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zhongscara · 1 month

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in MY opinion... i think that aside from being a diversion tactic (to make sure the fatui dont find out about the primordial sea), wrio threatening lyney could have also been him subtly checking on the dynamic between arlecchino and the house of the hearth orphans.

like wrio knows manipulative adults Pretty Well, and the fact that he knows the fatui sent orphaned "children" undercover instead of grown agents already tripped alarms in his head.

Wriothesley: Mr. Lyney, the cards are stacked against you right now. Miss Lynette is in my hands, and Mr. Freminet is still slowly being pickled out there in the brine. You know just as well as I that he cannot last out there forever. Wriothesley: You need do but one thing to guarantee their safety. I would like you to contact your superior, and ideally invite her over for a cup of tea with me. Lyney: You want to see "Father"? Ha, but why should she bother giving you an audience? Wriothesley: Well, if she cares for the well-being of her dearest children, she should have plenty of motivation to join me for a parents' evening. Wriothesley: I've heard that the bonds between the members of the House of the Hearth are like the bonds of family. I don't see why she would refuse.

(emphasis mine)

"call your parental figure or your siblings will be in danger" would be a relatively easy decision to make if your parental figure... yknow... cared about you. but lyney insists that arlecchino shouldn't be involved in this and breaks from the stress of possibly losing his siblings. which makes ME think like... how much value does arlecchino place in the orphans if lyney refuses to "trouble" her with possible imminent torture or DEATH.

Lyney: …Was this the extent of your master plan to get to "Father"? No matter how much pressure you may put on me, I won't allow you to use us to blackmail her. Lyney: I… I shouldn't ask "Father" to do anything because of us…

(emphasis mine)

like... lyney... if she really cared about you she would willingly help you... you know...

and yes later on arlecchino is like Well he shouldve called me :/ but its way easier to say that after the fact.

The Knave: [...] It's unfortunate that Lyney's so eager to prove himself that he can't learn to rely on others... including me.

i mean lyney came to rely on the traveler pretty easily..? i think deep down he doesn't trust arlecchino.

so wrio noticed that something wasn't right pretty quickly, and could have also set this up as a sort of test - both for him, and for lyney - in a way - to take a better look at the dynamic between arlecchino and the siblings.

basically i think that specific part of the archon quest shows us that the house of hearth isn't a Found Family Despite All Odds situation and definitely has something much darker (aside from, you know. the orphans basically being FATUI AGENTS). i keep saying this but i think the fact that the previous head of the orphanage was "even worse" means that traumatized children/teens/young adults can easily justify a different kind of abuse as "well at least it isn't (x) which is even worse!" and based on the siblings' profile stories, it seems arlecchino leans more towards emotional manipulation/neglect, which, again, if compared to the physical abuse from the previous head, can be pretty easy to justify in the eyes of already traumatized and vulnerable people.

#mine.txt #genshin meta

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ac-liveblogs · 8 months

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i love lyney a lot but at the same time i can't help but be a little disappointed in how his character is executed bc he turned out differently from what i expected when i saw how he was first described. granted, this was during when i was going off of leaks so its my fault for getting attached this early on but when the only info i knew if him was he was a performer who only cared about his sister i expected he'd act colder or indifferent towards other ppl incl. MC during their arrival, or that he'd have a warmer facade around others which gave the illusion he was a trustworthy person to be around when in reality he acts that way for his own benefit- whether its to get info or plain amusement. his teaser didn't help much either since he messes with a drunk guy for laughs. but idk. i still like him a lot hes very charming but i wish the deception went beyond him hiding he's fatui

Interestingly, Lyney IS supposed to be a character that puts on a warmer facade around others - he says as much in his profile.

Actually, the real me is nowhere near as outgoing or chatty as I appear. More often than not, I only work my verbal "magic" as a means of getting closer to people. Sometimes I think people would feel sorry for the real me. Do you? sigh Or do you find my little games absurd?

Love when this stuff is in character profiles and not the main story.

Anyway, if he does act this way, it's just... not to us. By his Character Quest, which can theoretically be set at any point after you meet him, he is absolutely fine showing how manipulative he can be… to other people, not the player, who he trusts. Kind of skipped over the fun part there, huh. It even jumped right to the heavy implication (or just outright confirmation) that Lyney has feelings for the Traveller by the end of it. The rainbow rose bit, I mean.

Which, like. C'mon, I played this during Fontaine, we've known each other a hot week or something. I guess it's still not as bad as Ayaka.

But I guess that's kind of the point, right, these types of parasocial games really want you to feel special, like you're the exception to the rule, these characters are cold and closed off or manipulative to other people, but not to you, you're important to them. It's just that Genshin tends to shortcut their way right to the "you're special" part without really putting in the legwork to explain how you got there. (@xiao @albedo @ayaka, etc)

It's really unfortunate that following release order (Act I > Lyney Character Quest > rest of Fontaine) is probably going to really muddle the progression of his storyline, haha… Personally, I would've preferred he really was more deceptive to the player, I think that would've been a lot more fun. Well, there's still time for that to be the case, but given Genshin's writing patterns lowkey I kinda doubt it... and I really think given what we've learnt about Arlecchino so far and Childe's framing, the Fatui aren't going to be the villains this time. Or at least, not for most of it.

#ac plays genshin impact

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petorahs · 7 months

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Hello! Just wanted to say I'm a huge fan of the way you draw Wrioney, so very tender and cute 🥺 Your artstyle is overall quite nice to look at as well!

Also, seeing how the dynamic you set up for them in your art is somewhat different to how they interact canonically, I was curious if you could share how you felt ab them after 4.1? Did their "bickering" discourage or inspire you with new, fresh ideas?

hey there! thanks so much for liking my art of them :") it means a lot! and also thanks for wanting to know my opinion of the ship itself and not just the art, too! warms my heart.

short answer: the 4.1 archon quest did leave a bad taste in my mouth, yes, but i got over it and realized wow. i love wrioney so much and i would rather have this than any other cookie cutter "perfect/wholesome" dynamic

long answer/explanation under cut!

first off, pre-4.1 wrioney's setup was just too good for me to pass up and hit all my fav points. cat (chat noir) + dog (cerberus) dynamic??? criminal x prison warden???? wriothesley's tareme eyes to lyney's upturned ones? cute! not to mention i liked how their color palette matched more than the other popular ships. they seemed like they were made for eachother. we also had 0 crumbs for wrio's personality at that point so i assumed he'd be the serious to lyn's playful flirt.

shipping in this game to me has always been a bit on the shallower side, and thats fine! some of these characters never get to "grow" with dynamic character arcs really and remain "static" to have their profiles make sense when you pull for them. they can never be directly antagonistic to the player and have to be "redeemed" in some way. 76++ characters and not all of them get time in the spotlight, either. thats fine too.

that all changed when fontaine came out. and even more when 4.1 did.

wriothesley's personality was a joy. i love morally dubious and fun characters like him, the kinds that dont really fit into a "box" or trope!! genshin's good at making characters like that, just as they are good at the tropey ones. i also didnt mind that he canonically isnt above torturing, too. heck, i mean i love kamisato ayato who is basically what the game sets up as the male version of arlecchino + diluc burning an abyss mage and kazuha's tongue branding comment were one of my favorite moments. i thought wrio being cruel was very much in line for a prison warden. it made sense. what didn't make sense was the way the game needed to show this.

i loved lyney the moment i saw him in the travail trailer. his thing with his family another one of the best things to come out of genshin. fucked up orphans and found family who are villains? actually so good. but because they are what the game wants us to see as "unequivocable villains", they also get... disrespected in the story a lot?

the way i saw it, the game wanted us to see wrio as the "cool/badass hero!!!! wow your grace you're actually so kind for not killing them!!! see guys he just looks cruel and antagonistic but he's actually so morally good!!!also here's like 3 cutscenes of wrio looking cool ^_^" while lyney's treated like an "overemotional kid" really rubbed me off the wrong way. everything else was fine. i just got tired of the game insisting that the fatui are so bad no matter what and the rest are ""good"" when their whole thing in fontaine was doing away with the black and white morality. the devs seek to promote greyness but they cant even write that right?

what wrio did to them truly probably wasnt even the worst lyney and his siblings have been through, i know this for a fact. honestly wrio could have killed freminet and it'd have been like. reasonable for him. but he's a big softie who has a thing for lyney i think which is why he thought a lot about them not coming to physical harm.

but after once again accepting that midhoyo just wastes a lot of potential and reconciling the dynamic of past wrioney i had in mind (also uh. writing a fic of them for closure when i've never done anything of the sort before)... i realized theyre the best thing ever actually

enemies to lovers isnt always my cup of tea, but for context i shipped shuake before this so i feel like that primed me for this genshin ship in a way LMAO.. i actually must thank wrio for showing this new side of lyney, the viciously overprotective of his family side that i thought would never be shown, only alluded to. its mesmerizing.

and the thought that lyney, mr. masks and fake-smiles-that-dont-reach-his-eyes wouldnt bother to keep up pretenses with wriothesley anymore since he coaxed that darker side of him effortlessly? really nice.

even traveler who lyney notoriously charms and flirts with gets the mask immediately after the confrontation at the duke's office, the second lyney recharges with his siblings by his side. the beautiful thing about lyney's character is that he is always fake.

but with the duke? i wouldn't be so sure. maybe his real side, claws and bared teeth, comes to light with him and him only.

and that... goes back to the "character going through dynamic arcs" thing i mentioned in the beginning that genshin lacked. now i may be reaching for crumbs here, but i'm pretty sure this ship is the closest thing we'd get for lyney ever going through a character arc. wrio too. when i say they were "made for eachother" i think i realized that it's because they both have parallel backstories. i wont spoil too much for wrio's stories and voicelines, but it's safe to say wrio also has trouble with trusting others easily. something him and lyney can relate on lol. not to mention the orphan thing... ok i wont say more.

i love that their personalities clash so catastrophically. i love that i can never predict what genshin will do next with them. this all makes shipping them so fun. i have literally never had as much fun with shipping for this game since.... ever! really. as the game evolves, the character writing and by extension their interactions with eachother do too. and i'd say it's an improvement. i'm hopeful for the future :]

@untildarknesscomes

#ans #aishi.txt #the way wrioney will probably never meet again in canon but here i am... hehe-ing in the mic #theyre in love guys i swear. here is my ppt presentation on why #SIMILARLY GUYS... the yuri of clorivia being so exes to complicated past to everything??? the way its depicted and not just subtext anymore #I THINK FONTAINE SHIPS JUST HIT SO DIFF #love them #anyway #yea the wholesome ships are so good too i mean. i am a cylou-er and thomatonation representative #but this... i dont think genshin has ever done something as close to this. idk. its good to me #blows kiss. genshin shuake u will always be famous

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shenosman-blog · 7 years

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Mask types ba1b

Types of mask

Several distinct styles of mask are worn in the Venice Carnival, some with identifying names.[12] People with different occupations wore different masks.

Bauta

Masks at the Carnival of Venice, with the “Bauta” mask shown on the left.

The bauta (sometimes referred as baùtta) is a mask, today often heavily gilded though originally simple stark white, which is designed to comfortably cover the entire face; this traditional grotesque piece of art was characterized by the inclusion of an over-prominent nose, a thick supraorbital ridge, a projecting “chin line”, and no mouth. The mask’s beak-like chin is designed to enable the wearer to talk, eat, and drink without having to remove it; thereby, preserving the wearer’s anonymity. The bauta was often accompanied by a red or black cape and a tricorn.

In the 18th century, together with a black cape called a “tabarro”, the bauta had become a standardized society mask and disguise regulated by the Venetian government.[13] It was obligatory to wear it at certain political decision-making events when all citizens were required to act anonymously as peers. Only citizens (i.e., men) had the right to use the bauta. Its role was similar to the anonymizing processes invented to guarantee general, direct, free, equal and secret ballots in modern democracies. Also, the bearing of weapons along with the mask was specifically prohibited by law and enforceable by the Venetian police.

Given this history and its grotesque design elements, the bauta was usually worn by men, but many paintings done in the 18th century also depict women wearing this mask and tricorn hat. The Ridotto and The Apple Seller by Pietro Longhi are two examples of this from the 1750s.

Colombina

The Colombina (also known as Columbine and as a Colombino) is a half-mask, only covering the wearer’s eyes, nose, and upper cheeks. It is often highly decorated with gold, silver, crystals, and feathers. It is held up to the face by a baton or is tied with ribbon as with most other Venetian masks. The Colombina mask is named after a stock character in the Commedia dell'arte: Colombina was a maidservant and soubrette who was an adored part of the Italian theatre for generations. It is said it was designed for an actress because she did not wish to have her beautiful face covered completely. In fact, the Colombina is entirely a modern creation. There are no historic paintings depicting its use on the stage or in social life.

While both men and women now wear this mask, it began as a woman’s analog to the bauta.

Medico della peste (The Plague Doctor)

Medico della Peste

mask.

The Medico della peste, with its long beak, is one of the most bizarre and recognizable of the Venetian masks, though it did not start out as carnival mask at all but as a method of preventing the spread of disease. The striking design originates from 17th-century French physician Charles de Lorme who adopted the mask together with other sanitary precautions while treating plague victims.[14] The mask is often white, consisting of a hollow beak and round eyeholes covered with crystal discs, creating a bespectacled effect. Its use as a carnival mask is entirely a modern convention, and today these masks are often much more decorative.

The plague doctors who followed De Lorme’s example wore the usual black hat and long black cloak as well as the mask, white gloves and a staff (so as to be able to move patients without having to come into physical contact with them). They hoped these precautions would prevent them contracting the disease. The mask was originally beaked with a purpose in congruence with the miasmatic theory of disease practiced at that time: the hollow beak allowed for the containment of flowers and other sweet-smelling substances designed to keep away the foul odors that were thought to spread infection. Those who wear the plague doctor mask often also wear the associated clothing of the plague doctor. The popularity of the Medico della peste among carnival celebrants can be seen as a memento mori.

Moretta / Servetta muta

The moretta (meaning dark one) or servetta muta (meaning mute servant woman) was a small strapless black velvet oval mask with wide eyeholes and no lips or mouth worn by patrician women. It derived from the visard mask invented in France in the sixteenth century, but differed in not having a hole to speak through. The mask was only just large enough to conceal a woman’s identity and was held in place by the wearer biting on a button or bit (the women wearing this mask were unable to speak, hence muta) and was sometimes finished off with a veil. The Rhinoceros by Pietro Longhi, sometimes called Clara the rhinoceros, depicts this mask in use in 1751. It fell into disuse about 1760.

Volto (Larva)

The volto (Italian for face) or larva (meaning ghost in Latin) is the iconic modern Venetian mask: it is often stark white though also frequently gilded and decorated, and is commonly worn with a tricorn and cloak. It is secured in the back with a ribbon. Unlike the moretta muta, the volto covers the entire face including the whole of the chin and extending back to just before the ears and upwards to the top of the forehead; also unlike the moretta muta, it depicts simple facial features like the nose and lips. Unlike the bauta, the volto cannot be worn while eating and drinking because the coverage of the chin and cheeks is too complete (although the jaw on some original commedia masks was hinged, this is not a commedia mask and so is never hinged—the mouth is always completely closed).

Pantalone

Another classic character from the Italian stage, Pantalone, meaning he who wears the pants or father figure in Italian, is usually represented as a sad old man with an oversized nose like the beak of a crow with high brows and slanted eyes (meant to signify intelligence on the stage). Like other commedia masks, Pantalone is also a half mask.[15]

Arlecchino

Arlecchino’s half-mask is painted black with an ape-like nose and a “bump” to signify a devil’s horn

Arlecchino, meaning harlequin in Italian, is a zanni character of the commedia. He is meant to be a kind of “noble savage”, devoid of reason and full of emotion, a peasant, a servant, even a slave. His originally wooden and later leather half-mask painted black depicts him as having a short, blunt, ape-like nose, a set of wide, round, arching eyebrows, a rounded beard, and always a “bump” upon his forehead meant to signify a devil’s horn. He is a theatrical counterpoint to and often servant of Pantalone, and the two characters often appeared together on the stage.

Zanni

A leather version of a

Zanni

mask, profile view

The Zanni character is another classic of the stage. His mask is a half mask in leather, showing him with low forehead, bulging eyebrows and a long nose with a reverse curve towards the end. It is said that the longer his nose, the more stupid he is. The low forehead is also seen as a sign of stupidity.[15]

Mask-makers

The mascherari (or mask-makers) had their own statute dated 10 April 1436. They belonged to the fringe of painters and were helped in their task by sign-painters who drew faces onto plaster in a range of different shapes and paying extreme.

https://en.wikipedia.org/wiki/Carnival_of_Venice#Types_of_masks

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