to the foreground even though they have pretty simple designs and are often in a colorful setting.

Also, for a lot of animation, silhouette is INCREDIBLY important for your characters, some designers sketch silhouettes and then design the particulars its so important to nail the shape. These examples from Coraline are some of my favorites (though Laika wins in my heart every time no matter what lmao) because the simple shapes are SO CLEAR and indicative of the character, you literally don’t need to have watched the movie to know these are each different characters with different personalities and roles. 

silhouette can also help tell the story. In Kubo and the two strings (another Laika film) the above three characters are sisters. One has chosen to leave her home in the heavens to live on earth, and the other two stay in their roles as “heavenly” warriors. This is even shown through their designs, the two sisters are weighted on top and their cloaks don’t even touch the ground, while the first woman has trailing, heavy sleeves, hair, and robes all grounding her and emphasizing her connection with the earth.

another example of shape/silhouette reflecting the story, In The Croods, the family of cavemen are for the most part very top heavy, with large torsos and arms, usually in a more hunched over position, while the newcomer, Guy, is bottom heavy with thin arms and stands more upright. In the plot, the family represents the old ways, the strength and rules that have helped them survive, they look like very stereotypical “cavemen”, while Guy resembles the modern man, and appropriately is associated with new ideas and forward thinking.

MORE SHAPES, in DC super hero girls each girl has a distinct personality emulated by her shape language. Zatana is dramatic curves and edges, Super girl is hard, straight edges against curves, giving her a solid muscular shape. Wonder Woman, though also strong, is taller and leaner, lending to a confident leader type. Green Lantern is slim, her lines all flow into each other giving her a go with the flow look. Bumble Bee is, of course, tiny, but her boots and gauntlets add weight and strength to her otherwise small frame. Batgirl is lanky and has a lot of pointed style lines, reminding the viewer of a skinny cat (ironic what with cat woman i know) or weasel which mirrors her preferred “sneaky” crime fighting style.  (also yes this was just an excuse for me to gush abt how much i love the dcshg designs shut up)

so in my opinion, Cartoon Saloon’s The Secret of Kells is PERFECT in aesthetic, intention, and cohesion. Kells focuses very strongly on creating silhouette WITHIN the larger figure shape via color and line, most of the characters pictured here have no neck, the one who does, Brendan, is the main character and the use of negative space that cuts into his shape is used to draw attention to him. Kells is also very strongly inspired by Medieval Illuminated manuscripts (namely, the book of kells lmao). The characters still manage to stand out against outrageously detailed backgrounds via their simple shapes and strong color blocking. 

Aisling, a secondary but very important character, is not human, and has a totally different shape language from the rest of the characters. She is thin and pointy, while most of the others are round or square. Aisling also has the most negative space making up her silhouette, compare the triangles made by her arms and legs in the above picture to the figures in the first image where everybody’s body is self contained with no negative space. She is also very different color wise, very pale and cool colored, as opposed to the warm saturated colors of the human characters. (yes this was another excuse to gush abt one of my fave pieces of media deal with it)

hopefully that wasn’t too rambley and actually helps? if yall have more specific design questions lemma know lol

#askems #a-magical-human #design #art tutorial #tutorial #Character Design #boku no hero academia #yuki yuna is a hero #yuki yuna wa yusha de aru #my little pony friendship is magic #mlpfim #madeline #powerpuff girls #ppg #coraline #laika #kubo and the two strings #the croods #dc super hero girls #dcshg #the secret of kells #cartoon saloon

[dat-carovieh]

Got some interpretation on Hank’s character that got prompted by some discussion on Discord about the stickers on Hank’s work desk. They all seem to somehow send a message about some boomer guy who is racist about androids, hates his ex-wife, is in general a grumpy asshole who is a prick to everyone. But is he really and if not, how do you explain the stickers?

So, let’s first have a look at who Hank interacts with throughout the game to see if he really is a grumpy prick like the stickers suggest. We will get to the stickers later. I will not include Connor for now, because I think that has been talked about a lot also this post is already a novel. But let’s talk about side characters.

We have of course his co-workers. Most memorable is probably Gavin. He clearly doesn’t like Gavin and Gavin clearly doesn’t like him. Gavin is pretty shitty to Hank, despite Hank being his superior. So I think Hank calling Gavin an asshole and not being friendly with him makes sense. How about other co-workers, we don’t see a lot. I can only think of Ben and Chris. They seem to be respecting each other. In Partners Hank arrives, gets greeted by Ben, has a polite conversation about what happened, Ben teases him a little, Hank does not get rude about it, maybe a bit grumpy, but well he’s annoyed about his new partner. He than walks around the crime scene and asks questions. When he talks, he is polite to the person he talks to. He talks to Chris in public enemy (Please excuse if I forget instances, I have played the game a couple of times, but my brain isn’t perfect) He enters, he makes a joke, in my opinion it’s funny and in no way rude, he’s annoyed with the FBI, yeah but I think that’s normal. He asks Chris questions, listens to him, polite conversation, they seem to clearly respect each other and have a good and professional relationship. Later Hank is clearly really affected by what happened to Chris, no matter if he got killed or not.

Jeffrey is a little harder. They do yell at each other, it’s not really pretty, there are clearly issues between them. They go way back and I can imagine they butt heads a lot because Jeffrey is disappointed in Hank for letting himself go and giving in to his depression and alcoholism. I can imagine he had tried to help Hank and he resisted a lot, Hank seems like the type. So there is a lot of tension that comes out between them.

I mentioned the FBI earlier, so clearly, we have to talk about Perkins, THAT MOTHER FUCKER. Yeah, I hate him, he’s an asshole, Hank thinks the same. But honestly Perkins was super rude from the beginning. Chris introduced them and instead of a “Hello” or whatever his first words were “What is that” about Connor. Yeah, fuck off Perkins. Hank has actually been really polite with him there, if you take in the circumstances.

Let’s move to the Eden Club. Who does he interact here? Ben, briefly, polite professional, he calls Gavin an asshole, when he’s not there, he doesn’t really say anything to Gavin when they’re in the same room, despite Gavin being a little shit again. Eden Club owner? He’s polite as he questions him, he does mention that he likes his dog more and more the more he learns about humans, which honestly, if you look at why he says that, understandable. Then the Traci, this is easily missed, I only saw it on my fourth playthrough, he is trying to gently let her down and it’s incredibly adorable. The guy who supposedly absolutely hates Androids and thinks they’re just machines tries to not hurt this android sexworker’s feelings even though he believes she doesn’t even have feelings.

We see a little bit of his private life at Chicken Feed where he meets Pedro, a guy who apparently gives him questionable betting advice and last time Hank apparently lost quite a bit of money with Pedro’s advice. But he’s not mad. He mentions it but he is quickly convinced to bet again and he’s in general super friendly to Pedro. Gary, the guy who owns Chicken Feed, him and Hank also seem to have a good relationship. Someone who wouldn’t want to interact with humans and who is annoyed by them (like me sometimes) wouldn’t actually built a connection to the guy you buy your food from. I’m talking from personal experience here. Yes, I’m always friendly to service workers I interact with but I don’t really say more than greeting, thanking, wishing a good day and anything important for whatever I’m buying. Hank clearly knows him better and talks to him. Jimmy is less clear but the way he says to him “Wonders of technology, make it double” it seems like they know each other, they chat on occasion. And I think that extends to other Service workers. He would be friendly at the grocery store when something doesn’t work out r at the restaurant when getting the wrong dish. You know like millennials are, because he is a millennial.

That we go to Kamski. I’m not sure why he seems nervous while talking to Chloe because I’m pretty sure with all his experience he doesn’t get nervous in front of a pretty woman, that seems like it would be really bad for the job. I don’t know what’s with this, maybe cause she’s an android and he’s not sure how to interact with her? But he is very polite to her, greets her and asks for Kamski. Despite her being an android, he supposedly hates. He is less polite to Kamski, but he’s a little shit, who honestly is wilfully withholding information from the police, which is a crime, but he’s rich so I guess he gets away with it.

 So, what about the Stickers than? Let’s have a look at the Stickers and see what we have.

I’m just gonna list what we see there, so you don’t have to get through my grainy screenshots and also, it’s accessible for screenreaders.

We have three categories, let’s start with anti Android: -“We don’t bleed the same color” -a blue triangle, crossed out, underneath it says: “No more androids”

That’s it, only two, we know he doesn’t like androids but like mentioned before he is still really polite to them, well his relationship with Connor is starting bumpy and based on player choices might get bumpier. But what is it, he hates? He doesn't like androids in their non-deviated state because of what humans want them to be, he hates that humans basically built human shaped slaves. And honestly, I kinda get it. Connor shoots the Tracis? Hank likes Connor less. Hank shoots Chloe, Hank is mad. Connor spares them? Hank tells him he did the right thing. Connor asked him why he didn’t want him to chase Kara across the highway and the first thing he says is “You could have died” before he remembers he’s supposed to hate androids. Yes, he gives positive feedback when Connor shoots the kitchen android but he was actively threatening all of their lifes.

Next, we have a sticker mentioning an ex-wife, only one. It says: “If I wanted to be ignored I’d talk to my ex-wife” There is something else there but it’s blocked by another sticker.

Seems like classical boomer humour “Haha I hate my ex-wife” or it’s ironic. There is no other instance of an ex-wife being mentioned. For all we know, he might have never been married. Hell he might be gay. Cole might have been adopted. The sticker might be ironic. Or he got it from somewhere and just sticked it on or he did it very shortly after the breakup when he was pretty mad.

Third are the grumpy ones. We have more from them. -“If you’re not a bartender, go away!” twice -“How is my driving? Call: 1-555-IDONTCARE” twice -I’m not grumpy. I just don’t like you.” -“Warning, to avoid injury, don’t tell me how to do my job” -“If you have a complaint, please do to hell.” -“Happy people make me sick”

This screams edgy millennial to me. Also the fact he has stickers twice seems like he just got them somewhere and slapped them on because he found them funny. He didn’t buy them specifically.

The bartender ones? Don’t we all like to make fun of our mental illnesses? He knows he’s an alcoholic, might as well make fun about it. The ones about driving? Wouldn’t you stick them on your car? Why is this in the office? Because they’re stupid but somehow funny, just slap them on there. I’m not grumpy? I would totally say that as well. And I believe people told them he’s grumpy so he probably saw this as fitting. I have to admit I don’t have a specific interpretation to telling him hoe to do his job and the complaint one. The one about happy people? This man is heavily depressed, that’s a coping mechanism, it’s again making fun of your own mental illness. But yes, all in all they boil down to edgy millennial.

 I’m well aware that this is probably not what David Cage intended but to be honest I don’t care what David Cage intended. He tried to push boomer Hank on us with these stickers but the Hank we got was different. I don’t know if that’s Clancy’s doing or if this is just another plothole. But that is my interpretation of Hank, nobody asked for.

Anyway, I love Hank and I’m making it everyone’s problem.

#Detroit Become human #Hank Anderson #I love him your honor

[thewindsofsong]

Ok ok ok!!! So last night I had a dream that I rec’ed a dmbj/svsss crossover fanfic, but never actually read the fic. Then I woke up because my cat was yowling in the middle of the night.

After talking with @1ebilcat and @merinnan for a while, I managed to flesh out a basic outline of what that fic might look like. Please know that because this is a crossover with svsss, there is papapa mentioned. several times.... (nothing actually explict is described because that would make this not a not-fic)

So one day SQQ and SQH are messing around trying to figure out what this new “unique one of a kind treasure” does when SQH accideny drops some melon seeds on it or something and it suddenly activates.

Meanwhile in dmbj world, the Iron Triangle are pretty much retired from the whole tomb raiding business, but still run Wushanju (better now that wu xie actually concentrates on running it instead of running off every week). Someone comes in with a strange artifact that they found while clearing out a deceased relatives store room they want to sell. Wu xie buys it because he’s never seen anything like it before and wants to research it.

Xiaoge gets super weird vibes from the object, but it doesn’t seem overtly menacing, so he leaves wu xie be (if wu xie is preoccupied he gets in marginally less trouble). However, when xiaoge touches the object with wu xie and Pangzi nearby, it grows a point and gives xiaoge a paper cut. The blood touches the object and it activates.

One blinding flask of light and disorienting tumble latter, they find themselves at the foot of a picturesque mountain with a gate that labels them at the foot of cang qiong mountain. They’re quickly found by the cang qiong crew and everyone is super weird out by each other. Things happen and eventually LBH crashes in and says his shizun is missing mobei-jun is there too because SQH is also missing. More communication happens and everyone realizes this is the artifact’s fault. No one knows where the artifact is.

Meanwhile SQQ and SQH wake up someone completely unfamiliar to either of them. After using magic to light things up, they see that they are in a tomb absolutely covered in different depictions of penises: there’s pictures on the walls, statues of men with WAY TOO BIG penises, sooooo many dildos. Queue SQQ immediately launching himself at SQH with a shriek of outrage because “THERE’S NO WAY THIS ISN’T YOUR FAULT YOU SHITTY HACK AUTHOR!!”

Back with the iron triangle, there’s a research montage going on as they and other CQ sect member scour the libraries for any information about the mcguffin that caused all this randomness. At some point in all of this, iron triangle go to MQF to see if he can take a look at Xiaoge regarding his memory problems. After some more research, MQF learns about an herb that could stabilize his qi and stabilize the fluctuations that cause his amnesia.

Turns out that while proper cultivation doesn’t exist in dmbj world, the Zhang family line has managed to cultivate the family line to extended life but because they’re the only ones that can (maybe due to bronze gate?) it has a lot of dangers. 

The herb needed is of course incredibly rare and only found in some horribly dangerous location. Xiaoge wants to go alone because he doesn’t want wu xie and pangzi to be in danger, but knows that they won’t be left behind. There’s some agnst had about how Xiaoge feels he’s brought pain and suffering to wu xie and pangzi, but of course neither of them are having any of it. The three of them talk about how they’ve never regretted meeting each other and how the adventures they’ve shared have brought meaning and joy into their lives. 

The three of them cobble together some hotpot and spend the night before setting off soaking their feet side by side, content and secure in their bonds with each other. Its very sweet. 

The next day, the three of them set off with LQG and LBH. Right before arriving at the location, bullshit happens and Iron Triangle get trapped in the location where the herb is located and trigger a wife plot in which papapa is the only way out. Iron triangle proceeds to have incredibly kinky marathon sex. LBH and LQG can only listen awkwardly from the boundary, not able to get through, but also not wanting to leave completely just in case something else happens. The sexual tension between LBG and LQG grows to new heights. Neither will do anything about it until SQQ is back home safe. 

After the marathon is over and iron triangle has time to actually sleep, the three of them get cleaned up with the herb in tow and head back to Cang Qiong. They get the herb to MQF who tells them it will take at least a day to prepare the pill for xiaoge to take. That night, Iron triangle has sweet, tender, affirming sex because while they all agree that while xiaoge not losing his memories every few decades is for the better, it also means that he’ll have to carry the memories of wu xie and pangzi long after they’er gone, with no hope of them ever being together again.  Xiaoge assures wu xie and pangzi that this is what he wants, to know that at least at some point, he loved and was loved, that he had a connection to this world and that his life has meaning beyond his obligations to the Zhang clan. Wu xie and pangzi make xiaoge promise to live on after they pass and to find him in their next lives.

Xiaoge takes the pill and the search for a way back home continues again in earnest. Eventually, LBH travels back to the demon realm and figures out how to track the artifact through space and time because his protag halo is too strong to keep him away from his love interest for too long. 

Wu xie and pangzi learn some basic meditation techniques that disciples would learn when first arrive at the mountain. Its too late for them to cultivate to longevity and there’s no guarantee that its even possible in their home world to cultivate if you aren’t a Zhang. Regardless, wu xie and pangzi don’t want immortality, they just want to spend as much time as they can with xiaoge. Wu xie is gifted a flute made with special bamboo and pangzi is gifted a wine jug from Zui Xian Peak. Both have spiritual properties that may or may not be able to function when back home, but they’er good gifts given in good faith. 

LBH, losing patience, forces iron triangle to get moving so he can save SQQ. He bursts through time and space and iron triangle plus LBH, MBJ, and LQG end up in dmbj world, in Wushanju. After scaring the crap out of Wang Meng, the group realizes that while several days have passed in svsss world, its only been a few hours since iron triangle was pulled away. Which is good because Ershu was likely to call in an army if wu xie went missing for no apparent reason. The whole thing would have been way too messy. Probably more than one person would have died. 

What follows is a night of LBH, LQG, and MBJ attempting different divination spells to try and pin point the exact location of SQQ and SQH to varying degrees of success. None of them are good at divination. Regardless, the three of them manage to get a general location of where the two missing peak lords might be and the iron triangle gets to work searching the internet for any rumors or information of any tombs that might be in the area. (Its just wu xie and pangzi looking, but xiaoge standing around still in his beautiful borrowed robes from CQ is good moral support.) 

They hear about some local legends about an ecentric noble from a bygone era that was buried in a very peculiar tomb. Potential tomb located, the whole group prepares to head out. the SVSS gang is convinced to not fly over immediately because that would be waaaaay to flashy and draw unwanted attention to them that would delay things even more. The six of them cram in together into the van and head off. Svss gang are forced into modern clothing and are def a little too big to comfortably sit in the van. LBH hits his head on a doorway at least once on this adventure. At lease two women and maybe a guy slip their numbers to him too. The man is supernaturally gorgeous.

After some more road trip shenanigans,  they arrive at the rumored entrance to the tomb and head in. The tomb has a few traps here and there, but is practically child’s play for the iron triangle to get through. Svsss are appropriately impressed by their competence and LBH and LQG think specifically about how the iron triangle is a true threesome that supports each other and fights together. MBJ just wants his hamster boy back. 

When they near the central chamber of the tomb, they hear the faint sounds of fighting which spurs SVSSS to speed ahead while iron triangle tries to get them to at least be a little cautious about setting off traps. 

The sight that LBH sees when he breaks into the main chamber like the kool aid man is a disheveled SQQ beating SQH over the head with a baton? Kind of. Its a baton carved into the shape of a penis. SQQ immediately stops and tries to put on his “peerless immortal cultivator” mask on with a flick of his fan, but its hard for that to be effective when your hair is all over the place and your in a room covered in penises. SQH dives for his king’s thighs and cries in relief that he’s no longer trapped in a room full of dildos and penises with SQQ. 

Then the iron triangle catches up and the realization that SVSSS gang is in modern clothing sinks in. The transmigrators freeze for just a second before jumping in front of iron triangle with a thousand questions. They ask in their shitty English which leaves answering the questions mostly to wu xie because pangzi’s english is pretty spotty and xiaoge doesn’t like talking in general, let alone a foreign language.

The whole group eventually leaves the tomb and all its phallic glory behind and get above ground where there’s phone service again. After a bit of searching, the transmigrators realize that while this world is very similar to their original world, there’s no signs of “Proud Immortal Demon Way” ever being written here, no other signs pointing to the two of them existing in this world. SVSS gang are very concerned as they watch SQQ and SQH talk in a strange language to these relative strangers, but don’t feel like its the time to figure out whats going on until everyone gets back home. The now expanded group makes their way back to Wushanju in an even more cramped road trip back. SQQ absolutly ends up in LBH’s lap at least once and SQH ends up with MBJ’s head in his lap at some point. its all very cute as the feeling of everyone being accounted for and safe settles in. 

Maybe there’s some stuff about SQQ and SQH being transmigrators and them being tempted for all of half a second to stay in this world that is so very much like their original world but choosing to go back with their lovers and the lives they’ve made for themselves. 

As the complete SVSSS gang now gets ready to head back home, the Iron triangle makes a huuuuge goody bag of all the snacks and treats that SQQ and SQH have been missing ever since they’ve transmigrated and put together a basic netbook plus solar charger for them to take back. There won’t be internet service back in SVSS world, but they loaded it up with a whooole bunch of web novels and pop songs, along with a few spare parts. 

SVSSS gang finally makes their way home after having a large farewell dinner at Wushanju at Pangzi’s insistence and LBH bullies his way into helping out. Its a very sweet scene of laughing and drinking. After dinner is done, SVSSS decide to go back immediately because the time dilation thing would mean they would be away for longer than they would like. 

Once back home, LBH, SQQ, and LQG have a confrontation/conversation about their relationships with each other and figure out if they want to try being all together, all three of them. MBJ confines SQH to his northern palace. Specifically their bedroom. He was also the one that remembered to grab the artifact that caused all these problems to begin with while everyone else was distracted by dildo tomb.

Iron triangle goes back to their retirement, at peace with the decisions they’ve made and the lives they’ve chosen to live.

THE END!!!

#dmbj #svsss #the lost tomb reboot #iron triangle #wu xie #wang pangzi #zhang qiling #shen qingqiu #lou binghe #if you cant tell i like polyships a lot #i just want everyone to be happy together #i made myself sad writing part of this #oh god this is so much longer than i thought it would be #feel like this is a little light on the svsss side of things #but the current fixation is dmbj so its not that surprising #this is 2000 words of not-fic #my writing

[emergingsentiments]

Hometown Cha-Cha-Cha: Episodes 5 and 6 (Repost)

“The problem with some people is that when they aren't drunk they're sober.” — William Butler Yeats

With Hometown Cha-Cha-Cha’s premise largely settled, its third pair of episodes move forward to deal with the aftermath of the previous week’s intoxication. Drunk and blacked out by the strength of alcohol, Hyejin wakes up next to Dusik. It’s as much a shock to her as it is to Gongjin’s tight-knit community, who, being in the right place and time, discover the issue and spread the rumor like wildfire. It’s a hilarious sequence, one that includes an embarrassing recollection of the good dentist’s trippy, drunken ways. It also sets up awkward conversations with the townsfolk, especially with Dusik being the other half of the scandal.

Hyejin wants to squelch the gossip. Dusik, however, seems cavalier about it. Their different attitudes inform much of the tension that fills Episode 5. What Homcha does so well at this juncture, however, is to pit these contrasting views, reactions, and responses of our leads to challenge our own. Hyejin, for instance, thinks of herself so highly as a woman of the city that she wouldn’t be caught dead being associated with Dusik, let alone rumored to have slept with him. It’s an uncomfortable judgment made against the seemingly flawless Renaissance man of Gongjin. He doesn’t take it lightly and calls out Hyejin for being narrow-minded.

But in hindsight, it’s not farfetched to sympathize with Hyejin. When we find out her condescension towards Dusik was not warranted given the man’s prestigious educational background, we also learn of her experience being looked down upon by a man. The man also happened to be her ex-boyfriend. This painful memory — unearthed by Miseon’s tactlessness — reveals the motives behind Hyejin’s views. She’s not just a woman driven by ambition and defined by material success. She’s not just a daughter grieving the early death of a mother. She’s also a human being that had to deal with social disadvantages, which led to her being ridiculed. Those negative experiences continue to influence and shape her persona seen best in her insecurities.

Dusik — well-read and well-educated — should have been the first person to recognize the scars behind Hyejin’s wounded ways. Hyejin is entitled to feel the way she does, without a man he’s practically just met prodding her to come out of her ‘shell’. This is where Dusik’s single-mindedness becomes a flaw. After all, he has his own skeletons in the closet. He knows enough about loss and pain to recognize its symptoms in other people. He surely would have sensed how uncomfortable Hyejin is being the subject of a small town’s raunchy rumors. There’s something else lurking behind the Dusik’s unbridled heroism and his confusing and flippant behavior around Hyejin. For instance, when Cheonjae suggests he finds a partner, he brushes it off and changes the conversation. Why the evasion? Why these apprehensions?

Like any good show, Homcha isn’t in any hurry to give answers. But we do get clues. First, there is that mysterious picture that bookmarks one of Dusik’s books. It’s probably connected to another hint — his visits to a shrink concerning a recurring nightmare. Dusik’s past looms ominously over his present. Lastly, we learn that summer night drinking fancy wine didn’t end only with a stoned Hyejin wrecking hangover havoc across Gongjin’s empty evening streets. It was capped with something less theatrical but more intimate — a kiss.

Kisses, they say, are far more intoxicating. And its effects are clear on both our dentist and jack-of-all-trades on Episode 6. Now that Hyejin remembers their lips-to-lips, we get to understand a little more about Dusik’s strategy. If he has been deliberately coy, it was an attempt to bury Hyejin’s memory of that kiss. But Dusik being Dusik, he pursues in taking down Hyejin’s defenses. If Hyejin can be contrary as a woman, then Dusik can be contradictory with his dilly-dallying, too. His newfound philosophy revolves around the idea of taking risks, crossing boundaries, getting drenched in the rain every now and then. It’s a romantic prospect but one that reduces Hyejin to another one of Dusik’s projects it seems. And yet, it’s an approach that doesn’t seem out of character, too.

Homcha subtly peels away the perfect facade of Mr. Hong, highlighting the man’s little foibles with every episode. Yes, he’s tremendously kind. Yes, he’s exceptionally good at everything. But he’s human, too, with anxieties and errors in judgment. We see more of the latter whenever he’s around Hyejin, which tells me behind the gallant exterior of Gongjin’s favorite son is a man either unsure of how to dance with a woman he obviously likes or afraid to step on his lover’s feet. Why? He knows the cha cha cha takes practice, right, and a willing partner, too? Had he failed in this dance before?

Hyejin yields to Dusik’s credo but not fully. She is her own woman, after all. Yes, she gets jealous and annoyed with Dusik’s cheekiness. But she can also be defiant by letting everyone know her displeasure at being rumored as Sikhye or in telling off Dusik as he tried to bring Juri home. Dusik will have to deal with Hyejin’s tantrums because he simply cannot stubbornly “fix” her or “work” on her as a side hustle. We’re talking about two people navigating the unsteady paths of life and love as grown-ups. They’ll need to grope the steps of their choreography. That takes time.

But they’ll have to get it right, soon. Ji Seong-hyun (Lee Sang-yi) has arrived in town, which makes for interesting love triangle fodder. Seonghyun, however, is exceptionally likable. A bit naive and with a megawatt smile, he also offers the unpleasant advantage of having known Hyejin for longer, including being a witness to that pivotal rejection she suffered from her ex. While we all know the fate of second leads, I look forward to how Seonghyun’s presence shifts dynamics and allegiances in a town known for impulsive, gossip-mongering residents. Does he prance away with the lady? Or will Cinderella’s final dance be with Dusik?

Speaking of dancing, we see a lot of it in arguably one of the show’s highlights so far — the festival. It’s an event that brings together our favorite characters in a wholesomely wild and merry night. With all of them in one stage, it’s easier to appreciate how Homcha has successfully balanced all the story arcs so far.

But it’s becoming clear Gongjin’s narratives, though varied, are all threaded by one thing — pain.

The drama sheds light on these aches using both humor and gravitas. With Miseon, we find comic relief in her frequent, ill-timed, and embarrassing stomach aches. Juri’s pain, on the other hand, draws close comparison with Hyejin’s loss of her mother. Her rebelliousness is rooted in the stifling parenting of Cheonjae who tries too hard to offer both father and mother figures to Juri. It’s a father-daughter struggle that sees Cheonjae accepting Juri becoming her own young lady, leaving behind his own dreams to support Juri’s own.

And of course, there’s Hwajung and Youngguk’s post-divorce relationship, one complicated further with the return to Gongjin of Youngguk’s first love, Cho-Hui (Hong Ji-Hee). It’s an arrival that isn’t exactly welcome, and one that causes Hwajung to clench her jaws and writhe in pain. Like Seonghyun, Chohui can win a congeniality award with her smile. Hwajung describes her as kind to a fault. But there’s something amiss with this love triangle, and if theories prove true, we may be in for a surprise.

See, underneath the picturesque and coastal idyll of Gongjin are tales of trauma and tragedy. We sense that the town’s folksy air draws its warmth from the burning embers of its people’s pasts. Homcha is unafraid to weave the growing affections between Mr. Hong and Dr. Yoong using these sorrow-tainted fabrics, while only lightly reassuring us that even yesterdays have tomorrows. Surrounding Dusik and Hyejin are equally deep entanglements of human relationships — from a man trying to be the best father for her daughter to an iron-willed lady silently figuring out her place in the present as the past returns. It’s interesting how all these stories will tie together in the coming weeks.

For now, we can only make assumptions in search of our own catharsis. But we will have to be hurt, too. If Hometown Cha-Cha-Cha claims to offer healing, then we must get wounds first, right?

#hometown cha cha cha #homcha #kim seon ho #shin min ah #korean drama #kdrama #갯마을 차차차

[panspy]

Case #0181501

ARCHIVIST

Statement of Eide Burrows, regarding a man who may not have been her neighbor, and her hometown of Millport, Scotland. Original statement delivered through some folded sheets of notebook paper shoved under the office door while I was on a lunch break. Statement recorded January 15, 2018, audio recording by Jonathan Sims, the Archivist.

Statement begins.

ARCHIVIST (STATEMENT)

In the end, we’re all just shapes. Figures, either soft, angled, flat, or dimensional, all floating through space with only the hint of a purpose. I’ve always thought this made us pitiable. Shapes don’t have a purpose, their only use is to simply be. What is the meaning of a triangle? Any color, it doesn’t matter. How about a square? A dodecahedron? Exactly. It has no right to have that many sides all to itself, but it exists simply because we willed it into being. Shapes thinking of shapes.

Lines connect shapes and connect people. We have no reason to be, other than to just… exist. We think of shapes. Who thought of us? God, you could argue and many do. Argue about God, argue with God, argue in defense of God, argue against God. Argue, argue, argue. Just shapes arguing with shapes.

For the longest time, as far as I was concerned, Millport was nothing but shapes. Old buildings with new paint, old billboards with flashy new signs, old families run by new blood. Old ways and new people. They tried to cover up the old, and bury it like bones in a landfill. Cover it up along with the potholes with new asphalt and cement. Make it shiny and new. They still crack, anyway.

Hundreds of years, that town stood sturdy on soft ground. Founded by confident men with high hopes, big dreams, bigger egos, and empty pockets. Dreams make you blind, but people like to invest in them. Dreams give shapes a purpose, don’t they? Confidence fools others, and eventually fools yourself. Have you ever gone unnoticed in a place you’re not meant to be? If you walk with your head held high and false arrogance, people will believe you belong with them. For either to believe this façade makes them a fool. Not that anyone really belongs anywhere, and we’re all just foolish enough to believe it. Foolish shapes believing other foolish shapes.

I’ve always reckoned that it’s easier to be confident on uncertain legs than to fear falling on steady ground. Watching a frightened child stepping along a wide, even plank at the park is more likely to fall than a tightrope walker on a flimsy wire. Tightrope walkers are triangles, balanced and perfect. Children are parallelograms. Misshapen. Lopsided.

All the children in Millport are parallelograms. Some are flat and one dimensional, others forever rotating on an axis to show off their sides. Never the same for more than a day- I kept track. The adults were a variety of evolved and ever-changing polygons. But for some reason when I was little, looking at all these shapes going about their pretend lives, I couldn’t understand why I wasn’t a polygon when the world seemed to be filled with them. When I looked at my skin, it was soft and squished under touch. My hair was coarse, dull, and brown, unlike my mothers which was static with energy and never quite the same after you blinked. My face was asymmetrical too, as many shapes are. Eyes that seemed to be too big, ears that poke out a bit too much, bags that never went away… well, I don’t think they did anyways. You have to understand, it’s been a while since I’ve seen it. After a childhood of feeling as though the world hadn’t been fair enough to make me a nice red square, I just accepted it. I learned not to mind my lack of shape, and felt content to be liminal.

The first time I decided to look further into what made the town fit together into the odd puzzle it was, was the Masonic Lodge on the empty lot of Seymour and Drummond. It was always changing, not that it mattered enough to give it a second thought. In the morning, it could be a red trapezoid but by noon it would shift into a cracked yellow octagon. Personally I always preferred the trapezoid. The men who entered in the evening but never seemed to exit in the morning were also known to change. Whether by name, appearance, age, or multitude… who went in did not dictate who went home. Not that anyone cared about that, either.

When I was feeling especially curious, I would watch them enter from the dim car park away from a flickering old street lamp. As nights went by and I felt brave enough to stand directly under it, I found it made no difference as they never even looked at my direction. By the morning, the cars would be gone and the men allegedly returned home to their spouses and families. And I would leave, deciding to return again at the next meeting whenever I felt the disturbing pull in my stomach beckoning me to witness it. The scheduled days varied, but was always twice a week starting at 8:12 pm and ending when the street light flickered, shrouding the building and parked vehicles in darkness, then flickering on again to show an empty lot. They never met on Tuesdays.

My mother worked down the street at the Birdie’s Bed & Breakfast to help Bertha Goodwin when the old woman needed assistance navigating the cottage she’d rented her whole life, it seemed like. Bertha, though we always called her Birdie, was in her late seventies when I was born, and she was in her late seventies when I left for college. She was still in her late seventies when I returned home the next fall with nothing to show for it and a mother who didn’t even acknowledge I had gone in the first place. Not that they even noticed when I was living with them as a child either. When they deemed me old enough to care for myself, Mum would leave in the mornings with a freshly ironed apron, cleaning supplies I never saw opened, and my Dad would leave to work on blueprints of buildings I never saw built. After staring at my ceiling for hours, distracting myself with faded stars stuck up with putty and cracks in the walls, I would leave my blue square of a house and wander the streets looking for a clue to a mystery I wasn’t quite sure existed.

I tried to be academic, I really did. I wanted to leave that old town and its jagged shapes and build something for myself, but the longer I spent away the pit in my stomach grew more and even looking in the mirror hurt my eyes. I couldn’t feel the softness of my skin anymore. It felt like plastic. The faces of my classmates were static and boring-- none of them pulsed with the same energy as the people back home and all sounded the same. After barely a year I couldn’t take it and moved back home. The school didn’t even call to finalize my resignation.

As a child who grew up with strange disappearances monthly (Birdie said Misses Morgan moved to the States, but her car still collected leaves in the drive), stores popping up that never seemed to stay, and the absence of new neighbors, nothing was too out of the ordinary for us. But I’ve read some of the other statements, Jon, and it seems nothing was quite ordinary at all. Construction workers would vanish and it would rarely make the papers. The opening of a new chip shop was a blessing, but no one would ever be able to go more than twice before it was on its way out of town and replaced with some new fad.

Until the year the cemetery flooded and the school gymnasium roof caved in, about 2006 (it’s hard to beep track of the years), I didn’t think extraordinary could exist. Or at least not in any way that mattered. That was the year the Abbott’s moved in to the house on Cowley Lane, a house I had only ever seen out of the corner of my eye. On a street filled with shapes, this was a straight line.

They arrived as most families do, escaping an unpleasant moment in time by “starting fresh” and “turning over a new leaf”. I never quite understood that expression, as turning over a new leaf does not negate the old one. By turning over a leaf with a sullied edge to admire the green underside, it still remains the same leaf. Turning over a new leaf simply means the old one is left to decompose while you find a crisp, untarnished leaf, while the other still has a perfectly acceptable side to be admired. And, as most families do, they leave the unsightly leaf to be buried with the hundreds of others they’ve “turned over” and promise to change. The promises stay, but are never quite redeemed. Sorry, I got carried away… it's hard to find things to be passionate about these days. I'll continue.

The Abbotts integrated as well as they could, two children ready to attend school no matter the construction work in the gym or the fact it was well into November, and a third to stay at home as infants are wont to do. They threw a barbecue to get to know the neighbors, and the whole village attended bringing their own family recipes and baked desserts. I stayed home.

The Abbott's father, Mark, gained a quick job as an iron-worker while his wife (I never knew her name) stayed indoors looking after the baby. I’d see him in the mine, hacking away at rusty cars and rail too old to use and loading the scraps to be taken away. Hours, I’d watch, as he compressed the piles and laid the new framework to keep unwanted visitors from being crushed to death by eroding stone walls. The day he was called to help install the new wrought iron fence where the cemetery flooded and washed away, I followed him there too. Wherever he went, the shapes that once filled the town lost their vibrancy. Instead of fluctuating between tetrahedrons and prisms, they became either stagnant or frantic. Everything at once, or nothing at all.

I watched him dig in the downtrodden soil, unearthing rectangular caskets and hexagonal coffins. The rain that year had brought landslides and sinkholes, most destructive in the cemetery just outside town and disturbing the dead where they slept. Headstones, monuments, and mementos washed away and sank into the soft dirt, the running fence encircling the land broken up and dragged along with it. Once an infinite circle that cut the burial grounds off from the rest of the puzzle, the shape was now distorted and wrong. Without gate to close and make it whole again, I felt the muted shape of the cemetery slip away and become a tangled mess of string.

He dug for hours until the orange circle of a sun lowered itself behind the branches of the forest and their quickly disappearing leaves. Moving from one plot to the other, from the pristine headstones of recent years down to the protruding stones with names barely legible beneath the moss and decades of wear. Digging, digging, digging, all the while the formless fence to-be remained untouched. When the sky turned dark and snow clouds threatened to shed their weight, I finally turned my back on Mark and left him alone with the dead for the first time all evening, the man seeming blissfully unaware he hadn’t been alone in the first place at all.

The next morning when I went to check on his new project, the buildings along the way had lost their shape. No longer were streets lined with sturdy trapezoids, rectangles, and prisms. The colors were off, like a child with a crayon who had not yet learned the concept of limitation. They bled into each other and polluted the air, cracked frames unable to hold them back. The air tasted like static and I couldn't feel the ground beneath my boots.

By the time I got to the clearing, the holes had been filled and the new fence had taken shape in towering columns that crawled and stretched like spider webs across the dying grass. It was the same dirt, the same stone, trees, and air, but it did not feel like the cemetery I had watched be torn away the night before. I felt a chill settle in my bones and leave as quickly as it came like waiting for pain after burning your finger on a hot mug. From all my observing of the town, never once has a feeling ever driven me to run far away until what I was seeing before me was but an afterthought.

I passed by the Abbotts house, static growing stronger until I could barely hear the crunch of leaves or gravel beneath my feet. Only the wife's car was in the drive and a fresh coat of snow indicated there had only been the one all night, and the black pick-up Mark drove was nowhere to be seen. The sign on their door was new, barely two months old, but as I looked at it, truly looked at it, did it appear to have aged to rot. Abbott’s House it said in curvy lettering (with all the determination of a line pretending to be something it’s not) with five handprints beneath for each family member. Five. Mother, three kids, and… now four. The longer I thought about it, the longer I stared, trying to blink away the dots that kept getting in the way of my vision, the more my eyes convinced me there had always been four. Never two cars, never five hands. Through my haze, I barely felt my feet take me home. Even when I layed down to rest in a foreign looking room, I decided that my childhood mystery, a fantasy I had grown to accept, had found another clue and a little bit more of the town chipped away. Mark didn’t show up for work anymore.

Little things were changing, it just took a trained eye to notice. You don’t have to be a detective to see the details, sometimes you just have to be very, very afraid. The sign for Birdies Bed & Breakfast was now spelled with a ‘y’ instead of an ‘i’, and the apron my mother wore was now a faded lilac instead of a robin’s egg blue. The oak tree that stood tall in our backyard, old as the town itself with a slow swinging hammock tied to the branches, was now a young birch. I likened it to two puzzles cut from the same machine. Different pictures with pieces that fit together only in the most literal sense. The longer I noticed, the more I wondered which puzzle was truly mine, and which one was slowly being replaced.

Each morning the static filled my nose, irritated my eyes, and clouded my ears with a soft dizzying hum that slowly drowned out my senses. The shapes that made up my entire world were broken, dull, and chipping away until everything I knew was muddled and loud.

It was only when I woke up in an empty room, no posters, cardboard boxes, or dirty clothes, I found my feet barely touched the floor. I felt weightless as I wandered down to the kitchen where Mum usually got ready, feeling as though the back of my eyes were filled with cotton. There were only two seats sat at the dining table, and when I tried to open my mouth to speak my tongue tasted like ash.

Before I could blink or even cry, suddenly I was in the street. Red shapes filled my periphery and everything between, and the town was gone. A red sky bled into the houses, cars, and potholes cremating them like the dead. I felt myself falling away from my body and I finally saw my shape. It was a shifting mass of angles and colors and somehow I just knew it was me. When I finally did cry, smaller shapes fell from her eyes copying the drops that fell from mine. Was it out of malice? Pity? Understanding? Was she crying because she shared my pain or was she just a cheap reflection of who I thought I was or simply longed to be?

It’s been a while since I’ve been here, in this black and red. She still mocks me. Radiant and pulsing with color while I exist with imitation soft skin and coarse hair. They’re the only things I can be sure of, as I haven’t seen my face in a long time. Only hers. Now I’m not sure who she is, but she’s the only company in this void. Until I saw your shape, Jon. Blue and black polygons blinking between colors with the beat of a foreign heart. You lead me here to a library of pain that reflected my own, a reprieve from the emptiness I’ve been floating in. Maybe if I tell you my story you can bring me back to the shape of your world? I suppose only time will tell, and I have an eternity to wait.

Waiting for someone to save the outline of a person who isn’t sure they ever existed at all.

#tma #the magnus archives oc #the magnus archives #tma oc #case fic #case file #statement #fan statement #tma fanfic #my writing #the spiral #podcast #eide burrows #fan case #jon sims #jonathan sims

[dallaswebsite]

Web Design Trends in 2020: Are you ready to increase conversions?

Simple animations and GIFs, brutalism, microinteractions, diversity: get to know the 10 main Web Design trends for this year.

As a good Web Design professional, you should already know that it is necessary to be aware of all changes in the market to have a competitive advantage among your competitors.

A few years ago, design trends moved towards unrestrained creativity – abandoning traditional grids and photos in exchange for vibrant illustrations, bold color schemes and asymmetric layouts.

In other years, technological advances have made websites smarter (with machine learning and subtle interactions) and these changing paradigms have influenced design trends (hamburger menus, anyone?).

In 2020, web design trends will see these two sides of the coin – aesthetics and technology – come together like never before.

So if you want to know what Web Design trends are in 2020, check out our article and find out if any of them could be the key to increasing your conversions!

1. Vertical page transition

It is not new that people want information faster and faster on the internet. And one of the characteristics of the new user is that he is in a hurry, does not like to wait.

Therefore, one of the trends of Web Design in 2020 is the transition of pages smoothly, and preferably, vertically.

That’s because the feeling of clicking on a link and waiting for it to open looking at a completely white background is unpleasant and leaves the user impatient, which can increase their bounce rates.

The transition makes the action smooth and reduces the feeling that the user is waiting for something.

In addition, vertical movement (from bottom to top) generates familiarity and improves usability on both desktop and mobile devices, as this is the standard page scrolling movement.

Combining this strategy with an SEO consultancy to increase the loading speed of your website, it is possible to increase your conversions and improve the user experience.

2. Simple animations and GIFs

No user likes to access a page and find only columns and more columns of text. Therefore, it is the obligation of every Web Designer to insert images to optimize a website.

However, with the insertion of GIFs on Facebook, WhatsApp and other social networks, people are becoming more and more familiar with the animations.

Therefore, a trend in Web Design and 2020 is to use simple animations, but that guide the user to the important points of the page.

In addition to making a website more dynamic, animations inserted at the right moment of the user’s journey can be decisive in guiding the lead to take the action you want.

GIFs can also be very useful, especially to demonstrate simple actions in a few seconds, without the need to produce a video.

3. 3D illustrations

One of the main trends for Web Design in 2020 is to use 3D illustrations as a replacement for photos.

The idea is to exchange the common “text and image on the side” for a centralized illustration that shows the brand’s solutions in a cleaner way.

The main advantages of using illustrations are:

generate user identification;

explain the process of using your product / service clearly;

helps to humanize the brand;

ideal for businesses with more than 5 people, as it does not exclude groups of people.

In addition, you can assemble the illustrations based on the visual identity of the brand, reinforcing the company’s branding and generating more trust in the user.

4. Brutalism

Hated by some and loved by others, brutalism is a design style focused only on functionality, ignoring the appearance of a website. As a consequence, websites with brutalist design present disorderly elements, very aggressive fonts and little refinement, creating a very “raw” appearance. Many people find the style uncomfortable, but recently it has gained popularity among young audiences, especially when used with elements of the 90’s web. In addition, it is possible to set up a brutal website that is functional and does not look so aggressive, just select the elements used and, of course, test! The truth is that the style can work, but it will depend on your brand strategy, your goal and, mainly, your audience.

5. Serifs on the screen

We’ve all heard the rule that serif fonts are for printing and sans serifs are for screen / digital. But what would become of web design trends if they were not to shake that “old idea formed about everything”? While the sans family, with its clean readability, is still the preferred one to be applied in long texts – be it copy or institutional texts – more and more brands are betting on a serif font. The bold serif can have a very interesting effect on headings and headlines or headlines. There is a good reason for this: serifs are designed to be decorative, making them perfect for showing emphasis. And even though serifs are often associated with the past, they are extremely versatile and more adaptable than you might think. Take, for example, the rounded serifs that represent the joyful brand of Mailchimp.

6. Black and white palettes

Color is one of the most important elements of a website. It creates a mood, unifies a brand and guides users through an interface, creating points of visual reference. For 2020, we are seeing several sites using a black and white color scheme, to dare and give more visual prominence. Color is literally how we see the world through the particles of light being absorbed. When color is lacking, we begin to see the world differently: textures and shapes become clearer, and the world seems noticeably slower, still.

White by itself is clean and reserved, while black is strong and assertive. Combine these and you will have a completely striking appearance, with the ideal light and contrast. Ironically, the biggest effect that black and white designs can have is their combination with minimal amounts of color. Adding an accent color will not only break that monochromatic air, but will make points of interest and calls to action stand out.

7. Natural and organic forms

Although websites are typically set up for systematic grids, designers are turning to natural shapes and smooth lines. Geometric structures such as squares, rectangles and triangles with their sharp corners create a feeling of stability, but the trends of 2020 are more concerned with the feeling of accessibility and comfort. Since organic shapes are naturally imperfect and asymmetrical, they can provide depth to the page layout. The shapes are based on nature (think of the curved shapes of trees and mountains), but they can also be elements drawn freely, to give the idea of ​​spontaneity of accidents caused by man, such as paint splashes, coffee stain, or something like that. . The goal here is for the layout to be more “human” and alive through this illusion of movement.

8. Microinteractions

Microinteractions are events with a purpose: to surprise the user and create an inviting and humane event.

Every time you perform a small action on a website or application and there is a specific response to it, this is a microinteraction.

When you update a Twitter page and hear a beep, this is a micro-interaction. Or when you check Facebook, the red icon displaying your message count is also a micro-interaction.

These were the most common uses of them, but in 2020, sites will have their most interactive incarnations. The user can hover or scroll the page to activate animations and other effects.

In short, this is a way to engage your target audience on your website, convey information to users about your actions and make websites a little more intelligent and interactive.

9. Even more video content

Video content not only diversifies the page, but serves a moving audience that doesn’t have time to read a lot of text.

Be it a video explaining your service or a background video, to give more movement to the site.

However, using videos on the site is nothing new, what is new is the movement that Google has made. The search giant favored sites that use videos on its pages in search results.

10. Diversity

Often, people forget that the web has always been accompanied by two more important ones: “World Wide”. The internet connects billions of people around the world from different cultures, skills, ages, gender identities – people who want to see themselves reflected in their content.

Even small considerations from the past (like Apple’s varying skin tones for emojis) went a long way to making people from all walks of life feel more welcome in a brand’s digital space.

In 2020, web designers should take an even greater leap towards inclusion, from improved accessibility standards to socially aware and diverse images.

The world still has a long way to go in this arena, but designers today can use their art to demonstrate that the web must be plural, about real people making real connections.

In the end, trends come and go. Some last for decades, while others are simply a flash. What matters is that you remain true to the brand you are creating for.

Choose the trends that best align with the company’s values. If something is trended, it doesn’t mean you have to adopt it. You need to choose the trends that are useful to make your projects more effective and impactful.

Did you write down all the tips or are you already testing them? So leave your comment if any of them worked!

The post Web Design Trends in 2020: Are you ready to increase conversions? appeared first on Dallas Web Design Company | Best Web Designers In Dallas.

source https://dallaswebsite.design/web-design-trends/

[traincat]

i don't ask this with intention of being like One is Better that the Other, but more like understanding them better; how would you say peter's relationships are different form each other, in a nutshell? (or just with gwen and mj?)

That’s a valid question because they are very different relationships and while I don’t like talking about them with the view that One Woman Is Better For The Man Than This Other Woman, Therefore Other Woman Is Terrible, I do think it’s important to acknowledge those differences and they’re interesting to talk about.

Here’s the thing: in 616, I think it’s very important that Peter and Mary Jane aren’t each other’s first relationship. We don’t know as much about her relationship history as we do about Peter’s – we know she’s seen other people, including Harry, but I think it’s important to keep in mind that for the majority of her life, since she was fourteen years old in canon, she’s known Peter was Spider-Man and for a long time kept that secret to herself. (We also know as per ASM #259 that serious relationships justifiably scare her – but I’ll get to that in a moment.) But Peter seriously dated Betty Brant when he was in high school, and, though I don’t think it gets talked up enough in discussions about Peter and Gwen, before Gwen’s death she and Peter were very much planning to get married.

(Amazing Spider-Man #103) 

Cut for length.

(Peter had also briefly thought about proposing to Betty Brant at the end of high school. He’s a marriage monster.)

If I had to use one word to sum up Peter and Gwen’s relationship it would be “passionate.” And not always in a good way. They have a very fast connection in comics, but initially, they don’t really like each other that much. 

(Amazing Spider-Man #35)

They’re on the same wavelength – that wavelength just happens to be “this hot person pisses me off so bad.” But then John Romita sweeps in and things get romantic as opposed to Ditko’s more prickly, vampier Gwen take, and Peter and Gwen start to get closer. That Mary Jane enters the picture and is seeing Peter probably doesn’t hurt Gwen making a more aggressive move on him. One thing I want to clarify that in modern day the word “dating” conjures up, first to mind, a serious image when we talk about fictional relationships, but Peter and MJ were very casually seeing each other after they first finally came face to face, something that seemed to annoy Peter actually:

(Amazing Spider-Man #44) In Webspinners #1′s backup story, The Kiss, Peter describes MJ at this point in time as mercurial and indirect, and says that’s one of the reasons he was more attracted to Gwen at the time. Gwen’s very direct, very passionate, and very open with her emotions, whereas Mary Jane and Peter both have their own secrets. It makes a certain amount of sense that Peter would be drawn to that openness. Peter and Gwen also have a keen interest in the sciences in common, which I also think is a pretty important factor in their early courtship when you consider part of the reason Peter felt isolated in high school was that his classmates didn’t share his interests:

(Amazing Spider-Man #53)

Once Peter and Gwen are together, things get pretty serious pretty quickly, with lots of sappy love declarations and both of them bringing the other around their parents. 

(Amazing Spider-Man #68) Like I said, one of the things I often see overlooked in discussions about Peter and Gwen is just how serious the relationship was at the time of Gwen’s death. They were if not officially engaged then definitely pre-engaged and making plans for marriage. Peter had even wrangled his way into a staff position at the Daily Bugle specifically with his future marriage to Gwen in mind.

(Amazing Spider-Man #99) Peter used to be super good at this whole responsibility thing, in both his costumed and uncostumed lives. 

This isn’t to say Peter and Gwen didn’t have problems – while people paint an image of the college days before Gwen’s death as being some big MJ/Peter/Gwen love triangle, that’s not really true. MJ had a tendency to flirt with Peter, especially in front of Gwen and also Harry, who MJ was seeing at the time, but it was Peter who was at times irrationally jealous of Flash’s flirting with Gwen. 

(Amazing Spider-Man #72)

(ASM #80) Poor Flash really suffered as the least dramatic member of this friend group. It’s a little ironic that Peter got so heated up about Flash of all people because, while Flash does at one point profess more than friendly feelings to Gwen, he’s exceptionally gentle about it and never actually tries to threaten her relationship with Peter.

(Amazing Spider-Man #107)

On Gwen’s side of things, Peter’s frequent disappearances troubled her, and she often begged him to stay with her in times of danger – when he was trying to slip out and discreetly change into his Spider-Man costume – so that Peter would prove to her that he wasn’t a coward. (Look, it was the 60s and 70s in superhero comics and machismo was a big deal.) She could be insecure – Peter’s disappearances sometimes made her think he didn’t love her anymore, a feeling which was compounded when she accidentally lost her temper and yelled at Aunt May about her tendency to coddle Peter, causing May to put some distance between them, and after the death of her father, for which she initially blamed Spider-Man.

(Amazing Spider-Man #91) It was that hatred of Spider-Man that made Peter hesitate proposing to her initially, and she briefly left to stay with her uncle and aunt in England thinking that he didn’t care for her as much as she did for him. All those are, when you get down to it, far more serious issues in the relationship than the notion that Mary Jane and Gwen were constantly fighting over Peter.

I said if I had to pick one word for Peter and Gwen’s relationship it would be “passionate” – but I think that’s in part because Gwen herself is a very passionate character. For all her emotional openness compared to Mary Jane’s at the time party girl facade, Gwen felt very deeply about everything, especially about her relationship with Peter. I don’t doubt that if Gwen had lived, she and Peter would have gotten married – it was the natural progression for their relationship at the time. However, I’m not sure they would have stayed married, and not for any “selling the marriage to the devil” reasons. I’m sure they would both have tried very hard to make it work, and I don’t think separating would be easy for either of them, but I’m just not sure if I see them as a successful long term relationship. (Which, for the record, doesn’t make me ship them less.)

With that in mind, I also don’t know if I think PeterMJ happens without Gwen’s death – at least, not in the specific way it does in comics. While he was definitely initially attracted to her – it’s a running joke before Mary Jane appears on panel that Peter desperately tries to avoid meeting her because he thinks that, because Aunt May approves of her and says she’s a nice girl, that she’ll be ugly, which is where Mary Jane’s famous “face it, tiger” line comes in when she reacts to his surprise at the door – the further in love Peter falls with Gwen, the less intrigue Mary Jane seems to hold for him. Before Gwen’s death, he’s even disapproving of her advances, and dislikes the fact that she hits on him in front of Harry when she and Harry are dating.

(Amazing Spider-Man #97)

(ASM #106)

At the time of Gwen’s death, Peter’s impression of Mary Jane isn’t the most favorable in the world: he thinks she’s a flighty, irresponsible party girl – which, to be fair, is the impression Mary Jane has put some serious effort into cultivating. This changes with Gwen’s death with one very important scene that signifies – not necessarily to Peter, who is lost in his grief at the moment, but to the readers – that that’s not who Mary Jane is at all, and it’s the door scene from Amazing Spider-Man #122.

I’ve noted before that Peter has a tendency to lash out verbally towards the people in his life when he’s in the depths of grief, and he can be very good at hurting people, like here when he accuses Mary Jane of not caring that Gwen’s dead and telling her to get out. 

And she doesn’t. If I had to pick a scene that I think is the most pivotal turning point in any Marvel comics relationship, it would be this one. 

Peter and Mary Jane have a more complicated build up to their romance than Peter and Gwen did. Unlike Gwen, who was very much a heart on her sleeve girl, Mary Jane has secrets of her own, something Peter doesn’t really seem to realize when they do launch into a romance of their own, and when Mr. Marriage pops the question to her the first time Mary Jane ends up turning him down.

(ASM #183) 

Mary Jane’s commitment issues are seated deep-seated. Gwen, as far as we know, had no reason not to believe in true love. Mary Jane has many.

(ASM #259)

I love Amazing Spider-Man #257-259 because they totally recontextualize everything about Mary Jane and throw all her previous actions into a sharp and different new light that just makes the most perfect sense. ASM #257-259 reveals two very important things. The first is that Mary Jane knew the whole time, since before Peter ever laid eyes on her, that he was Spider-Man, and that she’s been walking around the whole time carrying this secret.

(Spider-Man: Parallel Lives)

The second is that, with Mary Jane having told Peter she knows his biggest secret, she makes it an even trade and tells him her own, letting him know the details of her childhood that shaped her into the person she is. It’s really worth reading for yourself if you haven’t already and in my opinion it’s one of the best backstory reveals ever written. 

(ASM #259)

Peter and Mary Jane enter into a weird stage in their relationship at this point in time. Mary Jane is, essentially, the only person Peter can confide in once he learns she’s known his secret all along. Mary Jane, on the other hand, finds the nitty-gritty details of Spider-Man’s life difficult to deal with, even as she tries to be there for Peter. One thing I see a lot in Mary Jane vs Gwen discourse is that while Mary Jane loves Spider-Man, Gwen loves Peter, which is a completely movie-based fabrication – in 616, Mary Jane frequently wishes Peter wasn’t Spider-Man and worries about him risking his life. They have a very strong emotional – and physical – connection at this point, but they’re not officially romantically together, and during this point in time Peter is still involved in a tumultuous on-and-off relationship with Felicia Hardy.

(Spectacular Spider-Man #116)

“I’ve just ruined a perfectly good lie.” (Spider-Man vs Wolverine)

They don’t officially get together again until Peter proposes marriage – again. Although Mary Jane initially turns down his offer again, she later calls him from her sister’s home in Pittsburgh asking him to come down and help her.

(ASM #291)

Hearing about Mary Jane’s past is one thing, but Peter’s confronted with it when he finds himself supporting Mary Jane as she tries to figure out what to do when her father’s schemes have landed her estranged sister in jail. It’s a really great lead up to the marriage: Peter has to learn to trust Mary Jane to make decisions, and Mary Jane takes the reigns when she needs to help out in a Spider-Man fight. At the end, in the airport, she agrees to marry him.

(ASM #292)

It’s not magically perfect after that – in ASM Annual #21, the wedding issue, Peter worries about Mary Jane’s more lavish lifestyle and how she’ll handle his more staid one in addition to his fears over what his enemies could do to his new wife, Mary Jane struggles with the concept of committing after so many years of running from that, and the ghost of Gwen still hangs over them both.

They do both end up making it down the aisle, of course, though:

(ASM Annual #21)

One of the things I love about Peter and Mary Jane is that, while I truly do think the characters are soulmates, they’re not perfect – they have relationship problems as big as Mary Jane worrying Peter’s identity as Spider-Man will get him killed or about what effects his irradiated blood might have on any children she might have, to as small as Peter having a crisis over Mary Jane paying his bills for him:

(Web of Spider-Man #37)

And of course Peter and Mary Jane have a much more complicated and complex relationship than Peter and Gwen did, but that’s because Peter and Mary Jane had hundreds of issues over which it develops and deepens, even after their marriage, whereas Gwen Stacy wasn’t even in 100 issues after her first appearance before she died. So I think Peter and Gwen have much more of an instantaneous love connection, which is aided by Gwen’s own emotional openness, whereas Peter and MJ are more of a slow burn, with a lot of stops and starts along the way that end up being the foundation for a very strong love.

#peter parker #mary jane watson #gwen stacy #marvel comics #*replies #long post/ #traincat talks comics #petermj #petergwen #this ended up just being gwen and mj because if i tackled everyone it'd be sooooo long

[mountphoenixrp]

We have a new citizen in Mount Phoenix:

                           Raphael Lyon Terrell, who is known by no other name;                                                     a 25 year old son of Dagda                         He is a freelance artist and front-end clerk at Sombra Muerte.

FC NAME/GROUP: Jung Jaewon/ONE (Soloist) CHARACTER NAME:  Raphael Lyon Terrell AGE/DATE OF BIRTH: 29th April 1994 (25 years old) PLACE OF BIRTH: Lyon, France OCCUPATION: front-end clerk at Sombra Muerte, freelance artist (painting mainly) HEIGHT: 176cm WEIGHT: n/a DEFINING FEATURES: Raphael has quite the collection of minimalist tattoos to express his love for art. He has two moons intersected on his nape, two triangles on his right wrist, a small wave on the inside of his left middle finger, a flower behind his right ear, two suns on his left ankle. He has other larger tattoos on his arms that he added quite recently. Besides these, he has multiple ear piercings, and a tongue piercing.

PERSONALITY: Indecipherable. Raphael’s personality can be all over the place, and quite hard to predict. He suffers of a—now—mild version of NPD, so he can be self-assured, egoistic and self-absorbed. He does not understand emotions well, and is used to get whatever he wants and needs. Raphael would probably observe a person before approaching them, trying to understand their body language. Despite this, he is very charming. He knows how to talk to people, he is witty and knowledgeable, probably the best conversation partner. But, he loves chaos. He cannot be close to people for too long, because he has a tendency to destroy them, or influence them. Because of this he never got the chance to explore love, or friendship beyond necessity. He would not know how to handle such emotions, and would probably not even recognise them. His world is dictated by his synaesthesia, he associates people with colours, hues and shades or an entire range of colours. As an artist, this helps him when painting. He regards this as a superpower, but there is nothing supernatural about it whatsoever. This mental association helps him describe the world in colours, making it seem more beautiful than it actually is. HISTORY: tw: mature language, violence, murder, mention of suicide

The coldness of winter covered the land with a heavy snow, and the poor woman barely found a roof to hide under. Sounds familiar? The name of a saint, the story of saint, a poor mother, and a cold winter. Wrong. Raphael Lyon Terrell is no saint. The issue at hand, his birth was miraculous, some might say god-blessed. The only ‘blessing’ was the penis that penetrated the poor woman. She loved the sex, but hated the aftermath. She was a Korean emigrant, better said criminal. She fled to France in order to escape a faith worse than death: prison. She was a devious woman, she liked giving her body for a penny. She adored inappropriate advances. No wonder a God had his way with her, who can blame him? But the seed left behind was merely a parasite in her eyes. She tried getting rid of it, but somehow she could not. She did not want to give him her name, so she never did. Her disassociation from the infant started at his conception. She gave birth in hospital, and willingly disappeared before she could see the baby. Naturally, he was sent to the orphanage. He did not have a name or identity for an entire year. They called him ‘Gaston’, because he was in every sense of the word a stranger. Luckily, a family took a liking in him. There was something about his eyes that they could not deny. So they took him, the brave family Terrell, and named him Raphael. Lyon, the lion, represents his strength. But he still believes it was a rather mundane association with the city he was born in.

Needless to say, he had a great life. The family was absurdly wealthy and well-connected. So wealthy that they considered an education in France to be inferior, and sent Raphael to—ironically—England where he studied at a private school. He lived in Newcastle upon Tyne for a large part of his life, so long in fact that he has lost the sweet sound of the English-French accent, replacing it with a strong British one. His French was still impeccable, according to his adoptive parents. Until he turned fourteen, his life has been perfectly peaceful. Painted in a sky blue, whirled around a cyan ribbon. He was an excellent student, predicted to have a bright future. He was talented in Arts, but Science came as a close second. But of course, the seed of evil still lived inside of him. Though as obvious as it was that Raphael was adopted—given his peculiar black eyes, black hair, and pale skin—he never asked about his real parents. He did not want to hear anything about them, nor connect in any way. On top of that, it was not like his adoptive parents knew them in any way, shape or form. But this changed.

Taking a life is an interesting experience, quite life-changing. Watching someone take their last breath, struggling to hang on just a little longer. Raphael remembers his first with glee and sometimes melancholy. It was this side of him that did not let him connect to people properly, despite having moments of euphoria. When he lost his innocence, he discovered his real power. Chaos. He was attracted to chaos, he would bathe in it, taking it in his veins, overdose. The colour of chaos was magnificent, a Prussian blue with hues of the once lost cyan, sometimes descending into navy. The first person he killed showed him how it feels like to have power. It was an accident, even if Raphael does not want to admit it. A bloke tried to grab him, and he tripped. Face met the ground, it broke like porcelain. And he died instantly. Raphael was never convicted, but his parents had to move him all the way to Dublin, where he started his third life.

Shortly after his first kill, Raphael was visited by an unexpected guest. It was not a physical meeting, but it surely felt like it. In his sleep, Dagda visited him for the first time. He presented himself as being his biological father, a being people do not call human—he is shit at explaining, Raphael thought. Nevertheless, Dagda expressed his disappointment. As a vessel to both life and death, powers such as Raphael’s should be used wisely, moreover they should be used only when necessary. And some other bullshit Raphael blocked out of his mind. He was not allowed to kill again. Psychological torment however was not part of the deal, so Raphael found his loophole. It was only later that he discovered just how easily it is to keep lives in a limbo.

The torment was euphoric, borderline orgasmic. The power, the thirst. The blues.

Destroying innocent souls was far more enjoyable. He watched them suffer, struggle to stay alive and eventually end their lives because of the pain. He calls it a win. Dublin was a blast. As Raphael grew up, he started enjoying the night life. His school records were off the charts, the boy had the looks and the brains. Not to mention the ladies and the men. He put himself through shit situations, and came out victorious. He touched a sword by accident, and saw how the life of the person who touched it next drained from them, hanging in the air like energy ready to be grabbed. Raphael, enthusiastic about this incredible discovery, cut the persons arm, watching how life came back to them, as though it has never left in the first place. The more he discovered about his power, the thirstier he became. He was bound to make a mistake. And so he did.

His father was most displeased to see his son spiral into madness. Raphael was diagnosed with NPD, or narcissistic personality disorder, at the fragile age of sixteen. In other words, he had all the makings of a serial killer, and was predisposed to end up like Narcissus. Therefore, Dagda had to set a trap for Raphael and let him get caught once. At seventeen, he was convicted to one year in prison for alleged drug possession, and some other shit he cannot remember. The torment he had to endure in prison was the solution. His adoptive parents were disappointed, and almost disowned him. But when Raphael turned eighteen and was freed, his entire personality changed. Or so they thought. He behaved like the old Raphael, a studious and elect student. He graduated Arts, and because of his love for the distorted beauty of art, he continued to pursue it. However, old habits die hard. The torment he inflicted on other people continued, but he no longer allowed them to die forever, like he would before. He kept his torture moderate, hidden, but still pleasurable.

When he turned twenty-four, his father thought it would be best for Raphael to live in a place where he can meet others with special abilities like his. Other people, who could potentially help him evolve, or at least entertain him. People, who can show him new colours, emotions and a more fulfilled life.

PANTHEON: Celtic CHILD OF: Dagda POWERS: Raphael can use any weapon as a taker and bringer of life, from smaller weapons like knives and darts, to larger ones like swords. He has a connection to the realm of spirits through magic, and can sometimes feel the energy of the weapons he chooses. He can sense if the weapon was used to take a life, or save a life. Occasionally, he would hear voices – though it is uncertain if it is due to his connection or mental state. Raphael is strong physically, and finds himself very hardly exhausted. Still, he is not invincible and given the right opponent he could lose or even die in battle. Given that his father is a patron of justice and fairness, there are certain protections he has casted upon his own son. However, his magic is not strong enough to subdue Raphael’s powers, and given the right person and circumstances Raphael can still do whatever he pleases.

STRENGTHS: the weapons he touches become his (they would not obey any other master, on the contrary, they would often turn against anyone else who tries to use them); he can sense energy from beyond through his weapons (more so if they have been used in violent deaths); he is knowledgeable in a  lot of things including practical things, and is a quick learner; he knows how to talk to people, because he is a great observant and can guess (more often than not correctly) what it is that they desire to hear

WEAKNESSES: he is not allowed (and physically cannot) harm innocent people due to some magic Dagda uses on him; he is not immortal and given his particular taste for danger he could end his life accidentally pretty quickly; unlike his father he cannot do magic (although if taught, he could probably do some magic – though not to the extent Hecate’s children would for example); he is mentally fragile and disturbed (could potentially go insane)

#kpop rp #krp #jung jaewon #yg one #mp; welcome

[novaimpactgenerator-blog]

MTHTMTE Ch. 4: The Talk

Summary

Coming back into consciousness was no small chore. It took a lot more effort than normal just to open my eyes. I groaned as my first attempt at getting up only caused my entire world to spin. I laid back down for a few more seconds before going for round two. Luckily, I won this time around and was able to sit up, although very slowly.

I blinked a few times to chase the blurriness out of my vision. I looked around and noticed that my surroundings were completely unfamiliar. Just as I was about to start panicking, memories of where I was and how I got here flooded back into my mind, along with a throbbing ache that pulsed through my head. 'Oh, that's right. I got lost on the Lost Light.'

"Heh. Ironic." I let out a little laugh while I massaged at my temples.

I decided that the best thing to do was to just get it over with quickly and force my body to adjust rather than wait for it. I rolled forward so I was on all fours and quickly launched myself up to my feet.

The rush I got afterward was almost enough to make me collapse, but I've fought through far worse while on the job. However, I did stop moving once I was up so I wouldn't make it even harder to see straight.

Once my view returned to one picture, I walked past the recharge slabs to the door. About halfway to the door, I checked my chronometer and realized just how much time had gone by. At this moment, I thought it best that I go ahead and just called Rodimus. I reached up and pressed the button for my comm. unit only to receive static and a spark of electricity that shocked my finger.

"Ow!... Hitting the wall must have damaged it. Oh well, guess I better get moving." With that said I pressed the button next to the door that was supposed to make it open. Supposed to. The monitor next to the door frame lit up and displayed the word, LOCKED. "Huh. That's pretty odd." I attempted to shove my fingers through the seem in the door to pry it open and when that didn't work I just stuck to pulling at the two parts of the door, but it didn't budge. Not even a little bit.

I chose to not think about it too hard seeing as how the strain would probably cause my stressed processing unit to stall. I quietly walked over to the container around the corner of the little hall that separated the doorway from the actual room. I touched my thumb to the tip of my index finger to send a signal to the carrier. When I reached to the side of the carrier a comparatively small panel opened and the suppression staff popped out of its holder and into my grip.

The staff itself was twice my height, but relatively thin so I could still grip it with only a little bit of space between my thumb and fingers. I silently walked back to the locked door, while I messed with the settings on the staff. Suddenly, the energy blade ability turned on and formed into the shape of a war ax.

'Sorry for breaking your ship, Roddy, but it's kinda holding me hostage right now.' I gripped the ax with both hands and got into the appropriate stance. I swung back and slashed down diagonally at the door holding me prisoner. At first, nothing happened, but after a few seconds, the bottom half of the door fell over with a thud making an uneven sort of triangle.

I calmly walked back over to the casing and sent the command to remagnetize the staff into the side of the carrier and the panel shut behind it to cover it again.

I then made my way back to the door and stepped onto the pieces on the floor and out into the hallway. I somewhat awkwardly shoved the pieces with my foot into the room. 'It'll have to do for now.'

I continued on my search for... actually anything would be fine. I traveled down the winding, endless halls until doors and turns got less and less abundant.

Then, I noticed something that gave me immense relief. 'Light!' I saw an open door, and it had rays of artificial light pouring out of it and into the dim halls.

I picked up the pace and practically ran to the door. My screeching halt caught the attention of the newly familiar bot inside.

"Rung!" I ran up to him. I slid down to my knees on the way and wrapped my arms around one of his legs while nuzzling the side of my head into his outer thigh.

"Nova Gen!? What's wrong?" He exclaimed as he wobbled, trying to keep his balance. "And where have you been?"

"I've been lost!" This made Rung do a double take.

"You've been lost for nearly half a day!?" Rung tried to drop down to my level, probably to comfort me, but I wouldn't let go of his leg, so all he could do was place one of his hands on my shoulder and the other on my head.

"And knocked out. But mostly lost!" I looked up at Rung as a spoke and he seemed to be genuinely shocked and concerned by my confession.

"Wait, knocked out?" At this point, I wasn't completely sure how Rung's eyebrows were still connected to his forehead because of how raised they were.

"Oh!" I perked up. "You're arm!" I looked up and saw that the limb was completely repaired. 'The medic must be very talented. If I didn't know any better, I'd say it never happened.'

"Don't worry about that. I'm fine. Why don't you come and sit down, and you can tell me about what happened to you, and where you've been?" Rung pointed to the two chairs in front of his desk with the hand he wasn't petting my head with.

"Alright," I finally let go of Rung's leg and he took a few steps back. As I was about to get up when he held out his hand for me to take, which I gratefully accepted with a bright smile. "Thank you."

"No problem. You may go ahead and pick a seat, while I close the door to give us some privacy," Rung said as he helped me to my feet.

"Ok." I walk over to one of the chairs and sat down, while he went to shut the door. I looked over the small number of things he had on his desk. Out of the corner of my eye, I caught a glimpse of yellow. I turned to find the model Ark he had been holding up outside, but it was broken.

"Oh no." I stood up from my chair and leaned over the desk to get a better look. "Did it break from the fall?" By now, Rung had made it to where I was and leaned over the desk to look at it as well.

"I'm not entirely sure. It is a shame though. It will take some time to fix." The look on Rung's face practically sang with disappointment.

"Alone maybe." I smiled at him.

"What do you mean?" He looked over and raised an eyebrow at me.

"Why don't we fix it while we talk? Together." I suggested with a shrug. A pause ensued followed by Rung returning my smile.

"That sounds lovely. Let me go get my tools real quick. I'll be right back." Rung stood up straight and walked off while I continued to observe the damages.

"Of course." I picked up the Ark and the pieces around it and moved it all to the edge of the table next to our chairs.

"Please, sit." Rung put down a little box next to the model and sat down in his chair. I quickly followed suit.

"Right. So where should we start? I-I haven't made or even fixed very many models before," I nervously admitted while rubbing the back of my neck. "But I can learn fast and follow instructions."

"In that case, let's start with seeing which pieces go where. And while we do that you can tell me what happened between us talking outside and you sliding into my office and attaching yourself to my leg." Rung smirked and raised an eyebrow at his little joke.

"Heh heh. Yeah, sorry about that. Anyway," I proceeded to tell Rung about going to look for a medic and ending up lost in the maze of hallways the ship held. Along the way, Rung would occasionally hand me a tool or a piece and quietly explain what to do before urging me to continue.

I explained how I had found a room where everything was perfect my height and put down my stuff. I saw that he glanced me out of the corner of my eye. I could tell that he wanted to ask me about what was in the box, but he chose not to, so I just continued with my story. I could always tell him later.

Then, I told him that there was an explosion that knocked me back into the room when I tried to leave and the impact knocked me out.

"Are you hurt?" Rung sounded worried as his eyebrows shot up.

"Who me? Oh, I'm fine. Don't worry." I knocked my knuckles against my head to prove my point. "I've got a hard head. Though my comm. did get broken." He raised his hand up to my head, but stop just short of touching me.

"Would you mind if I looked?" He held his hand next to my cheek, clearly not wanting to touch me without my permission. His kindness made me smirk sweetly at him.

"Not at all." I turned my head to the left to show him my damaged unit. He placed his right hand under my chin and his left on the back of my head. He carefully turned me this way and that to get a better look and make sure nothing was too serious. He eventually let me go with a bit of a relieved sigh.

"You seem fine." Rung pulled away and settled back into his chair.

"Thanks, Doc." He chuckled and shook his head side to side.

"I'm not that kind of doctor."

"Could have fooled me!" I flashed Rung a bright and wide closed eye grin making him chuckle more.

"Even so. I think you should get Ratchet to take a look at you when you can."

"Wait!" I quickly leaned forward and placed my hands on his shoulders and pulled him close to my face. "Did you say Ratchet? Ratchet's here? On the Lost Light?"

"Y-yes? I take it you've heard of him?" Rung asked sheepishly and turned his face away from mine a little. I figured he was a little uncomfortable at being this close, so I let him go.

"Heard of him? I know him! He used to be my doctor. Though it has been a couple centuries years, so I wouldn't be surprised if he doesn't remember me." I placed my index finger over my chin in thought before turning back to the model to continue working on it.

"You should go talk to him after Rodimus contacts us to say we can leave our rooms."

"RODDY!" Rung jumped a little in his seat at my outburst as I shot up straight and clutched at my head. "How could I forget!? I need to see him first. He's probably so worried right now. Or mad. I hope he's not mad."

"I highly doubt he'd be mad that you didn't go see him first thing after stepping on board." Rung placed his hand on my shoulder reassuringly with a little smirk.

"I'm more worried that he doesn't think I'm here. I didn't exactly tell the guy at the door to put my name down before charging into the ship." I sunk into my chair with a guilty look.

"Well, I'm sure he'll understand once you explain what happened. So how did you find my office, anyway?"

We both turned back to the work at hand and continued fixing the model.

"It was an accident really. Once I got out of my room, I just started walking again and I eventually saw the light outside of your door." I shrugged as I reattached the last piece I had. "Alright! How does it look!?"

"Let's take a look." Rung got up and inspected the craft while he walked over to the rest of them. "Like it never happened." He put it on the stand and stepped back to take it all in with his hands on his hips.

.

.

.

"There. Perfect." Then the door was knocked off its hinges and straight into Rung. "YAHH!"

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

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#oc #fanfiction #MTMTE #idw #ll #mtmte rodimus #rodimus #mtmte rung #rung #maccadam

[jedimanda]

May I present, DOCTOR STRANGE! Yes, I’m Mr. Cumberbatch can’t you tell?! Well I will tell you that I’m not Stephanie Strange. Who isn’t a character in the Marvel Universe but yet I get called that for some weird reason? Hmmm.. I wonder why.🤷‍♀️  #womenincosplayprobs. BUT, I digress. Let’s chat about how I made my favorite cosplay, yes I said it, MY FAVORITE COSPLAY I EVER MADE. That’s a tall order since most people would believe that my Star Wars cosplays are my favorite. Queen Amidala is right behind Strange in the “favorite costume line up of mine”. It’s all about the connection to the character. I love Doctor Strange. He is my favorite comic book character. I will say I came into this Strange dimension later than most. I’ve read some Avengers and Defenders comics before and I’ve always been intrigued by the character but never really dove into his storyline. It wasn’t until the movie in 2015 that I just fell in love with the character. I really loved that movie. So, I immediately dove into all the comics I could get. From the old 70s comics to the newest ones, I became enthralled. To show my appreciation for my new found comic love, I had to make his outfit.

I knew this build wouldn’t be a super long build (like 9 months for Amidala), but I knew I would be figuring things out along the way. The cloak was the first piece I wanted to tackle. I fabric swatched at Joann’s Fabric and on the first go, I found the exact fabric for the cloak. It was a special order upholstery fabric. More like fabric for a beautiful red couch. I needed that heavy drape looks but still have a little free flow to it. Next, I found a sensible red velvet and boom. The outer fabric has been sourced. Then, I headed over to Spoonflower.com to find the lining. Easy! Click here for the link to Spoonflower! The design was created by Shawna Lay. Thanks, Shawna!

Yippee! Fabric found. The next items I found were all the trims, cording, interfacing, and thread that I would need for the details on the cloak. I did use some pretty special interfacing for a lot of stiff parts of this whole cosplay such as the collar and shoulder padding on the vest. This stuff is pretty awesome, it’s called Super Structure Foam from the company Sew Much Cosplay. Click here to grab some and check them out.

With all the fabrics and notions for the cloak, it’s time to build. First, the draping. I did drape the cloak, so no pattern exists from me. If you are interested in finding a pattern for the cloak. Use the McCall’s 7676 Doctor Strange pattern. You can easily chop it up and use it. In my case, draping was the easiest.

Once the cloak was draped and I had the shape I wanted, I moved to the details that needed to be handsewn or machine sewed on. The collar has couching details on the back, check it out. This took some time.

From here on out it was a lot of topstitching trim and sewing on big pieces made like the shoulder pieces. Take a look.

I got creative with the trims and textures I had. Luckily Joann’s had a lot of great choices so I didn’t have to dye anything. Let’s move to the magic checkboard velvet pattern I created by accident. The cloak has these distinct velvet checkboard pieces on it. It really boggled my mind on how to get that exact design on the velvet. I thought that I would have to use chemicals to achieve that “burnout” look, so I purchased some. I really couldn’t get it to work well and I just hated dealing with it. I was using wax based chalk to draw out the designs on the velvet to establish an area for the chemicals. At one point, I made a mistake and to remove wax chalk mistake, you hit it with an iron and the chalk marks are removed. So I did that, and surprisingly a residue was left behind on the velvet causing the velvet to have a darker tone where the chalk was. GENIUS! So I grabbed my chalk and rulers then went to town.

It was pretty easy, draw out the design you want, hit it with the iron. Don’t forget to place a press cloth in between just to be safe. Turned out great!

The next couple of images are showing where I placed the checkerboard velvet pieces.

Here are some close ups of the shoulder piece creation.

With almost all my costumes, custom embroidery is added. This time, the custom parts were added to the borders of the cloak. I was able to find a blurry image of the piece online and then I cleaned it up in Adobe Illustrator, transferred it to my Embroidery design software, made it into an embroidery file, then moved it to my embroidery machine. Off it goes!

Now! It’s time to add the lining and call it done!

Very proud of this build so far! The cloak was a task. Let’s take a break.

I wanted to take a tiny break from sewing and work on some of the prop pieces for Doctor Strange. I was very lucky to have a great buddy from Twitter 3D print me the Eye of Agamotto (that works!), a sling ring, and the 2 triangle clasps on the cloak. SO MANY THANKS TO @JediJeremy. Seriously dude, thank you. Once I got the pieces, I painted them with gold leaf paint and then weathered with acrylic paint.

After the gold prop pieces were done, I moved to make the vest and tunic. Originally I thought I was going to completely draft these pieces with my own measurements, but I was just getting tired and I knew I could chop up the McCalls 7676 pattern to fit me just fine I made some mockups and did a lot of alterations, but it worked and fit great. If you want to use this pattern for your own Doctor Strange, go for it! Just be aware of the alterations you will have to do especially if you are trying to fit it around curves. I ended up raising the waistline up like 4-6 inches, thus also raising the hems too. Plus taking it in a lot on the sides and shoulder line.

As I stated above, I used simple linens and cotton for the fabrics. Just having the tunic and vest color is a tad different than the other. I completed the tunic using the McCalls pattern and added my own details like the striped pattern around the neckline. Those are just top stitched ribbons layered on each other. I ultimately ended up removing the zipper and just having it open. Worked better for the neckline. 

Now the vest. The details I added into my vest are some of my favorite parts of the entire outfit. The best part of that is that it was pretty simple just time-consuming. Following the pattern from McCalls and then altering to my size, I then chose an X shaped embroidery stitch on my Bernina sewing machine. With about 4 different blue colored thread, I stitched vertical line after vertical line alternating the different blue colors. Take a look.

Neat! The last thing I added to the vest was to the shoulders. I wanted a sharp shoulder with a bit of padding but not a lot. So I grabbed the super structure foam that I spoke about above, cut a should pad shape and ironed it on. Then ran some more vertical stitches through to give it a quilted look. Loved it! To finish out the vest, I added random ribbons and selvage edges of fabrics to the armhole edges. Turned out great!

OK! Almost done. The waist cincher corset was simple.

I just used McCall’s 7555 Yaya Han underbust corset. I altered it to what I needed but it worked just fine. Used some heavy black cotton fabric.

Now what’s left are the belts, cuffs, boots, and wig. I purchased two “belt” trims from Joann’s and did little to no major alts to them. The main belts were made from black yarn woven into a 5 strand braid, the other belt I purchased was some black vinyl trim woven into a 4 strand braid. BOOM! I added brown vinyl bias to the black vinyl belt on the edges then hand sewed on snaps. Next, the woven belt was a bit different. View the photos below to get a good grasp of the pattern of that particular belt. Once I figured out the shape, I created the silver ring from EVA foam coated with plasti-dip and silver paint with black weathering spots too.

The details I added next are near and dear to me. With every costume I create, I give the opportunity for anyone to become a part of my costumes via donations through the site, Ko-Fi. Any donation made to my cosplays fund, I will add your name into my outfit somewhere/somehow. For this outfit, my donators got their initials etched into the metal details on my belt. Take a look!

To finish up the belts, I took some black leather strands and wrapped the silver ring. Then I took more of the leather strands and wove it into the knitted black belt. See below

  Ok, belts are done! Move to the cuffs, these were easy in my opinion. First thing is to pattern your forearms, yes both because most people have two different sized forearms, then cut out 4 pieces of fabric with your pattern. 4 pieces because you will need to layer to make the cuffs more durable. Joann’s gets another win here because the trim pieces I found where from here too. Thanks Joann. Also, don’t forget to grab two separating zippers for your cuffs. Take a look at how I created them below, don’t be afraid to get a little haphazard with your placement.

After the cuffs where done, I then hit it with an airbrush to weather it. Anytime I can airbrush things, I’m all about it.

ARE WE DONE YET?! Nope! Hang tight, boots and wig left. My boots were super easy, basically, I purchased some cute knee high lace up boots from Amazon, then stitched on blue linen scraps. Yup, done. lol. I also airbrushed them too. Can’t stop, won’t stop. AIRBRUSH!

LAST THING! HERE WE GO. Wig time. I had the wonderful opportunity to win a seasonal sponsorship from Arda Wigs for my Doctor Strange cosplay. The sponsorship would cover my wig costs. THANKS, ARDA! So the wig and wig parts I chose are the Virginia Classic Lace Front in Dark Brown and Silver weft to tie in the sides of the wig. I actually made a Youtube tutorial video on the creation of the wig so take a peek below!

The last thing I want to add is my super awesome spell prop made by my buddy, Bubblesgal0re. If you are interested in grabbing one for yourself, shoot her an email!

If you have any questions at all, please feel free to contact me through email or any of my social media. I’m always ready to answer questions you have about your or my builds. Thank you so much for reading another long How-To blog post. I do appreciate it. My next posts will be all about my Luke Skywalker and Qi’ra build. MTFBWY ❤ Amanda

Doctor Strange photos from Alexandra Lee Studios

  Let’s get Strange. May I present, DOCTOR STRANGE! Yes, I'm Mr. Cumberbatch can't you tell?! Well I will tell you that I'm not Stephanie Strange.

[ferrus-worldbuilding]

The serae, the second sentient race to develop, still being in small tribes huddled around fires while the first sentient race (aka vetus domini) observed their own demise...

Ironically, they took up the vetus' name for them, with individuals being called "sera" or "seravid" and multiples referred to as "serae"

They live in the northern reaches of gravid, on the continent of birsk, where stretches of night followed by days of no sun are common, alongside industrial monoliths left behind by the vetus to easily cool their machinery.

Three known races of the serae exist: costal, wooded and flatland, called so because of where they live, and their subtle adaptations that let them live there with more ease

Costal serae are one of the most common, nearly tied with the wooded in total population. Adapted for living on modest islands that can be traversed with any small boat or raft, with some even being close enough to wade to, the majority of their food came from fish, shellfish, small game and plants that supported their diets, as a result they are the tallest of the races, when paired with the costal serae weighing around the same, you can see why their nicknames of "stretch" and "water reed" are common and sometimes used in satire. Looking at other parts of their anatomy, we can see they have longer, more prehensile toes with more notable webbing between them, spreading out as they swim to give more propulsion and shifting together on land to have smaller, quieter footfalls to stalk prey. The final noticeable change is how their canines are more pointed backwards than the normal set, thought to merely help in rending flesh from bites, or holding fish in a convenient place while the prey struggles.

The wooded serae are the most common race, making them a sort of benchmark for the races' differences, and as such i will talk about them in the later section of this post

the last of the tree main races is the flatland serae, or flatlanders. They are the shortest and stockiest of the three, showing that they typically hunt large grazers or carnivores, using superior intellect and teamwork to take them down, they lived much more so as nomads, travelling almost constantly to keep up with the migrating herds they both hunted and protected, with those that got left behind often getting picked up by another tribe and welcomed in after proving their worth in various rites, including but not limited to: firewalking, bloodletting, and tests of craftsmanship, which at the time were demanding but easy for those that were being tested, and as such they occasionally died and were left unburied...

Starting with the feet, or paws in this case, they have thick, commonly darker-colored pawpads, with four toes making contact with the ground alongside the pawpad, tipping the toes are blunt but thick and heavy claws that dig into the soft ground for more traction. Dense fur grows all around the paw, and in the spaces between the toes and main pad, softening the sounds of footsteps and helping keep some insulation before shoes were common. Two thirds of the way up their legs, we see dewclaws, much smaller than the rest of the toes and almost always pointing inwards with underdeveloped tendons, claws and pads. Typically not in the way, these may be removed surgically to make the leg more appealing in skin-tight clothes, or, less commonly to more comfortably wear some sort of leg guard while hiking or running. Almost the entire 'foot' is thin with dense fur as there is almost no muscle in this part, instead having tendons that pull everything into place at will, those being connected to the main leg, and held in the 'shin and calf' area...

Picking up at the shins and calf, we can see that it is the shortest part of the leg, just ⅔ the length of the foot and thigh individually, however, it contains all the muscle that controls the foot, including the slight pivot of the ankles and paw, and each of the toes. Just above that is the thigh, wreathed in muscles that work in conjunction with the calf, hip and even some in the lower back, all working together to allow them to both sprint faster than their prey and have stamina to run for longer than anything else, getting tired from a light jog or trot as if it were a slow walk for us.

Continuing up, we see wide hips and a tail that reaches not far past their ankles. the hips prevent their thighs rubbing each other raw while moving, as well as making their live birth easier for the mothers. The tails are thick and taper down along the length, covered in dense fluff on the top and sides, the sides getting thinner and shorter at the base. The sides dip in some, allowing them to release heat easier than if they were stockier. This area is so devoid of fats that often times muscle can be seen under the skin, contorting and twisting and tensing up. Moving to the top of the torso, we see somewhat broad shoulders with plenty of muscle, wrapping all around the body, with an exceptionally large tuft of fur at the top of the chest and over the collarbones, dipping under the sternum, this tuft of fur has a different pattern of hairs under it, able to act as a cushion comparable to a cotton pillow, with a higher concentration of veins under it, veins that can be opened to warm the tuft. The original use for this was to keep young warm in winter as well as condensing warmth into a small area when sleeping, though in more modern times, it's used more often than not in physical affection between lovers or parents to children.

The hands have four fingers and a thumb, each tipped with a thick but bluntly pointed claw, used like a cat's back claws: to grip onto things better. The hands, having once been paws, have pads at the tips of the fingers and the larger parts of the palms. The wrists can tilt up to 90 degrees to and from the palms, while the other dimension can only go to about 45 degrees, the wrists can pivot with the help of the two bones in the forearm which can partially twine around each other to turn 90 degrees from the inward palm that is "default". The upper arm is the same length as the forearm, with some extra to let the shoulder to socket in properly, there is one large, but dense bone here and several muscle groups that help move it, the shoulder and the forearm. The shoulder area has no muscle in it but is abundant in tendons to allow for more fine motor control in that area.

The head is one of the most unusual parts of their visible anatomy, as the shape is a modified version of what their evolutionary ancestor's skull was shaped like. Easily dividable into three large sections: the mouth, snout and the aptly named "braincase".

The latter of which is in the shape of a rough sphere, with backwards pointing horns attached just over a set of ears, these horns tend to be symmeterical and end up with the points pointing inwards, at a line of symetery that runs down the length of the skull, indicatable by a seam where the plates that form the skull formed together. Ears are roughly triangular and rest with the tops gently resting under the horns, these have a limited range of movment, able to fold to point down or more outwards. the spine joins with this part of the skull, with the top two bones of the neck being shaped slightly different to better support the skull by being wider with the topmost almost fused with the skull completely. The eye's orbit and the jaw's mandable connect the braincase to the snout and mouth, which is shaped like a triangle, if seen from above. The side profile is a little harder to explain, it starts out relatively short, then has a smooth, round part with an opening for the nostrils that leads to an incline that smoothly meets up with the middle of the braincase. The lower jaw, or mandible is relatively simple, a v-shape with teeth that point up and connecting bone at each end of it, unusaully, there is a little "knot" made out of bone, used to keep the joint from snapping when biting and never really becoming vestigial, instead, allowing for more muscle to be packed and tied in, increasing bite force by a nice bit.

finally is the teeth, most have three distinguishable types of teeth: the first are triangular teeth that lock together in a zig-zag pattern at the front, then is a wider, flatter set that is a mix of the first and last teeth in their mouths, and the last set, which are wide and flat, like molars and are used to crush and tear some foods for better digestion, these last sets are only present in the serae as they are the most varied in their diet, with them occasionally eating plants for nutrients that are rare in meat alone

The entire body, to help insulate itself is covered in soft, but dense fur, especially thick and soft in some areas, like the aforementioned cheat tuft, other such tufts are on the cheeks and the top and back of the head, behind the ears too, this is commonly styled like hair, to an extent

The most unusual part of their biology is something clearly visible, if you see one that was injured or something similar, that being their almost black blood, caused by an additional organelles in their blood cells and veins that converts some fats into thermal energy to keep the organism warm

[elsiesmith672]

10 Basic Principles of Visual Design

Yesterday I was listening to a podcast and heard someone who was about to ask a question saying something along the lines of "..long time fan, first time caller…" and for some reason that got me thinking about Medium. I've been consuming content here for a long time but have never contributed myself with my 2 cents. Today is the day this changes.

As my introduction I decided to write about something close to my heart, Visual Design (aka graphic design), more specifically the basic principles I learned to use which I consider essentials for me to perform my job well.

I want to keep this article short, for that reason I will try to be brief in each of these principles, for the ones that deserve a bit more depth I might dedicate a full length article in the future.

Ok, ready? It all starts with…

#1 Point, Line & Shape

These are the most basic building blocks of any design, no matter what it is. With these you can create anything you want, from simple icons to very complex illustrations, everything is made with the combination of these simple elements.

In geometry a point is a combination of x and y coordinates, add a z axis and you’re in 3D, but let's stick with 2 dimensions for this article.

If you connect two points you'll get a line. A line that is formed by an immensity of points, a bit like a bunch of atoms form molecules which, in turn, form all the objects around you. Then, if you add a third point and connect them all you have a shape, in this case a triangle, but as mentioned before you can use this basic elements to achieve pretty much anything that you want.

Now, to your eyes these shapes don't really exist until you add something to it…

#2 Color

The human eye can see over 10 million different colours from red to violet, and from young age all of us learn to attribute certain values or meanings to specific colours.

Imagine the traffic lights for instance. They’re just colours but we learn that red means stop, green means go and yellow means step on the metal because you can make it before it turns red. This to say that we take very different actions just based on a colour, sometimes even without thinking about it.

In my opinion this happens simply because we learn these things, not because a colour has an intrinsic meaning attached to it. This is more true if you consider that these meanings will change depending on your culture, where and when you were raised.

All this to say that you can add meaning, intention and a tone just by picking the right colour, you just need to make sure you understand very well who you're designing for.

Now that you can see your triangle, how about making it more interesting…

#3 Typography

This is a big one and I consider one of the most important, and difficult, things for designer to get right. It’s not only about what you write but how you present it. Typography is how your words look like.

With the right typeface you can have a banal piece of text and make it powerful, but that’s not easy to do, what is easy is to completely mess up a powerful statement just by selecting the wrong typeface. Typography, as well as colour, allows you to define a tone.

Most typefaces are designed with a purpose, you just need to learn what that is and use it in your favour. Some typefaces are great for big blocks of text, some work great as titles. Some are merely functional and super clear and others are just meant to be fun or used ironically (you know what I'm talking about).

There are thousands of different typefaces to choose from but unless you need something whimsical or you're trying to make something very specific I would always advise to stick with the classics. However, if you're felling bold you can even design your own typeface, although I think that is one of the most challenging things to do properly as a designer, but if you think you’re up for the task one thing that you can't forget is…

#4 Space

The way you balance your space can be a maker or a breaker, specially in typography.

You need to consider how each element/letter relates to each other, give them the precise breathing room they need, this is usually referred to as negative space (positive space are the actual letters).

You need to take the negative space as part of your design and use it well, space can be powerful and help your viewer to navigate through your design. It can also be a place to rest the eyes.

Use it wisely though, too much space and your design will look unfinished, too little space and your design will seem too crowded.

Managing to find the right ratio between positive and negative space allows you to create…

#5 Balance, Rhythm & Contrast

This is when you’re starting to make a bunch of plain elements into something interesting and appealing. Balance well all the elements on your design by considering their visual weight. A big black square in the your bottom right corner will sink your design from that side. Compensate for that weight or move it to other position.

he way you lay elements in the page is crucial, making some elements heavier than others will help to to create contrast and rhythm and lead your viewer's eyes through your design gracefully and effortlessly.

Something that may help you with rhythm and balance is also to play with…

#6 Scale

Scale helps you not only creating rhythm contrast and balance but also hierarchy. Basically not all the elements in your design should have the same importance, and one of the best ways to convey that is size.

Now, this must serve a purpose. Don’t go for the “make my logo bigger cream” approach and forget about the space I mentioned before.

For instance, take a newspaper page. What’s the biggest thing in the page?

The titles, that are also usually short. Why? So you can scan the page quickly and see if there’s something interesting for you to read. Then we have the subtitles that are smaller but give you a little more information about the article, and finally we have the article that has the smallest font size but also the most comfortable to read a long piece of text.

So, it’s all about making the size serve a purpose and never forget about the person who will consume your design. Speaking of newspaper, is time to bring some order with…

#7 Grid & Alignments

It’s like that oddly satisfying feeling when you're playing Tetris and you stack that last bar that clears your screen.

These are supposed to be invisible but you'll see them if you open a book or a newspaper, but (no matter what you’re designing) following a grid will structure your design and make it more pleasant and easier to digest.

Even if you’re making a chaotic design purposefully, there must be an order for that chaos.

Alignment is specially important with text, there are several ways to align it but my rule of thumb is to align it left. It always depends on what and for whom you’re designing of course, but generally, people read from left to right, top to bottom, which makes text that is center or right aligned much more difficult to read.

#8 Framing

This is a key concept in photography but it also applies in visual design.

Whether you’re using a picture, an illustration or something else, framing something properly makes all the difference.

Try to direct the eye to what matters, crop/frame images to make your subject stand out or to reinforce your message. It’s all about telling the right story and telling it well.

After all this, if you feel there's something missing, you can play around with…

#9 Texture & Patterns

I personally see texture and patterns like accessories, you don’t have to use them necessarily and you can live without them but sometimes they can, almost on their own, make your design or add that little extra interest it was missing.

Textures are not as trendy as they used to be a while ago but with them you can add another dimension to your design, making it more three dimensional and touchable.

The texture doesn't have to be in the composition itself, if it's something that is going to be printed, picking the right paper, add things like bevel, emboss or UV varnish can make your design pass from banal to something superb. But pick one, don't go crazy with the special finishings.

Patterns are all about repetition, and can be almost considered textures depending on how you’re using them. I see them mostly used as a way to inject rhythm and dynamism into a flat design and a way to compensate the excess of negative space.

Last but not least, and this is actually what I personally consider to be the holy grail of visual design…

#10 Visual Concept

This is the idea behind your design. What do you mean with it and what’s the deeper meaning behind the superficial image.

This is what distinguish a great design from something you can download from a stock website.

Design with intent and always have an idea that connects everything in your design. Pick your fonts carefully and with a purpose, think about how every tiny part of your design follows that base concept. Coherence is everything.

If your concept is strong you’ll be able to defend it and sell the idea to your client/boss or whomever you're presenting it to.

Also, a properly thought out will last for ages. Trendy hipster things are nice and cute but, as the moustaches and the checkered shirts, they come with an expiry date. I really believe that a good design does NOT follow trends, but it creates them instead.

There you have it, "my" 10 Principles to build a good design. Even thought I consider #10 the essential one, you need to pay attention to all the others principles and make sure you really become a master of your craft. You might have a great idea but I think you also need to know how to make it justice (or have someone who does it for you).

If you really want to know about  Creative Design Decks please share your thoughts in comment section.

#Packaging Design #Creative Design #Photo Retouching #Digital Marketing

[biointernet]

Hourglass symbolism

“The role played by time at the beginning of the universe is, I believe, the final key to removing the need for a Grand Designer, and revealing how the universe created itself. … Time itself must come to a stop. You can’t get to a time before the big bang, because there was no time before the big bang. We have finally found something that does not have a cause because there was no time for a cause to exist in. For me this means there is no possibility of a creator because there is no time for a creator to have existed. Since time itself began at the moment of the Big Bang, it was an event that could not have been caused or created by anyone or anything. … So when people ask me if a god created the universe, I tell them the question itself makes no sense. Time didn’t exist before the Big Bang, so there is no time for God to make the universe in. It’s like asking for directions to the edge of the Earth. The Earth is a sphere. It does not have an edge, so looking for it is a futile exercise.”  ― Stephen W. Hawking Hourglass symbolism The hourglass is synonymous with cycles and balance Energy passes between the two sides of the hourglass just as the energies of our world are contained by the atmosphere and crust. See also: Time symbolism, Hourglass and Death on St Thomas’ Church, Hourglass – symbol of Death, Hourglass and Skeleton, Father Time, Time Hub, The Hourglass, Hourglass History, Hourglass Body, Hourglass Tattoo All of the natural processes and cycles occur there (not including what happens in space, of course), which gives us a greater sense of relation with our environment. This also forces us to realize our roles in the natural cycles happening around us. Hourglass symbolism Tau (Time is) was used as a symbol for life-death or resurrection, whereas the eighth letter Tau of the Greek alphabet, theta, was considered the symbol of death. Ancient alchemists recognized the concept of balance in the hourglass. Its very shape is made up of triangles balancing each other out. Alchemists interpreted these triangles as representing two aspects of nature: the upper being the sky and the lower equating with Earth.

Hourglass symbolism The hourglass, sometimes with the addition of metaphorical wings, is often depicted as a symbol that human existence is fleeting, and that the "sands of time" will run out for every human life. It was used thus on pirate flags, to strike fear into the hearts of the pirates' victims. In England, hourglasses were sometimes placed in coffins, and they have graced gravestones for centuries. The hourglass was also used in alchemy as a symbol for hour.

Hourglass symbolism

Hourglass And Feminine Energies When it comes to sexuality, nothing is more feminine and luscious than an hourglass figure (hourglass body). The curvaceousness of the shape directly references the female and the specific cycles that she experiences in her life. As it is fully developed, the hourglass symbolizes a woman who has gone through the cycle of maiden to mother to crone. This spirit symbol shows that she has both learned and grown.

Hourglass figure Sophia Loren It channels all of the female energies into a single object that also happens to do with the passing of time. However, the balancing aspect of the hourglass brings about the concept of duality. When considering the dual nature of life, many examples come to mind: yin and yang, sun and moon, male and female, life and death, etc. The former Metropolitan Borough of Greenwich in London used an hourglass on its coat of arms, symbolising Greenwich's role as the origin of GMT. The district's successor, the Royal Borough of Greenwich, uses two hourglasses on its coat of arms.

Hourglass symbolism

Modern symbolic uses Hourglass cursor Recognition of the hourglass as a symbol of time has survived its obsolescence as a timekeeper. For example, the American television soap opera Days of Our Lives, since its first broadcast in 1965, has displayed an hourglass in its opening credits, with the narration, "Like sands through the hourglass, so are the days of our lives," spoken by Macdonald Carey. Various computer graphical user interfaces may change the pointer to an hourglass during a period when the program is in the middle of a task, and may not accept user input. During that period other programs, for example in different windows, may work normally. When such an hourglass does not disappear, it suggests a program is in an infinite loop and needs to be terminated, or is waiting for some external event (such as the user inserting a CD). Unicode has an HOURGLASS symbol at U+231B. Because of its symmetry, graphic signs resembling an hourglass are seen in the art of cultures which never encountered such objects. Vertical pairs of triangles joined at the apex are common in Native American art; both in North America, where it can represent, for example, the body of the Thunderbird or (in more elongated form) an enemy scalp, and in South America, where it is believed to represent a Chuncho jungle dweller. In Zulu textiles they symbolise a married man, as opposed to a pair of triangles joined at the base, which symbolize a married woman. Neolithic examples can be seen among Spanish cave paintings. Observers have even given the name "hourglass motif" to shapes which have more complex symmetry, such as a repeating circle and cross pattern from the Solomon Islands. Both the members of Project Tic Toc,from television series the Time Tunnel and the Challengers of the Unknown use symbols of the hourglass representing either time travel or time running out. Wiki

The Symbolism of the Hourglass by Frithjof Schuon

This essay first appeared in the French journal Études Traditionnelles (janvierfévrier, 1966), then in translation in the journal Tomorrow (Summer, 1966) as “Some Observations on the Symbolism of the Hourglass.” It has appeared in English as a chapter in the book Logic and Transcendence (Harper & Row, 1975; Perennial Books, 1984; World Wisdom, 2009). The essay below includes explanatory notes by editor James S. Cutsinger to World Wisdom’s 2009 new edition of the book. © World Wisdom, Inc. The hourglass is usually a symbol of time and death: the flowing sand, which measures duration, does indeed suggest time in its fatal and irreversible aspect—a slipping away that nothing can stop and whose finalities no one has the power to annul. Moreover the sterility of sand evokes the nothingness of things as mere earthly accidents, and the cessation of movement reminds us that the heart will stop and life will end. More

Masonic Hourglass https://www.sunsigns.org/symbolic-hourglass-meanings/ About Masonic Hourglass meaning

Hourglass symbolism

The meanings of symbols

The symbols carved in stone provide some of the best examples of folk art in Dumfries and Galloway. Richly decorated stones are often very attractive and combine emblems with different meanings. The first being symbols that represent mortality / immortality / biblical references, the second type representing the occupation and status of the people commemorated. Many headstones include a collection of emblems which may vary in style and sophistication even within the same churchyard. Mortality Skulls - Also known as death heads, they are often shown in profile and frequently shown with bones. Bones - Often shown crossed they also appear in a variety of combinations. Skeleton - Usually lying down they feature varying anatomical details. Hourglass - Sometimes lying on their sides or with wings. Coffin - Usually appearing with other symbols. Sexton’s tools - Usually a pick and spade often crossed. Corpse and deathbed - Dead humans are rarely depicted in coffins but deathbed scenes are more common. Ribbon - Sometimes the symbols are tied together with a ribbon. Immortality and biblical Winged spirits The most common symbol found, they are usually found on the top of a stone. Adam and Eve Rare carvings of Adam and Eve with an apple tree and snake. Resurrection scenes Bodies rising to heaven clad only in loin cloths Open book Depicting a bible. Flaming torches Representing eternal life. Trades Hammer men All trades which require a hammer such as jewlers and cobblers often use the hammer and crown symbol. Blacksmith An anvil or farrier with a horseshoe and pincers. Tailor Showing pressing iron and shears Gardener Rake, hoe and spade Gamekeeper Gun, powder flask, fishing rod, game bird and dog. Merchant The number 4 is often used to symbolise trading with the four corners of the world and often has crosses added to the arms but sometimes a ship is used to represent overseas trade. Weaver Usually depicted with a weavers shuttle.

Hourglass 266, post card3, Father Time Heraldry Heraldic shields show connections to a noble family but are sometimes used as a way of representing status by including trade symbols within a shield. Father and Mother of Time Time Hub Hourglass Body The Hourglass, Hourglass History

Contemporary Time Management

Time management is a meta-activity (working with meta-model) with the goal to maximize the overall benefit of a set of other activities within the boundary condition of a limited amount of time, as time itself cannot be managed because it is fixed.  Time management is the process of planning and exercising conscious control of time spent on specific activities, especially to increase effectiveness, efficiency or productivity. It is a juggling act of various demands of study, social life, employment, family, and personal interests and commitments with the finiteness of time.  Time management tools: The Biointernet Mirror (Mirror of Joy)BLAGA SystemThe Biointernet MaskFiles with Functions (For example: Beauty Bio Net Exhibition – 3DHM Dynamic Vision Board Mental Model by Lena Rhomberg and Adam Pierce)

The Symbolism of the Hourglass

by Frithjof Schuon This essay first appeared in the French journal Études Traditionnelles (janvier­ février, 1966), then in translation in the journal Tomorrow (Summer, 1966) as “Some Observations on the Symbolism of the Hourglass.” It has appeared in English as a chapter in the book Logic and Transcendence (Harper & Row, 1975; Perennial Books, 1984; World Wisdom, 2009). The essay below includes explanatory notes by editor James S. Cutsinger to World Wisdom’s 2009 new edition of the book. © World Wisdom, Inc. The hourglass is usually a symbol of time and death: the flowing sand, which measures duration, does indeed suggest time in its fatal and irreversible aspect—a slipping away that nothing can stop and whose finalities no one has the power to annul. Moreover the sterility of sand evokes the nothingness of things as mere earthly accidents, and the cessation of movement reminds us that the heart will stop and life will end. From another point of view the symbolism of the hourglass is drawn mainly from its very form: the two compartments that compose it represent the high and the low, heaven and earth,1and the movement of the sand indicates a pole of attraction, that of the lower, which is the only pole the physical plane can offer us; but in reality there are two poles, one earthly and one heavenly, so that heavenly attraction should be represented by an ascending movement of the sand toward the upper compartment; since this is physically impossible, what symbolizes it in fact is the act of turning the hourglass upside down, an action that in a sense manifests the object’s very reason for being. Spiritually, a movement toward the higher is always a sort of turning upside down, for the soul turns away from the world, which imprisons and disperses it, thus reversing the movement of its will or love.2 The expression “pole of attraction” calls to mind the image of two magnetic centers, one above and one below, though this may lead to the objection that heaven and earth are not “points” but “spaces”; the response, however, is that above and below—and by extension inward and outward—each possesses two aspects, one reductive and one expansive: the world attracts like a magnetic center, but at the same time it is diverse and it disperses; the “Kingdom of Heaven” also attracts like a magnet, but at the same time it is infinite and it expands. What is opposed to the space “world”—or what this space opposes—is the point “spirit”: the “strait gate”; and what is opposed to the space “spirit”, to the “Kingdom of Heaven” that is “within you”, is the point “world”: sin, luciferian and passional contraction.3 There is no point of contact between the world as such and Heaven as such: each will always appear as a bottleneck or prison to the other. At least this is so at the level of moral alternatives, though beyond this plane an immediate encounter—or a sort of coincidence—does come about between the two opposed points or between the spaces, especially in contemplative alchemy and by virtue of the metaphysical transparency of things; in this case, however, there is no longer an opposition but simply a difference of degree, mode, manifestation. Clearly earthly beauty cannot be identified with sin; it manifests heavenly Beauty and may for this reason serve as a spiritual leaven, as sacred art and the innocent harmony of nature both prove. The compressive force of sin is the inverted shadow of the beatific attraction of the “strait gate” just as passional dispersion is the inverted shadow of inward expansion toward the Infinite. The “lower compartment” is made of either inertia or weight, agitation or volatilization; inverting the hourglass—that is, choosing the other pole of attraction or changing direction—is pacification for the agitated soul and activation for the languid soul. Spiritual reality implies both the calm of the “motionless mover” and the life of the “central fire”; this is what the Song of Solomon expresses when it says: “I sleep, but my heart waketh.” There is an analogical relationship between the “high” and the “inward” and between the “low” and the “outward”: what is inward is manifested by height, and conversely, depending on the planes or circumstances; the same is true mutatis mutandis for outwardness and depth, taking these words in their cosmic sense. When Christ or the Virgin depart from the visible world, they begin by “ascending” whereas the angels “descend”, and Christ will come again by “descending”; one speaks of the “descent” of a Revelation and an “ascension” into Heaven. Height suggests the abyss between man and God, for the servant is below and the Lord above; inwardness refers more to Selfhood or the Self: the outward is the shell or form; the inward is the Kernel or Essence. Tending toward the higher thus also means living toward the inward; now the inward unfolds from the point at which the outward is abolished or on the basis of a mental or moral “concentration”. The “strait gate” is a priori a sacrificial annihilation, but it also signifies—and more profoundly—a beatific annihilation. One recalls the analogy between death and love, morsand amor: like love death is a giving up of self, and like death love is generous; each is the model or mirror of the other. Man must “die to the world”, but the world may also “die to man” when he has found the beatific mystery of the “strait gate” and has seized it; the “strait gate” is then the seed of Heaven, an opening toward Plenitude.4 The “strait gate” reveals its beatific quality when it appears not as a dark passageway but as the Center or Present—as the point of contact between the world or life and the “divine Dimension”: the Center is the blessed point beneath the divine Axis, and the Present is the blessed instant that leads us back to the divine Origin. As the neck of the hourglass shows, this apparent contraction in space and time, which seems to desire our annihilation, opens in reality onto a “new space” and a “new time” and thus transmutes both space, which surrounds and limits us, and time, which sweeps us along and eats away at us: space is then situated as if within us, and time becomes a circular or spiral river flowing round a motionless center. In the hourglass one compartment empties, and the other fills: this is the very picture of spiritual choice, a choice that is inescapable because “no man can serve two masters”; it is in the nature of things that a superficially heterogeneous element may sometimes be combined with a spiritual attitude—for a man outwardly rich can be “poor in spirit”—but with regard to the very center of our being it is never possible to place ourselves simultaneously on two incompatible levels. Another aspect of the symbolism of the hourglass—in this case cosmological—is the following: the flow of the grains of sand can be compared to the unfolding of all the possibilities included in a cycle of manifestation; when these possibilities are exhausted, the movement stops, and the cycle is closed.5 This is true not only of cosmic cycles but also—and in fact above all— of the divine Cycle, which comes to an end in the Apocatastasis after the passing of myriad subordinate cycles; from this point of view the shower of sand indicates the exhaustion of possibilities and, conversely, their final and total integration in the divine or nirvanic Dimension. The key doctrine of the hourglass is briefly this: God is One; now the number 1 is quantitatively the smallest of all, appearing in fact as the exclusion of quantity, hence as the extreme of poverty; but beyond number and at the level of principles, which number reflects in an inverted sense, Unity coincides with the Absolute and therefore with the Infinite, and it is pre­ cisely numerical indeterminacy that reflects in its way divine Infinitude. All the positive qualities that we notice in the world are limited; they are like the extreme and in a certain sense inverted points of essences, which unfold beyond our sense experience and even beyond all earthly consciousness. The “strait gate” is inversion and analogy, darkness and light, death and birth.

Symbol of Time Hourglass Light The hourglass also suggests a division of universal realities—or the sensory orders representing these realities—into two compartments, if one may express it this way; in other words the fundamental distinction between the relative and the Absolute, the outward and the Inward, the earthly and the Celestial may assume the following forms: One may distinguish between the material or visible world and the immaterial and invisible world; grosso modo this is the perspective of shamanists, in which the animic powers are considered prolongations of Divinity. A second distinction places the line of demarcation between the world and God beyond the animic domain and at the threshold of the angelic domain: in this perspective the angels are essentially divine aspects.6 A third way of distinguishing between the two great dimensions of the Universe is to draw the line of demarcation in such a way as to separate the material, animic, and angelic domains from the archangelic and divine domains:7 the divine Spirit, which appears at the center of the cosmos and which is as it were the Heart-Intellect of the world, encompasses the Archangels, who are its essential functions, and this Spirit is the Face of God turned toward the world; this perspective is to some extent adopted by Semitic monotheists, whose points of view vary in different cosmic or theophanic contexts. The Spirit of God is the great mystery the Koran refuses to define:8 this Spirit is either uncreated or created; it is the Logos or Word or Book, the archetype of every Revealer and every Revelation, containing the Dhyāni-Buddhas and their prolongations or functions as embodied in the great Bodhisattvas. According to a fourth perspective, which is metaphysical and represents the essential and invariable perspective of Semitic and Vishnuite monotheists, it is necessary to distinguish be­ tween manifestation and Principle, the existent cosmos and existentiating Being, creation and Creator—in short, between the world and God; a distinction is then drawn within God between the Qualities and the Essence. A fifth perspective, which is that of Shaivite Vedantists, distinguishes between Māyā andParamātmā: God the Creator is also included in Māyā, for Paramātmā alone is purely Absolute; but Ātmā encompasses at one and the same time the pure Absolute and the Absolute clothed in relativity: Para-Brahma, the “Supreme”, and Apara-Brahma, the “Non-Supreme”. To summarize, the human mind is capable of making an essential distinction between the material or visible and the Immaterial or Invisible; or between the formal—matter, soul, spirits— and the angelic Non-formal, rooted in the Divine; or between the peripheral—extending from the physical cosmos to the angelic cosmos—and the Central, the manifested Spirit of God with its archangelic functions and metacosmic root; or between existence and Being, the created and the Creator, together with its Essence, which is Beyond-Being; or finally between Relativity— metacosmic as well as cosmic—and the Absolute as such. But there are also two non-distinctions, one from below and the other from above. For the first, everything is God, and we are therefore parts of God; this amounts to pantheism unless one compensates for this perspective by emphasizing its transcendent complement, as does shamanism but not philosophical pantheism. According to the second non-distinction, nothing is except Ātmā; this is the Vedantic thesis, which never excludes distinctions wherever these can and should apply; it is also the Sufic thesis, according to which the world is Allah as al-Zāhir, the Outward.9 The same teaching is likewise found in Mahāyāna Buddhism: Samsāra isNirvāna, and Nirvāna is Samsāra; Existence is an aspect of Beyond-Existence, the supreme “Void”, and it is for this reason that every consciousness contains in its substance a point of ac­ cess to the “Void” or the Infinite, which is pure Beatitude. The interpenetration of the two Realities is depicted by the movement of the sand in the hourglass; but Reality is one just as the grains of sand are identical, and it is only differences of situation, if one may express it this way, that give rise to a disparity whose terms are incomparable, a disparity that is unilateral since one of the terms, even though it appears as “inward” in relation to the outwardness of the related term, is simply What is.

MMERE DANE - "time changes" symbol of change, life's dynamics. West African Wisdom: Adinkra Symbols & Meanings. Explanatory Notes by Editor James S. Cutsinger From Page 2 above: • “Enter ye in at the strait gate: for wide is the gate, and broad is the way, that leadeth to destruction, and many there be which go in thereat: because strait is the gate, and narrow is the way, which leadeth unto life, and few there be that find it” (Matt. 7:13-14). • “The kingdom of God is within you” (Luke 17:21). • The “motionless mover”, or Unmoved Mover, is Aristotle’s (see editor’s note for “Rationalism Real and Apparent”, p. 30) classic expression for the divine Principle, as in the Metaphysics, 1072b. • “I sleep, but my heart waketh” (Song of Sol. 5:2). • Note 3: The Theologia Germanica (“German Theology”) is an anonymous treatise of the late fourteenth century, which follows in the mystical tradition of Dionysius the Areopagite (see editor’s note for “Oriental Dialectic and Its Roots in Faith”, p. 125) and shares the fundamental vision of Meister Eckhart (see editor’s note for “Evidence and Mystery”, p. 95, Note 18). From Page 4 above: • “No man can serve two masters: for either he will hate the one, and love the other; or else he will hold to the one, and despise the other. Ye cannot serve God and mammon” (Matt. 6:24). • “Blessed are the poor in spirit: for theirs is the kingdom of heaven” (Matt. 5:3).From Page 6 above: • Note 9: “Take heed that ye despise not one of these little ones; for I say unto you, That in heaven their angels do always behold the face of my Father which is in heaven” (Matt. 18:10). From the online Library at: http://www.frithjofschuon.info 1 We might point out that in Muslim countries there are drums having the same shape as an hourglass, one side called “earth” and the other “heaven”; in the Far East there are similar drums, which are marked on their two skins with a sign derived from the Yin-Yang, a visual symbol composed of two compartments with different colors, each of which contains a point of the opposite color. 2 The conical tent of the nomadic Indians of North America contains the same symbolism: in the Indian tipi, the poles are placed in such a way that the ends extend considerably beyond their point of junction or crossing, and this represents the heavenly dimension; the point where the poles cross is not unlike the Gordian knot or the labyrinth, and it is considered by the Indians to be the passage along which souls escape to the Beyond. 3 “Scripture, Faith, and Truth bear witness that sin is nothing else on the part of the creature than the fact of turning away from the unchangeable Good and turning toward the changeable good; the creature turns away from the Perfect in order to turn toward ‘what is partial’ and imperfect, and most often toward itself” (Theologia Germanica, 2). 4 “Verily with hardship goeth ease,” says the Koran (94:5, 6), and this is a further allusion to the mystery of the “strait gate”, especially since the same passage begins with the words: “Did We not expand thy breast?”—that is, the “inward”. Other Koranic passages refer to the same symbolism: “He produced the two seas that meet. Between them is an isthmus they cannot cross” (55:19-20). “And it is He who produced the two seas, one sweet and palatable, the other salt and bitter; and He put between them an isthmus and a closed barrier” (25:53). According to the non-canonical Book of Esdras, “The sea is set in a wide place, that it might be deep and great. But put the case the entrance were narrow, and like a river; who then could go into the sea to look upon it, and to rule it? if he went not through the narrow, how could he come into the broad? . . . Then were the entrances of this world made narrow, full of sorrow and travail . . . for the entrances of the elder world were wide and sure, and brought immortal fruit” (2 Esdras 7:3-5, 12-13). 5 At the beginning of the flow, the movement of sand is imperceptible whereas toward the end it becomes quicker and quicker; this phenomenon is strictly analogous to what occurs in the unfolding of a cycle. 6 When the Essence has been forgotten in practice, the result is an angelolatry or a form of polytheism in the ordinary meaning of the word. 7 Polytheism may come about in this case as well, and in fact it usually has its origin in the distinction in question; it must not be forgotten, however, that the Archangels have their roots in the divine Qualities or “Names”, hence in Being itself; it is therefore impossible to assign a clearly determined metaphysical plane to the polytheistic deviation properly so called. 8 Al-Rūh, the Angel who is greater than all the others put together; in Hebrew, Ruah Elohīm. 9 It is this doctrine that allows Christ to identify “one of these little ones” with himself, hence with Divinity. See also:

Time symbolism

Hourglass and Death on St Thomas’ Church Hourglass – symbol of Death Hourglass and Skeleton “Hourglass and Cards” Exhibition Father and Mother of Time Time Hub The Hourglass, Hourglass History Hourglass symbolism Hourglass Body Hourglass Tattoo Symbols of Time Mother Time Hourglasses Father of Time Hourglasses

Contemporary Time Management

http://www.adinkra.org/htmls/adinkra/mmere.htm Read the full article

#conceptofbalance #conceptofbalanceinthehourglass #FatherTime #femaleenergies #FrithjofSchuon #HistoryofHourglass #Hourglasscursor #hourglasssymbolism #SymbolismoftheHourglass #torus #torusform

[takadasaiko]

Fallen Series: His Angel

FFN II AO3

Series Summary: One-shots following Robert Svane through his journey to becoming the Revenant Bobo Del Rey. Not written in chronological order. Pre-canon through current events in SyFy's Wynonna Earp.

One Shot Summary: A little girl is adopted by Ward and Michelle Earp and given the name Waverly. 

His Angel

It was something when he thought about it, the way that technology had advanced from the moment he'd woken up in that church in 1929 to find his old friend's death had finally kickstarted the curse that Clootie had cast on him and now. Transportation, communication, day-to-day gadgets that they wouldn't have dreamed about in his day. He handled it in stride, like the others. They didn't have much choice in it if they wanted to retain any grounding in the here and now that they found themsleves in. It didn't make it easy for some. There were still Revenants that refused to step foot into a moving vehicle and Bobo himself wasn't overly fond of the new cell phone fad that was beginning to crop up, but it was what it was, and if they were smart, they'd use it in any way that they could to get a little closer to the end to the curse that trapped them in Purgatory.

Then, sometimes, there were personal benefits as well.

Bobo Del Rey had left the name Robert Svane many years ago. It had been dangerous to hold onto and while there weren't many Revenants that knew his face, his name was one that could easily be passed around. Still, a very small part of him - one that he wouldn't admit to anybody - wanted to hold onto something. He didn't have anything left of that life, but as technology progressed he had found a strange and unique opportunity to find information outside of the Ghost River Triangle, and within the last few years he'd found something of personal interest: a family line that had settled in New Mexico with the name of Svane, and that line could be traced back to a Richard Svane, born 1837.

He could barely remember his brother's face now with the years and hell between them. So much had happened, and if he were honest, he hadn't given Richard - or any of his other siblings, for that matter - a second thought in decades now, but as he stared at his brother's lineage he could see him in their eyes. Many of them were the same blue as his own and a similar shape. They were lanky and thin, each one of them with an accomplishment of some note under their belt. Well, Richard always had been the one their parents had counted on.

For several years it was a passing hobby. He had connections in many places outside of the Triangle, and the ones he had in the little town that his brother's family had settled in kept an eye out for anything interesting. There wasn't a lot of news until the call came in. There'd been an accident. Richard's some-odd great-grandson and his wife had been killed, leaving a newborn baby girl alone with no family claiming her.

Bobo didn't consider himself a rash or sentimental man, but in that moment he had been both. Possibly stupid too. Scratch that. Definitely stupid. He had given the order and the girl was on her way to Purgatory before he'd truly thought it through. What the hell was he supposed to do with her when she got there? Keep her in the trailer park? Raise her amongst Revenants? Even if that wouldn't open him up to all kinds of problems, that was no place for a kid. He knew those demons, and many of them were just that before their trips to hell and back. No, he couldn't take her there.

But she didn't have anyone else, and he knew that this curse he was caught up in had the tendency to reach out and take hold of people connected to those under it at the worst of times. There was a reason that the only Earps from Wyatt's direct line always seemed to be in Purgatory.

The problem was he had no one to trust in his usual circle. It was one thing for someone outside of Purgatory to know he was orchestrating this, but someone inside? No, they would have knowledge - or at the very least suspicions - that he had no interest in anyone under him having. His place of leadership with the Revenants was based on respect and fear. Risking that would put him back to the start after sixty-five years of tireless work on it.

So it had to be someone outside of his usual circle that he could still trust.

Bobo had met Michelle Earp only once, but he knew her by reputation. She was a good person, as people went. She was kind and patient. She had to be to have married Ward Earp. She was odd, quiet, and there were rumours. Whispers. She knew things long before they happened. He hadn't seen any proof of that until he approached and she seemed to know the question before it was spoken. She didn't ask for details, didn't make any demands of him. A little girl needed a home and she had one in the Earp household.

Now, as Bobo lingered at the edge of the county line, thinking back on the marathon of events that he'd tumbled into, he was really starting to question his own sanity. He'd seen multiple trips to hell drive other Revenants mad. Maybe this was how his own madness was finally showing. He'd taken that final step from eccentric to batshit crazy.

He could see the vehicle approaching across the bridge and he shifted, waiting as it drew closer. It pulled around, the engine shutting off and he saw a face on the other side of the windshield he hadn't seen in person in some time now. She had passed through Purgatory years before in search of a relic she hadn't found, but what she had found was a collection of cursed men and women stuck inside the Ghost River Triangle. She had stayed for months, researching and poking at anyone willing to talk to her about it, even though most weren't. She'd caught his attention and then, in turn, she had found him fascinating. He found her useful. One could really never have too many outside connections. He couldn't remember how many years ago that had been now, but he could see the grey starting to dust her dark hair these days.

"Bobo Del Rey," Becky greeted as she stepped out of the van. "Damn if you haven't changed a bit in twenty years."

He smirked a little. She was a collector of myths and stories and she'd never stopped asking him for the details of Wyatt Earp's Curse, and he suspected she'd always known more about it than he had shared. It fascinated her. It wouldn't if she had been caught in it.

"She handled the trip pretty well for as little as she is," Becky said as she moved to the back door, revealing a tiny little girl tucked into a car seat in the back. "You want to meet your niece?"

"Pretty far removed to be that," Bobo said roughly, and watched as Becky picked the baby up out of the buggy and walked towards him. He didn't expect her to shuffle the child into his arms and his eyes widened at the bundle as she settled in there, Becky making sure he had an arm under her tiny head before fully releasing her. It had been more than a century since he'd held a child, and he wasn't sure he'd ever held one this small, but she looked up at him curiously, completely and utterly unafraid of the demon cradling her.

"But you're kin," Becky answered with a shrug. "That means something to you, doesn't it? I mean, it's not like we don't have a foster system in Maldito. She wouldn't have been on the streets."

He grunted, his gaze fixed on the little girl. Finally he looked up. "Thank you."

"Honestly, there are worse things you could have called the favour in for. You two going to be okay? It's a long drive back and I should…"

"She'll be alright. I've made arrangements."

"'Course you have," she chuckled and pulled bags full of…. stuff from the van. Bobo wasn't sure he knew what all it would be for, but with two girls already he wagered the Earps would. He'd made the right call. He had to believe that. There was no turning back now.

"You take care of him," Becky told the little girl with a wink and she was back in the van and driving away, leaving Bobo holding onto an innocent little girl that had somehow trusted him enough to doze back off in his arms.

He didn't have long with the little baby that could have easily been the last of his line. Richard's descendants in Maldito had been the only ones he had found. That didn't mean they were the only ones around, but no one else had claimed the little girl. At least here he could keep an eye on her.

"That's a sight you don't see everyday."

Bobo turned, careful not to move too quickly and jolt the little girl in his arms. He had tried to put her back in the little buggy Becky had brought, but somehow he couldn't let go. It was strange, but in the few moments he had left with her he didn't really care.

Ward Earp stood there, his typical cross expression set deeply into his features. It was mixed with a little bit of surprise this time, though, like he hadn't quite believed that he'd find Bobo Del Rey with an infant. It wasn't like there was any precedent for it. "She yours?" he asked after a long moment.

Bobo lifted one off-colour eyebrow. "I've heard that ain't even possible," he answered.

"Until it is," the Heir huffed and shook his head. "Keep your secrets. Michelle already talked me into it." He glanced back, the woman in question lingering a few yards away, and when he looked back he lowered his voice. "You are never to approach my wife or any of my family without me there again, you hear me, Del Rey?"

"Seemed better to ask the one that would actually do the watchin'," Bobo said with his head tilted just a little and he eased himself to his feet, the baby stirring in his arms and she yawned.

"You don't have to tell me where she comes from, but…. why us?"

The question pulled the Revenant's attention. It was a fair question. "Ironic as it is, your homestead may be the safest place in the Triangle."

Ward seemed to accept that and Michelle moved forward to get a better look. The little girl was waking up, those big eyes watching. Bobo found himself wondering if they'd always be that same shade, or if they'd settle out into a darker hue. He seemed to remember the photograph of the girl's mother having darker eyes.

"She likes you," Michelle said as she approached.

"She won't remember me," he answered gruffly.

Michelle reached out, her finger against the baby's cheek. "She's beautiful. You're doing the right thing." She looked up, meeting Bobo's gaze directly. "A good thing. You've probably saved her life, you know."

He snorted. That was a bit much. Ward's wife seemed to be under some misconception of exactly what he was and what something like him was still capable of. Good was a definite stretch. It really was best that he was letting her go.

"Storm's coming. We should get her home," Ward said shortly, shooting Bobo a skeptical look.

"I swear, if I find your boys got ahold of another couple of tourists and that's where she's from…"

Bobo chuckled at that and Michelle reached out, taking the little one from him. He pushed down strange sensation of loss as he passed her over. He couldn't keep her. There was no way. He cleared his throat. "What'll you name her?"

"Waverly. Wynonna picked it out when we told her and Willa they'd have a baby sister."

The name hit Bobo like a physical blow and he was glad he no longer had ahold of her. He might have dropped her in surprise. Waverly. His angel. He'd almost written the encounter off as a dream.

Michelle Earp was watching him with a strange, knowing look. "We'll take good care of her, Robert," she promised. "The girls will love her. We'll love her."

Bobo nodded numbly and risked reaching out, his rough finger against her smooth little cheek. "Goodbye, Waverly," he whispered and she watched him sleepily.

He hadn't expected it to hurt to let her go. He hadn't expected to feel much at all about a child that he didn't even know. But he did know her, in a way. He'd been waiting for her since the day he'd died. Waverly. His angel. The demon and his angel kin. What an odd world this was.

Notes: I've had a couple of ideas on how Waverly and Bobo are connected after he called her 'kin' in the season2 finale, but this is my favourite so far. I really like the idea of her being a descendant (even if not directly) of Robert's while Wynonna is Wyatt's descendant.

And hey! This one was finished just in time for Waverly's birthday. It seemed fitting to go up today

I hope you enjoyed! I'd love to hear your thoughts on it. :D

#Wynonna Earp #WE fanfiction #fallen series #Bobo Del Rey #Waverly Earp #Ward Earp #Michelle Earp