#bog's non-art posts | Explore Tumblr Posts and Blogs

sarahlizziewrites · 6 months

Text

Re: Historical accuracy in fiction

Tl;dr: it is not your job as a fiction author to provide complete historical accuracy. It is your job to evoke a time period and communicate it. Don't get bogged down in research unless you really want to.

First of all, this is my disclaimer: I am talking about the kind of things I like to read and write. I am speaking as a historical fiction fan, author and lover of history. This is my personal taste.

Perfect historical accuracy in fiction is massively overrated. In the past have gotten stuck on writing historical fiction pieces because I felt I needed to research more. This killed my story. The piece of art that could have been amazing sat languishing on a hard drive forever.

I do not think historical fiction needs to be stunningly accurate. In fact, it's easy to see when an author has clearly over-researched their book: it reads like a history text that talks about topics your average person would have never even thought about.

Example:

What an author I read recently thought a 1st century Roman citizen would think about: Ah yes, I remember the British campaign like it was yesterday, even though it was ten years ago, in AD 61. Nero was emperor then....etc.

Me, when I think about something that happened 10 years ago: Shit, that was 10 years ago? Wait, was David Cameron PM then?

(And I know how to read and use Google.)

I'm not saying "don't research the time period you are writing in". I'm saying "research the time period you are writing in as much as you feel like doing, then forget most of it when you get in your character's head, except for what might be meaningful for them".

It is not necessarily the purpose of historical fiction to give readers a detailed and realistic version of the time period. All you really need to give them is the vibes that make them feel as though they're in that time.

I just saw a post that explained how Medieval Europeans had access to spices we might usually associate with Indian cuisine. But is that what people would expect to see in a story set in Medieval Europe? No, and you don't get to put in a little "um, actually" author's note explaining every little detail that feels incongruous but is "technically" accurate. It just feels incongruous.

However, am I going to give my Indian character who lives in London in the 1930s access to curry spices? Yes, because he'd look high and low for them and I bet he'd find a good grocer somewhere in London at that time. I haven't researched how realistic that is, and I don't really care. It will still feel in-touch with the setting, and that's all I care about.

Ever since I gave up on perfect historical accuracy, I have written so many more stories in historical settings, and I love the hell out of them. Would a Louisiana jazz band tour in the UK in 1923? Maybe. But I am definitely putting a Louisiana jazz band in my novel set in the UK in 1923 because people want to see jazz in the jazz-age novel! And so do I!

The key thing is, I've only done the level of research that I'm interested in, enough to get me comfortably embedded in the time.

The fiction author's job is to deliver on the promise of the premise. Don't get caught up accidentally writing non-fiction!

You don't have to "put in your research" to write a historical novel. You get to put in as much research as you want to, and you get to disregard the stuff that doesn't spark joy, because it's your story.

I'd love to talk about this more. Historical fiction fans, what's your taste? Have you ever read anything that felt over-researched, or anything that was under-researched to the point of taking you out of the immersion? Let me know.

#historical fiction #writers of tumblr #writeblr #writing advice #fiction writing #long post

37 notes · View notes

saltineofswing · 3 months

Note

Hello! I'm the person that made the rant post about my dislike on the lack of natural dichotomy of the Pyramids and Traveler since the introduction of the Veil that turned into a whole thing. You mentioned a lack of pulp in your reblog and it's stuck with me since then. I wasn't familiar with the term and did some research on it, but I still don't think I get what it is. I tried looking it up but a lot of articles and videos I could find explain the history of pulp and its influences in modern day sci-fi but not necessarily what it is, especially in a way that would give me context to better understand your reblog. If it's not too much trouble, can you explain a little more what the "pulp" is that destiny is lacking?

I’d be happy to try and give you a little more insight into what I feel are important tenets of pulp as a genre/concept! I decided this might be a good opportunity to talk a little about it generally because I am really feeling its absence generally in the past couple years, so I included some historical backing which you’re probably already familiar with – hope that’s OK.

I did a little digging personally, for some good places to familiarize oneself with the basics of pulp as a concept and/or genre. It was nice to re-affirm some info that I’ve felt secure in holding as true without a ton of evidentiary support, and I also learned some cool new stuff as well! I think a good place to start would be to link to the TV Tropes page about pulp magazines, which does a pretty good job of explaining the origins and foundational aspects of the concept in a way that is easy to digest. It also has a lot of examples available to peruse. I also found this cool article on the golden age of pulps, which is an interesting read.

This got long, so below the cut!

To reiterate, the original ‘pulp’ terminology and vibe comes from early/mid-20th century magazines, which were cheap and easy ways to access genre fiction and action/adventure stories before comics, paperback novels, and TV/movies were really on the scene. Pulp magazines spanned a very wide array of genres, but because of a lack of appreciation for the medium, a majority of pulp magazines and aspects of what I would consider to be pulp as a genre have been allowed to fall into obscurity. There are places where I feel it is particularly obvious, especially the superhero genre (don’t get me started we’ll be here all week) but also in fantasy and science fiction – a term which was, in fact, coined by Hugo Gernsback, an editor for pulp magazine Amazing Stories.

They were cheap to make, cheap to buy, and easy to serialize; they could be really schlocky, crass, and unpolished. They could also be fucking incredible! The Shadow is a good example of an early pulp property with screaming highs and frankly peat-bog lows. Lovecraft published a lot of what is considered to be his ‘best work’ in Weird Tales! Conan the Barbarian, too! They kind of came out of the gate with a somewhat negative connotation associated with ‘low-brow’ forms of literature like dime novels, but where other magazines of the time tended to incorporate non-fiction articles and photography, pulp mags tended to be fiction stories only – short stories, or longer stories split into serialized chapters. Early on, not many of them had art, though with the advent of comic books that changed (you could argue that books like Creepy and Eerie are direct offspring of early pulp mags). Similar to what Weekly Shonen Jump does with manga.

If you think of a genre as a toolbox, pulp is a box full of tools that function fine alone, but excel at assisting the function of other toolboxes. I would almost liken ‘pulp’ to the concept of ‘camp’, which are also two concepts that can and do overlap with a high degree of synergy. Pulp has its own foundational attributes that are distinct from camp – for example, camp is gay relies a lot more on its self-awareness, at being able to wink at the viewer or participant, and telling you ‘yeah, we know it, but isn’t it fun?’ Pulp, on the other hand, is the (no pun intended) straight man counterpart to this aesthetic sensibility; pulp is at its best when it is being completely earnest. The quippy lines and dramatic proclamations are meant to be taken on their face. Nowadays it’s the kind of stuff that memes are made of – ‘That Wizard Came From The Moon’, ‘I don’t have time to explain why I don’t have time to explain’, ‘Whether we wanted it or not, we’ve stepped into a war with the Cabal on Mars’. Saying shit that has no explanation with your whole chest. Trying to be cool on purpose, the ultimate cringe move.

Nowadays I think that this kind of thing has mostly died out of modern media, but the counter-motion is still prevalent in mainstream superhero movies. A good example is the ‘Would you have preferred ~YeLlOw SpAnDeX~’ line from the OG X-Men movie. Hey dickhead! The yellow spandex is cool if you, the guy making the movie, believes its cool! Crucially, while a lot of modern superhero stuff is quippy and irreverent, it often uses these tropes in a self-aware or cynical manner – afraid of being earnest, committing the aforementioned cardinal sin of trying to look cool on purpose.

(God damn it, I’m talking about superheroes again. Sorry. Before I get back on task this is why I loved the recent Moon Knight run so much; Jed MacKay is NOT afraid to have the characters say some absolutely batshit thing but it comes off as so, so cool. And yes, a little cheesy.)

And then, where modern sci-fi typically has an ultra-detailed explanation on-hand, I think a lot of early pulp stuff just… didn’t. Ask a sci-fi property for an explanation on, oh I don’t know, ‘where did these super-humanoid sapient machine warriors come from’ and it will likely have a molecule-deep explanation of how those unnamed machine people were created. Ask a fantasy property for an explanation on the same and it might say, ‘no’. It’s not that a pulp-leaning property won’t give you the answer to that question… it just might not have it. The ‘why is it/how is it’ is not as important as the ‘what is it’ and ‘how is it relevant’; a writer had a limited amount of page real estate, as multiple features were typically crammed into a single magazine. Even if a feature was serialized, much like television episodes (before the binge trend), one had to keep information digestible, and not too reliant on a prior or later edition that a reader might never see.

Explanations tended to be in service of an emotional beat, or to a theme, versus as a grounding agent to immerse a reader in the world. For the record I don’t necessarily think of either method as being better or worse, and heavy worldbuilding can still utilize pulp as a veneer or filter to engage audience expectations in different ways. Pulp stuff relies a lot on suspension of disbelief without utilizing a rigid lore-based framework to – though, you know, your story/setting still has to have its own internal logical consistency.

(I feel that it is important to note, as a partial consequence of the time period in which these magazines were being made, and when pulp fiction was most heavily consumed, xenophobia and racism are also heavily present in pulp works. I think everybody knows at this point about how much Lovecraft sucked but it’s a valuable example of how a lot of ‘fear of the unknown’ in that time was transliterated into ‘fear of the different’, in general but especially relating to genre fiction. If you decide to explore material in this genre, in this time period, be forewarned! Some of it was pretty glaring!)

So, let me tie some of this stuff to my previous statements about Destiny. I think that Destiny is an excellent example of how pulp tropes, aesthetic, and genre conventions can be used to enhance and streamline a setting… and how stripping too much pulp away can have a detrimental impact on the depth of a narrative.

The original narrative and worldbuilding of Destiny drew very heavily on pulp aesthetics to create a foundation, both in its appearance and its lore. The ‘Golden Age of Science Fiction’ was a period of time in the mid-20th century that sort of transitioned sci-fi out of pulp magazines and into its own thing, but the foundational structure of science fiction at this time was still heavily pulp-influenced. I think this is very well-represented by the portrayal of Venus as a ‘garden’ (jungle) world, very lush and with sulfurous and sometimes acidic rains. Before advancements in astronomical technology went and fucked everything up for us writers, Venus’s opaque cloud-covered atmosphere was impenetrable enough that there could be anything under there – and a popular portrayal of Venus was a muggy, humid, rain-heavy world that sometimes also included lush jungles. In Bradbury’s short story The Long Rain (WHICH ran in Planet Stories, a pulp mag, by the way!) this portrayal is a central obstacle to the narrative; it’s also used in Heinlein’s novel Space Cadet.

The color scheme that Destiny uses for Venus also matches a common color scheme for Venus in this era – see this cover for Fantastic Adventures. Visually, I think that this comparison between the postcard that went out with the D1 limited/collector’s edition and this Planet Stories cover for The Golden Amazons of Venus demonstrates the influence, at least regarding terrain and biome.

In fact, I think that you can see from this Eververse postcard – which could have been peeled off of any era-appropriate paperback novel – that the influence goes bone-deep. Destiny even refers to humanity’s halcyon age as ‘The Golden Age’.

(Below: Is this image from Destiny dev, or a science fiction paperback from the 60s? Who knows! I know. It’s Destiny.)

In the modern era of Destiny storytelling, though the visual elements of the universe remain largely rigid relative to this early framework, the pulp underpinning of the narrative has been largely left behind. The original game’s story, and the stories of subsequent DLCs, felt very pulp-inspired – this ranged from ‘sort of effective’, like in House of Wolves, to ‘game-savingly effective’, like in The Taken King. Pulp lends itself to straightforward conceptual executions, and brisk narratives, because of its roots as short-form literature. The narrative of D1 was simple and to the point; Light good, Dark bad, humanity is in the shit, think you can kill a god? The surrounding world scaffold was rich but not deep. As I like to say, sometimes a river can be wide but shallow. This is not a commentary on its quality – something can be good but not complex, and IMO, sophistication is not necessarily synonymous with complexity. Destiny managed to pull off a trick that many high-quality pulp stories employ: it made the river look deeper than it was. This is the whole reason that Lovecraft’s oeuvre has the staying power it has: other writers got to play in the space because it felt very deep, even though the stories themselves were fairly straightforward.

I also don’t mean to say or accidentally imply that ‘morally grey storytelling cannot exist within pulp stories’, because that would probably get me torn apart; that’s just not the kind of straightforward foundation that the original Destiny was built on. ‘It is what you see, but what you see could be anything’, you know? The problem that began to muddy the waters in the Destiny narrative is that they started to say, ‘You know, actually, it ISN’T what you see’.

Tentpole narrative additions to the Destiny 2 game employ varying levels of pulp. As I said in the other post, the Hive have a potent pulp influence built into their foundational coding, and so subsequent portrayals of the Hive as a main antagonist have higher degrees of pulp genre naturally present in the narrative – it’s hard to separate the two of them. Shadowkeep and The Dark Below draw strongly on the ‘sword and sorcery’ convention, a subgenre of fantasy that is a heavy (perhaps 1:1) blend of fantasy and pulp; think Conan, or Elric of Melniboné (who, hey! Showed up in a novella feature, in an issue of Science Fantasy magazine, named… THE DREAMING CITY). The Witch Queen leaned away from pure sword and sorcery and more towards noir/detective pulp – though, I think, TWQ is a good example of the pulp slippage in its narrative, resulting in some more bland moments and things that feel ham-fisted in a bad way. Part of it, I think, is the need to make these expansions ‘long’ and complicated without making the player feel like they’re slogging; in a more pulp-forward TWQ narrative, the reveal that Savathûn is actually NOT evil-aligned and is a potential ally would come much earlier in the story, and the central mystery would be MORE about ‘what the fuck is she trying to do/prevent’, leading to the Witness reveal as the centerpiece of the finale and the ‘solution’ to the central mystery.

The decision to start retroactively appending more complex connections between disparate pieces of content naturally leads to a reduction of pulp prominence, in my opinion. If you imagine Destiny as a vessel that is mainly full of three component liquids – Fantasy, Sci-Fi, and Pulp – you can say that adding more of one genre pushes out another to make room. You can always pour more of one genre in to re-balance, but in response to increasing levels of sci-fi the narrative seems reticent to reintroduce pulp back into the mix, instead favoring fantasy. But another problem is that once you take it out, Pulp is really hard to put back; once you solidify and unionize world-lore, every subsequent retcon risks diluting and destabilizing that world-lore until a) nobody cares about it anymore and b) it stops being mutable at all, and becomes sludge.

The lore behind the existence of the Exo was originally very pulp, with no real explanations given for exactly what they were and where they came from, and how they attained sapience. Early hints that Cayde and a few other Exo having once been human didn’t preclude other Exo from having other origins – for example, implications that Exo war-frames eventually achieved sapience as a result of the ‘Deep Stone Crypt’, and that they were originally simple AI-equipped warriors designed and overseen by Rasputin to minimize human casualties. This early mystique around the origins of the Exo is classically pulp: we don’t need to know how the hyper-advanced robots were made, we just need to know what they are, why they are relevant to the story. It allows You, The Player, to engage with it at whatever level you want. In a game where You, The Player, are also being asked to step into the role of You, The Protagonist, this is beneficial to engagement for people (like me!) who like to think too much about the backstory of the your-name-here protagonist on-screen. It is also beneficial to not distracting the player with conflicting information, or accidentally contradicting previously-established lore.

Enter Big-Head Bray. The Beyond Light-era explanation of why Exo were created and how they were made is a retroactive nuclear strike on the Exo lore; it strips away a lot of flexibility and thematic richness from the concept of the Exo, shoehorns them into a single narrow use case, and directly conflicts with early-game Exo lore implying their connections to Rasputin (which they then had to go back and hastily shoehorn back in later) or existence as war machines for the Collapse. If D1 lore is wide but shallow, the D2 lore is narrow but deep. Just because something has a lot of ‘depth’, I.E. many layers to traverse before you reach foundational bedrock, it doesn’t make it good.

Same thing with the Fallen. Season of Plunder felt to me like an attempt to reintroduce pulp genre back into the setting, but it fell flat because of two reasons: it didn’t really want to be pulp, and it was more concerned with its tethers to the science-fantasy exterior world than it was with creating its own cohesive narrative. Why was Mithrax doing evil pirate shit when he was young? Because he comes from a race of fucking evil space pirates! It Does Not Need To Be More Complex Than That! But the exculpation of pulp from the D2 narrative means that if Mithrax doesn’t have a good enough reason, WRT the larger narrative, it would be a glaringly obvious plot hole. By Plunder, Destiny had already undertaken the task of filling out the Eliksni lore with sympathetic science-fantasy excuses for why they were trying to exterminate humankind – the more earnest, pulp-forward explanation would just be that desperate, hurt, suffering people will do desperate things, hurt people, and may perpetuate the cycle of suffering.

Oy. There’s a lot you COULD get into. How the Destiny macro-narrative seems to be decaying the rigidity of good and evil in its original lore vs. how the micro-narrative is obsessed with trying to recapture that good/evil dichotomy in order to give players a reason to like the main characters. How the determination to connect and explain everything has resulted in a general flattening of the background lore, and the subsequent trivialization of many things the game included in earlier iterations of the narrative/lore. How the narrative has basically nothing to do with the Vex because they wrote themselves into a corner by trying to explain them too much while simultaneously not altering the foundational lore of the race, meaning there were too many things they can no longer do without retconning again.

Overall, I guess I will just end by saying that many of the things that Destiny is CURRENTLY doing, feels like the game is straining to rip the part of it out which proudly asks its audience not to think too hard about sweeping, dramatic statements that built a lot of the things people love about the game’s setting and narrative… and in doing so, is just ripping itself to pieces.

#More lore! MORE LORE!#dinklebot sitcom #northbot sitcom #destiny 2 #Pulp genre #Genre discussion #Sorry this got so long! I’m not used to writing this kind of big essay #it may not be super coherent but whaddya gonna do

30 notes · View notes

bog-teeth · 2 years

Text

updated meet the artist !!

additionally, my commissions are open

+ general intro post

dni:

- cis people/hj

- under 14

- proship

- dsmp

tagging system:

- bog scribbles: art!! by yours truly

- bog rambles: non art posts, just talking

- bog ocs: my ocs

- you asked: answering my inbox

- mutuals: mutual art and/or support!!

new intrests since posting:

- malevolent [podcast]

- disco elysium

disclaimer: the “kins” section are characters i relate to, not spiritual kins. top to bottom, it goes wegg, dr habit, ron strampler. do with that what you will.

lastly here’s my main playlist if u like the songs i’ve listed in my meet the artist LMAO

#Spotify #meet the artist #bog scribbles #bog rambles #intro post #art #illustration #procreate #self portrait #bkmn #be kind my neighbor #dndads #dungeons and daddies #smile for me game

43 notes · View notes

smute · 2 years

Text

Hiiieee omg hey hello yes hi 🥰 welcome to my tumper bog 🧌

no minors 🔞

will (soft-) block new followers if you have an empty blog / no age in ur bio / rancid vibes

my letterboxd 🍿

TAG GUIDE:

housekeeping:

#& = og posts and comments on rebogs

#ask = answered asks

#anon = anon asks

#my face = selfies and og pics 😎

#moochies = mutuals and things i was tagged in 💕

#tag game = tag games

#ask game = ask games

smut:

i stopped tagging #nsfw bc i was very inconsistent with it but i still use it as a blanket thing for hardcore stuff (which i dont rb very often).

update march '23: decided to start tagging #nudity again to make filtering easier for my followers. i'll use it for all kinds of naked people (full, partial, sexual, non-sexual, etc.) in addition to the existing community tags and my own thirst tags. let's see if i can keep it up 🥴 if you want to be on the safe side feel free to block individual tags as well:

#ah ohhh big honkin boobies some massive mmmmommy milkers huge hombers like massive gazongas just enormous milkin hooters = the prize-winning tiddy tag

#thirst tag

#just a hole etc

#full cocking balls = 🍆 and 🍒

#omg nobody look hes ass = butts 🍑

#ough veiny = veiny body parts

#ough hairy = hairy men

#hands = 👋

#slutty slutty stache = mustache pics 👨🏻

#sigh = gay kissies 💋

#tenderness = touch and skin and general physical intimacy

oh and i use "👁️👁️" in a few other horny tags so if you filter that too you should be good <3

general sfw things:

#adhd = adhd stuff

#fav = things i want to find again ❤️

#ref = useful information

#mecore = smutecore 🥺

#is he single = sfw thirst tag

#in many ways i am a large pickup truck = its true i am

#bopo = body image things, body positivity/neutrality

#always reblog = poasts i know ive reblogged a lot 🔄

#german stuff = german stuff 🇩🇪

#want and #shopping list = stuff i want, mostly earrings 🛒

text:

#poetry = poems

#words = words 📖

#note to self = kind motivational things/advice/general positivity ☀️

#lit = lit studies including all my hot takes 🤓

#ling = linguistics

#writing = writing 📝

visual:

#art = mostly paintings 🖼️

#photography = photography 📷

#portrait = portraits

#people = duh

#dudes chilling sexily = art of dudes chilling sexily (tm harsha)

#men with books = 3 guesses

#arch = architecture

#homes = interiors

#dream home = exteriors lmao

#donttouchme = remote hice 🏡

#they dont make them like this anymore = old books📕

#vestiture = clothes shoes bags jewelry etc

#10/10 would wear = also clothes 💃🏼

#embroidery = embroidery 🪡

nature:

#i miss the sea = water 🌊

#so liedownable = soft grass 🌱

#moistcore = gratifying wetness

#ah yes. the gnarled branch rough and twisted beckons you to dream = gnarled branches

#hills to roll down = rolldownable hills

#frühling = spring 🌷

#sommer = summer 🌞

#herbst = fall 🍁

#winter = ☃️

#i want snow = snow and ice ❄️

#strawbebbies my beloved = 🍓

#me i pet him wethands style = soft animals; mostly dogs

#our michael = old photos of cats 🐈

#ough dr puderzucker = corgis 🐶

#pasum = possum pics 🐾

#horse girl tag = irl hoarsies and rdr2 🐎

vibes:

#god i wish that were me = stuff i wish i could be

#i think that would fix me = things that would fix me

#lovecore = 💕🥰

#slutcore = self-explanatory 🖤

#snorkmimicore = oh so eepy 🥱

#on all levels except physical i am a smoker = smokers being hot and cool 🚬

#BANABA = 🍌

#ough = ough

#ough ough <3 = things that sometimes make me go ough ough <3

#100% ough ough <3 = things that always make me go ough ough <3

#wholesome = wholesome things 💖

places:

#i miss london = london 🇬🇧

#ough pawwis = paris 🇫🇷

#vedi napoli e poi muori & #italianpoasting = italy 🇮🇹

#island = iceland 🇮🇸 (and the faroe islands 🇫🇴)

#americana = norf america 🇨🇦🇺🇸🇲🇽

#fucking switzerland = 🇨🇭

#trains = trains 🚂

media:

#to watch = stuff i wanna watch 📺

#to read = book recs and articles 📚

#read later = reblogged without reading

#the lonely city my beloved = fantastic book

#penis wakt = twin peaks

#vincent van gogh = 🎨

#florence + the machine = fatm stuff

#music = songs

i also use a few common trigger and content warnings, but i'm the most consistent with things related to EDs, dieting, weight loss, and fatphobia

format: "[thing]" or "[thing] tw"/ "[thing] cw"

backups:

bluesky🦋

#ill try to keep this updated #not a complete list #obvi #mostly made this for myself #but feel free to block/filter whatever you need #&#tag guide

22 notes · View notes

krakaheimr · 1 year

Text

I don't ramble nearly as much as I'd like to on this blog (yay anxiety), but there are some things i really just want to ramble about on here

outside of art, one of my greatest non-fandom interests is just,, 20th century Chicago history? and,, it feels odd, to mourn the loss of a building, but that has happened now

I'm not American myself, but whenever I go over there, I can't help but notice the architecture that is lost to history - in Chicago, bigger buildings such as the Hotel Sherman or Theater Granada

Those buildings were so pretty! so much time went into designing them and constructing them, all the hours of work and toil done by real, living, breathing people, and,, they've been demolished or otherwise lost to time.

It's not only about the aesthetics or history of these buildings for me, but it's about the countless hours of human skill and time put into them. These buildings did not just appear, there were people behind them, architects and construction workers and artists and--

and their work just... gone. Lord knows how many collective hours of human time, lost.

It's a similar feeling with museums - looking at art exhibitions, it's... a very humbling experience to realize the sheer amount of time collected in a single exhibition? Everything takes time, but architecture and art collections especially are such a vivid example of so much effort and sweat and time and love all collected in one place. Those who have been around my blog for a little while may have read my ramble about Kråkevisa a while back - and it's almost the exact same idea there too. Folk songs that are built on and worked on for generations are such a testament to the innate human need to create, and there's so much time put into them, it makes me feel wonderfully small compared to the sheer size of collective human artistry.

We may be small compared to the world, but in places like this - buildings, museums, songs, collaborative efforts, anything we share, anything other people take inspiration from - what is on its own the work of one, tiny human can become so big.

I guess today is just one of those days where I'm feeling sappy in this bog again. We're small creatures leading small lives, but our small efforts of time and devotion to our craft can become such a great, massive thing to all the countless other small beings we share, have shared, and will share life with.

I do not know where this post went, i was just going to cry a bit about the Theater Granada, but ADHD be like that--

#krakarambling #long post #i do not know when or how this post went from “poor Theater Granada!!” to... this sappy stuff but it did #i do not know if this is coherent at all and i will not bother to check if it is either #i am SAPPY and i need to RAMBLE

8 notes · View notes

wheelsup-sevenup · 1 year

Text

welcome to the bog :)

about me:

minor / she/her-adjacent / aroace / neurodivergent

i post fan art sometimes (which is getting better!) and write sometimes also (link to my ao3)

tags/fandoms:

marvel (natasha romanoff my beloved), agents of shield, percy jackson (+ pjo tv) criminal minds, arcane, the legend of zelda and more!

*this list is subject to change. sorry. i’m not in charge here.

non-fandom tags:

my art, my fic, adhd, autism, art, hopepunk (loosely defined hopeful/positivity posts), poetry, good news, rambling tag

happy browsing / blocking unwanted tags <3

#intro post #LAST EDIT FOR THIS I PROMISE #<-lying

12 notes · View notes

dillweedshole · 7 months

Text

A really fucking big post entirely about Karrie and (most of) my history with her

i feel like i've rarely touched my ocs in ages so here's one about my favourite. this one's got a hell of a developmental story.

(it's big enough to warrant a Read More lmao)

This is Karrie. You've probably seen her, you may or may not like her, i don't care, i like her. The big fucking thing behind her is also her, that's her Monarch form.

So how shocked would you be if I told you this is how she started?:

Yuck. Gross. This was EARLY 2021 I absolutely COULD do better than that. Let's not talk about the MSPaint Line Tool lineart and instead talk about how she acted. She was a woman. No, there really isn't that much more, I went back and read through my first canned series and I shit you not she really is just super fucking boring.

V2 was still bog-standard basic ol' Karrie. Just, y'know, now the art is a little better. She's still the same fucking woman but now she's just not.. Yuck, y'know?

Now, one day for Lex I made him an alternate 'Twisted' form. I decided "well, damn, i'm bored" and made one up for Karrie. I had plans for lore revolving around Lex's form but Karrie's was to be completely non-canon.

See? Even in late 2021 I was bad at listening to myself.

This is Twisted Karrie. Believe it or not, I don't know how she would act. This and one other drawing are the only ones with this exact design.

The plans were still in effect, I was not going to give her any canonicity whatsoever, this was just me dicking around. .. And then my friend Numi drew this;

(image link: https://www.deviantart.com/cuteario-numi/art/Creepy-twisted-Karrie-888840902)

And then something clicked. Obviously she's a better artist than me, let's not call an orange an apple, that shit slaps does it not??

So i decided to do something to the design because i didn't know where to go with the original one, and i took a couple bits and pieces from what she made here.

Twisted 2.0. Give her arms more beef, puff out that dress, elongate the hair, make her eyes big gaping holes, and make her mouth all melty and tear-y.

Honestly, this was good enough for me at the time. just enough cool but not too much that it became stupid to draw.

Not many more changes happened to Karrie after twisted for a while, she was just gonna be normal woman with dark secret!!

(i also redid the one drawing numi did with the new look.)

And then one day, i just decided to add a single little point of lore, that her Base form should look like the Twisted form is kinda leaking into it, and drew her with that in mind.

We can now see current Karrie peeking out.

This set a spark something fucking FIERCE after that one tidbit she's never been the same.

I spent a good like two months refining the design, she had a small phase where she looked like she had absolutely zero fucking self control.

This was also when I introduced an bigger lore tidbit: Her trainer dies. That's the smoking gun for her going Twisted/Monarch.

You can clearly see that I struck fucking GOLD with the story details, eventually I just decided to calm her down a bunch and now we're about where we are now.

At least for Base Karrie. Let's go back to Twisted for a second.

For a little while she was a little stagnant. I didn't change a whole lot for a while.

Then not long after I finally made Base Karrie good, I decided "how about her Twisted form look like her Base a little more."

I think this was around when I changed "Twisted" to "Feral." That name change also changed her behavior a LOT. She went from "Scared, Defensive Demon" to "Malicious, Cunty Demon" and that's about where Feral should've been.

The only big visual change was really in the hair. She stayed like this for a couple months.

I was drawing for Powerless and i think at some point i decided "Well. That dress fucking sucks. Let's change it."

For a while this was still Feral, but this is basically Monarch as we know it now.

And uh, That's about it. You can definitely SEE my art getting better throughout each design, too.

She's gone from "Woman Side Character" to "Bad Bitch Main Character" especially considering lore.

I can definitely try doing one for Lex, he's had a relatively decent history too, but Karrie's had the most remarkable mixup of any of my characters (asides from her trainer dying lmao gotem ez).

#gardevoir #karrie #pokemon #oc art #Dillweed OC Chronicle Post

6 notes · View notes

karlastarion · 9 months

Text

intro.

It’s a BG3 sideblog! My main blog is @bogunicorn, and I go by Bog (or any type of nickname you can wring out of “bog unicorn”). If you’re looking for more info about me as a person, that’ll all be over on my main

This blog and my main are both 18+. Please do not follow me if you’re under 18. I don’t keep close track of my followers, but I do check out blogs that follow me because of the spambots, and I block minors on sight.

what to expect here.

Spoiler tags, both for the game in general and by act. I use #bg3 spoilers, and #bg3 act [number] spoilers. I AM NO LONGER SPOILER-TAGGING.

Gifsets, fanart, jokey jokes, and probably speculative/meta posts.

My own BG3 thoughts, feelings, theories, random whatevers. My original posts of all kinds are tagged #bog post.

A general positivity toward queer shit, weird shit, horny shit, and kinky shit.

My fanfic and my OCs, when I get around to writing again. Anything relating to my own writing will be tagged #bogfic, anything involving my characters tagged #my ocs and then #character name (oc).

Generally, I’m a multishipper at heart and can find something to love about any given ship, PC choice, character, or type of storyline. Chances are if I’m spending my time talking about something or speculating on it, it’s because I’m having fun or enjoying myself.

Commentary on fandom trends and behaviors (and, sometimes, common sense reminders not to be a dick to each other about fake stuff).

To get blocked if you put rude or annoying shit in my mentions, including using any of my posts to character bash or otherwise go off-topic in order to air your personal grievances underneath my stuff. Mind your manners and blacklist or scroll if you need to.

what not to expect.

Consistent character bashing or character hate. I simply do not spend a majority of my online time thinking about stuff I hate.

Anonymous asks. Anon is always turned off, both here, on my main, and on my AO3.

Real world politics and news, or general (as in, not-BG3-specific) Disk Horse. Honestly, probably not even that much Baldur's Gate Discourse, either.

Equating in-game choices or fandom opinions with real life politics and morality. My politics and activism are for real people, not Wizard Politics or whatever.

the tag system ™.

#bog post - Any and all of my original posts.

#bogfic - Anything involving my writing or my OCs.

#my ocs - My OCs. Often accompanied by #[character name] (oc).

#spicy bog - Ye olde horny tag.

#bogcrit, #[character name] critical, #bg3 critical, #fandom bs - These are my Complaining Tags. If you never want to see anything truly critical or negative, just blacklist #bogcrit. If you want to avoid grousing or critique of a specific character, the game in general,or the fandom itself, blacklist whatever listed tag is relevant to you.

#fic, #art - Fanfic and fanart that I didn’t make.

#meta - Meta or speculation posts.

#ask meme - Blanket tag for any put-it-in-the-tags posts, as well as actual ask memes.

Characters are tagged by their full names. Custom characters are either #tav or #the dark urge, even if the PC in the post has a non-Tav name. It's just for organizational purposes.

Ships are tagged #[character] x [character] in alphabetical order.

contact.

complain to my manager

send me an ask

read my fic

#bog post

2 notes · View notes

dwellsinthebog · 2 months

Text

baked senshi 👍🏾

#senshi of izganda #senshi dungeon meshi #senshi dunmeshi #dungeon meshi #dunmeshi #dungeon meshi spoiler #lmao #bog's non-art posts

28 notes · View notes

spectralarchers · 1 year

Note

Woah, so maybe you've already talked about this so in that case, you can redirect me to that post, but what are some of the most common misconceptions you've heard? Or, preconceived ideas that you find stupid?

Okay, so this comes like four days late but I had to sit down and think about it, lol!

Misconceptions about the Viking age in a non-academic answer:

(Putting it under a read more because it dragged out)

Clothing:

Their clothing was much like that pictured in Vikings the TV show. False.

Textiles found in graves like Mammen look like this when they've been reconstructed after detailed analysis of dye pigments, thread counts and what kind of fabric/fur was used:

Notice the colors and the details. These reconstructions are on display at the Nationalmuseum of Denmark, and pieces of the original textiles are also on display there.

Notice the clothes in this picture here as well. There is a noticeable lack of "dark" leather and grim colors and IKEA-fake furs thrown onto the shoulders of the men Game of Thrones style.

We have a lot of accurate finds for textiles and reenactors have their picks to choose from. What Vikings did was basically what Wagner did with his Die Niebelungen and went "what do I think the Vikings looked like and I will disregard all the archaeological evidence". Worst part is that The History Channel is the producer behind Vikings which makes it look like it's historically accurate.

It is not.

Timeline

People usually say the Viking age started with Lindisfarne in 793, but the Vikinge age started earlier - sometime during the Migration Period (years 200-800).

The ships that attacked the monastery at Lindisfarne didn't pop up out of the blue - drakkars and viking pillaging must have existed before 793. Lindisfarne is just the first written source we have of a viking raid in England.

Let's look at the Fimbul Winter in Norse Mythology: we now know that it relates to the volcanic winter of 536. Many gold artefacts were sacrificed to bogs and the gods around that period, possibly as an offering to the gods to end the winter. A good example of these items are the Golden Horns of Gallehus ("Guldhornene"):

They are usually associated with the Viking age but are dated to the early 5th century - aka BEFORE where the current books set the Viking age to start.

What Vikings also does is establish that all the discovering Ragnar and his sons do, the Vikings did within the span of 2 generations - the Viking age lasted from somewhere around the years 500 to somewhere around the year 1200, even though Wikipedia will tell you exactly 793-1066.

They didn't exactly disappear out of the blue.

And their "discoveries" during their expansions didn't all happen within 30 years.

Runes

Only Vikings used Old and New Futhark runes, correct?

Wrong!

Elder Futhark runes were used already in the 2nd century and all the way up into the 8th, where as Younger Futhark runes were used from the 9th until the 11th. In between all of that are Anglo-Saxon runes, Medieval runes (used up until the 15th century!)

And, surprisingly, runes were not only used for "weird religious shit" but also for the state of the art "Tormund likes boys" and "this belongs to Cnut" things.

There is a difference between the use of Runes and the languages used - Old Norse, Norrønt, Primitive Norse - but that's a longer discussion which a tumblr post couldn't do justice.

There are only the Elder Edda and Prose Edda as sources about Norse myths and legends

False.

The eddas are only two of the written sources we have on the Viking age.

The Poetic Edda contained in the Codex Regius manuscript, dated from the 13th century.

The Prose Edda (written by Snorri Sturluson) is also dated to approx 1220.

Knowing we established further up that the Viking age "ended" in 1066, these two sources are biased with their contemporary views on the stories they've written down. It's the equivalent of someone in 2022 writing down stories from another culture from anywhere between 1500 and 1800 - there's bound to be modern and cultural bias take into account with it.

We have the Gesta Danorum (from 12th century Saxo Grammaticus), runestones (sprinkled from the 4th til the 12th century), the Konungasögur, the Íslendingasögur, the samtímasögur, but we also have the lost texts like the Skjolungesaga (Scylding Saga), etc.

Beowulf could also be interpreted as a source on things Norse.

You can browse the Heimskringla webpage for sources on Old Norse source materials here.

"Modern day vikings"

Wardruna, Danheim and Heilung, etc. are not making "authentic" Viking age music. We have found music instruments of different kinds, but nothing actually played 1000+ years ago has survived this far - we have the words to the Voluspa and the other texts that are poems, and we have instruments.

Do with that as you will!

Nordic animism, neo-pagans and modern day Asatrú are not what the Viking age contemporaries did - we can't know for sure because we don't have sources we can trust about it this far.

We have reenactors who do their best to be as historically accurate as possible, but the problem with that is that what we know of the Viking age (and how far they went into the world and how long they existed) all depends on archaeological finds - and historical finds.

Until very recently, the location of Lejre in Denmark as a seat of power, for example, was thought to be a myth.

And then in 2009 and 2010 they found several early Viking age longhouses in Lejre during an excavation.

Who's to imagine what they find if they keep digging in the area?

It's also why so many new things are showing up from the dirt on Falster in Denmark, where they're building the Femern connection to Germany - archaeologists are working hard to make sure nothing gets lost with modern building.

It changes almost daily.

But we will never know nor be what "ancient" vikings were, because 793 and 2022 are simply two very different worlds to live in.

So, if you want to do a blót ritual and get married under the Ásatrú faith, awesome! But remember it's a modern take on what little we have from the historic ages we take inspiration from.

Tattoos and hair

Don't get me started on those.

We have no archaeological evidence of tattoos in the viking age and hairstyles are dubious at best. The best witnesses we have for hairstyles are bog bodies, and there aren't a lot of those from the Viking age due to the way the Vikings paid their respects to the dead.

Modern "viking" hairstyles are just that. Modern interpretations of what once was.

#shut up christine #i have opinions sometimes lmao

10 notes · View notes

villainousambitions · 1 year

Text

Intro Post!

Hello Pokémon community! I started this blog to share some of my thots so my musing don't take up my main! So just to do a quick intro:

You can call me Blair, and I'm 21 years old (she/they)

I'm going to college for creative writing, and I try to write fanfiction on the side when I'm not bogged down by classes.

The first generation of games I technically played was Gen 4 (hg/ss + plat) but I have the most sentimental feelings for Gen 6 (XY+ORAS)

This will mostly be a Pokevillain blog, and I will probably be mostly writing for the pokevillians, but I'm not opposed to writing for other characters.

My askbox is open!! I also take requests, so don't be afraid to send some my way!

I will use the base tags for characters, but the villains will have "aesthetic tag" with a colon before their name (ex: #husband: lysandre) and these tags are feature tags on my blog

I will also have parenthesis tags for content that isn't related to Pokemon Villains (ex: fanart of Red) and that tag is #(non-villian)

I will also reblog ship art on occasion, which will be tagged as #(ship). If it makes anyone uncomfortable, feel free to block the tag! No worries :)

When I post thoughts/thots I tag them under #blair.exe speaks and when I share my fanfiction it will be tagged under #blair.exe writes

Here's some other places you can find me!

My Ao3 Alt Ao3

My Spotify

I follow back as @/clmty-qn

My finsta (which is primarily star wars based but i post pkmn stuff too sometimes): @/mandos_whore

I look forward to posting new content, and I hope you enjoy it!

#blair.exe speaks #pokeblogging #Pokémon #team flare boss lysandre #rocket boss giovanni #team galactic Cyrus #team plasma ghetsis #ghetsis harmonia #n harmonia #team skull guzma #team magma maxie #team aqua archie #pokémon villains #pokevillians

4 notes · View notes

likarotarublogger · 1 year

Text

Aruba isola della felicità,un viaggio attraverso la cultura e la traduzione caraibica.

Solo tu risplendi". Il sole splende. È una frase che gli abitanti di Aruba dicono più di chiunque altro nei Caraibi.Bagnata dal calore di un mare turchese e rinfrescata dagli alisei, Aruba è la terra felice del sole costante e delle innumerevoli spiagge di soffice sabbia bianca.L'isola è piena di immagini, suoni e delizie che non si trovano altrove nei Caraibi. Da persone amichevoli desiderose di accoglierti e abbracciarti. Dalle sorprendenti meraviglie naturali da esplorare agli infiniti modi per rilassarsi: riscopri il tuo lato selvaggio e trova la felicità.

Oranjestad Capitale di Aruba

Oranjestad è la capitale di Aruba, un'isola situata nel Mare dei Caraibi a largo della costa Venezuelana. La città ha una popolazione di circa 22.000 abitanti e si affaccia sulla Baia di Paarden, sulla costa nord-occidentale dell'isola. Grazie al clima piacevole e al suo meraviglioso paesaggio, la località è un'apprezzata meta turistica per le vacanze.

Visitate San Nicolas, la capitale culturale di Aruba. Resterete incantati dalla sua bellezza artistica.

Gli artisti da tutto il mondo e i talenti locali che hanno partecipato alla Aruba Art Fair hanno lasciato il segno della loro presenza sui muri e gli edifici che circondano la Main Street di San Nicolas.San Nicolas si trova a circa 30 minuti d’auto da Oranjestad all’estremità sudorientale dell’isola. Potete raggiungerla anche con un autobus che passa varie volte l’ora. Dopo una mattinata spesa ad ammirare la street-art, pranzate al noto Charlie’s Bar e trascorrete un pomeriggio rilassante alla Baby Beach.

Oasis Fram Aruba

Maischiea Fram

Self-sustainable organic farm by the community. Enjoy the wild greenery, tropical foliage and rich flora. Our main plantation is the organic papayas but we also grow various fruits and herbs.

Questo bellissimo viaggio è stato organizzato da Global Turist.It Valentina Humbert, Paula Choa in collaborazione con Pandataria film per realizzare bellissimi documentari riguardanti la tradizione e le culture internazionali dell'isola d'arte e gastronomia dei Caraibi.

Foto di Viola Damiani

Alessandro Leligdowicz Filmmaker Pandataria Film

Elena Rodica Rotaru -

Viola Damiani

Articolo di @elenarodicarotaru-blog

@likarotarublogger

Facebook Elena Rodica Rotaru

youtube

#articolo #byelenarotaru #fashionbloggerstylebloggerofinstagram♥️♥️♥️♥️#instagrambloggers❤️#photography📷📸#filmphotography #filmmakers #georai3 #Youtube

2 notes · View notes

homeandliving101 · 5 months

Text

Kitchen Revolution: Commercial Equipment Efficiency

In the fast-paced world of food service, where precision and speed are paramount, commercial kitchen equipment plays a pivotal role in ensuring seamless operations. From bustling restaurants to busy catering services, the right tools can make all the difference in delivering top-notch culinary experiences. In this blog post, we'll explore the importance of commercial kitchen equipment and how it can revolutionise how food is prepared and served.

The Heartbeat of Culinary Excellence

A commercial kitchen is a dynamic environment where chefs orchestrate culinary masterpieces. The equipment used in these spaces is designed for cooking and optimising efficiency, ensuring consistency, and meeting high-volume production demands. From ovens and grills to refrigerators and mixers, each piece of equipment is carefully selected to contribute to the overall success of the kitchen.

Precision in Every Bite

One of the standout features of commercial kitchen equipment is its precision. Unlike their household counterparts, commercial appliances are engineered to meet the rigorous demands of professional kitchens. Whether it's a convection oven with even heat distribution or a state-of-the-art sous vide machine maintaining precise temperatures, these tools empower chefs to have unparalleled control over the cooking process. The result? Consistency in every dish ensures that the flavours patrons love are replicated with each order.

Streamlining Workflows for Speed and Efficiency

Time is of the essence in a commercial kitchen, and the right equipment can significantly impact workflow efficiency. High-capacity fryers, rapid-cooling blast chillers, and multitasking food processors are just a few examples of equipment designed to streamline processes. This enhances the speed of service and allows chefs to focus on creativity and quality rather than getting bogged down by manual tasks.

Energy-Efficiency for a Sustainable Kitchen

In an era where sustainability is a top priority, commercial kitchen equipment has become more energy-efficient. Energy-efficient appliances contribute to cost savings and reduce the overall environmental impact of food service operations. From energy-efficient refrigerators to induction cooktops that only heat the cookware, chefs can embrace greener practices without compromising performance.

Meeting Safety and Hygiene Standards

Maintaining a clean and safe kitchen is non-negotiable in the culinary world. Commercial kitchen equipment is designed with hygiene and safety in mind. Smooth, non-porous surfaces make cleaning a breeze, while advanced safety features like automatic shut-off and temperature controls mitigate the risk of accidents. Meeting and exceeding health code standards becomes second nature when equipped with the right tools.

Looking to the Future

As technology advances, so does the landscape of commercial kitchen equipment. Smart appliances with connectivity features, data analytics capabilities, and remote monitoring are becoming increasingly common. These innovations give chefs more control and insights into their operations and pave the way for future kitchens.

In conclusion, commercial kitchen equipment is the unsung hero of the culinary world. Its impact extends beyond the sizzling sounds and aromatic smells of a busy kitchen, influencing everything from the speed of service to the quality and consistency of the food. By investing in the right tools, chefs and restaurateurs are not just cooking – they're orchestrating a symphony of efficiency and excellence.

#commercial kitchen equipment

0 notes