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Early Greek prose inquiry (historia) and mythical tradition-V

The Early Greek Prose-writing Tradition: Bridging the Myth-History Divide

Gaston Javier Basile

Dans Dialogues d'histoire ancienne 2019/2 (45/2), pages 81 à 112

“IV- Conclusions

This paper has tried to illustrate the engagement of early Greek prose inquiries (historiai) with the mythical tradition of Homer, Hesiod and the archaic poets. Naturally, the process should not be read in terms of advancement, progress or the realization of a telos (such as the transition from poetry to prose, orality to script culture or mythos to logos) but as the emergence of new discursive genres and cognitive schemata – possibly facilitated by certain technical and intellectual developments – that fostered a reworking of tradition and the use of alternative expressive means. It has been the aim of this paper to further ‘deconstruct’ the deep-seated myth/history polarity by redefining certain terms of the controversy. A crucial assumption in our discussion is the broad notion of historia, which is not understood anachronistically in terms of truth claims and fidelity to the facts of the past (whatever that may mean even today) but rather as a cognitive category and discursive mode that comprised a variety of intellectual undertakings throughout the archaic and classical period. In our view, historia designates an individual, comprehensive and active mode of inquiry bearing on empirical matters or involving a first-hand gathering and record of experience or source analysis. This inquiry adopted a new form of discourse: expository texts, largely narrative or descriptive, written in prose.

The myth/history divide – if we are to retain the slippery distinction – has been expatiated here in terms of the inception of new commentarial and heuristic procedures by writers through the sixth and fifth century and the development of new discursive prose types. These texts offered unprecedented expository and argumentative leeway for the engagement with the mythical past and the exploration of new forms of knowledge that often diverged from or criticized the mainstream poetic accounts. Some of the procedures deployed by early prose writers surveyed in this paper are: a) the emergence of an enunciator third-person voice in the narrative in charge of explaining or commenting on the source text; b) the production of synoptic and organic narrative accounts from the multifarious assortment of oral traditions; c) the recourse to etymology and verisimilitude in the appraisal of myths in the earlier texts, which soon turned into more sophisticated modes of explanation including reasoning by induction and deduction (as is the case with Herodotus); d) the anchoring of myths to the ‘realia’ – whether topographical sites, cult heroes, cult practices, etc. – or the historicization of myths; e) the treatment of myths and legends as ‘sources’ or testimonies that are open to various and often conflicting interpretations, as featured chiefly in Herodotus’ approach.

The change of medium plays a pivotal role in this reworking of the mythical legacy and the new intellectual pursuits. The abandonment of poetry in favour of prose can be envisioned as the response to the adaptation of language to new audiences, to new areas of inquiry, social needs and modes of circulation of knowledge. On the other hand, the choice of prose both required and favored a preeminent authorial control over the text, and called for the inscription of contextual elements (traditionally activated through performance) into the linguistic co-text. In sum, our analysis shows that these broadly-defined early prose-inquiries display a number of discursive strategies and commentarial procedures that depart from those deployed by poetic discourse (as featured chiefly by the Homeric, Hesiodic and elegiac traditions), but also (we can surmise) from the kind of prosaic speech that is generally associated with in vivo, spoken, oral interaction. Thus, early prose, largely of an expository type, exhibits procedures that recur in several distinct prose genres and that are explicated not only in terms of subject matter or disciplinary interests, but also of functional, pragmatic or sociolinguistic adjustments of language. Moreover, far from being a natural, default occurrence stemming from the abandonment of meter as an expressive medium, the linguistic fabric of early Greek prose reveals traces of its ‘constructed’ nature which have not yet been fully explored.

Notes

[1]Willhem Nestle’s developmental account of the progress of the Greek thought has been radically challenged over the past two decades (see, for example, the collection of essays in Buxton 1999). For a recent re-evaluation of the mythos/logos polarity, see Fowler 2011; Baragwanath, de Bakker 2012. On the applicability of the term mythos in the contemporary sense to Greek literature in general, see Calame 1996, 1999; Detienne 1967, 1986. [2]On this see Connor 1993, p. 7. See Hesiodus, Opera et Dies, 792 who talks about a “sound-witted” or sagacious man being born (ἵστορα φῶτα); Homer, Odyssea, XXI, 26 for Heracles’ skill at killing, or the Homeric Hymn (to Selene) for the Muses who know or are skilled in songs. Also Bacchylides in his Epinicians (poem 9) refers to the Amazons as “the women skilled with the spear” (ἐγχέων ἵστορες κοῦραι). [3]Cf. Lateiner 1986; Thomas 2000, p. 134-167. For historia as the new kind of research into the human past as initiated by Herodotus, cf. Bakker 2002, p. 15-19; Schepens 2007; Hartog 2001, p. 27-28; Lachenaud 2004, p. 12-19. [4]See Hartog 2001, p. 395-459; Schepens 1975; Fowler 1996; Fowler 2001; Bakker 2002; Schepens 2007, p. 42-45. On the connection between the ἵστωρ and ἱστορία, see Snell 1924; Nagy 1990, p. 250; Dewald 1987, p. 153; Thomas 2000, p. 164; Hartog 2001; Bakker 2002, p. 13-19; Darbo-Peschanski 2001, 2007; Schepens 2007, p. 39-55. [5]See Louis 1955; Lennox 1991, n. 4; Gotthelf 1988, n. 6. Cf. Aristoteles, Rhetorica, I, 4, 1359b22, 1360a24; III, 9, 1409a28; Problemata, XVIII 917b8; Poetica, 1451b1 and 1459a21-24; Analytica priora, 30, 46a24; De Caelo, III, 1, 298b2; De anima, I, 1, 402a4; Historia animalium, I, 6, 491a12, 2; De Generatione animalium, III, 8, 757b35 (historikôs). [6]Cf. Thomas 1992, 2003. [7]Cf. Kahn 2003; Asper 2007. [8]Herodotus’ “splendid isolationism” within the early Greek prose writing tradition has been the standard view in the second half of the twentieth century. This scholarly approach – which tended to separate Herodotus from his contemporaries and the early prose writing tradition – was grounded on Jacoby’s evolutionary model of explanation of Herodotus’ career. See Luraghi 2001, p. 6. [9]The collection of essays in Most 1997 offers a good starting-point for the classical tradition and its engagement with fragmentary sources. On the sources of ancient scholarship and the fragmentary nature of much of the extant material, see Dickey’s 2015 comprehensive overview, in particular, her discussion of fragmentary grammars, commentaries, lexica and scholia, p. 493-497. For cautions and important methodological approaches to dealing with fragments see Brunt 1980 and Schepens 1997. [10]On the use of the word logographos, see Thucydides, I, 2, 21; Hellanicus, T23; F25b; also Palaephatus, I, 11-16; 26. On the ancient historians, see also: Strabo, VIII, 3, 9 (Hecataeus, T10 = F25); Strabo, I, 2, 8; I, 2, 35 (Hellanicus, T19); Plutarch, De Iside et Osiride, 20; Polybius, VII, 7, 1. The term logographos in antiquity – though scarcely used – was loaded with pejorative overtones (Aeschines, In Ctesiphon, 173, De Falsa Legatione, 180; Demosthenes, XIX, 246, 250; Plato, Phaedo, 257C) and was employed as a term of abuse by rhetoricians and by Thucydides in his disparagement of his predecessors (Thucydides, I, 21). The general derogatory sense attached to the word was that of lack of accuracy, lack of concern for the truth claims of the narration or an inclination toward the fabulous. [11]Brill’s New Jacoby (online) is a fully-revised and enlarged edition of Jacoby’s FGrHist I-III with English translations and critical commentaries. [12]On the transition from poetry to prose, see Krischer 1965; Lang 1984, p. 37-51; Nagy 1987; 1990, p. 17-51, 215 f.; Herington 1991; Bakker 2002; Boedeker 2002, 2003, with further bibliography; Marincola 2006, 2007. [13]On early Greek prose in general, see Norden 1898; Zuntz 1972; Denniston 1952; Lilja 1968. For Attic prose and its connection to orality and performance, see the recent study by Vatri 2017. For a general discussion about Herodotus and his prose predecessors, see Thomas 2000; Fowler 2000, p. xxvii-xxxviii ; 2001; Raaflaub 2002; Fowler 2007. For Hecataeus, see Bertelli 2001; for Ion of Chios, see West 1985 and Dover 1986; for Hellanicus, see Möller 2001; for Antiochus of Syracuse, see Luraghi 2002. On Herodotus' text as ‘exceptional’ in the context of early Greek prose, a work which defies generic categories and establishes intertextual relations with (often blending) multiple discourse types, see Bakker 2007; Thomas 2007. For the overlapping and fluid genre distinctions in these early prose writers, see Marincola 1999; Fowler 2007, p. 96-98. [14]This is the view adopted by Murray 2001, p. 34, who sees Herodotus as the heir of an oral tradition of Ionian logopoioi (storytellers). Though Herodotus certainly draws on an oral tradition, in my view, his work is best understood within the general framework of an Ionian prose-writing tradition (which he incidentally criticizes, updates and reworks in view of his subject matter and the influx of the fifth-century intellectual milieu). [15]On the difference between oral and written conceptions as two poles of a continuum, see Oesterreicher 1997, p. 192-193; Tannen 1982; Chafe 1982, p. 49; Bakker 1997, 1999; Vatri 2017, p. 1-22. [16]In relation to the genesis and circulation of Herodotus’ logoi, see Lateiner 1989, p. 4-8; de Jong 2002; Evans 2008. It is still unsettled whether Herodotus lectured in front of an audience, read or improvised based on annotations or delivered a full text. Possible venues for Herodotus’ logoi may have been the symposium, the palaestra, private houses as well as pan-Hellenic gatherings such as the Olympic Games or religious festivals (see Stadter 1997). [17]Cf. West 1971, p. 3-4; Fritz 1938; Toye 1997 and Fowler 1999. See Schibli 1990, fr. 1, 2, 9, 10, 11, 12 for testimonia attributing the first prose narrative to Pherecydes. [18]This vexed question has been recently revisited in a collection of essays exploring the interface between myth and history in Herodotus (cf. Baragwanath, de Bakker 2012). A change in scholarly approach has started to come to terms with the mythical content of Herodotus’ Histories in its own right, rather than seeing it as a residue or remnant of an archaic mentality which detracted from the text’s historical rigour (cf. Griffiths 2006). The commonplace term for any kind of tale in Herodotus is logos, while the term mythos is only used twice (in the restricted sense of unaccountable story). As to the long-debated question of whether Herodotus identifies a spatium mythicum as separate from a spatium historicum, equally plausible arguments have been proposed on either side (answering in the affirmative: inter alia Shimrom 1973; Fornara 1983, p. 6-8; Darbo-Peschanski 1987, p. 25-38; Canfora 1991, p. 5-6; in the negative: Hunter 1982, p. 93-115; Harrison 2000, p. 203-207; Cobet 2002, p. 405-411). [19]Prosification is as a standard procedure in cultural development over time. Mise en prose is a fully-fledged, complex, literary transformation that involves a new expressive medium altogether. As the case of medieval renderings of verse into prose shows, the prosator excises, condenses or expands segments of the poems, but also produces omissions or additions. On the exegetical and critical use of tradition by the early prose writers, see Bertelli 2001, p. 69. [20]See, for example, Hecataeus, F15 and the genealogy of the Deucalionids; also, his correction of Hesiod in F26. On Hecataeus’ ‘rationalism’ see Momigliano 1931; Gitti 1952; Tozzi 1963; 1964; 1966; Bertelli 2001, p. 84-89; Fowler 2013, p. xv-xvi. For a comprehensive recent examination of the Greek tendency to rationalize myths and its implications, see Hawes 2014, p. 1-36. [21]Hecataeus, F1. [22]De elocutione, 12. [23]These programmatic opening lines have received considerable scholarly attention. See Calame 1986, p. 81; Corcella 1996; Svenbro 1988, p. 166; Bertelli 2001, p. 80-81; Fowler 2001, p. 101-103. Hecataeus’ critique of the Greek logoi, which are many (polloi) and absurd (geloioi), probably entailed making corrections, amendments or offering conjectures of his own or drawing on local traditions. [24]On the importance of the Hesiodic Catalogue in the works of the first prose genealogists, see Bertelli 2001. [25]See, for instance, Herodotus, II, 143 (= Hecataeus, T5; 6; 7) reporting Hecateus’ alleged conversation with the Egyptian priests at Thebes; also Hellanicus’ Priestesses of Hera attempts at chronology as an alternative to the old reckoning by generations. The use of prose to render poetic genealogies cannot be regarded as a simple and unproblematic change of medium, as sometimes believed. The choice of prose rather than verse enables a critical attitude to the genealogical material (see Bertelli 2001). As to whether there are traces of any chronological criteria in the organization of these genealogies, see Mitchel 1956 – who rejects Meyer’s 1892 forty-year generation span in Hecataeus –; Fowler 1996, p. 75, Bertelli 2001, p. 90-95; Fowler 2001, p. 103-105. For the transition from relative chronology to absolute chronography, see Mosshammer 1979. On Hecataeus FGrH I F1-35, see Meyer 1892; on Pherecydes FGrH 3, see Ruschenhusch 1995, 1999, 2000; on Hellanicus FGrH 4 F74-86, see Jacoby 1912, p. 114-127. For a discussion of the organization of time in the Histories and whether Herodotus elaborated a systematic chronology, see Cobet 1999, p. 604-605; Asheri 1988, p. cxii; Cobet 2002. Cobet 2002, p. 411 distinguishes three time periods in the Histories: “1) the complex stories about beginnings, the age or the Greek poets’ gods and heroes, traditionally the mythical period; 2) the meagrely filled in a ‘floating gap’ or Dark Age; 3) the spatium historicum in the proper sense, to be divided into the horizon of the oriental kings and the ‘recent past’ of the three generations”. [26]See Pearson 1939, p. 152-235; Ambaglio 1980, p. 40-41; Mösler 2001, p. 241-262. [27]For a general outline of some of these procedures common to the early Greek prose writing tradition, see Bertelli 2001; Möller 2001; Raaflaub 2002, p. 157-158; Fowler 2007, p. 37-38. [28]The genealogy of the Deucalionids (Athenaeus, II, 35 = Hecataeus, F15); the real nature of Cerberus the “dog of Hades” of Cape Taenarum (Pausanias, III, 25, 4 = Hecataeus, F27); Hecataeus, F19 (Aegyptus’ sons); Hellanicus of Lesbos, F111 (vitulus/Vitulia) F28 (rationalization of Iliad, XXI, 242); F175 (etymology of Osiris); Hecataeus, FGrH 1 F22 (Mykenai is derived from Perseus’ scabbard μύκης). Similar procedures are used by Herodotus in his Egyptian logos to discuss mythological and/or ethnographical and historical material. Herodotus, II, 28; 30; 44-46 (Heracles); 52; 56-7 (foundation legend of the oracle of Dodona). Herodotus also deploys more sophisticated modes of explanation including reasoning by induction and deduction. [29]On the various ways in which ‘names’ often generate myths, see Kraus 1987, p. 18; Leclerc 1993, p. 271; Peradotto 1990, p. 107-108. On ancient, especially Greek, etymology, see the comprehensive discussion by Sluiter 2015. [30]Odyssea, XIX, 406-408. [31]Theogony, 140-144. [32]Theogony, 280-284. [33]Cf. Odyssea, VII, 54: Ἀρήτη δ᾽ ὄνομ᾽ ἐστὶν ἐπώνυμον (‘the Desired’); Odyssea, XIX, 409 (τῷ δ᾽ Ὀδυσεὺς ὄνομ' ἔστω ἐπώνυμον); Iliad, IX, 562 (Ἀλκυόνην καλέεσκον ἐπώνυμον, οὕνεκ᾽) cf. Homeric Hymn to Apollo, 372-373; Hesiodus, Theogony, 144 (Κύκλωπες δ᾽ ὄνομ᾽ ἦσαν ἐπώνυμοι, οὕνεκα), Theogony, 282 (τῷ μὲν ἐπώνυμον ἦεν [Χρυσάωρ], ὅτ᾽). On the metaphorical quality of Greek proper names which, by way of etymology, evoke the identity of the bearer, see Calame 1995, p. 183-185. [34]cf. Hesiodus, Opera et Dies, 572 and [Sc.] 292; see also Iliad, XIV, 114. Cf. also Catalogue of Women, fr. 2-7 and 234. [35]Hecataeus, F15; Athenaeus, II 35AB. [36]Interestingly, Hesiod (Opera et Dies, 571-572) in two successive verses connects the words φυτά (plants) and οἰνέων (vineyards). [37]This observation is at least partially confirmed by the use of the word οἴνη by Hesiod (Opera et Dies, 572). [38]Surprisingly, these early occurrences of the term Έλληνες in Hecataeus to designate the Greeks as a national unit have been, to the best of my knowledge, largely ignored. The word also figures in the genitive case in Hecataeus’ proem (see above). In fact, Hecataeus – and possibly the early Greek prose-writers – could be seen as the missing link in the dissemination of this ethnical term, which becomes commonplace in the fifth-century (presumably, after the Persian wars). In archaic poetry, the usual term is Πανέλληνες rather than ῾Έλληνες (cf. Hesiodus, Opera et Dies, 526-8; fr. 130 Merkelbach-West; Archilochus, fr. 54 Diehl). Indeed, the earlier record of the term Hellenes in the wider meaning (to indicate a collective national identity) appears in writing for the first time – according to Pausanias’ citation (X, 7, 6) – in an inscription by Echembrotus, dedicated to Heracles for his victory in the Amphictyonic Games (584 BCE). According to Thucydides (I, 132), after the Greco-Persian Wars, an inscription was written in Delphi celebrating the victory over the Persians and calling Pausanias the leading general of the ‘Hellenes’ (cf. Hall 2003, p. 125-154). Now, this reference to language as a common ethnical linkage between the Greeks of the past and the present by Hecataeus is highly significant and predates the celebrated definition of ‘hellenicity’ (to hellenikon) by Herodotus at VIII, 144, where a common language is mentioned as one of the constituent elements of Greek identity. [39]On the distinction between the often confused Pherecydes of Athens and Pherecydes of Syros, cf. Fowler 1999; Pamias 2005. On Pherecydes of Athens’ genealogical work, the mythological content of his writings, and the stylistic and narrative character of his prose, see the edition Dolcetti 2004, p. 16-33; also Fowler 2013, p. 706-715. [40]Pythian IV, 75. [41]Pherecydes of Athens (F105) Scholia at Pindar, Pythian IV, 133a. [42]Transl. by Fowler 2006, p. 39. [43]For a linguistic analysis of this fragment and its enunciative circumstances, see Fowler’s 2006 instructive examination of Jason’s account by Pherecydes and other sources. Some of his insightful remarks are reproduced in my own analysis. For further references, see Fowler’s 2013 ad locum commentary of this fragment, p. 723-724. [44]Cf. Farnell 1930-1932, II, p. 147. [45]Later Apollodoros (I, 8-11) building up on Pherecydes’ account said Jason lost his sandal when he tried to ford the river in its winter spate. [46]Cf. Pindar, Pythian IV, 155-170. Earlier poetic accounts (Hesiod, Theogony, 994 and Mimnermus, fr. 11.3) simply allude to Pelias’ vengeful and evil scheme but offer no explicit motivation. [47]In Homer, Hera helps the Argo past the Planktai (Odyssea, XII, 69 f.) and, in Pindar, she inspires the Argonauts with a passion for their ship. It is only here that we hear about Hera’s vengeful design against Pelias. The reason behind Hera’s spite against Pelias is recounted by Apollonius (Argonautica, I, 13-14), who probably drew it from Pherercydes. The reason was that Pelias had paid homage to Poseidon and the other gods, but not to Hera. [48]For an analysis of Pythian IV, see the detailed monograph by Segal 1986. The sequential chronological arrangement of events in Pindar’s version is often broken up or altered for dramatic effect. On the encounter between Jason and Pelias in Pindar’s account, see Robbins 1975; Carey 1980; Schubert 2004, who offer reviews of earlier discussions and references. As to the connection between Pindar and Pherecydes’ account it is unclear whether one or the other drew on his contemporary’s work. The differences between their accounts seem to suggest that both authors elaborated on a pre-existing source rather than derived from each other’s work. Indeed, the only formal similarity between both accounts is the reference to the oracle, possibly a standard motif in the saga. The details of the narrative vary substantially: in Pindar’s version Jason arrives alone in the market-place while Pherecydes arrives in the midst of a crowd on occasion of a sacrifice; Pherecydes narrates the search for the Golden Fleece as a self-imposed task, while Pindar mentions Pelias’ dream and his cunning plot (cf. Farnell 1930-1932, II, p. 144-148; Hurst 1983, p. 157 f.; Segal 1986, p. 50-51). [49]Cf. Fowler 2006. [50]See Calame 1995; Fowler 2006. [51]Cf. Pherecydes of Athens F146; Hecataeus, F26 (Geryon) 27; F138 (virgin sacrifice to Lemnian goddess); F305 (shrine of Leto in Boutoi); Herodotus, II, 91 (festival in honour of Perseus at Chemmis); II, 156 (etiology of the floating island of Chemmis); II, 171 (the Thesmophoria). [52]Cf. Schibli 1990 fr. 1, 2, 9, 10, 11, 12 for testimonia attributing the first prose narrative to Pherecydes. Diogenes Laertius (I, 1) includes him among the sages of Ancient Greece. On eastern influences on Pherecydes and other early Greek intellectuals, see West 1971, p. 174-175. As to the circulation of Pherecydes’ text, scholars tend to believe it should be understood as a kind of script (συγγραφή) that would aid the public performance (ἐπιδείξις) of its content in relatively restricted circles (cf. Granger 2007, p. 425-428; Kahn 2003, p. 152). [53]See Granger 2007. [54]Schibli 1990, p. 54-55. [55]On the aetiological significance of this fragment, see the detailed discussion in Schibli 1990, p. 61-69; on the anakalupteria, see Llewellyn-Jones 2003, p. 27-30. [56]Cf. Hartog 1988, p. 276, 315; Nagy 1987; Thomas 2000, p. 267; Boedeker 2002, p. 108. Marincola 2006, p. 21-22; Said 2007, p. 83. Lloyd 1992, p. 46-52; de Jong 2012. [57]Cf. Lloyd 1992, p. 46-52. Lloyd suggests that Herodotus’ variant version may have been already in Hecataeus. For a general survey of these versions, see Austin 1995. [58]Herodotus, II, 116, 1. [59]Herodotus, II, 117, 1.”

Source: https://www.cairn.info/revue-dialogues-d-histoire-ancienne-2019-2-page-81.htm

Gaston J. Basile , Andrew W Mellon Fellow, is Senior Lecturer in the Department of Classics at the University of Buenos Aires. He has conducted postdoctoral research on topics related to the genesis of Greek scientific discourse, the Italian humanists’ intellectual engagement with Greek and Latin texts and, most recently, on the theory and practice of translation in the Italian Quattrocento with a special focus on scientific texts. He was visiting scholar at the Università degli Studi di Siena (2011 and 2016); postdoctoral research fellow at the University of Buenos Aires (2015-2017); Visiting Scholar at the Institut für Klassische Philologie, Humbodlt-Universität (2018); and Erasmus/Henri Crawford Fellow at the Warburg Institute, University of London (2019).

Source: http://itatti.harvard.edu/people/gaston-javier-basile

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ctrl-altgr · 9 months

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When does Omori take place?

[Content Warning: Spoilers for Omori, character death, weapons.]

This is a very long post, grab some popcorn.

[EDIT: Thanks for the addition by @basil-daisy, given the in-game dates and mention of a weekend in the photo album, it's more likely that headspace and the real world take place in 1996 and 2000 respectively, this actually adds on to the console idea. Though, I think the Dial-Up thing was probably more of a joke from Omocat, since it doesn't fit with the time-frame as well]

One of the main questions we dont get answers for in omori is when the game takes place, neither from the real world or sunny's headspace. However, it can be narrowed down to a decent margin of error.

Month Mentions?

We learn from Kel that Hero is coming home from college during the "Three days remaining" chapter of the game. This can be assumed to be the very beginning of the summer vacation. This would be arround May or June for colleges in the USA, which is likely where the game is set judging by the USA-style housing. This means the game takes place at least a month before Sunny's birthday, either in May or June, but what year is it?

[ID: A quote from Kel to Sunny, "Actually... Since we're here, I should probably get a gift for HERO. He's in college right now, but he should be coming back sometime tomorrow." He and Sunny are stood by the entrance of a hobby shop, Hobbeez. Kel is grinning.]

Headspace Hints?

Headspace is by far the largest part of the game in terms of playtime, so there should be one or two clues hidden in there right? Well, inferring from the environments and one specific line of text, we can narrow it down to the decade.

In the Foe Facts journal, it is stated that the Dial-Up and Mixtape enemies are "Ancient," and "A relic of the past," giving us a large timeframe.

[ID: A description of the Dial-Up enemy. To the left, there is a drawing of what it looks like. It appears to be an old CRT monitor showing a character similar to the old AOL logo, the monitor stands on a computer placed on its side, both of which are placed next to a telephone modem representing the Dial-Up. The description of the enemy to the right says, "An ancient form of accessing communication networks. Makes a horrible ear-piercing noise when used. - OMORI," Hero adds on to this by stating "Ah, this sound reminds me of the good old days..."]

This description of Dial-Up suggests Hero, being the oldest of the group, was old enough to fondly remember Dial-Up internet, but Sunny, in the form of Omori, does not. Hero is stated to be 15 by Sprout Mole Mike in headspace, and Omori is approximately 12, as Mari dies two months after Sunny's 12th birthday. Meaning Sunny and Hero are apart in age by 3 years.

In a recent patch of the game, and in all of the console versions of the game, one specific line of text gives the exact decade the headspace takes place in, which could be inferred either way.

If you talk to Mr. Jawsum post-Humphrey fight, he hands over the Last Resort to Hero, which adds a portrait of him to the hallway following up to an elevator that leads to a waiting room. The desciption of this portrait tells us the year that Headspace takes place in, 199X, where the last digit of the year is hidden from us.

[ID: A hallway in the Last Resort. Portraits line the wall, each of the previous and current owners of the Last Resort. All previous owners, shown to the left, are sharks (the last anthropomorphised). The most recent owner, to the right, Hero, whom the portrait description says began managing the establishment starting year "199X," where supposedly the final digit of the year is obfuscated.]

However, there is a slight contradiction in the years here. Broadband had a surgance and overtook Dial-Up as the main internet provider post-2000, and so Sunny may be misremembering things, unless Hero's family had access to broadband internet in the 90s. Which is unlikely. (There is also not much information that I could find on the popularity of different internet providers between 1990 and 2000)

So then, it is likely that headspace takes place between this shift, towards the end of the 90s.

Town Tips?

From the real world, we don't get many clues to the placement of the story time-wise. So, what can we infer?

Well, a large amount of the households in Faraway do not have computers, and if they do, they are usually in the parents' room, as a work computer. And, all of the computers and televisions use CRT rather than LED/LCD, with most people having CRT monitors up to 2007.

Using the merch produced by Omocat, we can also see that the hooligans as a group have been around since 20XX, with the final two digits of the year hidden. However, we know that Sunny has not been outside for 4 years, meaning we can narrow it down to 2004 or prior.

[ID: Official Omori merch. A black bomber jacket showing depictions of nail-bats, flowers, pinwheels, a statue of a gate, and two road signs, one showing a bicycle, the other showing three scooters. The text across the bomber jacket reads "Faraway Town - The future belongs to the dreamers - Since 20XX - Ride or die - Hooligans"]

Hobbeez also has a few gaming consoles in stock, with the newest one in there having cartridge games. It appears to resemble a SNES, however it is unlikely that is what is, since they discontinued production in 1999 in North America.

[ID: A zoomed in screenshot of the "Brand new console system" found in hobbeez. Sunny, seen to the right, is looking at the console.]

What is more likely for this to be is something similar to a N64, which released after the SNES but also sold its games as cartridges. The first nintendo console to start using compact discs was the GameCube, as such, this gives a narrow window for the placement of the game. So, when did each of these consoles start and stop production?

The N64 was discontinued in April 2002 worldwide, with the GameCube being released in North America November 2001. This gives us an approximate window for when the real world of Omori takes place, as it is unlikely that a small hobby shop like Hobbeez would be selling many of the brand new consoles day one of the GC's release.

Conclusion?

Well, with headspace being Sunny's memories, it is unlikely for complete consistancy with the timeframe of the story, but headspace most likely takes place in the years surrounding 1998, four years prior to the real world timeline.

Faraway however most likely takes place May 2002. Though Kel takes notice to the price of the console, which would be much lower than its release price, it would still be a lot of money for a 16 year old. It is also unclear if the description "brand new console system," refers to the specific console in Hobbeez, or the system as a whole.

Wow, we're done. What do you think? If you have any other ideas of to what year this could take place, feel free to mention it to me!! :D

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sixpossumsinatrenchcoat · 9 months

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Talking to Ghosts

A postgame Omori epilogue exploring the way each member of the gang would cope after learning the truth. This time, Kel takes the wheel.

After Sunny gets into his mom’s car and leaves Faraway for good, Kel sits on his porch and Doesn’t Think About Anything.

It isn’t easy. Kel just had one of the craziest nights of his life. Everything Sunny said in that hospital room is bouncing around in his brain like one of those DVD screensavers. Except instead of a tacky color-changing logo, it's the worst thing he ever heard.

Luckily, Kel is very good at this game. He kicks off his shoes and digs his toes into the dirt. He plucks blades of grass and shreds them into spindly little threads. The bloody wreckage of Sunny's eye keeps surfacing in his mind, but it's way more fun to think about what he could IM Sunny about, now that Sunny has AIM. It’s even nicer to remember how tight Sunny hugged him before he left.

…Man. It's dumb, ‘cause it’s not like he didn’t already, but. Kel is really gonna miss that guy.

The sun climbs higher in the sky. The clouds scud by in no particular hurry. By the time the cool of morning heats to day, Kel is feeling sort of normal, actually.

So, of course, that’s when Aubrey shows up.

“Sunny,” she spits.

Kel does a double-take. “Wh— Huh?? Where???”

“No, you fucking moron, I’m asking. Where the fuck is Sunny.”

Right. Classic Aubrey. Skipping straight to ‘physical violence’ is an insane first resort, but it’s par for the course, for Aubrey. When Aubrey feels bad, she can’t just hide it, like Hero, or swallow it, like Basil, or—freaking—think about literally anything else, like Kel. Aubrey would rather forge her hurt into a warhammer and swing it at anyone dumb enough to get close.

They’ve had this fight a million times already. At this point, Kel could do it in his sleep.

Even after all this time, he can’t help letting Aubrey piss him off. But he does manage to bail out before she can break all his bones with her nail bat, so. That’s probably personal growth.

Kel gets all pissed off and stomps off and then stops being pissed off, because he hates being pissed off. He’s always hated feeling angry. It feels like poison in his blood. He doesn’t get how so many people can do it so much of the time. Why would you choose to feel bad when instead you could just… look at something else?

###

On his way inside, Kel blunders right into Hero.

“O-Oh! Sorry, bro!”

“All good,” Hero says automatically. Reflexive. His eyes are rimmed with red, but he obviously doesn’t plan on talking about it. “You okay?”

Kel has to stop himself from rolling his eyes. Clearly, Hero is taking the news way, way, way worse than anyone. (Including Aubrey, who is currently, actively committing property damage about it). But of course he’d rather die than say so.

“Totally,” Kel reassures him. “All good.”

###

It was the same when they were kids.

Oh, Hero acts like he never gets mad. He acts like he’s too grown-up for that kind of thing. He’s even pretty good at it. He’s got Aubrey fooled, and Sunny. And obviously their parents (not that that one was much of a challenge. Mamá and Dad would believe anything if Hero was the one who said it).

But Hero could never fool Mari. Mari was sharp, like Sunny. Perceptive enough to smell the lies on your breath. If you were hiding something, she could always draw it out of you. She’d soften Hero up with teasing and flattery and then hit him in his weak spot at the exact right moment, the perfect jab at the perfect angle to split him open like a fish. The good cop and the bad cop, all in one.

Kel used to hear them sometimes. Once in a blue moon, when Hero and Mari were sure that no one was listening, they would even let their hair down a little. Take off their disguises and let themselves be less-than-perfect for a change. Sometimes it was Hero who was crying, and sometimes it was Mari. Sometimes both of them at once!

But most of the time, they weren’t crying. They were pissed.

Like in fourth grade, after Kel’s practice got rained out. Kel was soaking wet and past exhausted. All he wanted was to lie down and close his eyes and not even think about the stupid math test that he definitely flunked this morning.

He was already reaching for the door when he heard the voices: pitched low and stretched taut, like a rubber band about to break.

“—even matter!!” Hero was whispering. “If I’m too busy, it’s my fault for not helping; but if I do tutor him—instead of studying for my own finals!! By the way!! Which I really need to be doing!!!”

“I’m familiar with the concept,” Mari said drily.

“—then it’s still my fault for—what? Not helping well enough? I mean, what??? What do they expect me to do? Freaking… crawl inside his head and make him smarter?”

Mari snickered. “You could hide a walkie-talkie in his hat. Like that Spongebob episode where he goes to driver’s ed.”

Hero huffed a tired laugh. “I just don’t get what they expect me to do. I’m not the one who still can’t do long division in fourth grade.”

Kel froze with his hand on the doorknob. Okay. Yeah. He wasn’t sure for a second, but—yeah. They were definitely talking about him.

Some people would probably pick a fight about it. Some people (cough, cough, Aubrey) would storm in guns a-blazing. And where would that get her? All the mean stuff she heard would still be in her head. Nothing would change, except that everyone would know that everyone knew that everything was worse than it looked. Kel didn’t want any part in it.

He backed away from the door. He backed all the way down the hall, and halfway down the stairs. Then—louder this time—he stomped up the steps and burst through the door to their room.

“Oh!” Hero looked very briefly panicked. “H-Hey, little bro! Short practice today?”

“Uh huh! We got rained out! But look!!!” Kel bared his teeth, showing off the ragged hole where his canine used to be.

Hero turned faintly green.

“Grooossss!” Mari giggled. “Did you twist it out yourself?”

“Uh huh!”

She ruffled his hair. “You’re so cool, Kel. Don’t ever change, okay?”

Kel grinned up at her, gap-toothed and beaming. “You got it!!”

###

But everyone changes.

###

Kel opens his eyes in Basil’s room.

It’s not how he remembers. Basil’s room used to be wall-to-wall leaves and vines and memories. Now it’s vacant. No photos. No sticky note reminders. None of Sunny's sketches on the walls. Just white paint and beige carpet and a pool of inky dark, slowly swallowing the floor.

In real life, Kel wasn’t here for this part. He had to hear about it from Aubrey while they huddled outside the ICU, clutching each other’s hands hard enough to cut off the circulation and taking turns telling each other that it was going to be okay. But Kel’s brain must not know that. Because this time, he can see everything.

Basil kneels over Sunny’s chest. Sunny’s face is eyeless mush. A mangle of ground meat.

There’s a blur of motion as Hero tackles Basil against the wall.

“Kel!” he bellows. He kicks the shears across the floor. “Kelsey! Now!!”

Oh. This is where he comes in.

Kel jerks around to stare at Hero, who’s got Basil pinned by the throat. “Wh–What?”

“Hold him!!”

“Huh???” Basil isn’t even struggling. He's just dangling there. Bleeding.

“NOW!!”

On his way across the room, Kel almost trips over something on the floor. A body. Sunny’s. But Sunny was sleeping in the living room. Why would Sunny be on Basil’s floor?

Kel looks closer.

Sunny’s face is red. Sunny’s hair is slicked flat and his face is all red, only red without any eyes at all. His face is torn red and he’s—moving. He’s moving. He’s awake. He’s bleeding out and he can feel it happen because he’s still awake.

Sunny looks at Kel without any eyes. Red sputters through his teeth. “Khrrrh—”

###

Kel wakes up gasping. Scrambles for his phone before he remembers that he doesn’t have Sunny's number. Does Sunny even have a phone? Would Kel even know if he did?

He stumbles downstairs to the family desktop. Sunny’s online. Big surprise. Sunny is always online, and never answers.

Kel is so freaked out, he almost types, ‘Hey, are you okay?’

‘Hey, Sunny! Sorry, I don’t want to stress you out, but I’m really scared. I’m really scared for you Sunny. I can’t stop feeling like something bad is going to happen. I can’t stop dreaming that something bad is going to happen. But they don’t feel like nightmares. They feel like visions. Premonitions.’

‘Hi Sunny. Long time no see, haha. Hey, weird question: are you okay? Are you hurt? Please tell me if you’re hurting but please please PLEASE don’t lie. Sometimes I get so scared you’re going to die. Are you going to die? You have to tell me if you’re—’

Kel doesn’t type any of that stuff.

He types, snnyyyy! u up? lol

He types, cant sleep haha

He types, wanna sneak out 2 hobbeez? ;) ;) ;)

Sunny doesn’t answer. Because he lives three hours away, and because he never answers. Whatever it is that Sunny wants, it’s obviously not to go to fucking Hobbeez.

Kel types, misss u bro. gna try 2 sleep. wishme luck :/

###

When he pads downstairs, he’s met with the hissing crackle of frying eggs.

“Mo~rning!” his mom sings out. “Thought I’d make breakfast, since it’s your brother’s last day!”

Right. Hero heads back to college tomorrow. Kel knew that. “Heck yeah! Can I help?”

“Vaya, vaya! I don’t need any more mess! Oh, and your friend got home from the hospital. You should go say hi! I’m sure he’d appreciate it.”

“My—” Kel sputters, before he remembers that she couldn’t possibly be talking about Sunny. Sunny lives three hours away. “Who??”

“The little blanquito. Que siempre parece como conejito mojado.”

Well, that’s definitely not Sunny. Which means that, by ‘hospital,’ Mamá meant ‘psych ward.’ Specifically, the wing for kids who tried to murder their best friend.

Kel’s eyes unfocus a little. The last time he saw Basil, it was—

(—pinned to the wall with Hero's elbow pressed into his throat. Beads of red dripping from his fingers. Even later, blanched and bloodless on the gurney, Kel could still see the blood crusted under his—

Basil wasn’t even very badly hurt, after. It looked a lot worse than it was, but that’s just ‘cause all his wounds were on his face. It’s not like Sunny’d had any way to defend himself. Just his own two hands. At worst, the marks might have got infected from all the grime under Sunny’s unwashed nails.)

“You should go see him!” Mamá says encouragingly. “I’m sure he’d be glad to see a friend.”

…Right. That’s what Kel is. A friend.

###

Basil really is back. He’s coming to school and everything. It’s—weird.

Not bad. It’s not bad. It’s just that talking to Basil is— Um. It’s sort of like playing a videogame about talking to Basil. Like Kel is watching himself from outside-in.

It was the same after Mari. Kel couldn’t wrap his head around why she did it. He couldn’t even stand to think about why she did it. So, he didn’t. He spent months on autopilot. Controlling his body remotely, like a mech pilot or something. ‘Press A to get out of bed.’ ‘Press B to put on your clothes.’ ‘Press X to bring your brother another meal that you both know he isn’t going to eat.’

“K-Kel?” Basil says again.

“Haha, sorry! Guess I spaced out for a second. I just wanted to say that it’s, uh. You know. It’s good to have you back! And if you ever need anything—someone to talk to, or to back you up if someone’s messing with you, or whatever—just, like, let me know.”

Basil doesn’t look up. He just keeps fidgeting with his fingernails, chewing a scab on his lip that’s already started to bleed. He obviously isn’t convinced.

“Hey, c’mon!” Kel whacks him on the arm, making Basil flinch. “You know we’ve got your back. If anyone gives you a hard time, you tell them to talk to me.”

If anything, Basil looks even less convinced. “...R-Right. Um. Thank you. I’ll… do that.”

Kel has to stop himself from scowling. He’s aware that he’s fucking this up. He just doesn’t understand why.

For a few years there, Kel was pretty sure that he was a good friend, at least. If nothing else. Now it turns out he couldn’t even get that right. In the end, it’s like everything else. No matter how hard he tries, it never seems to be enough.

What is it about friendship that he isn’t getting? Isn’t being friends just, like… hanging out, and going on adventures, and having a good time and stuff? Why is everyone so determined to make it into this big exhausting thing?

###

Kel is hanging out on Sunny’s porch again. Though technically it isn’t Sunny’s porch anymore. The For Sale sign is gone, so the sale must have gone through. But no one’s actually moved in yet, so. Not like there’s anyone to kick him out.

Kel isn’t moping, if that’s what you think. Being here is just a habit. Somewhere he goes to be alone. If anyone saw him here, they’d feel too awkward to approach.

…With one obvious exception.

Aubrey stalks across the lawn with her bat slung over one shoulder. The storm brewing in the air frizzes her hair to angry spikes. As usual, she doesn’t mince words.

“Are you seriously still doing this?”

Kel buries his face in his hands. “Why are you still so mad at me?”

“Why do you think?”

Thunder rolls. Lightning rends the sky, a violent gash in the dark.

“I don’t know!!” Kel shouts, too-loud in the ensuing quiet. “That’s why I’m asking!!”

Just for a second, Aubrey’s bat lowers. “...Are you actually fucking stupid? You totally iced me out. For years. In the worst time of my life.”

“I already apologized for that!!”

“I don’t care,” Aubrey snarls. Her goodwill has officially run out. “That doesn’t do anything! I’m not gonna get any less mad until you make it make sense!!”

Kel grimaces. “It’s— It was just…”

…It’s just that she was being so awful. At home, Kel was swallowed up by the black hole of Hero’s grief. And the second he clawed his way out into the light, there was Aubrey, choking, totally coming apart. Kel just wanted to feel okay for two seconds. Was that really so much to ask?

Wasn’t it bad enough that Mari was gone? Wasn’t it enough that Sunny left with her? There were plenty of times when Kel couldn’t get away from it. When he had to lock himself in the shower to keep from breaking down. But did it really have to be all the time? Always? For every second of every day?

Kel couldn’t even laugh at a joke without feeling like a jerk. Like feeling okay for a second was an insult. (Not to Mari, obviously. Mari was like Kel: she found the fun in every moment. Mari would be thrilled to see him whoop after landing a free throw, or laugh because a butterfly landed on his juice-stained shirt. And she’d hate how Hero and Aubrey were acting. So why was Kel the only one who was wrong?)

“I gotta go,” he mutters, jerking to his feet.

Aubrey barks a cold laugh. “Yeah. That’s what I thought.”

You can read Kel's chapter here: https://archiveofourown.org/works/43929270/chapters/123048562

Or start from the beginning: https://archiveofourown.org/works/43929270/chapters/110454879

#omori fanfic #omori suntan #omori photobomb #omori kelbrey #omori epilogue #true end #this shit is effectively therapy (but only for me)#omori spoilers

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gregthesillyone · 1 year

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ITS FINALLY DONE!!! WOAH!!!

lol but seriously, sorry this took so long. I finally got the sims on my computer and it took over my life for a bit and i completely forgot about this.

yeah the background and "logo" are pretty lazy and a little ugly, but im proud of how aubrey and basil look!! ive been trying to experiment with my art style a bit. I tried doing smoother lineart for this and tbh im not a fan. i like my usually sketchy style, but i did have fun messing with the line weight!!! :D

and yes i edited aubrey's hair, she deserves her own hairstyle instead of mari's hairstyle slightly to the left

TLDR: The sims 4 is addictive, and i had fun drawing this even though im not super proud of it (I still like it, just some stuff i couldve done better)

#omori #omori fanart #omori basil #basil omori #omori aubrey #aubrey omori #omori photobomb #omori photobomb fanart #omori basil fanart #omori aubrey fanart #also basil is so much fun to draw #like his hair is so fluffy and pointy and his face is jdkahdkeashfui #idk i love this little guy #my art

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valsnonsense · 29 days

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Princess Basil Faye

"Oh my gosh, the new Misty Lake sequel is coming out! Oooooo I wonder how they did the affects for this one"

Parents: Princess Viva Faye and Clay Heath

Siblings: Fern (Elder Brother), Conifer (Brother)

Age: 15

Pronouns: She/Her

Sexuality: Bisexual

Genre: Hip-Hop/Pop

Voice Claim: Andrea Storm Kaden

The youngest child of Clay and Viva and their only daughter. Uptight, sophisticated, if not a little snooty, Basil is the opposite of her twin in several ways.

Like her brother, Basil is a musician and works alongside him creating hip-hop music. It was Basil's idea to inspire their music based on the books they've read, mainly fantasy or horror novels, and turn them into raps that tell a short story about it. Basil's parts in the songs are more vocal, as she can't rap as fast as her brother.

Basil is the biggest bookworm of her family. Her room is just wall to wall bookshelves, stuffed with novels from all over the world. She even has a "library" system in there, keeping record of where all her books are.

Like her twin, Basil is a pop troll but Hip-Hop is her main passion. When they were younger, she loved listening to Conifer day tongue-twister super fast and tried to copy him. While she can't spit rhymes as fast, she loves to sing the more "ballad" portions of their music, balancing out Conifer fast-paced rapping.

Basil currently resides in the Putt-Putt Mini Golf Course alongside her parents and twin.

Fun Facts!

- Of her siblings, Basil is the only one who has her hair under some kind of control. Fern is 100% jealous of this fact.

- Basil gets along well with her cousin, Lemon. Whenever she needs a wardrobe update, he's the only she trusts to make her something good.

- Basil came up with the name for her and Conifer's band name. Their name is "Heaven and Hell" with the logo being a angel wing and a demon wing. Lots of their songs are about angels and demons, so Basil saw it fitting.

- Basil LOVES horror. Horror books, horror movies, horror games, you name it. She will drag her brother to every new horror movies that comes out (to his dismay)

And that's Basil and the last of my Cliva kids!!! Snooty little horror-enthusiast. I tried making her shirt more pale but it came out as this weird off-yellow bdbdhdbjdbd

I'll be posting the Cliva family portrait tomorrow~

Voice Example: What Makes Me Tick (JT Music FT. Andrea Storm Kaden)

#dreamworks trolls #trolls #trolls oc #trolls cliva #cliva #trolls basil #trolls the depths au #i loved designing her #snooty little lady #we all have that one friend who LOVES horror #like a little too much #conifer does NOT enjoy horror hdhdhd #pray for that boy he doesnt sleep #Spotify

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mrn4m3l3ss · 3 months

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✮⋆˙ Your own Sun˙⋆✮

「 Sunny x Affectionate! Male reader 」

English version

✮⋆˙ Anon: hellooo!! may i request headcannons for sunny with a reader whos very affectionate? thank youu!

[ Olá!! posso solicitar headcanons para Sunny com um leitor que é muito carinhoso? obrigado! ]

⌗ a/n: OMG MY FIRST REQUEST, I'M SO HAPPY! Thank you Anon for the request, I hope you like it! ‹𝟹 ( You didn't say if you wanted romantic or platonic, so I decided to do romantic. )

[ MDS, MEU PRIMEIRO PEDIDO EU TÔ TÃO FELIZ! Obrigado Anon pelo pedido, espero que goste! ‹𝟹 ( Você não disse se queria romântico ou platônico, então decidi fazer romântico.) ]

୭🧷✧˚. ᵎᵎ 🎀

⌗ HC do Sunny em público:

Quando você abraça Sunny do nada, principalmente se for por trás, você sente ele ficar rígido ao seu toque. Ele simplesmente congela no lugar e não responde quando você chama seu nome e muito menos quando você balança a mão na frente dos olhos dele – tentando acorda-lo do seu transe.

Sunny fica com as bochechas e as orelhas vermelhas quando você decide mostrar para todo mundo, que você ama ele; ficando de mãos dadas, se agarrando nele como um coala ou chamando ele por apelidos carinhosos. Quando isso acontece, Sunny imediatamente se torna um tomate ambulante e logo em seguida ele pode fazer três coisas:

1° - Pegar qualquer coisa perto dele e esconder o rosto com isso.

2° - Se esconder atrás de algo como uma caixa de correio ou uma árvore.

3° - Corre.

Se você beijar Sunny na bochecha em público ou na frente dos seus amigos, se prepare para segura-lo, porque ele definitivamente vai desmaiar.

₊˚ʚ ᗢ₊˚✧ ﾟ.

Dês da morte de Mari há 4 anos atrás, seus amigos tinham se separado e era doloroso até mesmo fazer um simples piquenique juntos. Sabendo disso, você ficou muito surpreso quando eles simplesmente apareceram na porta da sua casa um dia e te arrastaram para um piquenique.

Quando vocês chegaram na porta da igreja, você finalmente entendeu. Eles não queriam deixar Mari de fora, então decidiram fazer um bem ao lado do túmulo dela.

É um dia ensolarado e tem uma leve brisa no ar. Comendo o bolo que vocês trouxeram, você vê Hero mexendo na cesta de piquenique procurando por algo. Mas você percebe que seus olhos estão distantes.

Talvez ele esteja pensando na Mari.

Vendo isso, você tenta chamar a atenção dele. " Ei Hero! Foi você que fez esse bolo?" Ele pula um pouco quando sua linha de pensamento é cortada.

"H-Huh?" Ele olha na sua direção confuso, ele não ouviu o que você falou.

Você ri um pouco da reação dele. "Eu perguntei se foi você que fez esse bolo." Você diz apontando com o garfo para o bolo na frente de todos.

Ele responde com um sorriso: "Ah sim, fui eu que fiz (M/n). Eu usei uma receita da minha vó."

"Sério? Tá muito bom Hero! Você realmente é um ótimo cozinheiro!" Você o parabeniza pelo bolo delicioso.

Ele fica um pouco surpreso e dá um sorriso envergonhado de olhos fechados enquanto esfrega a nuca. "Obrigado (M/n), fico feliz que tenha gostado do meu bolo." Você devolve o agradecimento dele com um sorriso gentil.

Hero se vira em direção a cesta e pega o que ele estava procurando. Enquanto isso, Basil tenta acalmar Aubrey que está xingando Kel enquanto tenta impedir com que ele coma o seu 4° pedaço de bolo; e o seu namorado, Sunny, está sentado ao seu lado.

Você olha para Sunny, que está basicamente inclinado no seu braço e com a cabeça ligeiramente encostada no seu ombro. O que te deixa bastante surpreso, já que ele normalmente é muito tímido quando se trata de mostrar qualquer tipo de afeto em público – principalmente na presença dos seus amigos.

Você fecha os olhos ligeiramente, preucupado. Talvez ele esteja só desconfortável em estar do lado do túmulo da sua irmã morta e está tentando procurar algum tipo de conforto em você.

Isso faria sentido, já que hoje mais cedo quando vocês colocaram a toalha de piquenique no chão, Sunny não se sentou próximo de Mari como Hero. Quando isso aconteceu, você ficou surpreso, mas não disse nada e apenas se sentou do lado dela. Você não julga Sunny e nunca poderia, afinal, cada um passa pelo luto de uma forma diferente.

Voltando sua atenção para o seu prato, você pega o morango no topo do bolo e com um grande sorriso no rosto, coloca ele na boca. Você se remexe e solta barulhos felizes enquanto mastiga ele.

Você não percebeu, mas Sunny viu essa sua reação pelo canto do olho. Olhando para o seu próprio prato, ele vê o morango no topo do seu bolo. Com uma idéia na cabeça, as bochechas e orelhas dele ficam levemente avermelhadas. Então ele pega o morango com o garfo e coloca no seu prato.

"Sunny?" Ele pula, quase derrubando o prato no colo dele.

Levantando levemente a cabeça, Sunny vê seus olhos olhando para ele.

Ele começa a se levantar pronto para correr. "Sunny!! Se senta agora mesmo!" Grita comicamente sua versão chibi, enquanto segura uma versão chibi de Sunny pelos ombros e o força a se sentar no chão de novo. " A última vez que você correu depois de ser pego fazendo algo pra mim, você quase foi atropelado!"

Voltando as suas formas normais, Sunny não podia dizer nada em sua defesa, porque sabia muito bem que era verdade. Então ele escondeu o rosto envergonhado com as mãos, enquanto ainda tinha você segurando ele pelos ombros.

Suando frio, você dá um suspiro derrotado e vira o seu corpo na direção dele. "Você não precisa ficar com vergonha Sunny. Ninguém vai te zoar só porque você está mostrando algum tipo de afeto ." Você tenta acalmar ele e o assegurar que nada de ruim vai acontecer só porque ele deu o morango do bolo dele, para você.

Você faz carinho na cabeça dele tentando conforta-lo, mas você ainda tinha a outra mão no ombro dele caso ele surte de novo e decida correr.

Sentindo o ombro dele relaxar um pouco e vendo a cabeça dele abaixar com o seu toque, você dá um sorriso gentil. "Pronto, pronto, Sunny. Não precisa se preocupar, nada de ruim vai acontecer com você. Não quando eu estiver aqui." Você ri um pouco enquanto fingi estar acalmando uma criancinha ou um filhotinho de cachorro. Mas se fosse comparar, Sunny sempre pareceu mais um gato do que um cachorro.

Depois de alguns segundos o acalmando, ele abaixa um pouco as mãos do rosto – mostrando ligeiramente seus olhos. Mas mesmo assim, você consegue ver suas bochechas vermelhas como um tomate.

Vendo isso, você sorri. "Mas muito obrigado pelo morango, querido!" Você diz sem pensar muito. Antes que Sunny entenda o que você disse, você levanta a franja dele e dá um beijo nela, propositalmente fazendo um barulho alto de: "Muah!"

Você se afasta um pouco e dá um grande sorriso de olhos fechados, até sentir Sunny caindo encima de você.

Você não entende e pensa que ele está apenas se inclinando na sua direção como antes, então você abraça ele e sente o rosto quente dele no seu pescoço.

Enquanto isso, seus amigos estão em estado de choque com o que acabaram de testemunhar

"(M/n)...eu acho que o Sunny desmaiou-"

"O QUE?!"

⌗ HC do Sunny no privado:

Quando vocês ficam na casa um do outro, Sunny vai te seguir para todo canto como um patinho.

Quando sair do banheiro, você vai tropeçar nele – que esteve sentado do lado da porta esse tempo todo.

No momento que você se sentar na cama ou no sofá, Sunny já vai estar com a cabeça no seu colo ou abraçado em você como um coala.

Se você fizer carinho no cabelo dele, ele de alguma forma vai começar a ronronar (?) e em poucos segundos, já vai estar dormindo.

Como Sunny passou anos sem ter algum contato com outra pessoa sem ser sua mãe, ele não sabe ao certo como pedir carinho para você. Então ele simplesmente vai ficar parado na sua frente olhando para você, até você entender que ele quer um abraço ou tapinhas na cabeça.

Se você beija-lo em qualquer parte do rosto dele, ele ainda vai ter aquele rosto sem expressão, mas você consegue ver que os olhos dele suavizam um pouco e suas bochechas e orelhas ficam levemente avermelhadas.

Sunny é um ótimo ouvinte. Então quando você está falando sobre algo que gosta ou apenas desabafando sobre alguma coisa que aconteceu com você, ele vai balançar a cabeça de vez em quando para te assegurar que está ouvindo e entendendo o que você está falando.

₊˚ʚ ᗢ₊˚✧ ﾟ.

Você desce as escadas da casa de Sunny e vai na direção da cozinha pegar algo para beber.

Abrindo a geladeira, você procura algo que gosta – mas só encontra água. Dando de ombros você pega a jarra e enche um copo.

Você coloca na boca e se vira. Apenas para dar de cara com o seu namorado.

Você cuspe a água e começa a tossir sem parar.

Sunny se assusta com sua reação, mas fica preucupado quando você começa a tossir descontroladamente.

Ele esteve te seguindo dês do momento que você levantou da cama e saiu pela porta do quarto. Mas o problema foi que você não ouviu os passos dele atrás de você quando estava descendo as escadas. Muito menos sentiu a parecença dele na cozinha – já que ele não disse uma palavra.

Você coloca a mão no joelho tentando recuperar o fôlego. Vendo isso, Sunny se aproxima preucupado, mas você estende o braço ô parando.

Você se levanta e limpa a água escorrendo no seu queixo. "Eu tô bem Sunny não se preocupa..." Diz sua figura trêmula e acabada.

Sunny está surtando por dentro.

୭🧷✧˚. ᵎᵎ 🎀

#omori #omori x male reader #omori x leitor masculino #sunny x male reader #sunny x leitor masculino #pedidos abertos #open request #male reader #leitor masculino #sunny #sunny Omori

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matrixonvhsanddvd · 7 months

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Coming down off a dxm trip today I biked to get some thai basil for the three cup chicken I’m making tomorrow and happened upon this empty pack discarded on the street… unsure if the colorful markings are part of the packaging or if they were added by the consumer. I thought it was pretty either way though. (Also saw a cute black cat on my way back from the market)

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

Damn I don’t think I’ve ever seen a pack of luckys like this !! The glitch effect on the logo is kinda cute lol, it’s just so silly. Also thinking of it now I don’t think I’ve ever had Gold Lucky Strikes before, I don’t even think I’ve ever seen Gold ones. I must look into this. Thank you for sharing lol

#submission

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dramamines · 5 months

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Finally finished, I fucking hate it but here

#ballena rambles #my ocs #cleo singh #basil logos #youtube #art #animatic #digital art #will wood #oc animatic #wwattw #the normal album #ww #will wood and the tapeworms #ocs #my character #music

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fruits-the-webcomic · 3 months

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Chapter 4: The Bowing Alley

Previous | Next

Reblogs appreciated!! But not necessary obv

#done earlier than expected woooooo #my hand is so sore now though #fruits: the webcomic #fruits #kai guerroro #art #artists on tumblr #cleo singh #basil logos #comic #quinn o'brian #estelle abara #persephone anchor #digital art #comics #oc #my ocs #original characters

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wonderfulworldofdarklords · 6 months

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CONTENT ADVISORY: The in-character fiction for this episode involves children being held hostage and threatened with harm. They escape completely unharmed, but please proceed with caution if images from current events are fresh in your mind. (We're so sorry! We wanted something that connected to D's back story and didn't make the connection.)

Welcome to Wonderful World of Darklords! In this episode, we're looking at a setting and a darklord so tailor-made for Ravenloft that we barely needed to do any work: Professor Ratigan. Combining Moriarty's criminal genius, Jekyll and Hyde's duality, and Vincent Price's golden pipes, Ratigan is the best of the worst around...and with London by gaslight as his domain, things just keep getting better. Topics discussed include:

How to get Basil out of the picture so the PCs can be Ratigan's rivals instead, but without rehashing Robin Hood and Prince John;

A curse for Ratigan that lets us play with his delicious stew of self-loathing, denial, obsession, and vanity;

The underbaked 2e/3e domain and darklord that can find its themes more fully expressed in Londinium, and the fully-baked one that can be folded into it as well;

Suggestions for running a big bad who outsmarts the PCs at every turn without losing friends;

and more!

The full writeup for Londinium is available for free on DM's Guild: https://www.dmsguild.com/product/456011/Londinium-A-Ravenloft-Domain-of-Dread-11-13?affiliate_id=241770

You can find the Hour of the Knife adventure for sale on DM's Guild at https://www.dmsguild.com/product/17507/Hour-of-the-Knife-2e, and Shadow of the Knife for free at www.kargatane.com. (It's under "Adventures." We can't just link the darn thing or it'll start automatically downloading the zip file on you. Welcome to 2003.)

You can find the original "butt puppets" episode (which is actually pretty PG-13 rated) here: https://megadumbcast.podbean.com/e/pg-62-balloon-thief-week-11/

All music recordings are in the public domain (mark 1.0) and are licensed through https://musopen.org:

Chopin Nocturne in B-Flat Minor, Op. 9 No.1 (main theme), performed by Eduardo Vinuela

Chopin Etude Op. 25, No. 12 in C Minor: “Ocean” (darklord theme), performed by Edward Neeman

Chopin Nocturne in F Minor, Op. 55 No. 1 (land theme), performed by Luke Faulkner

Rachmaninoff Morceaux de Fantaisie, Op. 3 - 2. Prélude in C sharp minor (Dread Possibilities), performed by Sergei Rachmaninoff

Chopin Nocturne in E Minor, Op. 72 No. 1 (parting thoughts), performed by Luke Faulkner

Dialog for Yensid was written by Azalin Rex himself: http://www.tumblr.com/darklordazalin

The Wonderful World of Darklords logo was designed by Halite Jones, whom you can find on Tumblr and Instagram: https://www.tumblr.com/halite-jones and http://www.instagram.com/insta_halite

Gmail: [email protected]

Facebook: @wonderfulworldofdarklords

Tumblr: @wonderfulworldofdarklords

Patreon: https://www.patreon.com/TheWonderfulWorldofDarklords651

#wonderful world of darklords #ravenloft #dnd #podcast #disney movies #disney #animation #curse of strahd #great mouse detective #ratigan #tgmd #basil of baker street #the world's most extra ex boyfriend #no no its totally normal to have a framed picture of your archnemesis #so normal #everyone does it

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aboutanancientenquiry · 1 year

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Early Greek prose inquiry (historia) and mythical tradition-I

“The Early Greek Prose-writing Tradition: Bridging the Myth-History Divide

Gaston Javier Basile

Dans Dialogues d'histoire ancienne 2019/2 (45/2), pages 81 à 112

The so-called move ‘vom Mythos zum Logos’ as well as the myth-history divide have been recurrently revisited in the last decades. The Greek notions of μῦθος, λόγος and ἱστορία have been reassessed. [1] So was the anachronistic compartmentalization of texts in view of the later development of specific institutionalized ‘genres’ or the labelling of texts in terms of contemporary areas of knowledge which were foreign to the intellectual milieu where they first appeared. This paper aims to advance the de-construction of such hermeneutical constructs – often expressed as polarities – by examining some of the methodological and linguistic procedures used by the early Greek prose-writers (6-5th century BCE) to engage with the mythical tradition. Rather than as a categorical distinction, the interface between mythos and logos will be explored in terms of the inception of new discursive prose genres in Archaic Greece and the deployment of novel linguistic procedures.

The sixth century BCE saw the emergence of a new breed of Greek intellectuals in Ionia who, often abandoning verse for prose and adopting a critical stance towards mythology and poetry, gradually began to step beyond the boundaries of the so-called spatium mythicum. They inaugurated a form of prose writing, largely of a narrative or descriptive type, which was based on the first-hand record of experience or some form of source analysis. Though scholars have grouped them by different criteria and given them assorted names (polymaths, logographoi, histores, etc.), these intellectuals can all be said to have produced some form of prose-inquiry (ἱστορίη). These prose narratives ranged from local traditions, popular tales, mythological rationalizations, genealogies, accounts of foreign travel and people, to the kind of discourse about the human past we now narrowly count as “histories”. Regrettably, with the exception of Herodotus’ Histories, an exceptional work which is often regarded as the epigone of the Ionian prose-writing tradition, the works attributed to the logographers have only survived in the form of fragments and testimonies preserved by Alexandrian and later scholars.

Whatever the specific subject matter of these early texts, they can all be said to have produced some kind of ἱστορίη (inquiry) which departed from, but also engaged with and was often critical of, the standard mythical tradition. Hence the term historia does not designate a specific genre dealing with the human past but rather a novel cognitive category and discursive form. It designates an individual, comprehensive and critical mode of inquiry which involved a first-hand gathering and record of experience and source examination. Additionally, this inquiry adopted a new form of discourse: expository texts, largely narrative or descriptive, written in prose. Under this description, the standard myth-history divide appears at best immaterial, if not altogether flawed. Indeed, far from steering clear of myth, the Gods and archaic legends, these early Greek prose writings often actively engaged with the mythical tradition. It is the purpose of this paper to draw on the category of historia in order to sketch out some of the methodological and linguistic features of these early texts. Through a selection of fragments or passages – from Hecataeus of Miletus, Pherecydes of Athens, Pherecydes of Syros to Herodotus of Halicarnassus’ History (Book II) – the paper explores the inception of a number of commentarial and exegetical procedures ranging from straightforward etymological observations to more complex explanatory or critical operations on the traditional material.

I- Mapping the province of early Greek historia: some methodological remarks

As has been well established by classical scholars, historia is a misnomer. Though the Greek term ἱστορίη – as used by Herodotus in the proem to his groundbreaking work – was soon associated with a form of inquiry and record of the human past, the early (and, incidentally, relatively few) occurrences of the word in the Greek classical world indicate otherwise. The now regular meaning of the word historia as an inquiry into the past appears to be in fifth-century Greece a derivative one, or perhaps even a novel and more technical use inaugurated by Herodotus himself. Scholars have insisted on the meaning of the term ἱστορία in general as an “intellectual activity” and, in a more technical sense, chiefly as first used by Herodotus, as the record of the human past. In fact, early and classical uses of the lexical family of ἵστωρ and its cognates – ἱστορέω, ἱστορία – mainly refer to some unspecified kind or act of knowing in general or to the act of acquiring, recording or reporting such knowledge. In this sense, the term has been frequently rendered after Herodotus’ inaugural text as ‘inquiry’ or ‘investigation’. [2]

The notion of historia is seen as embedded in a “pre-disciplinary” world where the boundaries between what later became separate forms of knowledge were fuzzy or ill-defined. At any rate, ἱστορία (ἱστορίη in the Ionian dialect) is generally taken to indicate an active form of learning (“to learn by inquiry”). There have been attempts at pinning down the scope of ἱστορία both in terms of the precise cognitive operations involved (seeing, hearing, questioning, inquiring, adjudicating, etc.) as well as the particular field of inquiry (ethnographical, geographical, historical, etc.). However, scholars tend to regard it as an umbrella term designating a complex intellectual activity spanning the Ionian science, the works of the early Ionian prose-writers, the medical teachings, etc. [3] As more fully illustrated in Herodotus’ work, historia is best understood as a cognitive category entailing a number of heuristic operations – ὄψις, ἀκοή, γνώμη, ἱστορίη (in the narrow sense of questioning the informants) which are not often easy to disentangle or rank. [4]

Aristotle represents both a landmark and a turning-point in the semantic development of the word historia. Even if the use Aristotle makes of this term in his encyclopedic treatises is far from consistent, ranging from narrative or ‘story’ in general, to something close to our modern notion of ‘history’, to ‘inquiry’ or, more precisely, the preliminary stages of an inquiry, Aristotle provides a key to understanding the more technical side of historia as a modus cognoscendi. [5] Following Aristotle’s categorization and revisiting earlier uses of the word, the scope of historia comes more clearly into focus. In this paper historia is understood as a cognitive category and as a discursive form. It designates an individual, comprehensive and active mode of inquiry bearing on empirical matters or involving a first-hand gathering and record of experience. Additionally, this inquiry adopted a new form of discourse: expository texts, largely narrative or descriptive, written in prose. More specifically, the term historia will be used in this paper to characterize the production of a group of intellectuals from Ionia (or epigones of such Ionian tradition) who inaugurated a form of inquiry and discourse on a wide range of topics – ranging from mythography, genealogy, geography and ethnography to history proper – which departed from (and was often critical of) traditional myths.

The term ‘prose’ itself is problematic and deserves a closer examination. While there are earlier records of public uses of prose in Greece through the eight and seventh century [6] in the form of graffiti, law codes and stone inscriptions, the sixth-century witnessed an increasingly widespread use of prose, notably in the Ionian milieu, as a medium to compose and disseminate new forms of knowledge and intellectual inquiries. This new use of prose was not merely aphoristic – as the private record of graffiti in the public space – or apodictic – as was the case with public legislation engraved in stone, but was chosen as the medium to communicate the findings of an extended process of inquiry (and, accordingly, imposed new demands on language). If this choice was not unanimous (for example, as shown by Parmenides, Xenophanes and Empedocles’ preference for metrical rendering), it was by far the medium that the logographers, irrespective of their objects of study (mythography philosophy, history, science, etc.) favored to communicate their individual historiai to a (possibly) semi-literate audience. It is highly probable that these written prose texts were the basis for some kind of attendant epideixis, possibly in the form of public reading or lectures in small circles, but they may have also served as records for private use by the author himself or his disciples and acolytes. This paper will examine a number of formal patterns of this expository prose (or ‘technical’ prose) [7] by comparison with the old genre of didactic epic verse.”

Source: https://www.cairn.info/revue-dialogues-d-histoire-ancienne-2019-2-page-81.htm

#ancient greek litrature #herodotus #mythos and logos #gaston javier basile

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card-queen · 6 months

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WIP List (Tag Game!)

Thank you for the tag, @the-down-upside-finch

RULES: post the names of all the files in your WIP folder, regardless of how non-descriptive or ridiculous. Let people send you an ask with the title that most intrigues them, and then post a little snippet or tell them something about it! and then tag as many people as you have WIPs.

Okay... I'm only doing the writing folders for all these because if I included all the art folders, we'd be here for a veeeeeery long time. Feel free to ask about anything or ask to see art from any of these projects. Okay! Let's get to it!

Memories of Aether (strategy game / fantasy-suspense novel)

You're only getting what's in the Final Draft folder, but know that there is 1st Draft from 2020 with 40 files, 2nd Draft from 2021 with 29 files, and 3rd Draft from 2022 with 35 files.

Concepts

# So you want to help... Primer: Part One Primer: Part Two

Graphics

! The Needs Tree Logo Drafting Logo Drafting4 UI Study UX Drafts - Dialogue Boxes 1 UX Drafts - Dialogue Boxes 2 UX Drafts - Dialogue Boxes 3

Writing

! Memories of Aether World Guide & Story Bibke Book 1. Plotting Out Framework Book 1. Shadow Elements v.1 Book 1. Shadow Elements v.1.2 Book 1. Shadow Elements v.1.3 Book 1. Shadow Elements v.1.4 Book 1. Shadow Elements v.1.5, Chapter 0 Book 1. Shadow Elements v.1.5, Chapter 1 ver. A Book 1. Shadow Elements v.1.5, Chapter 1 ver. B Book 1. Shadow Elements v.1.5, Chapter 2 Book 1. Shadow Elements v.1.5, Chapter 3 Compendium: Characters Compendium: Conlangs, Az̨irrah̨ Compendium: Conlangs, Caṕāre Compendium: Conlangs, Kujû Info: Accents & Dialects Info: Calendar Conversion Info: Cheat Sheet Info: Fantasy Names Info: Old Plotting Out Framework Memes: Character Chart Stuff Memes: Character Portraits Memes: Goofy Memes Memes: Songs & Lyrics Notebook: Writing Notes Splatsheet: Chapter Breakdown Splatsheet: Character Intro & Scene Breakdown Splatsheet: Snippets Splatsheet: Spy Tropes & Ideas

Outside of Folders

Basics: Athyrian Calendar Basics: Country Rundown Basics: Runes & the Ancient World Compendium: Conlangs, Az̨irrah̨ Compendium: Conlangs, Caṕāre Compendium: Conlangs, Kujû Compendium: Countries of Athyria Compendium: Religions of Athyria Misc: Rosters Misc: Special Revivals Misc: Stressors Notebook: Travel Notes Splatsheet: Battle Tactics Splatsheet: Character Building Blocks Splatsheet: Loose Thoughts & Chapter Names Splatsheet: Story-building Vibe Check: Music Choices

Accessories to Murder (detective game)

! The Smackdown Draft ! Character Guide Character Intro Guide City Planning Drawing up ideas Food Stuffs Forging Names Game Flow Overview Gameplay Basics General Guide Mystery Crafting 101 Name Directory Name Reworking Sheet Plot Sheet Plotting Guide -- Act 1 -- Plotting Guide -- Act 2 -- Plotting Guide: Chapter 1 Programming Bits Rough Story Reworking Smackdown Draft The Nitty-Gritty Sheet Working out details

Sun & Moon Stories (fantasy role-playing game)

Character Profiles

! Profile Skeleton ! Abe, Chinzan Appleby, Fiona Areo, Vaika Ballard, Corina Bates, Basil Berg, Carl Bikken, Conif Bon, Tai-Len Buree, Kit Carver, Grant Chao, Fang-Lei Chess, Finian Choei, Rand Chuca, Totti Clavenci, Cicero Clay, Ashna Clay, Khalin Cole, Benedict Corrigan, Leif Crane, Maynard Dagget, Lin de Castro, Paris de Franco, Redd de Luca, Ariette Din, Roha Eizik, Hali Fowlton Frost, Renato Gold, Benny Gold, Jamie Gold, Leo Greenfield, Dwain Greenfield, Sarienna Greenfield, Winnifred Greeves, Lu Grimm, Jasmine Harding, Garrick Harper, Ivy Hibiki, Noel Jewels Kashir, Tika Kawa, Kaishu Kazeya, Shinji Kench, Tamas Koth, Alix Kudo, Kendall Kumu, Nanata Laurence, Bacary Lew, Alfin Lune, Kitsacorn Lyre, Savannah Maira, Mito Marquis, Alessio Mei, Sou-Lan Mirai, Kiku Nikolai Parsons, Nick Perisias Perkins, Fancy Piraa, Jijuna Powers, Emerald Powers, Max Pratt, Percy Reed, Han Reed, Rai Riccard, Bello Rose, Syrol Saint, Juliet Salmon, Austin Sarkaya Shen, Aki Skafton Song, Joh Song, Sunni Spears, Grover St. John, Cynthia St. John, Gregory Stirling, Eloise Taiba Taien, Shao Tale, Penelope Tallow, Cat Trakul Tresid Treuge, Jorgen Triki Trogo Trubins Turner, Ingrid Umnus, Numbers Westbrook, Finus Wilden, Rhys Winward, Perdi Withrow, Odessa Worsham, Felicia Wynne, Minta Yano, Kana Yano, Shun Zesshou, Donda

Demo-Lu's Side

Lu Time Misc. Scrapbook

Demo-Rai's Side

! Checklist Rai's Story

Meme Team

Character Development {Gem} Character Development {Prim} Character Dining Character Flaws Character Quoting: Prim Character Typing: Gem Character: Basic Breakdowns Character: Relations (Prim) Character: Subjects Character: Talents/Rankings Characters as Vines Cuties & Beauties Death Quotes FEH 40 Dialogue FEH Nicknames Personality Meme Sun & Moon Heroes {Gem} Sun & Moon Heroes {Prim} Sun & Moon Tea Party Guide THE GROUPS? OH GOOD! The Timeline Top 5s - Gem Top 5s - Prim Weapons & Affinity

Support Conversations

! Potential Pairings ! Ariette & Cynthia Corina & Felicia Fang-Lei & Alfin Fang-Lei & Tika Fowlton & Conif Sarienna & Redd Shun & Kana Shun & Lin Syrol & Benny Tamas & Leif

Outside of Folders

An Introduction Appearance Check Appearance & Designs Battle Dialogue Character Bio Fun Fighting Schools How I Imagine They Talk Info: Food Info: Full Cast Info: Locations Info: Materials Info: Monsters Info: Party Skills Info: Strongholds Info: World-Building Outfit Check Side Story Ideas Splatsheet Story: Rai's Side Story: Side-Quests Tactics Styles Tournament Tiers Untitled Document Weapons & Affinities {Prim}

The Case Files of Quincy & Dance (timeloop mystery game)

Basics & Game Loop Character Costuming Character Sheet Default Timeline Old Project: Synchronise Design Doc Plotting Things Out Plotting Things Out: Detailed Puzzle Dependency Chart Synergy/Synchonicity The Highcombe Manor Mystery Design Doc The Mystery Rundown The Time Line Used Dialogue Traits

War on the Streets (a game of some description)

! Ages ! Characters ! Timeline Crossover Info Dump Intro Profile - Angellus Profile - Anna Castillo Profile - Benito Nardiello Profile - Breaker Profile - Carl Stokes Profile - David Castillo Profile - Elizabeth Craft Profile - Federica Nardiello Profile - Frank Roman Profile - Giuliano Nardiello Profile - Harry York Profile - Harvey Rosamond Profile - Jeff Peterson Profile - John Paul Craft Profile - Justice French Profile - Katrina Weiss Profile - Lloyd Carter jr Profile - Mackie Sharpe Profile - Malcolm Storey Profile - Nina Dean Profile - Oscar Bell Profile - Persephone Blue Profile - Ray York Profile - Rocco Nardiello Profile - Stan Maxwell Profile - Sylvia Carr Profile - Tatiana Sokolova Profile - Tuesday French Profile - Verity Maxwell Profile - Wyatt Pym Profile - Xavier Fabri Profile - Yari Byrde Skeleton War on the Streets

...

...phew

I managed to bump it up to 5 projects by throwing in the timeloop game and my old War on the Streets project, so that means 5 tags.

@raichana @reneethegreatandpowerful @merwetketet @noisette-tornade @cool-mint

#I wasn't always this organised #But now #Now I am quite dedicated #Tagging my files #Naming them correctly #Does it work?#no #yes #sometimes #I still have to search for that random section in some document that had a bunch of notes and cool dialogue somewhere #But #Buuut #...it does look prettier #Right?

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