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mmmonie · 3 years

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Hi my other post? Got notes? And I already had this basically ready to go so………….? Here it is I guess! Also I’m so sorry for how long this is LOL…..I am incapable of shutting up once I get going so it’s under the read more for you…….(also?? thank you? for the followers uhm cheesed to meet you? 😳 lol)

This is basically what I imagine the manifestation of a demon's powers to be like??? I called it the “juvenile phase” in my other post so thats what im going with lol

Here’s some things I said in my first post that are relevant here, slightly edited. (I elaborate more on the different ways demons are born in that post and I think they’re pretty self explanatory, but u might wanna go read it just in case it’s not clear enough 😔 sorry): (link to first post)

* Demons have multiple forms, not just the two shown in game. All in all the brothers have 5, each becoming less and less humanoid. (Most demons only have 4)

* Half/human born demons are more likely to have both a tail and wings in their first demonic form. Stronger demons like the brothers are merely showing off the strongest of the two, but everyone has both. (Again bc I think they’re sick as fuck lol) This is why the stereotypical devil in our world has both wings and a tail.

*a demon's features can be influenced by what sin they are, but it’s not a hard or fast rule.**

***this does not apply to little Ds whose look is entirely dependent on their sin. They are an entirely separate conversation 😈 (I elaborate on this briefly at the very end LOL)

* half/human born demons can have two sins assigned to them, though this makes them less powerful in both. Usually there is a more prominent sin.

*It should also be noted fallen angels do not have a juvenile phase. While the powers they develop after the Fall are different, they already come prepared, having had intense restraint implemented in their training in the celestial realm. The only things they develop are tails and horns, which happens very quickly during the Fall. They still have the same instincts as demons lol they are just much better at maintaining control.

*another note: I’m gonna use acronyms for our different types of demons after a while to save me some headache. They’re pretty self explanatory (Ex: half demon = HD)

With that let’s begin, shall we?

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*All demons are born with innate magical abilities, the juvenile phase is just the manifestation of their sins and some of their power. Some powers do not come into fruition until much later in a demon's lifespan. (Will elaborate later)

*They won’t have a complete hold on their powers after this either, it’s just like. The bare minimum of getting a grip so they don’t cause immediate damage LOL they have many years to get into the nuances. Magic to demons is about as easy as breathing, but it still comes with its own challenges.

*Many of the powers that manifest are shaped by what kind of sin(s) they display. I’m gonna say the sin(s) developed depend on the individual rather than it being hereditary. Though there are powers that are inherent to all demons. (i.e. hypnotizing humans like in lesson 11-14)

*The beginning of the juvenile phase starts when a demon develops their horns, wings, claws and tails.

*For almost every demon, the juvenile phase lasts about two or three weeks. A human born’s phase will immediately kick in the day after their ceremony. Because of a half demon’s heritage, their transition is delayed and will usually happen around “middle school” age. (However many thousands of years that is lol. Also imagine going through puberty AND growing a bunch of extra shit.........smh.)

*Natural demons have it slightly easier, they go through this phase very early (around toddler age). They develop the nubs of their horns, wings and tail a while after they’re born.

*However this is NOT easier for whoever is taking care of them. Demons that develop later are mostly self-sufficient, meaning you can leave them to rest a bit. Can't leave a baby alone for very long though, can you? Especially not when they’re hurtling objects around with their mind, or causing things to spontaneously combust. (Also imagine a regular baby during their teething phase……….now imagine a baby’s teething phase being ten times more itchy AND manifesting new powers. Congratulations on your very cranky and powerful baby, best of luck to you.)

*Parents take this in stride as it’s just how demon babies are. It is all very Addams family esque…. like awwww, our baby just tried to induce horrific hallucinations of our own deaths!!! 🥺🥰🤧 they grow up so fast!!!!

*HB and HD wings and things grow in very quickly. The nubs will sprout from the skin and then mature into wings and horns in just a few days. ND transitions are much more drawn out, taking about a week to complete. All the growth is very itchy for everyone though.

*You know when you have an itch that just won’t quit or that you can’t reach, so you have to use some outside force to get some relief? Same concept here. Much like deer and their antlers, demons rub their horns and wings up against things to get to those spots they can’t get to themselves. It also has the added effect of encouraging growth and getting excess skin/keratin off them. Family members often help with preening and scratching.

*There are special concoctions/spells to make the process easier and to help ease the itchiness. As well as products made for specific purposes, like to get at that space where your wings meet your shoulders lol

*There are also things to pad horns. Having your baby demon impale your shins is no fun. Neither is having your best friend accidentally get stuck in the cabinet because their horns went through the shelf.

*The first week and a half is usually when a demon is most active. They are encouraged to play fight, stretch their new wings and become familiar with their new instincts.

•Play fighting is a way to help learn to readjust to their new strength. (and thank god demons are near impossible to kill lol they can get VERY rough.) It’s also considered a bonding activity.

*Hunting instincts also come into play so it’s not uncommon to see a demon in their juvenile phase playing a really fucked up game of hide and seek with their loved ones (no one gets hurt. Probably <3)

*These two skills also help with learning how to fly. A game of fucked up hide and seek in the forest is both fun and educational.

*This is very much like when puppies' paws are too big for they got damn them, except y'know. with horns and claws. So expect some accidental scrapes and

*This is also usually the time where their sin(s) will manifest, along with their new powers. At this point this is where family comes in, as a newly developing demon is reliant on everyone around them to help them learn how to control their strength/powers. Taking care of a demon in their juvenile phase is a family bonding activity, and even those who are prone to being cold are a bit softer during this time. (A reminder that family can be anyone, not just blood related.)

*The second half of their transition is more about conserving energy for the introduction of their final form.

*Nesting instincts kick in and are important here, because any nest created will be that demon's home for a period of time. They won’t stray very far from wherever they’ve chosen to stay. Nearly all demons will just choose a comfortable place in their home to nest, however, some demons (i.e. demons like Levi) need a special place because of their final forms. They will be drawn there instinctively.

*A nest is just composed of soft material and sometimes extra objects. For example a greed demon might want shiny or precious objects around their nest.

*This will also be the home of the loved one(s) taking care of their demon. They will go out and find anything the other one might need or want. A demon will only choose one or two others to take care of them at this time. Other family members are allowed to visit, but the chosen demon(s) stay with their struggling one for nearly the entire last half of this period.

*It’s considered an honor to be chosen and it is a bragging point, especially if you have been chosen multiple times.

*Despite what you might think, parental/domestic skills are very important to demons. They live a very long time, and it be a waste to treat their spawn poorly. They’re stuck with them for nearly an eternity, so you might as well try to do your best with them. Being able to showcase being chosen to whomever your courting is, how you say.............a little sexy. So being chosen multiple times? “Wow you’d be a great parent? Tell me more…..😳”

*Demons will slowly spend more and more time in their nest as they approach the end of their phase. Growing extra things takes a lot of energy! Many demons end up mostly sleeping for the last couple days in preparation for the end.

*Since they are so sleepy, this is the most outwardly cuddly most demons will be. Close family members are encouraged to come stay in the same space for a while. The demon will often be asleep, but waking up and playing games with them is a great way to bond. If you’re REALLY special you might end up being allowed to sleep in their nest for a bit.

*The juvenile phase culminates when the demon reaches their final form (usually the fourth one.) Over this last half, they slowly grow more monstrous features. Scales, fur, claws, eyes, teeth, spines.........the whole lot! Anything and everything you can imagine. Each demon's final form is unique, though they do not get a decision as to what features they have. Final forms tend to be very large.

*This is where they are taught how to use their glamor and how to piece themselves back into a form that’s easier to maneuver. Think of it like starting from the top and working your way down.

*There are demons whose job it is to go mark down the details of every single final form. Things like what powers manifested, to how tall they are, their overall physical strength and what sin(s) they portray, etc. They are all recorded in the royal archives. It’s a bit like a right of passage, especially for younger demons and their parents.

*Going back to the very top, some powers won’t manifest until after the juvenile phase. Some won’t even manifest until the demon has hit sexual maturity (which takes a MUCH longer time for demons.) This is true of almost every power that Lust develops except for perhaps an increase in their charisma/ability to charm. Demons who are assigned Lust are considered the late bloomers of the demonic world, as almost all other sins manifest more power right away.

*Also relating to the top of this post: the reason Little Ds looks are biased on what sin they are is because they are pure concentrated forms of sin given life. They’re extracted from the souls of humans who committed sin, and used for grunt work/errand running. They develop their own personalities as they go, but it takes a bit so they’re kind of a blank slate until then.

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I was gonna be like oh treat for you here’s how the brothers dealt with Satan and his juvenile phase but this is long as FUCK already so I will make…...a separate post. Edit: SURPRISE! treat for u! heres the link if u want

Thanks for reading! Until next time ig?

#The way I right is so unrefined I’m SORRY I suppose I’ll get better with practice so pls bear with me.......#*WRITE dear god #Are these posts too long? Dtygygyvbyctc I just get talking and I can’t stop hvyvyvyvyvyvtc #Literally the reason this exists is bc I was like what if #mc got turned into a demon and everyone had to c*are fr them and then i was like #oooooo how would that work actually lol #Me: aha this is a nice day dream abt fluff........what would the fucking logistics be though dfjnejlfkjefkjhekf'#i should say this AND my first post r bc of JUST THAT bc I cant leave well enough alone if my day dreams aren #ARENT fleshed out what am i doingggg #THIS IS ABT THE FAMILY DYNAMICS!!!!!!!!!!!!!#ITS ABT GOING THRU SM DIFFICULT AND HAVING OTHERS SAY THRU ACTION THT THEY WILL ALWAYS BE THERE TO SUPPORT U!!!!!#ITS ABT GETTING A SICK ASS SET OF HORNS & SHIT!!!!!!! Would you not ALSO want to look cool as fuck????#Im sorry for saying cheesed to meet u sdfkjnekjfhk i sadly think im funny #obey me!#obey me headcanons #mental eelness...........#ummm I GUESS THIS IS #world building #????

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dotfalla · 6 years

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Evaluation

I started pretty slow, I had decided to surround my topic on a particular article called ‘The Dark side of Oz, The Exploitation of Judy Garland’ by Neil Norman for the Express. I found out that the young actress was humiliated while working under MGM’s constraint. She was drugged, groped and isolated by the other actors. I just could not believe this happened to an actress who played a character that was a huge part of my life when I was younger. Not only do I share my name with Dorothy form The Wizard of Oz, but it was also one of my favourite movies when I was little. I think it really upset me, but I’m glad I found out, I feel like I can now, in just a tiny way, help Judy Garland by acknowledging her distress.

I understand that I got this information from an article, with no real sources or back up. I obviously didn’t want to base my entire final work on an article that was basically fake news. That is why I went and looked up the facts and figures and found, in not so many words, that this was the case. I even found that one of her ex-husbands, Randy L. Schmidt had written a whole book called ‘Judy and I’, and it was about how her life at MGM had completely formed her life as an adult and how he dealt with these issues in their marriage.

My concept was, in short, to create a hard-hitting, shocking and quite upsetting read into something more light. That is why I chose to create a coffee table book, these have huge amounts of text, in the format that is easy to read and easy to understand. (My book came out a bit smaller than a standard coffee table size but the reasons behind it are still valid). This is so, that, if wanted, a reader could pick it up, flip through it and get a good understanding of what the book is about. I feel that this is something that the final book entices; because of the texture and it’s bright colours, the reader will want to pick it up. When it is opened, the textured inserts contrast against the plain white text and therefore, aesthetically, look intriguing for the reader.

To begin, I was unsure how to pursue my final results so it was suggested to me to start experimenting, to look at metaphors for Judy Garland’s treatment, and to then relay that on paper. I was asked to think about duality, and how to visualise two entirely different worlds coming together to become Judy’s life. I tried marbling, weaving, glitching and defacing, all to get an greater understanding to how I could visualise the humiliation and ugly truth for the reader. At one point I really believed I was on for a winner when I began cutting images into little strips to weave together to create powerful imagery portraying multiple perspectives. This woven technique was inspired by an artist called David Stern who uses this method on far larger images with much smaller strips to create a really unusual and eery piece of work. Unfortunately, even though the final woven bits that I managed to create were refreshing and successful, when I tried to include them in my work, they didn't seem to have a place, this was because I still hadn't managed to decide on a final concept.

When I had my one on one tutorial with Neil, we looked through all the different types of experiments I had done and focused in on an initial first draft with small, colourful inserts. The example was just a collection of white pieces of A4 paper which had been folded into an A5 booklet. Small coloured offcuts had been placed in between the pages to create little interruptions in the clean white booklet. This was something that Neil and I really gravitated towards. We talked about how the book in questions had began to challenge the reader, and how all these interruptions were sprouting out uncontrollably. We discussed textures, and how, with these inserts, the ‘normal’ texture of a book was denied, and how, using contrast of bright, vivid intrusions, and white, pure paper the book also explored duality. It was decided to pursue an idea the the book would include the entire story of the Wizard of Oz, the happy, joyful fairytale with a happy ending, but with truthful inserts relating to the mistreatment of Judy Garland.

I began creating prototypes for this idea, I used imagery I had created from the experimental process to fill these inserts with darkness and contrast against the story book white. However, no matter how hard I tried to re-jig and change the composition up, every result was noisy. There was just too much going on with a bunch of text on both sides, and imagery smacked in the middle. That’s when I decided to take a step back and look at the idea of using the inserts as plain colour pieces and use the shocking text from the article to carry out the concept. While doing this, it wasn’t long until I realised that, if I plan to use these small inserts, I will have to booklet print, and then saddle stitch the signatures together, therefore meaning, I would need to paginate roughly 110 pages of text. To hopefully avoid this, I decided to perfect bind, however, if this were to be the case, those inserts would not be able to be placed perfectly as there would be no way of knowing exactly where they would end up in the vice, and furthermore, they would get very limited amounts of glue and might very well fall out entirely. Because of this discovery, I’ll be honest, I was completely deterred from the idea of small offcuts as inserts so I began looking at entire pages for the inserts. These would stick in a perfect bound book so much easier and the amount of interruption to the story has become even more using this method. While getting excited about these new, full page inserts, a problem solution was presented to me regarding the smaller inserts. I was told to keep the inserts with a long line up the spine, this is what would keep the insert in with out falling out because the sheet would get as much glue as possible, and you would be able to decide exactly where to put it. However, while I was very grateful for this suggestion, I had already got my eyes set for a large insert, possibly even with laser cut holes to see onto the next page.

I was really excited about this new idea, I was keeping the concept of ‘challenging the texture of a book’ but instead of small interruptions, I would make much larger ones. However, even after getting excited about a couple experiments using bright vivid colours to represent the modern connection to Judy’s story and Weinstein and #metoo movements in the current day, I wasn’t considering any of my previous experiments that I did over the Easter holiday. Therefore, I went back to looking over my trials and came across the scrunched up portraits I did, inspired by Alma Haser who uses printed photography, scrunched, over another photo. Her portraits inspire conversations about mental heath and loneliness. By using the scrunched up versions of photographs, the image becomes distorted and fuzzy. I really admired this message and used it to inspire my very own message; when scrunching up the paper, I then began to careful try to unfold it because I had forgotten to take a ‘before and after’ shot. This was when, of course, I discovered that once a picture has been screwed up, it’s impossible to flatten out and recover it. I thought this idea had many connections to Garland, how her time at MGM had been the catalyst for her downward spiral that ended with her death at 47, just 30 years after the film was made. This was when I decided to keep the colourful inserts, inspired by contemporary trends, keep them full size for easy binding and full exposure to their message but instead of place one of my visuals that I attempted, but to, instead scrunch it up like the photos by Haser. These inserts are part of the ‘reality side’, they tell of the horrid experience Garland endured, therefore they represent her and her life, it makes sense for them to be screwed up and ruined. The folds become to look like scars and small tears appear to show her submission and her weakness.

I had decided to include these bright colours, because of their contemporary link, but also because they are youthful and fun. We must remember that Judy Garland was only 16 when she began working on the film and therefore was still just a child. Instead of plucking colours out of my head, I first drew inspiration from existing Oz art from posters and book covers, I found artwork such as Mark Mahle’s and then colour swatched to get a feel of inspired choices. It was mainly greens and yellows, representing the Emerald City and the yellow brick road. These two colour visuals are very fitting to my idea, however I thought I should add another, one that I recognise, which was the blue checked dress that Dorothy wears. Using these colours, I created a gradient to decide what shades would be best suited to the story, this was when I found the idea of using a gradient told the story in itself. Starting with the blue dress, then going down the yellow road, to finally get to the Emerald City. This transpired multiple times to become a recurring gradient of blue and yellow wth green being dropped due to it’s shades resembling nastier symbolism. While making mock ups and printing tests, it became clear that for maximum contrast against the text and the colour, the shades would need to get darker. Therefore no more light blue, because white text got lost amongst it. I ddi try a darker colour for text, but then, when placed opposite a white page with story text all over it, there was no reflection or complimenting links. I decided to go for a dark blue to coral orange to mustard yellow, and due to the looping gradient, it is mostly the yellow (representing the yellow brick road) that you see. Yellow also represents fun, happiness and joy - which relate to The Wizard of Oz tale, but contrast nicely with what the text on the inserts say, like ‘Mayer (her boss) took to groping her in his office’.

Now that I had the concept down, and knew there would be inserts every other page or so, all at different colours to represent this story-telling gradient, I made more realistic mockups to show in my final critique presentation. I asked the group if these visuals were repetitive, if the final piece would be boring and whether I should have tired something else. The group told me, in a book, these colours would break up the repetitive-ness and if I decide to use the actual scrunched up paper, rather than the scans, each insert will be different and invite the reader to feel the ridges and the texture. They assured me that the book itself would be enticing, that people would pick it up and look at it, but only if I decided to use more texture. For example, I suggested I might use an A3 version of the woven piece inspired by David Stern to create the book cover, this was received well. However, when I came to see Rich and Laura for a last catchup and tutorial the day after, I asked the same questions, and received very different answers. It was decided that the woven book cover, while it does look and feel interesting, would be a waste of time seeing as the method of attaching it to the book is still undecided, and because it really didn’t match any of the visuals or colours inside the book. As for repetition, they believed it was quite repetitive, and that perhaps I should attempt to make text bigger, change directions and be a little more different. Once I did this, suddenly the book became more punchy. The messages on the inserts became more prominent and could be read much easier. Laura suggested I make my first two introduction pages reflect each other, so that, from the very beginning, it is obvious that there is a kind of duality to this book which will later reveal itself. I thought this worked really well, it was also suggested to me to try making some of the inserts cut up, or only being able to see half of them, this would encourage the reader to turn the page and carry on reading. At first, we discussed printing half the txt on one side, the rest on the other, but then we spoke about making it fold out, giving the reader more texture and interaction with the book. This was a great idea, and while It made it slightly harder to bind, I considered this advise invaluable to my project and got it to become so much more than what I had had before the tutorial.

The novel part, the ‘fantasy’ part is something I have taken a slight risk on. I wanted it to represent the old fashioned book, just like the ones selling in 1900s when L Frank Baum wrote the book. this meant the text was small, in a serif font such as Athelas and strictly justified. While normally, I wouldn't have decided to have an entire book in justified, it was a conscious decision because, that way, the fairytale story looked so bland and dull compared to the contemporary, Futura fonts on the inserts. However, once decided, I really enjoyed the outcome with the contrasting sides.

Once my book had all the right pages in the right places, with a full guide in my notebook to follow, I was able to start thinking about how I could make the cover. It was decided that the woven piece, while it is lovely to look at, would not be appropriate for my book cover, so I began to consider different approaches. It took quite a long time to make my mind up, I was adamant I did not want a white book cover, knowing how messy they got due to fingerprints and what not, however, I could not ignore the element of innocence white brought. I wanted to have a book, that when not even open, showed the poor, innocent girl, with all these colours inside of her. Because, even though the subject matter is quite bleak, the book does not need to be made out of black paper, with dark metaphors and misery. It should be fun, bright and hopeful, it should shed light on the matter, to engage an audience and captivate interest. I used a scrunched up version of Dorothy, an image where she is looking so young, and quite scared. I printed this off, scrunched it up and scanned it directly into the photocopier machine, it then, printed out an exact copy onto my sheet of card which could then go around the book. Once bound and covered, I was able to fully evaluate my end result. It came out so well and I am very pleased with it. After all my worries about the binding process, Joseph in the binding studio helped me out and gave me lots of suggestions on how I could make the book as successful as possible. The sickness of the book, and it’s weight are really effective and this is due to the different paper thicknesses I used. I had 120gsm for most of the novel pages, with all of the inserts being 160gsm card. This made for the two sides to have even more difference and the result is really striking. When looking at the closed book, it is obvious that the cover is not at all centred, this is concourse due to the photocopier, but if I could have done this again, I would have liked to have spent a little more time on this seeing as it would not have been too difficult to print out another version with better placement. I decided not to have too many words explaining the concept, I really wanted it to come through by looking at the book and taking time to understand the reasons, however, I am now wishing I had put in another insert, a prologue before the introductions that just briefly explained the dual narrative and the contemporary influences. I decided, pretty last minute to include ‘screen-print’ style numbers over the chapter heads to relate to the merging sides, while the aesthetic looks good, I would have liked to have spent more time trying to achieve a similar result, but perhaps without merging the two ‘worlds’ and have kept them separate. I am really happy with my outcome and I think I have a clear and precise development from beginning to end with design choices that have been considered and theories and trends analysed to create a full body of work that shows off the final piece to the best of it’s possibility.

#dorothy

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