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onetruesirius · 6 months

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I sit here and I watch the news about Gaza

and I think

shit, I need to get back to work;

it's toxic to just fixate on the news,

It's bad for my mental health.

I can't be irresponsible to myself

I have class in the morning.

I have exams next week...

But how can I turn a blind eye?

How can I not care

that nine thousand Gazan children are dead,

that the Israeli Occupation Force has dropped the equivalent of an atomic bomb

on a space about the size of the New York City metropolis,

that an episcopal church was bombed—

it was one of the oldest churches in the world,

that one of the oldest mosques in the region was destroyed

that hospitals are being shelled with doctors and patients still within,

that men are carrying pieces of their dead children out of houses in plastic grocery bags because there's no other way to carry that many pieces in their hands,

that over a million people were told to evacuate on bombed-out roads,

and then they were shot and bombed with USAmerican white phosphorus when trying to leave?

Do you know what white phosphorus does to a human body?????

Please google it.

And if you "don't want to see something like that"

Oh,

I want you to google it even more now.

just to be appropriately horrified.

How can I not see that the Israeli government doesn't see Palestinian people [THEIR people if we're going by statehood metrics, who were on that land when the BRITISH GOVERNMENT decided to make the state] as human beings,

that they'd do anything to slaughter Palestinians under the cover of radio silence so the world turns away?

And that men wail from minarets—

not to call their flock to holy prayer but

to speak messages of hope that god will save them,

to attempt to reach the outside world, when the information reaches the people at the edge of the strip, who have international SIM cards and can get the word out,

and to deliver news of where the bombs fall so that paramedics can know where to dig more bodies out—the bodies that aren't a bloody slurry sprayed across the streets and walls, anyways.

And that journalists are being executed en masse to hide the story.

And that men are being stripped naken and forced to sit on the ground for hours at a time, just like in Nazi Germany.

And I can't forget the fact that the United States, MY NATION, voted AGAINST a UN call for a ceasefire...

TWICE.

And that construction companies are already tearing down the old apartments to make room for new living arrangements for the colonisers, before the old buildings even stop burning.

And that settlers are coming into these abandoned homes and looting food and jewelry and desecrating prayer rugs.

And it isn't the fault of Jewish people.

I know that.

Jewish people deserve a place to be safe and free, wherever they are...

But this fact likewise does not require the creation of an ethnostate.

The implication that the only way for Jewish people to be safe is to kill everyone else... is it not in itself antisemitic?

I'm scared for the Palestinian people, and also for my Jewish diaspora friends.

They hate what's going on just as much as I do,

but they're going to get blamed by well-meaning Palestine supporters.

I know they will.

They know they will.

We all know that they will.

Another wave of antisemitism.

Another wave of islamophobia.

Another wave of killings.

Another wave of ethnic cleansing.

On it goes.

A little boy was already killed by his mother's racist landlord in Chicago. Stabbed 26 times.

Three college students were attacked and one was maimed for life.

Attacks against synagogues here in the US have only increased. Two people were shot, allegedly for a Free Palestine...

But we all know that the neonazis have been using this mess to stir the pot against Jewish people and boost their recruitment.

The Palestinian 2023/24 school year has been officially canceled going forward.

Because the enrolled students are dead or missing.

Because they were bombed with American ground-to-ground missiles.

We all know the missiles are American in origin.

Russia has its own genocide to attend to, and China doesn't care enough to give arms to anyone. And we know it's American White Phosphorus.

All the while, war profiteers in my nation get richer and richer,

richer and richer and richer,

and richer and richer and richer and richer and richer and richer—

and they'll laugh like the evil FUCKING pricks that they are

when Gaza gets bombed,

and they'll laugh like the evil FUCKING pricks that they are

when Jewish people get attacked in the streets,

because every act of violence

and every sentiment of hated

fills their pockets with more and more and more US-AMERICAN DOLLARS and GUNS and BOMBINGS and SHOOTINGS and HATRED and GOD BLESS AMERICA—

or something like that

I've signed petitions.

I've signed so many I've lost track of the ones I've signed and the ones I haven't, the ones for other countries that I can repost but can't sign or they might get tossed out.

I've donated money to relief organizations for when the borders re-open, because I'm an optimistic bastard like that.

I've sent emails.

I've sent... so many emails.

I've called all my Representatives in Congress.

I've spread news to as many of my friends as I can without them blocking me.

And still Gaza burns.

And still children are slaughtered, even during the fake ceasefire.

And still I have exams next week.

And still I think about how I really shouldn't fixate on this, because it affects my mood.

and it's been impacting my performance at school.

and it's been undoing months of work I've done with my therapist to try and disconnect from current events.

And still I think about how

"the current events"

rain down like hellfire on innocent mothers of dead children,

and children of dead mothers,

and sisters of dead brothers,

and brothers of dead sisters,

and fathers of dead babies,

and babies of dead fathers,

and teachers of dead students,

and students of dead teachers,

and churches and pastors,

and mosques and imams,

and hospitals and doctors,

and synagogues and rabbis,

and the fucking relief trucks that were filled with food and water.

And here I sit, and I don't know what to do about it????

And I wonder if this is all the point?

To make things worse and worse and worse and worse so that people are so unbearably exhausted from just trying to do the right thing

that they can't take care of themselves?

That they can't achieve upwards mobility?

That they can't make any difference at all for the things that matter most to them?

but I'm just one monkey...

one monkey can't solve systemic problems

that are baked into the roots of our society.

It's a first world problem, for sure. I have the privilege to be able to unplug from this and rest in my bed and not get bombed.

But I just want to make things better, for everyone...

I know that I can't do that.

But I wish I could

Oh, god—

I wish I could.

But I guess I'll just go to sleep.

After all

I have class in the morning.

#palestine #free gaza #free palestine #from the river to the sea palestine will be free #first world problems

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silaswritesthings · 1 year

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The artist

Summary: Albedo was an artist and you were his newest inspiration.

Starring: Albedo, gender unspecified reader

Genre: Yandere themed, stalking, art, music, obsession

Warnings: There’s going to be implied kidnapping, stalking, obsessive behavior and basically things associated with a Yandere themed story. There’s no sexual content.

Author’s note: I’m actually quite curious about how this will turn out because I’ve never posted anything like this before. Likes, comments, reblogs and feedback will be greatly appreciated!

Word count: 935

Albedo was an excellent artist and as a product of an aristocratic background that glorified the art of creation, it was only natural that he would excel in it and many people praised him for it. All bards who knew of his name would sing praises of his artistic expertise but on the contrary, Albedo prided himself for being an expert on you.

When Albedo first attended one of your shows held by your father, the king of Mondstat, he was mesmerised by the way you played your violin as if you were made for the sole purpose of playing it. You never failed to enchant everyone who attended your shows and Albedo believed you secretly played for him and him alone. Why else would you create something so beautiful it rivalled his own work? You obviously seeked to grasp his attention and you did just that. He was a moth drawn to a flame and he wanted- needed this flame to consume him.

He attended each and every one of your shows and he had the urge to capture your songs in a painting for him to admire over and over again, but not even his art could recreate the essence of your music. He wanted to keep you in a glass jar so you may play for him forever. He wanted to take care of you like a fragile yet priceless sculpture of his own design and in return you would haunt him with those melodies you played so carelessly for anyone who cared to listen.

Despite his fixation at first sight, he didn’t word his thoughts on you to you or to anyone. He admired everything about you from afar instead. Everything from your music that echoed through the halls of the national music theatre during your practice sessions, which he never failed to attend each time beyond your knowledge, to the way you tread through the palace gardens (those royal guards were so easy to bribe). You were a form of artistic expression to Albedo and every second he spent observing you, as one would any form of artistic inspiration he would would reason with himself, would culture his growing obsession on having you as his own possession.

~~~~~~~~~~~~~

After weeks of observing you, and archons did he enjoy every moment to death, Albedo had memorised your daily schedule until he knew it better than you did. He wanted to know everything about you, not just your habits but how you spend your time, whether you really enjoyed all those royal protocols and responsibilities your father pushed upon you or would you rather have Albedo come to whisk you off your feet and away from all your troubles? He couldn’t help but fantasise about all these possibilities in his mind until one day his fantasies were no longer enough. Simply observing you no longer satiated him, he needed more. He needed to see you, to touch you, to be with you. He wanted to know everything from your thoughts to the way you breathed. And so he pursued this.

On a Wednesday afternoon during your 15 minute break before your father would introduce you to another wave of eager suiters, women and men alike, Albedo approached you- posing as a lost visitor of the castle.

“Albedo?” You thought you noticed him first when he turned to you, blond eyebrows slightly raised in feigned surprise.

He greeted you with a bow. “My liege.” You looked away from his bowing form to hide a shy smile. You had bared feelings for the artist for not only was his art spectacular but Albedo himself was most definitely not hard on the eyes. He carried an air of gentle beauty, you often joked with your acquaintances that he was the personification of a feather. Gentle, elegant and easily carried by the wind for you seldom came across him.

“I should be the one showing my respect.” You said, “You are a wizard of artistic expression and I greatly admire your work.” Your voice, unlike the melodies you created with your violin, was small and uncertain. It lacked the confidence expected of royalty but to Albedo it only added to your grace.

Albedo stood up straight and offered you a warming smile. “I appreciate the sentiment however I am quite embarrassed to be in the presence of an admirer in a rather… unadmirable situation.” He said, referring to his “I'm lost” act, he continued. “I’m looking for Captain Kaeya. He said he would be the face of my newest creation.”

You pursed your lips. “Captain Kaeya has just left on an expedition. My apologies but you won’t find him here.” You said. Albedo already knew this yet he sighed and ran a hand through his already messy hair.

“How disappointing.” He commented. “An artist cannot call himself an artist if he doesn’t create now can he?” And with that Albedo thanked you and turned to leave without any further words.

“Wait!” You walked after him as he turned to you and tilted his head to the side but behind that face that seldom expressed emotion was hiding a knowing smile.

“My liege?”

“Would you grant me the honour to be the subject of your newest creation?”

Albedo’s heart skipped, his plan had finally come to fruition and he didn’t hesitate to grasp this opportunity. “How could I say no?”

That afternoon you allowed the artist to lure you out of the castle and you made huffman, the guard on duty, to promise to not share your whereabouts but he did eventually. How could he not when neither you nor Albedo were ever seen again after you left the castle together?

#silaswritesthings #silas #genshin impact #genshin x you #albedo #albedo kreideprinz #albedo x gender neutral reader #yandere albedo #yandere #obsessive love #albedo x reader

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ghostonly · 5 months

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So I was grabbed hold of by my music hyperfixation today and it turned out, today's the day I learn more about the history of American music as made by African Americans. Since, you know, they did most of it.

I've known for a long time that American music has deep roots in Black experiences and culture, but it was always such a behemoth of genres and artists that I didn't know what exactly I liked or where to start.

So, today, I figured I'd do what I do best and start with all of it at once.

Okay, not exactly. I'm doing it in chronological order. But in order to accurately order the shitload of playlists and folders I was making on Spotify, I needed to know what order those genres were discovered in.

I am not in school for this, I'm not educated on this and, as a white person, I don't feel like I have the nuance, experience, or understanding to properly write a massive post about this topic, but I did want to share a few articles I've read today, because they were extremely well-written (as far as I can tell), informative, and moving.

Reasons to Read These

African Americans have been the driving force in just about every music genre that's come out of America. If you don't already know that, or want to know more, you should read these.

Do you find music and musical evolution fascinating? You should read these.

Are you queer? Disco is part of queer culture as well and the overlap between Black and queer culture in that time period leans heavily on disco, which is fascinating and part of your own history. You should read these.

If you care about racial tensions in the US, the article that talks about Earth, Wind, & Fire goes into the ways disco impacted racial tensions in the US in the late 70s. It's good knowledge to have under your belt. You should read these.

Bonus shout out to The Get Down on Netflix. I watched this a year or two ago and was obsessed with it for a few days until the fixation passed. This is part of the driving inspiration for me looking into the history of disco and hip-hop so extensively today, because the vibes in the show were just... enrapturing. And, looking at the Wikipedia page for it to double check how it was received by people who know more than me, it does seem to have good reception. I especially like that they involved historical pioneers in its creation (DJ Grandmaster Flash, who invented modern use of turntables for hip-hop, DJ Kool Herc, and Kurtis Blow, all in their 60s and part of the original hip-hop scene in the Bronx). So if you want to watch something that will get you hyped about disco and hip-hop, I can just about promise you that'll do it. Needless to say, I will be rewatching it very soon.

Long but detailed and very well written. Has many artist suggestions:

A shorter summary for someone who wants a quick read:

I hope some of you will click through and learn something with me today c:

#music #history #music history #jazz #disco #hip hop #rap #queer #queer history #black history #blm #black music #black music history #earth wind and fire #african american music #racism mention

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haggishlyhagging · 3 months

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We have seen that in the West, the European witchcraze signaled the arrival of a new age of gynocidal processions. During that era the personifications of the Second Divine Person—the sons of god representing the Son of God— appeared on stage, forming the professional and corporate mystical mergers that required the massacre of "indigestible" women. In nineteenth-and twentieth-century America (and in other nations following American leadership) a further phase has been reached. This is the Age of the Holy Ghost and his ghostly representatives. The multiple holy ghosts of the Age of Gynecology (body-gynecologists and mind-gynecologists) follow the mythic model of the "Third Divine Person." We have seen in the First Passage that the original christian holy ghost was a mythic male mother, the spirtual single parent who impregnated Mary, the Totaled Woman. The latter was a reversal of the parthenogenetic goddess, who was thus reduced to a brainwashed receptacle/ rape victim.

In studying the sado-rituals of the gynecological holy ghosts, it is useful to recall some of the theological lore associated with their christian theological archetype. The holy ghost, the feminine member of the divine trinity, was known as "the Spirit"— the one who inspires, or breathes into the souls of the chosen. In the ideal transsexual world of christian myth, "he" manages not only to impregnate Mary physically, producing the "Incarnate Word," but also to fecundate the souls/ minds of the faithful, engendering "supernatural life" and inspiring them with "divine" ideas and images. It is important to realize the interconnection between these two aspects of the myth, for they are reflected in the emergence of the two classes of specialists "devoted" to women, that is, the body-gynecologists and the mind-gynecologists.

The various types of psychotherapists are the theologians of gynecology. These theologians and the specialized "ministering" physicians whom they legitimate represent the two complementary functions of the holy ghost. Both function to keep women supine, objectified, and degraded a condition ritually symbolized by the gynecologists stirrups and the psychiatrist’s couch. By their combined efforts, these specialists keep many women in the state of perpetual patients whose bodies and minds are constantly invaded by foreign objects—knives, needles, speculums, carcinogenic hormone injections and pills, sickening self-images, festering fixations, debilitating dogmas.*

It is significant that certain male-defined feminine qualities are attributed to the holy ghost of christian theology. Thus he is called Helper and Healer—which makes him an appropriate paradigm for the "helping professions." He is also known by the name Gift. The deceptiveness of such appellations is apparent to victims of theological/psychiatric/ gynecological "help," who have learned the truth of the slogan: There is no such thing as a free lunch.

* As we have seen, it is no coincidence that the establishment of gynecology was followed chronologically by the creation and spread of Freudian ideology and its offspring. The medical establishment soon found that its colonization of women's bodies required the concomitant conquest of their minds/spirits. The new theology of therapy has fulfilled this role, extending its tentacles into the privacy of minds and hearts.

-Mary Daly, Gyn/Ecology

#mary daly #female oppression #western civilization #patriarchal religion #therapy is a scam to keep women docile

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talisidekick · 1 year

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I want to know about axes now.

I hath been prompted and this subject is extremely damn large. So to "briefly" explain ...

A Brief (lol not at all) Overview of a Complicated Axe History

Axes have been around since about ~1.8 million years ago thanks to our ancient as heck ancestors who were probably barely sentient and self-aware. It's literally a wedge on a stick, it's not hard to create relatively speaking. Axes have been made from antlers, bone, metal, stone, and even other types of wood for a very long time! This also means axes have an incredibly varied history, and it's not something that can be traced back to specifically one culture or another as the initial creator of "the axe". Literally every culture has axes in some form, and the creation and use of them vary per culture. And I know: "vary per culture?! It's an axe, it chops wood!" but ... no. Axes have been used to cut stone, wood, dirt, metal, animals, and people (war, feuds, sport, etc) a part in different ways for different reasons and have specific uses that determined their looks. Like for example, the European axes were commonly used to chop down smaller diameter trees, and thus had shorter handles, wider heads, and were lighter weight. However, when brought to North America, these axes couldn't efficiently cut down the wider and denser diameter trees. The head of a European Axe would get stuck, handle would break, wouldn't go as deep, etc. However, the First Nations peoples Tomahawk (or 'Trade Axe' - will explain why it has that name in a moment) had a longer handle, narrower head, and the weight necessary to really dig in. As such, those axes looked different. Now, I can't speak much on this, because it's not my heritage, but I will note that the Europeans noticed that there was a cultural significance behind axes for the First Nations peoples they were trading with that they didn't really share. As such, axes became a unique form of trade because of that noted value. Thus why Europeans fashioned axes in a similar design to First Nations axes and called those and the Tomahawk 'Trade Axes'. What the societal, cultural, and heritage reasons for that value is, isn't my place to speculate. However, I'd love to learn! (please message me or reblog if you're interested in helping educate me)

If it isn't apparent, axes are a hyper-fixation of mine (that if my friends are reading this ... I never told you about ... and that's because I was told my 'obsessions' were weird ... and I am kind of interested about the whole history of wedge-on-a-stick), so I did look into axe history for European and Norse history because that's my ancestry and I'm kind of more familiar with the whole historical lens distortion relating to the recording of these cultures than I am with First Nations recorded history. I'm just not at a point where I'm comfortable in determining recording bias from factual account, and I freely admit when it comes to First Nations culture, I require a lot more learning and education.

Back on topic though, this means that the history of axes comes down to a question of: what cultures history of axes do you want to know? And specifically, what about that history interests you? And in the case of this ask, it's the fact that I made a post about knives being used as romantic gifts:

And axes have a fun history with that too amongst superstitions for being buried or mounted in certain ways to ensure home protection from lightning, bad omens, warding off of witches, ensuring male offspring, or protection from weather. Axes have had ritual significance, been decoration pieces, symbols of authority, and even symbols of trade (not trading, but like if you were a carpenter, a ship builder, etc), and symbols of culture! For me, the coolest of them are the ones that weren't used for war, like:

The British Trade axe (right) was both a trading currency and a working tool for cutting wood or kindling, and the Tomahawk (left) duals as a pipe and for much the same as the axe on the right.

The Shepherd's Axe, a variation on the Hungarian Fokos which had wide-spread use across Europe dualed as a walking stick, and a tool for wild animal (wolves) defence, and of course the hacking apart of wood, and clearing of brush!

The Mattock or Pulaski which combined both axe (side facing up) and adze (side facing down) to be a utilitarian farming and digging tool. A slight specification here, a Mattock is typically an Adze one one side and another tool on the other (axe or pick), but a Pulaski is specifically as shown, being Adze and Axe. A Pulaski is a form of Mattock, but all Mattocks are not Pulaski's.

The Crash axe, a more modern invention, designed for the use of escaping crashed aircraft, and as a survival (potential climbing/ice axe if it contains the fastening strap) tool.

The Ship Builder's Axe (bearded axe in this case), sometimes referred to as a Carpenters axe. Was typically used to build both boats and homes as axes were the original planing tool before we got a smarter more efficient idea.

Axe construction also varies! Commonly in North America we see the Shaft-Hole axe (mattock/pulaski, Tomahawk, Trade axe, and Ship Builders Axe above), meaning the axe head has a hole for a shaft to go through and be fastened upon (usually a metal or wood wedge driven into the top to make sure the axe head stays affixed to the shaft mid swing and not flying off like a bladed murder wedge). But earlier axes used not only Shaft-Hole, but:

Socketed like the Celt where the wood handle would fit into a cavity at the back end of the axe, and:

Palstave where the butt of the axe was narrow and driven into the shaft! In fact, the first axes were either Socketed and Palstave styles.

There's also fun situations where axes would be classified on use, despite being the same axe. Ie, a battle-axe was recorded in early history to define any axe used for war, however, a ship-axe was defined to be any axe that had been carried by boat. So if a raid or attack happened by boat, the sailors/warriors used "ship-axes", but if it was a land siege, they'd have used "battle-axes". This of course later changed where the term "boat-axe" came to define Shaft-Hole axes of the Norweigan-Swedish axe culture, but it's still interesting to see. And even axes creations sometimes had meanings, like the double-bladed axe, which had representations in the wax and waning moon, the circle of life and death, and the changing of seasons to name a few, which is all dependent on the cult/religion/culture being observed.

As such, because axes had both cultural, ritual, and social significance along with definitive use, it wasn't uncommon for axes to be gifts, sometimes decorated or engraved, to loved ones or family members.

And there is one thing now that we're this far in about a certain axe I wish to make sure ALL DEVELOPERS OF VIDEO GAMES AND FANTASY NOVELS GET RIGHT:

A pick axe DOES NOT HAVE AN AXE ON THE ONE SIDE! It has a chisel, and yes, it's dumb. I don't know why they called it an axe. A normal PICK is just two picks on either side, or one pick and nothing on the other. I need you, need need need you ... it get this right. Please.

Lastly, there is actually a difference between Axes, Hand Axes, and Hatchets. They are all not under the same umbrella:

A Hatchet comfortably fits in one hand, has a shaft length of 1/2 a Hand Axe's, and a Hatchets head is about 1/2-2/3's the weight of a Hand Axe. It's purpose is small brush clearing, and kindling.

A Hand Axe has a handle/shaft length that is 1/3~ shorter than an Axe, requires one hand, and the head weight is roughly 1/3 of an Axes.

An Axe, is a two-handed tool, with a handle length 1/3 longer than a Hand Axe, and has a head weight 1/3 more than a Hand Axe.

If you're wondering why this is all arbitrarily based on eachother, it's because axes, hand axes, and hatchets have been around since before standard measurement systems, and this was the definition that's carried over. Want a fighting axe? Get an axe that's twice the size of the Hatchet. Want to fell trees, a handle 1/3 longer than your fighting axe should do. Why the head weight changes? Comfort and utility!

And lastly, a fun bit of history! Axe heads that got too dull, were sharpened to the point the head got too small, or the handle broke, would often be used as kitchen tools for cooking in ancient times. Need to scrape dough off the counter? Axe head to the rescue!

This info dump is now over. Go buy your spouse/partner an axe. They look cool. Better than swords in my opinion.

#talisidekick #talisidekick things #axe #axe history #neurodivergent #info dump #history #i don't know how to tag this ...

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rotworld · 2 years

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Avīci: Notes and Extras

some time ago, an anon asked if i would be interested in doing a director’s cut-type of post about my work. i didn’t have anything at the time that i felt warranted it, but there’s a lot that went into avici, so there’s a lot to talk about.

avici takes inspiration from a lot of sources, particularly japanese folklore, noh theater, and buddhism (and for the purposes of this discussion, we’re focusing on buddhist beliefs and terminology used in japan). this will probably be a long post and is by no means required reading to enjoy the fic, but if you’re curious about these aspects, you might be interested in this. this post has some spoilers for avīci, so please read that before this!

1: avici

let’s start with the title. the concept of buddhist hell, naraka, is known in japan as “jigoku.” this realm is further divided into numerous hells that have their own unique punishments, duration of stay, and reasons for ending up there. while there are said to be an extremely large number of hells, there are a handful that are often singled out. in japanese, there are a couple terms that refer to specific groupings of hells, including 16 “minor hells” and “eight great hells.” the names of these hells are generally self-explanatory, describing the torment that occurs there, such as the “inferno hell” or the “place of omnipresent darkness.” among these hells is avici (”mugen jigoku” in japanese, meaning “unending hell”), which is the lowest and most severe of all hells. torment here is varied and seemingly ceaseless. while punishment within jigoku will not last forever, the suffering one endures there, especially in avici, goes on for so long that it might as well be eternal from a human perspective. if one’s body is destroyed by these tortures, it regenerates to continue suffering.

a jigoku zoshi (“hell scroll”) illustration. these heian-kamakura period paintings depict scenes from several hells. this particular series, held at the nara national museum, shows a number of minor hells, such as the “inferno of bloody pus” shown here.

2: mugen

a theme i wanted to explore in avici was the concept of “mugen.” homophones are words that sound the same but mean different things, and in japanese, this also means they might be spelled using different kanji. mugen (無限) is the name of gojo’s technique where things slow infinitely before they touch him. in this sense, it means “infinity.” a different mugen (無間) is also part of the name for avici, mugen jigoku, and in this sense means “unending.” these concepts are similar but have a slight difference in nuance. i wanted to contrast the limitless yet unsatisfying power of gojo and the unending but painful existence of the reader.

3: youkai

a couple creatures from japanese folklore inspired the reader character. the first, influencing their “dormant” state, is the hinnagami. these are a type of shikigami, a familiar or conjured spirit, and this one in particular is housed in the form of a doll. hinnagami are enshrined within a household to grand wishes and bring good fortune and wealth. due to being born of greed and malicious desire, they are inherently twisted. after being enshrined, a hinnagami becomes fixated on its creator and can never be banished. it’s said that when the hinnagami’s creator dies, the doll will follow them into hell, haunting them for eternity.

there are two popular methods said to create a hinnagami. the first is to mix grave dirt and human blood, and mold it into the proper shape. there are various specifications about these ingredients, such as leaving the doll out to be trampled, and ultimately the hinnagami is created from a ritual of death and suffering. the other method requires the creation of 1,000 small dolls, which are then boiled in a pot together until only one doll remains. we’ve seen in jujutsu kaisen that there are some horrific ways for curses to be born. if someone like sukuna wanted to make a cursed spirit totally devoted to him, i figured his ingredients would be even more extreme.

the hinnagami was featured in an episode of ayakashi banashi. interestingly, this one seems to be actively malevolent, appearing of its own volition to someone in a desperate situation. this particular depiction with a bowl cut and traditional clothing is what i had in mind while writing avici.

the second inspiration for the reader were a pair of semi-related bird youkai. the first features in a story from the taiheki, in which a monster appeared over the kyoto imperial palace and was killed by minamoto no yorimasa. it was said to be a bird-like creature with a humanoid face and a serpent's tail. in the taiheki, it was simply an unnamed monster, but it was given the name "itsumade" by sekien toriyama in one of his illustrated youkai books. instead of a bird's cry, its call sounded like the word "itsumade" (lit. "until when?") what this meant is debated, though later texts seem to associate the itsumade with another bird-like youkai, the onmoraki.

onmoraki are youkai (traditionally depicted as similar to a crane) that manifest when the dead are not handled properly. if someone dies and is left unburied or without a proper service, it's said that they'll become an onmoraki and haunt nearby temples until someone comes and takes care of the dead. more recent youkai literature interprets the itsumade as a type of onmoraki, appearing at a time of great turmoil when there were countless corpses on the battlefield. "until when?" was interpreted as "how long will this corpse remain here, uncared for?" the reader could be seen as a type of tortured onmoraki or itsumade, a living corpse made up of many corpses who constantly asks "how long do i have to wait here?" but no matter who they haunt, no one can help them.

3: kigo

kigo ("seasonal words") are words with strong seasonal associations. they include natural elements such as plants and weather phenomenon, as well as cultural practices and the names of holidays. seasonal references are a significant component of some japanese poetry forms, such as haiku. using kigo not only provides a particular seasonal framing, but also evokes specific imagery using fewer words, which is especially useful in short forms that have a small number of allowed syllables. while japan has a varied climate from north to south, kigo associations were determined based on the seasons of kyoto, which was the seat of power for the heian imperial court and the driving force behind japanese poetry traditions.

while not playing a major narrative role or implemented with much subtelty, kigo were used frequently throughout avici. the reader character spends months or even years sealed away and has little way of knowing how much time has passed. to give them any sense of time, they rely on kigo. any specific plants or birds mentioned are probably kigo, and can tell you what season it was in that scene if otherwise unspecified.

4: noh

noh is a type of classical japanese theater that uses poetic narration full of double meanings, minimal stage props, extravagent costumes and masks. one type of noh is mugen noh ("dream/fantasty noh"), stories that include supernatural creatures, dream sequences or illusions, and the intersection of the past and present. these plays generally feature a traveler (this role is called the "waki") meeting someone who is strangely knowledgeable about the place they're traveling through (this role is called the "shite"). the shite then tells the story of the place and finally reveals themselves to be a historical figure involved in the events of the distant past.

the most obvious influence was in the fourth chapter where gojo attempts a "noh exorcism." i thought it would be fun to have this style of theater double as a ritual for exorcism in the world of jujutsu kaisen. there are noh plays about various monsters from folklore that meet a traveler, and by telling their story, they are given an opportunity to seek forgiveness or peace, so i wanted to incorporate that as a method of exorcising powerful spirits who may have once been human. by confronting their past and remembering their humanity, perhaps they can be peacefully exorcised of cursed energy. of course, noh plays are extremely time consuming (a real set can last literally all day) so it's not something modern sorcerers would consider viable, or even an option for most basic curses.

there were several specific noh plays that inspired certain scenes. i won't get into every example but i want to highlight the one that had the most direct influence. izutsu ("the well cradle") tells the story of a heian-era noble named ariwara no narihira and his wife. though both have long since died, narihira's wife cannot pass on. she expresses her longing for him to a traveling monk who witnesses her makining offerings to a funerary mound. cherry blossoms are discussed at one point, and how they're "blamed as faithless" for how easily they lose their flowers to the wind. other inspirations include the plays nue (this is the name of a youkai) and saigyou-zakura ("saigyou and the cherry blossom").

matsuno sofu’s illustration of the character of narihira’s wife. here, you can see the single stage prop in use: the wooden frame used to represent the well. in this scene, she has dressed in his clothes and gazes into the well in order to see him again through the water’s reflection.

finally, i want to mention this paragraph from the beginning of the exorcism chapter:

"The temple bells of Gion sing a song of impermanence. Like the bold colors of the sāla tree, what once bloomed will wilt. The proud are as fleeting as a spring night’s dream, the fierce as dust before the wind. When the battle ends, there will be naught but summer grasses swaying in the gentle breeze, unknowing the names of the fallen."

the first few sentences are the opening lines from the tales of the heike, an epic about the genpei war. the final sentence is a reference to basho's "summer grasses" poem. both tales of the heike and "summer grasses" are about the fall of powerful warriors and share the theme of impermanence. gojo's goal in the exorcism was an impossibility: he wanted the reader to understand "impermanence." but they're just like him, defined by "mugen," and the concept of "an ending" is beyond them.

i think that might be everything lmao i hope this post was fun and informative! if you want to learn more about noh, there's a really incredible english-language resource at the-noh.com. they've got all the basics on just about everything, including free pdfs of the plays in english and japanese.

as a bonus for making it all this way lol here are two songs that didn't make it onto the playlist but that i still like a lot for avici.

->promised oni - absolute castaway: about a child who makes a deal with an oni that goes horribly wrong.

->the ghostly puppet, or: love and resurrection - akatsuki records: a touhou doujin song about two characters with a relationship dynamic that can be interpreted similarly. lyrically it's too on the nose for me to include in the playlist lol but i had it in the back of my mind throughout the fic. “you don't have to feel anything, o plucked flower/stay by my side/you don't have to remember anything/for you are all the more beautiful in decay.”

#avici #jjk #for reasons unknown to me avici typed with the proper i does deranged things to the formatting of this post so i had to change it

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kevinsreviewcatalogue · 10 months

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Barbenheimer Double Feature Reviews: Oppenheimer (2023) and Barbie (2023)

NOW I AM BECOME BARBIE GIRL, DESTROYER OF BARBIE WORLD

MELTING PLASTIC, IT'S FANTASTIC

FALLOUT IN THE AIR, DESTRUCTION EVERYWHERE

ANNIHILATION, END OF ALL CREATION

...ahem. Anyway...

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Oppenheimer (2023)

Rated R for some sexuality, nudity and language

Score: 5 out of 5

Christopher Nolan is a very talented filmmaker who I have very mixed feelings about, and one who I think has been considerably overrated by film geeks of my generation who fixate on his successes and ignore his failures. On one hand, his Batman trilogy still holds up and has left a lasting mark on the character beyond just film, ensuring that his legacy in geek culture would be an enduring one even if he never made another movie. Inception, meanwhile, was a brilliant sci-fi thriller, and Dunkirk is one of the best war movies of the last ten years. What's more, his loving embrace of practical effects and old-fashioned storytelling is one that Hollywood could use more of in a time when it seems that bloated, CGI-fueled, franchise-baiting monstrosities are leading it down a road to ruin. On the other hand, his and Zack Snyder's attempts to apply The Dark Knight's deconstructionist approach to Superman with Man of Steel produced a movie that I didn't really like then and which has held up only worse with the hindsight of ten years of the DC Extended Universe, his sci-fi epic Interstellar was beautiful to look at but had a plot that went straight up its own ass and betrayed its pretensions towards "hard" science fiction, and while I did not see Tenet, his actions and public statements concerning the release of that film theatrically even during a pandemic struck me as pretentious to the point of callousness. What's more, he's popularized a rather annoying trend in sound mixing of trying to make audio more "realistic" that, in practice, means that dialogue often gets drowned out by ambient noise, especially during action scenes where there's a lot of loud noises going on in the background.

That said, while I believe that Nolan is ultimately human, I can also acknowledge that there's a reason why he's considered one of the best filmmakers working today. When he hits, he typically sends it out of the park. And Oppenheimer is Nolan at his best. He takes a three-hour historical biopic, one whose only real scene of spectacle is the Trinity test, and makes it feel like a three-hour epic. It has a sprawling, all-star cast and takes place over multiple time periods, often jumping back and forth between them as it needs to, but keeps its focus on a number of important threads in its subject's life in a manner that keeps it cohesive. The entire cast does amazing work, above all else longtime Nolan collaborator Cillian Murphy as the title character, a man who slowly and then all at once starts to realize what his groundbreaking scientific work has unleashed on the world. This was not the sort of movie that had me checking my watch even with its great length; no, I was gripped the whole way through, all the way to its tragic conclusion as J. Robert Oppenheimer looks back on his life and tribulations and wonders if he will go down in history as the man who destroyed the world. It is a grim film, and knowing just the barest amount about the subject matter going in, there's a reason why my double feature of this film and Barbie had me watching this one first. But it is a worthwhile one, and one that I think will go down in history as a modern classic and one of Nolan's best.

Much of the film is told in flashbacks from the year 1954, as Oppenheimer is undergoing a security hearing to determine whether or not his Q clearance should be revoked due to suspicion that security leaks at Los Alamos National Laboratory under his watch may have enabled the Union of Soviet Socialist Republics to take great strides forward on its own atomic weapons project. We start in the interwar period as Oppenheimer establishes himself as one of the world's leading nuclear physicists, continue through his establishment of the Los Alamos laboratory, the Manhattan Project, and the first and only wartime use of nuclear weapons, and conclude in the postwar years as he grows increasingly concerned about the destructive potential of the atomic bomb and especially the hydrogen bomb, becoming a leading voice in favor of arms control instead of an arms race. Through it all, his left-wing sympathies, owing to him being both a Jewish man watching the rise of fascism and a scientist whose profession strongly values the free flow of information, bring him first a measure of soft distrust during the war and then a more hard-edged suspicion afterwards as East/West wartime collaboration breaks down into the Cold War, especially given his interaction throughout his life with people and organizations (including his brother Frank, his wife Katherine, his mistress Jean Tatlock, and the Berkeley professor Haakon Chevalier) who were at one point or another connected to the Communist Party of the United States.

The film starts and ends with Cillian Murphy, who plays Oppenheimer at various points over the span of more than twenty years and is captivating in all of them. In his early scenes, between his hair and his performance, he evokes the feeling of a young "rock star" intellectual with his sights set on a bright mission to change the world, bringing with it the requisite ego. Being tapped to run the Manhattan Project forces him to clean himself up, literally and figuratively, adopting a more traditional haircut and dress while ending his overt dalliances with the various communists around him; while he remains with his wife after she explains to him that she lost faith in communism after her fiancé ran off to fight for the Spanish Republicans and died there (in real life, it was more complicated, but it's implied anyway that she's not being wholly honest here), he pulls back from Chevalier when he tries to get him to spill some nuclear secrets to pass along to the Soviets. The bombing of Hiroshima and Nagasaki leaves him haunted after he finds out just how much damage his weapon did, best conveyed in a scene where Nolan's sound mixing is actually used well as the congratulatory speech Oppenheimer is giving to his fellow workers at Los Alamos is drowned out by his own internal panic. Before the Trinity test, the possibility is raised on more than one occasion that the atomic bomb might ignite Earth's atmosphere and destroy the world; while that obviously didn't literally happen, the film ends with Oppenheimer wondering whether or not he might have done so metaphorically.

This is not a movie that glamorizes Oppenheimer. On one hand, it spotlights how he was not only one of the greatest minds America had at the time, but also somebody with a strong moral code, from how his politics were motivated by a genuine desire to do right by the world to how he helped recruit numerous European Jewish physicists into the Manhattan Project by recognizing how Adolf Hitler's antisemitism was causing him to cut off his nose to spite his face. On the other hand, by the time he realized what he unleashed and put aside his dispassionate pursuit of science for its own sake in favor of activism, the cat was already out of the bag, and what's more, his idealism, paired with his womanizing, blinded him to the threat of spies seeking to steal his research and use it to empower the Soviets, ultimately destroying his hope that the postwar era would see global cooperation for the betterment of all instead of the competition for power and glory that it ultimately became. He may be the main character of this film, but by the end, even he wouldn't tell you that he was any sort of hero.

The story here is big, and Nolan wades right into it and makes it feel big. At times, the number of supporting characters, famous faces in both the historical figures and in the all-star cast playing them, was almost too many to keep track of, but Nolan keeps it focused on the big ones, specifically how they all interact with J. Robert at various points in his life. In a unique touch, the "present-day" scenes in 1954 are shot in black-and-white, and the flashbacks in color, a choice meant to show that the security hearings are purely fact-based while the flashbacks are colored by Oppenheimer's memories of the events but which I think also served to highlight how, by the time the Cold War was in full swing, his youthful idealism had long since withered in the harsh light of how things actually played out.

And more importantly, even though this was a very "talky" movie, it felt as propulsive as any of Nolan's other films. Ludwig Göransson's score lent a sense of urgency and impending dread to the proceedings, knowing that it was telling the story of the inventor of the most fearsome and deadly weapon ever conceived and always seeming to be driving the film forward. Nolan and cinematographer Hoyte van Hoytema crafted a visual style that feels naturalistic in true Nolan fashion without necessarily going grim and gritty, whether it's the musty old libraries and classrooms that have a hint of dark academia to them or the vistas of Los Alamos, New Mexico that feel consciously designed to evoke Westerns, a comparison that Kitty herself makes when she first sees the town, highlighting the irony of how that older, simpler age of American history was about to be brought to an end through a project carried out in the kind of scenic Western vista that John Ford himself might have shot a movie. It was a long movie, but it was not a bloated one in the slightest. After all, how can you be when you're telling the story of a man who, for better or worse, changed the world?

The Bottom Line

Oppenheimer is another film that proves that, when Christopher Nolan is on the ball, he knows how to make a masterpiece. Whether you're a movie buff or into history or science, this will probably stand the test of time as a classic, and a definitive treatment of the life and work of J. Robert Oppenheimer.

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I was told that the preferential viewing order for this would be to screen Oppenheimer first and then Barbie, so that's exactly what I did.

Barbie (2023)

Rated PG-13 for suggestive references and brief language

Score: 4 out of 5

As a toy, a character, and a pop culture icon, Barbie is a figure with a lot of baggage. On one hand, when she first debuted in 1959 on store shelves that were otherwise lined with dolls of babies and young children, she was a game-changer, one who turned dolls from a fantasy of motherhood to a fantasy of being all grown up. She was the original ideal of the modern, liberated woman: beautiful, glamorous, and, as time went on, capable of working every career under the sun, while also having a handsome (boyfriend? Best friend? It's varied over the years) named Ken. On the other hand, having Barbie, a very '50s/'60s idea of a modern, liberated woman (even one who was herself designed by a woman, Ruth Handler), as an ideal to live up to has done a number on the self-image of generations of young girls, especially when it came to standards of physical beauty, and her aspirational marketing often ran head-first into a world where women and girls often found themselves treated as second-class citizens compared to men and boys.

As such, the announcement of a movie based on Barbie, officially licensed by Mattel, was inevitably going to have to tackle all of this head-on: what Barbie was originally conceived as versus what she had come to represent. And when it was announced that Greta Gerwig, a young filmmaker known for naturalistic, relationship-focused dramas who came up through the "mumblecore" scene in indie cinema, would be directing and co-writing the film with her longtime partner (both creative and romantic) Noah Baumbach, I thought I'd figured out exactly what kind of movie I was going to get just from the trailers: a stinging satire of Barbie's complicated relationship with womanhood and girlhood, wrapped in over-the-top girly aesthetics. That is more or less the film that they delivered, but not in the directions I was expecting. Make no mistake, Barbie is an avowedly, unapologetically feminist film, and one that I'm not surprised has already inspired plenty of unbridled, predictable rage from a certain class of commentator. But it's one that surprised me, and one where really getting into the meat and potatoes of its message would require giving away some of the best moments of the movie.

So, to keep this brief, I had a blast with Barbie. It is undoubtedly a very snarky parody of the doll line, its commercialization, and how people have reacted to it over the years, but it is also an affectionate one made by somebody who clearly spent much of her childhood playing with Barbie dolls and suggests here that they played a big role in making her who she is today. It couldn't have had better casting, not just in its sprawling all-star cast but also in its leads, Margot Robbie and Ryan Gosling, who not only perfectly look the part of the iconic characters they play but take them to some very interesting and even daring places over the course of the film. It's a visual treat, especially in how it imagines the neon-pink world that Barbie and Ken live in, and its jokes were not only hilarious but also hit very close to home, like the most biting Saturday Night Live parodies of Barbie done on a blockbuster budget. Even if you're the most rugged, bearded manly man who thinks he's above this kind of movie, I guarantee, you'll laugh your ass off watching it.

The film starts in Barbieland, where all the Barbies and Kens live. It's presented to us as a utopian matriarchy where all the Barbies are successful women living their best lives and running everything, and the Kens are eye candy who are happy to live for their girlfriends. Robbie and Gosling's characters are the classic, stereotypical Barbie and Ken we all think of when we hear the names "Barbie and Ken", the beautiful blonde bombshell and her hunky-yet-chaste romantic partner whose life revolves around two things, Barbie and the beach. It's established early on that the Barbies know they live in a fantasy world connected to a toy line in the "real world", and that their purpose is to serve as an aspirational ideal to young girls so that they can become better women when they grow up. Which makes the thoughts of death that Barbie has one day rather unfortunate, especially as they mark the beginning of a breakdown of her perfect life. Turning to "Weird Barbie", a wise older Barbie who lives alone and is connected to a real-world Barbie doll whose owner badly mistreated her, for help, Barbie sets out on a mission to the real world to find the little girl she's connected to, with Ken coming along for the ride.

The film doesn't linger for very long on the mechanics of how all of this operates beyond "it's magic", and frankly, it doesn't need to, dropping enough hints that most viewers could probably figure it out on their own. The Mattel corporation is fully involved, but while Will Ferrell's vaguely villainous CEO has shown up in the marketing for this, he and the company as a whole are chiefly two things: the butt of many of the film's jokes, and more importantly, red herrings. The actual villain is telegraphed pretty early once Barbie and Ken enter the real world, and their identity is rather important to the film's central themes, but I will hold off on spoiling it because it's just such a fun moment that I don't wanna give away. Rest assured, though, this is not a film that rests on its laurels and just throws a torrent of classic Barbie iconography at you to distract from a threadbare story.

And it all starts with the casting. Margot Robbie and Ryan Gosling as Barbie and Ken may just be the most perfect casting I can imagine, two actors who both embody the kind of mid-century Hollywood beauty standards that Barbie and Ken were based on and are also two of the most gifted actors of their generation (side note: Gosling's been around for so long that I was surprised to see that he's only eight-and-a-half years older than Robbie), meaning that they don't just look the part, they fill it with personas that I imagine will color how people view the dolls for a very long time. Robbie grabbed me from the moment we get an early dance sequence set to a Dua Lipa disco banger in which, after voicing her thoughts about death, she's tries to go back to putting on a happy-go-lucky party girl face -- but every so often, for just a split second, we see the look of worry creep in. Her comic timing, one of her strongest yet most underappeciated assets, is also on full display here, setting up some of the most hilarious scenes in the film. Throughout, Robbie delivers the kind of performance that would vanquish any doubts as to whether or not she's just a flash in the pan, running the full gamut of emotions as she has to learn about the real world and all its messy stuff. She would've easily walked away as the film's MVP if it weren't for Gosling, who matches her beat-for-beat as Ken learning about his own place in the world and what it really means to be a man. He gets a pair of great musical numbers that both land incredibly well even if he doesn't have the best pipes, and does an amazing job making Ken not just a partner to Barbie, but a mirror to her in some key ways.

Among the characters in the real world, meanwhile, it's America Ferrera and Ariana Greenblatt as the mother Gloria and her teenage daughter Sasha who both give this film its human soul and rest at the heart of its message. We meet Sasha first, and she's representative of young people who see Barbie as a symbol of the older generations' broken promises to girls and young women, the unattainable ideal that they could never live up to and which was all too often used to belittle them. Gloria, meanwhile, is a mom approaching middle age and working an unglamorous office job who sees Barbie quite differently, as the figure who showed her that she didn't have to choose between a career and a family, and remains attached to the ideal of Barbie even if she knows her life isn't perfect. Together, Gloria and Sasha are the ones who force Barbie to confront what she symbolizes, especially as her own life increasingly flies off the rails and she needs to figure out who she really is if she wants to... well, again, spoilers.

It was perhaps to be expected that Greta Gerwig made this a character-focused film above all else given her background, but the real surprises came in the production design. The trailers already showed off Barbieland quite vividly, and the film spends a surprising amount of time there to show it off even further, a landscape saturated in bright pink and primary colors that would feel like it came out of a Y2K-throwback hyperpop music video if it were played for even the slightest bit of irony. The other assorted Barbies and Kens (and forgotten oddities in the Barbie back catalogue like Midge, Skipper, and Allan) are played by a who's who of actors, musicians, models, and other celebrities who feel like they all signed onto this film just to have the opportunity to say that they were in the Barbie movie, and each of them felt like they were having a blast hanging out on set, the exact kind of non-stop-party energy that Barbieland needed. Speaking of hyperpop, the soundtrack too is absolutely stuffed with top-notch quality, a murderer's row of pop and R&B superstars, cult favorites, and up-and-comers that I think is likely to inspire a lot of musicians in its own right, especially with how it often plays in the context of the movie itself.

If I had one real problem with the film, it's that the bits with Mattel often felt superficial and extraneous, especially compared to the deeper commentary of the film's main satirical thrust. Will Ferrell was funny as he often is, but he felt like he was only in this to act like an oblivious jerk, he and his corporate minions barely figuring into the plot except to serve as an obstacle. There are ways I think this movie could've approached the Mattel subplot better, and which it seemed to be leaning into, presenting them not as a soulless corporate behemoth but as a company whose leadership seems to genuinely think they're doing right by the world in general and girls in particular, but is critically failing them and leaving many of them bitter like Sasha. It's a subplot that could've been fleshed out a bit more with maybe five or ten minutes of extra scenes; I'd love to see what the deleted scenes look like when this hits home video.

The Bottom Line

Barbie wasn't just a wonderful palate cleanser after the gloom of Oppenheimer, it's a legitimately great movie in its own right, as both a big, high-concept comedy of a sort we don't normally get these days and a cutting yet affectionate satire of its main subject. If anybody tells you this movie's "only" for women and girls, don't listen to them. Go see it anyway.

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homunculuslover · 2 months

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They came!!! X3 Slowly working my way through them now!

#pin badge #pin buttons #hard enamel pins #sundrop #moondrop #love glitch #fnaf #fnaf security breach #security breach #fixation nation creations #fncs

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lillygene · 1 year

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Introductions

Prepare for trouble!

And make it double!

To protect the world from devastation!

To unite all peoples within our nation!

To denounce the evils of truth and love!

To extend our reach to the stars above!

Rat!

Cel!

Team moob_enthusiasts_316 blasts off at the speed of light!

Surrender now, or prepare to fight!

Hello hello and welcome to our blog! A quick spur-of-the-moment decision sparked the creation of this account, though we are both excited to see it through! The main focus of this account is to simply share our drabbles for whatever fandoms we may be interested in that week, and to post some of our fanfiction ideas that we never really got off the ground. At this time we are both open to most fandom writing requests, simply because we’d love to expand our horizons on that front. Below you can read about both members of this account, their interests, and some excerpts of their writing!

For starters, hello, I’m Rat! My pronouns are She/It/They, and I’m pansexual! I’ve been writing for many years now, though I've never had the confidence to actually post anything. I remember a bit over a year ago I had attempted to make a personal tumblr account, but I never went through with it. Thankfully Cel was kind enough to pressure me into this <3. On top of writing I’d love to share my current musings about the Jack Reacher books, as I’ve recently re-discovered them after a few years of not looking into them. Lee Child is a huge inspiration for me, and I hope to convey that through my semi-obnoxious posts about his books 💔.

Currently I’ve been fixating on a few pieces of media, consisting of

Overwatch 2

Call Of Duty (Though you’ll never catch me supporting the games messages.)

Psych

The Jack Reacher book series by Lee Child

I also occasionally bounce back and forth between JJBA and WC.

Fandoms I have written for before consist of

Haikyuu

Genshin Impact (Sadly…)

Final Fantasy

Hunter x Hunter

Bungou Stray Dogs

Fairy Tail

Marvel and DC (Also sadly)

Jojo’s Bizarre Adventure

If You Have Any Requests, Be Sure To Check This Out!

My requests are currently open for any fandoms mentioned in both sections above! I dabble in a bit of everything,

Character(s) x Character(s)

Headcanons

Character(s) x Reader

I’ll happily write

Fluff

Angst

However I absolutely will not write anything bordering on pro-shipping, incest, noncon or pedophilia. Any requests containing these topics will be refused.

That’s all from me, I’ll let Cel take it away!

Hai I’m Cel! I go by any pronouns. My intro won’t be as fancy as rats because I’m a newbie. I’ve only been writing for a few months, but I’m eager to improve. I’m a sucker for women so there will probably be a lot of fem x fem, sometimes (sadly - Rat) I like to write about big giant hunks with fat boobs 😞. Lmk if there are any mistakes in my work or things that will help me improve! (>‿◠)✌

Fandoms I would write for (There could be more!)

Overwatch

Apex

The last of us

Twd

Dead or alive

Ace attorney

The Arcana (visual novel)

Borderlands

Bioshock

Sally face

Resident evil

Arcane

Death Note

Pokémon (The beginning was my idea :)))

Requests Info

My requests are currently open for any fandoms mentioned above :)

Character x Character

Headcanons

Character x Reader

I like to write

Fluff

And lots of…Smut ;))

Will not write anything bordering on pro-shipping, incest, noncon or pedophilia. Any requests containing these topics will be refused.

We hope to update this with a link to our ao3 account when it becomes approved!

#fanfiction #overwatch #character x character #headcanon #character x reader #call of duty fanfic #fluff #oneshot #final fantasy series #borderlands #haikyuu #dc fanfic #the arcana

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miserymheiri · 2 years

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Desolation

Perspiration

You fools undoing my creation

Blessed silence

Cursed life

Destroying my life and works one strife

Stepping, stumbling

In frustration

I can do it

On my own

I don’t need you fools

So just leave me alone

I am power

I am envy

A self-made strategic fixation

Do not wallow

Do not block me

I refuse amalgamation

This is a homage

To those I despair against

Do not come for me again

I bled and bred and bed myself

I will never need anyone else

I am brilliance

Original genius

And you cradle robbers

Are all heinous

I am work and toil and sweat

You are blood and lust and sex

You threw me in this

Barren location

I made this mountain

Not for your vacation

Action, motion, nation, notion

There is no rationale

To my dissatisfaction

Accommodated precipitation

Moderation

This fortress you require

With no population

Step away before my ire

Deranged I am

So sad solution

There is no fixing

Your gross absolution

-Barren Solution 10/11/22

#poetry #self made #writing #written by mheiri

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reallygrossstuff · 2 years

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Sollux - Soothing Solzilla

Another personal project from me inspired by some art my boyfriend drew! No extra warnings apply, please let me know what you think because I really enjoyed writing this!

“-reports that the city has now been completely evacuated, and the national guard is maintaining an observation perimeter in case of further movement. For those not in the area just tuning in-.”

Nobody could agree on exactly where the creature came from.

The night before, New Hell, Michigan was exactly the same as it had always been, nothing out of place. Then, sometime before most of the population would have been up on an average weekday, everyone was rushed out of bed by insistent, ominous thudding from the city centre, and there it had been.

Its proportions weren’t entirely dissimilar to a troll, though there were enough distinctions to make it clearly its own entity. Its proportions were somewhat squashed, its squat legs only just longer than its torso. While its head was easily the size of a small blimp, it only just poked up above the tallest buildings, giving the impression that whatever species it was, it was something of a shortstack.

Looking past its humanoid anatomy, there was plenty more to gawk at. Its body seemed naturally heavyset, almost as wide as it was tall with dark grey flab jutting out in every direction. Its stomach sagged down in front of it, almost brushing the asphalt every time it was pushed forward by its flabby legs. It had breasts, covered by some sort of folded tarpaulin that, even at a significant size, didn’t manage to obscure their flabby shape or the small protruding areolae on each tit. The tail that dragged behind it was equally tubby, carving a small groove in the road wherever it went and brushing aside any car or cart that wasn’t pancaked by its plodding footfalls.

Unlike in the movies, the monster didn’t seem motivated by hatred for people or rage towards the city itself. Sure, it destroyed infrastructure with a terrifying casualness, and there was no doubt what would happen to anyone who couldn’t avoid its pacing, but it only seemed to move around the space to search for one thing specifically: food. Its stomping route around the city stopped at every food truck, refrigerated van or suitably large restaurant, at which point its searchlight eyes (one glowing red and the other blue, leading to it being named Sol after one of the mythologised creation gods) would fixate on the object until it was rent open with psionic force, and any food within was suctioned out into a thin stream terminating in the creature’s snaggletoothed mouth.

For now, the city had enough food to keep its interest contained, but already steps were being taken to keep it from roaming further when that source dried up. While a small force of helicopters was indeed circling the city’s perimeters, ready to sound the evacuation alarm in case of a sudden burst of movement, the majority of the national guard’s squadron was occupied with the task of shuttling yet more food into the city limits, dropping it as close to Sol as possible without risking being grabbed from the air in a fit of curiosity.

So far this had worked, but it wasn’t exactly scalable. The more Sol ate, the faster it did so, such that quantities that had initially kept it in place for almost an hour now left it unfed for five minutes between deliveries. The squadron had to strategically position the food drops to keep it from roaming too far, a measure that was seeming all too temporary.

“-receiving word now from the national guard that the creature is still contained within the tourism hub of the city. A briefing just minutes ago from incident chief Crocker confirmed there was no loss of life during the evacuation. While details have not yet been discussed, her statement also implied that steps are being taken to ensure no further displacement of American citizens from the surrounding area-.”

It was a good thing the permanent solution was already in the works.

Sol had appeared overnight, but it took the better part of two days to put a guaranteed end to its wandering.

The plan had taken shape gradually, contingencies coming together or being discarded as needed, under the observation of dozens of helicopters. Food quantities were increased. Enzymes were introduced or artificially removed to encourage a larger appetite when needed, and to momentarily shrink it pending the arrival of the custom-fitted blimp that now dominated Michigan airspace.

When it had first arrived, its size dominated even Sol itself, though this made it incredibly slow-moving, relying on a battery of secondary crafts to propel it to its destination directly above the monster. It was a soft-body vessel, yet it was pre-filled with such a quantity of feed that the whole thing appeared uniformly round without a single crease in sight.

Sol had watched the blimp’s movements closely; whether concerned about its size or already sensing the food within was unclear. Blue and red sparks pelted its body as it tried to peel it open like the trucks and stores before, but steps had been taken to make sure it would hold against such an attack. The creature had been unable to pierce it prematurely, its access to the fluid within entirely controlled by the airship’s pilot.

And then the hose had been dropped.

Only a few people knew the exact chemical makeup of the feed that now drizzled over Sol’s massive cheeks and chin. It was the culmination of dozens of patents, hundreds of proprietary secrets, all leading to a mixture that was entirely irresistible to Sol. In the hours that it was still able to, it hadn’t moved once from beneath the hose, mouth open greedily to guzzle down as much of the slop as possible, psionics ablaze to scrape any loose dollop or dribble that went wide back into his maw. Like a machine, or perhaps an animal, it was rendered completely ignorant to anything else by the new self-reinforcing desire for more of the formula.

The mix had been designed so Sol would never develop an immunity to its addictive effects, but even so there were contingencies to ensure a permanent de-fanging of the creature. Every dribble that passed its lips seemed to convert to twice as much flab on its already-padded frame, rendering even the drag of its fingers across its sides or the slow whumping glide of its tail a ponderous feat. Its skyscraper ass thudded against the ground well before its lard-covered legs fully gave out and slid from beneath it, a belly the size of a city block pinning it down terrifyingly effectively.

Throughout its beaching, Sol remained unaware. Even as its cheeks hemmed in its vision, as its sagging tits rose up to hide the ground from its eyes, as the buzz of psionics lessened and atrophied into useless sparks, it remained wholly devoted to the food it was being neutered with. Its only method of interacting with the city was reduced to its slowly-swelling flab, encroaching outwards like a glacial flow that consumed buildings and cars beneath it as greedily as its permanently-gaping mouth consumed its feed. Already it would never stand under its own power again, but the incident chief had been unyielding in the demand for absolute control – Sol was never again to do anything under its own power, never again to twitch a flabby finger or sway its tanker-sized tail. It would sit where it was and eat where it was given, until its exact nature could be understood and brought to the benefit of society.

Where previously people had gasped or flinched at the sight of it on television, with free reign over a whole city and seemingly nothing to stop it, a new image took over the airwaves in the coming days: the creature’s face, buried in a divot of its own immeasurable back, shoulder and chest fat. Cheeks the size of small apartment buildings weighing down on its face, forcing its incomparable mouth permanently open to let drool spill out across its chins. Eyes that had once flared with intent and power could now barely open, their unearthly glow reduced to a candle’s flicker. And its whole face, from its brow to well down its chest, was splattered with the messy leftovers of the formula used to turn a force of nature into a docile, if spreading, landmass.

“-Crocker again confirming for international speculators that the creature colloquially referred to as Sol now poses no threat to the American people or any other power. Examination of its potential abilities as well as the responsibility of its inhibition has been given over to the Crockercorp international conglomerate, which has stated its first priority as determining a final target weight for the being. For continual updates on this story and a live feed of the current situation, viewers can switch to-.”

#really gross stuff #homestuck #fatstuck #weight gain #immobility #Sollux Captor #macro

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readingphotographs · 4 months

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Making your own flowers: Heirblooms by Sandra Dans

Sandra Dans has cracked the code to coping with millennial misery and anxiety: buying flowers is not enough, you have to make your own.

I wonder what was going on in the mind of the very first human who saw flowers and thought, "You know what, that would make for an awesome gift for a celebration!"These organic creations became symbols of life, love, and mortality. We gave praises to flowers and turned them into symbolism in art, music, and literature. This is one of the ways a human can appreciate beauty. For Sandra Dans, flora is used as a method of establishing one’s self. However, not in the sigma male or girl-boss kind of way. This work is a recognition of who she is and how she came to be.

You see, the Dans family has a lasting relationship with the arts. She has a cousin in video production, an aunt who is an illustrator, a husband who is a designer, and of course, the national artist Aracelli Dans. There’s also another grandmother who works closely with plants. All of their work manifests itself in Heirblooms. One has to wonder if there is immense pressure in the Dans family to engage in a creative pursuit. But it seems their relationship with art and creation is not of pain or rigor. It is not about executing with discipline and strict adherence to the rules of a chosen medium. How their family does art is closer to how Aristotle views leisure, a wise use of time.

These images are Sandra Dans' contribution to their family's relationship with flora. The execution is of the [Millennial] generation's use of color, aesthetics, and fascination with abstraction. Especially the need to have something abstract but made with realism. Perhaps the generation trying to grasp whatever it can since it was deprived of what it needs to have. A generation that will be forever burdened to prove itself. Despite data disproving the myth of laziness, wage stagnation, and lack of housing, it will never be accepted as truth. Sandra Dans engages with this millennial fixation by grasping what is real: The fluidity of life, flowers, and family. This isn’t an attempt to establish dominance but to be in union with what really matters. It is photography as a means to participate.

The approach of each image is simple: Dried flowers (or shells), through the liquid, are photographed with intense color. There is a playfulness with the execution. The process wasn’t as surgical as a commercial shoot or as candid as documentary photography. All this playfulness can’t help but underly what it means to be branded as a millennial: Too young to own wealth, too old to harness the internet, but skillful enough to make it on our own. So what is left to do is to own what we have. Giving praise to those who gave us all the opportunities despite history not being favorable. And so we make our own flowers. The sensations of looking at these images parallel recognizing what it means to have our minds wander. A desire to look at the aesthetics for pleasure and not a pursuit. It’s as if there is a need to be still and stare rather than concentrate on impending labor. However, we swirl through and float on.

The thing is, making flowers is our balm for millennial misery. Looking at the rhythm, the colors, and the biology of Sandra’s images has a therapeutic effect. It’s as if we can forget our woes by remembering who we are, where we came from, and what we can make. Sure, Miley Cyrus can buy herself flowers, but it’s better to make it. Let Sandra Dans’ Heirbooms serve as a blueprint that by making work recognizing our family, you can find your footing. Maybe through that, we can work our way out of our own miseries.

Title: Heirblooms

Photographer: Sandra Dans

Design: Exhibition, Parola UP Fine Arts Gallery, Quezon City

About: (Excerpt) Heirblooms is my attempt to engage with this transgenerational floral fixation on my own terms. In this series of photographs, I take fresh orchids, decaying flowers, and delicate seashells and drench them in vibrant chromatic, physical, and photographic distortions as a way to locate a vertex that resonates with me, a filthy millennial. The sparkling colors are abstracted forms rendered on shimmering paper and are a visual bridge, a rainbow connection if you will, knitting these age-old natural forms with the digital age's penchant for reimagining reality. They stand as an invitation not only to witness the collision of the organic and the abstract but also to ponder the transformative power of heritage.

Written by A.g. De Mesa

(With help by James Lontoc)

Post Script

“We’re going to have an artist talk in our next class, please prepare your questions if you have any. Attendance is a must”. I wasn’t as conscious or as engaged in photography let alone art. This is probably one of the first times in my youth that I will have an encounter with an artist. I looked up her work and admired the realism and skill to put up her flowers and handkerchiefs.

So the day came, I don’t have an estimate of Aracelli Dans’ age (Not that it matters) but all I know is she wasn’t what I was expecting her to be. No scarves or berets or a cane. I don’t remember what she was specifically wearing but I can vividly remember her aura: It was full of candor. She was straightforward in talking about her work. She wasn’t telling us about the darkness of the human condition or some concept popular amongst the post-modernists. She was talking about her desire to work on her paintings. An urgent need to let it to the world if you will. I wanted to know for sure: So I asked a question. “Ma’m I’d like to know if you have any meaning behind your work, why did you choose to make your work in that manner?” She gave a wry smile and said “Because I wanted to and I can so why not?”

The entire auditorium chuckled. I have a smile from ear to ear as I nod and return to my seat. I got an A+ in the course.

#sandra dans #photography writing #art writing

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comptononeil80 · 4 months

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DECODING ALL THE CLOSED BOOK INVOLVING SATTA KING : A MORE CHECK OUT ENJOYABLE PLAYING FIELD OF SATTA MATKA

Decoding a Secret regarding Satta King : A fabulous Nigher Look into the Fascinating Whole world of Satta Matka Opening: In the whole world of high-risk game playing, Satta King offers come about as the national trend, captivating the thoughts in aficionados trying to get an exclusive as well as exhilarating experience. Rooted for American indian the past, Satta King , referred to as Satta Matka , may be a gambling game containing become more refined suitable subculture by using a torrid following. In the following paragraphs, everyone start on the latest process to help run the actual mysteries regarding Satta King , checking out it has the beginnings, typically the subculture these have spawned the creation of, and the have an impact on this has on participants. Heritage The roots of plants: Satta Matka remnants the nation's beginnings with the bustling streets connected with Mumbai on the 1960s if it was subsequently introduced as a type of lottery. A game speedily become popular, growing the sources over the nation. At the start, the application included dissipated for the opening and closing prices from cotton wool familial from Completely new York 100 % organic cotton Exchange. As being the train evolved, it again changed into a lot more inclusive type of risky game, utilizing players wagering relating to quantities preferred originating from a matka , a kind of pot. satta king This Subculture regarding Satta King : What exactly pieces Satta King a part is the subculture containing created around it. People, also known as Satta kings, bury by themself from the ins and outs from the game, dependent upon combining joy, feelings, as well as beautiful signs to calculate the succeeding numbers. Any subculture shouldn't be solely in relation to playing; lovely some sort of community event, rearing a sense camaraderie concerning individuals which write about the same passion to the game. Buzz not to mention Skepticism: In the centre for Satta King sits the thrilling excitment involving uncertainty. Avid gamers enlist in any guesswork pastime, making an attempt to predict a suitable education amounts that can give in a good win. A unpredictability and even associated risk concerned contribute some sort of epinephrine dash, constructing a particular aura associated with thrills of which is constantly members returning for more. Your fine unpredictability in Satta Matka is known as a evidence of the country's temptingness, drawing during players with unique backgrounds. Impact on Areas: Satta Matka has experienced a vital relation to the particular smaller communities the fact that engage in it. Although some view it for the reason that type of safe night-life plus tips on how to take a look at one'vertisements fortune, many others believe that it can result in fixation together with financial woes. The particular game'azines sway in neighborhoods is a topic for recurring issue, utilizing proponents featuring all the ethnic magnitude as well as the friendly bonds this builds, even though critics focus on the potential for harm. Regulating Challenges: The type associated with Satta Matka gives regulating complications with respect to authorities. Regardless of goals to help you subdue illegally reproduced practitioners and playing things to do, the game is constant in various forms. The web based kingdom has presented with boost to be able to digital Satta Matka systems, putting a fabulous part involved with complication so that you can regulatory efforts. Gorgeous a balance in between protecting emotional tactics and then treating possible social factors continues as hard for authorities. Decision: Satta King , featuring full the past, subculture, along with relation to towns, is still a fabulous engaging and then puzzling aspect of Indiana bad gaming. While contributors continue to take part in the excitement with forecasting details and also testing your results, your game'south impact on the subject of population and additionally the challenges the item poses for you to regulators underscore necessity for some nuanced comprehension of their character with the cultural fabric. Whether seen as a fabulous societal convention, some sort of celebration, or perhaps regulatory struggle, Satta King is always a strong lasting and even elaborate phenomenon.

#satta #सट्टा किंग #satta king

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