𝔐𝔢𝔯𝔩𝔦𝔫, յգՑօ 𝔟𝔶 𝔈𝔞𝔯𝔩 𝔑𝔬𝔯𝔢𝔪

Lumine taking a pic with Jeht and their new Tanit friends who are definitely alive and not evil!! (I'm pretending half of the 3.4 quests didn't happen)

Maybe they’ll reach an agreement…. 😓

i am looking respectfully (but also why must we fight, why cant we hold hands and run off into the desert together instead???)

[ID: digital bust drawings of scorching loremaster and floral ring-dancer eremites. the ring-dancer is on the left, smiling, and has her ring behind her with one hand is resting on it. The loremaster is on the right with her arms crossed.]

Am I the only one who's simping for this eremite???

I mean,,, look at how pretty he is.

My Yelan almost died taking a decent picture with him, lol

the enemy, Eremite Scorching Loremaster as a playable character! shes so pretty! my fav genshin enemy npc

(genhsin NPCs pt1)

DEATH : The High Cost of Living

Chapter Two: A Night to Remember

Art by Chris Bachalo

Natural Information Society — Since Time is Gravity (Eremite)

Joshua Abrams has been creating music with the Natural Information Society for 14 years. Seven albums in, the group’s name has expanded; they are now Natural Information Society Community Ensemble with Ari Brown. It isn’t just the group’s name that has gotten longer; so has the list of contributors. Joining the core Natural Information Society of Abrams (guimbri and bass), Lisa Alvarado (harmonium), Mikel Patrick Avery (percussion), and Jason Stein (bass clarinet), are Hamid Drake (drums), Josh Berman and Ben Lamar Gay (cornets), Nick Mazzarella and Mai Sugimoto (alto saxophones and flute), Kara Bershad (harp), and the aforementioned tenor saxophonist Ari Brown, in a special guest role that befits his status. Brown is one of the most prominent and celebrated tenor saxophonists of Chicago. Based on the powerful playing displayed here, one would never know that he is nearing eighty.

“Moontide Chorus” builds up from a single bass note to a varied syncopated line in that register. Against it, polyrhythmic percussion and chordal winds are added. Brown solos in a modal idiom that interlocks with the bass parts. The rest of the group rejoins and the percussion takes things double time until the piece’s conclusion. “Murmuration” begins with Bershad playing a gentle harp solo that is then doubled in heterophony by bass instruments. Avery and Drake add economical punctuations and the winds have vertical sonorities. Stein adds a long held tonic drone to the mix that is then doubled by the other winds in octaves. Subsequently, complicated harmonics are evoked by overlapping chords. The bass takes the harp melody and the winds break their chords into corruscating arpeggiations. Brown adds a new melody and Bershad reenters with chordal outlines. Stein adds yet another countermelody alongside a flute solo,   The harp line solo yields to a final denouement. Heady stuff. 

“Is” emphasizes a groove created by drums and guimbri. Over this, Brown takes an extended solo, with wide-ranging scales and blues bends. On the piece’s latter half, a single note ostinato from cornets and passage work from winds fills out the background, and provides a center from which Brown’s solo finds its grounding. Cornets and flute are featured on “Stigmergy,” as are tangy dissonances from the rest of the group. During his solo, Brown creates echoing reverberation. An extended section for muted cornet provides a foil for Brown. Much as the tenor saxophonist is an intrinsic part of the proceedings, having more of the players involved in the soloing makes this a personal favorite. 

“Immemorial” has a fascinating textural profile. Alvarado’s harmonium builds a chordal background onto which sustained notes, glissandos, and microtones are added. Glockenspiel and hand drums create a supple rhythmic underpinning. It is the most adventurous of interactions, and creates beautifully blurred harmonic colors. 

“Wane” and“Wax” are comparatively shorter pieces. On “Wane,” Abrams begins with an extended guimbri solo that is soon joined by Drake’s hand drums. Partway through, they undertake a mixed meter duo that complicates the rhythm. At the end of the piece, the first patterning returns. “Wax” serves as a companion piece that explores shorter rhythmic strands. The recording concludes with “Gravity,” which begins with a loping groove, led by thrumming bass from Abrams, over which Stein solos using Eastern scales. Brown plays a muscular solo that combines a modern jazz approach with a Non Western vocabulary replete with trills. The winds play major sevenths, creating a dissonant background. Brown’s solo moves to a howling climax, followed by a long coda of extended techniques. 

Natural Information Society works well with this expanded complement. The inclusion of Brown is especially effective. Whether the new collaborators will remain, or others players will join Abrams, Since Time is Gravity demonstrates that Natural Information Society is a durable creative enterprise. 

Christian Carey

assortment :)

Shoutout to those 3 eremite ladies: the pokemon trainer, the dancer who looks like she's having so much fun before we come in to ruin it, and the one that straight up snaps her instrument to assert dominance

pr...pretty

“i am king of kings”(completed work on archive of our own)

“i am king of kings” 

-the wall of samiel was never meant to seperate anyone apart. it was never supposed to happen this way, but with poetry fit enough to capture a scribe-the smartest man in all sumeru crafted by an eremite, the return of the scarlet king is underneath their noses. follow an eremite named kaveh learn the mysteries of knowledge and the world beyond on a sandy desert and fall in love. 

Mommy? Sorry. Mommy? Sorry. Mo-