#so there’s lots of inspiration from my own culture here

[crumblinggothicarchitecture]

While I agree with most of your posts

I think bringing up grammar in song writing is just kinda weird

Like as long as a song isn't as egregiously grammatically incorrect as 'I'll do what I should have did' (thank you deacon blue) it just isn't a relevant criticism?

Even the song writer you respect most probably doesn't write their songs like an essay they can lose marks for. And that's a good thing! Songs would be a lot worse if writers were worrying about these things

It's just such a bizarre thing to bring up- and unfortunately it kinda makes your other points look less valid because it comes across as weird and petty and like you'll drag Swift for anything (Plus obsessions with 'correct' grammar is just rooted in abliesm, classism and racism- so yeah not a good look)

Plus bringing up your literature degree... like you never studied poetry? Which famously plays with grammar and sentence structure? Like that's inherent to the genre and while very little of TTPD is poetic, lyrics are still most similar to poems then they are to essays or journal articles

Sorry you just really hit a nerve here cos it's just such a ridiculous thing to bring up.

Okay, yes people don't write songs like essay's. However, they often still use determinable grammar rules in art.  

You are keying into the difference between prescriptive and descriptive grammar rules. 

The prescriptive rules are ones that you are most likely to find first listed in dictionaries or textbooks. Descriptive grammar rules contend with the dialectal differences and slang. In either case, rules and stipulations or exceptions are noted in various linguistic analysis of the demographic's dialect. Both subgroups of grammar are consistently evolving as the use of the English language changes over time.  

Before I move on, I just want to say that I am well-aware of the deep history surrounding the debates on proper grammar. These debates, of course stem, from sociohistorical issues surrounding class, race, and ableist attitudes. You are correct. However, the academic conversation on grammar and linguistics has advanced dramatically into the subdivision of grammar-practices with respect to dialectal and cultural differences. I judge Taylor Swift's grammar as similar to my own, since she claims to be from my “neck of the woods.” Thus, I feel it is entirely appropriate for me to throw metaphorical tomatoes at her.  

 In the juncture of this difference on prescriptive and descriptive, I want to make that point that people who utilize the difference well often take prescriptive rules and bend them to fit their specific thematic point, thus the lyric forms to its set of descriptive grammar rules. These artists do it with such finesse and precision, unlike Taylor Swift, that it’s nearly awe-inspiring.  

For instance, Kendrick Lamar uses many AAVE typical syntactical structures to make his music personalized art. He won a Pulitzer for it. Take, as an example, the intro to his song “Humble” in which he writes, “Nobody pray for me / It been that day for me” (2017). This is not grammatically correct according to the prescriptive grammar rules laid out in the 1940’s. However, linguistic scholars do not operate on so strict a pendulum anymore. Notice, too, that Lamar is not actually breaking any grammatical rules, only playing with the purpose and form of his syntax, when we take into account the dialectical intention with which he uses “it been” as a poignant use of the past participle form of the verb “to be.” Thus, the simple sentence of “it is” changes into the “it been” as a subjective call first to his cultural dialect and to the thematic gesture of the song. As the phrase “it been” leaves out the helping verb “have” which would put the phrase into present progressive tense should it be present; however, it’s noticeable absence as a stiff detraction from prescriptive grammar rules, focuses Lamar’s thematic point on moving the audience to mediate on the past as it intrudes on the present time. His use of language discrepancy between prescriptive and descriptive rules focuses recognition on his dialectal culture and on his main thematic point as it hinges on making sure to notice where you’ve been in life in order to stay humble and live with authenticity. He is a masterclass on descriptive grammar being used in such a beautifully artistic way that I am damn near in tears for his music.  

Okay, moving onto to your point about poetry not being grammatically correct. You are quite wrong here, because poetry "plays" with syntax but it does not throw the rules out. Much like the example I laid out above, poetry does the same thing wherein it plays with prescriptive grammar in a thoughtful way that often ties into the moral or theme of the work. Poetry centers on a different form of syntactical methodology... yes, you are right. However, the emphasis is still on the necessity of understanding grammar structures like poetic feet, meter, rhyme scheme (etc). It's not a free-for-all. The best poets of the last 6 centuries have been some with the most linguistically precise sentence structure that I've ever read. I can give you examples, but if I do that this answer will become a million words long.  

I am, however, sorry to have struck a nerve or come-off like a know-it-all. I was only expressing my frustration that Taylor Swift is apparently one of the biggest artists in the world and she doesn't even bother to ask a friend if the meaning of her phrases gets lost in excessively languishing grammatical structures. For instance, in her song “Chloe or Sam or Marcus or Whatever” she is stacking so many phrases hinging on coordinating conjunctions that the meaning of the phrase itself loses any poignant message. She writes:

Named Chloe or Sam or Sophia or Marcus And I just watched it happen As the decade would play us for fools And you saw my bones out with somebody new Who seemed like he would've bullied you in school And you just watched it happen (Chloe or Sam or Sophia or Marcus).

In this stanza alone there are 6 coordinating conjunctions stacked together, interspersed with additional prepositional phrases and 2 extra relative clauses. It is the most egregious run-on sentence I have ever seen published before. I've seen better, cleaner prose in the work I've graded from High School freshmen. Not only could she have said it in less words, but the way she is writing it makes it drag on and on. The meaning gets lost, and any emotional impact is shut down because people get lost in the wordiness.

It’s a failure on her part, and it’s clear how just writing a run on sentence with no meaning is so much different than the way that someone like Lamar is masterfully arranging language to fit his purpose.  It's offensive that she gets to make a million-billion dollars off so little effort. 

Sorry, I wrote you an essay, but I am so incredibly passionate about writing. Also, I’ve been listening to Lamar a lot today because of his recent diss track, and it just reminded about how much of a lyrical genius he is. Sorry, I detoured into a rant about how cool he is too. And I need people to understand that I am not critiquing Swift because I need to dunk on someone in order to bolster my own sense of self-worth. I just want better mainstream art, and I want people to have better, stronger art with which to engage.  

I did not mean to hurt your feelings.  You are quite right that obsession with "proper" grammar is bullshit; however, I am not looking for some old fashioned "proper" nonsense. I want people to write like Lamar, with intelligence and passion while he bends the notions of grammar, not like Taylor Swift with obvious run-on obfuscated and stupid phrases.

edit: Also, good writers do actually worry about grammar. It has to do with illocutionary forces behind the phrases. The best among us knows the language inside and out, and that is why they are the best writers.

Edit 2: Also, I've been thinking about this, but what do you think literary and poetry critics do? You say it's bizarre to critique Taylor Swift’s poor grasp of the English language? Of course, I'm critiquing that... she's the one who calls herself a writer. I don't go around checking everyone's grammar, but if you call yourself a "good" writer and a poet, obviously expect people to analyze the words on the page.

#taylor swift #anti taylor swift #ttpd #kendrick lamar #the tortured poets department #ex swiftie #grammar is a legit way to critique song #chloe or sam or sophia or marcus #humble

[timothylawrence]

okey... here she is... my bl oc zouhour in da sims :) left is her everyday look vs the right a pandoran coming of age ceremony :)

also bonus nose side profile cus um <3 shes cute!

#ewbie.txt #hi guys *standing emoji* #shes uh my baby the flowers are probably handpicked and garlanded together into a traditional headpiece from the highlands :) #purple makeup and dress for symbolizing eridium! she’s also got an eridium gemstone on her necklace that I like to think she got for her #coming of age ceremony that is given to Pandoran adolescents and stuff hehe #the makeup is actually reminiscent of traditional facial tattooing from my culture and we usually have our hair braided for ceremonies hehe #so there’s lots of inspiration from my own culture here #esp the garland of flowers ! we use yasmine flowers (:

[mask131]

The truth about Medusa and her rape... Mythology breakdown time!

With the recent release of the Percy Jackson television series, Tumblr is bursting with mythological posts, and the apparition of Medusa the Gorgon has been the object of numerous talks throughout this website… Including more and more spreading of misinformation, and more debates about what is the “true” version of Medusa’s backstory.

Already let us make that clear: the idea that Medusa was actually “blessed” or “gifted” by Athena her petrifying gaze/snake-hair curse is to my knowledge not at all part of the Antique world. I still do not know exactly where this comes from, but I am aware of no Greek or Roman texts that talked about this – so it seems definitively a modern invention. After all, the figure of Medusa and her entire myth has been taken part, reinterpreted and modified by numerous modern women, feminist activist, feminist movements or artists engaged in the topic of women’s life and social conditions – most notably Medusa becoming the “symbol of raped women’ wrath and fury”. It is an interesting reading and a fascinating update of the ancient texts, and it is a worthy take on its own time and context – but today we are not talking about the posterity, reinvention and continuity of Medusa as a myth and a symbol. I want to clarify some points about the ACTUAL myth or legend of Medusa – the original tale, as told by the Greeks and then by the Romans.

Most specifically the question: Was Medusa raped?

Step 1: Yes, but no.

The backstory of Medusa you will find very often today, ranging from mythology manuals (vulgarization manuals of course) to Youtube videos, goes as such: Medusa was a priestess of Athena who got raped by Poseidon while in Athena’s temple, and as a result of this, Athena punished Medusa by turning her into the monstrous Gorgon.

Some will go even further claiming Athena’s “curse” wasn’t a punishment but a “gift” or blessing – and again, I don’t know where this comes from and nobody seems to be able to give me any reliable source for that, so… Let’s put this out of there.

Now this backstory – famous and popular enough to get into Riodan’s book series for example – is partially true. There are some elements here very wrong – and by wrong I do mean wrong.

The story of Medusa being raped and turned into a monster due to being raped does indeed exist, and it is the most famous and widespread of all the Medusa stories, the one people remembered for the longest time and wrote and illustrated the most about. Hence why Medusa became in the 20th century this very important cultural symbol tied to rape and the abuse of women and victim-blaming. HOWEVER – the origin of this story is Ovid’s Metamorphoses, from the first century CE or so. Ovid? A Roman poet writing for Roman people. “Metamorphoses”? One of the two fundamental works of Roman literature and one of the two main texts of Roman mythology, alongside Virgil’s Aeneid. This is a purely Roman story belonging to the Roman culture – and not the Greek one. The story of Medusa’s rape does not have Greek precedents to my knowledge, Ovid introduced the element of rape – which is no surprise given Ovid turned half of the romances of Greek mythology into rapes. Note that, on top of all this, Ovid wasn’t even writing for religious purposes, nor was his text an actual mythological effort – he wrote it with pure literary intentions at heart. It is just a piece of poetry and literature taking inspiration from the legends of the Greek world, not some sort of sacred text.

Second big point: The legend I summarized above? It isn’t even the story Ovid wrote, since there are a lot of elements that do not come from Ovid’s retelling of the story (book fourth of the Metamorphoses). For example Ovid never said Medusa was a priestess of Athena – all he said was that she was raped in the temple of Athena. I shouldn’t even be writing Athena since again, this is a Roman text: we are speaking of Minerva here, and of Neptune, not of Athena or Poseidon. Similarly, Minerva’s curse did not involve the petrifying gaze – rather all Ovid wrote about was that Minerva turned Medusa’s hair into snakes, to “punish” her because her hair were very beautiful, and it was what made her have many suitors (none of which she wanted to marry apparently), and it is also implied it is what made Neptune fall in love (or rather fall in lust) with her. I guess it is from this detail that the reading of “Athena’s curse was a gift” comes from – even though this story also clearly does victim-blaming of rape here.

But what is very fascinating is that… we are not definitively sure Neptune raped Medusa in Ovid’s retelling. For sure, the terms used by Ovid in his fourth book of Metamorphoses are clear: this was an action of violating, sexually assaulting, of soiling and corrupting, we are talking about rape. But Ovid refers several other times to Medusa in his other books, sometimes adding details the fourth-book stories does not have (the sixth book for examples evokes how Neptune turned into a bird to seduce Medusa, which is completely absent from the fourth book’s retelling of Medusa’ curse). And in all those other mentions, the terms to designate the relationship between Medusa and Neptune are more ambiguous, evoking seduction and romance rather than physical or sexual assault. (It does not help that Ovid has an habit of constantly confusing consensual and non-consensual sex in his poems, meaning that a rape in one book can turn into a romance in another, or reversal)

But the latter fact makes more sense when you recall that the rape element was invented and added by Ovid. Before, yes Poseidon and Medusa loved each other, but it was a pure romance, or at least a consensual one-night. Heck, if we go back to the oldest records of the love between Poseidon and Medusa, back in Hesiod’s Theogony, we have descriptions of the two of them laying together in a beautiful, flowery meadow – a stereotypical scene of pastoral romances – with no mention of any brutality or violence of any sort. As a result, it makes sense the original “romantic” story would still “leak” or cast a shadow over Ovid’s reinvented and slightly-confused tale.

Step 2: So… no rape?

Well, if we go by Greek texts, no, apparently Medusa was not raped in Greek mythology, and only became a rape victim through Ovid.

The Ancient Greek texts all record Poseidon and Medusa sleeping with each other and having children, but no mention of rape. And the whole “curse of Athena” thing is not present in the oldest records – no temple of Athena soiling, no angry Athena cursing a poor girl… “No curse?” you say “But then how did Medusa got turned into a Gorgon”? Answer: she did not. She was born like that.

As I said before, the oldest record of Medusa’s romance but also of her family comes from Hesiod’s Theogony (Hesiod being one of the two “founding authors” of Greek mythology, alongside Homer – Homer did wrote several times about Medusa, but only as a disembodied head and as a monster already dead, so we don’t have any information about her life). And what do we learn? That Medusa is part of a set of three sisters known as the Gorgons – because oh yes, Ovid did not mention Medusa’s sister now did he? How did Medusa’s sisters ALSO got snake-hair or petrifying-gaze if only Medusa was cursed for sleeping with Neptune? Ovid does not give us any answer because again, it is an “adaptational plot hole”, and the people that try to adapt Ovid’s story have to deal with the slight problem of Stheno and Euryale needing to share their sister’s curse despite seemingly not being involved in the whole Neptune business. Anyway, back to the Greek text.

So, you have those three Gorgon sisters, and Medusa is said to be mortal while her sisters are not. Why is it such a big deal? Because Medusa wasn’t originally some random human or priestess. Oh no! Who were the Gorgons’ parents? Phorcys and Keto/Ceto, aka two sea-gods. Not just two sea-gods – two sea-gods of the ancient, primordial generation of sea-gods, the one that predated Poseidon, and that were cousins to the Titans, the sea-gods born of Gaia mating with Pontos.

So the Gorgons were “divine” of nature – and this is why Medusa being a mortal was considered to be a MASSIVE problem and handicap for her, an abnormal thing for the daughter of two deities. But let’s dig a bit further… Who were Phorcys and Ceto? Long story short: in Greek mythology, they were considered to be sea-equivalents of Typhon and Gaia. They were the parents of many monsters and many sea-horrors: Keto/Ceto herself had her name attributed and equated with any very large creature (like whales) or any terrifying monster (like dragons) from the sea. The Gorgons themselves was a trio of monsters, but their sisters, that directly act as their double in the myth of Perseus? The Graiai – the monstrous trio of old women sharing one eye and one tooth. Hesiod also drops the fact that Ladon (the dragon that guarded the golden apples of the Hesperids), and Echidna (the snake-woman that mated with Typhon and became known as the “mother of monsters”) were also children of Phorcys and Ceto, while other authors will add other monster-related characters such as Scylla (of Charybdis and Scylla fame), the sirens, or Thoosa (the mother of Polyphemus the cyclop). Medusa herself is technically a “mother of monsters” since she birthed both Pegasus the flying horse and Chrysaor, a giant. So here is something very important to get: Medusa, and the Gorgons, were part of a family of monsters. Couple that with the absence of any mention of curses in these ancient texts, and everything is clear.

Originally Medusa was not a woman cursed to become a monster: she was born a monster, part of a group of monster siblings, birthed by monster-creating deities, and she belonged to the world of the “primordial abominations from the sea”, and the pre-Olympian threats, the remnants of the primordial chaos. It is no surprise that the Gorgons were said to live at the edge of the very known world, in the last patch of land before the end of the universe – in the most inhuman, primitive and liminal area possible. They were full-on monsters!

Now you might ask why Poseidon would sleep with a horrible monster, especially when you recall that the Greeks loved to depict the Gorgons as truly bizarre and grotesque. It wasn’t just snake-hair and petrifying gaze: they had boar tusks, and metallic claws, and bloated eyes, and a long tongue that constantly hanged down their bearded chin, and very large heads – some very old depictions even show her with a female centaur body! In fact, the ancient texts imply that it wasn’t so much the Gorgon’s gaze or eyes that had the power to turn people into stone – but that rather the Gorgon was just so hideous and so terrifying to look at people froze in terror – and then literally turned into stone out of fear and disgust. We are talking Lovecraftian level of eldritch horror here. So why would Poseidon, an Olympian god, sleep with one of these horrors? Well… If you know your Poseidon it wouldn’t surprise you too much because Poseidon had a thing for monsters. As a sort of “dark double” of Zeus, whereas Zeus fell in love with beautiful princesses and noble queens and birthed great gods and brave heroes, Poseidon was more about getting freaky with all sorts of unusual and bizarre goddesses, and giving birth to bandits and monsters. A good chunk of the villains of Greek mythology were born out of Poseidon’s loins: Polyphemus, Antaios, Orion, Charybdis, the Aloads… And even his most benevolent offspring has freaky stuff about it – Proteus the shapeshifter or Triton half-man half-fish… So yes, Poseidon sleeping with an abominable Gorgon is not so much out of character.

Step 3: The missing link

Now that we established what Medusa started out as, and what she ended up as… We need to evoke the evolution from point Hesiod to point Ovid, because while people summarized the Medusa debate as “Sea-born monster VS raped and punished woman”, there is a third element needed to understand this whole situation…

Yes Ovid did invent the rape. But he did not invent the idea that Medusa had been cursed by Athena.

The “gorgoneion” – the visual and artistic motif of the Gorgon’s head – was, as I said, a grotesque and monstrous face used to invoke fright into the enemies or to repel any vile influence or wicked spirit by the principle of “What’s the best way to repel bad stuff? Badder stuff”. Your Gorgon was your gargoyle, with all the hideous traits I described before – represented in front (unlike all the other side-portraits of gods and heroes), with the face being very large and flat, a big tongue out of a tusked-mouth, snake-hair, bulging crazy eyes, sometimes a beard or scales… Pure monster. But then… from the fifth century BCE to the second century BCE we see a slow evolution of the “gorgoneion” in art. Slowly the grotesque elements disappear, and the Gorgon’s face becomes… a regular, human face. Even more: it even becomes a pretty woman’s face! But with snakes instead of hair. As such, the idea that Medusa was a gorgeous woman who just had snakes and cursed-eyes DOES come from Ancient Greece – and existed well before Ovid wrote his rape story.

But what was the reason behind this change?

Well, we have to look at the Roman era again. Ovid’s tale of Medusa being cursed for her rape at the hands of Neptune had to rival with another record collected by a Greek author Apollodorus, or Pseudo-Apollodorus, in his Bibliotheca. In this collection of Greek myths, Apollodorus writes that indeed, Medusa was cursed by Athena to have her beautiful hair that seduced everybody be turned into snakes… But it wasn’t because of any rape or forbidden romance, no. It was just because Medusa was a very vain woman who liked to brag about her beauty and hair – and had the foolish idea of saying her hair looked better than Athena’s. (If you recall tales such as Arachne’s or the Judgement of Paris, you will know that despite Athena being wise and clever, one of her main flaws is her vanity).

“Wait a minute,” you are going to tell me, “The Bibliotheca was created in the second century CE! Well after Greece became part of the Roman Empire, and after Ovid’s Metamorphoses became a huge success! It isn’t a true Greek myth, it is just Ovid’s tale being projected here…” And people did agree for a time… Until it was discovered, in the scholias placed around the texts of Apollonios of Rhodes, that an author of the fifth century BCE named Pherecyde HAD recorded in his time a version of Medusa’s legend where she had been cursed into becoming an ugly monster as punishment for her vanity. We apparently do not have the original text of Pherecyde, but the many scholias referring to this lost piece are very clear about this. This means that the story that Apollodorus recorded isn’t a “novelty”, but rather the latest record of an older tradition going back to the fifth century BCE… THE SAME CENTURY THAT THE GORGONEION STARTED LOSING THEIR GROTESQUE, and that the face of Medusa started becoming more human in art.

[EDIT: I also forgot to add that this evolution of Medusa is also proved by strange literary elements, such as Pindar's mention in a poem of his (around 490 BCE) of "fair-cheeked Medusa". A description which seems strange given how Medusa used to be depicted as the epitome of ugliness... But that makes sense if the "cursed beauty" version of the myth had been going around at the time!]

And thus it is all connected and explained. Ovid did invent the rape yes – but he did not invent the idea of Athena cursing Medusa. It pre-existed as the most “recent” and dominating legend in Ancient Greece, having overshadowed by Ovid’s time the oldest Hesiodic records of Medusa being born a monster. So what Ovid did wasn’t completely create a new story out of nowhere, but twist the Greek traditions of Athena cursing Medusa and Medusa having a relationship with Poseidon, so that the two legends would form one and same story. And this explains in retrospect why Ovid focuses so much on describing Medusa’s beautiful hair, and why Ovid’s Minerva would think turning her hair into snake would be a “punishment fit for the crime”: these are leftovers of the Greek tale where Medusa was punished for her boasting and her vanity.

CONCLUSION

Here is the simplified chronology of how Medusa’s evolution went.

A) Primitive Greek myths, Hesiodic tradition: Born a monster out of a family of sea-monsters and monstrous immortals. Is a grotesque, gargoylesque, eldritch abomination. Athena has only an indirect conflict with her, due to being Perseus’ “fairy godmother”. Has a lovely romance with Poseidon.

B) Slow evolution throughout Classical Greece and further: Medusa becomes a beautiful, human-looking girl that was cursed to have snake for hair and petrifying eyes, instead of being a Lovecraftian horror people could not gaze upon. Her conflict with Athena becomes direct, as it is Athena that cursed her due to being offended by her vain boasting. Her punishment is for her vanity and arrogant comparison to the goddess.

C) Ovid comes in: Medusa’s romance with Poseidon becomes a rape, and she is now punished for having been raped inside Athena’s temple.

[As a final note, I want to insist upon the fact that the story of Medusa being raped is not less "worthy" than any other version of the myth. Due to its enormous popularity, how it shaped the figure of Medusa throughout the centuries, and how it still survives today and echoes current-day problems, to try to deny the valid place of this story in the world of myths and legends would be foolish. HOWEVER it is important to place back things in their context, to recognize that it is not the ONLY tale of Medusa, that it was NOT part of Greek mythology, but rather of Roman legends - and let us all always remember this time Poseidon slept with a Lovecraftian horror because my guy is kinky.]

EDIT:

For illustration, I will place here visuals showing how the Ancient art evolved alongside Medusa's story.

Before the 5th century BCE: Medusa is a full-on monster

From the 5th century to the 2nd century BCE: A slow evolution as Medusa goes from a full-on monster to a human turned into a monster. As a result the two depictions of the grotesque and beautiful gorgoneion coexist.

Post 2nd century BCE: Medusa is now a human with snake hair, and just that

#greek mythology #medusa #gorgon #athena #gorgons #poseidon #neptune #minerva #ovid #rape in mythology #greek monsters #roman mythology

[aliennooboo]

I was asked to tell more about the holidays in my legacy gameplay, so here is a super long and detailed post on the subject! 😊

How I use holidays in my game

I used to hate the holidays, cos I saw them as something my sims had to participate in and there was always so much pressure to complete all the traditions! But then I cracked it...

Holidays are a great way to add objectives to gameplay! When every day is some kind of a holiday with its own theme, there's always something for my sims to do.

I tick the "day off" box only if the holiday is a major one or the traditions would feel too rushed if my sim worked on the same day.

I try to have a lot of outdoor/traveling holidays in the spring and summer, and more home lot based holidays in the autumn and winter.

For some holidays, I add a diverse set of traditions and then choose only one or two to complete every sim year.

Sometimes my sims are just too busy with other things in life to participate at all. The No more "awful holiday" sad moodlet mod (linked below) is super useful because it completely takes the pressure off of completing holiday traditions!

It's very refreshing to use custom icons for the holidays, it matters more than you'd think! I use the More selectable icons mod (linked below) for this feature.

I've taken ideas and inspiration for some of my holidays from countless lists made by other simmers over the years.

Holiday mods

Traditions

Please note that some of these mods feature some of the same traditions - pick and choose so you don't get duplicates! Every custom tradition I use in my game is from these mods.

Icemunmun's traditions

LittleMsSam's traditions

Kiara's traditions

Renegadesims's traditions

Lychee's traditions

Pet traditions

Toddler traditions

Kids traditions

Occult traditions

Crafting traditions

Relaxation traditions

Eco-friendly traditions

Food traditions

Baking traditions

Writing traditions

A Night Out traditions

Cottage Living traditions

More Cottage Living traditions

Island Living traditions

Snowy Escape traditions

More Snowy Escape traditions

Paranormal traditions

University traditions

Realm of Magic, Paranormal & Vampires traditions

Other

More selectable icons

No more "awful holiday" sad moodlet

Holiday traditions in my game

The number next to each tradition shows which mod it's from. If there is no number, it's an EA tradition.

Spring

🌅 New Year's Day (day off) A chill day for spending time with your family after New Year's celebrations.

Family dinner ³

Cleaning

Cook pancakes ³

Play cards ³

Tell stories

🌟 Resolution Day It's time to make those New Year's resolutions reality! At least on this one day of the year...

Fasting

Exercise

Donate ³

Volunteer ³

Find penpal ¹⁵

🔫 Play Day Play is the work of the child. Child sims should invite their friends over for some play time!

Activity table ⁸

Make an experience ⁸

Monkey bars ⁸

Play pirate ⁸

Space explorer ⁸

🌄 Explorer's Day (day off) Once per season, sims have a day off for exploring the world! Maybe this year you could go on a mini vacation to Granite Falls to experience it in every season? Whatever you decide to do, this is a day for adventure!

Go hiking ³

Go for a walk ⁶

Go on a vacation or travel

Go sailing ³

Go camping ³

🌍 Earth Day You take care of nature and nature takes care of you.

Apply eco upgrades ¹²

Give gift to wild animal ¹⁷

Island clean up ¹²

Socialize with wild birds ¹⁷

Go hiking ³

🥪 Picnic Day Pack some tasty snacks and go on a picnic with your friends.

Go picnic ¹⁸

Invite guests

Play horseshoes ³

Collect bugs ³

Fire

💝 Love Day (day off) Take your significant other on a date and show them how much you love them! Or stay in and watch a romantic movie... with a special someone or alone, either way is fine!

Romantic spirit

Go on a date

Out for coffee ¹⁶

Send love letter ¹⁵

Watch romantic TV

🌮 Dining Day Today's all about eating as many different meals as you can. Taste something new or stick to old favorites!

Eat cultural dishes ³

Eat grilled cheese ³

Eat pizza ³

Hot pot ¹³

Order food ¹³

🧨 Gnome Day It's gnomes. Just gnomes. We can survive this. It's only once a year. We just have to keep them happy. It should be easy, right?

Holiday gnomes

🧽 Spring Cleaning Spring gives you a boost of energy. It's time to clean the house and fix anything that needs fixing!

Cleaning

Do laundry ³

Upgrade animal shelter ¹⁷

Upgrade chicken coop ¹⁷

Water crops ¹⁷

🪩 Party Night No self-respecting sim stays home on this wild night! It's time to partaaaaaay!

Out for coffee ¹⁶

Drinks at the bar ¹⁶

Go bowling ³

Bubble blower ³

Party spirit

🛠️ DIY Day It can't be that hard, the tutorial made it look pretty easy... Famous last words.

Build-a-bot ¹⁰

Crafting ¹⁰

Fabrication ¹⁰

Juice fizzing ¹⁰

Woodwork ¹⁰

🐇 Bunny Day (day off) Children's favorite holiday that's all about bunnies!

Egg hunt

Socialize with rabbit ¹⁷

Baking

Flower Bunny

Give gift to wild animal ¹⁷

🌺 Festival of Flowers A celebration of the spring turning to summer.

Flower arranging ¹⁰

Give flowers

Visit flower stall ¹⁷

Sunbathe ³

Gardening

Summer

☀️ Start of Summer It's finally summer and you can do all those fun things you dreamed of in the dark of winter!

Streaking

Go fishing ³

Go swimming ³

Kiddie pool ⁷

Play basketball ²

🐶 Pet Day Show your pet how much you love them on this special day!

Feeling the love ⁶

Pamper pets ⁶

Play with dog ⁶

Play with laser pointer ⁶

Teach tricks ⁶

🌄 Explorer's Day (day off) Once per season, sims have a day off for exploring the world! Maybe this year you could go on a mini vacation to Granite Falls to experience it in every season? Whatever you decide to do, this is a day for adventure!

Go hiking ³

Go for a walk ⁶

Go on a vacation or travel

Go sailing ³

Go camping ³

🧸 Children's Day Spend time with your children today. Take them to the park or the beach, or play with them at home.

Voidcritters ¹

Build sand sculpture ³

Games

Puppet show ³

Space explorer ⁸

🐄 Farm Day Visit a farm in Henford-on-Bagley and get to know the cows, chickens and llamas!

Harvest animal produce ¹⁷

Harvest crops ¹⁷

Take care of farm animals ¹⁸

Make animal treats ¹⁷

Socialize with villagers ¹⁷

🌞 Summer Vacation (3 days off) Enjoy summer to the max with 3 days of vacation!

Go on a vacation or travel

Go swimming ³

Invite guests

Sunbathe ³

Water fun

🍼 Toddler Day Take your toddler to the park or arrange a toddler play date.

Ball pit ⁷

Kiddie pool ⁷

Slide ⁷

Tiny treehouse ⁷

Jungle gym ⁷

🎵 Music Day Enjoy music in all its forms. Sing, play, listen.

Dancing ²

Music ³

Party spirit

Watch live performance ³

🌻 Garden Day Does anything make one happier than a thriving garden? Shower your plants with love (and water) today, make a new garden plan, or sow new seeds.

Sow seeds ¹⁷

Fertilize crops ¹⁷

Gardening

Collect bugs ³

Plant oversized crop ¹⁸

👩‍👩‍👦 Family Day Sometimes life feels so busy that you barely see even your own family. Make sure to spend some quality time with your loved ones today.

Baking

Family dinner ³

Games

Puppet show ³

Water fun

🏝️ Beach Day (day off) Celebrate summer in Sulani!

Build sand sculpture ³

Interact with dolphin ¹⁹

Go snorkeling ¹⁹

Go sailing ³

Collect seashells ⁵

🍃 End of Summer One last chance to enjoy a warm summer evening... Have a barbeque with your family and friends!

Bar-B-que

Sunbathe ³

Hot tub ³

Eat ice cream ³

Juice keg ²³

Autumn

🔥 Bonfire Night Dark autumn evenings are perfect for a little gathering around a bonfire. Look at the stars, roast some marshmallows, and wrap yourself in a blanket when it starts to get cold.

Fire

Stargaze ³

Fireworks

Tell stories

Fire dance ⁵

🧛 Occult Night They're creepy and they're kooky... mysterious and spooky... They're the occults and this is their night!

Alien powers ⁹

Mermaid powers ⁹

Use vampire powers ⁹

Cast spells ⁹

Use cauldron ⁹

🎲 Game Night Play some games with your family or friends to bring a bit of fun into this dark season.

Games

Go bowling ³

Play cards ³

Play darts ²

Play foosball ²

🌄 Explorer's Day (day off) Once per season, sims have a day off for exploring the world! Maybe this year you could go on a mini vacation to Granite Falls to experience it in every season? Whatever you decide to do, this is a day for adventure!

Go hiking ³

Go for a walk ⁶

Go on a vacation or travel

Go sailing ³

Go camping ³

❓ Life Change Day Do something today that has the potential to change the rest of your life!

Meet or adopt ⁶

Go on a date

Write a book ¹⁵

Go on a vacation or travel

Run errands for villagers ¹⁷

💡 Skill Day Learn something new today! Either work on skills you already know, or try doing something outside of your comfort zone.

Art & music spirit

Woodwork ¹⁰

Juice fizzing ¹⁰

Candle making ¹⁰

Craft wool items ¹⁷

🛋️ Couch Potato Day After the toil of yesterday, take it easy in good conscience today. It's not a day off, but you could always call in sick... Cough, cough.

Watch a movie ³

Sports TV

Sauna ¹¹

Read a book ³

Relaxing soak ¹¹

🍂 Autumn Day Enjoy the crisp air, the sunshine on the colorful leaves, and cosy autumn activities!

Fall fun ⁴

Fire

Canning ¹⁸

Drink tea ³

Candle making ¹⁰

🧓🏽 Parent's Day If you're in good terms with your parent(s), today's the perfect day to remind them how much you love and appreciate them.

Family dinner ³

Gift a parent ³

Hug parent ³

Remembrance

Tell stories

⚽ Sports Day Whether you like pumping iron or shooting hoops, do some exercise today.

Exercise

Go rock wall climbing ¹

Play basketball ²

Play soccer ³

💋 Date Night Whether it's your significant other or someone you don't even know yet, ask them on a date tonight!

Go on a date

Woohoo ³

Romantic spirit

🕯️ Other Side Day The veil is thinning... If you have business with someone in the afterlife, today's the day to get in touch.

Summon Bonehilda ⁹

Summon a ghost ²²

Conduct a seance ⁹

Commune with the departed ²²

Remembrance

🌽 Harvestfest (day off) Give thanks for everything the land has given you this year. Treat your garden, treat your animals, treat yourself.

Invite guests

Grand meal

Thankful spirit

Make animal treats ¹⁷

Harvest crops ¹⁷

🎃 Spooky Day (day off) It's time to get spooky!

Carve pumpkin ³

Spooky spirit

Trick or treat

Wear costumes

Use cauldron ⁹

Winter

🥧 Baking Day Get your baking supplies out, because today's all about the magic of flour and sugar! Have pancakes and coffee for breakfast, and bake all your favorite pastries.

Baking

Cook pancakes ³

Drink coffee ³

Decorate cookies ¹⁴

Make cupcakes ¹⁴

🌄 Explorer's Day (day off) Once per season, sims have a day off for exploring the world! Maybe this year you could go on a mini vacation to Granite Falls to experience it in every season? Whatever you decide to do, this is a day for adventure!

Go hiking ³

Go for a walk ⁶

Go on a vacation or travel

Go sailing ³

Go camping ³

📚 Written Word Day Read your favorite book in your favorite armchair, or go the library to find something new to read. Write a letter to someone, or finally start writing that book you always dreamt of.

Find penpal ¹⁵

My private journal ¹⁵

Writing skill ¹⁵

Read a book ³

Send love letter ¹⁵

💥 Chaos Day It seems like everyone's lost their social filter today! It's chaos all around! I hate all my friends! OOPS, did I say that out loud...

Air grievances

Fighting

Mischief spirit

Streaking

Magic duel ⁹

🎁 Do Good Day Today is all about being good to others. Make the world a better place by helping those around you.

Donate ³

Make pet food ⁶

Run errands for villagers ¹⁷

Volunteer ³

Vote for policies ¹²

🤝 BFF Day Invite your best friend over for a nice cup of tea or coffee. Share secrets, cry and laugh, have some fun.

Invite guests

Drink coffee ³

Drink tea ³

Play cards ³

Out for coffee ¹⁶

🧘 Mindfulness Day Take care of your mind and body.

Meditate ¹¹

Sauna ¹¹

Massage ³

My private journal ¹⁵

Do yoga ¹¹

🏔️ Snow Day (day off) Celebrate winter in Mt. Komorebi!

Go rock climbing ²⁰

Go skiing ²⁰

Go sledding ²⁰

Go snowboarding ²⁰

Hot springs ¹¹

🏡 Homebody Day (day off) Have you ever dreamed of just staying at home when it's dark and cold outside? Well, today you can!

Canning ¹⁸

Knitting ¹⁰

Cross-stitching ¹⁸

Practice herbalism ¹

Make pet food ⁶

🎄 Winterfest Eve Put up decorations for this wintery holiday, cook a delicious dinner, and then enjoy the evening as you wait for Father Winter's visit.

Attend holiday ceremony

Decorate

Festive spirit

Father Winter

Grand meal

☃️ Winterfest Day (day off) It's the most peaceful day of the year. Spend it with your loved ones.

Invite guests

Family dinner ³

Baking

Go skating ³

Open presents

🎨 Creativity Day Get your easel down from the attic, find your old camera in the garage, or pick up the knitting needles that have been collecting dust on the shelf. Let's do some arts and crafts!

Art & music spirit

Activity table ⁸

Cross-stitching ¹⁸

Writing skill ¹⁵

Knitting ¹⁰

❄️ Yamachan Day Travel to Mt. Komorebi to meet Yamachan!

Yamachan ²¹

Make a Tanabata wish ²¹

Hot pot ¹³

Order from Mt. Komorebi festival food stalls ²¹

Go hiking ³

🥂 New Year's Eve It's time to celebrate the year gone by, and welcome the new one that's right around the corner.

Countdown to midnight

Drinking

Eat pizza ³

Fireworks

Make resolutions

More holiday ideas

If you want to create your own holidays, but struggle with coming up with ideas, here are some things I always consider when I create holidays.

Can you match a world with a season? Summer holidays in Sulani, winter holidays in Mt. Komorebi, etc.

Alternatively, have a summer holiday in Sulani when it's winter elsewhere, a winter holiday in Mt. Komorebi when it's summer elsewhere, etc.

What if you took the default holidays and placed them in a different season? Celebrate Winterfest on the beach in the summer!

Can you match a world with a theme? Nature holidays in Granite Falls, city holidays in San Myshuno, etc.

Think of a simple theme for your holiday (games, sports, food, animals, books, etc.) and choose traditions based on that.

Create a holiday that requires your sim to travel from world to world to complete all the traditions.

Have a 3 day holiday for a vacation trip, with different traditions to complete each day.

Create holidays for specific life stages. What would a teen or an elder sim do for their holiday?

Create a holiday for each occult type. How would a Spellcaster spend their holiday?

Can you think of a way to combine holidays and clubs?

Put two really different holidays right next to each other so you have lots of variety in gameplay.

If you're playing a legacy, create a holiday for each heir sim based on their personality, and have their offspring celebrate these holidays to honor them.

Research real life holidays that are celebrated around the world to find new ideas.

Can't find the traditions that you need in your game? Follow this tutorial by LittleMsSam to create your own traditions!

#ts4 #the sims 4

[spicymancer]

So just wanted you to know, "yellow" is a common slur against Asian Americans and so Huang Feng, being a Bruce Lee (whos an Asian man) clone and all could raise some eyebrows to your intentions. And before i get accused of white knighting, i am Asian

Thanks for reaching out! This is honestly something that might be important to discuss and I appreciate your attempt at broaching the subject delicately. More after the jump.

So to start. I am also Asian. Specifically Chinese American.

As an American born Chinese, I have a weird relationship with my Asian heritage. I have a bad accent when I speak Chinese and most of my upbringing and cultural understanding is very American and western-centric. So I have certain biases at play here that I fully acknowledge. My experience is not universal. But these characters are drawn from that experience.

Huang Feng is a reference to Bruce Lee's performance as Kato in the Green Hornet. Dà Huángfēng being a Chinese term for a hornet.

The character is also narratively implied to be a secret moonlighting identity for the Yellow Ranger in my made-up sentai team. (Who, due to my own decision to always refer to the characters by their Ranger color, is literally just called Yellow by the other members of the cast.)

This is also a reference. Specifically to one of my greatest inspirations, Thuy Trang (Rest in Peace), who played the original Mighty Morphin Yellow Ranger. She was one of the first "Cool Asian Characters" that I encountered in media targeted at me as a child, problematic color choice aside. I sincerely adored her and her giant robot Saber-Toothed Tiger.

To be honest I have a complicated relationship with "Asian Themed" characters in media. So often saddled with cliché stereotypes: Martial Arts, dumplings, nunchucks, etc etc.

But the thing is, even as I roll my eyes whenever I see the Fighting Game character that is The Chinese One who wears a rice hat and a qipao. Or when one is literally just Bruce Lee. I do also immediately main that character. It's a bit of a guilty pleasure. Taking what representation I can get with mixed feelings. Similar to my enjoyment of sexy anime girl art even though it's all rooted in pretty uncomfortable sexist and objectifying aesthetics. A lot of my work comes from a place of exploring my own sexuality/identity. These characters are, partly, my own attempt to explore Asian themes and ideas for myself.

I would love to say that I'm trying to "reclaim" the term or something but I'm just some internet artist drawing cute anime girls and monster smut. For me, playing with these clichés is just another way of being self-indulgent.

Not really defending these creative choices so much as explaining my perspective on them. I totally understand if all this turns folks off! I fully respect those who don't vibe with my work and wish them all the best. It's a big internet and I'm sure they can find something super great to enjoy elsewhere!

Anyway, sorry for the long rambly post. Despite the fact that I'm posting this on Tumblr, I am not super mentally equipped to engage in Discourse, so forgive me if I don't respond to the tags on this.

So I'll just leave y'all with a neat article by Kat Chow discussing the history and usage of the color Yellow in regards to Asian Identity.

#oc questions #discourse cw #I love and appreciate all of you

[sorcerous-caress]

could u possibly do how companions would treat tav's kid? like in a situation where a tav had a child/younger sibling or smth. fluffy fluff all around

You know how sometimes fate aligns so that your past deeds follow you into the future? This request gave me a flashback to my old writing blog.

Companions reacting to Tav's younger sibling/child

[ bg3, fluff, several characters ]

[ Astarion, Gale, Wyll, Halsin, Karlach, Laezel, Shadowheart, Minthara ]

Astarion

What on earth is that little gremlin following you around? Just make sure that no one feeds it after midnight.

To say he's not a fan is a huge underestimation, he signed up for a camp full of hot available single adults and not a daycare. How are you expecting him to be his usual self when a pg13 warning keeps chasing you around.

Whatever, he will just ignore the goblin-like thing. He can do that, how hard can it be?

Well...actually now that some time has passed, he has to admit that the little menace is really funny at times. Especially that one time he stole Gale's books to build a book throne in the mud, Astarion swears he could still hear Gale's heart shattering into a million pieces, what a fond memory.

What? Pfff, no, he isn't getting attached. He just...well was doing some trick with a coin to make it disappear, and the kid happened to be nearby, Astarion definitely wasn't trying to impress them.

Now the thing about picking locks is that it's better to teach them young. Think of all the small places, nooks, and crannies they could fit into, bringing them some loot and actually be useful.

And since he's already bothering to do it, might as well teach them how to wield a bow. Properly wield a bow, not like how Wyll does it no, it requires elegance only an elf is capable of and Astarion is the most expert here to train them.

Did you see that? They're actually getting better. He genuinely is impressed, so much that he doesn't register the smile of pride adorning his face, the excitement in his voice as he boasts about the kid's accomplishment and how they're clearly superior than the other crotch goblins.

Gale

Ah, children, truly the future of mankind. Humanity's hope and the ones who will carry the torch after us.

He is almost giddy at the idea of having an impressionable youth to teach, to steer and to spoil rotten like he was spoiled.

Will show off magic tricks nonchalantly, he definitely has a hidden agenda in trying to make the kid a wizard. After all who is better than him, an arch wizard, to teach a new curious soul about all the wonders of the weave? No magic is too advanced, everything is possible with imagination.

If anything, kids have the best imagination, better than adults do. Which is the argument he uses when you ask him why your little one can shoot invisible fireballs now.

He would love to read to them, he has all kinds of stories about heros, past legends and fables that will guarantee them a safe and sound mind. A healthy mindest to nurture then into a good kind hearted adult.

Even when his books end up the subject of the kid's abuse kind of a lot- Gale is nothing but forgiving. Cut the kid some slack, if anything, Gale is happy they are safe and sound.

Would make special meals for the kid during dinner time a lot, bunny shaped carrot cuts or soup with a sparkly finish. He can even teach them some basic recipes, cooking is a very important life skill afterall.

Wyll

He is very experienced with kids. Feels a bit concerned for the fact they're at camp all alone and volunteers to stay behind and watch them. And no, unlike the previous two, he doesn't try to indoctrinate them into elf supremacy culture nor tactically manipulate them into being a wizard.

He just lets them be a kid, plays ball with them. Shows them how to play fetch with Scratch. Overall a very cool and laid back older brother.

He definitely takes great inspiration from his own dad and how he raised him, offers the same advice and wisdom his own father shared with him.

Shows the kid that life is so much more than it seems, nothing is truly evil and nothing is truly good. Both can be found in each other. He treats the kid with respect and doesn't pull the older than you card unless necessary.

He wants them to establish their own being, their own character and carve their own path in life.

Definitely does whatever he can to keep Mizora away from the child. That devil cannot be trusted, and even while he knows the kid is smart, he doesn't want to leave it up to fate whether Mizora tricks them into a pact or not.

Halsin

The kid adores him and all of his animal forms. Halsin indulges them a lot and changes into whatever wildshape they deem the coolest that day to play with them.

When he looks at them, he sees a seed for the future. It requires care and nurturing to grow properly, and he is willing to make this world a better place for them.

Shows them how important nature is, how we should take care of the world just like it takes care of us. How we should respect the plants and the animals, how every meal is a gift and should be treasured.

He has a very fatherly vibe to him. It comes naturally, and he doesn't even have to try. Whenever the kid feels overwhelmed or scared, it's Halsin they run up and hide behind.

Also, when they get in trouble too because they know Halsin will take their side.

And he knows the kid is using him sometimes, but he lets it slide. Takes the kid on walks a lot, helps them make friends with the nearby cat that sometimes frequents the camp.

There is a potted plant they're both growing, a small shared project between the two of them. Halsin adores the look of happiness the kid has whenever the plant sprouts a new leaf and grows taller.

They don't have to know that it was Halsin's powers keeping it alive throughout the frequent changing of their camp and consistent travelling.

Karlach

Little soldier is what she calls them.

Picks them up a lot after her engine gets fixed, let's them ride on her shoulder and hang on to her horns sometimes. Even indulges them and pretends she is a robot that they're controlling.

Sorry Astarion, she can't stop hugging you. She's a simple robot, and the overlord kid on her shoulders demanded it.

While Wyll is the cool yet dependable older sibling, Karlach is the even cooler one who's very chaotic and would help the kid in their pranks and cause trouble a lot.

Ah, what the hell kid, sure you can pick up her great flaming axe and swing it around. Actually she will use a nearby table as a shield and you should definitely try throwing it at her.

It's not that she means to be a bad influence, it's just that she is extremely indulgent. That it circles back to being a bad influence without meaning to.

They want to only eat sweets for dinner and all day? Hell yeah little soldier she wants the same. They want to do it for the rest of eternity and never eat vegetables again? Sign her the fuck up because she is ride or die.

Oh yeah, your kid/sibling can swear now, thanks to her, you're welcome.

Jaheira

Is the one feeding them the vegetables, after telling Karlach off and putting her in the timeout corner.

It's not enough that she has a gaggle of children back home, but you had to bring another one with you to the camp? Oh cub, you and your own little cub are going to be the death of her.

If Halsin thinks he can hide them behind his bear form he better think twice, Jaheira isn't below putting the both of them in line if she has to.

She demands respect, and the kid definitely ends up giving it to her, begrudgingly or not. They understand she is the true form of authority in this camp and that they better do what she says and finish their chores.

They definitely see her as a grandma. She is secretly touched if they call her that but acts unaffected. She just doesn't want to let the kid down. She has to be strict because medicine never tastes sweet.

They remind her of her own kids backhome sometimes, she does get homesick a lot more with them around.

Shadowheart

No, she isn't emo. No, she isn't goth either. What is this kid talking about? They better know that worship of lady Shar is very sacred and not a passing phase she will grow out of.

You know how kids are overly curious and always ask these intrusive questions? Shadowheart is a magnet for that.

They just go up to her ,unannounced, and tell her about the recent camp news. She sips on her wine and gives the kid a glass of grape juice while they gossip.

Yes, she is a half elf. No, she is still as capable as an elf.

Wait, what did Astarion say about her? Really? Well, kid, thanks for being a snitch now. If you'd excuse her, she has urgent business to take care of.

She sees them and wonder if this is how her childhood was supposed to be like, if this is what she was missing out on all her life. Sometimes she can't help the burning envy at the back of her throat as she watches them be showered with love and care for simply existing.

But she doesn't let the bitterness get to her, not with how the kid looks at her in awe and admiration. She vows to be at least a decent example and not disappoint them.

Laezel

If left unattended, she will start a boot camp. Come one kid, get down, and give her 40 push-ups now.

What? She is just looking out for them. How else are they supposed to join the battlefield if they have no upper body strength?

Yes, the battlefield, why do you ask? Of course, she wants them in the front lines eventually. War is the perfect environment to raise a child, to make them strong and fast. You were very smart for bringing them here with you, she has to admit.

Bah, she scoofs at Karlach and Astarion's ways. It is a danger hazard at best. The kid needs to start with training equipment and not actual weapons. Her companions' lack of braincells does surprise her sometimes.

Well...she also does mention the fact that for them to graduate, they have to actually murder someone from the camp. You know, like how she murdered half her classmates when she was still in training.

She actually...does a good job at training them safely, she evaluates their weakness and strengths and gives them advice based on it on how to improve. She looks out for their well-being and shows them the most efficient way to end a fight.

But she's only joking? Right? Right???

Uh....did anyone see Gale??

Minthara

To put it in the nicest way possible, they are terrfied of her.

She thinks it's good because any sane person should be afraid of her. Frankly, she'd be concerned for a possibility of brain damage if they weren't.

They avoid her, and she barely pats an eye over it.

Although she was always the first to act whenever they were in danger, completely beheading the enemy with her sword before they could touch a hair on the kid. Still she doesn't care for the fact the child is drenched in blood and just saw someone get murdered.

She thinks they should get over it. The sooner, the better. Life is full of murder and blood, you'd be only dooming them if you don't let them see things for how they really are.

Drow culture for raising their children is very brutal, most of them die young and even the ones who do make it alive, don't live as long as the surface elves do.

Each drow carries deep scars from childhood, both on body and mind. Minthara wasn't the exception.

She tolerates your young out of respect for you. She tolerates what she deems as disobedience and disrespect from them.

You're not sure if they'll ever stop fearing her, but you also know that you can trust her to be there for them. To not hesitate a second in saving their flesh no matter what the cost is.

#♡shart #♡minthara #♡karlach #♡Jaheira #♡Halsin #♡Astarion #♡Gale #♡Wyll #♡Laezel #♡fluff #shadowheart x reader #Shadowheart #karlach x reader #Karlach #astarion x reader #Astarion #minthara x reader #minthara baenre #gale x reader #gale dekarios #halsin x reader #Halsin #wyll x reader #wyll ravengard #laezel #laezel x reader #bg3 x reader #bg3 fluff #fluff #♡several characters

[dawns-beauty]

Okay, to counteract all my complaining, here are some (lore friendly) mods that I just like a lot (no animals, people, weapons/armors, mesh/texture replacers, etc. because there's too many and it gets boring.)

-

Ghosts of the Deathbells: adds a really rare, somber event to picking a deathbell flower.

Falmeroon: adds Snow Elf ruins to some remote edges of the map. I've made an unofficial SE port here.

Snow Whale Bones: adds the remains of Snow Whales in some mountainous areas (iffy canon but sorry they are Cool.)

Windmills of Skyrim: adds windmills with unique, custom-painted sails to farms.

Scarecrows of Skyrim: adds scarecrows to farms.

Scribes of Skyrim: makes books and notes use a variety of typefaces (any fellow Pentiment fans out there?)

The Old Ways-Nordic Religion: adds totems representing the Nordic pantheon around Skyrim. Has patches for the next recommendation.

The Great Towns/Villages series: overhauls the smaller, worldspace towns in a really cool way, includes voice-acted NPCs. Personally, I like Kynesgrove the best because it actually adds to the lore about the Nordic pantheon. For Shor's Stone, I recommend this mod as well.

Redbag's Rorikstead: I like this mod over Great Village's version because the houses have sod roofs and I'm a sucker for sod roofs.

Capital Windhelm Expansion: adds some really thoughtful lore touches (Dunmer refugees outside the walls, an Arena, and a cool vampire quest)

Relic of Dawnstar: adds a Gehenoth skull to the White Hall (requires Cities of the North), inspired by the lore of the Travels game

Environs series: thoughtful additions that makes certain places change over time.

WiZKid's mods: especially Lund's Hut, Lively Farms, Icy Windhelm, Pinewatch, Hall of the Dead Stained Glass Windows, and Pavo's House. Sepolcri is also pretty good but loses immersion points for using celtic cross gravestones. You can pry Lanterns of Skyrim II from my cold, dead hands, though. Lux? Idk her, LoSII is my bestie.

Fancy Sleeping Tree Replacer: the Sleeping Tree is supposed to be a remnant of the sentient trees of the flying city of Umbriel (from the novels.) It should be weird, is what I'm saying, and this mod makes it alien and beautiful.

Unique Culture Riverwood: a mod that gives Riverwood its own style of farmhouse and a little more personality. The author has also made a mod for Falkreath.

Immersive World Encounters: adds more and edits World Encounters, including encountering faction NPCs out and about (ex. the Companions outside of Whiterun doing Companion-y things in the wilderness).

Glorious Doors of Skyrim: adds some really cool doors. 'nuff said.

Redbag's Dragonreach: adds some unique flair to Jarl Ballin's crib.

Cultured Orc Furniture: replaces generic furniture in Orc Strongholds with custom furniture.

Lavinia's Memorial: adds some gifts from her grieving parents to the little girl's grave in Falkreath. Ouch.

Nocturnal Moths: adds moths that spawn around lanterns at night.

Moons and Stars: fixes the positions of the stars and moons, as well as making moon phases consistent.

DK's Realistic Nord Ships: replaces Skyrim's ships with some gorgeous new models.

Morgenstern's Mushroom Circles: adds more fairy rings in the wilderness. Delightful!

Bloodmoon Brodir Grove: makes the grove in Solstheim a little more like it was in the Morrowind DLC. The mod author also has more mods that bring Bloodmoon details and locations to Solstheim.

Ships of the Horizon: does what it says on the tin.

EVG Animation Variance: the whole animation series by Everglaid is nice (haven't tried Traversal yet, but that is some incredible technology) but I especially like this one for the old people animations

jasperthegnome's houses: these are SO cozy and comfy.

Arctic- Frost Effects Redux: makes frost spells have cooler effects (including 3D ice spikes)

Northern Roads- Let Me Guess Someone Stole Your Sweetroads: a plugin that cuts down on Northern Roads, removing all the landscape changes and bridges and just keeping the clutter. Way more compatible than the original mod.

Skyrim Bridges: this is my favorite bridge mod. There are many, but I like this one best.

Edit: forgot two tiny mods in my original post:

Nightcaller Temple Unique Shrine of Mara: replaces the generic shrine with a wooden shrine Erandur carved

Broken Tower Redoubt Unique Shrine of Dibella: similar to the above mod, but Reachmen carved this one.

#skyrim #skyrim mods #mod recs #tes

[palipunk]

Hey there sorry to bother, but I’m very interested in traditional Palestinian tattoos but I can’t find any good sources or information on them. Do you have any recommendations? Thanks so much in advance ! I’m Palestinian, but was raised so distantly from our culture I’m hungry for more if you know what I mean ♥️🇵🇸

Not a bother!

I will be honest, there really aren't many resources online that go into detail about them. A lot of information about them just hasn't been recorded and they've faded away, as older generations of Palestinians die, their tattoos and their meanings have gone with them. A lot of the Palestinians still wearing these tattoos are older Bedouin women.

I uploaded this post a few years ago with some illustrations and I answered an ask about it with some links and discussed traditional tattooing practices in West Asia between Arabs, Kurds, Assyrians, and Yazidis (there are some overlapping symbols and meanings with the tattooing throughout the region). Tattooing in Palestine is hard to document because we've been forcefully exiled all over the world. A lot of Palestinian traditions, including tattooing, were uprooted with the destruction of Palestinian society during the Nakba. There are a few different terms for it, depending on what language or what dialect of Arabic you speak, but dag/deq/dakk/daqyit are all ones I've seen used.

I also have to say that many of the meanings within the tattoos were discussed either only between the tattooer and the client or were based on one's own community or tribe. Just for example: Some tattoos or combinations of markings can distinguish a person's tribe (this is something more common for tattooed Bedouin women) or village or it could be for health, protective, religious, or cosmetic reasons. My Great-Grandmother had them for cosmetic reasons, it was just something they did in her village according to my father - sometimes tattooing is regarded to be like jewelry.

The tattooing itself would be done with a needle and the ink would be made of ink or smoke residue (sometimes breastmilk was included) and then punctured into the skin. The few articles or books I've seen it referenced in have made note that the tattooers were usually Domari artisans.

He's in the second link but I will always highlight @siinlayth 's work on cataloging tattoos in West Asia, he's a bedouin artist and has spent lots of time putting this carrd together if you'd like to browse: https://southwestasiantattoos.carrd.co/#gallery

I'll just include some more images here:

{I haven't posted about traditional tattooing in a while (none of this is directed at you butchorc) but the last time I uploaded stuff about tattooing in Palestine on my blog, I had people (who were not Palestinian in the slightest) reblogging it with tags saying it was for DND inspiration and putting information about our tattooing practices on their DND blogs for "character reference" - do not do this. Please treat our customs respectfully, this is a dying practice that we are trying to preserve- I will block anyone I see doing this.}

I hope this was at least a good starting point! I hope things go well for you and you can learn more about your culture, best wishes!

#ask #palestine #butchorc

[cor-lapis]

I decided to have a go at doing my own redesigns because these three are my favourites and I love them very much. further notes + sources under the readmore (warning: lots of text). I did my best with the research, but if there's anything I overlooked, I'd really appreciate people letting me know :)

Tighnari:

My main source for Tighnari was this excellent thread, from which I looked up each item of clothing individually. Since djellabas tend to be quite long, and Tighnari needs mobility for forest ranger activities, I figured he would cut and re-hem the lower half. He also has a lot of clothing pieces that are traditionally multicoloured, but to keep his design cohesive I decided to use the same colours across different items, but using a larger palette of colours than I would usually. I like the bright colours on him a lot though!

There are also some minor details I just changed because I wanted to. The flower on his chest is now a nilotpala lotus, because I thought it was nice to include his acension material/the material he asks you to help gather. The dirt stains/scuff marks are because rainforests are muddy and I wanted the design to emphasise Tighnari being very practical and hands-on with his work (see also, the specimen belt).

Finally, I shrunk the magnifying glass on his back (because I'm pretty sure it's meant to be his first magnifying glass toy and that thing is very large for a child to handle) and gave him an undercut because it seemed right. Also, I merged his front and back trailing cloths into a scarf type of thing that he could wrap around his nose and mouth to prevent inhaling spores from mushrooms.

Collei:

COLLEI my beloved. I had a mild nightmare trying to figure out a specific source culture for her design, but nobody seemed to know specifics and her outfit wasn't matching with any traditional dress I looked up, so in the end decided to keep the overall look the same. Just in case I assigned her something else, but then it turned out I missed her actual inspiration.

Anyway, I made her shoes simpler (no fur, heels, and open toes in the rainforest seemed reasonable to me), and gave her shorts. I liked the green colour because it's pretty unique under a dark dress, and pairs nicely with Nahida's white dress + green undersides. Amber's tie stays, but I made most of her jewellery smaller since it felt a little clunky for a trainee ranger.

Her earring and necklace(?) are allusions to the Evil Eye and the Khmissa/Hamsa, both symbols of protection. Especially considering the fact they're meant to ward off evil, and very common across multiple MENA cultures, it seemed fitting for Collei to have them. Also, she has Eleazar scars, and I used the design for her stockings as inspiration for the combination knee braces (similar to those used for arthritis, since Eleazar also causes stiff limbs and I HC that people affected would probably still need some recovery support)/knee pads (in the case of a fall). I like the idea that Kaveh would have helped make them for her (tangent but the fic Here is the House explores similar ideas; it's really really good, I heavily recommend it). Finally, she has curly hair because I thought it would be cute.

Cyno:

Here's the thread I found for Cyno. The main critique was to do with the eras from which each aspect of his clothing drew inspiration, but I admittedly wouldn't be able to do much about this without a lot of research. One thing I did try and verify was the small strip of cloth on the left of his chest, and I found a few wall murals where the people seem to be wearing similar strips of cloth? (example here; rightmost figure) Therefore, I didn't remove it, but if someone wants to explain Ancient Egyptian clothing history to me I'd be really interested to hear it 6.6

I might iterate on the design in the future, but for now the changes are mostly HC territory. Cyno wearing his hair in locs (a protective hairstyle) makes sense for someone who does a lot of hiking after rogue scholars, and I also gave him quite old and faded top surgery scars because healthcare is canonically free in Sumeru (thanks for that information, al-Haitham)(though tbf Cyno makes bank anyway). I also adjusted the colours a bit, since Genshin tends to use desaturated shades for metallic elements.

I also considered giving Cyno more scars, but figured that it could indicate Hermanubis' presence that someone you'd expect to get injured a lot is relatively scar-free (i.e. some sort of godly healing factor/resistance to damage). However, we know next to nothing about Hermanubis, so Cyno having a lot of scars also makes sense. This paragraph is mostly just a cry for help cyno story quest 2 literally any more elaboration about the nature of Hermanubis' pact and the Temple of Silence.

Conclusion

I wasn't intending to write one when I started the explanations but this got REALLY long so if you made it this far, thank you so so much ToT please check out the links; the threads especially were a great resource, and I'm grateful that people take the time to make them <3 genshin's character design department are cowards but I'm glad I learned some new things through the redesign process

#FINALLY #IT'S DONE #I don't know why this took so long. maybe because I was trying new art style stuff #anyway I like how this came out!! my favourite guys #my main thoughts for each of them were like. tighnari <- kind of a chad. collei <- should get to wear shorts. cyno <- gap moe #<- i say having written 9 paragraphs about the development thoughts under the readmore. wahey #big shoutout to everyone who draws the archers ripped. you guys are inspirational #genshin impact #tighnari #collei #cyno #my art

[ineffable-endearments]

The Crow Road by Iain Banks

I finished The Crow Road and had a little time to think about it. I'll put my thoughts under a Keep Reading in case anyone is trying to avoid spoilers.

As I speculated before, I think it's likely that The Crow Road is more related to Good Omens in philosophy than in plot. I mean, it's not that the plots necessarily have nothing in common, and we could be very surprised in the end of course, but now that I've read the whole book, its philosophical commonalities with GO are both apparent and kind of inspiring. Also, if I were a writer, I'd be more interested in dropping hints about what themes are important than telegraphing my whole plot ahead of time.

So here, I will describe the book and point out themes that I believe may reappear in Good Omens 3.

This is a long post. If you read it, make a cup of [beverage of choice].

Update on 4/20/2024: I made a second post: The Crow Road and Good Omens: Further-Out Thoughts

Below are mentions of suicide, death/murder, and sexual acts.

The Crow Road centers around a character named Prentice McHoan, a university student in Scotland who starts to sort out his complicated relationship with his complicated family as he explores the mystery of his uncle Rory's disappearance. Although the book is mostly from Prentice's perspective, the narration jumps around in time with the McHoan family. There are quite a lot of important characters to keep track of; the bare-bones summary I put below doesn't even include some of the important ones. I wanted to make the summary even shorter and simpler than this, but the truth is that this book is not short or simple, and if I made the summary any simpler, it might be downright misleading.

There are at least three major cultural aspects of The Crow Road that I am inexperienced with: the overall culture in the 1950s-1980s (I was born in 1988, so of course wasn't here for the relevant decades), the international experience of the Gulf War (again, born in 1988), and the history and culture of Scotland itself (I'm USAmerican with only reading as a source). As a result, I'm sure there are important dimensions to the book that I've missed. If someone has a different perspective taking some of these things into account, I'd love to know about it.

Also, keep in mind, there is a great deal of descriptive writing in this book. There are a lot of pages about the geography of Scotland, and about Prentice as a kid, and about Prentice's father and uncles hanging out together in their youth, and about various family incidents, and about Prentice spending time with his brothers and friends. At first, these passages seem to just make things more confusing, and in my head, I accused them of being "filler." But they definitely serve a purpose. They're a way of showing and not telling the characters' attitudes and relationships to each other. More importantly, because we get to actually live these experiences with the characters, they are what give all the plot points below their deeper emotional impacts. In other words, the everyday experiences give the plot its deeper meaning. They resonate with one of the core themes in the novel: that our experiences in life, rather than any supposed existence after death, are what matters.

The Crow Road's story is like this:

Prentice is rather directionless in life, and he seems to have trouble investing any energy in his own future as he moons over his unrequited feelings for an idealized young woman named Verity. Soon, Verity ends up in a romance with Prentice's brother, Lewis, and Prentice feels that Lewis "stole" her from him. Prentice has also become estranged from his father, Kenneth, over spirituality. Prentice believes there has to be something more after death because he feels it would be incredibly unfair if people didn't get anything other than this one life; Kenneth is not only a passionate atheist, but is offended by the notion of an afterlife.

Prentice's uncle Hamish, Kenneth's brother, has always been religious, although his religion involves a number of bizarre and offbeat ideas of his own, with inspiration from more traditional Christian notions. Prentice is not really sure about this ideology, but he's willing to talk to Hamish about it and even participates during Hamish's prayers, whereas Kenneth is openly scornful of Hamish's beliefs. Hamish interprets this as Prentice being on "his side."

Prentice has a few opportunities to go back and talk to his father, and is begged to do so by his mom, Mary, with whom his relationship is still good. Mary doesn't want either of the men to give up their inner ideas about the universe; she just wants them to agree to disagree and move on as a family. Prentice says he will visit, but he just keeps putting it off and off and off.

Prentice acquires a folder containing some of his missing uncle Rory's notes in the process of hooking up with Rory's former girlfriend, Janice Rae, who seems to have taken a shine to Prentice because he reminds her of Rory. Using the contents of the folder, Prentice wants to piece together the great literary work that Rory left unfinished, which Rory titled Crow Road; however, it becomes apparent that Rory didn't turn his concepts into anything substantial and only had a bunch of disconnected notes and ideas. He hadn't even decided whether Crow Road would be a novel, a play, or something else. The few bits of Rory's poetry for Crow Road read are bleak and depressing.

Prentice also spends a lot of time with a young woman named Ash. They've been good friends since childhood and seem to have a somewhat flirtatious dynamic now, but they aren't in a romantic relationship; mostly, they drink and hang out together. Ash tells Prentice bluntly to get his life back on track when she finds out he's failing at school, avoiding his family, and engaging in shoplifting. She is a voice of reason, and when Prentice insists to her that he's just a failure, she reminds him that actually, he's just a kid.

Prentice's efforts to figure out Rory's story or location stagnate, and he continues to fail at school and avoid his father. He then receives word that Kenneth was killed while debating faith with Hamish. In fact, Kenneth dies after a fall from a church lightning rod, which he was climbing in an act of defiance against Hamish's philosophy when it was struck by lightning; Hamish is convinced that Kenneth had incurred God's wrath. Ash is there for support when Prentice finds out about the death.

With Ash's help, Prentice returns to his hometown again to help manage Kenneth's affairs. Prentice speaks with a very shaken Hamish, who is handling Kenneth's death with extreme drama and making it all about his own feelings. Hamish tells Prentice that Kenneth was jealous that Prentice shared more in common with Hamish's faith than with Kenneth's lack of faith. However, this isn't really true, and as he contemplates his father's death, Prentice begins to internalize one of the last things Hamish reported that Kenneth had argued: "All the gods are false. Faith itself is idolatry."

As the chapters go on, Prentice is compelled by some of the meaningful items related to Rory that he discovers in his father's belongings. He gains a renewed sense of purpose trying to solve the mystery of where Rory went and what happened to him. Among the interesting items are an ancient computer disk of Rory's that Prentice can't access with any equipment he can find; Ash uses her connections in the US and Canada to find a computer expert who can finally open the files on it. This takes quite a while, since the disk has to be mailed and Ash's connection is investigating the disk only in his free time.

Prentice also discovers that his feelings for Verity have changed. He no longer feels angry with Lewis for "stealing her." At first, Prentice's narration describes this as his feelings "cooling" as a result of the trauma of losing his father, but interestingly, this soon means Prentice gets to know Verity as a sister-in-law without getting caught up in jealous romantic feelings. Verity gets along well with the family, and Prentice is actually happy to discover that she and Lewis have a baby on the way. Prentice's relationship with Lewis improves greatly as well, partly because he is no longer jealous and partly because he realizes he does not want to lose Lewis, too.

Ash's connection who was looking at Rory's computer disk comes through and sends the printed contents of the files to Prentice. The files reveal to him that Rory likely knew Prentice's uncle, Fergus, murdered his wife by unbuckling her seat belt and crashing their car. Rory had written out a fictional version of events and considered using it in Crow Road. I'm not clear on exactly how certain Rory was about Fergus's crime, or whether Rory would have intentionally reported Ferg, or whether Rory even had enough proof to publicly accuse Ferg of murder, but people would likely have connected the dots in Rory's work and become suspicious of Ferg. For this reason, Prentice believes Ferg murdered Rory as well.

Prentice confronts Ferg. He doesn't get a confession and leaves Ferg's home with no concrete proof of anything; Ferg denies it all. But Prentice is soon physically assaulted in the night, and it seems Ferg was almost certainly the culprit, because he hadn't been home that same night, and he had injuries (probably from being fought off) the next day. A day or two later, Ferg's body is found unconscious in the cockpit of a plane, which crashes into the ocean. It's uncertain whether this was a suicide, but Prentice suspects it was. Rory's body is then soon recovered from the bottom of a waterway near Prentice's home, where Ferg had sunk it years ago.

As the mysteries are solved, Prentice realizes his feelings for Ash are romantic love. However, it's too late, he thinks, because Ash is about to take a job in Canada, where she may or may not stay. Prentice also hesitates to approach her because he's embarrassed about his previous behavior, venting all his angst about Verity and his father. He isn't sure she would even want to be in a relationship with him after that. But the very night before Ash leaves, she kisses Prentice on the cheek, which leads to a deeper kiss. They finally connect, have sex, and confess their mutual feelings. Ash still goes to her job in Canada, but says she'll come back when Prentice is done with his studies that summer.

The relationship's future is somewhat uncertain because something could come up while Ash is in Canada, but Prentice is hopeful. The book ends with Prentice getting ready to graduate with his grades on track as a history scholar, fully renouncing his belief in an afterlife while he acknowledges the inherent importance of our experiences in our lives now, and enjoying his time with Lewis and Verity and his other family members.

What's the point of all these hundreds of pages?

Well, look at all of the above; there's definitely more than one point. But the main point I took away is that we get this one life, with our loved ones in this world here and now, and this is where we make our meanings. There is no other meaning, but that doesn't mean there's no meaning at all. It means the meaning is here.

It's not death that gives life its meaning. It's the things we do while alive that give life its deeper meaning.

The Crow Road is described (on Wikipedia) as a Bildungsroman, a story focusing on the moral and philosophical growth and change of its main character as they transition from childhood to adulthood ("coming-of-age novel" is a similar term that is interchangeable, but more vague and not necessarily focused on morality/philosophy). And, indeed, all of the plots ultimately tie into Prentice's changed philosophy.

After his argument with Kenneth, Prentice feels childish and humiliated, and as a result, he refuses to go back home, which leads to a spiral of shame and depression. Kenneth dies and Prentice realizes it's too late to repair the relationship, which also leads him to realize it's what we do in life that matters, and that therefore, his father's argument was correct after all.

At the end of the novel, Prentice outright describes his new philosophy. However, I can't recall one specific passage where Prentice describes the process of how he changed his mind (if anyone else can remember something I missed, do let me know). There is, however, a moment when his narration indicates that Hamish seems less disturbed by his own part in the incident that led to Kenneth's death and more disturbed by the notion that his beliefs might actually be true: there might actually be an angry, vengeful God. In other words, Hamish's philosophy is selfish at its core.

My interpretation is that when his father died, Prentice realized three things: how utterly self-serving Hamish's devout faith is, how Kenneth's untimely death proves the importance of working things out now rather than in an imaginary afterlife, and how much profound meaning Kenneth had left behind despite having no faith at all. After these realizations, a determined belief in an afterlife no longer makes our lives here more profound like Prentice once thought it did.

Also, it's worth noting that this incident changes Prentice's idea of partnership, too. He loses interest in this distant, idealized woman he's been after. In love as in the rest of life, Prentice lets go of his ideals, and in doing so, he makes room for true meaning, both in a sincere familial, platonic connection with Verity and a sincere intimate, romantic connection with Ash.

But what about the sex scene?!

Yes, indeed, at the tail end of the story, Prentice and Ash have sex and admit they want to be in a relationship together. Prentice's narration describes them sleeping together and having intercourse not just once, but many times, including some slow and relaxed couplings during which they flex the muscles in their private parts to spell out "I.L.Y." and "I.L.Y.T." to each other in Morse code. This is relevant because earlier, they had been surprised and delighted to discover that they both knew Morse code; it isn't a detail that came from nowhere.

I didn't get the impression that this scene was trying to be especially titillating to the reader. It was mostly just a list of stuff the characters did together. I felt the point was that they were still anxious about being emotionally honest, a little desperate to convey their feelings without having to speak them out loud, and awkward in a way that made it obvious that their primary concern was the feelings, not the sexual performance. They cared about each other, but they weren't trying to be impressive or put on a show; contrast this with previous scenes where Prentice would act like a clown in front of Ash to diffuse his own anxiety. I've always thought that being able to have awkward sex and still enjoy it is a good sign.

Okay, so what does this all have to do with Good Omens?

Here's where I have to get especially interpretive. I'm doing my best, but of course, not everyone reading this will have the same perspective on Good Omens, the Final Fifteen especially. I believe similar themes are going to resonate between The Crow Road and Good Omens regardless of our particular interpretations of the characters' behavior and motivations, but I suppose it could hit differently for some people.

The TL;DR: I see similar themes between The Crow Road and Good Omens in:

The importance of mortal life on Earth

Meaning (or purpose) as something that we create as we live, not something that is handed to us by a supreme being

Sincere connection and love/passion (for people, causes, arts, life's work, etc) as a type of meaning/purpose

Relationships as reflections of philosophy

The dual nature of humanity

Life on Earth as the important part of existence is a core theme in Good Omens, and has been since the very beginning. We all already know Adam chose to preserve the world as it already is because he figured this out, and we all already know Aziraphale and Crowley have been shaped for the better by their experiences on Earth. But Good Omens isn't done with this theme by a long shot. I think this is the most important thematic commonality Good Omens will have with The Crow Road. Closely related is the notion that we create our meanings as we live, rather than having them handed to us. Isn't this, in a way, what Aziraphale struggles with in A Companion to Owls? He's been given this meaning, this identity, that doesn't fit him. But does he have anything else to be? Not yet.

Partnerships as a parallel to the characters' philosophical development also resonates as a commonality that The Crow Road may have with Good Omens. Prentice's obsession with Verity goes away when he starts to embrace the importance of life on Earth and makes room for his sincere relationship with Ash. Note their names: "Verity" is truth, an ideal Prentice's father instills in him; "Ashley" means "dweller in the ash tree meadow" in Anglo-Saxon, according to Wikipedia, and "ash" is one of the things people return to after death. Prentice literally trades his high ideals for life on Earth. We see in Aziraphale a similar tug-o'-war between Heaven's distant ideals and Crowley's Earthly pleasures, so I can see a similar process potentially playing out for him.

I don't particularly recall a ton of thematic exploration of free will in The Crow Road. However, there is a glimmer of something there: Prentice feels excessively controlled by Kenneth's desire to pass down his beliefs, and part of the reason Prentice is so resistant to change is simply his frustration with feeling censored and not being taken seriously. As the reader, I do get the feeling that while Prentice is immature, Kenneth made major mistakes in handling their conflict, too. And Kenneth's mistakes come from trying to dictate Prentice's thoughts. There is likely some crossover with Good Omens in the sense that I'm pretty sure both stories are going to take the position that people need to be allowed to make mistakes, and to do things that one perceives as mistakes, without getting written off as "stupid" or "bad" or otherwise "unworthy."

Suffice it to say that the human characters in Good Omens will also certainly play into these themes, but it's hard to write about them when we don't know much about them except that one of them is almost certainly the reincarnation of Jesus. This also makes me suspect perhaps the human cast will be 100% entirely all-new, or mostly new, symbolic of how Aziraphale and Crowley have immersed themselves in the ever-evolving, ever-changing world of life on Earth. Alternatively, if we encounter human characters again from Season 1 or 2, perhaps the ways they've grown and changed will be highlighted. For example, even in real-world time, Adam and Warlock have already, as of the time I'm writing this, gone through at least one entire life stage (from 11 in 2019 to 16 in 2024). They'll be legal adults in a couple of years, and if there's a significant time skip, they could be much older. If characters from Season 1 do reappear and themes from The Crow Road are prominent, I would expect either some key scenes highlighting contrasts and changes from their younger selves or for stagnation and growth to be a central part of their plot.

The more I write, the more I just interpret everything in circles. Hopefully this post has at least given you a decent idea of what The Crow Road is like and how it may relate to Good Omens.

I'll end this post with a quotation that feels relevant:

Telling us straight or through his stories, my father taught us that there was, generally, a fire at the core of things, and that change was the only constant, and that we – like everybody else – were both the most important people in the universe, and utterly without significance, depending, and that individuals mattered before their institutions, and that people were people, much the same everywhere, and when they appeared to do things that were stupid or evil, often you hadn’t been told the whole story, but that sometimes people did behave badly, usually because some idea had taken hold of them and given them an excuse to regard other people as expendable (or bad), and that was part of who we were too, as a species, and it wasn’t always possible to know that you were right and they were wrong, but the important thing was to keep trying to find out, and always to face the truth. Because truth mattered. Iain Banks, The Crow Road

#good omens #the crow road #good omens book club #go3 speculation #s3 speculation #good omens 2 spoilers #go s2 spoilers

[regular-dog]

Hey @five-rivers, happy truce! I decided to go with your prompt about danny attending a cultural ritual or event, and themed it around the far frozen. My explanation for it got a little longwinded so I've included it under a read more, along with a little extra art!

(tumblr’s probably gonna crunch all of these up a bit, so click for better quality)

I'll be honest, I haven't actually thought out the exact details of what this event would be, just the broad strokes - I tend to gravitate towards food as a source of celebration in my own worldbuilding, and I guess that bled through here as well in the form of “ice = water = probable fish based diet = important fish event?”

During drafting I couldn’t really decide between “event centred around observing fish migration and/or other seasonal habits” or “Danny being invited to come fishing with Frostbite and the other yeti”, but honestly I think either of those would probably fit. Originally I had planned to have one or two yeti characters swimming around with him to make the piece more dynamic, but a surprise attack from a migraine kind of cut into my plans a bit and I decided to downsize.

...at least until I got annoyed by the lack of a visible ghost friend in the piece and decided to paint a “small” “”extra”” “””doodle””” which rapidly turned into a whole other Thing,

There are shockingly few ghost fish in the show, apparently, or at least I could neither remember nor find images online of any examples, so I just kind of winged it. Their design is partially inspired by a short story you wrote a while back, although I ended up drifting away from the zebrafish motif as I was drafting them. I started thinking of them as maskfish as a stand-in name, and then promptly forgot to think of a better one, so. Maskfish it is. Here's some random notes I made while conceptualising them, because I constantly have specbio on the brain and couldn't not think about it

Maskfish flesh turns an opaque pale colour when cooked, and remains translucent when raw

Their eyes are covered in a clear, hard exterior, and can be hollowed out and sterilised for use in various crafts; along similar lines I could also see their bones being used to make glues, paints, and other such resources.

Their cores are located at the top of the spinal cord, in the head; their mouths are located on the underside, beneath the "mask", which makes up the entire top part of the head, and is a singular piece of a shell-like material.

Though they aren't particularly agressive hunters, they also aren't picky about their food, and will generally eat anything smaller than themselves.

Aaand finally, here's a bunch of isolated scans, since procreate ate a lot of the fine details in the collaging process.

#sorry this is a bit late the past weeks been a bit tiring. yknow how it is #danny phantom #phandom truce 2023 #phandomholidaytruce #danny phantom fanart #unsure whether it would be more accurate to tag this as digital or traditional so i guess its just #art #i am going to go pass out now sorry if this was mildly incoherent

[rawliverandgoronspice]

THE GERUDO POST

(aka an attempt at a critique of how gerudos were handled in BotW and before)

Oh no. TOTK being right around the corner, it might finally be time for the Gerudo Post.

(aka half of the reason why I made a Zelda sideblog in the first place)

So I want to preface all of this by saying that, as you could probably tell already, I’ve always adored the gerudos. They have fascinated my small child brain when I was 7; then the obsession made its comeback when I was 14, and now, here we are, almost 28, and I’m still thinking about the gerudos. I think they might be among my favorite fictional cultures for their potential and their understated storyline. I guess growing up in a very Arabic neighborhood, coupled with being bi-culturally latinx (?? does Brazil count?? you tell me), also always made them feel like home to me –especially when I was very young and there was not a lot of cool female representation flying around that managed to involve fiercely independent PoC women, flaws and teeth included.

This whole weird-essay-thing tries to do two things. First: analyze the place gerudos have occupied in the series, their initial problematisms and their subtextual narrative arc during the Myth Era coupled with their relationship to Ganondorf. Second: tiptoe to Breath of the Wild and poke it with a stick to see what happens –and in doing that, explain why I believe a lot of their characterization was defanged in service of smoothing their past with the hylians instead of deepening the culture on its own terms, and why I’m a little apprehensive about what that might mean for TotK even though I adore seeing the best girls at it again.

Those are the uhh terms of service??

And now, we must go back to 1998.

OCARINA OF TIME ERA

There’s so many things about the gerudos that are noteworthy and rich, and they’ve made for a complex piece of Zelda lore ever since their introduction –and when I say complex, I don’t 100% mean it as praise. The very racially charged decisions made about their inclusion have been discussed at length by the fandom, especially when it comes to orientalist and Islamophobic tropes being deployed pretty thoughtlessly in Ocarina of Time (their sigil being literally a crescent moon and star originally, the parallels are pretty obviously there).

We’re talking about a band of amazon-like, big-nosed brown women from the desert ruled by a single Scary Evil Man born once every hundred years hellbent on conquering Hyrule who they apparently worship like a god, characterized primarily as thieves, decked in jewelry and orientalist-inspired harem/belly-dancing clothing, hostile to the white good guys of Hyrule (especially men), unblessed by the Goddesses and so deprived of elongated ears (this is true for OoT –we’ll come back to that), also known as a demon tribe with their deity straight-out described as evil-looking by Navi (on my way to cancel you on twitter Navi you watch out), and secretly led by evil twin witches who can turn into a single seductress and, as two mothers, raised their Scary Evil Guy king who happens to basically be the devil.

In so few words, gerudos are the future that liberals want.

It’s worth notice, also, that Ganondorf’s characterization in this game is… kind of relentlessly uncomfortable to play through, especially before the 7 year skip. The utter assumption of depraved and evil intents from every character surrounded by dialogue that does little to hide its biases in spite of having generally very little proof to back them up –even though, in the game’s context, every character is correct to call his eyes evil and the darkness of his skin a moral judgment in on itself. The scene where Zelda demands that we believe her conclusion that the sole and only brown guy in the entire kingdom is evil and will do harm, and the game straight out refuses to progress until we concede that her dreams are prophetic and that this man must be stopped at any cost even though she has no more proof than her discomfort… hits different on replay.

I’m restating all of this not to pretend I’m making a novel and thought-provoking point, but to bounce back on a tumblr post I saw a while back (that I can’t find anymore!! I’ll link it if I find it again) –and so express what it is that gripped me with the gerudos in spite of their pretty damning depiction… and actually maybe thanks to it.

There’s a surprising amount of texture to Ocarina of Time’s worldbuilding that exists folded within the things introduced and left hanging, or in its subtext –and whether on purpose or not, I believe it is why people keep coming back to this iteration of Hyrule.

What was that about the king of Hyrule unifying a war-torn country? Why did the gerudos break the bridge connecting them to the rest of the kingdom during the 7 year timeskip while still worshiping Ganondorf, and why are the carpenters trying to rebuild it against their apparent wishes? What was that about gerudos imprisoning hylian men trying to force entry into their lands? What was that about the secret death torture chambers right next to the Royal Family’s tomb and connected to the race of people who were, apparently, born to serve them?

Nothing? Oh okay… okay… okay….

The same can be said about this strange depiction of this hostile tribe, consistently described as wicked yet suddenly friendly once you prove you deserve their respect once you... defeat them, so you now have joined them? Ocarina of Time isn’t very consistent when it comes to characterizing them as their occupation (thieves) or as a proper culture, with a king and a strange system of rulership that seem to involve at least 5 people: Ganondorf, the Twinrova, Nabooru and the unnamed random woman who decides you’re now part of the gerudos because you slashed enough of them with your sword and hookshot, which, uhh ok.

They’re but a ragtag and negligible group when discussed next to gorons and zoras and hylians, but they also clearly have their own religion and at least a 400-hundred years old history (probably far longer than this) and hints of a written language of their own. I’m not sure the game itself knows what it wants them to be, beyond: intimidating and hot and cool, but also wicked and, because of Ganondorf and the way you barge in their forbidden fortress (heh) with the explicit intent to dismantle their king, in apparent need to be saved from themselves.

Speaking of rulership and the Spirit Temple, let’s have a quick tangent about Nabooru: I always found her characterization when meeting with Child Link pretty strange. I refuse to mention the promised reward, which feeds into everything orientalist mentioned above, but I always found her moral compass so extremely convoluted for someone coming from gerudo culture. Nabooru says that, despite being a cool thief herself, she resents Ganondorf for killing people as well as stealing from women and children. Stealing... from women. Nabooru. Why are you this pressed that he steals from women!!! This feels so out of place, that the only girl of that hostile culture that betrays her king and befriends you, is the one that upholds moral values that only a hylian could possibly hold.

Either way: the strange unquestioned contempt of the game for them as a culture, mixed with the occasional bouts of heart, friendliness and badassery, makes it hard not to consider their depiction as pretty biased in favor of the hylians finding them at once exotic, scary and exciting, and could hide a more complex reality you might only get one side of –especially when you know there were originally plans for Ganondorf’s character to be more gray and motivated than what the campy final version ended up being. To be blunt: even in the context of a game for children, and maybe because of that fact, it all reads like a reductionist and imperialist/colonialist reading of a more complex situation.

This might seem like A Lot coming from a game where the actual game writing can be this overall flimsy and simplistic due to the standards of the time (it’s rough, it's so rough). But I would have never dwelt on that thought about a little children’s game if not for the mainline entries that came soon after, because... ooo boy.

The sense you’re not getting the whole story was certainly not helped by the introduction of Wind Waker Ganondorf, and the chilling emptiness of Gerudo Desert in Twilight Princess.

AFTER THE TIMELINE SPLIT

(I’m skipping Majora’s Mask, not because I dislike them in the game or think they’re not worth talking about, but because it’s a parallel universe and they’re never even called gerudos and their reality seems extremely different from their sisters in Hyrule so I think it’s okay to call them tangential and not dive too deep in this particular depiction)

Here’s something I want to highlight about gerudos and how they were characterized before BotW came along: their absence. Not only their physical absence, the lack of any gerudo character that calls themselves gerudo, but their absence from the text itself.

It’s not that Wind Waker and Twilight Princess retroactively scratch them off existence: we can clearly see Nabooru’s stained glass art in WW as well as recognize them being mentioned in Ganondorf’s final boss soliloquy, and WELL there’s quite a lot to say about their imprint over the world of TP. They are there –or at least they... were there. But nobody ever talks about what happened.

In Wind Waker, there was the deluge. It’s assumed lots of people died then, and those who survived scattered across the Great Sea. Are they sealed under the waves? Have they drowned? Is Jolene, Linebeck’s ex-girlfriend in Phantom Hourglass, a distant relative of one of the rare survivors? It’s unclear, beyond the fact that Ganondorf is the only living gerudo we see in this entire branch of the Timeline split.

In Twilight Princess, the desert which bares their name is empty. The hylians never mention that it used to be the name of a tribe: they’re not even named when Ganondorf is introduced for the first time, reduced once again to a mere band of thieves. We learn his plans to steal the Triforce in OoT were foiled, and that he may have turned to war. Then he lost the war, and was executed in Arbiter’s Ground: a strange structure in the desert, a mixture between a temple, a prison and a coliseum. What looks like gerudo writing coexists with hylian symbols, which often look much fresher. This dungeon is the Shadow Temple of TP: a prison hosting the worst criminals the kingdom has ever known, now haunted and cursed. Besides the locations, the only character that vaguely look gerudo in the entire game besides Ganondorf is Telma, a character with pointed ears that never seems to identify as anything but a hylian. What happened? Who’s to say. Nobody ever says anything. Not even Ganondorf bothers to mention them the way he did in WW –and though the game’s story is quite focused on another exiled tribe seeking revenge and dominion over Hyrule as retribution, the parallel is never explicitly drawn. So who’s to say what happened there. Who’s to say.

And in A Link to the Past and the games forward? The only mention of other gerudo characters are Koume and Kotake, resurrecting their son in the Oracles games through their own sacrifice and failing to bring anything back but a monstrosity incapable of making conscious decisions. Granted, most games in that extremely weird Fallen Timeline predate OoT and therefore had yet to make gerudos up at all. Still: canonically, between the gap of OoT and ALLTP, whatever it may be, gerudos disappeared here as well.

I think there’s something subtle and a little heartbreaking about the fact that no matter what Ganondorf does, the gerudos always end up dying out. His yearning for Hyrule, its gentler wind and the Triforce blessing its lands always costs him the kingdom that he does have already.

Now, does he care? A lot of people would argue that he doesn’t, that he used them like pawns for his own ambition and saw them as servants more-so than sisters, and I wouldn’t be surprised if it was Nintendo’s official opinion, but… One very powerful thing about most of Ganondorf’s incarnations (focusing on the human ones) is that he never seems to reject his cultural heritage. They could have gone for him wearing more kingly hylian stuff given the whole underlying theme of envy and pride surrounding his character, but never once does he try to look more hylian, beyond the ear situation that seems to be tied to the Triforce of Power? Either way: he is gerudo. Several of his outfits reference his mothers, as well as general gerudo patterning and jewelry. His heritage is something he proudly displays, even hundred of years in the future when there is no one left to remember what it means but him. I think it’s a very potent piece of characterization, an arc that crosses over multiple game and says something pretty intense about this character’s fate and his inherent destructiveness over the things he touches –starting with the Triforce, all the way up to his very own body and mind. His mental breakdown by the end of Wind Waker, when the king of Hyrule himself forces him to give up on the thing he sacrificed everything for, takes a new kind of weight with the whole picture taken into account.

(not to excuse genocide or general egomania-fueled madness and violence, but one thing doesn’t mean the other isn’t also relevant)

Regardless of whether this is a tragedy for Ganondorf as their uhh complete failure of a king, honestly, it is undeniably a tragedy for the gerudos themselves: a once-in-a-lifetime joyful event turned into a never-ending nightmare from which there seems to be no escape, their legacy now condemned to fade to black, leaving nothing behind but a demon boar forever laying ruin upon the world.

One may say I’m taking on the bleakest explication for the gerudos’ absence when there could be others. It’s true! Perhaps the gerudos are just chilling off-screen, completely fine, not interested in whatever is happening in the kingdom nearby and their disaster child having yet another temper tantrum about not being the Goddesses’ favorite boy. It’s possible! But regardless, what little elements we do possess as players doesn’t seem to support this, even if it remains possible –and regardless of actual gerudo lives, gerudo culture is definitively a goner in every single timeline.

Even if they did survive... Hyrule still won its unification war.

(I won’t mention Skyward Sword as they are not really a thing there, except for a butterfly that seems to suggest the Gerudo Province was a thing before the gerudo people –I don’t know what to do with this honestly– and the whole Groose situation, which, I’m not sure what to make of either beyond the fact that he may have gotten cursed by opposing Demise? And then went on to start the gerudo tribe, which ended up being an all-women group for some reason? Maybe? It’s not confirmed? I feel like it’s more of a fun tidbit than a central piece of the gerudo puzzle, so I’ll leave it there like I would a cool rock I brought back from a walk and that I don’t know where to put in my house)

Then, Breath of the Wild happened and changed things.

BREATH OF THE WILD

(Additional short note, but: while I won’t mention Four Swords Adventure, since it’s a weird one that almost nobody has played and severely messes with the Timeline, we kind of see the beginnings of what is about to happen in Breath of the Wild in this game –gerudos coming back without much explanation, then distancing themselves from Ganondorf to become friends with hylians because he was too hungry for power and now they are nice and have good reputation because they are our friendsss)

I was actually so happy to learn gerudos were making a comeback in a mainline Zelda game, and this got me more excited about Breath of the Wild than basically anything else the game involved. And getting to explore the Desert once again, meeting this new batch of impossibly tall buff girls, getting more about their language and their culture, Riju and the rest of the little girls are adorable, the grandmas are so cool, the sand seals??? sign me the fuck up??? And above it all, hanging around Gerudo Town at night and feeling as warm and cozy as little me liked to imagine how freeing it would feel, to stay there and watch the desert behind the safety of their walls in OoT… This was great. I loved it.

It was a huge compensation for the criticism I’m about to make, but did leave me with… questions regarding how their culture was going to be handled moving forward.

I’ll start with something small yet deeply revelatory, then work my way from there.

So... gerudos’ ears are pointy now.

This is pretty significant. Lore-wise, it’s been said that the elongated ears of hylians are there so they can better hear the voices of the gods. It’s considered a sign of holiness in-universe. There's a bunch of really thoughtful analysis on tumblr over that whole Ganondorf ear situation, which is a mess but also very interesting, but the short answer is: I think the absence of pointy ears was a clear design choice to originally signify them as Less Good. Even when Ganondorf gets pointier ears, they never get as long as hylians’. Worth noting: not every non-gerudo character has pointy ears: gorons, zoras and ritos (among others) do not possess this trait, and there are even some humans that have regular rounded ears in the series –though they always seem to be of lesser relevance, if not downright peasants in Twilight Princess. Pointy ears always tended to implied a strict hierarchy in the series: basically, the more pointy, the more Protagonist you become.

(also their eyes becoming green instead of the traditional yellow/golden, which looks more wicked and demonic --and cooler also tbh)

The pointy ears imply two things. From within the game, this could be interpreted in two ways: either that gerudos… converted, for a lack of a better term, and are now considered holy through their worship of the Golden Goddesses and/or Hylia, or that their mingling with hylians through tens of thousands of years had them acquiring this trait out of sheer genetic override (though they have kept their mostly-women birth rates, their big nose, darker skin –for the most part– and red hair). Probably a healthy mixture of both. Design-wise, it signifies something quite simple to the player: they are on hylians’ side now. They are good guys. We can trust them, even if they still have a little spice in them. They aligned themselves with us and against Ganon in all of its manifestations (even if he’s but an angry ghastly pig being parasitic to everything it touches in this iteration). They are on the side of Good, definitively, and will fight evil by our side.

On that note, I think it’s worth bringing out another major change from their initial iteration, which is their overt friendship with Hyrule as a whole, and with the Royal Family in particular. Despite not allowing any voe inside their walls (we’ll come back to this), their relationship with hylians is pretty neat. They have booming trade roads, travel and meet with the rest of the cultures, and are fierce enemies with the Yiga clan, who are renowned for being huge Calamity Ganon supporters. The tables certainly have turned. I want to bring out, in particular, Urbosa’s friendship with the queen and her role as the cool aunt taking care of Zelda and protecting her from evil (to be noted: I am not familiar with Age of Calamity so if I’m mischaracterizing her in any way, please let me know). The gerudo sense of sisterhood has been extended to the royals they used to fight against. I would go on and say the cultures peacefully coexist, but I think that what we’re looking at here is a case of vassal behavior, just like we used to have from zoras (in the non-Fallen Timelines) and gorons. This is a huge departure from gerudos being openly rejecting of Hylian culture in their initial iteration, and something that is worth returning to later.

Okay. Now it’s time to mention the weird obsession BotW gerudos have with romance. I didn’t take notice of my issues with their writing until I realized how prevalent of a theme that was. Now, the reason given for gerudos to refuse entry to males (of every race) has much more to do with preventing young gerudos to make mistakes than anything else, and is actively being put into question by the younger generations –which would make sense. But the amount of NPCs that either lament their lack of match, talk about their husbands (because they marry now apparently) or are invested in romance, and a very limited understanding of romance at that (heterosexual, closed, etc), makes for much more of the population that I initially expected. There’s no mention of what’s going on with their males, if there are new males being born and either exiled or abandoned, or if Ganondorf being technically still alive have have cut them off male heirs. Either way: no more kings, only girlbosses chiefs.

To have the gerudos so interconnected with Hyrule, not only through trade but through extremely coded romance where they have to make themselves palatable to a future male partner and enforce fidelity, was… a choice. The extremely brief and skippable mention of gerudos sometimes going to Castle Town in search for boyfriends in OoT became half of their personality traits in this game. We went from a race that was fiercely independent and mocking of the unworthy men who tried to mingle with them, to… this. Now I’m not saying some of the sidequests aren’t cute, or that I didn’t like the wedding, or that the grandma near the abandoned statue of Hylia (so she was worshipped at some point) clocking us and talking about her love life wasn’t one of my favorite gerudo conversations. I’m saying that the vibes have definitively changed. For the better? I’m not sure.

I once stumbled upon an article that said that Breath of the Wild gerudos were a huge improvement compared to their original introduction, because they were no longer presented as evil and hostile thieves groveling at the boot of a single man, but as a full culture allied with the protagonist and actively involved in the story, while still getting their Cool Girl Badass moment (again can’t find it anymore, I’ll link it if I stumble upon it again). I see where this comes from, but I honestly can’t help but consider it a reading that assumes something pretty major (though through no fault of their own, as the games tend to hammer this down as hard as they can), and that being hylians as the unquestioned anchor of Good.

Which, in spite of what the games want me to believe, I… feel uncomfortable taking at face value.

To me, regarding how gerudos are being incorporated in that goodie narrative, this is kind of a case of surface-level feminism trumping over colonialist/imperialist concerns. It becomes more important to perform the aesthetics of being cool and friendly and independent than scratching at any deeper problem that would risk making people uncomfortable. This is kind of Green Skin Ganon all over again: oh wait, isn’t it a little icky to have the evil bad guy being brown while faced by the most aryan-looking ass heroes of all time? Okay, then let’s take the brown guy and make his skin green so we don’t have to feel bad anymore that the conflict has racial undertones!! Solved!! There’s nothing questionable about changing a PoC's features to make it more monstrous and less human, right?

To me, it’s kind of the coward option: instead of accepting the messy reality those initial choices created (and their interesting nuances if taken at face value), let’s just… rewrite the PoC culture’s history to make it feel less uncomfortable for the white heroes. In many ways, it is an extension of what hylians have always done: scrubbing the weird and messy things about the past and shoving them deep down into the spooky well and far into the desert prison and away in alternate hellish dimensions, and then make up a very simple story where they get to feel good about themselves –except this time, it’s the fabric of the games, the literal reality, bending backward to make it happen. Which, in my opinion, makes it much worse than before. Now, there’s no conversation. The fabric of reality is changing their own history so that there is nothing to discuss anymore. Ganondorf was always evil incarnate. He never had any point. It was always 100% his own fault, his own hubris, his own fated wickedness. He was always demonic (and green, very important –having a flashback to people on twitter accusing artists restoring the TotK green skin to the original brown of wanting to make Ganondorf black, and like….. how do I put it gently…..)

And, above all else: gerudo are to distance themselves from his legacy so they can stay in the club of the Good and Just and Holy.

Because here’s the messy thing: as much as I love seeing the gerudos again in Breath of the Wild and as much I love for them to have survived the Era of Myth (??? somehow ???), this… kind of changes Ganondorf’s character arc. No longer do we have the story of a king who wanted more, either for his people, for himself or both, and led his culture to its destruction in his search for absolute Power, while remaining ironically incapable of maintaining what little he already had. This starts from him kneeling to the king of Hyrule in OoT and leads to the deluge, Arbiter’s Ground, his own mothers dying for the sake of his failed resurrection. Breath of the Wild changes this: now, the gerudo were apparently fine without him? They apparently did their own thing and became suddenly and inexplicably disconnected from his actions? I know it’s kind of implied they side with hylians at the end of OoT, but it’s honestly never really explored why they would cheer for the death of their king while never seeming to resent him before except for Nabooru –there are mentions of brainwashing for those who resist him (as well as “other groups in the desert”, tho they are never mentioned again), but it’s hardly a proper plot point for the majority of the tribe, aaaand they still die by Wind Waker in the Adult Timeline, in spite of their potential alliegance…

(again, this shift towards submitting to Hyrule actually started with Four Swords Adventure, getting crisper with each iteration)

There used to be this polite blur regarding Ganondorf’s relationship to them, how much he used them and how much he acted in their name (with arguments for both sides), and I think this messy and debatable question mark was one of the most compelling aspects of his character. Gerudos rejecting their relationship at a near-cosmic, reality-bending level, removes a huge layer of complexity to both parties… all for the benefit of making hylians come out cleaner out of this whole exchange, their moral grayness barely a whisper in the distance.

I’ll kind of go on the record and say that I suspect the addition of Demise to the canon to serve a similar purpose (at least in part): if Ganondorf becomes but the manifestation of a demonic curse, and is no longer an extremely messy character brimming with agency and drive, forcing the heavens to reckon with said agency in a way he was never meant to access, born from a complex set of circumstances from which we clearly get only a limited and biased perspective, then it becomes extremely clear that he’s a Bad in a way that isn’t worth exploring further. Even if he does have some points, he is a Bad. It’s what matters most. Not to say I even hate what this angle can bring to the table or that I want him to become Good (I don’t –I’ll talk more about why I dislike most takes on him being a helpless victim to the curse), but once again, who benefits from adding another Unquestionned Baddie to the equation to rest upon? Not him, and not the gerudos, that’s for sure.

So. Why did I, me, personally, like the gerudos in the first place?

Beyond the inherent coolness factor of their culture and the fascinating mysteries of what is merely suggested, I think… I think I loved gerudos because we were obvious outsiders. Because their rejection of Hylian culture was so sharp and extreme, their value system so different, and their writing, their religion, their relationship to power and hierarchy and worth wanted nothing to do with hylians. They didn’t need hylians, beyond them having potential resources to steal. In fact, the threat of hylians influencing their culture was such that the entry to the Fortress was forbidden to everyone (I don’t think men were ever singled out, by the way, even though they are mocked relentlessly). I think there was something inherently hopeful about this semi-matriarchy resisting the outside world, and especially its notions of what girls were meant to be –it was 1998, and every other girl character in OoT, besides Impa and Sheik that?? is another can of worms entirely, is either helpless or someone to save. For them to reject this narrow vision of femininity was, in my opinion, much more radical than what we got in BotW. Less nuanced, more problematic perhaps? But also much more powerful. Gerudo Valley is home, not to a town, but a Fortress.

Hylians were worth being resisted.

In Breath of the Wild, their refusal to let men enter their town is kind of boiled down to a fading tradition over-focused on romance, a meek little game of chase. Their entire goal seems to be finding a hylian to settle down with. Say what you will about the single man and the many girls (never explored and completely open-ended in its implications, btw), but at least it wasn’t… that. At least it opened the way for different ways for people to exist and imagine culture and civilization, outside of the heterosexual couple, the christian-infused patriarchy and its trickling down implications. What I want to say is: let my girls tell hylians they ain’t shit!! That they aren’t the end all be all of reality! This is what made gerudos so compelling in the first place! Where is that bite now? Where is that self-definition?

It’s gone, because hylians need to be Good. So we tee-hee at the creep running laps around the town, we disguise ourselves to breach their trust and infiltrate their town (though there is nuance to be had there, gender be complicated etc), we watch them pine after shitty dudes and take classes to become the perfect approachable woman and make love soups with ?? strange ingredients honestly, and we witness them get very friendly with the Royal Family they used to conspire against, dying to protect the princess against the manifestation of their ancient king reduced to a raving puddle of Bad Boar.

Hyrule, unified against him.

TEARS OF THE KINGDOM

For posterity’s sake: this post was made before the game was released. I’ll probably update my thoughts on a separate thing later on.

I don’t think gerudos allying with the hylians and burying their own legends about Ganondorf as deeply underground as they can until it blows up in their face is a bad setup at all. It’s actually pretty juicy, and there’s a ton of fascinating stuff that could happen here –even some involving gerudos taking a firm stand against him while still reconnecting with their past and the choices they made once. This is my hope with the title of the game: Tears of the Kingdoms. Let’s examine them all, account for the damage, and decide how we move forward from there with the full knowledge of where we come from.

What I am afraid of (and I already made posts about that) is the scenario where gerudos rallying against Ganondorf, which I expect will forcefully try to take back his place as their king, is used for cheap feminist points that completely fail to examine, well. Everything mentioned above. Where reality bends itself out of the way of the Goddesses, and hylians’ responsibility in any of this mess, so that everything bad is 100% Ganon’s fault and so he must be cast aside and torn away from the Cool Gerudo Girls and this is 100% justified and deserved because we are Independent Women Who Take No Shit from No Men (unless they are the king of Hyrule or any random hylian they wish to marry apparently).

I’ll say this here because it’s been burning my mouth every time I see discourse about Ganondorf and the gerudo: gerudos declared him as their king. To make a really bad comparison that I dislike: he didn’t run around to assemble girls and make a cult around himself, he was born with the cult already formed around him (and it’s not a cult, it’s just a different mode of governance –hylians also revere the Royal Family like gods, don’t they?). This heavily changes the dynamics at play. Not to remove any agency from him to do a little invasion about it, but chances are the ancestors to BotW’s gerudos fully expected him to behave in this way, at least to a degree –in OoT you see very plainly that they value physical prowess, feats of thievery, witchcraft and general violence. It’s more complicated than him being a Bad and making the poor helpless women go along with the plan uwu –even taking the brainwashing into account, AND Koume and Kotake counting as gerudos too, even if they might not be not fully innocent in shaping the culture and the man himself. If manipulation and forced servitude is the explanation given, I’ll be genuinely mad –because, once more, all the nuance and messiness would be flattened for the sake of making Ganondorf Bad and the gerudo Good (= on hylians’ side).

It bears to be said: I think feminism stances that require, not to criticize (which is fair), but to fully dehumanize and bestialize men of color to make any sense are uhhh bad, and it's worth questionning who they end up serving in the end.

The flip side of this would be to make Ganondorf a poor little meow meow that was secretly controlled by the evil Demise all along, and... I’ll be real. I really don’t think it solves our problem at all. It might even make it worse.

My problem with how gerudos have been handled thus far, being mostly connected to how they behave in relation to hylians Good, is that they’ve been systematically defanged not to threaten the status quo as much as they used to. I think it’s pretty clear why I’m not a fan of Ganondorf being a mere victim of cosmic circumstances; I have a post that goes more in depth about this, but to simplify: my man has legitimate grievances. To make him a mere puppet to Evil Incarnate would, to me, be just another attempt to erase the despotism of the Goddesses, the unjust hierarchy of the world, what hylians have historically done to the races they were in conflict with (looking at the Yiga for the most recent example…)

I’m not saying his fight is clean or even legitimate, that he isn't driven by his own sense of self-importance above anything else, or that he should win (he has no plan beyond domination and victory, that's not a future). But I think there’s something really important about having someone being willing to fully consume himself and everything around him for the simple fact that someone should resist the order of the world. Even if that makes him a heartless, cruel, and egomaniac demon-pig. Even if there’s no Hyrule left to rule. Even if his own people despise him, or are long gone and forgotten.

Is it a little heart-wrenching? Uhh yes to me yes most definitively. This is why Wind Waker Ganondorf hits so hard, and remains (I think) his favorite entry in the series so far. But… I still find this fate of eternal resistance more resonant and empowered, and far less grim, than if Hyrule’s lore absorbs his hatred and rage, gives it to another entity that would be Badder (= more opposed to hylians and the goddesses), and scrubs it off anything icky and uncomfortable, rendering it completely domesticated and non-threatening to hylian domination; rubbed of his skin color, of his complexity, of his own emotions, even made... kind of sexy now, in the same way his sisters have been made before him? I am very, very afraid of him being turned from furious and an unapologetic subject in his own legend to a "redeemed" (according to whom??) and palatable object in somebody else’s, that you now end up having to… save from himself.

Again, I want to trust that Tears of the Kingdom can walk that line and preserve everything sharp and contrasting and profound and thrilling about this fascinating setup. I don’t expect a philosophy course, this is a game for children –but it doesn’t mean Nintendo didn’t do an astounding job with similar setups in the past. Again, I’ll invoke the Wind Waker conflict, but Twilight Princess did a lot of great things as well (Zant’s speech, if you can get past the weird stretches and stumping and NNHYAAAs, is pretty fantastic) –and the subtle writing of Majora’s Mask is also proof enough this series can be complex without being impermeable.

So this is where my hope lies. Not really with BotW’s writing, which, I’m sorry to say, but I found to be below what the series has done in the past (I have no problem with the setup and how the story is explored, I think it was a great idea, but wasn’t ever sold on the actual writing the way I may have been with previous titles –it felt… very tropey to me overall, with a couple of highlights). But Nintendo has shown to know how to write compelling stories for children that know where to sprinkle its darkness and how to preserve its hope, and this is this side I’m relying on for this delicate storyline moving forward.

And now? Now… I suppose we wait and see.

(thank you for reading my impossibly long essay what the actual hell, at least I got it all out of my system, see you in part 2 for when TotK comes out I suppose aaa)

#gerudos #gerudo #ganondorf #tloz #totk #botw #breath of the wild #ocarina of time #twilight princess #wind waker #ww #tp #meta #hylian critical #zelda meta #thoughts #this took SO LONG #but at least it's DONE #let me know if I say stupid things!! #I probably do!!

[15-lizards]

what are your thoughts on the dune costumes? ive always found them so beautiful and they have left me going down rabbit holes trying to put together my own versions and collections of things i think fitting for the setting. i personally am OBSESSED with the bene gesserit and their look … and naturally lady jessica is an inspiration to us all

I was really impressed by the costuming in the movies, and I adore the attention to detail and storytelling through different clothing. You can clearly see the North African and classical Islamic inspirations

However, the one gripe I have with the Fremen costumes is the lack of color. Like these pics above are clearly the cultures the designers were inspired by, but if you see the newest movie, there is quite a lot of sandy, beige, and brown coloring and little else. Obviously if you live in the desert, you will rely on undyed or neutral colored cloth, but natural dyes are still available in these areas. Even in the book, the sietches are described as having colorful tapestries and color on the walls. The costumes were still beautiful and practical looking, but I do wish there was some individuality. There are a couple scenes near the end where Jessica and her entourage all have on brilliant dyed clothing and headdresses, so it is possible.

Here's me once again championing for the Islamic Fashion Institute to create all the costumes for future Dune projects, especially the Bene Gesserit show. There's an air of secrecy and mystery to the organization, and I just love the way their costumes shut the sister off from the average person as well as making them stick out as a member of the order. And these pics are giving me very regal secret sisterhood vibes

Also the catholic nun inspirations are sooooo palpable I need more people talking about this. All the strange headdresses and veils that put a barrier between the sister and the rest of the world. And not even just the costumes. Pure Catholic arrogance that this coalition of space priests could breed the savior of the world I live for it

#dune #bene gessetti costumes is a beautiful name for a baby girl

[coldairballoons]

i've seen a lot of people saying that saltburn (2023) isn't a commentary on class, and genuinely, i have to disagree.

keep in mind, i watched this at 3am last night with my sibling, but i'm also a literature major with a focus in literary criticism of popular culture (including film), so i do know what i'm talking about!

spoilers below the break

first of all, framing saltburn as a conflict between the upper class and lower class is incorrect. in fact, that in itself is one of the major criticisms that comes up throughout it! oliver is quite literally not lower class, but uses the preconception that the cattons will view anyone in a lower social class than them as a tool to manipulate his way into their life. despite this, he is not lower class. and you are not meant to root for him, especially not towards the end.

the marxist theory of literary criticism surrounds the idea that in every story, one of the key concepts is a class struggle. this could be between any class, but the most common is the rich vs poor duality that shows up in most stories - ex. titanic, the fall of the house of usher. the thing is, in both of those examples, the sympathy lies with the victims - the lower class. in titanic, you are meant to feel guilty on behalf of the rich leaving the lower class to die. in usher, you are meant to feel anger towards the mistreatment of those who seek out the treatment the family offers. but while usher is a clear criticism of class, is that its main genre? is is purely a class struggle movie? no. it is a story inspired by edgar allan poe that surrounds horrors of family, trauma, and yes, class, but also morality. meanwhile titanic is supposedly a romance. though jack dawson is young and poor, he is not the only sympathetic character. what i'm saying here is that media is incredibly layered, and while on the surface level, something may not be entirely a class conflict story, those undertones exist throughout, no matter what. even take hit series percy jackson for example. there is still a class discussion to be had there, with percy and his mom struggling with finances, while annabeth and her father live comfortably.

but saltburn is interesting, because the antagonist throughout the entirety of it is, as far as the audience knows, lower class. you are introduced to him, not through judgement for his living condition, but through compassion and generosity. felix offers him a hand, even when he isn't in the same group as him. that in itself is a criticism of class dynamics.

listen. i hate rich people as much as the next gen-z college student. i personally have a hit list with many a billionaire's name right at the very top. but it's undeniable that, despite the class difference, the cattons - at least venitia and felix - are kind to oliver at first. obviously, he is a part of the other, but he is still a person. elspeth enjoys his presence. james treats him as a son. farleigh feels threatened by his presence, because he knows that, if they so choose, they could replace him with oliver.

i want to talk about farleigh for a second.

i literally have not seen anyone talk about farleigh, and i am upset about it. not only is he one of the most compelling characters - a supposed american slacker who lives with his extended family and blows their money on lavish means -, but he is important in the class discussion because it affects him directly. the cattons do not support his mother. she is in america, and although they have the ability to, they actively choose not to. the reason felix is bothered when farleigh implies that it is, in fact, a "race thing", is because it is. why is farleigh the one dependent on the cattons, and risking expulsion from the family? because he is the first other that they encounter.

and then pamela, who not only has sought help from the cattons, but disappears midway through with no explanation. she goes directly from rehab to them, and although she is trying to find a place to live on her own, the cattons offer her no assistance. they offer her nothing, and complain when she is in their space. they offer her NO help, when they so easily could set her up with a small flat and monthly allowance to help her find a job.

and not only is this a criticism of the upper class - the inactivity and extremely single-minded worldview that the cattons have, the amount that they are out of touch with not only the outside world and the lower class, but their own emotions -, it's also a criticism of the upper middle class.

as someone currently in college, whose parents are a college professor and a high school teacher, i am fairly middle class. however, there are so many people in my immediate vicinity - folks i know from high school, in my classes, extended family, etc., - who are Extremely upper middle class. however, they have the comfort of certain things that i, and my family, don't have. that's just part of life. however, in saltburn, oliver milks the "middle" in his "upper middle" class. he milks it, and he runs it absolutely dry.

someone truly in his alleged position would not be able to spend the summer lavishly and hedonistically gallivanting around the countryside of england, playing tennis and smoking cigarettes by the lake. hell, someone in my middle class position wouldn't be able to do that either, especially not while attending oxford fucking university. he would likely need to work, not just to support himself, but to support his mother, especially after - again, allegedly - his father died. and not only is this coming from a place of an oversight on his part, not realizing what his privilege truly is, but it also comes from a place of oversight on the part of the cattons.

do i think that saltburn is a movie about class? nope. at its core, it's a story about a desire for power and possession, ownership and obsession. there is this intense, almost vampiric lust throughout the entire thing, and that's in part what makes it the perfect setting for discussions of sexuality, of madness, and, honestly, class. wealth is power, and the cattons have a lot of it.

#saltburn #saltburn 2023 #oliver quick #felix catton #barry keoghan #film #movies #saltburn movie #miles is dumb

[sanctus-ingenium]

I’m really inspired by your world building and the creatures you use. I’m trying to kickstart my own world using Celtic, Norse and Scottish myths (it also involves werewolves because they’re cool)

But I’m stumped and a bit overwhelmed. How’d you start your project and what were huge sources of inspiration for you as you worked on The Black Horse?

hi there!!! this will probably get wordy i have a lot of thoughts on this but here's how i built up my inver setting

i had the characters first, and the werewolf establishment was basically the first thing invented about the world. I wrote a decent amount about the characters in the pre-1st draft slush pile just getting a handle on their voices, their history together, etc. the first slush draft was in painstaking chronological order telling of their lives from birth to like age 40 - it wasn't pretty to read but it meant I knew what big moments formed their worldview, their relationships with others, things like that. and then i got to pick and choose which ones would feature in the actual 1st draft, and which i would leave unsaid, in flashback form, or only in the form of vague allusions. the plot and world events changed significantly as i wrote the actual 1st draft so this ended up only being useful for backstory stuff and not book plots, but it was still good to have.

There was an important moment of a character being kidnapped into a faery realm, which is what started me off thinking about fairies in general. they weren't originally a part of this world - it was an undefined space before just for the characters to exist in, because i was (and still am) more interested in the characters than the worldbuilding. but i still like for there to be SOMETHING there in the background, and it gives a lot of opportunities to inform characterisation, so i started to make my setting. I picked the Púca as a pivotal being & major inspiration source to include because of its relatively large presence in the fringes of my childhood in stories told by my older relatives and i like the unusual aspects about it as well, how it has been both heroic and malevolent in different stories. you have to remember i grew up in this culture too, i knew a lot already, and that's what got me thinking of alternate Earth history - as in, the setting of Inver as alternate history, not wholly original fantasy set in a fantasy land.

So then I had to think about the implications of that, and here is where I think a lot of authors adapting extant mythology fall short. A world where faeries/mythological monsters/gods based in real cultures exist and people interact with them is indistinguishable from our own. We already live in a world where people interact with faeries in their own way; I've heard many older relatives recount stories of being trapped in their fields by faeries, how you can only escape by taking off your jumper and putting it back on inside out. There was no question as to whether they believed this was a concrete, meaningful interaction with a supernatural being. We have a motorway that was diverted while it was being built because the builders didn't want to risk cutting down a hawthorn tree. There is a deep stigma against harming hawthorns. Now, tell me how things would be any different if faeries were real irl? ftr I do not believe in the supernatural whatsoever, not even a little bit, but it is impossible to deny that I live in a world deeply shaped by it - I need only look out the window at the stands of whitethorn around my house to know that. because the main expression of that supernatural element is in how the people of that culture react.

you cannot, you cannot pick and choose only the monsters from a legend and leave behind the people who made & propagated that legend. you're only taking a single thread from a rich tapestry. I'm not arguing that other cultures should be untouchable, far from it, I'm just saying that to truly appreciate it, you need context for everything you adapt. you gotta know what you're writing about

in that sense, the people are more important to building Inver than the faeries. a citizen of Inver not immediately affected by the main plotline would likely never see or interact with magic in their lifetime, but their society is still shaped by it. so is mine (though that's more on the catholic church than anything else)

So now that I'd had that realisation, I decided to dump a lot of the traditional fantasy tropes I'd been working with. Think basic fantasy setting stuff, pop culture "The Fae" tropes, even the terminology of 'Fae' at all - that is not something I've ever heard the older generation in my life call them. It's just 'fairies' to them (although I did shift the spelling to match the Yeats poem because I could not handle writing characters making accusations of being A Fairy and have it not come across as a unintentionally homophobic accusation lmao). I did some research; mostly on JSTOR, using my institutional access, because my own university is mostly science and didn't have a big library of anthropological texts. I read An Táin Bó Culainge which is honestly one of the greatest stories of all time PLEASE READ IT if you are at all interested in Irish myth. It is a fantastic story and extremely comedic as well (a canon mmmf foursome lol). In terms of academic sources specific to the Púca, I have a drive folder of pdfs I will share with anyone if they ask.

I decided I was not going to include anything from what people actually think of as pre-christian Irish mythology - no fianna [rangers notwithstanding], no Ulster cycle, no Tuatha Dé, no Irish gods. All the things I include are post-colonial aside from the notion of the Otherworld in general. This decision wasn't necessarily accurate to what might have happened in this alternate history (given that christianity still has no real foothold in Inver) but it is a colonised society after all. It's why I got slightly steamed once when someone filed my Púca art into their irish deities/irish polytheism tag (I have my own issues with iripols/gaelpols for the same reason I dislike people taking myths out cultural context and in this case contemporary cultural context), because the Púca is in fact a postcolonial being - it comes from the UK, and likely the mainland as well

One of the last things I did before starting on my 2nd draft, which is what turned into Said the Black Horse, was decide to always capitalise the word 'Púca'. Because what really clicked from doing my research and remembering what I'd heard as a child was that the Púca is a specific character. Not a species, not a class of monster. A character, one guy. And you'll find this everywhere - the obvious example is the Minotaur being one specific guy, the son of Minos, not just 'a minotaur'. One very funny consequence of speciesifying mythological characters is dnd ppl saying their character is A Firbolg (fir bolg is plural!!). Fantasy bestiary books like Dragonology or Spiderwick Chronicles have done some amount of damage to how people relate to myths and legendary creatures, and I am not immune as someone who loves speculative biology, but in Inver I decided to cut all of that out.

Next once I got that out of the way I had to think about tone, atmosphere, and intended results. I didn't achieve my holy grail of a very atmospheric, undefined, and uncertain story that provides no answers, due to limitations in my own abilities, but I tried. I have given less than 1 second of thought to how magic or faery biology in Inver works because that is not conducive to the atmosphere of a fairytale. Many of these source myths and legends are really about the fear of the unknown. They are rationalisations to explain away something unknown, some mystery of life, and you cannot explain the unexplainable and expect it to carry the same punch as the original myths that you are drawn to adapt. That's also why I try to never actually give facts about fairies, but instead I talk about what people think of them. The word 'considered' does some insanely heavy lifting in that linked post lmao. Is any of what I wrote true with regards to the Red King?? It is for the people who believe it.

I'm saying all of this because these are all points I had to think about before writing that 2nd draft, but also because I think they're worth considering for your own story as well. I'll admit I invented my werewolves from scratch, they have no mythological basis, because they pre-date the faery stuff and also I wanted them to fill a very specific role and appear a little more concrete than the other supernatural elements. It is what it is; I wanted a werewolf element that didn't match myths and legends (and honestly was partially inspired by me rolling my eyes about those posts going around moaning and whining about 'the doggification of werewolves missing the point of werewolf stories'. I thought, well, there's more than one story you can tell with a werewolf - it isn't always 'i fear the beast within', sometimes it's something else! sometimes it's daddy issues! it's okay to make something new)

ok i think that's all i have to say.. modern Inver is a bit different, that worldbuilding is largely the same but with a big dose of actual ecology because the main characters are rangers and in Inver in 2017, rangers mostly do environmental monitoring. and that's a whole different sort of worldbuilding lol

good luck with your story!!

#me about to write literally anything: this will probably get wordy #mvf #setting: inver

[dduane]

Re: Magic systems

kosmonaunt asked:

I have the weird hyper-fixation of wanting to know all their is about The Speech and just how everything works!! I love learning about how power systems work, and it helps since I’m trying to develop my own. I’m always stuck on soft or hard magic systems. Since I don’t know all there is to really know about my system. Do you have tips on crafting magic systems? How do you feel about someone being inspired by pieces of your system?

Inspiration is fine! What you want to make sure you do with whatever inspires you, though, is to work hard to make your own take on it different from or better than what you borrowed. Around here we refer to this as "the magpie principle:" if you're going to pick up and play with/make off with a bright and shiny idea, you need to be working to produce something even brighter and shinier as your part of the "exchange". Whether or not you succeed at this (or can succeed), either sometimes or never at all, isn't the point. The point is to always be trying.

As regards building magic systems: there were three different ones in the foreground or background of my first novel alone—all of them with features that at this end of time I can recognize as being inspired by elements of magic systems in other writers' work. But by the time I'd more fully developed them, each had become something unique. The system I'm probably better known for—the system based on the wizardly Speech and its use—sprang more or less automatically from the increasingly complex answers to the question, "What if there was a manual that could tell you the truth about/the secrets of what makes the world go?". (Because once you answer one question, another pops up. "Where did that manual come from? What're you supposed to do with it? What's wizardry for?" Etc., etc.) I've spent the last few decades, on and off, answering that question in ways that (intentionally) mirror the main characters' exploration of the art of wizardry, and what it means to engage in the business of errantry in a world that mostly thinks wizards are a fairy tale.

Before getting into describing my own approach to building a system, I needed to take a little time to look around and make sure I knew what you meant when you mentioned hard and soft magic. My best guess is that you're referring to what a lot of people are calling "Sanderson's Three Laws of Magic" (fairly enough, as Brandon calls them that himself). I had a look, and have come to the conclusion that they're more general guidelines than laws... as in each of his three essays on the subject, Brandon no sooner names his basic laws/principles than he starts punching holes through them to make room for systems that don't follow them rigidly. (And frankly I find this kind of endearing.)

With his first one, in particular, I have no quarrel at all: the concept that in one kind of magic, which for his purposes he defines as the "hard" kind, rules are extremely important. (Which is why I'm kind of horrified that he apparently got dogpiled about this take on a Worldcon panel, because to me it seems so intuitive. Some of the best fantasy storytellers I know, like this one, would agree with him.) Then later he gets on to the equally valid ideas that limitations on magic are really important, and that culturally interconnecting multiple systems is useful; and here too we're in agreement. This is reassuring to me, considering that I built my first four systems—all of which feature approaches resting on similar concepts—while Sanderson was between four and six years old. :)

People using Sanderson's Laws will look at the three systems in the Middle Kingdoms books and classify them as varying sorts of relatively hard magic, with their power rooted in two or maybe three different sources. (The blue Fire is a gift of the Divine, nearly lost since ancient times and much damaged, but now slowly being recovered: sorcery is a language-based art in which no one's terribly sure where its power comes from: and the so-called "royal magics" probably started out as a blood sorcery that over centuries was shifted toward very specific uses by the power of the demigod-descendants who employed it.)

The Young Wizards novels, though, feature an extremely hard magic deeply rooted in science and (more or less under the hood) very, very rules-intensive... while its power relies on correct use of the language used to create the Universe, and the active cooperation of the Powers still busy about that work. And this is the reason why, though people are going to naturally be curious about the Speech itself, no one's going to hear very much from me about its actual words.

This is because the Speech is canonically described as so powerful that its use is something you can feel in your body and mind (and theoretically your spirit): bone-shaking, life-changing, unmistakable. And there's no way that made-up words on the page can realistically be expected to evoke physical sensations like that in the reader... or like the sense of the universe going silent around you, leaning in to listen, as you speak your spell. The careful writer knows that it's unwise to attempt to produce responses in the reader that, when they fail, will only emphasize how that thing is not happening, and stands a good chance of shattering the illusion one’s trying to weave.

So a Speech-word gets dropped here and a phrase there, but no one's ever going to get enough of it out of me to try to build a spell. Readers are better at doing that work for themselves in their own heads, out of hints and whispers. Over ten books and their interstitial material, there are plenty of those scattered through the text: not to mention the most basic principles of wizardry, which are laid out before the end of the first chapter of the first book in the series. So I'll leave you to get on with deducing what you can from canon.

Meanwhile, if I was about to build a new system, I'd look at my main characters—in the setting of their home cultures—and ask myself for answers to these questions:

What do they want more than anything?

Why can't they have it?

What kind of power will help them get it?

When they do eventually get within reach of the power / the desired thing... what will its achievement cost them?

And will they pay the price?

...Because the payment of such prices is where you find out what your heroes are worth. (Or aren't.) The above arc succinctly describes, in broad strokes, both The Door into Fire and So You Want To Be A Wizard, and a good number of the books that follow them. (Because why abandon what works, or try to fix what's not broken?) :)

With answers to the questions above you can start feeling your way toward what you need—always looking closely at the cultures your characters spring from, and how those cultures will shape their response to the magic they seek. (Or that finds them.) Maybe it's no surprise that the preferred arc structure of a writer who was a psychiatric nurse will be deeply involved with questions of motivation: because motivation is at the heart of almost all human behavior. Find the motivation and you find the character's heart—and, often enough, what kind of magic they need to make their desire and intention overflow into triumph.

...There are quite a few "How to design your magic system" pages out there. You might glance at these to see if there's anything useful in them for you:

How To Build An Amazing Magic System For Your Fantasy Novel

How To Create A Magic System In Six Simple Steps

Building Your Magic System: A Full Recipe

How To Create A Rational Magic System

However, my favorite is the "So You Want To Write A Functional Magic System" page at TV Tropes, which is nicely arranged yet also completely nonprescriptive—a pick-'n'-mix jar of prompts, things other writers have done that've worked, and generally useful ideas. (And try not to vanish too far down the many interconnected rabbitholes...) :)

Now get out there, build the world, and make the magic(s).

#magic systems #building magic #magic #writing advice #fantasy